Provided by Bryan Miller and Alicia Ventresca-Miller, UMMAA
This summer, Klinsky PIs Bryan Miller and Alicia Ventresca-Miller had two remarkable field seasons in the northern Mongolian province of Khövsgöl with their collaborator Jamsranjav Bayarsaikhan. The teams also included Dr. Julia Clark, the director of NOMAD Science, and colleagues from the Institute of Archaeology, Mongolian Academy of Sciences (MAS). Excavations focused on burials of local elites of the Mongol Empire (ca. 1200–1400 CE) in frontier regions between the Steppe and Siberia. While most tombs had been pillaged centuries ago or in more recent times, several burials were fully intact, which is extremely rare.
At the site of Gol Mod, they excavated eight tombs on a high mountain ridge in May, working with the Institute of Archaeology, MAS. One permafrost tomb yielded an imported Chinese wine jar repurposed as a candle, with remnants of butter preserved inside. Another unlooted tomb held the remains of a woman, replete with gold and silver earrings, decorated riding equipment (including a full bridle, a saddle, and stirrups), gilded silver ornaments, and offerings of sheep.
During June and July, in collaboration with a team from NOMAD Science, they excavated 20 more burials on the mountain ridges of Nariin Goliin Gozgor and Khankhmait. While many of the burials of elite men, women, and children were looted, the team recovered birch bark for quivers and a tall woman’s hat (boqtaq). In addition, the team unearthed an intact grave of a warrior with a long iron sword. Swords are rarely recovered from Mongol-era burials; thus, this was an important discovery. Another burial on the Azargiin Nuruu mountain ridge, although heavily looted within recent years, yielded the fragments of a Mongol robe (deel) made of gold-threaded brocade silk and bearing intricate floral designs.
These collective discoveries provide robust insights into the dynamics of local elite networks that the Mongol rulers depended on, detailing ritual traditions that united them and their connections to continental trade networks.
Field camp with gers (yurts) on Gol Mod mountain in May.Mongol burial in the snow on Gol Mod ridgetop (permafrost grave that yielded a Chinese jar reused for a butter candle).Some members of the fieldwork team in July (left to right): Tömörbaatar Tuvshinjargal, Tsegmediin Mönkhbat, Bryan Miller, Alicia Ventresca-Miller, Retstendorj Bayarmaa, and Tsogtgagarin Ganzorig.Gilded silver strap ornament found beside the saddle in the unlooted woman’s grave at Gol Mod.Gold-threaded brocade silk fragment with floral design found in a large tomb atop Azargiin Nuruu mountain.
In mid-August, the Kelsey’s education team welcomed to its ranks the museum’s first cohort of undergraduate educators (UGEs). Intended to augment the visitor programming provided by the Kelsey’s community docents, these seven U-M undergrads eventually will provide the bulk of our K–12 programs. These new members of the Kelsey team will lead tours and educational activities for some 2,000 K–12 students during the coming school year. In addition, they will assist the Kelsey in expanding its community engagement efforts through off-site programming.
Read below to meet the students and learn about their passion for history education!
I’m Robin Beaney, and I am an art and design major at the Stamps School of Art and Design, with minors in museum studies and history of art, working toward a career in book conservation. I also make artist books as my primary art medium. Additionally, I am an avid printmaker and enjoy helping out at the letterpress studio in the Duderstadt. I love ancient art and the vast and complex symbolism present in it, which is a large reason I was drawn to the Kelsey Museum. I am always looking to learn more about the intertwined histories of art and humanity, and I look forward to sharing that knowledge with you!
My name is Hayden Collingham. I am a senior majoring in archaeology of the ancient Mediterranean and minoring in museum studies. This semester at the Kelsey, I will be helping the Education Department conduct K–12 tours and events, reach out to an increased number of local communities, and collect visitor survey data. I have taken part in three excavations while studying at U-M, twice at Gabii and once at Pella. When I’m not working on a site in the summer, I’m usually spending time with my family and our two cats. Some of the things that I enjoy doing in my free time include reading, watching sports (especially baseball and soccer), and cooking on the grill.
Hello! My name is Taylor Hagen, and I am a senior this year majoring in classical archaeology and minoring in museum studies and ancient Greek. I am originally from Sioux Falls, South Dakota. Outside of the Kelsey, I also work in the Classical Studies Departmental Library and spend time with other classics majors in Eta Sigma Phi. In my free time, I enjoy reading as well as collecting mugs! This last summer, I participated in my first archaeological dig in Pella, Greece, where I was able to gain hands-on experience with both excavation and survey practices. During my time in Greece, I also had the opportunity to hike up to the second-highest peak of Mount Olympus, which is where I am in the picture!
Hello! My name is Sofia Lanza, and I am a sophomore from La Quinta, California, studying economics and art history. I am very excited to be working at the Kelsey Museum of Archaeology. I first became interested in archaeology during a class about the visual culture of the Roman Empire with Professor Nicola Barham, who brought us to the Kelsey. I loved the amazing opportunity to study real history right in front of me. Now, I am looking forward to sharing what I have learned with museumgoers. In my free time, I enjoy reading, the performing arts, and sewing. I also bake and spend time outdoors whenever possible. I look forward to seeing you at the Kelsey!
I’m Mackenzie Morgan, and I’m a senior studying history and political science. I’m currently writing a thesis on women in country music, particularly focused on the fans. I enjoy crocheting, cinema, and anything music. I love working at the Kelsey as I have a strong interest in the classics, especially Roman culture and the Latin language. I aim to get a master’s in archival studies with a certificate in museum studies after graduating! My favorite part of working at the Kelsey so far is meeting all of the kind faces who keep it running.
Hi! My name is Allison Oldani, and I’m a senior double-majoring in international studies and history of art, with double minors in museum studies and music. When I’m not diving into ancient artifacts at Kelsey, you can find me playing clarinet in the Michigan Marching Band (go sticks!), getting lost in a good book, or playing video games. What I love most about working at the Kelsey is that every day brings new discoveries, whether helping visitors connect with ancient cultures or learning something completely new about the ancient world. The intersection of history, culture, and storytelling that happens here perfectly combines all my passions, and I’m thrilled to share that excitement with our museum community!
Hello! My name is Alyssa Wakefield. I am a junior majoring in archeology in the Mediterranean and minoring in classical languages (Greek). Prior to joining the undergraduate educator team, I worked in the Archaeobiology Lab with Professor Laura Motta, so I am really excited to be working in the museum education side of the Kelsey as well. I already had the opportunity to speak with young learners about archeology just last week, and there’s more to come in the near future! Outside of the Kelsey, I write for Michigan’s satire newspaper, The Every Three Weekly, act as treasurer for Eta Sigma Phi, and read at coffee shops with my friends.
The Kelsey Museum bids a fond farewell to Tamika Mohr, our chief administrator since the spring of 2023. Tamika skillfully managed finances, facilities, and more during her time here, bringing dedication, professionalism, and care to all aspects of the museum’s operations. An administrative specialist with experience across multiple university departments—including the Department of Psychiatry and Michigan Medicine’s Center for Cell Plasticity and Organ Design in addition to the Kelsey—she has now accepted the role of chief admin in U-M’s Department of the History of Art.
Transitions are both exciting and bittersweet, especially when they involve someone as dedicated as Tamika. As she moves on from her role at the Kelsey Museum, we invited her to share her memories, accomplishments, and the lessons she’s taking with her into her next chapter at the University of Michigan.
KMA: What has been memorable about your tenure at the Kelsey Museum?
Tamika: My time at the Kelsey has been defined by memorable experiences working alongside truly remarkable teams. I deeply enjoyed the stimulating complexity and multifaceted nature of our work—seamlessly weaving together education, administration, and exhibitions and collaborating with dedicated faculty curators. It’s a small but mighty ensemble of talented individuals who take immense pride in their contributions.
I must express my deepest gratitude for the privilege of supervising such an exceptional administrative staff. Their constant willingness to work seamlessly as a team, stepping in wherever needed with grace and unwavering professionalism, was truly inspiring. I am eternally grateful to them; they were instrumental to our success and the positive spirit of the Kelsey.
KMA: What work did you enjoy doing? Are there any projects you feel especially proud of?
Tamika: Several aspects were particularly motivating: interacting with the IPAMAA students and the Kelsey student administrative team was a constant source of inspiration. Witnessing their growth and evolution as scholars and young professionals has been genuinely exciting and fulfilling. Furthermore, the Kelsey security team stands out as partners of the highest caliber. They are not just protectors but true hosts to our guests and exemplary stewards of the collection; their dedication has been an integral and deeply valued part of the Kelsey experience.
I also feel a special sense of pride in having collaborated closely with U-M’s Facilities and Operations on significant upgrades—the library renovation, basement improvements, and the new security desk. My sincere hope is that these efforts, alongside the daily collaborations, have helped leave the Kelsey even better than I found it. I know for certain that I am a better professional and individual as a result of my tenure here.
KMA: What are you most looking forward to in your new role in History of Art?
Tamika: It is with immense pride and enthusiasm that I embrace the honor of joining the Department of the History of Art. Already, in my initial time within the department, I’ve learned so much more about serving an academic unit. I eagerly look forward to working intimately with the faculty, staff, and students and to growing, contributing, and serving as a strategic partner to another very special unit within LSA.
On behalf of the Kelsey Museum community, we thank Tamika for her dedication and the many ways she strengthened our museum during her time here. Best wishes to Tamika as she continues to inspire and support colleagues, students, and staff in her new role!
After almost 24 years at the Kelsey, Museum Exhibition Coordinator Scott Meier will retire on August 1. Scott has deftly overseen more than 60 exhibitions since joining the museum in 2001, using his talents in design, fabrication, and project management to bring countless curatorial visions to life. An invaluable behind-the-scenes presence, Scott has played key roles in the planning, installation, and ongoing care of the Upjohn Wing’s galleries and the objects it houses.
As Scott approaches his final days at the Kelsey Museum, he generously took a break from cleaning his office and making final gallery updates to share reflections on his career, favorite moments, and advice for the next generation of exhibition designers. Read on to discover the challenges and rewards of two dozen years coordinating exhibitions at the Kelsey.
KMA: To start, what originally drew you to the Kelsey Museum, and what has made you stay for so long?
Scott: Great question! Prior to coming to the Kelsey, I was at an exhibit design firm in Michigan working on different components of exhibitions, and while I enjoyed what I did, I always wanted to be the one who was responsible for—or at least had their hands in all aspects of—an exhibition, from design to fabrication to installation. The job description for the Kelsey Museum made it sound like I would get that opportunity, so I applied. I also liked the idea that I would be working on a college campus with students and directly with curators.
I originally thought I would stay a few years, gain more experience, and then move along. That mindset changed when the Upjohn Wing became a reality, and it felt like the temporary gallery space would give me the creative freedom and challenge I had been looking for.
I also very quickly felt a sense of loyalty and ownership to the museum. Once I began, it felt like the Kelsey was this hidden gem that was overshadowed by other museums on campus. Perhaps it is my desire to always root for the underdog, but I decided I wanted to be part of the change that might help the public see what I did when I looked at the Kelsey: an amazing collection that rivaled the other (bigger) museums.
KMA: Looking back at your time as exhibition coordinator, what are a few of your proudest achievements or most memorable exhibits you helped design and install?
Scott: I think my proudest achievement is the building and installation of the Upjohn Wing of the museum. I still walk through the galleries and admire what has been done, and I am in awe of what our small staff did. I had worked on numerous exhibitions prior to the new wing opening but nothing of that scale! I recall trying to calmly speak with everyone about what would be needed to make object selections, lay out each case, and mount all the artifacts—but deep down, I feared I had taken on more than I could do in the time I had.
The only thing that got me through this time was an amazing group of coworkers I worked alongside and who made the experience a positive one. (A special “thank you” to Barret Roebuck for grounding me with our endless discussions and figuring out how to build something that I could not and to Suzanne Davis for putting together a musical playlist that captured the spirit of each area!)
The most memorable exhibition has to be Death Dogs (2015). The curator of the exhibition, Terry Wilfong, was very open to letting me stretch creatively, which allowed me to play with the design and create an exhibition that I still hear about years later.
But that is not what is most memorable about this exhibition, whose design included numerous structures built out of black steel pipe—the kind used for natural gas or plumbing. Once I decided what I needed, I set off to Home Depot to purchase the supplies. I had trouble sourcing the pipe at one store, so I went to numerous others in and around Ann Arbor over the next few weeks. At some point, my buying black steel pipe must have set off red flags at Home Depot, and I was told I could not purchase it any longer. I then received emails from Home Depot and Homeland Security telling me my buying pattern was suspect. Apparently, they wanted to be sure I was not building pipe bombs! After numerous emails explaining that I was using the pipe for a museum exhibition, I was allowed to finish, but to this day, I wonder what watch lists I am on.
Margaret Cool Root, Scott Meier, and Barret Roebuck work together to install the Bisitun cast, 2009.Suzanne Davis and Scott Meier install sherds in a drawer, 2011.Scott Meier works with IPAMAA student Angela Commito to mock up a drawer of ushabtis, 2010.View into the Death Dogs exhibition—showing the infamous black steel pipe!
KMA: Can you share a favorite anecdote or memory from your time at the museum?
Scott: My favorite memories of the museum have less to do with the exhibitions and more to do with the people I came across along the way and the talks we had, from the group of children that lined up to stick their tongues out at the Bes figure in the Egyptian area to the visitors who discovered the museum for the first time and wanted to tell me something they were excited about.
Other memories include the unbelievably kind and passionate people in Sohag, Egypt, and the Italian conservators I worked with to install the Oplontis exhibition, who invited me to tour Yellowstone National Park. (It was amazing seeing the park through their eyes, and I will never look at a bison the same way!)
And I cannot forget all the students who came through the exhibit prep shop asking me a million questions, but also became a springboard to bounce design ideas off in my attempt to stay relevant with the next generation. But most of all, the staff of the Kelsey, who became characters in all the episodes of my daily life. THANK YOU!
KMA: What advice would you offer to those pursuing a career in museum exhibition design and fabrication today, based on your own experience in the field?
Scott: My advice is to be prepared for anything that might come your way! Be inquisitive and open to opportunities that may not seem relevant now but could lead to something down the road. And by all means, don’t be afraid to roll up your sleeves and learn different fabrication techniques—it will make your designs all the stronger if you understand just what it takes to fabricate them.
Perhaps it’s not a popular thing to say out loud, but if you are going to have a long career, I would suggest you are confident in your work and your decisions. Like in any creative field, there will be rejection and negative critiques of something you poured your heart into—try not to take it personally.
KMA: As you transition into retirement, are there any personal projects or ambitions you’re planning to pursue?
Scott: At this early stage, for me, being retired means I’m going to try not to trade one schedule for another. So I have no set plans for now. While there are numerous personal and creative projects that I have been putting off till “tomorrow,” I will get to them when the time is right. I do plan on spending more time with friends and family and traveling a fair amount, but the exciting aspect of all of this is who knows where this next phase of life will take me!
From case placements to carefully wrought mounts to the precise angle the lights hit each object, Scott’s artistry and care can be found everywhere in the Kelsey Museum. His creativity, expertise, and attention to detail have shaped not only countless exhibitions but also the experiences of staff, students, and visitors alike.
On behalf of the entire Kelsey community, thank you, Scott, for your dedication and vision over these many years. We wish you a well-deserved retirement!
The Kelsey Museum is pleased to welcome two interns on board this summer. In the Education Department, museum studies student Thomas Gaines is writing and assembling a new Teacher Resource Guide focused on the discipline of archaeology to supplement social studies curricula in K–12 classrooms. Upstairs in the Conservation Lab, undergraduate Hannah Magnus will assist with various projects, from cleaning artifacts to carbon-dating textiles.
Education Department intern Thomas Gaines.Conservation Department intern Hannah Magnus.
Thomas Gaines studies history and museum studies at U-M. A self-described enthusiastic student of history, Thomas is especially interested in change and revolution throughout different cultures and contexts. His love of museums—and what goes into a successful museum—led him to pursue the Museum Studies Program, ultimately bringing him to the Kelsey.
Here, Thomas is working with Director of Education Will Pestle to create a brand-new archaeology-focused Teacher Resource Guide. This document, intended to be used alongside the Kelsey and its collections, will allow educators to better instruct their students about the field of archaeology and what it can teach us about the past.
“As a historically minded person (and a lifelong Indiana Jones fan), I have always held a deep interest in archaeology and the amazing archaeological discoveries that influence our understanding of natural and human history,” said Thomas. Indeed, his role at the Kelsey has overlapped with not only his academic interests—history, archaeology, archival research, and collaboration and creation within a museum setting—but also his personal passions, including geography, geology, and the technology of archaeological research.
So far, Thomas has enjoyed the collaborative nature of the Teacher Resource Guide’s development and the way it has provided an insider’s look at the process of generating public history and teaching people about archaeology. “I was also surprised and pleased to be able to lend a hand in rehanging a number of objects in the gallery space at the museum,” he noted, “because which Indiana Jones kid wouldn’t love getting to help move around the ancient artifacts?”
Outside of his history and museums, Thomas—who is from Traverse City in northern Michigan—has an innate love for the outdoors. He spends his free time on his bike, walking in the Arboretum, exploring the local frisbee golf scene, and attempting to find the best fishing spots in southeast Michigan.
For the past several months, Hannah Magnus was a research assistant in the Archaeobiology Lab, working with Dr. Laura Motta and other students to wash and sort bones from the University of Michigan–excavated site of Tel Anafa. This summer, Hannah is changing tack as she heads to a different Kelsey laboratory starting in mid-June.
Hannah, who studies anthropology and archaeology and is interested in “all things history,” just finished her sophomore year. She recently transferred from Michigan State University to the University of Michigan—a trek she used to make often when she worked in the Archaeobiology Lab. At Michigan State, Hannah participated in archival research that explored the university’s first observatory and worked at the Kooskia Lab, where she sorted and labeled artifacts. Hannah has also previously attended the Gabii field school in Italy, an experience that allowed her to gain hands-on experience in excavation techniques.
Over the coming months, Hannah will assist Kelsey conservators Suzanne Davis and Carrie Roberts with cleaning an assemblage of marble Roman inscriptions. She will also support curator Nicola Barham’s ongoing project to carbon-date a collection of textile fragments historically labeled as Coptic. “I wanted to explore conservation to learn how to handle and care for artifacts properly,” Hannah said. “I also hope to gain an advanced understanding about how artifacts are created and how the methods of their creation impact how museums care for the artifacts.”
Of her upcoming projects, Hannah is particularly excited about working with textiles. “I’ve always had an interest in historical fashion and fiber arts,” she said. “I know how to cross-stitch, crochet, and sew, and by working on the conservation of textiles, I hope to find a way to combine my hobbies with my passion for archaeology.”
Welcome, Thomas and Hannah—the Kelsey Museum is excited to have you here!
K–12 students explore the Kelsey Museum’s Roman galleries on a school field trip.
In 2024, the Kelsey Museum’s Education Department launched its Teacher Advisory Group (TAG), consisting of a small group of educators reflecting the range of Michigan’s K–12 schools. These dedicated teachers, hailing from public, private, and charter schools and representing several grade levels, generously contributed their time and expertise over the past academic year—a successful partnership that will enhance archaeological education and shape social studies curricula across Michigan.
TAG’s objectives are multipronged. Working with the staff in the Education Department, the teachers brainstorm and recommend new programs and resources that educators can use in their classrooms and on-site during museum visits. They also evaluate the Kelsey’s current K–12 offerings to ensure that these meet the needs of teachers, schools, and districts, as well as state and national standards. Part of this process involves assisting in the development and piloting of new classroom instruction resources for teaching about the ancient world. Finally, TAG members are advocates for Kelsey educational programming and resources in their community, providing future opportunities for connections with schools or teachers who have never visited the museum.
Much of the group’s 2024–2025 work involved learning about what teachers want and discussing how the Kelsey Museum can meet or address these needs. TAG teachers provided feedback on the performance of volunteer docents as well as on the themes the Education Department offers for K–12 education. Although ancient societies are typically studied in 7th-grade social studies classes, many teachers have expressed that the Kelsey Museum offers valuable insights for students at all grade levels, from pre-K to seniors in high school.
“The Teacher Advisory Group is a mutually beneficial endeavor for both K–12 educators and for the Kelsey Museum,” said Stephanie Wottreng Haley, the Kelsey’s community and youth educator. “Through constant communication and clear goals and guidelines, we hope to refine our archaeological educational content for teachers, including our in-person visits and Teacher Resource Guides, which can help teachers near and far.”
Looking ahead to the next academic year, the Teacher Advisory Group will maintain its momentum, contributing to the Kelsey’s educational programs and activities and spreading the word to other educators about the value of utilizing the Kelsey Museum’s resources. Specific initiatives include working with the Education Department to develop dedicated K–12 content for the five Klinsky Expeditions and to provide guidance around tours and activities for the new Crossroads of Culture gallery.
For more information about the group and to learn how to become involved, visit the Kelsey website here!
With the winter semester now wrapped up, the Kelsey Museum’s conservators are enjoying a brief respite from assessing objects for class visits, but that doesn’t mean the lab is any less busy! Read about the projects that Carrie Roberts and Kathryn Peneyra—conservation fellow at the Kelsey—have undertaken over the past few weeks.
Conserving a Horse-Head Spigot
The Kelsey Museum will soon open its next Crossroads of Culture Object Spotlight, curated by members of the Kelsey graduate student community. This exhibition, exploring the interplay between humans and nature in the Middle East and North Africa, will display nearly 70 objects—all of which need to be evaluated prior to installation.
One artifact that Carrie investigated was a Roman-period spigot (KM 4975) from Fayum, Egypt. This bronze water spout is shaped like a horse head, with circular openings at both ends. In addition to its visible corrosion, the object’s condition was exacerbated by a varnish placed on it in the 1970s.
To address these issues, Carrie soaked the object in three successive baths of acetone. Between baths, she was then able to remove the powdery, pale green corrosion from the spigot’s interior surface using bamboo skewers, a scalpel, and ethanol swabs. A final acetone soak and an overnight bath in a corrosion inhibitor have ensured that the object can safely be displayed in the temporary Crossroads spotlight.
Carrie Roberts holds the horse-head spigot in the lab hood of the Conservation Lab.Treating the bronze spigot in the lab.
Investigating the Kelsey’s Salty Bricks
In the 1920s, Francis Kelsey purchased a collection of hundreds of stamped Roman bricks that are now part of the museum’s permanent collection. The bricks were stored in wooden cabinetry from then until the 1990s. During these 70 years of storage, organic acid vapor was slowly released by the wood the cabinets were made of, and this caused a chemical reaction with the salts already present in the bricks, resulting in efflorescence of big, fluffy salt crystals on the bricks’ surfaces. “In other words,” Kathryn described, “the bricks are salty! Very salty.”
The salt crystals present in the stamped brick collection cause some problems: when the salt crystallizes, it can damage the structure of the bricks; the crystals also conceal the bricks’ stamped surfaces, limiting their usability for research, classes, and exhibitions.
Kathryn characterized the salt thanks to the helpful conservation staff at the Detroit Institute of Arts (DIA), including Conservation Scientist Christina Bisulca. Kathryn used the DIA’s Fourier transform infrared (FTIR) spectrometer to analyze the chemical composition of the salts, allowing her to conclude that they were formed as a result of their past storage conditions.
Kathryn’s research on the bricks continues as she tests different treatment methods to remove the salt. She will ultimately write up a protocol for the Kelsey detailing how to treat the bricks going forward.
Kathryn Peneyra gives a water bath to a Roman stamped brick (KM 1744) in the Conservation Lab.Close-ups of some of the bricks Kathryn has been treating (right to left: KM 1218, KM 1203, and KM 1300).
Despite the ongoing war in Sudan, the Jebel Barkal Archaeological Project was able to have an excavation season in April that was carried out entirely by our Sudanese team members in regular consultation with international staff. We situated two small trenches that we hoped would document a connection between the palace and temple area of the site and the East Mound, where we have been documenting a less elite, more commercial area.
As often happens, our results were surprising—in one trench, we dug down over 10 feet beneath the sandy surface of the site and found that it was all part of an ancient wadi. So the ancient site would have been divided by seasonal watercourses in ways that we will try to document in more detail in the future. Our second trench recovered part of a Meroitic-period building with lots of pottery, as we would expect. We are working on the finds from this area to try to understand how it differs from others on the East Mound—this will take some time!
To learn more about the recent season, visit our project blog.
The Kelsey Museum launched its DiSKO (“Digital Study of Kelsey Objects”) website—an initiative five years in the making—in August 2024, allowing students, researchers, and the public to gain up-close looks at artifacts in our collection through 3-D models. But now that the website is live, what’s next for the project? Leading the charge are Manager of Digital Assets Chris Motz and a team of dedicated students: Theodora Bilich, Hannah Edwards, and Philippe Kame. Together, these individuals are expanding and refining the project, as well as adding models to the 3-D asset website Sketchfab.
Theodora (Thea) Bilich is a dual-degree major at the University of Michigan. She studies anthropological archaeology and the fine arts in the hope of becoming an archaeological illustrator. Thea grew up in Ann Arbor, with the Kelsey Museum serving as a home away from home.
As a research assistant in the Archaeobiology Lab, Thea works with Kelsey curator Laura Motta on the AGROS project, which seeks to reassess assumptions on ancient sustenance, food processing, and malnutrition in Graeco-Roman Egypt. Thea’s work in the lab and with the DiSKO project involves creating 3-D models of crop remains from Karanis—objects that, as it turns out, are very challenging to scan because of their small size!
Hannah Edwards is a fifth-year PhD candidate in ancient history and a student in the Museum Studies Program. She is currently writing her dissertation on Macedonian identity and culture in the Hellenistic and Roman periods. Hannah began working on the DiSKO project in the winter of 2024, when she was tasked with writing object labels and descriptions for the artifacts chosen to be modeled.
In the fall of 2024, she not only continued writing object labels but also began learning how to make 3-D models through photogrammetry—allowing her to learn how to use several software programs, including Agisoft Metashape and Blender, and different photogrammetry techniques such as focus stacking. Hannah is also employing these skills to photograph objects collected from an archaeological survey project in Pella, Greece, this summer. “Being a part of the DiSKO team at the Kelsey has given me the opportunity to work alongside and be mentored by faculty such as Cathy Person and Chris Motz,” Hannah said. “My favorite part has been sharing the final results with other professors, faculty, peers, and undergraduate students!”
With a background in art history and studio art from Swarthmore College, Philippe Kame is currently pursuing a master of architecture at U-M’s Taubman College of Architecture and Urban Planning. His graduate work builds on this foundation, bridging historical understanding with contemporary design practices. He is currently working on a research project exploring the potential of 3-D printing with earthen materials, supported by funding from the Arts Initiative.
Outside the classroom, Philippe also enjoys designing and building furniture—an engaging and accessible way for him to apply architectural thinking through hands-on practice. At the Kelsey Museum, Philippe contributes to the ongoing digitization of the museum’s collection, a role that aligns closely with his interests in history and the use of emerging technologies to preserve and celebrate cultural heritage. Working with ancient artifacts that trace human origins has been one of the highlights of his experience, particularly the collaborative nature of the work, which involves troubleshooting and problem-solving as part of a team.
Madeleine Harris, Patricia Torres-Pineda, and Anwar Mahagoub present their project on Monday, April 14, 2025.
On April 14, Madeleine Harris, Anwar Mahagoub, and Patricia Torres-Pineda, students in the University of Michigan’sMuseum Studies Program (MSP), presented their capstone project, “(Re)accrediting the Kelsey Museum of Archaeology: Plans for Marketing, Development, and Interpretive Efforts.” This project was the culmination of a semester-long endeavor to help the Kelsey prepare for its upcoming reaccreditation process through the American Alliance of Museums (AAM).
AAM accreditation is the highest recognition afforded the nation’s museums, serving as a marker of excellence to institutional peers, grant-making individuals and agencies, and the general public. Approximately 1,000 museums are currently accredited by AAM—constituting about 3 percent of museums in the United States. The Kelsey Museum was first accredited in 1997 under the leadership of Elaine Gazda. It has since then been reaccredited twice, in 2007 and 2017.
As part of this rigorous process, the AAM requires a self-study laying out a museum’s core operations, a site visit conducted by peer reviewers, and five “core documents”: a strategic plan, a mission statement, a code of ethics, a collections management policy, and an emergency response plan. But based on past suggestions by AAM officers, the Kelsey is also looking to submit three additional plans—development, interpretive, and marketing—that align with priorities put forth in our newly developed strategic plan.
The challenge with creating these particular documents, however, lies in staffing and capacity: although the Kelsey Museum has long wanted to put pen to paper to draft these plans, we do not have full-time staff members devoted to development and marketing.
That’s where the MSP students came in. After an initial meeting in January to learn more about our aspirations, the accreditation process, and the Kelsey’s particular needs, Madeleine, Anwar, and Pat hit the ground running. They researched comparative institutions, consulted AAM resources, and participated in brainstorming sessions with Jennifer Kirker (associate director), Will Pestle (director of education), and Emily Allison-Siep (communications editor).
Next, the three students divided and conquered: Madeleine drafted the development plan, Anwar worked on the interpretive plan, and Pat took the reins on the marketing plan. The collaborative, iterative nature of the project meant that all three students contributed to all three plans, but this division ensured that each document had a self-appointed specialist to work through the intricacies of researching, writing, editing, and organizing, with continued input from Kelsey staff.
“I found it challenging to coordinate so many people’s schedules for meetings, and to divide my focus across three plans simultaneously, although this became easier later in the semester, as we each took the lead on one of the three plans,” Madeleine noted. “But the project was still very rewarding, because these documents had never before been written for the Kelsey’s AAM reaccreditation, so I knew we were creating a blueprint that could serve the museum even years down the line.”
Anwar also commented on the challenges and rewards of the process: “It’s challenging to understand and plan a strategic solution for a museum problem in two months. However, pressure can sometimes generate the brightest ideas.”
Madeleine, a third-year PhD candidate in classical studies, tapped into her experience as a docent for the Kelsey Museum and U-M Museum of Natural History to devise strategies for the development plan. While the bulk of the Kelsey Museum’s funding currently comes from the University of Michigan, one of our strategic goals over the next ten years is to diversify our revenue streams. Madeleine’s plan thus lays out concrete objectives and plans of action to expand contributions from various income categories, including membership, planned and annual giving, and foundations.
A second-year student in the Masters in International and Regional Studies (MIRS) program, Anwar specializes in decolonizing archaeological practices. His role in developing and curating a community heritage center in El-Kurru, Sudan, meant that working on the Kelsey’s interpretive plan was a natural fit. Anwar’s document establishes a framework for communicating and engaging with the museum’s diverse audiences, intentionally shifting our interpretive focus by emphasizing audience engagement, multivocality in storytelling, inclusivity, active learning, and connections between ancient cultures and contemporary issues.
Patricia is a fourth-year PhD student in the Department of Ecology and Evolutionary Biology. She drew upon her work at Museo de Historia Natural de Santo Domingo and the U-M Museum of Zoology to draft a marketing plan that balances aspiration with the Kelsey’s practical needs and current resources. Pat’s plan contained detailed analyses of our positioning, target audience, visitor experience, and branding, before offering an array of strategies that seek to expand visitorship, program participation, data-collection efforts, campus visibility, and more.
“I have always had an interest in the interpretation work happening in museums, but before this project, I had never thought deeply about the details regarding financial development or marketing that happen backstage,” Pat said. “Participating in this project was very relevant for my future career plans, which include curation of natural history collections and exhibitions by furthering my interpretation skills and developing new insights into how to make these projects financially sustainable and marketable.”
Participation in this project likewise aligned with Anwar’s personal and professional interests: “Given that I am collaborating with the Michigan team to establish a community heritage center, the knowledge I gained from working with Kelsey’s team will make my task easier and help me make informed decisions.”
As the Kelsey Museum continues to work on its self-study, refine its documents, and prepare for an on-site inspection in 2026, we are grateful to Madeleine, Anwar, and Pat for laying a solid foundation for these three plans. Their hard work and big ideas not only will set us up for success in reaccreditation but also leave us excited about the future of the Kelsey Museum.
