RISKY COLLECTIONS: THE CARE AND MANAGEMENT OF HAZARDOUS OBJECTS
Thesis submitted to the faculty of San Francisco State University In partial fulfillment of ZjO\ 8 the requirements for the Degree MU5ST
Master of Arts
In
Museum Studies
by
Kimberly Amelia Margaret Torrez
San Francisco, California
May 2018 Copyright by Kimberly Amelia Margaret Torrez 2018 CERTIFICATION OF APPROVAL
I certify that I have read Risky Collections: The Care and Management of Hazardous
Objects by Kimberly Amelia Margaret Torrez, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Museum Studies at San Francisco State University.
"Edward M. Luby, Ph.D. Professor. Museum Studies
Julae'Bly DeVere, M.A. Lecturer, Museum Studies RISKY COLLECTIONS: THE CARE AND MANAGEMENT OF HAZARDOUS OBJECTS
Kimberly Amelia Margaret Torrez San Francisco, California 2018
In this thesis, the management of hazardous collection objects is examined. Hazardous objects may not only require specialized levels of care, but they can pose risks to people and other collection objects if managed improperly. Although previous research has been conducted on the proper management hazardous objects, little research is available that examines how museums are implementing these practices in the field. A deeper understanding of the day-to-day techniques used by museums in managing these objects can contribute to the development of improved management practices. A literature review and an analysis of four case studies of museums with hazardous collections was conducted. It is concluded that research and planning is needed to create an adequate and safe environment for people and objects, that institutional support is critically important, and that facilities upgrades are highly beneficial to the management of hazardous objects.
I certify that the Abstract is a correct representation of the content of this thesis.
tesis Committee Date ACKNOWLEDGEMENTS
Thank you to my thesis committee, Dr. Edward Luby and Julie Bly DeVere, for their insight and direction throughout this process. To my friends from the Museum Studies program, thank you for your support. Finally, to my family, especially my mom and dad, thank you so much for all your love and encouragement. TABLE OF CONTENTS
List of Appendices...... viii
Chapter 1: Introduction...... 1
Collections Care Basics...... 3
Additional Needs of Hazardous Collections...... 5
Justification for Study...... 6
Purpose of Study...... 8
Chapter 2: Literature Review, Collections Management...... 10
Collections Management Basics...... 10
The Impact of Collections Management...... 17
Why Care for Collections?...... 21
Chapter 3: Literature Review, Hazardous Collections Management...... 31
Types of Hazards...... 31
Best Practices for the Management and Handling of Hazardous Objects...... 38
Best Practices for Hazards: In Depth...... 40
Chapter 4: Methodology...... 45
Chapter 5: Autry Museum of the American West...... 53
Museum Background...... 53
Hazardous Collections Management...... 57
Analysis...... 59
Chapter 6: San Francisco Museum of Modem Art...... 63
Museum Background...... 63
Hazardous Collections Management...... 66 Analysis...... 68
Chapter 7: Denver Museum of Nature and Science...... 71
Museum Background...... 71
Hazardous Collections Management...... 74
Analysis...... 77
Chapter 8: UCLA Film and Television Archive...... 81
Museum Background...... 81
Hazardous Collections Management...... 84
Analysis...... 89
Chapter 9: Discussion...... 92
Chapter 10: Conclusions and Recommendations...... 100
Conclusions...... 100
Recommendations...... 104
Works Cited...... 107
Appendices...... 116 LIST OF APPENDICES
Appendix Page
1. American Alliance of Museums, “Code of Ethics for Museums” ...... 116 2. American Alliance of Museums, “Collections Stewardship” ...... 118 3. Autry Museum of the American West, “What is the Autry?” ...... 119 4. Autry Museum of the American West, “History of the Autry” ...... 120 5. Autry Museum of the American West, “Current Exhibitions” ...... 123 6. Autry Museum of the American West, “Special Installations” ...... 124 7. Autry Museum of the American West, “Education Overview” ...... 125 8. Autry Museum of the American West, “Fellowships” ...... 126 9. Autry Museum of the American West, “Prizes” ...... 127 10. Autry Museum of the American West, “Library and Archives of the Autry” 128 11. Autry Museum of the American West, “Collections” ...... 129 12. Autry Museum of the American West, “NAGPRA” ...... 130 13. Autry Museum of the American West, “Online Research” ...... 131 14. Autry Museum of the American West, “Resources Center of the Autry” ...... 132 15. SFMOMA, “Visit” ...... 133 16. SFMOMA, “About SFMOMA” ...... 134 17. SFMOMA, “Our History” ...... 135 18. SFMOMA, “Temporary Exhibitions” ...... 139 19. SFMOMA, “Ongoing Exhibitions” ...... 140 20. SFMOMA, “Painting + Sculpture” ...... 141 21. SFMOMA, “Photography” ...... 142 22. SFMOMA, “Architecture + Design” ...... 143 23. SFMOMA, “Media Arts” ...... 144 24. SFMOMA, “About the Collections Center” ...... 145 25. SFMOMA, “Conservation” ...... 146 26. Westbrook, Lindsey, “Optimize, Optimize, Optimize: Museum Conservation in the LEED Era” ...... 147 27. SFMOMA, “Collections Study Center Policies and Procedures” ...... 151 28. Denver Museum of Nature and Science, “Mission and Vision” ...... 152 29. Denver Museum of Nature and Science, “Museum History” ...... 153 30. Denver Museum of Nature and Science, “Current Exhibitions” ...... 155 31. Denver Museum of Nature and Science, “Discovery Zone” ...... 156 32. Denver Museum of Nature and Science, “Current Shows” ...... 157 33. Denver Museum of Nature and Science, “Research” ...... 158 34. Denver Museum of Nature and Science, “Anthropology” ...... 159 35. Denver Museum of Nature and Science, “Earth Sciences” ...... 160 36. Denver Museum of Nature and Science, “Space Sciences” ...... 161 37. Denver Museum of Nature and Science, “About Health Science” ...... 162 38. Denver Museum of Nature and Science, “Zoology” ...... 163 39. Denver Museum of Nature and Science, “Overview” ...... 164 40. Denver Museum of Nature and Science, “Avenir Collections Center”...... 165 41. SPNHC, “What SPNHC Does”...... 166 42. UCLA Film and Television Archive, “UCLA & the Archive” ...... 167 43. UCLA Film and Television Archive, “About the Archive” ...... 168 44. UCLA Film and Television Archive, “Letter from the Archive Director” ...... 171 45. UCLA Film and Television Archive, “Billy Wilder Theater” ...... 172 46. UCLA Film and Television Archive, “Current Series” ...... 173 47. UCLA Film and Television Archive, “Tours” ...... 174 48. UCLA Film and Television Archive, “UCLA Festival of Preservation” ...... 175 49. UCLA Film and Television Archive, “Archive Research and Study Center” 176 50. UCLA Film and Television Archive, “ARSC Frequently Asked Questions” ...... 177 51. UCLA Film and Television Archive, “Research Initiatives” ...... 178 52. UCLA Film and Television Archive, “About Restoration” ...... 179 53. UCLA Film and Television Archive, “Explore Collections” ...... 180
x 1
Chapter 1: Introduction
This thesis will examine how museums are managing hazardous collection objects. In order to best care for and maintain museum objects, hazardous collection objects need to be contained under certain environmental and storage conditions. Poor maintenance of conditions can lead to risk to the health of the object, and when hazardous collections are involved, risk to the health of other collection objects and to people as well. Though there is much literature on how to properly manage hazardous objects, little research has been done to examine how museums are implementing these practices in the field. Having “real world” examples to compare with best practices will help other museums in their own management of hazardous objects and will offer alternative solutions to their care.
Hazardous objects can be composed of a variety of materials and can be found in a variety of different museums. In Natural History museums, for instance, the hazards in objects in can originate from chemicals. Natural history and anatomical specimens are often preserved in fluids such as formaldehyde or alcohol, and both are hazardous due to their flammability and toxicity (Museums and Galleries of NSW n.d.). Certain minerals found in natural history collections are also hazardous, with some objects cancer-causing or toxic if inhaled, ingested, or handled. The hazards associated with minerals can increase if they break apart or deteriorate from lack of care, especially if they are radioactive (Museums and Galleries of NSW n.d.). History collections can also contain hazardous objects, as many objects can have paint that may contain lead, other heavy 2
metals, or radioactive materials. Medical collections can be hazardous depending on the type of equipment, such as sharp instruments or instruments which may have been contaminated by hazardous materials. Old pharmaceuticals can contain dangerous substances that are either highly flammable or toxic (Museums and Galleries of NSW n.d.). Plastics can also be hazardous and when deteriorating can off-gas toxins that damage other collections. Plastics are also found in a variety of different objects, and are often found in history, natural history, and art collections. Film is one of the more common hazardous objects, being found in nearly all types of museums. Up until the early 1950s, film contained a plastic called cellulose nitrate. This plastic is highly flammable and is prone to spontaneous combustion if not stored in the proper conditions.
As cellulose nitrate deteriorates over time, it can also release toxins (Museums and
Galleries of NSW n.d.). Cellulose acetate is another type of film and is prone to vinegar syndrome as it deteriorates, and can affect other objects if not stored properly (Museums and Galleries of NSW n.d.). Other types of plastics found in household items are also hazardous over time, producing harmful gasses that are dangerous to people and to other objects (Museums and Galleries of NSW n.d.). Many museum objects have also been treated with dangerous chemicals, pesticides, or other preservatives in the past to protect them from pest damage. Natural history specimens in the past were treated with substances such as arsenic, as have textiles and ethnographic objects (Museums and
Galleries of NSW n.d.). 3
Collections Care Basics
Collections care is very important not only for the well-being of objects, but also for the people caring for them as well. All museum collections, not just hazardous ones, require a certain level of basic care. This basic care is an ongoing process helping to reduce the deterioration of objects, thereby prolonging their life. One important part of collections care is keeping the proper environment for collection objects. Factors such as relative humidity, temperature, light, pollutants in the air, and pests are all a part of the environment that can affect the objects (Fisher 2010). Many professional organizations recommend keeping the temperature at around 70 degrees Fahrenheit as the deterioration of objects can be slowed down by keeping the temperature low and stable. Low temperatures also slow down the aging of objects, though different types of objects perform better at different temperatures, some requiring lower temperatures than others
(Fisher 2010).
For relative humidity, it is also recommended that it be kept low and stable, around 50% (Fisher 2010). As with the temperature environment, the relative humidity levels in an environment are best when held within recommended ranges and kept stable, as fluctuations can have a damaging effect on collection objects. In high humidity environments, mold growth can form, damaging organic objects. Excess water in the air can also damage porous materials, causing them to absorb moisture and distort in shape.
Too much moisture can also cause damaging chemical changes in objects as well (Fisher
2010). 4
Light is another factor of the environment which can cause damage to objects.
Light can permanently damage light sensitive materials, and can irrevocably fade pigments, causing them to deteriorate (Fisher 2010). Very hot lights, especially those with high levels of Ultraviolet and Infrared light, can also heat objects up to high temperatures and also cause them damage. Contaminants in the air should also be controlled to best care for objects. These pollutants can disintegrate, discolor, and corrode sensitive objects (Fisher 2010). Chemical reactions can occur and break down both organic and inorganic materials.
Having proper storage space is another basic need for collections. Proper storage areas protect and preserve collections, improper conditions can cause physical damage to objects. The location of the storage space should be separate from areas of activity and contamination, and be easily accessible for staff to handle and monitor. Proper inventory helps in the preservation of objects, and having information readily available helps in caring for an objects specific needs. The storage space should also have controls that regulate factors that can negatively affect collection objects, such as temperature, humidity, light, and air controls (Fisher 2010).
Finally, proper storage materials for housing objects is also important for their safety and long-term preservation. Properly securing objects with padding helps protect them from vibrations, from other objects, and from physical damage (Swain 2010).
Objects should also be kept from touching other objects. Archival quality materials should be used, as other material qualities can damage or react badly with collection 5
objects. These storage materials should be changed after a period of years as they can become acidic over time, or may become contaminated through contact with the objects themselves. The environmental conditions should be controlled by the HVAC system
(heating, ventilation, air conditioning), and the filters preventing particles from coming into the storage area should also be changed as needed (Swain 2010). Routine housekeeping practices are a good example of preventative care and contribute to object preservation.
Additional Needs of Hazardous Collections
Though these are the basic standards of collection care, for hazardous collection objects, care needs to be more specialized for the safety of the objects and for the people caring for them. To ensure the safety of collections and of staff and visitors, controlling exposure to the risks of these objects is the best option. It is recommended by professional organizations, such as the National Park Service (NPS), that having a proper inventory of objects is crucial (NPS 1998). Objects in the collection should be inventoried as part of their basic care, but for hazardous objects, it is doubly important.
By doing an inventory, one can find out which objects are hazardous and visually inspect items for signs of corrosion, odors, or warping (NPS 1998).
Hazardous objects also need specialized storage methods as well. Each hazardous object may require a different storage material and method, depending on the nature of the hazardous material. Hazardous storage cabinets are also recommended, as is placing hazardous objects in separate containers, or in bags separate from other collection objects 6
(NPS 1998). The handling of these types of objects may also require specialized equipment such as protective gloves, masks, glasses, and other clothing (NPS 1998).
Good housekeeping is especially necessary near these types of objects. Areas where they are kept should be cleaned regularly to make sure particles from the object do not get into the air, and spread to other areas of the storage space.
Justification for study
Collection objects need a certain level of basic care, and for hazardous objects, that basic level of care is increased because of the potential risks they pose to people and to other objects. Poor management of hazardous objects can lead to health risks to staff, as well as damage other objects in a collection. The risks posed to people from these objects occur mainly through absorption, either through inhalation or through the skin
(Rae 2012). Particles from these objects can flake off and travel through the air, especially if the objects are damaged or actively deteriorating.
Absorption through the skin can happen when handling or touching objects due to surface residues or leakage (Rae 2012). For example, plastics can transfer residues, and preserved specimens can leak toxic fluids. Chemical residues remain on objects due to past treatments of pesticides. Radiation can also be absorbed through the skin, and can come from minerals or paints with radioactive elements in them. Packing materials the hazards are stored in can absorb these toxins, and can also pose a risk if not handled correctly (Rae 2012). 7
Some objects can also physically injure people, due to their shape or sharp edges
(Museums and Galleries of NSW n.d.). Objects with contents under pressure can also be physically injurious as they can explode in fluctuating temperatures. Other objects are flammable and can cause fires in storage areas (Museums and Galleries of NSW n.d.).
Firearms and ammunition can also cause physical harm if not stored properly (Museums and Galleries of NSW n.d.). The risks for exposure go up when the objects are not cared for properly, and when the appropriate protective materials are not worn.
In addition to causing harm to people, poor care of hazardous objects can cause harm to the collections themselves. The risk of fire from flammable objects also affects collection objects. Specimen fluid is highly flammable, as are paper products and film.
Once these objects ignite, the resulting fire can destroy or severely damage other collection objects, buildings, and ultimately, the entire museum (Rae 2012). Objects that corrode or break down over time, such as plastics, can off-gas and affect other surrounding objects, causing them to deteriorate as well (Rae 2012). When metal objects start to corrode, rust and other particulates can flake off, falling on other objects. When particles from minerals, or other objects flake off they can also land on other objects, contaminating them also. (Rae 2012). Many types of plastic can also produce acid when they deteriorate, which is not only harmful to nearby objects, but is also harmful to people if inhaled or absorbed through the skin (Museums and Galleries of NSW n.d.).
Objects such as aerosol cans and foodstuffs can also be hazardous to other collection items because they are sealed under pressure. If they were to explode they would damage 8
other collection objects surrounding them (Museums and Galleries of NSW n.d.). Stored chemicals, such as pharmaceuticals, can also pose a risk to collections if they should leak.
The chemicals could also react badly with other chemicals that are stored next to them, so it is important to keep them away from each other (Museums and Galleries of NSW n.d.).
Purpose of Study
It is the goal of this thesis to contribute to the development of best practices and deepening the understanding of how to best manage hazardous collections. As outlined above, proper collections management practices include caring for regular objects as well as hazardous objects. Much literature exists outlining how to manage such hazardous objects, but less is known about how museums are currently implementing collections management best practices or what kinds of challenges museums are facing with these objects. The objective of this thesis is as follows: first, to explore how museums manage hazardous objects on a day-to-day basis; explore how they identify such materials; and third, identify what techniques they use to address specific kinds of hazardous materials.
Definitions
For the purposes of this thesis, “hazardous objects” are objects that pose a risk to other collections or people due to the nature of the material. This includes objects composed of hazardous materials, objects which deteriorate over time, and objects that have had hazardous materials applied to them in the past.
Overview 9
This thesis will consist of a literature review, in which major topics in museum hazardous collection management will be reviewed. Next, the methodology used will be outlined, and four case studies of museums with hazardous collections will be presented.
Finally, a discussion of the case studies outlined, followed by recommendations and conclusions will be presented. 10
Chapter 2: Literature Review, Collections Management
In this chapter of the literature review, the basics of collections management will be examined, relying primarily on Rebecca Buck and Jean Gilmore’s Museum
Registration Methods 5th Edition (2010). This will be followed by outlining the impact of adequate and inadequate management on collections, principally through an analysis of the results of the landmark survey “A Public Trust at Risk: The Heritage Health Index
Report on the State of America’s Collections” (2005). The review of the literature will then examine why there is a need for professional collections care by first discussing the ethics of collections care, and how it relates to the creation of collections management policies and to the need for the safety of staff and collections.
Collections Management Basics
In this section, the basics of collections management will be discussed, including the proper handling, environmental controls, and storage needs of a collection. By understanding the basic standards of collections care, collections can be better cared for and preserved for use in the future and in the present. Basic management not only contributes to the long-term life of collection objects, but also provides protection to people and objects as well. The edited book Museum Registration Methods, 5th Edition
(MRM5), will be discussed in this section, as it is a key text used in the field. It describes the basics of collections care and registration and includes many articles written by museum professionals. 11
MRM5 describes the best way to care for a collections object, and describes the basic level of care and attention that should be paid to it. In a section by Clarisse Camell and Rebecca Buck on acquisitions, the start of collections care, ideally, should begin before the object enters the collection (Buck and Camell 2010). Before accessioning an object, some practical and legal considerations should first be made, such as confirming that the object aligns with the mission of the museum. Also, considerations on the condition of the object should be made, as should the ability of the museum to reasonably care for the object, if acquired (Buck and Camell 2010). Members of staff should be consulted during the acquisition process, and discussions with the director, curator, or collections manager should take place. If the decision is made to accession the object into the collection, all associated information surrounding the object should be documented.
Going through the correct channels to acquire an object ensures proper care is taken to obtain objects which align with the mission and goals of the museum, and that the museum will be capable of caring for them. Additionally, possessing the appropriate documentation for an object can supply information about its proper care, and information relevant for an object’s disposition that staff may need knowledge of in the future (Buck and Camell 2010).
For direct collections care, one of the basic methods discussed by Dixie Neilson in MRM5 is object handling. In institutions with collection objects, knowing how to properly handle objects is key, because damage can occur to objects through overhandling (Neilson 2010). When it comes to who should handle objects then, Neilson 12
states that people without training in the correct way to handle museum objects should not be handling any objects in a collection (Neilson 2010). The handling of objects can also vary depending on the type of object, such as with 2-D objects and 3-D objects, and so training is needed to learn the correct methods. In general, care should always be taken when handling any and all collection objects.
A high level of care should be taken when handling objects to make sure they are not accidentally damaged while being handled. Wearing gloves is one way to protect the object from damage, as there are oils in people’s hands that can damage objects. Cotton and nitrile are the most common types of gloves, each with different advantages depending on the surface and type of material the object contains. Nitrile works well with most objects, especially for slick surfaced materials. Cotton gloves may absorb toxins present on objects, so should not be worn when handling hazardous objects (Neilson
2010).
Preventative care is the next basic step for managing collections, and is described by Genevieve Fisher in her section on “Preventative Care” as the mitigation of deterioration and damage to collections objects by implementing procedures to control the storage and environment of where the objects are kept (Fisher 2010). In some museums, there is a conservator who is devoted to the task of preserving objects, but this role may also be fulfilled by collection managers in smaller institutions. In order to manage the rate at which objects deteriorate, it is important to have control over the environment where they are housed. The environment is a combination of surrounding 13
temperature, humidity, light, and air of where the objects are kept. Though there are traditional recommended temperatures and humidity levels, Fisher states that it is best to have a “holistic approach” to controlling the environment, and that it is best to keep these conditions stable within the abilities and resources of the institution (Fisher 2010). Also, not all objects require the same environmental conditions because objects can consist of a variety of different materials, all requiring different ranges of temperature and humidity
(Fisher 2010).
There are also different agents of deterioration that can impact objects based on their surrounding environment, such as chemical deterioration, which is when objects have a chemical reaction with other substances in their environment; biological deterioration, which can occur with an increase in mold, insects, and bacteria; and mechanical deterioration, which is the structural changing of the physical nature of an object such as its shape, size, cracking, or warping. The risk for these agents of deterioration increase with fluctuations in temperature and relative humidity (Fisher
2010).
Extreme temperature fluctuations in spaces where collections are stored can have a significant damaging effect on collections. Many factors can contribute to fluctuations in temperature, such as sunlight, electrical equipment, and outside climate (Fisher 2010).
Ideally, a stable temperature should be maintained to minimize the damage that can occur in the shape and composition of an object. Relative humidity can also have an impact on collection objects depending on how high or low it is. Fluctuations in relative humidity 14
can also change with the temperature, with relative humidity decreasing with an increase in temperature and vice versa. Although a humidity range of 50% +/- 5 is what has been traditionally recommended for mixed collections, specific collection objects can have differing environmental needs depending on their materials. Finding the right balance depends on the needs of the collection and the management ability of the institution that houses them. Extremes in relative humidity is what causes damage to objects, with high values above 70% producing harmful corrosion in metals, water retention in organic materials, and mold growth. Alternatively, relative humidity that is too low can also cause damage, with values below 45% causing objects to become brittle and lose moisture (Fisher 2010).
Light exposure is another part of the environment that should be monitored and controlled when caring for collections. Light damages materials by degrading and causing chemical reactions such as fading pigments, yellowing, disintegrating, and heating objects to high temperatures (Fisher 2010). Some materials are more sensitive to light than others, such as paper, textiles, botanicals, zoological specimens, and other organic objects. The type of light that objects are exposed to can also cause different types of damage. Visible light can contain both ultraviolet (UV) and infrared light (IR), both of which are invisible to the naked eye and the most damaging. Daylight causes the most damage to objects because it is high in both UV and IR light. Artificial light can be damaging to objects as well, depending on the type of light source. For example, 15
incandescent lights contain both UV and IR light, and give off excessive heat. Light should be monitored where the collections are to minimize damage (Fisher 2010).
Contaminants in the air and around collection objects can also cause damage. Air pollution can break down organic and inorganic material and can enter a collection area through unfiltered ventilation (Fisher 2010). One way to minimize the damage from airborne pollutants is by controlling how much contact the collection objects have with the surrounding environment. One solution is to create a physical barrier between the objects and the incoming pollutants, such as covering objects with archival tissue, polyethylene sheeting, or boxes. An air filtration system for filtering incoming air into where the collections are stored is also recommended. Other ways to minimize damage to collections from surrounding pollutants is by not exposing the collection to chemicals such as cleaning materials, paints, or varnishes, especially if they may have a negative reaction to some of the ingredients (Fisher 2010).
Proper management of the storage space is another collection care basic for museums, as discussed by Lynn Swain in MRM5. Collection objects, when not on exhibit, are most often in the collection storage area (Swain 2010). Because museum objects spend most of their time in this space, the maintenance of storage areas are key to object preservation. A suitable storage area serves protect and preserve collection objects, while poor storage increases the risk to the safety of collections. Ideally, the storage space should be separate from other areas of activity, such as exhibit spaces, preparation areas, and administrative offices. The storage area should also be in a space that is easily 16
accessible, and allows for easy movement of collection objects. Ideally, the space should not be at the top of a building or in the basement, and should also not have any mechanical systems such as electrical, water, or air pipe systems running through it in case of failures or spills. The storage space should also not have windows, to keep damaging light from getting in, and be isolated and in a secure location (Swain 2010).
The collections themselves should be stored in a structured way, usually either by material type, size, geographic region, culture, taxonomy, or accession number, depending on the type of collection and institution (Swain 2010). The collection itself should ideally be divided into separate rooms, for fire and security reasons, and also to allow for better environmental controls. When storing objects, accessibility, along with security, is also important. Objects should be clearly labeled, with the labels visible so the information can be easily seen (Swain 2010).
The material the collection objects are stored in should be stable and secure enough to hold the object (Swain 2010). Closed cabinets and open shelving with covers are common for a wide variety of objects, with storage racks being the most common for framed works. Drawers are commonly used for flat or small objects, and archival boxes also commonly used for a wide range of 3-D objects. When creating a plan for how to arrange the storage area, the material, size, and number of collection objects should be taken into account. Also, when considering materials to use in the storage space, wood and wood composite items should not be used as they contain acids that are damaging to collections, and may also harbor pests. Shelving should be lined with archival padding to 17
protect objects. In unstable environments, the use of closed cabinets can create a microclimate that can help control fluctuations in temperature and relative humidity, as well as protect objects from light and dust. Boxes can protect from light and dust as well, but certain objects should not be kept in closed containers due to potential reactions with the container material or from the object itself off-gassing. Dust covers should be used for objects on open shelves and can also protect objects from touching each other (Swain
2010).
The basic types of storage materials that should be used for objects should support and protect them from vibrations and other damage. Archival quality products should be used, and should be acid free with a neutral ph. Plastics should be avoided, as should rubber products, wood, and certain types of glue, as they can react poorly with objects or attract pests. Polyester batting can also be used, as can polyester film, commonly known under the brand name “Mylar,” and polyethylene microfoam, commonly sold under the brand “Ethafoam,” and can be used as a barrier for items or used as padding (Swain
2010).
The Impact of Collections Management
The adequate or inadequate use of these collection care methods can have a great impact on the objects themselves, especially when the methods are employed poorly. The effect that basic collections management has on objects over time can be seen in the
Heritage Health Index survey (HHI), completed in 2005 by the Institute of Museum and
Library Services (IMLS), covering the conservation and preservation of collection 18
objects from many different types of museums held in the public trust in the US. The survey also examined other factors that can indirectly impact collection objects such as budgets, security, emergency planning, and facilities (IMLS 2005). Various types of institutions were used in the study, including: archives, libraries, historical societies, history museums, art museums, science museums/zoos/botanicals (includes natural history museums), and repositories/scientific research centers (IMLS 2005). Specific types of collections were also part of the study, including: photographic objects, moving images, art objects, archeological, historic, and natural science objects. The survey asked participants to rate their museum’s collection based on need of conservation and preservation, with responses ranging from “unknown need,” to “no need,” “need,” and
“urgent need” (IMLS 2005).
Survey results indicated that the natural science specimen category had the lowest rate of unknown need (IMLS 2005). As was said in the survey, “The high number of collections items in unknown condition is significant because items that have not been inspected are more likely to have suffered from neglect” (IMLS 2005, 30-31). Of the natural science specimens surveyed, 23% were found to have either need or urgent need, with 21% for photographic collections, 12% for moving images, 22% for art objects, and
28% for historic objects also having these types of need (IMLS 2005).
For the hazardous objects in the photographic category, such as film made pre-
1950 that contains either cellulose nitrate or cellulose acetate, 26% were found to be in need, 9% were found to be in urgent need, and 27% were in unknown condition (IMLS 19
2005). In the historic and ethnographic categories, where many hazardous objects can be found, the survey found that for science, technology, agricultural, and medical artifacts,
28% were in unknown condition, 23% were in need, and 5% were in urgent need (IMLS
2005). Ceramics and glass were found to be 21% unknown, 22% in need, and in 2% urgent need. Domestic artifacts were found to be 29% unknown, 21% in need, and 6% in urgent need (IMLS 2005). Within natural science specimens, zoological wet specimens were found to be 17% in need, 3% unknown, and 3% in urgent need (HHI 49). Other natural science specimens, including rock and fossil collections, were reported at 75% unknown, and 11% were found to be in need (IMLS 2005).
The HHI survey also asked about environmental controls, specifically for controls in temperature, relative humidity, and light. Overall, it was found that 40% of institutions did not have temperature controls in areas used for the preservation of collections, about
50% did not have any controls for relative humidity, and approximately 45% did not have light controls in any areas (IMLS 2005). It was also found that in smaller institutions, it was more likely controls were not in place in any of these areas (IMLS 2005). Over 50% of institutions also reported some form of damage had occurred to their collections from light, moisture, and other environmental factors (IMLS 2005). Based on these findings, the Heritage Health Index recommended “...institutions give priority to finding solutions that will place as many of their collections in proper environmental conditions as possible” (IMLS 2005, 55). 20
Storage conditions were also addressed in the survey. Storage is important because “Storage is a critical component of preventive collections care because, with few exceptions, it is the environment in which collections are held much of the time” (IMLS
2005, 57). While objects may go on exhibition and be removed from the storage space for a certain amount of time, because the displays are temporary, objects will eventually be returned to the conditions they were once in. The Heritage Health Index asked institutions to report on the adequacy of the storage space they had, with adequate storage considered to be enough room to allow safe access to collections and appropriate storage furniture
(IMLS 2005). Fifty-nine percent of respondents replied that they did not have adequate enough storage, and only 36% said they had 80-100% adequate storage space (IMLS
2005). Six percent of respondents said they did not know if their space was adequate for storage (IMLS 2005). It was reported by 58% of institutions that some damage which had occurred to objects was directly due to improper storage conditions, with a portion of that damage directly related to poor accessibility (IMLS 2005). As noted by the Heritage
Health Index, “Not surprisingly, adequacy of storage and damage due to improper storage correlate. Institutions with 100% of their collections in proper storage report low levels of damage due to storage. As the number of collections stored in adequate areas decreases, the amount of damage due to improper storage or enclosures increases” (IMLS 2005, 60).
It was therefore recommended that safe storage conditions should be given precedence by institutions in order to care for collections (IMLS 2005). 21
The level of conservation and preservation staff at institutions was also addressed in the survey. It was found that 20% of institutions have dedicated paid staff, 30% have staff only as needed, and 15% use an external provider. Twenty-two percent reported having no person on staff for conservation and preservation work, while the majority of respondents, 44%, used volunteers (IMLS 2005). For staff training in preservation and conservation in general, 59% of institutions reported having a need in this area (IMLS
2005). The Heritage Health Index Report identified staff training as fundamental for basic collections preservation, especially activities pertaining to object handling, storage, and environmental monitoring. “Most problems identified by Heritage Health Index data could be reversed if every institution had adequate staff for preservation” (IMLS 2005,
72).
Why Care for Collections?
History and stewardship
Collections management has not always been focused on preservation. In the early days of museums, care of collections was mostly focused on individual objects that needed immediate attention, objects that were damaged, or actively needed treatment.
This approach was focused on taking care of immediate threats to the collection and was not concerned about long-term threats or preventable damage. It was not until much later in the 1970s that museums began to change their standards for collections care, and started to concentrate on preventing problems before they arose. This type of preventative conservation views the collections as a whole and proactively takes measures to slow 22
deterioration of objects and prevent damage. Factors such as handling, storage, management, and environmental controls all contribute to preventative conservation
(Malaro and DeAngelis 2012).
With the standards now geared toward preserving collections, museum stewardship responsibilities have changed as well. According to the American Alliance of
Museums (AAM), “Stewardship is the careful, sound, and responsible management of that which is entrusted to a museum’s care” (AAM 2018). In possessing collections, museums are bound by legal, social, and ethical obligations to provide proper care through adequate storage and the management of objects and associated object information. Museums hold collections in the public trust, and therefore the collections are for the public and held for their benefit. For a museum to have proper stewardship of their collections, the collections should be made available and accessible for the public, for both present and future generations.
For a museum to fulfill its stewardship responsibilities, it needs to develop and regularly review policies, procedures, and the needs of the collections (AAM 2018). The stewardship needs of the collection can be different depending on the collection and museum they are held in, so special care should be taken to consider all factors of an institution when considering stewardship responsibilities. Though there are differences between institutions, there are standards that all should adhere to, such as having a collections management policy, proper staff training, staff designated to carry out policies, regular documentation and records management, management of environmental 23
conditions, safety and security plans, regular assessment and care of collections needs, and acknowledgement of ethical standards (AAM 2018).
Ethics
There are many reasons why collections should be cared for. To ensure they are still available for future generations to use and learn from is only one reason, but there are ethical reasons as well. As co-outlined in the book by Marie Malaro and Ildiko
DeAngelis, A Legal Primer on Managing Museum Collections, it is the museum’s responsibility to care for collections. A museum is similar to a charitable trust, in that it has property it holds for the benefit of others, in this case the public (Malaro and
DeAngelis 2012). It is the duty of the museum to care for objects, and to prevent any damage to them (Malaro and DeAngelis 2012). To ensure collections are cared for, museum policies and procedures should outline prudent care and protection for objects
(Malaro and DeAngelis 2012). The authors cite professional organizations such as the
AAM for ethical standards in collections care, which state “The development and preservation of the collection are cardinal responsibilities of the Museum” (Malaro and
DeAngelis 2012, 445).
The “Code of Ethics for Museums,” produced by the AAM, states that, in general, standards are applied to museums because they are a public trust and are established to serve the people (AAM 2000). The function of a museum is to contribute resources and natural and cultural information to society by collecting, preserving, and interpreting the items they hold. These collections represent the cultural and natural wealth of humanity, 24
and therefore, it is the responsibility of museums to be resources for the public and to preserve these resources for use in the present and future.
As museums are set up as public trusts, they must also adhere to certain legal obligations (AAM 2000). Specific local, state, and federal legal obligations must be met when it comes to the care of the objects within their custody. These obligations, according to the AAM, are the minimum standards a museum must meet, and the ethical standards museums must follow should exceed these legal obligations. As museums are set up to serve the public and to hold knowledge and resources for their benefit, it is important for them to maintain their integrity and uphold the public’s confidence. The
AAM stresses public service must be first and foremost for museums, and that loyalty to the public they were created to serve and loyalty to their missions is . .the essence of museum work” (AAM 2000).
According to the AAM, when it comes to ethics for collections management specifically, the stewardship of collections entails the highest public trust (AAM 2000).
The defining characteristic of a museum comes from the objects they contain, and it is the responsibility of the museum, as stewards of these objects, to ensure their care, accessibility, documentation, and permanence. It is the duty of the museum to ensure the collections it houses support its mission and public responsibilities. The museum should also make sure that the collections are protected, secure, accessible, cared for, and preserved. The collections should also be accounted for and documented, with their accessibility and information permitted and regulated (AAM 2000). 25
Safety of Collections and Staff
In order to ensure the safety of collections and staff, many professional organizations have developed guidelines to follow, not only for regular collection objects, but for hazardous objects as well. The Smithsonian Institution is an organization which has outlined a set of comprehensive guidelines in their Smithsonian Directive 600:
Collections Implementation Manual (Smithsonian Institution 2001). The manual specifies that “Collections management is the deliberate development, maintenance, preservation, documentation, use, and disposition of collections.” (Smithsonian Institution 2001, 1).
Preservation of collections is one of the main points of this manual, which states that the goal of preservation is to make collections available for both current use and future use
(Smithsonian Institution 2001). In order for these goals to be met, it is the responsibility of the institution to preserve and safeguard the collections (Smithsonian Institution 2001).
To properly safeguard and care for collections, any information relating to them is cared for as well, and, according to the manual, should be readily accessible for staff
(Smithsonian Institution 2001). Proper inventory of collection items is also integral for their safety, as knowing their location can help with their care in making decisions on their storage and security needs (Smithsonian Institution 2001). Proper inventory also allows for better access to collections for staff to safeguard them.
Knowledge of risk also contributes to the safety of collections. As a result, risk management is another part of the Smithsonian manual, which states that evaluation of risk can help prevent and minimize factors which may cause loss, damage, or 26
deterioration of collections (Smithsonian Institution 2001). Risks can come from many sources, such as natural disasters, vandalism, theft, disease, human error, and mechanical and operational system failure, in addition to object deterioration and storage environment and space (Smithsonian Institution 2001).
Exposure to risk can also impact the safety of staff. Handling hazardous objects, or the materials they were stored in, can expose staff to risk, but prudent care can help diminish or prevent potential exposure (Smithsonian Institution 2001). When implementing collections management procedures, it is important to have a designated staff person for risk management and security activities. A security plan should also be established to protect the collection during both normal and high-risk activities. This plan should also be documented and easily accessible for the rest of the staff to reference.
Malaro and DeAngelis also address staff safety, and note the various government agencies that regulate employee safety when it comes to possible exposure to hazards.
The Occupational Health and Safety Administration (OSHA), regulates the work environment, and works with other agencies that regulate hazards, such as the
Environmental Protection Agency and the National Fire Protection Association (Malaro and DeAngelis 2012). Museums should be aware of these agencies, as the regulations affect the handling, storage, and labeling of objects containing chemicals, those vulnerable to fire, and those containing substances which pose a risk to staff (Malaro and
DeAngelis 2012). In regard to outside access to collections, access can be granted, provided all preservation and protection concerns are weighed beforehand (Smithsonian 27
Institution 2001). Reasons for restraining access may be due to object security and difficult physical access to objects (Smithsonian Institution 2001).
Collection Management Policies
Collection management policies are also needed to define the needs of a collection. The policies act as guidelines outlining how to work with the collection, and what staff and others may be allowed to do with it. Policy guides not just how staff work with normal collection objects, but any special circumstances for hazardous ones as well.
According the American Alliance of Museums’ reference guide, “Developing a
Collections Management Policy,” collections are held in the public trust and serve the public, and so museums have a responsibility to maintain the highest standards when caring for these collections (AAM 2012). Policies help the museum fulfill its responsibilities and guide decision making in staff interactions with objects and in object care (AAM 2012). A policy should be in place to handle day to day issues and to meet the specific needs of the museum and the collections (AAM 2012).
A collections management policy should align with the mission of the museum, have a statement of authority defining who is responsible, and what their role is in the museum. A code of ethics should also be referenced as part of the policy, highlighting the principles guiding decision making, conduct, and the behavior of staff, volunteers, and governing authority. According to the AAM, “It is a policy statement that establishes values and ethical standards that enable the museum to fulfill its mission and put the interests of the public ahead of the interests of the museum or of any individual” (AAM 28
2012, 3). Next is the scope of collections, which describes the museum’s collection, what the museum collects, and how the collections are used (AAM 2012). This section also outlines the guidelines for growing and developing the collection. Another major part of the collections management policy is dedicated to acquisitions and accessioning. This section details how objects come into the collection, outlines the specific criteria for an object to be accessioned into the permanent collection, and what the decision-making process should be when considering which objects to acquire (AAM 2012). This part is particularly important when considering what needs an item may have either once its acquired or what it may need in the future. This is particularly true for hazardous objects, as a museum needs to consider the basic level of care that may be required in order to properly care for it, while also making sure the museum can protect other objects in the collection and staff from the risks the potential future collection object may pose.
Deaccessioning, which is the permanent removal of objects from the collection, is another key part of the policy. The policy should outline the specific criteria for deaccessioning an object, and as well as the decision-making process. It should also clearly define the methods the museum may use to dispose of a deaccessioned object, and should consider all legal and ethical implications of deaccessioning as well (AAM 2012).
Loans are another section of the collections management policy, and museums should consider factors such as insurance, object condition, documentation, and monitoring when developing loan policies (AAM 2012). Both incoming and outgoing loan policies and procedures should be clearly defined. 29
Conservation and collections care is another important part of the collections management policy. It should be stated within the policy document why conservation and care of the collection is important, and what that care entails. The AAM guide outlines the basic management needs of collections, including storage, temperature, relative humidity, pest management, handling, disaster planning, and inventorying (AAM 2012).
Any long-range collection management plans that the museum has can be included in this section as well (AAM 2012). Risk management is another part of the collection policy that should be addressed. It is stated in the AAM guide that minimizing risk to collections is the museum’s responsibility, and that an overview of what the museum’s plan is to safeguard the collection from dangers should be outlined. An emergency plan, or disaster plan as it is sometimes called, can be referenced in this section, but should be covered in- depth in a separate document from the collections policy (AAM 2012).
Documentation, which is information covering the condition and history of an individual object, is the next part of the policy. It should cover what types of records are created, the information in each record, who is responsible for creating and managing the records, and any procedures or protocols for those records (AAM 2012). Access is another part of the collections policy, and states museums should provide the public some access to the collections and to information about them (AAM 2012). The policy should outline in this section who has access to the collection and why, and what safeguards are in place for collections when they are accessed (AAM 2012). Access to the collections can be limited by staffing, facility limitations, preservation needs, or legal issues (AAM 30
2012). A section covering relevant ethical standards should also be a part of the policy. In the end, the AAM guide states that “For policies to be effective, they must be understood and accepted by everyone at the museum” (AAM 2012). 31
Chapter 3: Literature Review, Hazardous Collections Management
As outlined in the previous chapter, basic collection management standards, ethics, and policies greatly affect the care of collection objects, and for hazardous objects this is even more so. Because the management of hazardous objects will present some form of risk, either to collections or to public and staff, special requirements in collections management may be necessary in addition to the requirements for regular collection items. This section of the literature review will focus on the management of hazardous objects, outline the types of hazards that exist, and examine best practices for their management.
Types of Hazards
As mentioned previously, hazardous objects can be found in a variety of different museum types, and in many different types of collections. The National Park Service and the Museums and Galleries of NSW give brief lists of possible hazardous objects, and what risks they can pose (Museums and Galleries of NSW n.d., and NPS 1998). For more in-depth information about hazardous collection items and the risks they pose, the
Smithsonian Institution Safety Manual, produced by the Office of Safety, Health and
Environmental Management for Smithsonian Institutions, is a professional guide other museums can follow when determining how to handle hazardous museum collections
(Smithsonian Institution 2010).
The Smithsonian Safety Manual includes a chapter on collections based hazards, emphasizing that collections can have a range of hazards associated with them, be they 32
chemical, biological, or physical, and that hazards can exist due to the nature of the object, or can be acquired post collection from treatment, alteration, or degradation
(Smithsonian Institution 2010). The Safety Manual emphasizes that it is best to first identify hazards, making it easier to eliminate or reduce risks (Smithsonian Institution
2010). To identify potential hazards in objects, it is best to know each of their inherent properties and materials, and the toxicity, flammability, or physical restrictions that can come from those materials. According to the Safety Manual, examples of these types of objects include: hazardous plants or mineral specimens, lead pigments, radioactive materials, asbestos, taxidermy mounts, cellulose nitrate films/negatives, alcohol preservatives, gunpowder, degraded medicinals, sharp weaponry, and heavy artwork
(Smithsonian Institution 2010).
It is also best to know of any past and current collection preservation methods, ( conservation treatments, post-collection preparation, or pesticide treatment done to the collection (Smithsonian Institution 2010). Any archival records of associated information about the collection item should be known, and testing should also be done on the objects. Hazards from the objects are not the only risks involved with collections, as hazards can come from the storage environment and cases they were housed in as well.
Particulate residues and vapors are residual hazards that can be left behind in storage materials either from treatment done on objects or from the object itself (Smithsonian
Institution 2010). 33
Some types of museums are more prone to having different types of hazards than others. Looking more in-depth into the different types of collections, the Smithsonian
Manual provides a list of the many types of collection objects and the specific hazards that they contain. In an attachment to the Smithsonian Manual called “Hidden Hazards:
The Dark Side of Collections,” by Catherine Hawks and Kathryn Makos, hazards are separated into two categories: inherent (pre-collection) and acquired (post-collection)
(Hawks and Makos 2001).
In the category of biosciences, hazardous objects include such items as botanical specimens, vertebrates, invertebrates, and historic dioramas (Hawks and Makos 2001).
Inherent hazards from these types of collection materials can include preserved pathogens, venoms, and radioactivity and other pollutants from where the specimens were collected. Acquired hazards can be from pesticide residues, arsenic and mercury fixatives used in specimen preparation, and vapor from specimen preservation fluid
(Hawks and Makos 2001). Residues can be found on items such as skins, fur, feathers, shell, and skeletal material.
Decorative art objects may also have a variety of hazards, depending on the materials used, and can occur in glass, ceramics, gemstones, and metal ware. Hazards inherent to these objects likely occurred during their production, and can include radiation from uranium glazes, paints, irradiated gemstones, and toxic elements such as lead and cadmium in glazes. Pigments can also have arsenic, mercury, cobalt and lead mixed into them; many of which were commonly used in glass production. As these objects begin to age, they start to emit harmful fumes. Uranium coated objects will start to become more radioactive over time, and pigments containing heavy metals can start to deteriorate and flake off, becoming a hazard if inhaled (Hawks and Makos 2001).
The fine arts are another category that may contain hazards, and can occur in paintings, drawings, sculptures, and prints. The common hazards found in pigments include lead, cobalt, manganese, and chromium. These pigments can become particularly dangerous if they become powdered, increasing the risk of inhalation (Hawks and Makos
2001). Lead can be used as soldering in sculpture, and works on canvas may also have residues from past pesticide and fungicide treatments.
For geoscience collections, possible hazardous objects can include minerals, both natural and synthetic gemstones, core and soil samples, and ore samples. The list provided by the Smithsonian’s document is extensive, outlining 21 of the main toxic minerals and their derivatives. It lists the main minerals which may be found in collections that pose risks from dust, vapor, or direct handling (Hawks and Makos 2001).
Also listed are over 200 minerals known to be radioactive, and as well as mentioning that radioactivity can also occur in soil, rock, and core samples depending on the collection site (Hawks and Makos 2001). Oxidation can also make minerals hazardous, especially the iron sulfides that can result in the creation of acidic products (Hawks and Makos
2001). Radioactive specimens can release radiation over time and can also release dust particulates into the air if damaged, which are in turn dangerous if inhaled. 35
In history museums, unseen hazards can be found in a variety of historical objects, and may contain toxins and contaminants which are no longer commonly used in objects today. In an article from the journal History News, titled "The Handling and
Exhibition of Potentially Hazardous Artifacts in Museum Collections" by Cockerline and
Markell (Cockerline and Markell 2009), the authors describe what some of those hazards could be. Asbestos is one such hazard that can be found in a variety of historical objects, especially in objects used for heating or that used electricity. Asbestos is a fibrous mineral that can cause lung cancer and other lung diseases if inhaled (Cockerline and
Markell 2009). Banned since the 1980s, it can be found in large appliance such as stoves and heaters, as well as small appliances such as toasters. Old protective clothing can also contain asbestos, especially if used for firefighting, cooking, metal working, or in other fields needing heat protection. This clothing can be items such as aprons, gloves, helmets, and facemasks. Historic theater equipment such as drop curtains and building materials such as pipes, insulation materials, or molding may also contain asbestos.
Ethnographic objects can contain hazards as well, and can either be inherent to the object, or be acquired after entering a collection. Objects such as weapons can be coated in poisons added by their original bearers, or be made from hazardous materials. Toxic seeds can be part of an object, and objects can also be painted with hazardous pigments such as vermillion and cinnabar, both of which are contain mercury. Ethnographic objects are most often made from organic materials such as wood, fur, and feathers; to help protect them from damage by pests or mold, they may have been treated in the past with 36
pesticides and fungicides which included arsenic, mercury, or DDT (Cockerline and
Markell 2009).
Firearms are another hazard commonly found in history collections. The obvious risk from firearms is the potential for someone accidentally being shot, and so trained personnel should carefully examine and decommission any firearm entering a museum collection, with local law enforcement available to assist if needed (Cockerline and
Markell 2009). Risk can also come from theft, and so firearms should always be kept under safe lock, with ammunition stored and displayed separately. Old medical equipment can also be hazardous. Surgical implements were likely used on people and are very unsanitary (Cockerline and Markell 2009). The objects are also sharp, and risk of tetanus is also a danger. Old medicines can be hazardous as well, and contain dangerous chemicals. Many of the compounds they can contain include arsenic, mercury, strychnine, and elements such as radium and lead. Over time, these mixtures can become concentrated becoming more toxic, and can degrade and react in a way which makes them more dangerous. Many historic medicines can also contain now restricted or illegal drugs such as cocaine, LSD, and opiates. These medicines can come in pill forms, powders, liquids, lotions, or salves (Cockerline and Markell 2009).
Taxidermy specimens can also pose a hazard. Prior to the 1980s, taxidermy specimens were processed by pasting an arsenic mixture on the inside of the specimen skin. The arsenic used was highly concentrated, so as to act as a preservative and pesticide to protect the specimen. The heavy use of arsenic in taxidermy can make the 37
handling and storage of these objects difficult. The risk these specimens pose to people is very high, especially if the objects are ever exposed to fire, as burning arsenic converts into toxic gas. Also, if the specimens were not cleaned properly during the original processing, they can leak greasy organic matter on to themselves, that will eventually damage the object and possibly attract pests to other objects in the collection (Cockerline and Markell 2009).
Cellulose is another hazard found in many types of institutions, including history museums, art museums, libraries, and archives. Also known as celluloid, it can occur in two forms, cellulose nitrate and cellulose acetate. Cellulose nitrate was an early plastic used during the last half of the nineteenth century through the early twentieth century, and was used in objects such as costume jewelry, brush handles, and buttons, but most commonly used in film and film negatives (Cockerline and Markell 2009). As cellulose nitrate breaks down and oxidizes, it can become highly flammable, and has been known to explode if exposed to the wrong conditions and environment. Cellulose acetate, also used in film, can deteriorate into what is called “vinegar syndrome,” in which it off- gasses acidic vapors that destroy not only the object itself, but can damage other objects around it. The acidic vapors can corrode metals, and if the cellulose catches fire, can cause other objects to also catch fire. The vapors can harm people as well, causing skin irritation and irritation to the lungs and eyes. 38
Best Practices for Management and Handling of Hazardous Objects
The best practices for the management of hazardous collection objects, as mentioned above, are similar to what those for normal collection objects, with a few added precautions. Returning again to the Smithsonian Institution Safety Manual, the best ways to manage hazardous collection objects are included. Proper management includes risk controls that both preserve the collection while also protecting the safety of others.
The Smithsonian Safety Manual recommends creating a risk management plan for
“...eliminating or significantly reducing each risk to within acceptable limits”
(Smithsonian Institution 2010, 24-7). Remediation of the risk should be done through removal, enclosure, or other permanent controls. For some objects, this control could be properly disposing of chemical or medicinal liquids while retaining the container, enclosing any toxic specimens in containers, or lead shielding of radioactive objects
(Smithsonian Institution 2010).
Another piece of literature from the field of hazardous object management is from the US Department of the Interior’s (DOI) “Frequently Asked Questions about
Contaminated Museum Collections” (2006). Included in this document is information on how to minimize the risk of exposure from hazardous objects. One option for reducing risk is for conservators to remove toxic residues from some collection objects (DOI
2006). Testing objects for contaminants is another way of identifying risk. Handling of these objects should be minimized, and when they must be handled, certain procedures should be in place, such as using the proper safety equipment, following safety 39
guidelines, and proper labeling (DOI 2006). The types of protective safety equipment that should be used for various hazards is detailed in the Smithsonian Manual, and includes items such as respirators and barrier gloves (Smithsonian Institution 2010). Protective clothing such as lab coats, aprons, or jumpsuits should be worn when working with collections that can contaminate outer clothing.
Other ways to minimize risk include storing contaminated collections separately from other collection objects. Identified materials should be stored in separate containers with clear labeling marking them as hazardous (DOI 2006). Consistent cleaning of storage areas is another way to minimize risks. Storage containers used to house hazardous objects should not be re-used again, and should be properly disposed of
(Smithsonian Institution 2010). Work and storage surfaces used for the objects should be made of non-porous materials and also be made of easy to clean materials, using either a
HEPA vacuum or thorough wet cleaning. Waste created from the cleaning of these areas should also be properly disposed of, as it is also considered hazardous material
(Smithsonian Institution 2010).
Hazardous collection objects should also be protected from the danger of fire, as some objects can react to heat in such a way as to become even more hazardous. The
Smithsonian Manual recommends that those collections be stored in separate areas with fire detection and suppression systems (Smithsonian Institution 2010). Storage areas should also have signage informing people of the risks present in the collection, and that large-scale collections should have signs posted at entrance doors and in the areas where 40
hazardous objects are stored (Smithsonian Institution 2010). In the manual, it is noted that any hazards known about an object should be included with the object information and in the accession records. Other ways to best handle hazardous collections is through proper training. In the Smithsonian manual, it says that any person that may come in contact with the collection, such as staff, volunteers, contractors, or researchers, should be made aware of the dangers (Smithsonian Institution 2010). For the Smithsonian
Institution itself, staff working with hazardous objects must undergo job specific safety training and training on how to properly handle the objects.
Best Practices for Hazards: In Depth
Though there are many objects that can be considered hazardous that have specific handling and management needs, for this thesis, only a few methods will be discussed in detail.
Cellulose
The risks posed by cellulose nitrate and cellulose acetate come from their degradation over time when exposed to improper storage conditions. In the NPS Museum
Handbook, Part I: Museum Collections, it is recommended that to mitigate the risks from cellulose, that objects containing it be kept in cold storage (NPS 1999). Ideally, for both nitrate and acetate products, they should be stored at a temperature of 0 degrees
Fahrenheit and 30% relative humidity (NPS 1999). Due to the damaging off-gassing that cellulose produces, it should be stored away from other collection objects and away from areas where people frequent (NPS 1999). High heat can also cause cellulose to degrade 41
and off-gas more, and so should be kept at colder temperatures with plenty of ventilation
(NPS 1999). Nitrate especially should be kept separately under cold conditions because of the risk of combustion. Nitrate will self-ignite at 100 degrees Fahrenheit, and because of its instability, the NPS suggests that disposal may have to be an option for nitrate that is highly degraded (NPS 1999). Disposal should only happen if the object has degraded to the point were any information it contained is no longer visible, multiple copies of the object have been made, and proper deaccessioning polices have been followed (NPS
1999). Any resulting disposal that takes place must be labeled as hazardous material and removed following Environmental Protection Agency (EPA) guidelines (NPS 1999).
When preparing cellulose for storage, it should first be placed in polyethylene bags or in polypropylene film canisters. Cellulose associated objects should then be placed in an archival drop-front storage box, and placed inside another polyethylene bag.
Materials which absorb potential off-gassing byproducts are recommended for inclusion in the storage box. The bag should be clearly labeled on the outside as “hazardous,” and also labeled with what it contains, and then placed in a freezer (NPS 1999). For handling cellulose, the NPS Handbook recommends wearing protective clothing such as gloves, a long-sleeved lab coat, goggles and a mask, if fumes are detected (NPS 1999). Cellulose objects should only be handled in areas with proper ventilation, or under a fume hood.
Pesticide Treated Collections: Ethnographic and Dry Specimens
The hazards from pesticide treated collection objects come from the toxic chemicals applied to them, and if handled improperly, these objects can be very 42
damaging to people. In the NPS Conserv O Gram “Guidelines for the Handling of
Pesticide Contaminated Collections” (2002), it is recommended that when handling previously treated objects, handlers should wear protective clothing such as gloves, masks, and lab coats (NPS 2002). Nitrile gloves are recommended as they are disposable, and should be disposed of in hazardous waste containers after use. Hands should be washed thoroughly with soap and water both before and after handling the object. It is very important not to touch one’s face when handling treated objects, and not to have food or drink near them as well. Separate tools should be available for use specifically when working with these collections, such as pencils and clip boards, all of which should be cleaned periodically. Depending on how toxic the objects are, a fume hood may be needed when working with them (NPS 2002).
When storing pesticide-treated objects, they should be kept separate from other objects in the collection, to avoid cross contamination. The outside housing of the object should clearly mark it as being hazardous, as should any storage containers or cabinets they are held in. When accepting new collections which may have been treated, these should also be kept separate from the rest of the collection (NPS 2002). For information on whether or not an object has been treated, the NPS recommends searching purchase, accession, and conservation records, or to ask donors what they know about an object
(NPS 2002). If it is unknown as to what type of compound may be present, it is recommended that an industrial hygienist be consulted for testing. Cleaning objects is an option to mitigate the risks, and using a HEPA vacuum is one way to do this. 43
Consultation with a conservator is also recommended for the best way to clean an object.
Another way to mitigate risk is to go over safe handling procedures for any one that may come in contact with these objects, such as staff, volunteers, and researchers (NPS 2002).
These procedures should be posted, as should any Material Safety Data Sheets (MSDS) containing information on the types of compounds present. The NPS recommends that until a determination about an object is made, it should be treated as suspect.
Fluid Preserved Specimens
Specimens preserved in fluid are a hazard due to the dangerous vapors they emit and the increased risk of fire. In the NPS Conserv O gram “Safe Storage and Handling of
Natural History Specimens Preserved in Fluid” (2001), it states fluid preserved objects must be stored in an area with adequate ventilation. Fumes will evaporate from the specimen jars no matter how tightly sealed they may be, and the risk of fire increases with the build-up of gasses (NPS 2001). To avoid this risk, in addition to proper ventilation, any equipment that may spark or create heat should not be stored with the specimens. The environment should also be kept cool, preferably between 65 to 70 degrees Fahrenheit. Heat and smoke detectors should also be in place, as well as a sprinkler system and fire extinguishers. The shelving for specimen jars should have a lip or guard for each shelf to prevent them from falling. Fluid preserved specimens should also not be stored in basements. The fluid itself is also toxic, and it is recommended by the NPS that areas where wet specimens are stored have a “spill kit” clearly posted (NPS
2001). This kit should contain absorbent pads, spill boom, neoprene gloves, safety glasses, and plastic bags, stored inside a High-Density Polyethylene (HDPE) bucket with lid. Any spills that occur should be cleaned with these products and disposed through the proper channels. The NPS recommends following the Uniform Fire Code and consulting with local fire and safety officials for specific storage requirements for each institution’s area (NPS 2001).
When handling wet specimens, proper clothing should be worn, such as safety glasses and neoprene gloves, which are specially rated for formaldehyde exposure (NPS
2001). The fumes from the fluids are absorbed into the body through the skin and lungs, and so any areas where the objects are being worked on should have a fume hood to draw dangerous gasses away (NPS 2001). Work areas should also be equipped with emergency eye wash and shower stations (NPS 2001). Access to the areas where the specimens are stored should be controlled and handling restricted (NPS 2001).
Conclusion
In the review of the literature, the basics of collections management were outlined, alongside what kinds of resources are available on the management of hazardous collections. In the next chapter, the methods used in this thesis will be outlined. 45
Chapter 4: Methodology
Introduction
In this thesis, the management of hazardous collection objects in museums is examined, including identifying appropriate environmental and storage conditions for hazardous objects, and outlining any new or emerging approaches in managing these types of collections. An important goal of this thesis is to examine current practice, to identify any emerging approaches, and to offer recommendations to the museum community on alternative solutions to hazardous object management, based on real-world museum practice.
To examine how museums manage hazardous collections, a literature review and case studies were conducted, as outlined below.
Literature Review
A literature review, presented here in chapters 2 and 3, was first conducted.
Chapter 2 examined collections management basics, and outlined best practices for acquiring collection objects, as well as the basics of environmental controls, handling, and storage requirements for collections. A key source used was Museum Registration
Methods 5th Edition (MRM5) (2015), as edited by Rebecca Buck and Jean Gilmore, which is considered a basic resource in museum collections management and is relied upon by professionals in the field. Many of the articles included in MRM5 are written by leading museum professionals on topics ranging from the acquisition process (Buck and Camell), proper object handling (Nielson), preventative care (Fisher), and the proper materials and conditions needed for the storage of objects (Swain).
This chapter also outlined the impact that collections management has on objects over time, and discussed the seminal report entitled “A Public Trust at Risk: The Heritage
Health Index Report on the State of America’s Collections” by the Institute of Museum and Library Services (IMLS) (2005). This survey was conducted by the IMLS, which is a professional organization that supplies valuable information and resources for museum professionals. The survey was conducted by the organization to assess the health of collections in American museums. The report detailed the types of institutions and collections that were found to be most at risk and in need of care, as well as what common categories of collections include hazardous objects. Finally, the report outlined how environmental controls, storage, and staff impacts the health of objects.
The next section of chapter 2 outlined the history, standards, and guidelines of collections management. Major sources included the book A Legal Primer on Managing
Museum Collections (2012) by Marie Malaro and Ildiko DeAngelis, the web pages
“Collections Stewardship” and “Code of Ethics for Museums” by the American Alliance of Museums (AAM), the handbook Smithsonian Directive 600: Collections
Implementation Manual (2006) by the Smithsonian Institution, and the White Paper
“Developing a Collections Management Policy” (2012) by the AAM. More specifically, in this section, the history of the development of preventative care was discussed, along with museum stewardship responsibilities, standards, ethics, and policies. 47
The final chapter of the literature review, chapter 3, examined hazardous objects, with an emphasis on the general types of hazardous objects, what the best practices are for their management and handling, and a detailed examination on the handling of specific hazardous objects. Key sources included the Smithsonian Institution Safety
Manual (2010), produced by the Office of Safety, Health and Environmental
Management for Smithsonian Institutions; “Hidden Hazards: The Dark Side of
Collections” (2001), by Catherine Hawks and Kathryn Makos; thearticle "The Handling and Exhibition of Potentially Hazardous Artifacts in Museum Collections" (2009), by
Neil Cockerline and Melinda Markell, the White Paper “Frequently Asked Questions about Contaminated Museum Collections” (2006), from the US Department of the
Interior; the NPS Museum Handbook, Part I: Museum Collections (1999), from the
National Park Service; the NPS Conserv O Gram “Guidelines for the Handling of
Pesticide Contaminated Collections” (2002) and NPS Conserv O gram “Safe Storage and
Handling of Natural History Specimens Preserved in Fluid” (2001).
Overall, the literature review focused on best practices for the handling, storage, and environmental controls for both normal and hazardous museum objects. The ethics, stewardship responsibilities, and guidelines for managing collections were also discussed.
Specific management procedures for specific hazards were also reviewed in detail.
Case Studies
Case studies of four institutions in the United States were also conducted for this thesis. Each case study consisted of three parts: first, information on each institution’s 48
background, including its collection holdings and budget; second, the results of interviews with collection managers and conservators, who served as content experts; and third, an analysis of the case study museum’s efforts in managing hazardous collections.
The interviews were designed to supply information about how each case study museum managed their hazardous collections.
Case studies were selected through the following process: first, a web search of museums by type using the search engine Google, and using the terms “natural history museum,” “art museum,” “science museum,” and “history museum,” along with the phrases “hazardous objects,” or “hazardous collections” was conducted. A preliminary list of 18 museums was generated, by selecting the top three to four search results in each museum category. The websites for each of these 18 museums was carefully reviewed to assess the nature of the hazardous collections, and to determine if the museum could serve as an acceptable case study. For example, assessment was based on if the potential case study museum appeared to possess sufficient resources to manage their collections either up to or beyond the standards of best practices. Other considerations were based on if the potential case study museum had a collections manager or conservator on staff. The geographic location of each potential case study museum was also reviewed, and institutions in the western United States, which were more accessible to the author, were included in the final list of potential case studies.
In the end, the Autry Museum of the American West, in Los Angeles, California;
SFMOMA, in San Francisco, California; the Denver Museum of Nature and Science, in 49
Denver, Colorado; and the UCLA Film and Television Archive, in Santa Clarita,
California; were selected as case studies. Content experts at each case study museum were then identified, based on department and staff title. The goal was to interview collections management staff at each case study museum.
The first case study focused on the Autry Museum of the American West, located in Los Angeles, California. The Assistant Conservator, Ozge Gen9 ay-Ustiin, was interviewed by phone on January 31,2018 concerning how hazardous anthropological collections are handled.
The second case study focused on the SFMOMA, located in San Francisco,
California. The Associate Conservator, Emily Hamilton, was interviewed on February 5,
2018 in person concerning how hazardous art collections are handled and managed.
The third case study focused on the Denver Museum of Nature and Science, located in Denver, Colorado. The Collections Manager of Zoology, Jeff Stephenson, was interviewed by phone on February 8, 2018 concerning how both their hazardous dry and wet specimen collections are managed.
The fourth case study focused on the UCLA Film and Television Archive, located in Santa Clarita, California. The Head of Collections, Rosa Gaiarsa, was interviewed in person on February 16, 2018 concerning how hazardous film collections are managed.
Interview Questions
Thirteen questions were developed for the interviews with content experts, as presented in detail below. In the questions, three key areas were examined regarding best 50
practices for hazardous objects: prior research, current practices, and future practices.
Each of the content experts were asked the same set of questions.
Questions 1,8, and 13 asked about the scope of prior research that had been done by museums in managing hazardous collections. These questions were designed to examine the resources each institution consulted, how this compared to the resources outlined in the literature review, and how specific the research was to the objects in their collection.
The first question in this area, question 1, asked, “When was the hazard recognized?” and was followed by question 8, which asked, “For your hazardous objects, did you consult with outside sources on the proper care or did you come up with and research solutions in house?” The final question in this area, question 13, and asked, “In the event of an emergency, is there a plan for the safe care/handling of hazardous objects?”
Questions 2,3,4,5,6,7, and 11 asked about the second key area, and concerned the current practices involved in managing hazardous collections. The answers were to be used to assess how each institution’s procedures compared with best practices, and to identify practices that were similar or dissimilar to best practices.
Question 2 asked, “What is your institution’s current policy (either formal or informal) on the handling and storage of your non-hazardous collections?” while question
3 asked, “What is your current policy (either formal or informal) on the handling and storage of hazardous objects?” Next, question 4 asked, “What are your institution’s 51
current practices for storage of hazardous objects?” and was followed by question 5, which asked, “What are the current practices for handling?”
Next, question 6 asked, “What are the policies regarding who has access and proper training to handle the hazardous objects?” Question 7 then asked, “Do you allow the members of the public to access hazardous collections for research, or are they limited to staff only access?” The final question in this grouping, question 11, asked,
“Are there any special procedures you go through when accessioning/bringing an item into the collection to mitigate possible risks it may pose? (i.e. cleaning an object when it first comes in, having a quarantine area, reviewing the Material Safety Data Sheets, etc.)”
Questions 9, 10, and 12 asked about future plans the museums had for managing their hazardous collections, and were designed to examine if and how museums were approaching best practices in this area. Questions in this grouping were asked to determine if there were different solutions to what was recommended in best practices.
Question 9 in this grouping asked, “What solutions have been proposed or developed to care for your hazardous objects? (i.e. special storage, deaccessioning, etc.)” while question 10 asked, “Do your hazardous collections require any additional levels of care or resources compared to your non-hazardous collections?” Finally, question 12 asked, “Are there plans to change/upgrade the way your hazardous objects are stored in the future?”
In this chapter, the methods used in this thesis, which consisted of a literature review and case studies, were outlined. In the next four chapters, case studies of 52
museums currently managing hazardous collections are presented, followed by a discussion chapter, which outlines key themes. The thesis will conclude with a chapter on conclusions and recommendations. 53
Chapter 5: Autry Museum of the American West
Museum Background
The Autry Museum of the American West is located in Griffith Park in Los
Angeles, California, and focuses on the art, cultures, and history of the American West.
As stated in its mission, the museum “.. .brings together the stories of all peoples of the
American West, connecting the past with the present to inspire our shared future” (Autry
2018a). The museum was originally named the Gene Autry Museum of Western
Heritage, and was founded in 1988 by Jackie and Gene Autry, and Joanne and Monte
Hale (Autry 2018b). Gene Autry, who had a long career in acting, singing, performance, and rodeo, wanted to create a museum that would exhibit and interpret how the heritage of the West influenced America and the broader world (Autry 2018b).
In 2002, Women of the West Museum merged with the Autry Museum. The
Women of the West Museum was originally founded in 1991 in Boulder, Colorado, and was dedicated to the history of women from all cultures in the American West (Autry
2018b). The merger of the two museums provided not only a physical location for the
Women of the West, but also allowed with the continuing support of its vision through programs and exhibitions at the Autry. In 2003, there was a third merger, this time with the Southwest Museum of the American Indian. The Southwest Museum was founded in
1914 by journalist and amateur anthropologist Charles Fletcher Lummis, and focused on the cultural history and pre-history of the indigenous peoples of the Americas (Autry
2018b). A combination of financial difficulties, collections care needs, and facilities 54
issues led to the decision to merge, and resulted in the creation of the Autry Museum of the American West (Autry 2018b).
The Autry Museum of the American West has many temporary, ongoing, and special exhibits on display. The temporary exhibits feature photographs, and focus on
Chicano art and culture in Los Angeles. Ongoing exhibits include displays about the
California environment using art and cultural objects, displays of artwork of the West focusing on religion and landscape, art featuring the evolution of the Cowboy, an exhibition on Colt revolvers, and an exhibition of Pueblo pottery (Autry 2018c). Special exhibits include displays of firearms, an exhibition on Gene Autry during WWII, and an art exhibition developed by students (Autry 2018d). The Autry Museum also has a number of outreach programs, that include working with teachers and local schools
(Autry 2018e).
The Autry museum also offers a number of fellowships for researchers, which are available to graduate students and scholars, and allow access to the museum’s online library, as well as to collection information not readily available to the general public
(Autry 2018f). The Autry Museum also has prizes available, such as the Butcher Scholar award, originally offered by the Women of the West Museum, which provides a prize for innovative projects deepening the understanding of the history of women in either the historical or contemporary American West (Autry 2018g).
The Autry Museum maintains three locations: the original Autry Museum building, the Southwest Museum building, and their collections facility known as the 55
Resources Center of the Autry. The museum collection includes over 600,000 artifacts, artworks, and archival materials, focusing on the diverse art, history, and culture of the
American west (Autry 2018b). The library and archives holdings of the museum contain both primary and secondary resources on the people and cultures of the American west
(Autry 2018h). The contents of the holdings include maps, books, serials, photographs, artwork, sound recordings, and manuscripts. Some of the library holdings can be searched through their online database, or the museum can be contacted directly to view additional records (Autry 2018h). The collections of the Autry Museum are also available online, and provide the public with access to over 50,000 objects (Autry 2018i). The collection focuses on the themes of California history, Native America, environment and western resources, ranching and cowboys, archeology and anthropology, and popular culture. Highlights of the collection include art, firearms, saddles, Hollywood western memorabilia, and Native American baskets, jewelry, textiles, and ceramics (Autry 2018i).
The Autry Museum also has a section on their website dedicated to the Native
American Graves Protection and Repatriation Act (NAGPRA). The museum states they encourage engagement between the museum and Native communities to consult about the repatriation of objects or other issues regarding the collections (Autry 2018j).
The online collections database contains data and images of the items that have been digitized so far (Autry 2018k). The collections database and the library and archive database are separate, with the collections catalog containing over 50,000 objects, and the library catalog containing over 80,000 objects. 56
The museum started to construct a new collections center in 2010, which is projected to be completed in 2019 (Autry 20181). The center will be located off-site away from the main museum campus, in Burbank, California. One of the features of the new building is full environmental controls, and it will also have state-of-the-art technology and equipment installed. The building will be 100,000 square feet., and will eventually house over 500,000 artifacts and library materials. The new center will not only house collections, but will also serve as an area where students, scholars, artists, tribal representatives, and the public can view and examine the objects (Autry 20181).
When first conceiving the design of the new collections facility, the museum wanted to have a space to safely house the collection (Autry 20181). During the first phase of construction, computerized environmental controls, and fire suppression systems, were installed to contribute to the safety of the collection. As noted on the museum’s website, strict environmental controls are needed for the protection of some of the more delicate objects in the collection, such as Native American baskets and textiles.
In addition to the collection storage spaces, the next phase of construction will create a reading room for scholarly work and conservation labs (Autry 20181). Much of the museum’s collection will eventually be transferred to this space. As of this writing, the library and archives collection have been moved to the Resource Center (Autry 20181).
Until the Resource Center is opened, the collections are not available for in-person research and access (Autry 2018i). 57
Hazardous Collections Management
With the building of the new facility came the need to produce new management procedures. When the objects were moved to the new facility, they had to be carefully packed not just to be safe for the move, but also packed in a way that would make them easier to handle once in the new location (Gen9 ay-Ustiin 2018). For objects requiring special handling, such as delicate or hazardous objects, custom carrying trays and transportation boxes were created. Objects would be placed on trays, which would then be placed inside the transportation boxes for the move. Once the objects made it to the new facility, the outer box would be discarded, but the trays within would remain. This way the objects themselves would not have to be directly handled, but could still be easily moved (Gen?ay-Ustun 2018).
While the new Resource Center is state-of-the-art, with stable environmental controls, the prior Southwest Museum facility was not as advanced (Gen9 ay-Ustun
2018). Before merging with the Autry Museum, the collections of the Southwest Museum were not housed in the best of conditions (Autry 2018b). Contaminants from the old building, such as lead paint, were found near the objects, and have made many of them hazardous (Gen (Gen9 ay-Ustun 2018). These objects were stored with other non-treated objects as well, 58 allowing for cross-contamination to other objects. Because of this, all of the Autry’s collection objects are handled as if they have been treated (Gen9 ay-Ustun 2018). In order to properly handle these objects, strict procedures are in place. Gloves must be worn when handling all collection objects, and when handling has been completed, hands must be washed thoroughly (Gen?ay-Ustun 2018). Lab coats are also worn when working with objects, and masks may also be required. No food or drink is allowed near the collection area, and all tools that are to be used when working with the collection must be kept in a separate location to avoid contamination with other materials. Sanitation wipes are also used periodically on tools, such as pencils and digital cameras (Gen9 ay-Ustiin 2018). Some objects require different handling procedures than others, based on what they were treated with. In order to know how to handle specific objects, the history of the object must be known. The Autry Museum does this by examining museum records, to determine what compounds their objects may have been treated with in the past (Gen£ay- Ustiin 2018). Another way they determine what specific compounds may have been used is by eliciting information from fumigation companies they contracted with in the past. Information on what toxic compounds may have been used can also be obtained from other local museums in the area which were also collecting similar objects at the same time, to determine what those museums were using on their objects (Gen?ay-Ustim 2018). Other ways that the Autry Museum determines what compounds were used in the past is by conducting tests on the objects themselves (Gen9 ay-Ustiin 2018). 59 Because it is known by the museum that some of the collection objects were treated with pesticides, their staff make a determined effort to inform everyone coming into contact with the collection of the associated hazards (Gen?ay-Ustiin 2018). When going through the repatriation process as a part of NAGPRA, for example, the Autry Museum creates reports for tribes of the types of hazards associated with their objects (Gen9 ay-Ustiin 2018). Everyone on the staff of the museum is also informed of the risks posed by the collection, and required to sign a letter of acknowledgement if they are working with them. Staff are also required to participate in an object handling workshop. Researchers and volunteers are also made aware of the hazards (Gensay-Ustiin 2018). To make hazardous objects safer to handle, in addition to the handling trays that were developed, surface cleaning is another method that is often used. The Autry Museum uses a HEPA vacuum to clean and remove some of the lingering heavy metals present on objects, such as baskets and textiles (Gen?ay-Ustun 2018). The Autry Museum also consulted with outside sources on how to best handle the objects, including with the Arizona State Museum (Gen^ay-Ustun 2018). Analysis The Autry Museum will soon be well-equipped to manage the hazardous objects in its collection. Three observations can be made about the Autry Museum’s approach to working with hazardous collections: first, the Autry Museum follows recommendations about the best ways to manage hazardous collections; the Autry Museum employs unique 60 methods of investigation into the history of its hazardous objects; and third, the museum’s approach to safety is transparent. First, the Autry Museum follows recommendations about the best ways to manage hazardous collections, especially with the building of their new Resource Center and its state-of-the-art environmental controls (Autry 20181). In addition to following recognized guidelines on handling procedures, their staff also use personal protective equipment such as gloves, masks, and lab coats (Gen^ay-Ustiin 2018). The Autry Museum also follows what is recommended by the NPS (2002) on handling objects that have been treated with pesticides, such as those concerning tool storage, washing hands, using gloves and protective equipment, not having food or drinks near the collection, and testing objects for contaminants. The Autry Museum also follows best practice guidelines in how to treat hazardous objects. While the museum follows the guidance of the NPS (2002) by using a HEPA vacuum to remove lingering heavy metals, it also understands that this will not make previously treated objects completely hazard free. Some surface residues may be left over, and in the case of baskets, because of the small crevasses in them, it can be challenging to fully remove all of the contaminants, as Gen^ay-Ustun noted (2018). In following recommendations from the field, the Autry Museum is also offering different approaches to treating hazardous objects. Because pesticide treated objects need careful handling, the Autry Museum developed a carrying tray to move the objects without having to touch the object itself (Gen9 ay-Ustiin 2018). 61 By reviewing museum records and performing testing on objects, the Autry Museum has also developed their own approach to determining what the objects may have been treated with in the past, building on recommendations from the NPS (2002) about how to identify compounds that may be present on objects. Additionally, the Autry Museum also made enquires to other museums in the area, to determine what treatments had been performed on objects in the past, and also contacted local fumigation companies to ask if their records indicated what types of toxins may have been used on the museum’s objects. The Autry Museum wanted to understand as much as possible about the types of hazards associated with their collections, and so, their investigations went beyond just looking internally at their own institution, to contacting outside organizations. Finally, the Autry Museum’s approach to safety is transparent. The Autry Museum informs its staff, researchers, and volunteers of known and suspected hazards, and goes beyond what is recommended in the literature, such as by the NPS with respect to handling, by providing training to all staff on safe procedures and by requiring training workshops. Additionally, the Autry Museum creates a report of the hazards specific to what object is being researched, not just a general handout of hazards that may be present in the collection, as is recommended in the literature (NPS 2002 and Gensay-Ustiin 2018). The Autry Museum is also transparent about how the collections were treated and housed in the past, and even outlines on their website that the conditions in the past were 62 less than ideal (Autry 20181). The museum made it known that they wanted to correct these conditions, and improve their management of collections. Summary The Autry Museum of the American West manages its hazardous collections with thought and care. The museum recognized the impact that poor management can have on the condition of objects, and made steps to correct deficiencies by building their new Resource Center. To protect both the collection and the people who interact with it, the museum has also developed an approach to the management of hazardous collections that builds upon what is found in the literature, is transparent and research-based, and, that in the end, goes beyond the field’s best practices. 63 Chapter 6: SFMOMA Museum Background The San Francisco Museum of Modem Art (SFMOMA), located in San Francisco, California, and is surrounded by many other arts and cultural centers (SFMOMA 2018a). The mission of the SFMOMA states that the museum is “... dedicated to making the art for our time a vital and meaningful part of public life. For that reason we assemble unparalleled collections, create exhilarating exhibitions, and develop engaging public programs. In all of these endeavors, we are guided by our enduring commitment to fostering creativity and embracing new ways of seeing the world” (SFMOMA 2018b). The museum was first founded as the San Francisco Museum of Art in 1935, and collected modem works of art such as paintings and photographs. In 1975 the museum became the San Francisco Museum of Modem Art, to more accurately reflect the museum’s collection, which at that point consisted of thousands of works of modem paintings, sculpture, photographs, design, and media (SFMOMA 2018c). In 1995, the SFMOMA moved to a new facility, and became one of the first museums at the time to have its own institutional website (SFMOMA 2018c). The museum continued to collect works of modem and contemporary art, and in 2009, announced a plan for a new expansion that would provide more gallery space and room for the public, as well as create larger and better conservation facilities for collections (SFMOMA 2018c). In 2016, the museum re-opened with the new expansion accessible to the public (SFMOMA 2018c). I 64 The SFMOMA has many temporary and ongoing exhibits on display, with the temporary exhibits featuring modem works of art from Californian artists, as well as works of design. Political posters from the 1960s to today are exhibited, as well as work from other modem and contemporary artists (SFMOMA 2018d). Ongoing art exhibitions include displays of Pop, Minimal, and Figurative art, as well as American Abstraction, German art after 1960, and sculpture and paintings from 1900 to today (SFMOMA 2018e). The museum collects in four main areas: painting and sculpture, photography, architecture and design, and media arts. The Painting and Sculpture department focuses on art from 1900 to the present, and includes modernist art from Latin America and the U.S., Postwar German Art, Cubism, Contemporary art from around the world, as well as California and Bay Area artwork (SFMOMA 2018f). The artwork in the Photography Department consists of photos from the beginnings of photography through to the present day (SFMOMA 2018g). The Architecture and Design Department features not only architecture, but also furniture, product design, graphic design, and other works of art that focus on design (SFMOMA 2018h). The Media Arts collection focuses on the various technologies used by artists since the 1960s, and includes a variety of time based media, including video, film, slides, sound, and computer based and live performance (SFMOMA 2018i). The SFMOMA has an offsite storage facility that houses much of the collection when not on display (SFMOMA 2018j). This facility includes a conservation laboratory 65 and mock-up gallery, and is available for tours for both students and researchers (SFMOMA 2018j). Onsite at the main museum building is an open work room and conservation studio that visitors can view from the roof of building (SFMOMA 2018k). When conserving artwork, in addition to collaborating with artists, the museum considers how artwork can change over time based on what it consists of, and develops conservation methods with this in mind (SFMOMA 2018k). During the initial planning phase of the expansion, it was found that LEED certification was needed for the new structure, as it is requirement for all new buildings in San Francisco (Westbrook 2018). To meet the requirements, SFMOMA needed to be sustainable and have low energy consumption, while also being able to maintain the stable climate needed for the management of collection objects. The solution was to design the building in such a way that it would not retain heat. High curved ceilings are one of the features within the new expansion that keep the inside cooler. When large groups of people are present in the museum, the HVAC system will maintain a set temperature and relative humidity. When there are lower numbers of people within the structure, in an effort to consume less energy, the climate control system relies on the natural outside temperature to help regulate the inside temperature. Maintaining the traditional environmental standards of 70 degrees Fahrenheit and 50% relative humidity consumes a large amount of energy (Westbrook 2018). Though relying on the outside temperature will cause the inside temperature to fluctuate, the change will be gradual, and will not harm collection (Westbrook 2018). 66 SFMOMA also has a Collections Study Center that is open to researchers, educators, and students for the study of items not currently on display (SFMOMA 2018j). There are strict guidelines on prohibited items for visitors to the center, including food, drink, and ink pens. It is required that visitors wash their hands before handling objects and wear gloves, as well as not wearing hanging materials such as necklaces or ID badges, as they may damage artwork (SFMOMA 2018j). Any access to objects is granted at the discretion of staff, and certain objects may be restricted if they have not yet been fully processed or prepared for use (SFMOMA 2018j). Hazardous Collections Management Generally, when objects are handled, only museum staff such as conservators, preparators, and registrars are permitted to handle objects, especially when objects may be delicate or hazardous, and require specialized training to handle (Hamilton 2018). Due to the diverse nature of SFMOMA’s collection, the handling procedures will differ depending on the object and its materials (Hamilton 2018). Gloves and other personal protective equipment (PPE) are used, with the exact requirements varying depending on the composition of the object (Hamilton 2018). Because hazardous objects in the collection require specialized handling, each object is clearly labeled with what it contains, and what PPE is required for handling (Hamilton 2018). SFMOMA also reviews object records such as accession documents, for information on what the objects are made of when developing the best procedures for handling (Hamilton 2018). If little information is available on an object, and handling and 67 storage safety is a concern, staff will either attempt to identify the materials to the best of their knowledge or conduct testing (Hamilton 2018). The SFMOMA consults with an industrial hygienist for objects that contain hazardous materials, and apply the hygienist’s recommendations when handling those objects (Hamilton 2018). Other museums and museum professionals, such as the Smithsonian Institution, are also consulted to obtain information on the best methods for handling specific objects within the collection (Hamilton 2018). Another organization that SFMOMA receives hazard management information from is the Occupational Health and Safety Association (OSHA) (Hamilton 2018). OSHA visited the SFMOMA to train staff members on proper safety measures and procedures, regardless of whether or not they will ever come into contact with the collection (Hamilton 2018). OSHA also assisted with the development of safety policy, and gave recommendations on how to safely manage hazards, with specific recommendations on how the museum can safely store and handle hazardous objects (Hamilton 2018). When storing collection objects, SFMOMA houses them in such a way as to protect each object, and the objects around them. Storage takes into account the potential for earthquakes, as the museum is located in an area with seismic activity (Hamilton 2018). Hazardous objects are stored based on the specific needs of the object. For example, if an object is off-gassing or is a risk to other objects and people around it, the object will be stored in a location separate from the rest of the collection, in an area that 68 is less frequented by people (Hamilton 2018). Another way SFMOMA manages hazardous objects is through the availability of clear signage in the areas where the hazardous objects are kept. The signage details the object materials, which of those materials may be dangerous, and the safety procedures for handling them (Hamilton 2018). Analysis Through analysis of the information presented, three observations can be made about the SFMOMA and their approach to hazardous object management. First, SFMOMA follows recommendations about the best ways to manage hazardous collections; management procedures for the collection are object specific; and third, multiple stakeholders have input into how hazardous objects are managed. First, the museum follows recommendations for hazardous object management, which is observable in the construction of the new expansion. As this space is used for collections work and storage, it has environmental controls which allow for the recommended ranges of temperature and relative humidity to be maintained (Westbrook 2018). SFMOMA also follows proper object handling methods. To handle objects, it is required that staff must be wearing gloves, and the museum only allows those with the proper training to handle objects, as is recommended in the literature (Nielson 2010). Another standard recommendation that SFMOMA follows is posting clear signage identifying hazards posed by the collection. Hazardous objects are also clearly labeled in a way that is visible to staff prior to handling (Hamilton 2018). The museum also follows 69 standards when managing hazardous objects by first reviewing documentation for object information on what materials an object is made from, before making decisions about management procedures based on that information (Buck and Camell 2010). Management procedures for hazardous objects in SFMOMA’s collection are also based on general museum recommendations, but are tailored to meet the needs of specific objects. The museum does not have a general management plan for the hazardous objects in the collection, because the hazards present in each work are specific to the object (Hamilton 2018). As the SFMOMA is an art museum, the majority of the collections staff are trained to manage and handle artwork. Though works of art can be created using hazardous materials, it does not happen as frequently as with other collections, so proper training is needed to learn how to handle them. The museum recognizes that proper safety training is needed, and is utilizing OSHA to train staff on the proper procedures (Hamilton 2018). Standards for how to manage and handle a certain object can change depending on the type of hazard present, and so SFMOMA is using the training and recommendations from OSHA to formulate a plan for specific objects (Hamilton 2018). The final observation made about SFMOMA is how their approach to hazardous object management involves the views of multiple stakeholders. According to the AAM (2000), it is the responsibility of museums to ensure that collections are cared for and protected for current and future use by the public. For SFMOMA, while this is true, there are other stakeholders involved in the disposition of objects other than the general public. As stated previously, SFMOMA works closely with artists on the conservation of 70 artwork, and if any type of change occurs to an object, the artist will be consulted (Hamilton 2018). Hazardous objects, due to their composition, can change over time, and so artists have to be consulted on how these objects are to be managed and stored (SFMOMA 2018k) Summary SFMOMA’s approach to managing hazardous objects in its collection is by not only following the recommended standards, but also by consulting with professional organizations, artists, and through internal research. The museum utilizes the input from many sources, to create safer conditions for the management of these types of objects, and have the procedures tailored to meet each object’s specific need. 71 Chapter 7: Denver Museum of Nature and Science Museum Background The Denver Museum of Nature and Science (DMNS) is located in Denver, Colorado, and the museum’s mission is to “Be a catalyst! Ignite our community’s passion for nature and science” (DMNS 2018a). The vision statement of the museum centers around empowering the community of the area, to love, protect, and understand the natural world (DMNS 2018a). The core values of the museum include the love of science, being curious and creative, creating diverse relationships with the community, and thinking critically and acting with empathy (DMNS 2018a). The Denver Museum of Nature and Science began as the Colorado Museum of Natural History, which was incorporated in 1900, and opened in 1908 (DMNS 2018b). The founding collection of the museum is associated with Edwin Carter, who studied birds and mammals of the Rocky Mountains (DMNS 2018b). He sold his collection to a group of Denver citizens, who wanted the collection to be moved to Denver to be available for the public. The museum became very popular once it opened, and another wing was built in 1918. Over the years, the museum acquired many anthropological artifacts, as well as a number of natural history specimens and dioramas. A planetarium was also introduced, and in 2000, the museum changed to its current name, the Denver Museum of Nature and Science, to reflect how nature and science are integral parts of their mission. The museum has displayed many popular exhibits over the years, focusing 72 on subjects such as health, prehistory, and Egyptian history. The museum is also actively involved in research, and has many public programs in place (DMNS 2018b). Current exhibits at the Denver Museum of Nature and Science include displays on Human Health, Gems and Minerals, North American Indian Cultures, Prehistoric Fossils, Wildlife Exhibits, Outer Space, and Egyptian Mummies (DMNS 2018c). The museum also has a “Discovery Zone” exhibit that has interactive activities for children to learn / about science (DMNS 2018d). Two temporary exhibits are currently featured at the DMNS, one focusing on Mexican folk art sculptures, and the other focusing on the different types organisms that glow and emit light (DMNS 2018c). The planetarium at the museum has a wide range of shows, centering on topics ranging from the solar system to black holes (DMNS 2018e). There are five departments within the museum: Anthropology, Earth Sciences, Health Sciences, Space Sciences, and Zoology (DMNS 2018f). The Anthropology Department has both ethnological and archeological materials, a majority of which come from North America (DMNS 2018g). This department also has collections from Central and South America, Africa, Asia, and Oceania. An ethnological art collection is also part of this department, including many archival photographs and documents (DMNS 2018g). The Earth Sciences department focuses on specimen and field research of paleontology and geology, with an emphasis on the region of the Rocky Mountains (DMNS 2018h). The collections of this department include minerals, rocks, meteorites, and fossil invertebrates, vertebrates, and plants (DMNS 2018h). The Health Sciences Department 73 has collections focusing on human anatomy, including anatomy specimens, histology and pathology, plastination, DNA collections, and historical medical objects (DMNS 2018i). ' The Space Sciences Department focuses on research and public programing, with an emphasis on planetary science, astrobiology, astrophysics, instrumentation, data visualization, and education research (DMNS 2018j). The Zoology Department focuses on research, object management, and educational and public programing (DMNS 2018k). Though the span of the Zoology collection comes from all over the world, current collecting activities focus on the great plains and the Rocky Mountains. The department has over 90,000 specimen and specimen groups in their collection, with one grouping containing 40,000 vials of arachnids (DMNS 2018k). They also have several thousand specimens of insects, shells, birds, mammals, and botanicals (DMNS 2018k). In 2014, a new addition was made to the museum, adding 126,000 square feet, and creating the Morgridge Family Exploration Center and the Avenir Collection Center (DMNS 20181). The Morgridge Family Exploration Center is three levels and features many programs that help visitors understand science and the natural world. The Collections Center is 63,000 square feet and houses the majority of the museum’s 4.3 million objects that the museum houses (DMNS 20181). The Denver Museum of Nature and Science constructed the Collection Center to better preserve the collection and to meet the standards of best practices through climate control and stable storage environment (DMNS 2018b). The center has two floors, and was custom made, with input from the research and collections staff incorporated into its design (DMNS 2018m). 74 It has climate control, and workspaces for researchers and conservators to safely access the collection. With the creation of the Center, it is the first time that the museum’s collections have been housed in a state-of-the-art environment (DMNS 2018m). Hazardous Collections Management When developing ideas about how to best design the new Collections Center, the Denver Museum of Nature and Science used several different resources. One resource was the Society for Preservation of Natural History Collections (SPNHC), an organization which the museum is a member of (Stephenson 2018). SPNHC is an international organization that promotes the preservation and management of natural history collections, and offers members information and resources (SPNHC 2018). Because SPNHC is a professional organization, with many resources, the DMNS looked to them for information on what the best practices and standards are for the management of natural history collections (Stephenson 2018). Another resource the museum consulted was the Center for Disease Control (CDC). As multiple departments within the museum still actively collect specimens from the field, and as those specimens may have hazardous pathogens within them, the museum received recommendations from the CDC on the best ways to safely process these specimens (Stephenson 2018). For objects that also pose a risk of fire, the local fire marshal was consulted for recommendations on how safely store them, and also to learn what regulations may exist in regards to their housing. Staff from the Denver Museum of Nature and Science took many outside field trips to other museums in North America to 75 observe how other institutions were managing their collections, and then incorporated the best aspects of how these museums managed collections into their own designs for the new Collections Center (Stephenson 2018). Other online resources from both the U.S. and Canada were consulted as well. When analyzing recommendations for the design of the new facility, it was decided to incorporate both a holding area and a lab area for newly acquired objects into the space (Stephenson 2018). Objects are held or worked on in this quarantined space, until they are ready to be safely stored with the rest of the collection (Stephenson 2018). Also integrated into the design of the Collections Center were closed cabinets for the dry collections. These cabinets are tightly closed so no air flows within them, helping keep potential air contaminants away from the objects, and to keep potential contaminants from getting out (Stephenson 2018). For the fluid preserved collections, custom fire-safe cabinets were made to safely house them. Each cabinet drawer was custom made for the objects, and has custom inserts as well. Catch basins were also built into the cabinets for added safety. All of the fluid preserved specimens are stored either on the basement level or on the first level of the storage facility, as only so many gallons of fluid preserved specimens can be stored in one area at a time. These areas also have built-in fire detection and fire suppression systems (Stephenson 2018). The Denver Museum of Nature and Science also incorporated best practice recommendations into their handling procedures. The objects in their collection contain a variety of hazards, and have different handling requirements depending on the specific 76 object. The dry collection specimens, for example, may have been treated with pesticides such as DDT, arsenic, or mercury in the past. For these items, nitrile gloves are always used when handling them (Stephenson 2018). The amount of personal protective equipment used depends on the object. Masks are used when handling objects that off-gas harmful fumes, such as fluid and arsenic treated specimens (Stephenson 2018). When these items are being worked with, a fume hood is also required. Other procedures that the Denver Museum of Nature and Science have in place include limiting access to hazardous objects to those who have the training to handle them (Stephenson 2018). This is especially true for the fluid preserved specimens. If a specimen comes into the collection that was preserved in formalin, for instance, the formalin needs to be cleaned out and replaced with ethanol. The formalin itself is very toxic, and the mixing of the replacement alcohol must be done carefully. Only trained staff are allowed to work with the alcohol (Stephenson 2018). Researchers and scholars can have access to objects that have already been processed, but are required to wear gloves. Researchers doing any destructive sampling of objects need to wear masks in addition to gloves, and no food or drink is allowed in the collection area (Stephenson 2018). Scholars and researchers visiting the collection are made aware of the hazards, and signage is posted noting the specific types of hazards present (Stephenson 2018). Material Safety Data Sheets are also available that list protocols for how to handle each chemical as well. Because much of the handling and management is restricted to staff, 77 staff are trained on how to handle these objects. Not only are they trained to handle these objects, they are also trained on how to dispose of the hazardous components of objects (Stephenson 2018). When preparing newly collected specimens, the staff also receive training on how to properly dispose of biohazards. The Denver Museum of Nature and Science incorporates best practices when it comes to managing objects that first enter the collection. When items first arrive, they are frozen, to kill any pests that may be present (Stephenson 2018). Next, the object is moved to a controlled quarantined area away from the rest of the collection. If the museum is not sure if the object has been treated with pesticides in the past, the object is cleaned with a HEPA vacuum. Any object that may have arsenic associated with it is handled under a fume hood, and carefully cleaned. The object will then be brushed or gently vacuumed, making it safer to handle (Stephenson 2018). The museum also does testing on objects to determine what specific types of hazards they may contain. Spot testing, for example, is performed for arsenic and mercury, and testing for biohazards is performed as well. Analysis The following three points about the Denver Museum’s approach to managing hazardous collections can be made: first, the museum follows recommendations from the field about the best ways to manage these kinds of objects; second, the museum considered and integrated a hazardous collections management into the design of their new facility; and finally, the museum has developed strict safety procedures, as outlined below. 78 The Denver Museum of Nature and Science has taken a “best practices” approach in managing its hazardous collections, by following what is recommended by the NPS when handling previously pesticide treated items, including the wearing of nitrile gloves when handling (NPS 2002). Fume hoods are also used, as is recommended, as are other types of personal protective equipment (NPS 2002). Another area of best practices that the Museum follows are the recommendations for storing fluid preserved specimens; wet specimens are stored in a location with fire suppression systems in place, and on shelving with a guard lip (NPS 2001). The Denver museum of Nature and Science also consulted with local fire officials on the layout and design of the storage area, as was recommended in the literature (NPS 2001). The NPS also recommends that access to these types of hazardous objects be limited to those who are trained to do so, which the Denver Museum of Nature and Science also follows (NPS 2001). The museum also cleans objects to lessen the risks they pose, and uses HEPA vacuums for that purpose (NPS 2002). The Museum also uses Material Safety Data Sheets to supply information about what hazards an object may be associated with (NPS 2002). Second, the Denver Museum of Nature and Science integrated hazardous collections management best practices into the design of their new facility, and developed policy and procedures in light of recommendations from outside experts. The museum visited collections facilities at other institutions for inspiration and guidance on how to best manage collections, especially hazardous ones. The museum analyzed all the information they gathered and then developed approaches appropriate to the needs of 79 their own collection. For example, while analysis indicated that a fire proof room would be useful for the fluid specimens, it was not possible to include one in the final design of the facility. Instead, the museum installed fire safe cabinets that were custom built for their collection (Stephenson 2018). Thus, the Denver Museum of Nature and Science took what had been recommended and adapted it to fit their unique situation. The literature also recommends that museums have a separate area for new acquisitions to determine if they are hazardous, and the Denver Museum of Nature and Science created a holding area and lab area to work specifically with these types of objects (Stephenson 2018). Finally, the DMNS has developed strict safety procedures that support their work with hazardous collections. The NPS recommends only those with training have access to hazardous collections, but the museum takes it a step further and only allows trained staff to process these types of objects. Though researchers and other scholars are able to access these objects under certain circumstances, the staff can restrict access to objects they conclude are too dangerous. Even among staff, access is restricted for certain objects, especially those that contain alcohol, due to the specialized training its handling requires (Stephenson 2018). Summary The approach of the Denver Museum of Nature and Science to managing hazardous collections is conducted within a framework of best practices. From facility design and handling procedures, to the day-to-day management of objects, the Denver Museum of Nature and Science is proactive in its approach to managing hazardous objects, especially when it comes to the safety of staff and objects. 81 Chapter 8: UCLA Film and Television Archive Museum Background The University of California, Los Angeles Film and Television Archive is located in Santa Clarita, California, and is part of the university’s School of Theater, Film, and Television (UCLA 2018a). UCLA is the largest university in the state of California, and the Film and Television Archive is the second largest moving image archive in the United States, after the Library of Congress (UCLA 2018b). The mission of the Archive states "Moving images constitute an integral part of our diverse national culture as works of fiction, art, social document or historical record providing knowledge, inspiration and enjoyment to audiences. UCLA Film & Television Archive advocates the robust circulation of all moving images in all formats by collecting, preserving, curating and making accessible these media for research, education and entertainment” (UCLA 2018c). The UCLA Film and Television Archive began as the Academy of Television Arts (ATAS) and the UCLA Television Library in 1965 (UCLA 2018b). In 1968, the faculty of the school founded the Film Archive, and in 1976 the ATAS/UCLA Library and the Film Archive merged to become the UCLA Film and Television Archive (UCLA 2018b). During the early years of the Archive’s history, they had received collections from major television and movie studios, such as ABC and Paramount. In 1977, the Archive launched a preservation and restoration program for its older films, and in 1988 held its first Festival of Preservation, showcasing recent restoration projects to the public. In 2008, the Archive’s nitrate film holdings were moved to a newly built facility. The 82 archive has undertaken a number of restoration, preservation, and digitization projects, and now has many of their holdings available online (UCLA 2018b). The UCLA Film and Television Archive offers a variety of public programs and screenings of its holdings, with screenings taking place at a separate location at the Billy Wilder Theater in Los Angeles. The theater is equipped to show a number of different films in their original formats (UCLA 2018d). The screenings change periodically, highlighting different themes and actors, documentaries, family films, and recent restoration projects (UCLA 2018e). The Archive offers screenings and tours for other institutions as well (UCLA 2018f). The UCLA Festival of Preservation showcases newly restored pieces from the Archive’s holdings, and in the past, films from classic Hollywood, silent films, documentaries, and television specials have been shown (UCLA 2018g). Preservation and archives professionals have also appeared at this event to discuss their work with the public (UCLA 2018g). Part of the Archive’s collection is housed on the UCLA campus at the Archive Research and Study Center (ARSC) (UCLA 2018h). This facility contains over 350,000 film and television programs, 100,000 news and public affairs programs, and 2,000 radio programs (UCLA 2018h). ARSC also sponsors exhibitions, scholarly workshops, publications, and symposia on topics related to film, television history, and criticism (UCLA 2018h). The holdings can be accessed for research through the university’s library, and are available to students and researchers. (UCLA 2018i). Viewings of the films can only take place on-site, and while copies can be made from a select number of 83 the holdings, the originals themselves do not circulate (UCLA 2018j). Due to the poor condition of some of the original materials, there are holdings that can not have copies made. Increasingly, the UCLA Film and Television Archive is transferring their holdings to either polyester film or digital formats as a way of preserving the film (UCLA 2018k). This is done in order to make their films more widely available for the public to view, and for ease in distribution of their films for festivals and screenings. The goal of this project is to have their films transferred to a medium that will last, as many older mediums, such as nitrate and acetate, are unstable. The Archive’s process of restoring film involves researching for the best surviving cuts of a film, repairing splices and perforations, re-recording soundtracks, and restoring faded prints (UCLA 2018k). The UCLA Film and Television Archive has a variety of different holdings in its collection. The Archive has motion picture film dating back to 1890, with many from major studios such as Columbia, Paramount, Warner Brothers, and 20th Century Fox (UCLA 20181). Other types of films in the collection include independent and amateur films, home movies, and industrial and sponsored films. Major donations of motion pictures have come from organizations such the Academy of Motion Pictures and Sciences as well as from numerous individuals. The television holdings in the collection include a collection from ABC-TV of over 20,000 titles dating back to the 1940s, and over 10,000 commercials. The Archive also has a newsreel collection from Hearst Metrotone, in addition to a collection of news programs and broadcasts of local, network, 84 and cable news (UCLA 20181). Other holdings of the UCLA Film and Television Archive include In the Life, a New York public television program focusing on LGBT representation and equal rights advocacy. Also in the collection are works from the L.A. Rebellion initiative, featuring works from African and African American UCLA film school students (UCLA 2018h). Hazardous Collections Management While some of the film holdings are stored in the ARSC facility, the nitrate and acetate collections are stored separately in an offsite facility. In 2008, in an ongoing partnership with the Packard Humanities Institute (PHI), a new state-of-the-art storage vault was constructed (UCLA2018b). The building of the new facility was the first part in a long-term plan to build other preservation vaults for the rest of the UCLA Film and Television Archive collection, and is equipped with laboratories, workrooms, and viewing theaters (UCLA 2018b). When first constructed, the design of the building and the storage procedures were developed specifically to house and manage nitrate film (Gaiarsa 2018). When PHI was designing the building, much research was conducted on the best ways to protect the building and collections from fire. The same company that had designed the collections facility for the Library of Congress was hired to construct the new facility, and their knowledge and experiences allowed them to improve upon the design of the new UCLA facility (Gaiarsa 2018). The storage and handling procedures developed by the staff was also based on extensive research. The development of these policies and procedures also relied on input 85 from the local fire department, as well as the UCLA Office of Environment, Health, and Safety (Gaiarsa 2018). In their management of the film, the Archive also follows the standards produced by the National Fire Protection Association (NFPA), as well as following the guidelines set in the NFPA 40: Standard for the Storage and Handling of Cellulose Nitrate Film (Gaiarsa 2018). In addition to following these guidelines, the Archive is also required to report to local and state agencies that they hold nitrate film within their facility, and that the collections on-site are hazardous. In California, this includes the California Environmental Reporting System (CERS), and the CERS local government agency known as Certified Unified Program Agencies (CUPA) (Gaiarsa 2018). Each year the Archive is required to report any changes to their policies or storage procedures of the nitrate collection, and provide documents reporting the amount of nitrate they have, their emergency procedures, the lay out of the facility, the locations of where nitrate is contained, staff training, response measures, and evacuation procedures (Gaiarsa 2018). Because of the risk from fire that nitrate film poses, the environment in the storage vault is closely monitored. In the nitrate storage vault, the temperature is kept at 35 degrees Fahrenheit, with a relative humidity of 28% (Gaiarsa 2018). Inside each storage vault is a fire line mounted on the ceiling to detect fire, as well as a sprinkler system, and an air particle reader, all of which monitors the environmental conditions inside the vault (Gaiarsa 2018). If the sprinkler system is activated, the shelving units that store the film are designed to be slanted on the top, so the water will slide down and not 86 damage other objects (Gaiarsa 2018). A blast panel is also built into the wall of each storage area, that in the event of a fire, will blow out if the pressure builds up. This panel leads to a chimney that will then draw smoke away from the collection (Gaiarsa 2018). The ventilation system of each vault is on a shared system, with each vault being pumped with the same air. In the event of a fire in one of the vaults, a monitoring system will shut off the vent leading to that room, preventing smoke from entering the other vault areas. While the ventilation system for one room will be shut off, the system will continue working for the other vault areas (Gaiarsa 2018). To protect other areas of the building from fire, all windows and doors leading to the outside are behind five-inch-thick concrete, and have metal shielding that will cover them in the event of a fire (Gaiarsa 2018). The way the nitrate film is stored also protects against fire. There is a regulated limit to how many pounds of nitrate can be stored in any one area, so each vault only contains a limited amount of film (Gaiarsa 2018). While some of the films are stored in archival boxes, many are stored in metal film canisters. The canisters are stored on shelves in stacks of either one or two, as each are only big enough to hold two at a time. This is to prevent fire from spreading from one canister to another. If a fire were to occur in a canister, the pressure may cause the lid to come off and then spread to other areas of the collection. Having the compact shelving spaces decreases the chance of the lid coming off, and should a fire occur, it would be contained within the canister (Gaiarsa 2018). 87 The Archive collection also contains acetate film, and because acetate is not as hazardous as nitrate film, the management procedures for storing this film are slightly different. Acetate can still pose a danger to other objects though if it is allowed to degrade and develop into “vinegar syndrome” and begin to off-gas damaging acidic vapor, so the Archive closely monitors the temperature and relative humidity in the acetate storage areas (Gaiarsa 2018). The temperature of these areas is kept in the low 40s, with the relative humidity maintained at 32% (Gaiarsa 2018). Because there are no regulations limiting the amount of acetate that can be stored in any one place, the acetate film is stored in stacks in compact storage (Gaiarsa 2018). To decrease the chances of vinegar syndrome from occurring, the outer shelving of the compact storage shelves have perforated holes to allow for ventilation (Gairsa 2018). When developing the design of the new storage facility, other safety precautions were taken, such as the construction of a decontamination room. When the Archive receives film to add to their holdings, the film must first be processed to determine its condition and to determine if it contains nitrate. Regardless of the outside labeling, each shipment is thoroughly inspected before being stored with the rest of the archives (Gaiarsa 2018). The unpacking of shipped materials happens as soon as possible, and the films are sorted and cleaned before entering the vault (Gaiarsa 2018). As acetate and nitrate films each have different management needs, they are stored in separate buildings, each with specialized preparation rooms (Gaiarsa 2018). These rooms are used to clean the film, and are also used when digitization or copying 88 projects take place (Gaiarsa 2018). The preparation rooms are equipped with flexible fume hoods that can be manipulated to draw fumes away when staff are working with the films (Gaiarsa 2018). In the nitrate preparation room, a drop down metal screen was installed to shield any windows and doors in case of fire. Both preparation rooms are also equipped with emergency eye wash and shower stations. The staff of the UCLA Film and Television Archive also receive safety training through OSHA. In addition to staff, any person working within the building must to go through OSHA training, even outside service providers such as electricians or plumbers (Gaiarsa 2018). Handling chemicals used in the cleaning of film requires more specialized staff training and the use of fume hoods, as these chemicals are highly toxic (Gaiarsa 2018). Due to the condition and hazardous nature of the collection, researchers and scholars are not allowed to directly handle the objects, and access is strictly limited even among staff. The Archive has a disaster plan that Staff are also trained on in the event of an emergency. Emergency procedures for the building include each floor having a “floor warden” that leads their floor outside to an evacuation site if needed. In the case of a fire, this site is upwind of potential smoke, as even the smoke from nitrate fire can be hazardous (Gaiarsa 2018). Other safety procedures at the Archive include a sign-in sheet at each entrance of the two vaults, to account for people in the building in case of emergency (Gaiarsa 2018). 89 Analysis Three observations can be made about the UCLA Film and Television Archive’s approach to managing hazardous collections: first, the Archive follows professional recommendations about the best ways to manage hazardous collections; the Archive modifies industry best practices to fit the unique needs of their collection; and third, the Archive has instituted thorough safety measures in collection areas as a precaution against fire. First, the Archive follows professional recommendations on hazardous object management, especially in their safety procedures. As is recommended by the AAM (2018a), an emergency plan is in place that staff are trained on, and they also have strict policies in place for who is allowed to access the collection. The Archive also follows recommended standards set by the Smithsonian (2010), and requires that any person that may come in contact with the objects, such as staff or contractors, be made aware of the dangers before entering. Other recommendations that the Archive follows include training staff on the proper handling procedures, and restricting handling of hazardous objects only to staff members with the specific training to do so (Smithsonian Institution 2010). Though the UCLA Film and Television Archive follows recommendations from the field, it was observed that the Archive modified some of these recommendations to fit their own needs. While the standards recommended by the NPS (1999) state that both nitrate and acetate film should be stored at zero degrees Fahrenheit, with a relative 90 humidity of 30%, the Archive maintains the temperature of their nitrate at 35 degrees Fahrenheit, and the acetate vaults at a temperature of around 40 degrees Fahrenheit. The broader standards were put in place assuming the films would not be used again, but the Archive still actively makes use of their films for research and screenings (UCLA 2018). The films are also in the process of being copied and digitized, and so their management standards were modified from the accepted industry standards. To work with and maintain the films, storage conditions need to be cold enough that the film does not pose a risk of fire or degrade, but warm enough that copying projects and screenings can still take place. Finally, the UCLA Film and Television Archive has thorough fire safety measures in place, not just in collection areas, but throughout the building. The Archive takes many precautions to prevent fire, but is also prepared to suppress and contain a fire as well. As is recommended by the NPS (1999), the Archive stores both nitrate and acetate films separately from one another, in well ventilated, climate-controlled rooms with fire suppression systems. The NPS also recommends following the rigorous standards set by NFPA 40, by having strict monitoring of the storage areas (NPS 1999). The Archive follows these fire safety measures, and improves upon them by monitoring not only the film within facility, but also shipments of film coming in. The Archive requires advanced notice of any hazardous nitrate present in shipments, and thoroughly inspects any shipment of film coming into the facility, to ensure complete safety against the risk of fire. 91 Summary The UCLA Film and Television Archive manages its hazardous holdings with fire safety and preservation at the forefront of its concern. From the design of the collections vault, to the safety procedures of staff, the Archive follows best practices for nitrate and acetate management. But the Archive modifies these practices to meet their own needs as well, to continue preservation efforts to make the collection available to the public, and to ensure the safety of its holdings. 92 Chapter 9: Discussion Introduction The four case studies of institutions and their management of hazardous objects were presented in the previous chapters and were preceded by a review of the literature. In this chapter, three key themes concerning how museums manage hazardous objects are discussed: hazardous collections care can be a motivating factor in upgrading collections facilities; planning for how to address the care and management of hazardous objects is important; and museums can both meet and exceed standards for safety in managing hazardous objects. Finally, the chapter will close with a summary. Hazardous Collections and Upgrading Collections Facilities Across each case study, a new collections storage facility has been built in the last ten years. The reason for the construction of the facilities was to better preserve and manage the collection. For three out of the four case studies, the previous environment that the collections were stored in was inadequate, and in some cases, was causing harm to the objects. For example, at the Autry Museum, the collections acquired from the merger with the Southwest Museum left the Autry with many objects which had previously been stored in less than ideal conditions. As a result, many of the objects had been stored in such a way that caused damage, making the objects more hazardous, and causing surrounding collections to become hazardous as well (Gentjay-Ustiin 2018). The same is true at the Denver Museum and the UCLA Archive. Another contributing factor to the poor condition of the collections in the case study museums was the unstable 93 environment in which they were stored in. The resulting conditions of the objects are consistent with what was found in the Heritage Health Index survey, which linked poor management with poor condition of objects (IMLS 2005). Interestingly, to prevent any further damage to the collection, each case study organization built a collections facility which met current professional standards. One of these standards was environmental controls. The presence of environmental controls was consistent across all cases, with the stability of the temperature and relative humidity the chief concern. The Denver Museum, Autry Museum, and the UCLA Archive all highlighted stable temperatures and relative humidity as a priority, as previous storage locations had unstable fluctuations in their environment. For the SFMOMA, while they relied on the gradual change of the seasons to regulate the storage environment instead of having a fixed temperature and relative humidity, the focus was still on achieving a stable environment, and preventing extreme fluctuations (SFMOMA 2018). Another professional standard was adequate storage space, and each case study organization achieved this by incorporating the standards into the design of the collections facilities. Collection objects were then stored according to their own unique needs, which in turn contributes to their long-term preservation. For the hazardous objects in the collections, storage areas were designed specifically with them in mind. The Denver Museum had special cabinets made for the dry collections that keep contaminants from hazardous objects from damaging the rest of the collection (Stephenson 2018). Special shelving was also incorporated for the UCLA Archive in the 94 design of their facility, with the shelving for the nitrate sized to fit only two canisters stacked per shelf (Gaiarsa 2018). In addition to storage areas for the collection, spaces specifically created for the conservation of objects were incorporated into the design of each facility. These spaces were also designed to meet the needs of each institution’s collection type, such as with SFMOMA’s conservation lab having tall ceilings to facilitate some of the larger works in their collection (Hamilton 2018). Due to the hazardous nature of some of the objects in each collection, proper ventilation was a key feature in the design of each of these spaces. Each of the conservation spaces are situated in a separate room from the storage area, for example, to keep contaminants away from other objects in the collection. Other temporary holding areas were also constructed in the case study museums, and contributed to the preservation of collection objects. These areas make study and research of objects safer, because they create a place of safe access to collections. By having a separate room, visitors can access objects that have been prepared and carefully taken from storage. Other collection objects are better preserved by limiting activity in the main storage area. In sum, hazardous collections care is clearly improved by the creation of new, appropriately planned facilities, and collections themselves can be a motivating factor in upgrading collections facilities. Planning for How to Address the Care and Management of Hazardous Collections 95 When designing the new collections facilities, each case study museum also conducted extensive research into the best practices of storage as it pertained to their collection specifically. Collections management and best practices were at the forefront of concerns when considering the design of the new facilities. Moreover, in each case, research was done by first examining the present needs of the collection. Each of the case study museums recognized their hazardous objects needed special care in order to preserve them and to make them safe to handle. For example, by carefully examining museum records, the types of materials present in the objects was determined, and a plan was created to manage them. At the Autry Museum, records were reviewed in order to assess which objects had been treated with pesticides in the past (Gencay-Ustiin 2018). Other internal research included testing objects to determine if they were associated with hazardous materials. By knowing what hazards collection objects were associated with, the case study organizations were able to conduct further research concerning the best storage conditions for such objects. External research related to planning was also conducted by consulting professional organizations on best practice methods. Each case study consulted an organization that was relevant to the needs of their collections. For the Denver Museum, this professional organization was the SPNHC, which had experience in the management of natural history collections (Stephenson 2018). Many of the case studies also consulted with government agencies, such as OSHA and the CDC, for the regulations required for 96 specific types of hazards, and to ensure that their new facilities would be up to code. Local government officials, such as local fire marshals, were also consulted by the case study organizations for safety recommendations. Other institutions were also consulted in the planning stages. For the Autry, this consultation was done to acquire more information on the type of pesticides that possibly could have been used on their collections. The museum then created a plan to house them based on the information received (Gen9 ay-Ustiin 2018). Research into how other similar institutions managed their collections was also an integral part of the early planning stages. The Denver Museum used this knowledge in the creation of their own storage facility, for example, while the UCLA Archive used the knowledge learned from the building of the Library of Congress to improve upon their designs (Stephenson and Gaiarsa 2018). The results of this planning are facilities that are state-of-the-art in each of their fields. Because of the in-depth research conducted, each storage facility is consistent with what is recommended in the literature for best practices. All have environmental controls, and housing that keeps both objects and staff safe. The UCLA Archive took what was recommended by the NFPA and incorporated it into the design of their facility (Gaiarsa 2018). The Archive has fire suppression systems and the regulated amount of nitrate allowed in their vaults. The facilities also have equipment, such as fume hoods, that make the management of these objects safer. Much of the management of the dry and wet 97 specimen collections at the Denver Museum require the use of a fume hood, and so numerous hoods were incorporated into the design of the new facility (Stephenson 2018). In sum, planning for how to address the care and management of hazardous objects is important. The research conducted in planning new collections facilities, investigating how to best house hazardous materials, and research on existing museum documentation, resulted in a comprehensive approach that will benefit the future care of these collections. Meeting and Exceeding Safety Procedures While each of the case study organizations follows best practices when it comes to safety procedures for managing hazardous objects, they also build on these practices. Due to the risks hazardous collections can pose to people, testing objects for contaminants is highly recommended by professional organizations (Smithsonian 2010). In compliance with best practices, testing was done by each case study organization to determine what specific types of hazards were present. Furthermore, the case study organizations expanded on these practices by testing new objects as they come into the collection, even if they are not labeled as hazardous. For instance, the UCLA Archive tests all incoming film for nitrate, even if the packaging is not labeled as containing it (Gaiarsa 2018). Overall, the case study organizations have made the decision that the risks posed from mistaking a hazardous object for a non-hazardous one are too great to go unaddressed. 98 Another safety best practice that the case study organizations expanded on was cleaning hazardous objects in order to make them safer to handle. The cleaning measures taken by each museum are specific to the type of collection they are working with. What was recommended in the literature was that the cleaning would make the objects safer, but the cleaning itself may also be hazardous (DOI 2006). When fumes or toxic particulates are an issue, the cases study museums worked with a fume hood, while wearing personal protective equipment as needed. Cleaning is also not guaranteed to make an object completely safe, something that was noted in the case studies but not in the literature. Strict access to the objects was another aspect of safety that was noted across all case study organizations. In the literature, it was stated that any person who may come in contact with hazardous objects should first be made aware of the dangers (Smithsonian Institution 2010). Each of the case study organizations posts that hazardous materials are present, but they also go a step further and limit access to the hazardous objects to staff only. Researchers and other scholars that may want to access these objects for study purposes may receive copies of the object, as is the case with the UCLA Archive, or they may see the object, but are not allowed to handle them. Access to the spaces where hazardous objects are stored is also limited to those within the staff who have had the training to handle them. Each of the case study organizations have staff complete safety training, regardless of whether they will handle the objects, and staff who do not work directly with the objects are not permitted to 99 handle them. At SFMOMA, for example, curation staff cannot remove an object, even for study, as only trained collections and preparation staff are able to (Hamilton 2018). The same is true for the other case study organizations, where clearance into storage spaces are limited to those who have the training. Another part of safety standards that all case study organizations follow is handling procedures. The literature recommends using personal protective equipment, such as gloves, lab coats, and masks, when handing hazardous objects (Smithsonian Institution 2010). Each of the case studies modify these basic procedures to fit specific hazards as they are encountered. For the Denver Museum, for example, while gloves are always worn when handling hazardous objects, the type of mask they use depends on the activity they are doing with the object, and how toxic the object may be (Stephenson 2018). Each of the other case study organizations follow this method as well, wearing appropriate protective clothing as needed. In sum, by carefully considering safety issues in managing hazardous collections, museums can both meet and exceed standards for safety in managing these types of objects. Such an approach supports long-term preservation and protects staff and visitors. Summary This chapter discussed three key themes concerning how museums manage hazardous objects by focusing on collections facilities, planning, and safety. In the next chapter, several conclusions and recommendations to the field are presented. 100 Chapter 10: Conclusions and Recommendations Introduction Hazardous objects are present in many museum collections. While all collection objects require a certain level of basic care, hazardous objects require more specialized management. Improper management of these objects can increase the risk of danger to the health of the people interacting with them, and to the health of other objects in the collection. Although much literature is available on the best ways to properly and safely manage hazardous objects, little information is available concerning how institutions implement recommended practices. In this chapter, three conclusions concerning how museums manage hazardous collection objects will be presented. First, museums must plan and conduct research to create an adequate and safe environment for people and objects; second, institutional support is critically important in managing hazardous collections; and third, facilities upgrades are highly beneficial in the management of hazardous objects. These conclusions will be followed by outlining three recommendations on how museums can approach managing hazardous collections, and the thesis will close with some final thoughts. Conclusions Conclusion #1: Museums Managing Hazardous Collections Must Plan and Conduct Research 101 More research and planning about the management of hazardous collections needs to be completed by museums that house these collections so that adequate and safe environments can be created for people and objects. Hazardous objects are unique in each of their needs, and a general approach cannot be taken in their management. What may be an adequate management procedure for one set of hazardous objects may not be for another group of such objects. To properly and safely manage hazardous collections, research on areas ranging from storage and design to the presence of hazardous materials in objects, as well as policy development, needs to be conducted first. To develop the best storage situation, for example, extensive research on storage methods and design must be conducted. For new facilities, research and planning is critically important to tailor spaces to fit the needs of the collection. From the placement of ventilation to the thickness of the walls, planning well ahead of time is crucial. Research on best practices will also benefit the development of policies and procedures for managing a museum’s hazardous collections. In addition, to ensure that hazardous collections are not damaged by inappropriate handling, and that staff and visitors are not exposed to unnecessary risks, research into best practices in these areas must be conducted. Institutions that plan and conduct research are well-positioned to share the results of these efforts with their senior managers and governing bodies in order to advocate for upgrading or replacing facilities that house hazardous collections. Such research can 102 inform long-term planning for organizations to ensure that hazardous objects are housed properly. Conclusion #2: Institutional Support is Critically Important Institutional support is needed if best practices in hazardous collections management are to be a reality in museums. Hazardous objects not only require specialized care, but to manage them according to best practices, enough resources must be allocated toward their management. Having the equipment budget needed to manage these objects, such as specialized gloves, masks, and eye ware, is one resource that is needed. Constructing a collections facility for these objects specifically means that resources for other areas of a museum have to be directed elsewhere. Before a facility can be constructed, the museum management will have to agree that hazardous collections care is important, and that a collection space built to meet standards is necessary. Proper training among the staff is also necessary for hazardous object management, and not just for those who work directly with the collection. Museum wide training shows support from the whole institution in the management of these types of collections. Implementing best practices in the management of hazardous objects takes effort, and for other institutions that may want to standardize care of collections in the future, having the support of their management and fellow staff is crucial, especially as policy development involves senior management and other governing bodies. Conclusion #3: Facilities Upgrades are Highly Beneficial 103 Finally, for museums to be able to manage hazardous collections comprehensively, institutions must reexamine their own facilities, and assess whether they need to upgrade, modify, or create new facilities. Facilities upgrades are highly beneficial in the management of hazardous collections. While the benefits of well-designed facilities for housing hazardous collections are clear, and include safer conditions to manage hazardous objects, easier control of the flow of contaminants from objects, and special areas for specific objects, many institutions may not be able to upgrade or build new collections facilities. Developing new and improved procedures to better handle hazardous objects is one option, but to make the management of hazardous collections truly safe and to conform with current standards, the entire environment that surrounds these collections needs to be controlled, which may be a difficult task in an older facility. Recommendations Recommendation #1: Museums Should Share Designs of Collections Facilities First, museums that have built new collections facilities should have a way to easily share their design plans for the housing of hazardous collections with the museum community. While the literature outlines standards for the management of hazardous objects, few examples of how these standards are implemented in practice are available. When institutions build a new facility, it would be immensely useful if systems could be developed to share how staff worked to interpret the standards for specific kinds of hazardous objects. 104 Information on the precise layout of the space and other sensitive information that museums do not want to release can be withheld, but even a description of how a museum designed a facility in the context of hazardous collections can assist other institutions in how they manage their own collections. Examples should also be added to the literature, and doing so will benefit other institutions in planning for facilities upgrades or replacements. As a suggestion, professional museum organizations such as the AAM or SPNCH could provide this information as a resource to their members, with information compiled based on collection type. Recommendation #2: More Research Concerning Hazardous Art Collections Should Take Place Second, more research is needed on how hazardous art objects are managed in art museums. Much of the literature available on hazardous object management is geared toward history and natural history collections, even though objects in other types of collections are known to be associated with hazardous materials. Although hazardous objects in art museums are not the same across all types of art museums, artworks can be composed of a variety of elements such as pigments, chemicals, metals, plastics, or other materials that can be hazardous. More research should be done to assess common object hazards in art museum collections, whether they be museums that house ancient, modem, or contemporary art. More research should be done on how art museums are managing these types of collections as well, so that information can be shared across all museum types. As mentioned in the above recommendation, real life examples of how art 105 museums are managing hazardous collections should also be made available for others to access. Recommendation #3: More Resources Must be Allocated Finally, museums must allocate more resources toward the safe management of hazardous collections. As stated in previous chapters, hazardous objects require specialized management. This management includes storage, handling, and training in order to ensure that staff and other objects in the collection are safe. While the case study institutions were able to allocate the resources necessary to upgrade the management of their hazardous collections, this only took place after a period of inadequate care, which likely caused much concern for the safety of staff and put objects at risk. Museums should not wait until their collections become too risky to handle, or until an emergency occurs to implement best practices. Even though it can be difficult for senior management to understand how investing in prevention ahead of time can save money in the long run, collection managers should still advocate for funding or allocate resources from their own budgets when possible. In the end, institutions must find the resources to manage their hazardous collections properly before the risk to their staff and the public becomes too great. Final Thoughts The goal of this thesis was to contribute to the development of best practices in hazardous collections management. From objects stored in formaldehyde-filled jars and shelves bursting with nitrate film, to multimedia artwork and collections treated with 106 pesticides, many museums possess hazardous collections which, if improperly managed, pose a risk to both people and other objects. While a better understanding of how to assess and manage hazardous collections objects will contribute to mitigating risk, research on and information about specific hazards needs to be more widely shared across the museum community. It is not enough to simply provide a list of recommended practices and expect museums to find the best methods for implementing those practices themselves. 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Westbrook, Lindsey. 2018. “Optimize, Optimize, Optimize: Museum Conservation in the LEED Era.” SFMOMA, Accessed April 29, 2018. https://www.sfmoma.org /read/optimize-optimize-optimize-museum-conservation-leed-era/. Appendix 1: American Alliance of Museums, “Code of Ethics for Museums Am erican Alliance of Museums About Us Events Resources Membership About Museums Advocacy Home > Ethics Standards and Best Practices > Code of Ethics for Museums Join the Alliance Code of Ethics for Museums Membership is the foundation for excellence and unites the field Adopted 1991 amended 2000. Please note that the Code of Ethics for Museums references the American Association of Museums (AAM) now called the Amencan Alliance of Museums Resource Library Ethical codes evolve in response to changing conditions, values and ideas. A Reference guides, articles and professional code of ethics must, therefore be periodically updated. It must also rest tools to help you and your upon widely shared values. Although the operating environment of museums grows museum succeed more complex each year the root value for museums the tie that connects all of us together despite our diversity, ts the commitment to serving people, both present and future generations This value guided the creation of and remains the most fundamental principle in the following Code of Ethics for Museums Code of Ethics for Museums Museums make their unique contribution to the public by collecting, preserving and interpreting the things of this world Histoncally. they have owned and used natural objects, living and nonliving, and all manner of human artifacts to advance knowledge and nourish the human spirit Today, the range of their special interests reflects the scope of human vision. Their missions include collecting and preserving as well as exhibiting and educating with materials not only owned but also borrowed and fabricated for these ends Their numbers include both governmental and private museums of anthropology, art history and natural history, aquariums arboreta art centers, botanical gardens, children's museums historic sites, nature centers pianetariums. science and technology centers and zoos The museum universe in the United States includes both collecting and non-collecting institutions Although diverse in their missions, they have in common their nonprofit form of organization and a commitment of service to the public Their collections and/or the objects they borrow or fabricate are the basis for research, exhibits and programs that invite public participation Taken as a whole museum collections and exhibition materials represent the world s natural and cultural common wealth As stewards of that wealth, museums are compelled to advance an understanding of all natural forms and of the human experience It is incumbent on museums to be resources for humankind and in all their activities to foster an informed appreciation of the rich and diverse world we have inherited It is also incumbent upon them to preserve that inheritance for posterity. Museums in the United States are grounded in the tradition of public service They are organized as public trusts, holding their collections and information as a benefit for those they were established to serve Members of their governing authority, employees and volunteers are committed to the interests of these beneficiaries. The law provides the basic framework for museum operations As nonprofit institutions, museums comply with applicable local, state and federal laws and international conventions, as well as with the specific legal standards governing trust responsibilities This Code of Ethics for Museums takes that compliance as given But legal standards are a minimum Museums and those responsible for them must do more than avoid legal liability, they must take affirmative steps to maintain their integrity so as to warrant public confidence They must act not only legally but also ethically This Code of Ethics for Museums, therefore, outlines ethical standards that frequently exceed legal mmimums Loyalty to the mission of the museum and to the public rt serves is the essence of museum work whether volunteer or paid Where conflicts of interest arise— actual potential or perceived— the duty of loyalty must never be compromised No individual may use his or her position in a museum for personal gain or to benefit another at the expense of the museum its mission its reputation and the society it serves For museums, public service is paramount. To affirm that ethic and to elaoorate its application to their governance, collections and programs, the American Association of Museums promulgates this Code of Ethics for Museums. In subscribing to this code museums assume responsibility for the actions of members of their governing authority, employees and volunteers in the performance of museum-related duties. Museums, thereby, affirm their chartered purpose ensure the prudent application of their resources, enhance their effectiveness and maintain public confidence This collective endeavor strengthens museum work and the contributions of museums to society— present and future Governance Museum governance in its various forms is a public trust responsible for the institution's service to society The governing authority protects and enhances the museum's collections and programs and rts physical human and financial resources It ensures that all ttiese resources support me museum's mission respond to the pluralism of society and respect the diversity of the natural and cultural common wealth Thus the governing authority ensures tfiat • all those who work for or on behalf of a museum understand and support rts mission and public trust responsibilities • its members understand and fulfill their trusteeship and act corporately not as individuals • the museum's collections and programs and its physical, human and financial resources are protected maintained and developed in support of the museum's mission • it is responsive to and represents the interests of society • it maintains the relationship with staff in which shared roles are recognized and separate responsibilities respected • working relationships among trustees employees and volunteers are based on equity and mutual respect • professional standards and practices inform and guide museum operations • policies are articulated and prudent oversight is practiced • governance promotes the public good rather than individual financial gain Collections The distinctive character of museum ethics derives from the ownership care and use of objects specimens, and living collections representing the world's natural and cultural common wealth This stewardship of collections entails the highest public trust and carries with it the presumption of rightful ownership permanence, care, documentation accessibility and responsible disposal Thus the museum ensures that • collections in its custody support its mission and public trust responsibilities • collections in its custody are lawfully held, protected secure, unencumbered, cared for and preserved • collections in its custody are accounted for and documented • access to the collections and related information is permitted and regulated • acquisition disposal, and loan activities are conducted in a manner that respects the protection and preservation of natural and cultural resources and discourages illicit trade in such materials • acquisition disposal, and loan activities conform to its mission and public trust responsibilities • disposal of collections through sale trade or research activities is solely for the advancement of the museum's mission Proceeds from the sale of nonliving collections are to be used consistent with the established standards of the museum’s discipline but in no event shall they be used for anything other than acquisition or direct care of collections • the unique and special nature of human remains and funerary and sacred objects is recognized as the basis of all decisions concerning such collections • collections-related activities promote the public good rather than individual financial gain • competing claims of ownership that may be asserted in connection with objects in its custody should be handled openly, seriously responsively and with respect for the dignity of all parties involved 118 Appendix 2: American Alliance of Museums, “Collections Stewardship” Home > Ethics Standards and Best Practices > Collections Stewardship National Standards & Best Practices for U.S. Collections Stewardship Museums Standards Regarding Collections Stewardship • The museum owns, exhibits or uses collections that are appropriate to its mission • Th e m useum legally. ethically and effectively manages documents, cares for and uses the collections • The museum conducts collections-related research according to appropriate scholarly standards. • The museum strategically plans for the use and development of its collections • The museum, guided by its mission, provides public access to its collections while ensuring their preservation • Th e m useum allocates its space and uses its facilities to meet the needs of the collections, audience and staff • The museum has appropriate measures in place to ensure the safety and security of people, its collections and/or objects and the facilities it owns or uses • Th e m useum takes appropriate measures to protect itself against potential risk An essential reference work for and loss the m useum community, this publication is available as a Purpose and Importance free PDF to all museum members Stewardship is the careful, sound and responsible management of that which is entrusted to a m useum 's care Possession of collections incurs legal social and ethical obligations to provide proper physical storage management and care for the collections Resource Library and associated documentation as well as proper intellectual control Collections are held in trust for the public and made accessible for the public s benefit Effective Reference guides, articles and collections stewardship ensures that the objects the museum owns borrows, holds in its tools to help you and your custody and/or uses are available and accessible to present and future generations A museum succeed museum's collections are an important means of advancing its mission and serving the public. Nazi-Era Provenance Implementation Internet Portal Museums are expected to plan strategically and act ethically with respect to collections A searchable online registry of stewardship matters; legally, ethically and responsibly acquire, manage and dispose of Nazi-era cultural property in collection items as well as know what collections are in its ownership/custody, where U S m useum collections they came from why it has them and their current condition and location and provide regular and reasonable access to. and use of. the collections/objects in its custody Questions and Answers Achieving this standard requires thorough understanding of collections stewardship about Selling Objects from issues to ensure thoughtful and responsible planning and decision making With this in the Collection mind national standards emphasize systematic development and regular review of policies procedures practices and plans for the goals, activities and needs of the W e've prepared answers to collections som e of the questions from the latest discussions on this topic How Does A Museum Assess Whether Its Collections and/or Objects Are Appropriate for Its Mission? This is determined by comparing the institution's mission— how it formally defines its unique identity and purpose, and its understanding of its role and responsibility to the public— to two things (1 ) the collections used by the institution and (2 ) its policies, procedures and practices regarding the development and use of collections (see also the Standards Regarding institutional Mission Statements) A review of a museum's collections stewardship practices examines whether the mission statement or collections documents (e g . collections management policy collections plan, etc.) are clear enough to guide collections stewardship decisions: whether the collections owned by the museum, and objects loaned and exhibited at the museum fall within the scope of the stated mission and collections documents: and whether the mission and other collections stewards hip-related documents are in alignment and gusde the museum’s practices Assessing Collections Stewardship There are different ways to manage, house, secure, document and conserve collections, depending on their media and use, and the museum's own discipline size physical facilities geographic location and financial and human resources Therefore, one must consider many facets of an institution’s operations that, taken together, demonstrate the effectiveness of its collections stewardship policies, procedures and practices, and assess them in light of varying factors For instance museums may have diverse types of collections categorized by different levels of purpose and use— permanent educational, archival, research and study, to name a few— that may have different management and care needs These distinctions should be articulated in collections stewardship-related policies and procedures In addition different m useum disciplines m ay have different collections stewardship practices, issues and needs related to their specific field. M useums are expected to follow the standards and best practices appropriate to their respective discipline and/or museum type as applicable. 119 Appendix 3: Autry Museum of the American West, “What is the Autry?” VISIT EXHIBITIONS EVENTS JOIN S GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH: Q* ABO UT US What Is the Autry? SHARE: f ¥ © £3 +More What Is the Autry? History of the Autry Voted “Favorite Museum” by Los Angeles Daily News Readers in 2014, 2015, 2016, and 2017 Leadership Discover the art, history, and cultures of the American West! Located in beautiful Resources Center of the Griffith Park, the Autry features world-class galleries filled with Native American art and Autry cultural materials, film memorabilia, historic firearms, paintings, and more. Throughout the year, the Autry also presents a wide range of public events and programs— including Employment lectures, film, theater, festivals, family activities, and music-and performs scholarship, Press research, and educational outreach. The Autry's collection of more than 500,000 pieces of art and artifacts includes the Southwest Museum of the American Indian Collection, Terms of Use one of the largest and most significant collections of Native American materials in the United States. Privacy Policy • Learn more about exhibitions, public events, collections, and membership Contact Us options. • Read our reviews on Yelp and Trioadvisor Mission Statement BECOME The Autry brings together the stories of all peoples of the American West, connecting A MEM BER the past with the present to inspire our shared future. GIVE NOW 120 Appendix 4: Autry Museum of the American West, “History of the Autry” AUTRY MUSEUM VISIT EXHIBITIONS EVENTS JOIN & GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH: A BO UT US What Is the Autry? History of the Autry Leadership Resources Center of the Autry Employment Press Terms of Use Privacy Policy History of the Autry SHARE: Contact Us f * <3> +M ore The Autry Museum of the American West— "the Autry' — brings together the stories of Gene Autry all peoples of the American West, connecting the past with the present to inspire our BECOME shared future. Co-founded in 1988 by Jackie and Gene Autry and Joanne and Monte A M EM BER Hale, the Autry has grown to encompass a broad and inclusive representation of art, artifacts, cultural materials, and library holdings. In 2002, the Autry merged with Women of the West, a nonprofit organization highlighting the impact of diverse women’s experiences on the history of the American West. In 2003, after many years of being on the verge of financial insolvency and with the collection and buildings in need GIVE NOW of significant care and investment, the Southwest Museum of the American Indian sought a merger with the Autry Museum of Western Heritage, and a new organization was formed (now known as the Autry Museum of the American West). The Autry's diverse collections include more than 600,000 artifacts, artworks, and archival materials that reflect the interconnectedness of cultures and histories in the American West. The Autry currently spans three campuses in Los Angeles: the Autry Museum in Griffith Park, the Historic Southwest Museum Mt. Washington Campus, and the Resources Center of the Autry (under construction): Autry Museum in Griffith Park The Autry Museum in Griffith Park, originally the Gene Autry Museum of Western Gene Autry, founder of the Autry Heritage, was co-founded by Jackie and Gene Autry and Joanne and Monte Hale. With the opening of the Museum in 1988, Gene Autry realized his dream "to build a museum which would exhibit and interpret the heritage of the West and show how it influenced America and the world." Attracting between 150,000 and 200,000 annual visitors, C.F. Lummis the Autry in Griffith Park presents a wide range of special exhibitions and public programs that explore the art, history, and cultures of the American West. Historic Southwest Museum Mt. Washington Campus The Historic Southwest Museum Mount Washington Campus is the original location of the Southwest Museum of the American Indian, the oldest museum in Los Angeles, and was founded by Charles Fletcher Lummis. In 2015 the National Trust for Historic Preservation named the historic site a National Treasure, launching a collaborative process to identify a long-term sustainable future for this Los Angeles landmark. >Learn more about this process and see our FAQs. Resources Center of the Autry The Autry is in the process of revitalizing a structure that will ultimately be a new, state- of-the-art, 100,000-square-foot Resources Center in Burbank to preserve its collections for generations to come. Utilizing sophisticated environmental controls and employing best-practice conservation solutions, this center will have the technology and equipment essential to properly care for. protect, and preserve the range of objects and library materials within the Autry's collections— everything from baskets and beadwork to firearms and saddles When it opens, this center will serve as a destination where students, scholars, artists, archaeologists, tribal representatives, and the broader public can experience the breadth of the Autry's collections. 121 C.F. Lummis, age 24, in a studio Museum Founders photograph taken in Los Angeles some time after he completed his “Tramp Gene Autry, 1907-1998 Across the Continent,” 1884. Gene Autry's career spanned some 60 years in the entertainment industry, encompassing radio, recordings, motion pictures, television, rodeo, and live performances. He was an astute businessman whose range of interests encompassed ownership of radio and television stations, hotels, music companies, and the Angels Major League Baseball team. Known as "America's Favorite Singing Cowboy," he is the only entertainer to have five stars on Hollywood's Walk of Fame: one each for radio, records, film, television and live theatrical performance (including rodeo). In his ability to transcend media and in the sheer scope of his output, Gene Autry was unsurpassed as a popular image-maker of the American West. Born in Tioga, Texas, on September 29,1907, Orvon Gene Autry bought his first guitar at the age of 12 for $8. By the late 1920s, he was working as a telegrapher for the railroad in Oklahoma. While he was singing and playing in the office one night, Gene was discovered by the great cowboy humorist Will Rogers. Rogers advised the young Autry to try radio, and the rest is history. Gene Autry is the only entertainer to have five stars on Hollywood's Walk of Fame, one each for radio, records, film, television and live theatrical performance. Gene Autry began his radio career in 1928 and made his first recordings a year later. His first hit came in 1931 with That Silver-Haired Daddy of Mine, the first record ever certified gold for having sold more than a million copies. Gene made his film debut as a dude ranch cowboy singer in the 1934 Ken Maynard film In Old Santa Fe. In 1935, he made his first starring appearance in the science fiction Western serial The Phantom Empire. By 1937 he was America's Favorite Cowboy, voted the ' Number 1 Western Star" by the theater exhibitors of America. In 1940 the theater exhibitors voted Autry the fourth biggest box office attraction, behind Mickey Rooney, Clark Gable, and Spencer Tracy. Autry remained in first or second place among cowboy stars in terms of box office draw until he retired from motion pictures in 1953. He appeared in 93 feature films and made 635 recordings, more than 300 of which he wrote or co-wrote. Some of his best known movies are based on his hit records, including South of the Border (1939), Mexicali Rose (1939), Back in the Saddle (1941), The Last Round-Up (1947), and Strawberry Roan (1948). Gene's recordings have sold more than 60 million copies and brought him more than a dozen gold records. Be Honest With Me was nominated for an Academy Award in 1941. Gene Autry's beloved Christmas and children's records Here Comes Santa Claus (1947) and Peter Cottontail (1950) went platinum for more than two million copies sold, while Rudolph the Red- Nosed Reindeer (1949) remains the second best-selling single of all time, with sales totaling more than 30 million. In addition to his movie and recording success, Gene Autry's Melody Ranch was heard weekly over the CBS Radio Network between 1940 and 1956. During World War II, Autry enlisted for service on the air during a broadcast of the show, going on to serve his country as a flight officer with the Air Transport Command. From 1943 until 1945, he flew large cargo planes in the China-Burma-lndia theater. When the war ended, Autry was assigned to Special Services, where he toured with a USO troupe in the South Pacific before resuming his movie career in 1946. By 1937 he was America's Favorite Cowboy, voted the "Num ber 1 Western Star " by the theater exhibitors of America, in 1940 the theater exhibitors voted Autry the fourth biggest box office attraction, behind Mickey Rooney, Clark Gable, and Spencer Tracy. Realizing that the days of the B-Western were numbered, in 1950 Autry became one of the first major movie stars to move into television. For the next five years, he produced and starred in 91 half-hour episodes of The Gene Autry Show, as well as producing such popular TV series as Annie Oakley, The Range Rider, Buffalo Bill Jr. an d The Adventures o f C h a m p io n . In the late 1980s, Gene and his former movie sidekick Pat Buttram hosted 93 episodes of the 90-minute Melody Ranch Theatre Show on Nashville Network, spotlighting the telecasting of his old Republic and Columbia movies. The show was one of the highest rated programs on TNN. Gene Autry's great love of baseball prompted him to purchase the American League’s California Angels (now the Los Angeles Angels> in 1961. As was his trademark, through the team. Gene provided the fans with quality entertainment. Long active in Major League Baseball, Autry held the title of Vice President of the American League until his death. He was a 33rd Degree Mason and Honorary Inspector General and was given the prestigious award of the Grand Cross of the Court of Honor. Among the many hundreds of honors and awards Autry received were induction into the Country Music Hall of Fame: the American Academy of Achievement Award, the Los Angeles Area Governor's Emmy from the Academy of Television Arts and Sciences; and the Board of Directors Lifetime Achievement Award from the International Achievement in Arts Foundation. Gene Autry also was inducted into the Nashville Songwriters’ Hall of Fame, the National Cowboy Hall of Fame, and the National Association of Broadcasters Hall of Fame. He received the Songwriters' Guild Life Achievement Award and the Hubert Humphrey Humanitarian of the Year Award. He was honored by his songwriting peers with a lifetime achievement award from ASCAP. Gene Autry’s long-cherished dream came true with the opening of the Gene Autry Western Heritage Museum in November of 1988, since acclaimed as one of the finest museums on the West. Autry intended to give something back to the community that had been so good to him. Today thousands of visitors, children, and adults alike, learn the fascinating history of America’s West through the Autry's world-class collections of art and artifacts. Charles Fletcher Lummis, 1859-1928 The Southwest Museum of the American Indian was the brainchild of Charles Fletcher Lummis. a journalist, photographer, amateur anthropologist, and prolific historian of the southwestern United States In 1903, Lummis organized the Southwest Society, the western branch of the Archaeological Institute of America, whose mission was to create "a great, characteristic Southern California museum." He garnered support among the city's financial elite, and in late 1907, he chartered Los Angeles's first "free public museum of science, history, and a rtW h e n the new museum opened in 1914, It included halls of conchology and Asian and European art, along with displays of Southwestern and California archaeological materials, the Munk Library of Arizoniana, and the Lummis Library. In the 1920s the Southwest Museum narrowed its focus to anthropology and its subject matter to the cultural history and prehistory of the indigenous peoples of the Americas. By building on the work begun by the Southwest Society, which had sponsored Edgar Lee Hewett's early excavations In New Mexico, the museum set about becoming a leader In Southwest, and later Great Basin, archaeological research. in 1903, Lummis organized the Southwest Society, the western branch of the Archaeological Institute of America, whose mission was to create "a great, characteristic Southern California museum. " Museum staff and research associates, including Charles Amsden, Monroe Amsden. A. V. Kidder, Sylvanus Morely, and James A. B. Scherer, participated in the first Pecos Conference in 1927. Between 1925 and the mid-1960s, the Southwest Museum sponsored archaeological investigations In Casa Grande. Arizona; the Mimbres area in New Mexico; Mesa House and Gypsum. Nevada; and Twentynine Palms. California, among others. Learn more about Lummis through KCET's website or C h ar IfiiL um m i&. co tn . Women of the West In 2002 the Women of the West- Museum merged with the Autry, creating a gathering place for programs, exhibitions, collections, research, and education dedicated to diverse women's experiences In the American West. Our goal is to gain a new understanding, not simply of what women have done but of why It matters for the West — past, present, and future. Founded In 1991 in Boulder. Colorado, the Women of the West Museum was the first museum in the nation dedicated to the history of women of all cultures in the American West. Committed to education outside traditional museum walls. theWomen of the West Museum broke new ground with its innovative use of online exhibitions, community partnerships, women’s history trails, and art-based humanities programs. The merger with the Autry reflected a continuation of its original spirit, while providing a physical home in Los Angeles to continue its vision through new exhibitions and programs integrated into an overall vision of the West. Virginia Scharff Chair. Women of the West' Professor of History, and Director, Center for the Southwest, at the University of New M exico Dr. Scharff has written numerous works about the history of women in the United States. At the Autry she works with Dr. Carolyn Brucken. Curator of Western Women's History, to develop exhibitions and programs about women and gender, including H o m e Lands: How Women Made the West. 123 Appendix 5: Autry Museum of the American West, “Current Exhibitions” EXHIBITIONS EVENTS JOIN & GIVE EDUCATION RESEARCH A COLLECTIONS SEARCH: exhibitions Current Exhibitions ► Upcoming Exhibitions Harry Gamboa Jr.: Ch/cano Male U n b o n d e d B E C O M E Through August 5. 2018 A M E M B E R Standing Rock: Art and Solidarity California Continued Art of the West M ay 2 0 . 2 0 1 7 -F * b r u »ry 18. 2018 O n g o in g O n g o in g Cowboy Gallery Ted and Marian Craver Western Frontiers: Stories of Fact O n g o in g Imagination Gallery and Fiction O n g o in g Journeys Gallery The Colt Revolver in the American Four Centuries of Pueblo Pottery O n g o in g W e st Ongoing at the Historic Southwest O n g o in g Museum Mt. Washington Campus Upcoming Exhibitions Rick Bartow: Things You Know But LAUSD Title VI Indian Education Third Annual Student Visual Arts Cannot Explain Exhibition: Exhibition: M ay 12. 2 0 1 8 -Ja n u a ry 6. 2019 Strength in Our Community — Visions o f C u ltu re Diversity and Unity April 22. 2018-April 29. 2018 April 8. 2018- May 6. 2018 124 Appendix 6: Autry Museum of the American West, “Special Installations’ AUTRY MUSEUM VISIT EXHIBITIONS EVENTS JOIN & GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH: EXHIBITIONS Special Installations Current & Upcoming Exhibitions Special Installations m Masters of the American West Autry Exhibition Archives The Balance of Power on The Hatefult Eight The Cowboy Is a Patriot: Classroom Curators the American Frontier Costume Display Gene Autry in World Student Exhibition at Ongoing Now on View W arll the Autry; Opens May 16,2017 WhaUimApasliDQl BECOME A M EM BER GIVE NOW 125 Appendix 7: Autry Museum of the American West, “Education Overview” AUTRY MUSEUM VISIT EXHIBITIONS EVENTS JOIN A GIVE E D U C A TIO N RESEARCH & COLLECTIONS SEARCH: EDUCATION O verview SHARE: f * 0 + M o re Teachers and School The Autry is dedicated to enriching the experience of all visitors through Groups thoughtful, entertaining, and engaging classes, programs, and activities. Autry Outreach Education staff and volunteers connect with more than 40.000 visitors every year, many of them students from LAUSD Autry Social Action and the surrounding school districts We invite you to learn more about school tours, and other resources for teachers. Symposium Outreach programs are an important part of education initiatives at the Autry. Autry museum educators work hand-in- Autry Teacher Academy hand with teachers and students in local schools, bringing together students, teachers, and museum professionals to learn about history in fun and engaging ways Scavenger Hunts Day of Deliberation Third Annual Student Visual Arts Exhibition: Visions of Culture B E C O M E A M E M B E R Teachers and School Groups Autry Outreach: Bringing Museum Autry Teachers Academy Discovery to the Classroom G IV E N O W Scavenger Hunts Educational Programs at the Autry are sponsored by: • The Ahmanson Foundation • The Albertsons Foundation • AltaMed • Capital Group Companies Foundation • Dwight Stuart Youth Fund • Edison International • Employees Community Fund of Boeing California • The Georgina-Fredrick Children's Foundation • Hearst Foundations • The Kenneth T. and Eileen L. Norris Foundation • Northrop Grumman • Ronald McDonald House Charities of Southern California • The Sheri and Les Biller Family Foundation • Sony Pictures Entertainment • Thelma Peart Howard Foundation • Union Bank • U.S. Bank Foundation 126 Appendix 8: Autry Museum of the American West, “Fellowships” VISIT EXHIBITIONS EVENTS JOIN « GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH: RESEARCH & COLLECTIONS O v e rv ie w Online Research Tools NAOPRA Followthlp* - Past Research Fellow: Fellowships SHARE: P rizes f * * <£> Scholarly Programs NOTICE: Call for 2018 Autry Research Fellowship applications B E C O M E Applications for the 2018 Autry Research Fellowships are now feeing accepted Reset A M E M B E R Fellows will be In residence only during June. July or August. 2018 The Library and Archives remain closed to visiting researchers. You may continue to contact us via e mail at rroomln.lhflautr« ora and follow us on Twittei Autry Research Fellowships G IV E N O W Visiting Scholar Fellowship Autry Summer Fellowship One-Month Fellowships Autry 2016 Research Fellows Visiting Scholar Fellows • Robyn Fishman. Professor of • $4,000 stipend History and Ethnic Studies. • Open to PhD candidates, postdoctoral researchers, and Independent scholars Glendale Community College • Topics relating to historical events or people and those that separate fact from “Go West Voung Cady, and Grow myth preferred Up With the Country: Women, the • Fellows will speak about their research at the July meeting of the Cos Angeles West, and Professional Westerners (July II, 2018). If not local, fellows should plan to be in residence at Opportunity" least two weeks prior to the July Westerners meeting. • Or. Kristine K Ronan, independent The Cos Angeles Westerners Fellowship is supported by the Cos Angeles Corral of S ch olar Westerners, part of Westerners International, a group whose mission Is to encourage “Indian Pop: A Primer" and promote interest and research in the history of the American West. For more Cos Angeles Corral of Westerr s F e llo w information on Westerners International, visit www wester n«?r* - international.ury. Hadley Jensen. PhD Candidate. VIVA Foundation Fellowship at the Autry Museum Anthropology and Material Culture. Bard Graduate Center cl independent scholars “Shaped by the Camera: Navaio Weavers and the Photography of s of the study of the peoples Making In the American Southwest. 1 8 8 0 -1 9 4 5 “ Application Procedures • Consideration for all fellowships requires only a single application • Scholars and protects will be matched with the appropriate fellowship by the Fellowship Committee All fellows are expected to: • Be in residence weekdays and complete their research on or before Friday. A u g u s t 31. 2018 • Submit a brief written report (two pages maximum) within two weeks of departure on research completed and resources used • Participate In an informal staff seminar while in residence and/or write a brief article for a museum publication on research conduct A complete application consists of: • A cover letter indicating mailing address, e-mail address, daytime phone, title of proposed project, and preferred dates of residence • A 2-to-3-page-maximum, double-spaced project description clearly indicating the relevance of the collections of the Cibraries and Archives of the Autry Museum Vou may search the Cibraries and Archives holdings via the library cat^iloti and the digital database. Collections Online. Your research project may require "researcher level" access to view digital catalog records not yet in the public view. Please contact a librarian to request an ID and password at rroom a thMUtly.org • A one-page CV • A budget that includes roundtrlp airfare, lodging, and food • Two confidential letters of reference: one or both should address your presentation skills Applications for the 2018 year are due Monday, December 1. 2017. Please send completed applications via e-mail to fellowships o theautrv.org. Cetters of recommendation must be sent via e-mall directly from the recommenders to theautry.org Fellowship awards will be announced by e-mail and letter in January 2018 Questions? Please contact: Cifa Posas, Head, Research Services and Archives Autry Museum of the American West 4700 Western Heritage way Cos Angeles. CA 9002 7-1462 E-mail: ionsas a thoautr v.ota Ph: 323.667 2 0 0 0 . ext. S12 Fax: 323.660.S721 127 Appendix 9: Autry Museum of the American West, “Prizes” AUTRY MUSEUM VISIT EXHIBITIONS EVENTS JOIN & GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH: RESEARCH & COLLECTIONS Library and Archives of the Autry Collections - Collection Spotlights Online Research Tools NAGPRA Fellowships Prizes Prizes SHARE: Scholarly Programs f * © SB +More The Butcher Scholar Award Congratulations BECOME Established in 2001, the Butcher Scholar Award provides up to $5,000 to support A MEM BER innovative projects that promise to deepen our understanding of the history of diverse women in the historical and contemporary American West. Honoring the vision, leadership, and generosity of Jane and Charlie Butcher, the Award has supported public historians, academic scholars, writers, and artists. Originally offered by the Women of the West Museum, the Award has been presented by the Autry since 2002, when the Autry merged with the Women of the West Museum. GIVE NOW DeLarma Studi. 2016 Butcher Scholar Award winner The Maverick Prize The Autry's Maverick Prize recognizes the work of an individual or organization that challenges conventional wisdom and prompts truly novel thinking about the past, present, and future of the American West. The winner of this prize receives $10,000 and an invitation to present the work at the Autry. Previous Winners The Malpai Borderlands Group is a nonprofit organization led by ranchers who live and work primarily in Southeast Arizona and Southwest New Mexico. Its goal is to restore and maintain the natural processes that create and protect a healthy, unfragmented landscape to support a diverse, flourishing community of human, plant, and animal life in the borderlands region. Maverick Prize ii: Angel island Immigration strtton foundation (A iis f) AIISF is a nonprofit organization whose mission is to promote a greater understanding of Pacific Coast immigration and its role in shaping America's past, present, and future Nominations for Maverick Prize III are closed. For additional information, please contact £ The Autry Public History Prize The Autry Public History Prize is awarded annually by the Western History Association to media, exhibits, public programs, or written works that contribute to a broader public reflection and appreciation of the past or serve as a model of professional public history practice in the history of the North American West. The award consists of a $1,000 prize and a certificate to the award recipient. For more information, please visit the Western 128 Appendix 10: Autry Museum of the American West, “Library and Archives of the Autry” AUTRY MUSEUM VISIT EXHIBITIONS EVENTS JOIN & GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH; RESEARCH & COLLECTIONS Library and Archives of the Autry Collections - Collection Spotlights Online Research Tools NAGPRA Fellowships Prizes Library and Archives of the Autry SHARE: Scholarly Programs f ^0 (ft) 3&I + M o re NOTICE: Libraries and Archives Temporary Closure The Library and Archives have been safely moved to Resources Center of the Autry, our BECOME new, state-of-the-art collections care, research, and educational facility in Burbank, A MEM BER however, the Library's research services are not fully operational. We continue to prepare the collection for researcher access and anticipate being ready to schedule visiting researchers by 2019. You may continue to contact us via e-mail at rroom dtheautrv.org and follow us on Twitter a LA autrv. Sian-uo for this e-mail list to receive updates about the opening of GIVE NOW the Resources Center. We look forward to seeing you in our new home! The Library and Archives of the Autry hold unique, rare and significant primary and secondary resources focusing on the peoples and cultures of the American West. The library contains rare books, serials, maps, photographs, artwork, sound recordings, and manuscript collections. Each year, research fellowships are awarded to support scholarly projects. Find out more about our research resources when you search our library catalog and our digital database. Collections Online. Please contact us for “Researcher Access" to view additional records. 129 Appendix 11: Autry Museum of the American West, “Collections” VISIT EXHIBITIONS EVENTS JOIN & GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH: RESEARCH & COLLECTIONS Overview Library and Archives of the Autry Collections - Collection Spotlights Online Research Tools NAGPRA Fellowships Prizes Collections SHARE: Scholarly Programs f * © fiS +More The Autry’s unique and superb collection is a powerful tool to engage our audiences. Search the Collections Through this great resource, we enrich the public s understanding of the historical and contemporary American West and the diversity of the indigenous cultures across the BECOME Americas. Protecting and preserving our collection for future generations ts one of our A MEM BER greatest responsibilities. Our collection contains art. firearms, saddles, Hollywood Western memorabilia, and Native American baskets, ceramics, jewelry and textiles animating the following themes: • California History GIVE NOW • Native America • Environment and Western Resources • Ranching and Cowboys • Archaeology and Anthropology • Popular Culture Explore Autry's Collections Online Please note: The Autry’s new, state-of-the-art collections care, research, and database, which provides access to over educational facility in Burbank is anticipated to open in 2019. Until then, the Autry 50,000 items from our artifact collections are not available for outside access, including in-person research. Please collections. visit our online collections database for information about many of the items within the collections. Sian-up for this e-mail list to receive updates about the opening of the Resources Center. We look forward to seeing you in our new home! Collections Out On Loan (Click image for details) Appendix 12: Autry Museum of the American West, “NAGPRA” RESEARCH & COLLECTIONS Overview Library and Archives of the Autry Collections - Collection Spotlights Online Research Tools NAGPRA Fellowships Prizes NAGPRA Scholarly Programs The Native American Graves Protection and Repatriation Act directs how federally funded institutions transfer possession and control of Native American, Alaska Native BECOME and Native Hawaiian human remains, funerary objects, objects of cultural patrimony and sacred objects to the tribes of origin. The Autry encourages engagement between the A MEMBER museum and Native communities to address repatriation or other issues regarding the collections and aims to cultivate meaningful relationships with Native communities through this process. 131 Appendix 13: Autry Museum of the American West, “Online Research” AUTRY MUSEUM VISIT EXHIBITIONS EVENTS JOIN & GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH: RESEARCH & COLLECTIONS Overview Library and Archives of the Autry Collections - Collection Spotlights Online Research Tools - The American Art Collaborative Linked Open Data Consortium NAGPRA Online Research Tools SHARE: Fellowships f * © Prizes Collections Online Scholarly Programs The Autry's Collections Online is a database containing data and images of items from the collections of our museums, libraries, and archives. It is the public interface to our ongoing digitization program, which seeks to digitize our entire collections. Collections BECOME Online currently includes records and images for over 50,000 items. A M EM BER Materials found online include art, artifacts such as tools and utensils used in daily life and ranching, decorative arts, firearms and armaments, clothing and accessories, cultural materials including our large American Indian ethnographic collections, historic photographs and photographs from Western movies, manuscript collections, ephemera, and books. GIVE NOW Each year our digitization program strives to delve deeper into the collections to allow the public to see and learn about the wide variety of items in the Autry’s holdings. Your research project may require “researcher level" access to view catalog records not yet in the public view. Please contact a librarian to request an ID and password at Library and Archives Catalog The Libraries and Archive’s Library catalog is a more traditional research tool than Collections Online. The library catalog provides access to records for more than 80,000 books, journals, sound recordings, video recordings, ephemera, and manuscript collections. Users will find search results in a familiar library catalog format and can create, save, and send lists of resources for future use. There are also links to OCLC WorldCat, a bibliographic database that enables users anywhere to locate a book in a local library. * NOTICE: Libraries and Archives Temporary Closure and Location Change In preparation for moving to the Resources Center of the Autry, our new, state-of-the- art research and collections care facility in Burbank, the Braun Research Library and the Autry Library are now closed to visiting researchers and research fellows. Please check back here for the updates about our official opening date. You may continue to contact us via e-mail at rroomatheautrv.org and follow us on Twitter a LA autrv. We look forward to seeing you in our new home! 132 Appendix 14: Autry Museum of the American West, “Resources Center of the Autry” VISIT EXHIBITIONS EVENTS JOIN & GIVE EDUCATION RESEARCH & COLLECTIONS SEARCH: ABOUT US What Is the Autry? History of the Autry Leadership Resources Center of the Autry Employment Press Terms of Use Privacy Policy Resources Center of the Autry s h a r e : Contact Us f I T CD + More In 2010 the Autry started an ambitious endeavor to create a new collections care, research, and educational facility in Burbank. California With sophisticated B E C O M E environmental controls and best-practice conservation solutions, this 100.000-square- A M E M B E R foot building will have the technology and equipment essential to properly care for. protect, and preserve the Autry's important cultural assets, including more than 500,000 artifacts and library materials. The site will also be home to three collections conservation laboratories. When completed, the Resources Center will serve as a destination where students, G IV E N O W scholars, artists, tribal representatives, and the broader public can encounter the breadth of the Autry's collections to gain a deeper understanding of the rich history and cultural diversity of the American West. Perhaps best described as the "hub" or "heart" of the Autry, the Resources Center will make art. artifacts, and archival materials available for exhibitions presented by the Autry and cultural partners— vastly increasing public access to the expansive collections. " This new center advances our overarching goats to make our materials more accessible for present and future generations, maintain commitment to best practices in the preservation of the collections, and increase awareness of the resources we have to offer/’ — W, Richard West. Jr., Autry President and CEO Construction Progress During the first phase of the the construction process, the Autry developed spaces necessary to safely house the collections by installing computerized environmental controls and security and fire suppression systems. This initial work was necessary to properly care for sensitive artifacts from the Southwest Museum of the American Indian Collection, including Native baskets, textiles, and other obiects. Phase II construction includes the development of a reading room; an expanded collections area for Autry Library materials, Braun Research Library materials, and obiects currently housed at the Griffith Park campus: a ceremonial garden: conservation labs; and office spaces. The entire project will be LEED-certified (Leadership in Energy and Environmental Design), recognizing the museum's efforts to construct and outfit the facility in an environmentally sensitive manner. If you would like information about supporting this project, please contact Images (Click image for details) 133 Appendix 15: SFMOMA, “Visit’ MO r r M enu SF MA Search P Visit Reserve tickets now. Everyone needs a ticket for entry, even members and those 18 and under — who always get in free. Be sure to book in advance for weekend visits. SFMOMA C Visit SFMOMA 151 Third Street Museum of the San Francisco, CA 94103 African Diaspora San Francisco Museum of Academy of Modern Art Art University Our expanded building is more open than ever, with entrances at Third Street O a 0 400 and Howard Street. Located in San Francisco’s bustling SoMA district, SFMOMA The St Regis Underwriters Fire is just steps from Yerba Buena Gardens, downtown hotels, the Moscone Center, San Francisco Patrol Headquarters and public transportation (including BART and Muni). o San Francisco Museum ^ an9 O of Modern Art Q .0 Arriving by car? Parking is available onsite at the SFMOMA Garage. Limited Y '" K- Buena © ^ o bicycle parking is also available. ” C + r for the Arts O in Situ at SFMOM A Berggruen G< 134 Appendix 16: SFMOMA, “About SFMOMA” r r Menu sf"O a s” rch p mmgmm«cn:;. Photo © Henrik Karri About SFMOMA Our Mission SFMOMA is dedicated to making the art for our time a vital and meaningful part of public life. For that reason we assemble unparalleled collections, create exhilarating exhibitions, and develop engaging public programs. In all of these endeavors, we are guided by our enduring commitment to fostering creativity and embracing new ways of seeing the world. Appendix 17: SFMOMA, “Our History” l* S O » 1960* 1970* 1980* 1990* 2000* 2010s 1935 On January 18, the San Francisco Museum of Art. under the leadership of founding director Grace McCann Morley. opens on the fourth floor of the War Memorial Veterans Building on Van Ness Avenue. A gift of several hundred artworks from Albert M. Bender, including works by Frida Kahlo and Oiego Rivera, establishes the nucleus of the permanent collection. In a remarkable display of generosity, Bender goes on to donate more than 1,100 objects to the museum, including photographs, and endows its first purchase fund before his death in 1941. Diwgo fttvprw, Thtt f Uj m h Catrton, 1935; Collection SFMOMA, Albart M, Bt»rid«*r Collection, gift of Albert M 1 Carotirw , © Banco d « Mbxico Diego 0 & Frida Kahlo M u jso w s Trust, Maxico, O.F. / Artists NawVbrk 1936 The museum's second year begins with an exhibition of works by Henri Matisse — the first on the West Coast - primarily drawn from two local private collections. Many of the featured paintings and sculptures are later donated to the museum, forming the core of an exceptional collection of Fauvism. The San Francisco Museum of Art becomes one of the first museums to recognize photography as a fine art by establishing, under the guidance of Curator John Humphrey, a collection of photographic works. 1940 T h e m u s e u m o rg a n ize s its first a rch ite cture exhibition, Te/es/s: S pace fo r L iving, a landmark effort that prompts the city of San Francisco to establish an office of planning. 1945 Fifty member countries convene in the War Memorial Veterans Building to establish the United Nations Charter. With its galleries commandeered for delegates and press, the museum relocates to a temporary facility on Post Street from March through July. The museum presents Jackson Pollock's first solo museum exhibition. Pollock's early masterpiece Gua rdians o f tfje Secret 0943) is added to the collection. Our History 3.VSO* XOAOn 1950* ' IVAOs J97t>» l«BO» 1*W)» 2000* 20* 0» 1 9 A 6 The Women's Board establishes the Rental Gallery (now known as the Artists Gallery). The first program of its kind in the country, it expands the collecting base in the Bay Area and creates a vibrant sales venue for 1 9 5 1 The San Francisco Museum of Art initiates a biweekly television program entitled A rt in Your Lifts (later renamed 0/scov*(y). Embracing the new medium, Morley asserts. “We mean to try to make television serve for art and artists, for that seems the business of our kind of museum.” The series of half-hour shows runs for three years. 1 9 5 2 Sixty-eight photographic works spanning the career of Alfred Stieglitz are acquired by purchase and through the gift of Georgia O'Keeffe. 1 9 6 3 The photography collection gains great depth with the addition of the Henry Swift Collection, a group of eighty-five prints assembled by one of the original members of f/64. the group of seven San Francisco photographers. His collection includes work by fellow f/64 photographers Ansel Adams, Imogen .Cunningham, and Edward Weston. 1 9 7 5 “Modern" is added to the museum's name to more accurately reflect its purview. Artist Clyfford Still gives twenty-eight monumental paintings to the museum. 1 9 8 0 - 8 7 During a span of several years, SFMOMA formally divides its curatorial team Into the four departments still in place today: Architecture - Design, Media Arts, Painting » Sculpture, and Photography. 1 9 8 8 The Third Street site for the museum’s new facility is announced. The Swiss architect Mario Botta is selected to design the new building. 1 9 9 0 The Elise S, Haas Collection is bequeathed to the museum. It includes Matisse's seminal work Femme au 1 9 9 2 The Harry W. and Mary Margaret Anderson Collection — comprising seven works related to American Pop art — becomes the first major gift of art in honor of the new building. 1 9 9 4 SFMOMA’s facility at 401 Van Ness Avenue closes to the public on September S. 1 9 9 5 SFMOMA's new building on Third Street opens to the public on January 18. the sixtieth anniversary of the museum. SFMOMA becomes one of the earliest museums to launch an institutional website. In on unprecedented year of collecting. SFMOMA acquires fourteen important Robert Rauschenberg works directly from the artist with the help of funds from trustee Phyllis Wattls. Wattis's support extends to the museum’s purchase of Rene Magritte's signature painting Ltts Valours p»rs&nn»/tms (Personal Values. 1VS2). Other acquisitions include works by Piet Mondrian (the museum's first), Pablo Picasso. Anselm Kiefer, Brice Midden, Andy Warhol, and Louise Bourgeois, among others. 1 9 9 9 The Photography department receives more than one thousand images spanning the full history of the medium from the Prentice and Paul Sack Photographic Trust , as well as eleven rare works by the American Preclsionist photograpnei Charles Sheeler Continuing Its collections - growth strategy, SFMOMA acquires twenty two Ellsworth Kelly works from the artist's personal collection. In honor of Phyllis Wattls, Robert Rauschenberg donates his monumental work Hiccups (is*7®>, which consists of ninety seven linked transfer drawings on sheets of handmade paper. Wattis also enables the museum to acquire key pieces by Eva Hesse and Brice Marden. 137 Our History 1930s 1940s 1950s 1960s 1970s 1980s 1990s 2000s 2010s Back to top 2000 In December, SFMOMA becomes one of the leading repositories of the work of Sol LeWitt with a major acquisition of nine important wall drawings and structures and twenty-six working drawings, many of which are donated from the artist’s personal collection. The group of acquired works represents all the significant periods of LeWitt’s oeuvre. 2001-2002 In late 2001 and early 2002, the museum receives seven major works by Frank Stella from the collection of Harry W. and Mary Margaret Anderson — including the seminal Black Painting Zambezi 0959) — establishing SFMOMA as a major repository of this important postwar artist's work. The artist responds by gifting a new work from his series The Duel (2001) to SFMOMA in honor of the Andersons. 2002 Neal Benezra is appointed director of SFMOMA. The museum unveils the Koret Visitor Education Center, which offers both scheduled programming and drop-in access. 2005 The museum announces the promised gift of nearly eight hundred photographs to the Prentice and Paul Sack Photographic Trust at SFMOMA from the Sacks’ private collection. These important pictures augment the couple's 1998 gift of nearly one thousand works spanning the history of the medium. 2008 The museum launches Live Art at SFMOMA, a series of public programs designed to embrace the event- driven. performance-based nature of contemporary art. Frida Kahlo becomes the most highly attended exhibition in the museum’s history. 2009 In April, SFMOMA announces plans for a major expansion that will provide additional gallery, public, and support space, including larger and more advanced conservation facilities and an expanded library. In May, SFMOMA unveils a new Rooftop Garden designed by Jensen Architects in collaboration with Conger Moss Guillard Landscape Architecture. The project, which includes a glass pavilion and two open-air spaces, features a rotating selection of indoor and outdoor sculpture from the museum’s permanent collection. In September, Neal Benezra and Charles Schwab, chairman of the board, announce a groundbreaking partnership with Doris and Donald Fisher to provide the Fisher Collection — one of the world's leading collections of modern and contemporary art - with a home at SFMOMA. The Fisher Collection includes 1,100 works by leading artists including Alexander Calder, Chuck Close, Willem de Kooning, Richard Diebenkorn, Sam Francis, Anselm Kiefer, Ellsworth Kelly, Roy Lichtenstein, Brice Marden, Agnes Martin, Gerhard Richter, Richard Serra, CyTwombly, and Andy Warhol, among many others. SFMOMA launches a multiyear Campaign for Art with 195 promised gifts from a committee of nine Bay Area collectors. Some of the artists represented include Diane Arbus, Joseph Beuys, Robert Gober, Eva Hesse. Ellsworth Kelly, Bruce Nauman, Jackson Pollock, Ed Ruscha, and David Smith. 138 Photo: <& H*nrik K »m 2 010 SFMOMA marks its JSth Anniversary with a year of special exhibitions arid programs. SFMOMA announces more than $250 million in support from museum leadership to expand its facilities and double its endowment. In September, SFMOMA selects the architecture firm Snahetta to design the expansion. 2011 SFMOMA unveils expansion designs that reveal innovative and audience-friendly design features, including free street-leva! galleries and public spaces and dedicated educational spaces throughout the museum. 2012 SFMOMA announces new gifts to the ongoing Campaign for Art with more than 670 photographs from three separate collectors, adding significant new depth to the museum’s holdings In twentieth-century American and Japanese photography. 2013 In June, SFMOMA begins offering a range of off-site programming and exhibitions in the community called SFMOMA On th# Oo, as the museum closes for expansion. IHkuIo; Dfwvv At*?###' Ptto* 09(apHy/SFW 2014 In February, SFMOMA launches The Artist Initiative — supported by a tl.75 million grant from the Andrew W. Mellon Foundation — which involves deep collaborations with living artists resulting in a more integrated, evolving approach to conservation and collections research, In April, SFMOMA announces the creation of the Pritzker Canter for Photography as part of the m useum’s expansion. The center will be the largest gallery, research, and interpretive space for photography of any art museum in the United States. In September, Bloomberg Philanthropies pledges grant support for SFMOMA's expanded and reinvented digital strategy, including the implementation of new mobile and on-site technologies to help visitors engage and learn when the museum opens in 2016. 2015 American Icons: Masterpieces from SFMOMA and the Fisher Collection debuts at the Grand Palais in Paris and travels to the Mus6e Granet in Aix-en-Provence. This exhibition presents for the first time works from both collections showcased in one exhibition. SFMOMA announces that the new museum will open May 14, 2016. 2016 The newly expanded museum opens on May 14, 2016, with a special community celebration, I 139 Appendix 18: SFMOMA, “Temporary Exhibitions’ Search P M arch 2018 Temporary Exhibitions on view, M arch 2, 2018 EXHIBITION EXHIBITION Robert Rauschenberg Louise Bourgeois Spiders « S 6 7 B 9 10 Erasing the Rules October 7. 2017-September 4, 11 12 13 14 IS 16 17 November 18. 2017-March 25. 2018 18 19 20 21 22 23 24 2018 25 24 27 28 29 30 31 EXHIBITION EXHIBITION 1 day 3 days 7 days 30 days Get with the Action get Alexonder Colder Political Posters from the 1960s to Scaling Up Now AC#'* October 21. 2017-August 19, 2018 SELECT EVENT FILTER September 16, 2017-June 17. 2018 Architecture Tour Exhibition Tour For Educators EXHIBITION EXHIBITION Between Two Worlds Designed in California For Members Art of California January 27-May 27, 2018 Gallery Talk August 5, 2017- March 4. 2018 Performance Public Knowledge 140 Appendix 19: SFMOMA, “Ongoing Exhibitions” Exhibitions + Events Temporary Exhibitions Ongoing Exhibitions Events Upcoming Exhibitions Featured Upcoming Events Back to top Symposium Ongoing Exhibitions past Exhibitions 0 EXHIBITION Julie Mehretu HOWL, eon (I, II) Ongoing EXHIBITION Approaching American Abstraction Ongoing EXHIBITION German Art after 1960 Ongoing 141 Appendix 20: SFMOMA, “Painting and Sculpture” Painting + Sculpture “Painters and sculptors open our eyes to new ways of imagining what we couldn’t have imagined before.” GARY GARRELS ELISE S. HAAS SENIOR CURATOR OF PAINTING AND SCULPTURE Overview Collection Highlights Recent Acquisitions Exhibitions Research Related Content A cornerstone of SFMOMA’s identity since we first opened in 1935, the department of Painting and Sculpture consistently engages with the art and artists of our time. Whether by supporting artists at early stages of their careers, as founding director Grace McCann Morley did when she presented the first solo museum exhibitions for Jackson Pollock, Mark Rothko, and Arshile Gorky, or by organizing major retrospectives and thematic exhibitions, we are committed to fostering new ideas and approaches to modern and contemporary art. Our coiiection features art created between 1900 and the present, and highiights the work of numerous individual artists in depth. Purposefully wide-ranging in scope, areas of concentration include Fauvism, Cubism, and Surrealism in France; Modernism in the United States and Latin America; American Abstract Expressionism, Minimalism and Pop art; postwar German art; and contemporary art from around the globe. As the first museum on the West Coast dedicated to modern and contemporary art. a large part of our collection focuses on artists from California, and particularly the Bay Area. Numbering more than eight thousand works, our holdings include paintings, sculptures, and works on paper, yet often expand beyond these categories to follow artists and their interests. 142 Appendix 21: SFMOMA, “Photography’' sp M MA Seorch p Photography “Photography connects us as people and holds the power to inspire a lifelong love of looking.” Photography is a vital means of human expression. It is a creative art form as well as an omnipresent cultural force that both mirrors and shapes everyday life. This makes it a uniquely potent, complex, and thought- provoking medium. We invite people to see and understand the world in new ways through photography, from its origins in the nineteenth century to the present day. SFMOMA was one of the first American museums to recognize photography as an art form, and its pioneering commitment continues to deepen as new generations and evolving technologies expand the definition of the medium. Collection Highlights Exhibitions Symposia 143 Appendix 22: SFMOMA, “Architecture and Design” Architecture + Design “SFMOMA’s collection of architecture and design is focused on works that have transformed the collective cultural landscape.” JENNIFER DUNLOP FLETCHER HELEN HILTON RAISER CURATOR OF ARCHITECTURE ♦ DESIGN Overview Collection Highlights Exhibitions Related Content Design affects atmosphere, alters perception, and even changes behavior. SFMOMA’s Architecture + Design collection connects audiences with pivotal works of design that influence contemporary culture. It brings innovative architecture and design into focus, revealing its powerful ability to enlighten, and often transform, our experience of and response to our world. Long before architecture and design were a focus of museum collecting, SFMOMA was participating in discussions about their influence on environment and behavior. Though the Architecture * Design department officially formed until 1?§3, in 1940 SFMOMA featured the groundbreaking Telesis exhibition, which focused on urban issues and architecture and prompted the city of San Francisco to establish an office of planning. Since then, the collection has featured historical and contemporaiV works of architecture, furniture, product design, and graphic design, as well as works of art that address these design disciplines. Header video Jurg Lehnt. Viktor, 2006-16 (detail); collection SFMOMA, Accessions Committee Fund purchase, © Jurg Lehnt 144 Appendix 23: SFMOMA, “Media Arts” = Menu Seorch jl M e dia A rts “Media art can make the viewer an active participant. It can upend the roles of artist and spectator.” RUDOLF FRIELING CURATOR OF MEDIA ARTS Overview Collection Highlights Exhibitions Research Related Content Media plays a major role in everyday life, from cinema and television to surveillance and the Internet. Our Media Arts collection reflects how artists have used various technologies in their work since the 1960s. The collection encompasses a diverse range of time-based media artworks, including video, film, slide, sound, computer-based, and online projects as well as live performances. From immersive installations to participation-based pieces, the works in the Media Arts collection become activated when exhibited. We not only commission new work for our dedicated galleries, but also explore how to create engaging experiences in public spaces throughout the museum. Reflecting the Bay Area’s tradition of technological innovation and forward thinking, SFMOMA is a leader in the presentation, collection, and preservation of time-based media works. Our Department of Media Arts, established in 1987. was among the first of its kind in the United States. Candice Breitz. Workmg Ctass H*ro (A Portrait of John L»nnon) (del*!), 2006. Collection SFMOMA Purchase through » g*ft of Pam Kramtteh. flame MeKeon. the K Mart Smith Tryst, and the Accessions Committee Fund 145 Appendix 24: SFMOMA, “About the Collections Center” Menu S*°rCh P About the Collections Center The Collections Center, our collections research facility in South San Francisco, is home to the SFMOMA’s archives and houses much of the museum’s collection when not on public view. The facility features a full- scale mock-up gallery, a conservation laboratory, photo studio, and a flexible white box space suitable for lectures, performances, and receptions. Higher education offerings at the Collections Center include facility tours as well as object study sessions taught by SFMOMA staff in collaboration with teachers and professors, offering students a deeper engagement with our collections. Access to the artworks and archives at the Collection Center is available to individual researchers and to college-level student groups by appointment. 146 Appendix 25: SFMOMA, “Conservation” = Menu Search Pi Conservation When you see artists' works in our galleries, you are seeing just one piece of what we do. Our job is not only to display art, but also to present ideas, as well as sustain, challenge, and re-form them. Conservation at SFMOMA links the lives of objects with the efforts of people across the museum. We honor time-tested preservation traditions and techniques, but our efforts go far beyond that. We put artists at the center of the conversation to understand how they make their works of art and how the works may change and evolve over time. By partnering with artists, we innovate new approaches to caring for art while actively embracing an expanding array of art forms and mediums. As a pioneer in the field of contemporary art conservation, we're excited to share our work with visitors and with other museums. Take a look behind the scenes at our workroom and conservation studio in the new SFMOMA. Generous support for conservation at SFMOMA is provided by Nancy and joach«m Becntie Appendix 26: Westbrook, Lindsey, “Optimize, Optimize, Optimize: Museum Conservation in the LEED Era” cpMO M enu SF MA Search Optimize, Optimize, Optimize: Museum Conservation in the L E E D Era by Lindsey Westbrook World War II !ts the Standards LEED Demands New Approaches Optimize. Optimize. Optimize Contributing to the Field Photo: Katherine Du Ttel Of all the behind-the-scenes museum jobs, the one many f ind most alluring is conservator. Sounds glamorous, right? Repairing Rembrandt's Night Wdtch after it was slashed by a madman. Restoring Michelangelo’s Sistine Chapel ceiling to its original glory. And who can forget the art-historical heroics of the Monuments Men? In reality, the job can be stressful and requires the steeliest of temperaments, as it involves close personal contact with, and responsibility for, priceless works of art. Traditionally, the field of conservation has been dedicated to arresting change in the interest of preserving artworks. And, being a careful lot. conservators tend to resist propositions that risk compromising the welfare of the art in their care. This is why, when the Smithsonian announced in the 1990s that it was taking a more fluid, seasonally based approach to temperature and humidity controls in its galleries—allowing for colder and drier conditions in the winter and warmer and more humid ones in the summer—many in the field were shocked. Yet the obvious cost savings made many a museum director take note (and consider adopting) what have come to be called “seasonal set points." World War II Sets the Standards Since the middle of the twentieth century, says Michelle Barger, SFMOMA's head of conservation, the accepted standard among conservators has been to keep galleries at 50 percent humidity, plus or minus 5 percent, and the temperature at 70 degrees Fahrenheit, plus or minus 2. “That's still the standard. But do you know why?" she asks with a smile. "Turns out it started in World War II, when they moved important artworks out of London and hid them in slate caves in Wales to protect them from looting and bombing. When they took them out after four or five years, they said, hey. these things are in pretty good shape!" 148 Photo: CpI. Donald R. Ornitz Prior to that, museums in London—and most everywhere—weren’t climate controlled. And conservators were repeatedly fixing flaking paint because fluctuating humidity was making the canvases expand and contract. Suddenly the field of conservation science was bom, and it universally adopted the Wales cave conditions as optimal for galleries. And with that decision came a hefty line item in the budget for energy—especially in cities like Chicago or Milwaukee or Boston, which have extreme temperature and humidity swings over the course of the year. LEED Demands New Approaches When SFMOMA first learned that it would be expanding, it was a given that the new building must meet LEED gold criteria. This is a requirement for all new construction in San Francisco; it means that out of approximately 100 possible points in categories related to materials, energy usage, water efficiency, and so on, the building must score 60 or better. With San Francisco’s moderate climate, achieving this isn’t ordinarily too difficult. But for a museum, temperature and humidity control is a major priority—one that can make or break your ability to receive artwork loans from other museums, for instance. And it not only costs a bundle, but it takes a bundle of energy to make it happen, which can compromise your LEED score. After Snchetta was announced as the architect for the new building, the museum brought in Atelier Ten, an environmental design firm, as a sustainability consultant to work closely with the architects and the museum. Their collective job: to devise engineering strategies that would make the new building as efficient as possible across its mechanical, lighting, water, and other systems to make the LEED grade. Photo: © Henrik Kam Within this context, our conservators were asked to revisit the prevailing temperature and humidity standards. As it turned out, the larger field of conservation was doing the same thing; several seminal and somewhat contentious conferences had taken place just in the preceding few years. With consensus nowhere on the horizon, SFMOMA initiated our own Sustainability Roundtable in order to research a solution that would work for our institution and timeline. 149 Internal stakeholders from conservation, registration, and engineering departments were invited, as well as representatives from Atelier Ten, Snohetta. and Taylor Engineering (the firm providing mechanical and piumbing engineering). Also present were external experts who had been studying the issue for years, including staff from the Getty, the MFA Boston, and the Indianapolis Museum of Art. Local museums involved in building projects were invited as well, including the Anderson Collection at Stanford. At the end of the session, the group arrived at seasonal set points that would help reach the LEED target while still providing a safe climate for the needs of the collections. SFMOMA Relative Humidity Satpotnn (gradual monthly mat) Optimize, Optimize, Optimize “We realized from the outset that minimizing the building’s energy consumption was key for LEED,” says Shruti Kasarekar of Atelier Ten, “and it involved customizing every aspect of the design of the structure and its systems. Optimize, optimize, optimize became the mantra. Where exactly are the windows? Can we extract a tiny bit more efficiency from the air conditioners? And so on. We ran through a long, iterative ( process of testing approaches, and combinations of approaches, to arrive at the best possible configuration of efficiency measures.” Lara Kaufman (of Snohetta) and Lotte Kaefer (of EHDD, the architecture firm partnering with Snehetta) stress that while LEED compliance was a requirement, it was really just the beginning. Maximum sustainability was the true goal, and optimizing for that was the fun part. “We’ve gone above and beyond in so many areas vis-a-vis LEED,” says Kaefer. "We had the climate in San Francisco working for us,” says Kaufman, “as well as the fact that, for conservation reasons, the galleries don’t have lots of windows, so you don't have much heat loss there. Although we soon realized that retaining heat wasn’t going to be a problem; rather, shedding it was. since all those visitors are like little radiators, generating BTUs and humidity. So the mechanical system is set up to shed those loads most of the year.” 150 Rendering by Steel blue "Then, once we had optimized the heck out of the HVAC system,” says Kasarekar, “the next biggest piece to tackle was the lighting. Galleries require specialty lighting, but we needed to manage the energy consumption in order to reach the overall building goals.” Arup, the lighting engineers who collaborated with Snohetta’s design team, came up with a "lighting energy budget" scheme that distributes the power draw across the building. Simply put, if the lights are brightened in one area, they must be dimmed in another. The controls are sophisticated, but they’re all managed from an iPad. “Visitors may not realize that those curved ceilings on floors U and 5 are the result of a lot of computer modeling to optimize the throw of the lights within the space,” says Kaufman. “We built scale mockups so that the curators and crew could experiment with different types of track and fixture arrangements. In the final, multi-layered system, ambient lighting above coves (low energy load) allows the museum to use fewer track light fixtures (high load)." Photo: Henrik Kam Contributing to the Field Barger has been gratified to see SFMOMA fast-tracked into the larger conversation in the conservation community regarding the “cave” settings, thanks to San Francisco’s ambitious LEED targets. The results of the Sustainability Roundtable were presented at two of the most important museum professional conferences: the American Institute for Conservation (AJC) and the American Association of Museum Directors (AAMD). “We’re definitely an ‘early adopter' of the seasonal set points, and it’s been affirming to share our solution— and our process for getting there-with the field,” says Barger. “It's really rewarding to contribute to momentum around this issue." Lindsey Westbrook Lindsey Westbrook is a freelance editor and writer specializing in art, architecture, and design. Her clients include SFMOMA, Istanbul Modern, UC Press, Princeton Architectural Press, Kunsthalle Basel, the Museum of Contemporary Art Detroit, the Felix Gonzalez-Torres Foundation, and many others. Rood more > Appendix 27: SFMOMA, “Collections Study Center Policies and Procedures” MOMA Collections Study Center Policies and Procedures SFMOMA is committed to providing researchers, educators, and students access to works from the permanent collection that are not currently on display in the museum's galleries. The Collections Study Center, generously supported by Ray and Oagmar Dolby, balances access to original artworks with the important task of preserving these objects for future generations. General Guidelines Physical Handling Rules The Collections Study Center is open to visitors by appointment Monday through Friday, 10 a.m.-noon and 1-4 p.m. Access to prints, drawings, photographs, and other works on paper is granted at the discretion of museum staff. To schedule an appointment, pleas* email collectionsstudycentertgisftTwma.org and include a description of your research project. Appointments must be scheduled at least three w eeks in advance. A checklist of chosen works needs to be finalized one week prior to the scheduled appointment. Upon arrival at SFMOMA, we will ask you to sign a copy of this form. Certain objects may be restricted If they have not been fully processed or prepared for use, or if SFMOMA is reserving first rights to publication. Visitors are also encouraged to first explore SFMOMA's website to get better acquainted with the breadth of the museum's collection and determine what material is available for request. • Only materials necessary for research (pencils, paper, laptops, notes) may be brought into the study center. Pens, food, and drink are not permitted. • Only pencils may be used (provided). Post-it Notes are prohibited on any material other than personal p ro p e rty. • No more than four boxes of material can be pulled per visit. All visitors must wash their hands before handling collection objects. Certain materials may require nitrile gloves (provided). If visitors have nail polish on their fingers, they must wear gloves. • Any long necklaces. ID badges, scarves, or other items hanging from the neck must be removed to prevent accidental abrasion of art objects. • Visitors may not touch the surfaces of prints. Visitors should only pick up one print at a time. Prints should not be held upright, and larger prints should not be placed on top of smaller prints. • Visitors are not permitted to enter the collection vault. Photocopying + Photography Photocopying of photographs/prints is not permitted. Visitors may make photographs without flash for their own personal use. No photography for commercial purposes is allowed. Images of artworks taken by visitors may not be published, reproduced, or sold. Publications ♦ Permissions Permission to study collection material does not include the right to publish content. It Is the visitor's responsibility to obtain whatever copyright or other permissions may be required from an artist, his/her agent, estate, or any other third party r ights holder. The researcher agrees to indemnify and hold harmless the San Francisco Museum of Modern Art, its officers and employees, from and against all claims and actions arising out of the researcher's use of the documents and artworks. To request high resolution images of the material or for questions about rights and reproductions, please co n ta ct copyright(H>sfmoma.org, Appendix 28: Denver Museum of Nature and Science, “Mission and Vision PIHVH M U » « U M O f ______DONATE TOOAY | MEMBERSHIP GIFT CERTIFICATE | BUY TICKETS I MY ACCOUNT | Q RNATURE&SCIENCE PLAN YOUR VISIT EXHIBITIONS IMAX PLANETARIUM LEARN SCIENCE JOtN GIVE ABOUT US BLOG BECOME A MEMBER Membership pays for itself in just two visits! Tweets t* © @DenverMuseumNS Denver Muse.. Q @OenverMuseu There• s still time to come enjoy tfgirtsandsciencet Chat wttn our career mentors at 20* dub houses see our newest exhibit acreaturesofHgnt. and get 50% off IMAX today until 5pm MISSION AND VISION Mission qj q* Be a catalyst! ignite our community s passion for nature and science Vision The Denver Museum of Nature & Science envisions an empowered community that loves understands and protects our natural world Core Values *®K2!8§i£? We love science 3 390 r*v*w» ■ We are cunous. creative and playful. • • tf lp a d v is o r ' We cultivate relationships with each other, diverse communities the environment and for our future We think critically and act with empathy Appendix 29: Denver Museum of Nature and Science, “Museum History' I 0 1 N V I R M U S I U M O P DONATE TOOAY | MEMBERSHIP G T T CERTIFICATE | BUY TICKETS I MY ACCOUNT |Q .N A TU R E; SCIENCE BECOME A MEMBER Membership pays for itself m just two visits! Tweets e @Denve*MuseumNS Denver Muse... $ • @OenverMuseu Theres stilt time to come enjoy •gtrlsandsaence! Chat w*ft our career mentors at 20* due houses see our newest exhtoit #creaturesoftgM, anc get 50% off I MAX today until 5pm MUSEUM HISTORY The story of the Denver Museum of Nature & Science begins in 1868, when Edwin Carter moved into a tiny cabin in Breckenndge Colorado to pursue his passion: the scientific study of the birds and mammals of the Rocky Mountains Almost single handediy Carter assembled one of the most complete collections of Colorado fauna then in existence Word of Carter spread, and in 1892, a group of prominent Denver citizens declared their interest in moving his collection to the capital city for all to see Carter offered to sell the entire collection for $10,000 The founders also secured an impressive collection of butterflies and moths and a stunning collection of crystallized gold Nature & Scitnct Together these three collections formed the nucleus of what would become the Colorado Museum of Natural 3 390 Reviews History officially incorporated on December 6, 1900 After years of preparation and construction the Colorado Museum of Natural History finally opened to the public on July 1 1908 John Campion, the first president of •tripddvtsoi the board said in his dedication address A museum of natural history is never finished.' How true these words have proven to be From the day it opened thousands of visitors passed through the doors to see the treasures inside The first director was hired and quickly recruited staff to build more exhibits and create public programs By 1918 another wing had opened and research efforts were well underway A discovery in 1926 put the Museum on the map A crew working near Folsom New Mexico unearthed stone projectile points alongside the bones of an extinct bison species These “Folsom points proved that humans lived m North America more than 10,000 years ago hundreds of years earlier than previously believed The Museum was propelled to the forefront of archaeological research, the beginning of contributions to science that continue today The Museum is also noted for its world-famous wildlife dioramas in the mid-20th century, under the leadership of director Alfred Bailey staff traveled to six continents collecting specimens Back home workers painstakingly re-created the habitats using painted backgrounds special lighting and carefully craned reproductions of plants and flowers Today the Museum has 89 wildlife dioramas throughout its halls By the time the Museum turned 50 years old more than 1 million people had visited the building continued to expand and it had a new name the Denver Museum of Natural History. A year later the first planetarium opened in a small room equipped with a star projector and fabric dome which eventually morphed into what is today the digital Charles C Gates Planetarium The Museum celebrated its 75th anniversary with the opening of Colorado s first IMAX theater when Phipps Auditorium, which for 40 years was home to popular programs for adults and children was converted into the giant-screen venue in 2010 3D technology was added to the IMAX experience 154 The Museum is also noted for its world-famous wildlife dioramas In the mid-20th century, under the leadership ot director Alfred Bailey staff traveled to six continents collecting specimens Back home workers painstakingly re-created the habitats using painted backgrounds, special lighting and carefully crafted reproductions of plants and flowers Today the Museum has 89 wildlife dioramas throughout its halls By the time the Museum turned 50 years old, more than 1 million people had visited, the building continued to expand, and it had a new name the Denver Museum of Natural History A year later the first planetarium opened in a small room equipped with a star projector and fabric dome which eventually morphed into what is today the digital Chartes C, Gates Planetarium. The Museum celebrated its 75th anniversary with the opening of Colorado s first IMAX theater when Phipps Auditorium, which for 40 years was home to popular programs for adults and children, was converted into the giant screen venue In 2010, 3D technology was added to the IMAX experience The north and south building and atnum additions in 1987 introduced a new era The expansive spaces accommodated the enormously popular temporary exhibition Ramses ll The Great Pharaoh and His Time This success brought about another unexpected outcome Although volunteers had always been key to Museum operations, more than 1.000 new ones were recruited to work in Ramses To this day the Museum continues to have one of the largest museum volunteer corps in the country The north wing became home to Prehistoric Journey in 1995 introducing new techniques in exhibitry, such as “enviroramas" that use distinctive sound and lighting, and a viewing lab where the public watches dinosaur fossils being cleaned and studied In 2000. the Museum celebrated its centennial with a new name the Denver Museum of Nature & Science The change reflected nature and science as integral parts of our mission and implied a new emphasis on hands-on experiences The west side of the Museum was remodeled and became home in 2003 to the Space Odyssey exhibition When the temporary exhibition Body Worlds 2 arrived al the Museum in 2006, it was already a worldwide sensation Its popularity was no different in Denver attracting 700.000 visitors its success was a precursor tc the opening of Expedition Health in 2009, an interactive exhibition that puts the human body to the test using a hike up Mount Evans as an overarching theme The Museum received international attention in fall 2010 because of an amazing discovery high in the Rockies A bulldozer operator working near Snowmass Village unearthed the remains of a Columbian mammoth The Museum’s curators dug a little deeper and found an exceptionally well-preserved fossil site packed with Ice Age animals In just 69 days, a huge team of scientists and volunteers excavated thousands of fossils Quickly christened The Snowmastodon Project, the discovery represented a new benchmark for understanding climate change in the American West In 2014, the Museum opened its most modern and technologically advanced wing to date The Morgridge Family Exploration Center is home to high-tech education studios, a second temporary exhibition gallery, and the wildly popular Discovery Zone for young children The Avenir Collections Center is located in two underground levels Only 2 percent of our 4 3 million artifacts and specimens are on display making it especially important that our research collections are preserved in a facility with the highest standards in climate control and stable storage Active science takes place at the Museum every day Our curators collections managers, archivists, conservators, libranans researchers, and lab assistants— along with 600 volunteers— are not only responsible for conducting research but also creating opportunities for citizens to become actively involved in science. The education staff creates compelling programs and experiences for millions of guests and schoolchildren that inspire a passion for explonng and understanding our natural and cultural world. The Denver Museum of Nature & Science has become a renowned museum because of the tireless commitment of its staff volunteers, members, donors guests, and the citizens of Colorado fulfilling our founders dream of creating one of the great entertaining and educational institutions of the country" Appendix 30: Denver Museum of Nature and Science, “Current Exhibitions p 0 E N V I > M U SCUM OP DONATE TODAY | MEMBERSHIP GIFT CERTIFICATE | BUY TICKETS I MY ACCOUNT | Q E" n a t u r e - s c ie n c e PLAN YOUR VISIT EXHIBITIONS IMAX PLANETARIUM LEARN SCIENCE JOIN GIVE ABOUT US BLOG CURRENT EXHIBITIONS UHHIMS If LIGHT — fltlltTIM Creatures; of Ught Dixovery Zone Expedition Health ® February 23-Juoe 10. 2018 Konovolenko Gem Carvings \iorth American Indian Prehistoric journey of Russian Folk Life Cultures Wildlife Exhibits El Alebije September ^-August 2018 156 Appendix 31: Denver Museum of Nature and Science, “Discovery Zone” DISCOVERY ZONE Location: Level 2 The Discovery Zone— made possible by Kaiser Permanente— is bursting with activities that help build a strong foundation of Hours: science skills in young children as they look. ask. discover, Open daily, 9 a m -5pm. make, and share. O [-» Exhibits, activities, and programs focus on science process Ages: skills, such as observing, quantifying, inquiring, analyzing, Targeted to children ages 3-5 creating, and communicating Children can "excavate" fossils, with activities for younger and manipulate and observe water in action experiment with older siblings building methods and materials, and conduct investigations and create art projects Tickets: Included with Museum Our youngest visitors also enjoy these areas of the Museum Denver Museum admission • Astro Tot Training Space Odyssey. Level 1: Strap on a jet-pack and take off for space from the kid-sized shuttle (SXSXSXSXD 3 390 Reviews flight deck @®tripadvisoi • Tykes Peak, Expedition Health Level 2 Get moving with multisensory experiences, such as shadow play and testing your heartbeat • Wildlife Halls. Levels 2 & 3 Count baby animals, hunt for colors, and get up close to kid-sized statues of black bear cubs and a fur seal pup in Bears and Sea Mammals Hall. • Camp PaleoPals Prehistoric Journey, Level 3: Explore puppets, books, puzzles, and real fossils that get kids excited about our ancient world , Dtscovery Zone made possible by m KAISER PERMANENTE* 157 Appendix 32: Denver Museum of Nature and Science, “Current Shows” CURRENT SHOW S There is no late admittance to Phipps I MAX 3D Theater or Gates Planetarium Block Holes The Other Side Cosmic Journey A Solar Destination Sobf System One World One Sky Big of Infinity System Adventure Bird's Adventure PASSPORT UNIVERSE Space “fours uve Passport to the Universe J 158 Appendix 33: Denver Museum of Nature and Science, “Research” RESEARCH Museum scientists study the history, evolution, and diversity of the universe the Earth and its inhabitants We make new discoveries and share them with our communities through presentation, publication and programming ANTHROPOLOGY EARTH SCIENCES Incorporating ethnography am) The Department of Earth Sciences archaeology the Department of combines paleontology and geology in Anthropology studies humans and their its attempt to understand and document many cultures the evolution of the planet HEALTH SCIENCES The mission of Health Sciences The Department of Space Sciences The Department of Zoology investigates Department is to explore and teach the explores the mysteries of the universe evolutionary patterns and processes biological principles of human health focusing on the lives and environments leading to a better understanding of the and disease of young stars world's biodiversity 159 Appendix 34: Denver Museum of Nature and Science, “Anthropology” PLAN YOUR VISIT EXHIBITIONS IMAX PLANETARIUM LEARN SCIENCE JOIN GIVE ABOUT US BLOG ANTHROPOLOGY ABOUT CONSERVATION W H O W E ARE Th e Department of Anthropology aspires to HISTORY curate the best understood and most ethically held anthropology collection In North America We seek to document and understand the RESEARCH human communities of the Rocky Mountain region and beyond through study of their material cultures while adhering to the guiding OUTREACH principles of respect, reciprocity and dialogue Through ethnology (the study of recent and COLLECTIONS Irving peoples) and archaeology (the study of ancient human culture) the department investigates human diversity in our rapidly transforming world and shares with the public the excitement of the discipline's art and science UPCOMING EVENTS There are currently no events More than 50 000 objects constitute the Anthropology Collection As recently described in the book C ro ssro a d s of Culture, the collection is mainly comprised of archaeological and ethnological artifacts from North America. The department also curates collections from Central and South America. Africa. Asia and Oceania Additional holdings include the 800-piece Ethnological Art Collection and archival photographs and documents The department is fully committed to compliance with the 1990 Native American Graves Protection and Repatriation Act (N A G P R A ) and all other national and international law's that impact anthropological objects Appendix 35: Denver Museum of Nature and Science, “Earth Sciences1 ■ ■ ■ PiNVIK MUtlUM Of DONATE TODAY | MEMBERSHIP GIFT CERTIFICATE | BUY TICKETS | MY ACCOUNT | Q NATURES SCIENCE PI AN YOUR VISIT EXHIBITIONS IMAX PLANETARIUM I f ARM SCIENCE JOIN GIVE ABOUT US BIOG EARTH SCIENCES HISTORY W H O W E ARE The Department of Earth Sciences (D ES ) COLLECTIONS focuses on specimen and field-based research m paleontology and geology, with emphasis in the Rocky Mountain region. The department RESEARCH contains seven recognized collections minerals (including gems & micromounts) rocks, meteontes and fossil vertebrates OUTREACH invertebrates and plants These collections are the core of two permanent Museum exhibits Prehistoric Journey and Coors Mineral Hall SERVICE There are currently 11 full and part-time staff in D ES and nearly 240 volunteers working on research, in collections and labs and in the Prehistoric Journey exhibit. Appendix 36: Denver Museum of Nature and Science, “Space Sciences” SPACE SCIENCES HISTORY V W HO WE ARE The mission of the Department of Space OUTREACH v Sciences (D S S ) is to educate Museum visitors and our local community with accurate and scientifically sound Information regarding space SERVICE v sciences w e accomplish this by communicating up-to-date space sciences information through the Space Odyssey RESEARCH ^ exhibition and public programming D S S includes research staff with expertise m planetary science, space science astrobiology and astrophysics Most of the department’s collections are digital The Space Sciences Newsroom is a digital media center with staff and volunteers who produce and maintain a collection of up-to-date resources used m Space Odyssey and space sciences programming UPCOMING EVENTS There are currently no events Department of Space Sciences staff engage in world-class scientific research and are leaders in procuring external research funding for projects in • Planetary science • Creation and educational utilization of virtual environments • Astrobiology • Instrumentation • Data visualization • Education research Appendix 37: Denver Museum of Nature and Science, “About Health Science' DENVER MUSEUM OF DONATE TODAY | MEMBERSHIP GIFT CERTIFICATE | BUY TICKETS | MY ACCOUNT |Q NATURE&SCIENCE PLAN YOUR VtSU PLANETARIUM LEARN SCIENCE JOIN GIVE ABOUT US BLOG ABOUT HEALTH SCIENCE COLLECTIONS CLASSICAL HUMAN ANATOMY SPECIMENS v The research collection in the Health Sciences Department is comprised of rare and unique HISTOLOGY & PATHOLOGY v human anatomy specimens, as well as a small selection of pieces of medical importance. For more information about each subcollection, PLASTINATION v including plastination. histology, human DNA. classical anatomy, and historical medical, explore the tabs on this page MODERN HUMAN DNA v TEAM HISTORICAL MEDICAL COLLECTION ^ COLLECTIONS ALUAANI v Appendix 38: Denver Museum of Nature and Science, “Zoology” ZOOLOGY HISTORY W H O W E ARE The Zoology Department maintains an active RESEARCH program of specimen acquisition and management, scientific research education, and public programming to promote a better OUTREACH understanding of the Earth's biodiversity and to gather information needed to make informed decisions about species conservation Although SERVICE the department s collections and programs span the globe current activities focus pnmanly on ecosystems of the Great Plains and Rocky COLLECTIONS Mountains of North America Curators also investigate how natural populations of vertebrates and invertebrates change over time and how these species are affected by changes in the natural environment Curators use a vanety of approaches including field work, measuring and studying variations in museum specimens microscopy, and molecular analyses to test hypotheses related to evolutionary changes in populations and species UPCOMING EVENTS There are currently no events The Zoology Department houses over 900.000 specimens or specimen 'Tots’1 (groups of specimens) including over 40,000 vials of arachnids (spiders and their relatives), each vial holding anywhere from one to hundreds of animals well over 780,000 insects with strength in the orders Coleoptera (the beetles) and Lepidoptera (the butterflies and moths); 17 000 shell lots representing shells from all over the world, approximately 52 000 bird specimens including a significant nest and egg collection over 14 000 specimens of mammals, including several threatened or endangered species and several species now considered extinct Our small botany collection includes over 2 500 specimens representing 130 families. Many of the specimens in our various collections date back over 100 years 164 Appendix 39: Denver Museum of Nature and Science, “Overview” OVERVIEW The brand new addition on the Museum 's south side has added 126.000 square feet and five levels of discovery to the Museum, providing even more space to engage, delight, and sparfc your imagination The addition is broken up into two major areas: Morgridge Family Exploration Center The Morgridge Family Exploration Center constitutes three above-ground levels devoted to offering memorable and impactful programs that are rich with content and encourages visitors to have in-depth conversations about science and the natural world In the Morgridge Family Exploration Center, visitors of all ages engage with science in new ways through Exploration Studios for today's students, a new temporary exhibition gallery, a lively atrium space, a completely redeveloped Discovery Zone for early learners, and the beautiful outdoor Boettcher Plaza with unique public art The new Discovery Zone cn Level 2 is made possible by Kaiser Permanente. Its activities will help build a strong foundation of science skills for young children through hands-on. highly experiential Museum experiences Level 3 is home to the Anschutz Gallery made possible by The Anschutz Foundation, which will adjoin the existing Phipps Special Exhibits Gallery. This allows an expansive space that will greatly enhance the M useum ’s ability to present the world's leading exhibitions. The galleries will be used together to stage one large temporary exhibition, and they will be used independently to stage two exhibitions simultaneously FAQs about the Morandoe Family Exploration Center and City Park. Avenir Collections Center The Avenir Collections Center totals 63,000 square feet in two underground levels devoted to providing consolidated housing for nearly 4 3 million artifacts and specimens for the first time in Museum history ensuring they are preserved for the public for generations to come 165 Appendix 40: Denver Museum of Nature and Science, “Avenir Collections Center” AVENIR COLLECTIONS CENTER The new Avenir Collections Center represents a quantum leap in collections care The 63,000-square-foot, two- level facility provides consolidated state-of-the-art housing for nearly 4 3 million artifacts and specimens for the first time in the Museum s 114-year history The collections center was custom-made, with the Research and Collections staff heavily involved in its design and construction, right down to selecting the floor color (white, so that pests can be easily seen) The cabinets were built to specification using the highest standards in stable storage conditions No longer will specimens, such as butterflies, be shingled or crowded in drawers Climate control regulates temperature and humidity appropnate to each collection. In newly equipped worKspaces and labs, collections can be safely, efficiently, and comfortably studied and preserved by our own scientists, conservators, and archivists as well as by researchers from around the globe The artifacts and specimens are being carefully moved in phases, with 70 percent scheduled to be relocated by the end of 2015 The new Avenir Collection Center ensures that the stones, science, and winder inherent in these treasures will endure for generations Appendix 41: SPNHC, “What SPNHC Does?” Home Member Login Join SPNHC Contact Us Calendar p k | L I f* The Society For The S r I N n t Preservation of Natural (t u t c .g m c*«t History Collections WHAT SPNHC DOCS History Governance Affixations President!*! Profile Contact The Society for the Preservation of Natural History Collections BECOME A MEMBER [SPNHC] is an international organization devoted to the Become part ofan aetii* and vibrant preservation, conservation and management of natural history community o f more than 600 members worlduide. collections. Our Members: SOCIAL MEDIA Identify. Catalog, and Document CoiTect identification and organization of specimens and their associated information is critical for the use of collections Join us live and requires experience and specialist knowledge. Prepare, Preserve, and Conserve Ensuring the future availability of collections and their supporting documentation depends on a holistic approach to their care as well as the correct use of conservation and preparation materials and techniques. Research and Develop SPNHC members cam' out specimen-based research on collections, and also research to develop new techniques for specimen care and preservation. Share From physical access to digitization and databasing. our members make collections accessible for use today and into the future. Advocate and Educate SPNHC takes a leading role in promoting collections care issues to the academic community, governments, and the general public. Our members are dedicated to training and mentoring the next generation of collections professionals The Society hosts annual meetings and maintains an active roster of publications, including Collection Forum, a journal that accepts submissions on all aspects of natural history collections management and conservation, a bi-annual Newsletter, and books that examine various aspects of natural history collections care, development and management. SPNHC is led by a talented group of individuals who are elected by the membership. Much of our work is accomplished through our committees, which form the backbone of our Society, Natural history collections are pan of our global heritage and a priceless resource for research and education. We encourage you to explore this site for information about SPNHC and how our members work to ensure the future of collections. 167 Appendix 42: UCLA Film and Television Archive, “UCLA and the Archive” UCLA, PROGRAMS COLLECTIONS RESTORATION RESEARCH & EDUCATION SUPPORT US UCLA 6THE ARCHIVE The Archive is proud of its home at the University of California, Los Angeles, California’s largest university, with an enrollment of more than 40,000 undergraduate and graduate students. The university features renowned faculty and offers more than 5,000 courses in 109 academic departments. UCLA is a national and international leader in the breadth and quality of its academic, research, health care, cultural, continuing education and athletic programs. The Archive is a part of the UCLA School of Theater, Film and Television, a premier interdisciplinary globa* professional school mat develops outstanding humanistic storytellers, industry leaders and scholars, whose diverse, innovative voices enlighten, engage and inspire cnange for a better world. O O £2 O ®Email Appendix 43: UCLA Film and Television Archive, “About the Archive” 'The Archive is a vital part of the Los Angeles film scene and world-class contributor to the cause of film preservation." -L e o n a r d Maltin UCLA Film & Television Archive is the second largest moving image archive in the United States after the Library of Congress, and the world's largest university- cased media archive. We are committed to the collection, restoration and exhibition of moving images. The Archive’s public program s can be seen at the Billy Wilder Theater in W estwood Village, Los Angeles. The Archive loans prints from its vast collection to cinematheques and film festivals around the world. Additionally, footage licensed from the Archive has appeared in many notable projects for the big screen, television and other med^a. M any items in the Archive's collections can be accessed for research by appointment through the Archive Research & Study Center at UCLA, The Archive’s Beginnings 1965 In late-1965, the Academy of Television Arts anc Sciences (ATAS) joined forces with the UCLA Theater Arts Department to create the ATAS/UCLA Television Library, 1968 The Film Department faculty founded the Rim Archive, 1972 The Archive acquired the Jack Benny Television Collection, including all his series and specials, and tne Hallmark Hall of Fame Collection. A short time later, Capitol Cities/ABC donated more than 24,000 television programs, which had aired from the early 1950s through tne early 1970s, including leave it to B e r n , 77 Sunset Stnp, The Wonderful World o f Disney, The Adventures o f O m e and Harriet and Peyton Place, 1976 Rooert Rosen was named director of both the ATAS/UCLA Television Library and tne Film Archive. UCLA Rim & Television Archive was established as a joint venture. During its early years, the Archive amassed a serious film collection with the donation of the Paramount Picture: Nitrate Print Library, which included almost all of the sound films the studio had produced between 1930 and 1950. This was soon followed by important acquisitions from all the major U.S. studios: Warner Brothers, Columbia Pictures, 20th Century Fox and Republic Pictures, 169 1977 The Archive made two bold strokes: launching its preservation and restoration program with the hiring of Robert Gitt soon restoring titles such as Billy Wilder's Double Indemnity (1944), Josef von Sternberg's Blonde Venus (1932), Howard Hawks The Big Sleep (1946) and Frank Borzage s Moon rise (1948): and an expansion of its campus film programming for the general public. The Archive became renowned for its presentation of Hollywood classics, documentaries, contemporary independent productions and cutting edge works of international cinema. 1980s - 1990s: Expansion and Acclaim 1981 The Archive became the permanent home to one of tne most compelling and significant historical resources of the 20th century, the extensive Hearst Metrotone News Collectior newsreels that consist of more than 27 million feet (5,000 hours) of footage, documenting the fabric of life from 1915-1975. The Archive provides footage from this collection to numerous films, television programs, museum exhibitions and other projects every year. 1984 The Archive restored Becky Sharp (1935), the first three-strip Technicolor feature. 1988 The Archive staged its first UCLA Festival of Preservation, inviting the public to screenings of the Archive's recent restoration work. The festival spans the entire history of moving images, showcasing silents. classic Hollywood features, television programs, rarely-seen newsreels, documentaries and contemporary independents— many works that were once lost or damaged. The festival inaugurated its first North American tour in 2009. "No other event in the country so consistently illuminates the irresistible hidden treasures of America's movie heritage, putting a spotlight on drop-dead fascinating items unseen in decades, and difficult to see after the festival." — Kenneth Turan, Los Angeles Times. 1989 The Archive opened its Archive Research and Study Center (ARSC) in UCLA's Powell Library. ARSC provides free access to more than 10,000 collection items each year. Hundreds of books, films, plays, articles and scholarly writings have been researched through ARSC. (10/17/58), Another Evening with Fred Astaire (11 /4/59) and Astaire Time (9/28/60), which "exhibit a high level of engineering and are important to the progress of the industry.” At the start of the 1990s. the Archive launched its annual UCLA Celebration of Iranian Cinema, the first showcase for new Iranian films in the United States. In a public access milestone, the Archive became one of the first major moving image archives to make its catalog records searchable online. And it established the Sundance Collection at UCLA to provide longterm access to independent productions, by having Sundance-selected filmmakers voluntarily place copies of their work at UCLA. This collection is one part of a multi-faceted pian for preserving and exhibiting independent cinema, and restoration projects have included Efrain Gutierrezs Chicano Love is Forever( 1977), Robert Epstein s The Times of Harvey Mifk(1984) and films by Kenneth Anger. Closing the decade, the Archive acquired the Stanford Theatre Film Laboratory, providing the Archive with its first in-house lab capabilities. New Millennium / New Initiatives In the 2000s, the Archive won further accolades for its restorations of independent works by John Cassavetes, Charles Burnett (Killer of Sheep, 1977) and Kent Mackenzie (The Exiles, 1961). The latter two restorations won Film Heritage Awards from the National Society of Film Critics. 2003 The National Society of Film Critics presented a Special Citation to the Archive “for its long-lived and heroic work in film preservation, restoration and resurrection, including its recent rehabilitation of rehearsal and test footage from director Charles Laughton's The Night of the Hunter (1955)." The Archive later received another Film Heritage Award for its restoration of Michael Powell & Emeric Pressburger's The Red Shoes (1948). 2005 The Archive began expanding its outreach by entering into the DVD market, in collaboration with S more Entertainment, it released the first 26 episodes and the original pilot of the 1950s television series Mister Peepers, starring Wally Cox. The release marked the first time that series had been seen anywhere since airing on broadcast television over 50 years ago and a second box set followed. The Archive's eclectic public programs included the highly successful Heroic Grace: The Chinese Martial Arts Film retrospective, which screened in Los Angeles before touring more than 20 venues and film festivals in the U.S.. Canada and Europe. 170 Preservation, the largest publicly accessible collection of LGBT films in the wold. The Los Angeles Film Critics Association presented the Archive a Legacy of Cinema award for the Project and its restoration of Bill S h e rw oo d 's P artin g Glances 0 986). 2006 Thanks to a $5 million donation by Audrey L. Wilder, in December 2006 the Archive moved its public screenings to a new venue, the Billy Wilder Theater in Los Angeles’ Westwood Village. It is among a handful of venues nationwide able to exhibit an entire century's worth of moving images in their original form ats. 2008 Thanks to an extraordinary and ongoing partnership with The Packard Humanities institute (PHI) and David Woodley Packard, the Archive's nitrate film holdings were moved tc a new state-of the-art vault facility in Santa Clarita, California. The new vault was the first phase in a plan to build a fully developed preservation center with additional vaults for UCLA's entire collection, as well as laboratories, workrooms and theaters with fiber-optic connections to UCLA. 2010 The Archive launched the new decade with two major honors: the Special Medallion from the Telluride Film Festival, which recognizes "a hero of cinema— an organization or individual— that preserves, honors and presents great movies;’’ as well as a 24-hour showcase on Turner Classic Movies featuring the extraordinary restoration and remastering work conducted by the Archive.’ In conjunction with the UCLA Moving image Archive Studies program and the institut National de I Audiovisuel in France, the Archive staged its first international academic symposium in November 2010, Reimagining the Archive: Remapping and Remixing Traditional Models in the Digital Era. This gathering at UCLA featured presentations by academics and professionals from three continents, examining the ways the digital era has impacted the evolution of archival practice, technology and research. The Archive and Shout! Factory released The Ultimate Goldbergs, fe a tu rin g re-m a ste re d versions of all 71 episodes of the landmark television series The Goldbergs, written, produced and directed by Gertrude Berg. 2011 Moving into the digital paradigm, the Archive launched a new website, which for the first time allowed the streaming of moving image content, and acquired several digital restoration suites, scanners, and The Archive established the Laurel 8. Hardy Preservation Fund, allowing the general public to contribute directly to the restoration of the duo’s comedic treasures. The Archive’s efforts to restore all its surviving negatives has been met with resounding support from Laurel & Hardy fans around the world and great progress continues to be made. Additionally, the Archive presented the groundbreaking film exhibition L A. Rebellion: Creating a New Black Cinema, as part of the Getty's "Pacific Standard Time: Art in L.A. 1945-1980“ cultural initiative. L A Rebellion introduced the collective work of a group of African and African-American filmmakers who attended the UCLA School of Theater, Film and Television in the 1970s andl 980s. These filmmakers came to represent the first sustained undertaking to forge an alternative Black Cinema practice in the United States More than 50 representative works ranging from well-known films securely in the canon to the obscure were screened, many for the first time since film school. Many of the newly restored and preserved prints traveled nationwide as a touring program that commenced in September 2012. 2013 The Archive becomes the home of In the Life, television's longest running LBGT news magazine. 50 Year Milestone 2015 Throughout 2015, the Archive feted its 50th anniversary with a look back at some of its most culturally and historically significant preservation and restoration projects. This included screenings of films by Cecil B. DeMille, Frank Borzage, Dorothy Arzner and Rob Epstein, treasures from the television collection, and a parade of restored classics. The Archive invited archivists, academics and media producers from around the country to participate in This is the City': Preserving M oving Images of Los Angeles, a two-day symposium exploring the lost history and landscapes of L.A. As part of its ongoing commitment to preserving LGBT media, the Archive launched the In the Life online resource, which provides f^ee access to more than 190 episodes of America's first and longest-running national gay and lesbian series. In July, Turner Classic Movies presented a special on-air tribute to the Archive, featuring such notable restorations as H e r S ister's Secret ( 1946), The N ig h t o f the H u n te r 955), W a n d a (1971) and a selection of raresy-seen shorts. To commemorate the Archive’s 50 years of pioneering work in film preservation, the Los Angeles City Council officially declared December 4, 2015 "UCLA Film 8. Television Archive Day in Los Angeles.' 2017 In the spring, the Academy Film Archive and UCLA Film 8. Television Archive had the honor of hosting the nternational film archival community for the 73rd FlAF Congress. This six-day event included a symposium on Spanish-language cinema in Hollywood, film screenings, archive tours and the Federation's annual General Assembly. As part of Pacific Standard Time: LA/LA, an initiative of the Getty the Archive launched Recuerdos de un cine en espahol. Latin American Cinema in Los Angeles. 1930-1960, an extensive retrospective of Spanish-language films from Mexico. Argentina, Cuba and Hollywood. Screening at the Billy Wilder Theater and the Downtown Independent the senes featured new prints and restorations undertaken by the Archive and supporting institutions. Years in the making, this project also involved a landmark partnership with the Cinemateca de Cuba— a national film archive that has not previously collaborated with a U.S. cultural institution. 171 Appendix 44: UCLA Film and Television Archive, “Letter from the Archive Director” UCLA i PROGRAMS COLLECTIONS RESTORATION RESEARCH & EDUCATION SUPPORT US Television/ ( Archive Support Us Letter from the Archive Director LETTER FROM THE ARCHIVE DIRECTOR MAKE A OONATION MEET OUR DONORS OUR STORE LAUREL AND HARDY Secret Beyond the Door (Fritz Lang, 1947) Moving images constitute an integral part of our diverse national culture as works of fiction, art sociai document or historical record providing knowledge, inspiration and enjoyment to audiences. UCLA Film & Television Archive advocates the robust circulation of all moving images in all formats by collecting, preserving, curating and making accessible these media for research, education and entertainment’ The above Mission Statement of UCLA Film & Television Archive, reflects not only the passions of the Archive's staff but also my personal conviction that moving images matter. It is why I have dedicated my life to the profession of studying, archiving, preserving and showcasing them. Moving images are endlessly fascinating. They represent where we have been, who we are. and where we are going. They help us craft an understanding of what is possible. As the director of UCLA Rim & Television Archive, i am proud to stand by our work, which we achieve with exceilence and efficiency. For decades we have maintained superior standards for preserving precious images, while making them accessible through * 5 T screenings and onsite research. However, we understand that the Arch»ve can not exist jg m merely as a passive repository of moving image media. Rather, the Archive must facilitate the robust circulation of images. By significantly increasing the amount of digitized content available online, the Archive becomes a space whe»-e anyone can view, research and sample material, essentially becoming his or her own curator. In the coming months and years, the Archive will invest in keeping materials available to all via online access, in order to do this, we need your help. The new online presence you are experiencing comes thanks to leadership support from individual donors, foundations V and government agencies. We hope you support our efforts to generate new content explicate collections and advance film historical research. Your gift furthers our ability to preserve and celebrate our shared moving image heritage through uninhibited accessibility. Please celebrate with us. Thank you for being a part of UCLA Rim & Television Archive. Dr. Jan-Christopher Horak Appendix 45: UCLA Film and Television Archive, “Billy Wilder Theater' The Billy Wilder Theater, home of UCLA Film & Television Archive s public programs, is among a handful of venues nationwide able to exhibit an entire century's worth of moving images in their original formats. From the earliest silent films requiring variable speed projection all the way up to cutting-edge digital cinema, the Wilder can accommodate an array of screen technologies. Box O ffice The box office opens one hour before show time. Visit our ticket page for information about admission. P a rk in g Parking is available in the lot under the Billy Wilder Theater. Enter from Westwood Blvd., just north of Wilshire Blvd. Cash only. Monday - Friday after 6 p.m.: $6. Monday - Friday before 6 p.m.: $6 for first 3 hours with Hammer Museum validation and $3 every 20 minutes thereafter. To obtain validation, show your ticket stub at the welcome desk in the museum lobby. S a tu rd a y 8. S u n d a y all day: $6. Visitor parking is also available in UCLA Parking Lot 36 at 11020 Kinross Ave. Credit cards or exact bills only. Monday - Friday after 4:30 p.m.: 2 hours $4 / all night $5 Saturday & Sunday all day: 2 hours $4 / all night $5 See the map below: ' West Beverly Billy Wilder Theater N r ★ 10899 Wtishire Blvd. Los Angeles CA Directions Save 90024 3.4 •* 5 reviews V> View larger map r i -ypr i lit? oottnty mO "Billy Wilder Theater ' iPic Los Angeles Pierce Brothers W estwood % Village Memorial... \ Angeles vidfw*00 t Agency O' RoSf Public Transportation Located at the corner of Westwood and Wilshire Blvd., the theater is easily accessible by public transportation. Check the websites below for bus schedules, directions and fare information. • LA M e tro • Santa Monica Big Blue Bus • Culver City Bus About the Theater The theater s modern design by Michael Maitzan Architecture stylishly interprets cinema's play of light and movement in real space, and the 294-seat interior features comfortable leather seats with superb sightlsnes. The theater is made possible by a generous gift from Audrey L. Wilder and named in honor of Mrs. Wilder's iate husband, the legendary screenwriter, director and producer. Born on the outskirts of the Austro-Hungarian empire. Billy Wilder fled Nazi Germany in the 1930s to become a master of Hollywood film language and a shrewd comic observer of the American scene. Among the many classics Wilder co wrote and directed were Double Indemnity (1 9 44 ), Sunset Boulevard <1 950) and Some Like It Hot{ 1959). Conveniently located in the Hammer Museum on the corner of Westwood and Wiishire Boulevards, the theater offers filmgoers the chance to olan their evenines with dinine options. Appendix 46: UCLA Film and Television Archive, “Current Series” Programs Upcoming Events UPCOMING EVENTS ▼ CALENDAR CURRENT SERIES TICKET INFO VENUE & DIRECTIONS PAST EVENTS TOUR S ▼ UCLA FESTIVAL OF ▼ PRESERVATION SUPPORT PUBLIC PROGRAMS 174 Appendix 47: UCLA Film and Television Archive, “Tours” Programs Tours UPCOMING EVENTS TOURS CURRENT TOURS PAST TOURS UCLA FESTIVAL OF PRESERVATION SUPPORT PUBLIC PROGRAMS Besides its regular screenings in Los Angeles, UCLA Film & Television Archive also extends its programming around North America, providing films, television programs and newsreel Rootage to other archives, museums, universities and film festivals. 175 Appendix 48: UCLA Film and Television Archive, “UCLA Festival of Preservation” UPCOMING EVENTS UCLA FESTIVAL OF PRESERVATION TOURS UCLA FESTIVAL OF PRESERVATION 2017 FESTIVAL 2017-2018 TOUR PAST FESTIVALS SUPPORT PUBLIC PROGRAMS March 3 -27. 2017 | Billy Wilder Theater This year’s festival showcased newly restored gems from classic Hollywood, rare silents. the films of Laurel & Hardy. 1960s television specials, timely independent features, documentaries and more. Archive preservationists will appear in person at many screenings to discuss their work with audiences. See the complete schedule > O u Q D CS3 Email 176 Appendix 49: U C L A Film and Television Archive, “Archive Research and Study C e n t e r ” Research & Education Archive Research and Study Center - ARCHIVE RESEARCH AND STUDY CENTER FAQ RESEARCHED AT ARSC ▼ RESEARCH LINKS INITIATIVES UCLA MOVING IMAGE ARCHIVE STUDIES UCLA SCHOOL OF TFT SUPPORT RESEARCH Serving the UCLA community and an international constituency of academic faculty, scholars, students, writers, and professionals, the Archive Research and Study Center (ARSC) provides a vital access point to UCLA Rim & Television Archive's collection of over 350.000 films and television programs, over 100,000 News and Public Affairs (NAPA) programs, and over 2.000 radio programs. ARSC coordinates individual viewing appointments, facilitating access to the Archive's rare collections througn the Powell Library Media Lab. With ARSC s assistance, visitors conduct scholarly and professional research for hundreds of class assignments, dissertations, publications and film and television productions. Coordinate a Research Visit Many of UCLA Film & Television Archive's holdings can be viewed for research purposes in the Powell Library Media Lab. All research visits and viewing requests must be coordinated in advance with ARSC. We do not collect books, periodicals, production files, scripts, photographs, or information about material in our collection. • While some holdings can be made availabse for appontment viewing with short lead time, a significant portion of the collection may require up to two weeks or longer to be made accession for viewing. • As the first step in arranging a visit piease search Collections to locate titles of interest • From researcning the Archive Catalog, we ask that you p ease compile your viewing request list and email it to us, noting item inventory numbers and titles as listed in the Archive Catalog. • Upon receipt of your requests from the Archive Catalog ARSC staff will advise as to the availability of specific titles, make recommendations for additional materials of interest and assist in selecting appropriate visit dates for your appointments. • Please review our Research FAQ before plann ng any travel to conduct research at the Archive. 177 Appendix 50: UCLA Film and Television Archive, “ARSC Frequently Asked Questions” Research & Education Research at UCLA ARSC Frequently Asked Questions RESEARCH AT UCLA ^ ARSC FREQUENTLY ASKED QUESTIONS RESEARCHED AT ARSC How do I search the Archive's collections? Search the Archive Catalog. RESEARCH LINKS Searchthe News and Public Affairs (NAPA) database. INITIATIVES Browse our Collection Profiles. UCLA MOVING IMAGE Professional cataloged and others interested in the technical aspects and standards of the Archive Catalog records may wish to ARCHIVE STUDIES consult the Archive's extensive Cataloging Procedure Manual. UCLA SCHOOL OF TF T For assistance searching the Archive Catalog, please email the Archive Research & Study Center. SUPPORT RESEARCH May I borrow a tape? The Archive's collection is available for on-site research viewing only and does not circulate. For on-site research, Study Copy titles can usually be placed on reserve for viewing May I buy a copy? The Archive cannot provide copies of items in our collection. Due to copyright laws and contractual agreements with our donors and depositors, Archive holdings (including public domain titles) are available for on-site research viewing only. Please note that footage from our Hearst newsreel and KTLA news collections is available for license through our Media Licensing office at (323) 466-8559. May I get clips or footage to use in my film? Footage from the Archive's Hearst newsreel and KTLA news collections is available for commercial license. For licensing information, please call our Media Licensing office at (323) 466-8559. Additional sources for stock footage may be found at www.footage.net. Which items are available to be viewed for research purposes? The following access designations are found in the location field of Archive holdings records in the Archive Catalog: • STUDY COPIES: usually available to be viewed with one working day's notice. • RESEARCH COPIES: usually available to be viewed within 14-21 working days of your request. • ARCHIVAL COPIES: unavailable to be viewed at this time. (Exceptions upon archivist approval. 178 Appendix 51: UCLA Film and Television Archive, “Research Initiatives” Appendix 52: UCLA Film and Television Archive, “About Restoration” Restoration About Restoration ABOUT RESTORATION UCLA RESTORATIONS ▼ I SUPPORT I RESTORATION I "Our preservationists must demonstrate the hard-nosed diligence of detectives, the technical skill of accomplished filmmakers, the aesthetic sensitivity of artists, and the allegiance to the truth of historians." — Jan-Christopher Morale Director, UCLA Film & Television Archive It is estimated that 50 percent of ail films produced in the United States prior to 1950 have disappeared. 90 percent of classic film prints in the United States are currently in very poor condition. Similarly, much of historic television now exists only on oosoiete and deteriorating tape formats. UCLA Film & Television Archive is committed to preserving moving image materials. Until 1950, films were produced using nitrate cellulose film stock, a chemically unstable and flammable material that eventually deteriorates and turns to dust After 1950, more stable acetate (or safety) film stock was used, but it also deteriorates, giving rise to vinegar syndrome* or irreversible color fading. The Archive is increasingly relying on potyester film stock and digital means to preserve image and sound quality. "Part of the goal is to make a new print or prints so that they can be circulated and screened for the public at film festivals and screening venues around the world. But the ultimate goa: is to make a new preprint element— a master positive copy or a dupe negative copy— on modern polyester film that researcn indicates will last for hundreds of years, and place it in our cotf storage vault" — Presentation Officer Robert Gitt Film and television preservaton and restoration is often labor intensive and can be costiy. The exacting work requires researching the best surviving materials among the world s archives and private collectors, painstakingly comparing and cutting together shots and scenes from diverse sources, repairing splices and perforations, rerecording soundtracks to remove auditory imperfections, tinting silent films in their original colors and restoring faded prints. With proper storage, film elements have the ability to survive, without deterioration, for hundreds of years. Appendix 53: UCLA Film and Television Archive, “Explore Collections” With over 350.000 motion pictures and 1 60.000 television programs, and 27 million feet of newsreel footage. UCLA Film &. Television Archive is the world’s largest university-held collection of motion pictures and broadcast programming. For more information on our collections or to arrange research viewing, please contact the Archive Research and Study Center (ARSC). Archive Catalog To search UCLA Film S. Television Archive’s collections, please visit tfne Archive Catalog. For a tutorial in searchingthe Archive Catalog, please download our Quick Start Guide (PDF). After reviewing the Quick Start Guide, you may wish to review our Cataloging Department s Advanced User Guide (PDF), which offers detailed search instructions. Collection Profiles Motion Picture Collection Profiles Material dating hack to the 1890s, including: • Films from major studios; Columbia, Paramount. Warner Brothers. Twentieth-Century Fox and others • Industrials and sponsored films • Amateur films and home movies • Independent films from the Sundance and Outfest LGBT collections Donations and deposits from institutions, such as: • American Film Institute • Academy of Motion Picture Arts and Sciences • Directors Guild of America • Stanford Theatre Foundation Donations and deposits from renowned individuals, such as: • William Wyler • Stanley Kramer • King Vidor • George Pal • Rock Hudson Television Collection Profiles Over 160.000 holdings spanning the entire course of broadcast history, such as: • DuM ont TV • Primetime and Los Angeles area Emmy Award nominees and winners • KTLA newsfilm • ABC-TV Collection of over 20,000 titles, early television datng back to the iate-1940s • Over 1 0,000 commercials • 50 years of Hallmark Hall of Fame broadcasts • A significant collection of Golden Age anthology dramas In the Life First premiering in 1992 on the New York public television station WfMYC-TV, ir> the Life was a trailblazer in LGBT representation and equal rights advocacy, capturing history-in-the-making for 20 years. All 21 seasons are available for viewing through this web portal. Learn m ore > L.A. Rebellion Beginning in the late 1 960s, a number of promising African and African-American students entered UCLA film school. Many of the works produced by this esteemed group, including student films and theatrically-released motion pictures, are available for research viewing by appointment. Learn more > Hearst Metrotone IMews The Hearst Metrotone News collection is one of the largest newsreel collections in the world, containing over 27 million feet of theatrically-released newsreels, unreleased stories and outtakes that span 191 A through 1 96S. In 1981, the bulk of the Hearst Metrotone News collection was donated to the Archive along with tne copyright for these materials. Learn more > News and Public Affairs Collection NAPA consists of over 1 00,000 news programs and broadcasts taped off the air from 1 979 to 2003. Programs held in the NAPA collection include: local Los Angeles news, network and cable nightly and morning news programs, and local foreign language news. The collection also holds extended coverage of important news events, such as 9/11. Learn more > IMOTE: Our general collection catalog at http://cinema.library.ucla.edu also includes a significant number of television news and public affairs programming ranging from 1949 into the 2000s. Researchers interested in news and public affairs programming prior to 1980 must search the general collection. Researchers interested n broadcasts from 1980 - 2003 should search both the NAPA collection database and the general collection catalog. Audio Archives The Archive Research and 5tudy Center (ARSC) audio collection consists of: • A wide selection of radio programming • Audio-only segments of special UCLA Film & Television Archive and UCLA School of Theater. Film and Television events • Unabridged interviews with 1 970s-era filmmakers conducted during the production of the IFC documentary. A Decade