DOCSLIB.ORG

Quarterly Newsletter California Chapter from the Chapter Co-Chair

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Quarterly Newsletter California Chapter from the Chapter Co-Chair guild of book workers :: california chapter :: fall 2018 :: no. 81 Quarterly Newsletter California Chapter from the Chapter Co-Chair chapter c0-chair elcome to autumn from your new California Chapter co-chair. Marlyn Bonaventure has been our hard-working, diligent, and thoughtful chapter Marlyn Bonaventure leader for more years than she probably cares to count. With no new Rebecca Chamlee candidates volunteering for the position of Chapter Chair, I agreed to help. I can Secretary only hope that by taking over some of her duties, Marlyn’s burden will lessen and she Sue Ann Robinson will carry on at the helm. The next time you see her, be sure to thank her for all that Newsletter Editor she’s done for the California Chapter! Jean Gillingwators The rest of the board remains the same with Sue Ann Robinson as secretary, Jean Treasurer Gillingwators as newsletter editor, Barbara Wood as treasurer and the active support Barbara Wood of Carolee Campbell, Vicke Selk and Elaine Nishizu. We would love to see new faces Programs chair on the board and in attendance at our meetings. Plans are well underway for our second member exhibition, , at Technology/webmaster Long Beach Museum of Art, October 4, 2019 – January 5, 2020.The Artful Intent Book to enter Rebecca Chamlee forms can be found at Contributions for the next newsletter gbw.formstack.com/forms/intent_to_enter_the_artful_book_exhibition. are due by December 15, 2018. We also will have forms available at Standards. All entrants must be members of both the Guild of Book Workers and the California Chapter for the run of the The Winter issue will cover the exhibition. The Intent to Enter deadline is October 31, 2018. period from January to the end of March, 2019. The Chapter is offering a nature printing workshop November 17 and 18, 2018 at Occidental College. Look for details inside the newsletter. This spring we are Please send items to newsletter editor very pleased to have Radha Pandey coming to teach a two-day workshop, Jean Gillingwators at Space is limited so be sure to register early. Reduction [email protected] Linoleum on the Proof Press. I look forward to helping Marlyn continue with the leadership of the California The Newsletter is a publication Chapter of the Guild. We’d love to hear your thoughts on how we can make our of the California Chapter of chapter more vibrant and exciting in the years to come. I hope to see many of you at the Guild of Book Workers Standards! and is distributed to its members. To become a member, Rebecca Chamlee write to the membership Co-Chair of the California Chapter of the Guild of Book Workers chairman, Guild of Book Workers, 521 Fifth Ave., New York NY 10175, or go to guildofbookworkers.org. ~ Exhibition andInside... Lecture Reviews ~ Contact info: ~ Interview ~ Email: california@ guildofbookworkers.org ~ Workshops ~ ~ Intent to Enter: ~ Website: gbwcaliforniachapter. The Artful Book wordpress.com ~ 1 ~ printed and illustrated books also in the exhibition. The Casual Naturalist The title of the recent The Arboretum Library gallery has ample space to exhibition slightly hints display Chamlee’s books in cabinets and vitrines, and of the rich bookwork wall area to display framed illustrations. In addition made by Rebecca to finished work, viewers can see and handle models Chamlee, professor at that help understand the lengthy creative process. Even Otis College of Art Chamlee’s creative journals, with photos and sketches and Design and owner are available to look at. Everything about the show was of Pie in the Sky Press. gratifying—the venue, Chamlee’s sharing stories about The Los Angeles County Arboretum in Arcadia was the book projects, and her lovely work. To learn more the sight for Chamlee’s letterpress-printed books, about Rebecca Chamlee and Pie in the Sky Press, go to mostly written by her, and all printed, illustrated, and pieintheskypress.com. bound by her. The exhibition gets its title from Chamlee’s lifelong interest andThe Casuallove of Getty Research Institute Presents SouthernNaturalist California nature, usually near where she lives. Artists and Their Books/Books and Their GBW members Marlyn Bonaventure, Carolee by Carolee Campbell Campbell, Jean Gillingwators, and Vicke Selk met at Artists the Arboretum Library, and Chamlee led them through the exhibit, relating her interest in the chaparral landscape near her Simi Valley home and studio that resulted in several wonderful books about the chaparral and a favorite oak tree: and From Stucco to Chaparrel Giant: a deity with leaves. Having grown up in Southern California, Chamlee also loves the ocean, and her book about life in a beach tide pool uses journalistic text and color prints made from her own photographs, scanned and color-separated, Timothy C. Ely 2015. Photograph by Carolee Campbell. Hollow House, On view at the Getty Research Institute at the Getty Center in Los Angeles from June 26–October 28, 2018 is the exhibition . The exhibitionArtists draws and Their on Books/Booksthe GRI’s extensive and Their collectionArtists of over 6,000 artists’ books and features work by more than 40 contemporary artists. “When artists make or design books, they delve into the possibilities of this distinctive cultural object in ways that expand our notions of what a book can be,” said Marcia Reed, chief curator of the Getty and made into her own photopolymer plates. Other Research Institute and co-curator of the exhibition illustrations are relief prints made using Gamubon. and its admirable companion publication that includes over 100 artists’ books from the GRI’s Artists’ Books A look at Chamlee’s images inform the viewer of her Collection. computer skill, making the illustrations beautiful and Many of the works in the exhibition may not look like seemingly simple; the final effect is skilled beauty. a book at all but they all play with the idea of what Chamlee honors the work of poets Dennis Phillips a book is and how to engage with it. The exhibition ( ), Martha Ronk ( highlights the myriad incarnations and innovative roles Study ),for and the PossibilityPaul Vangelisti of Hope ( ) in beautifullyMy Partial for books in contemporary culture. Tongue A Sequel ~ 2 ~ Interview Kelsey table-model hand press, and his father shipped it to Waldport. Printers in the nearby town sold or gave the men type and paper. Untide Press was the Chuck Davis at Waldport, Oregon name given to the new printing effort. Soon the men by Jean Gillingwators were printing poems by Everson and Coffield, and they Invited to pick up eleven cases of type that sold many booklets to men in other Civilian Public acquaintance Bill Davis no longer wanted to store in Service (CPS) camps across the United States. The his garage, I drove to La Verne to load the type in my men illustrated the booklets, usually with relief prints Honda Element. There I learned about Bill’s father made from linoleum. and archives Chuck Davis, who had printed poetry booklets at The Tide Untide Press Waldport, an Oregon work camp during World War from Waldport are at the Eugene Library and Lewis II. Bill brought his father to my Blackbird Press in and Clark College in Oregon. Davis spent time in other Upland, where I interviewed Chuck, asking him about CPS camps, until he was discharged in 1946. his time at Waldport. What follows is a summary of After the war ended, Davis had a varied career. He the interview. taught at Los Angeles In the 1940s, people, Trade and Technical mostly men, who College for many years. objected to war Then he owned and might spend time in operated Windsor a work camp, rather Graphics, a trade than be deployed to typesetting and graphic fight. Because of his arts camera shop. His pacifist views, Chuck avocation was collecting Davis spent three and repairing clocks. years at Waldport, Now 95 years old, Davis Oregon, a work recently took the train and camp on the Pacific a bus from his current home at Hillcrest Retirement Coast. A native of Community in La Verne to Yosemite National Park, Southern California, where he camped and enjoyed several late summer days Chuck grew up outdoors. He even rides a scooter! Davis is wonderful mostly in La Verne, company, lively, and recalls details of his Waldport a citrus community years. To learn more, readers might enjoy Steve at the foot of the San Gabriel Mountains and home McQuiddy’s book to La Verne College, affiliated with the Church of the Here on the Edge: How a Small Group of Brethren. Once at Waldport, Davis met poets William World War II Conscientious Objectors and this Took website Art and archiveswest. Peace from Evernson and Glen Coffield, printer Adrian Wilson, orbiscascade.orgthe Margins to the Mainstream. architect Kemper Nowland, Jr., playwright Kermit Sheets, sculptor Clayton James, violinist Broadus Earle, and painter Morris Graves. The arts-minded men wrote, composed music, performed plays, painted, and Hong Hong Gives Goudy Lecture is the created ceramics. titleTime, of Being Hong & Place Hong’s At times there were other artistic people, as well as September 24, 2018 men who were uninterested in the arts. Their days were Scripps College Goudy spent crushing rock, felling trees, fighting fires, planting Lecture by paper maker trees in the forest that had been clear-cut many decades Hong Hong. Born earlier for the wood to build ships, maintaining trails, in Hefei, China, as a clearing for roads. Davis also drove a dump truck two-year-old, Hong was and sawed wood needed for cooking and heat in the allowed to make drawings camp. In the evenings and at night, the arts were their on the walls of her family interests, and they called themselves the Fine Arts apartment, covering Group.
Load more

Recommended publications
  • Book Self-Publishing Best Practices
    Montana Tech Library Digital Commons @ Montana Tech Graduate Theses & Non-Theses Student Scholarship Fall 2019 Book Self-Publishing Best Practices Erica Jansma Follow this and additional works at: https://digitalcommons.mtech.edu/grad_rsch Part of the Communication Commons Book Self-Publishing Best Practices by Erica Jansma A project submitted in partial fulfillment of the requirements for the degree of M.S. Technical Communication Montana Tech 2019 ii Abstract I have taken a manuscript through the book publishing process to produce a camera-ready print book and e-book. This includes copyediting, designing layout templates, laying out the document in InDesign, and producing an index. My research is focused on the best practices and standards for publishing. Lessons learned from my research and experience include layout best practices, particularly linespacing and alignment guidelines, as well as the limitations and capabilities of InDesign, particularly its endnote functionality. Based on the results of this project, I can recommend self-publishers to understand the software and distribution platforms prior to publishing a book to ensure the required specifications are met to avoid complications later in the process. This document provides details on many of the software, distribution, and design options available for self-publishers to consider. Keywords: self-publishing, publishing, books, ebooks, book design, layout iii Dedication I dedicate this project to both of my grandmothers. I grew up watching you work hard, sacrifice, trust, and love with everything you have; it was beautiful; you are beautiful; and I hope I can model your example with a fraction of your grace and fruitfulness. Thank you for loving me so well.
    [Show full text]
  • New Traveling Exhibition from the Guild of Book Workers with 50 New Book Artists' Work Form Across the Country
    New Traveling Exhibition from the Guild of Book Workers with 50 New Book Artists’ Work form Across the Country May 24, 2021 Contact Person: Jeanne Goodman Contact Email: [email protected] The Guild of Book Workers traveling exhibition will travel from June 2021 to September 2022. The opening and close dates for “Wild/LIFE” should be confirmed with each venue before travel and to check local public health precautions in place due to COVID-19. EXHIBITION “Wild/LIFE: Guild of Book Workers Triannual Exhibition”, June 2021 to September 2022 DESCRIPTION This exhibition features approximately 50 works by members of the Guild of Book Workers, an book artists organization that promotes interest in and awareness of the tradition of the book and paper arts by maintaining high standards of workmanship, hosting educational opportunities, and sponsoring exhibits. Members were invited to interpret the theme of “wildlife” in any way they wish, be it literal or abstract, humorous or serious. In a biological sense, wildlife describes the myriad of creatures sharing this planet, interacting and adapting, all connected to each other and their environment. "Wild" also describes an untamable essence that survives despite the constraints of society and culture. As craftspeople, knowledge of materials and keen observation of how they behave (and often how they refuse to comply) is an integral part of the practice of book making, and a reminder of how traditional bookbinding materials originate in nature. The exhibition opens at the American Bookbinders Museum in San Francisco, CA in June 2021, and will continue to travel to five additional venues across the country, closing in the fall of 2022.
    [Show full text]
  • Collections Management Policy Fenimore Art Museum & the Farmers’ Museum
    Collections Management Policy Fenimore Art Museum & The Farmers’ Museum Approved by: The Farmers’ Museum Board of Directors, November 2019 Fenimore Art Museum Board of Trustees, November 2019 1 Table of Contents 1 Purpose ................................................................................................................................................ 3 2 Founding Documents ........................................................................................................................... 3 3 Scope, Use and Management of Collections .................................................................................... 4 4 Management of the Collections ........................................................................................................... 5 5 Authority and Responsibility ............................................................................................................... 5 6 Acquisition and Accessioning ............................................................................................................. 6 7 Deaccessioning and Disposal .............................................................................................................. 7 8 Loans ................................................................................................................................................... 9 9 Temporary Custody of Objects ......................................................................................................... 11 10 Staff and Museum Collections .........................................................................................................
    [Show full text]
  • Inheritance and Development of Ancient Buildings Culture Based on Digital Image Technology
    E3S Web of Conferences 179, 01011 (2020) https://doi.org/10.1051/e3sconf/202017901011 EWRE 2020 Inheritance and Development of Ancient Buildings Culture based on Digital Image Technology Jicong Wang1*, Min Li1, Jia Wang1, Xiaoqing Ma1 1Art College, Jiangxi University of Finance and Economics, Nanchang City, Jiangxi Province, 330013, China Abstract. Given the glorious achievements China boasts in the construction of ancient buildings, developing digital image technology for exploring the existing ancient buildings is of great significance, which cannot only analyse ancient civilization thoroughly, but also provide a reference for the field of modern architecture. It is efficient and accurate to collect information of ancient buildings by using modern digital image technology. However, it also has the drawbacks of having enormous sources which cannot be directly applied to image transmission. How to simplify the miscellaneous information resources and combine them with the ancient architectural culture is the key and difficult points of this study. In order to overcome the problem caused by incomplete information and lack of cultural concepts in ancient architecture construction, this paper explores the cultural connotation of ancient architecture from two aspects—material culture and intangible culture. When high-quality ancient architectural culture is demonstrated through modern digital image technology, ancient architectural culture is further promoted with the help of a variety of media platforms, so as to provide a reference for the inheritance and development of Chinese ancient architectural culture. possible for us to study it without contact, which meets the needs of the masses to understand the ancient architectural 1 Introduction culture. With the development and progress of the times, the economy, education, science and technology of human 2.2 Practical significance of digital image society have developed to an unprecedented level.
    [Show full text]
  • Tomorrow's Furniture Conservator
    May 2016 Vol. 41, No. 3 Inside From the Executive Director 2 Tomorrow’s Furniture AIC News 4 Conservator: Who Are You, FAIC News 5 Where Are You, and JAIC News 8 What Skills Will You Need? Part deux Health & Safety 8 People 13 by Tad Fallon and Mike Podmaniczky for Wooden Artifacts Group New Publications 13 Background In the March 2014 (Vol. 40, No. 2) issue of this newsletter, Stéphanie c o l u m n Worth Noting 14 Auffret astutely addressed the question posed above by summarizing the sponsored 2012 AIC conference roundtable discussion sponsored by the Wooden by WAG Conservation Training Programs 14 Artifacts Group. Much of the discussion revolved around the defini- Specialty Group Columns 16 tion of a furniture conservator, and conversely clarified that the concept of a furniture conservator is not easy to define. Taken as a broad survey, the answers were akin to the Network Columns 22 responses of the blind men asked about the elephant; upon comparing notes they learn they are in complete disagreement, as each one examined only one part of the large animal. Courses, Conferences, & Seminars 24 In fact, it sometimes seems that the only difference between an objects conservator and a furniture conservator is that the latter treats any object with feet. Indeed, as silly as it may sound, non-wood materials have always been considered under the purview of a furniture conservator (particularly if feet are involved). If the cover illustration of Conservation of Furniture (Rivers, Umney) Member Notes is turned upside down, it makes the point by literally turning four • Remember May is Emergency pieces of furniture into mixed media sculptures, some without any Preparedness Month! Start wood component.
    [Show full text]
  • Introducticn Tc Ccnservoticn
    introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments.
    [Show full text]
  • Archaeology Book Collection 2013
    Archaeology Book Collection 2013 The archaeology book collection is held on the upper floor of the Student Research Room (2M.25) and is arranged in alphabetical order. The journals in this collection are at the end of the document identified with the ‘author’ as ‘ZJ’. Use computer keys CTRL + F to search for a title/author. Abulafia, D. (2003). The Mediterranean in history. London, Thames & Hudson. Adkins, L. and R. Adkins (1989). Archaeological illustration. Cambridge, Cambridge University Press. Adkins, L. and R. A. Adkins (1982). A thesaurus of British archaeology. Newton Abbot, David & Charles. Adkins, R., et al. (2008). The handbook of British archaeology. London, Constable. Alcock, L. (1963). Celtic Archaeology and Art, University of Wales Press. Alcock, L. (1971). Arthur's Britain : history and archaeology, AD 367-634. London, Allen Lane. Alcock, L. (1973). Arthur's Britain: History and Archaeology AD 367-634. Harmondsworth, Penguin. Aldred, C. (1972). Akhenaten: Pharaoh of Egypt. London, Abacus; Sphere Books. Alimen, H. and A. H. Brodrick (1957). The prehistory of Africa. London, Hutchinson. Allan, J. P. (1984). Medieval and Post-Medieval Finds from Exeter 1971-1980. Exeter, Exeter City Council and the University of Exeter. Allen, D. F. (1980). The Coins of the Ancient Celts. Edinburgh, Edinburgh University Press. Allibone, T. E. and S. Royal (1970). The impact of the natural sciences on archaeology. A joint symposium of the Royal Society and the British Academy. Organized by a committee under the chairmanship of T. E. Allibone, F.R.S, London: published for the British Academy by Oxford University Press. Alves, F. and E.
    [Show full text]
  • Deaccessioning Done Right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore
    technical bulletin Deaccessioning done right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore Oklahoma Museums eaccessioning is the process used to ered; private sales can be problematic due to Association Dremove permanently an object from a transparency and accountability issues. The Technical Bulletin #47 museum’s collection or to document the rea- use of all proceeds should comply with the Published January sons for an involuntary removal of an object professional ethics and the law. from such a collection. The deaccession- 2009 ing process is used only when accessioned Procedures should be developed along with objects are at issue. Deaccessioning should policies. Deaccession check lists should not be viewed as a routine way to manage follow policy parameters. The registrar/col- indiscriminate collecting. The first rule is lection manager/curator should oversee the Back issues of techni- careful, focused collecting. process and maintain permanent records of cal bulletins published all deaccessions. by the Oklahoma There are a number of reasons why a mu- seum may be prompted to consider deacces- Problems may arise with the deaccession of Museums Associa- sioning. The condition of the object may be an object. The title to the object may be in- tion are available free so bad that it threatens other objects in the complete. Restrictions may have been placed to members. For a collection. A collection may contain unneces- on deaccessioning the object when donated. complete list of tech- sary duplicates. These dupes take resources Other issues that may appear include pri- nical bulletin topics, that could be used for new objects.
    [Show full text]
  • Collection Development Policy for the Conservation Collection, Available Upon Request
    Collection Development Policy Collections Information Center Statement for the Conservation 1200 Getty Center Drive, Suite 700 Los Angeles, CA 90049-1684 Collection in the Research Library at the Getty Research Institute This Collection Development Policy Statement for the Conservation Collection in the Research Library at the Getty Research Institute (GRI) articulates the precise scope and policy for cultural heritage conservation literature acquired and retained within the Research Library. What began as a modest collection supporting the program activities of the Getty Conservation Institute (GCI) has become a significant resource for conservation research throughout the world. Nearly thirty years of sustained growth in the Research Library’s holdings of conservation literature has prompted periodic assessments of the Conservation Collection, and the revision of this policy statement for its continued growth and development. This policy will be reviewed and updated as needed at least every three years by the GCI Collection Development Librarian, the Manager of GCI Research Resources, and Manager of Library Collection Development and Acquisitions. Purpose of the Policy Statement This Collection Development Policy Statement is designed to serve a range of purposes. The Policy is intended to: • define and clarify the collecting policies of the Collection • guide the Collection Development Librarian in coordinating the activities to select and acquire resources for the collection • justify budget appropriations and guide expenditures • delineate and evaluate existing strengths and weaknesses in the Collection • articulate and emphasize the Collection’s vital relationship to other research resources managed by the Research Library and the GCI This Policy Statement for the Conservation Collection documents its: I.
    [Show full text]
  • Review (Abridged) of Bogle, Sophia S.W. Book Restoration Unveiled: an Essential Guide for Bibliophiles. [N.P.]: First Editions Press, 2019
    Syracuse University From the SelectedWorks of Peter D Verheyen June, 2019 Review (Abridged) of Bogle, Sophia S.W. Book Restoration Unveiled: An Essential Guide for Bibliophiles. [n.p.]: First Editions Press, 2019. Peter D Verheyen This work is licensed under a Creative Commons CC_BY-NC-SA International License. Available at: https://works.bepress.com/peter_verheyen/54/ BOOK REVIEW by Peter D. Verheyen Book Restoration Unveiled - An Essential Guide for Bibliophiles <' ~ Sophia S. w Bogle I.... -::-,·::.. :-;:v->~~-.•;,-/..-ic·-<-.· -.. ,<:-/s-'.'7-.-·::-.)-_;.;~-':-"li-/}-~.\..... ~\-,,:~-;t-,\t-\'.?,.....,~~~j--.;t'.--;.;·-j~-}l: .....}-l-f.J ~ u 0 (Ashland, OR: First Editions Press, 2019) :::0 (D o' 5: In Book Restoration Unveiled, Sophia S.W Bogle Book Restoration (D r6 sets out "to provide the tools to spot restorations so ~ that everyone can make more informed decisions s'-I when buying or selling books." The second reason was CJ UnvedJ c% p.J her realization that "instead of a simple list of clear "D 8 0 0 terminology, [there] was a distressing lack of agreement ~ ~ (") (D and even confusion about the most basic of book repair 0 () 8 ~ If ......__ (D terms." She writes, "this book [is] a bridge between the Iv :::0 /,8'~.4' 0 ....... world of collecting, buying, and selling books, and that <..O-< (D ......__ '-I of book repair, restoration, and conservation." In the ~ 0 (D case of the latter, she describes some of the minutiae ::: ~- 8" ~ 0 (") of the book such as structure, and treatments, good ;;,;- p.J ~ :::0 as well as bad. But, "this is not a 'how-to' manual." (D u ~ (D Rather, it is a "guide to help you understand the world S; o' of restoration, to recognize restorations, and to choose §.
    [Show full text]
  • Collect Like a Curator with Liberty Hall Museum
    Collect like a Curator with Liberty Hall Museum What is a collection? A collection is group of objects usually brought together for their similar subject matter or purpose. That’s a fancy definition—but what does that mean? Let’s explore collections together! Where do collections come from? o Collections come from individuals who have a passion for certain objects, such as art, historic items, a sport’s team, etc. These individuals then go out and find examples of these objects and decide to group and store them together, making a collection. Many times these collections end up in a museum like Liberty Hall! What do museums do with collections? o Museums take on the responsibility for caring and preserving their collections, so visitors like you can enjoy them. The person primarily responsible for caring for a museum collection is a curator. What is a curator? o Museum curators are in charge of a collection of exhibits in a museum. Their job is to build up collections and develop ways in which objects, archives and artworks can be interpreted, through exhibitions, publications, events and audio-visual presentations. How do curators keep track of all the objects in a museum collection? o Curators keep track of a collection by making sure every object has a written record of information about that object. All of that information is then stored in a catalog or a database. o Curators will also assign each object a different number to help organize the objects. This number is called an accession number. Does Liberty Hall have any collections? o Yes indeed! In fact, Liberty Hall is a museum that is made up of collections.
    [Show full text]
  • SAA Guidelines for Preparing Legacy Archaeology Collections
    GUIDELINES FOR PREPARING LEGACY ARCHAEOLOGICAL COLLECTIONS FOR CURATION Michelle K. Knoll and Bruce B. Huckell ACKNOWLEDGMENTS We are grateful to a number of colleagues for their advice and assistance in compiling and reviewing previous drafts of this document. Our first thanks go to volunteers nearing retirement who completed a preliminary survey about what kinds of collections, samples, and materials they had in their possession that needed to be curated. They helped us assess what topics might best be covered in this guide. Once we started the process of compiling sections and full drafts, we had the good fortune to receive editorial comments, suggestions, and thoughtful reactions from our colleagues on the SAA Committee on Museums, Collections, and Curation. In particular, we are most grateful to committee chair Danielle Benden, Terry Childs, Jenna Domeischel, Susan Gilliland, and Marybeth Tomka. Bill Lipe, Professor Emeritus, Washington State University, long concerned with the proper curation of legacy collections, provided us with much food for thought on both an initial and a revised draft of this guide. We thank Richard Talbot, Brigham Young University, and Janaki Krishna, Natural History Museum of Utah, who also reviewed drafts, and Andrea Knoll for assistance with designing the cover. Our thanks as well to our colleagues at the University of Utah and the University of New Mexico for important conversations about aspects of curation that came up as we worked on the guide. Finally, we are grateful to the SAA Board of Directors for their invitation to prepare the guide and for their review and final approval of it.
    [Show full text]