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Collection Policy
COLLECTION POLICY Collecting is at the heart of the Witte Museum’s mission and must be done with clear purpose and well-articulated guidelines. The museum’s Collection Plan provides the guidelines for what the museum will collect. The Collection Policy sets forth the professional standards and responsibilities for the care and management of collections as required of an accredited museum. The Collections Department Procedures Manual covers procedures for implementing this policy. This policy should be reviewed every five years or as necessary to reflect changes in staff, strategic plan, Collection Plan, or museum practices at large. I. MISSION Statement The Witte Museum promotes lifelong learning through innovative exhibitions, programs, and collections in natural history, science, and South Texas heritage II. VISION STATEMENT Through innovative programs in history, science, and culture the Witte Museum enriches lives, promotes a quality of life for all South Texas people and generates a legacy of knowledge. III. VALUES Learning organization Collection Stewardship Quality programs and exhibitions Fiscal stability Environmental stewardship Professional ethic Welcoming environment Approved 09/20/2017 1 IV. TYPES OF COLLECTIONS The Witte Museum possesses five types of collections: Accessioned, Library, Research, Living, and Educational. The Witte shall designate at the time of acquisition the collection category to which material is assigned. The assigned category may change as the priorities and collections of the Witte evolve. Accessioned Collections Items in the Accessioned Collections shall relate directly to the Mission Statement of the Witte and shall be used solely for exhibitions, research, publications, exhibition loans, education, and Witte branding and merchandising. The documentation, care and disposition of accessioned items are governed by this policy and museum best practices. -
SAA Guidelines for Preparing Legacy Archaeology Collections
GUIDELINES FOR PREPARING LEGACY ARCHAEOLOGICAL COLLECTIONS FOR CURATION Michelle K. Knoll and Bruce B. Huckell ACKNOWLEDGMENTS We are grateful to a number of colleagues for their advice and assistance in compiling and reviewing previous drafts of this document. Our first thanks go to volunteers nearing retirement who completed a preliminary survey about what kinds of collections, samples, and materials they had in their possession that needed to be curated. They helped us assess what topics might best be covered in this guide. Once we started the process of compiling sections and full drafts, we had the good fortune to receive editorial comments, suggestions, and thoughtful reactions from our colleagues on the SAA Committee on Museums, Collections, and Curation. In particular, we are most grateful to committee chair Danielle Benden, Terry Childs, Jenna Domeischel, Susan Gilliland, and Marybeth Tomka. Bill Lipe, Professor Emeritus, Washington State University, long concerned with the proper curation of legacy collections, provided us with much food for thought on both an initial and a revised draft of this guide. We thank Richard Talbot, Brigham Young University, and Janaki Krishna, Natural History Museum of Utah, who also reviewed drafts, and Andrea Knoll for assistance with designing the cover. Our thanks as well to our colleagues at the University of Utah and the University of New Mexico for important conversations about aspects of curation that came up as we worked on the guide. Finally, we are grateful to the SAA Board of Directors for their invitation to prepare the guide and for their review and final approval of it. -
Cultural Collections
Policy and Minimum Requirements for Management of Cultural Collections Cultural Collections Committee April 2006 [updated October 2009] CONTENTS Policy for management of Cultural Collections 1 Introduction 2 Definition 3 Ownership 4 Responsibility 5 Establishment 6 Acquisition Minimum requirements for management of Cultural Collections Part A: General requirements Part B: Acquisition policy: minimum requirements Part C: Deaccession and disposal policy and procedure: minimum requirements Part D: List of Cultural Collections University of Melbourne Policy for management of Cultural Collections1 1 Introduction2 The University of Melbourne owns 32 identified cultural collections, of which 30 are managed by the University.3 It also owns a number of individual heritage objects which are not part of a collection. This policy and the minimum requirements are intended to apply to all faculties, schools, institutes, centres and departments of the University, and to all Cultural Collections owned and managed by the University now and in the future. 2 Definition Each of the Cultural Collections owned by the University of Melbourne is an assemblage of physical (not digital or virtual) objects,4 which have historic, aesthetic, scientific, research, technical, social or spiritual significance. This significance goes beyond the collection’s role as an intellectual resource or carrier of information or evidence. The objects in a Cultural Collection may be naturally occurring or created by humans and can include living organisms. Although each individual object might not be rare or unique, each collection as a totality is unique and irreplaceable; if lost or destroyed, the collection may not be able to be re-created, regardless of available funding. -
Pikes Peak 1911 1923 2 William F. Ervin (#1 & #2 Tie) Pikes Peak 1911 1923 3 Albert Ellingwood 4 Mary Cronin Longs Peak 1921 9 1934 5 Carl Melzer 1937 6 Robert B
EVERYONE WHO HAS COMPLETED THE COLORADO FOURTEENERS (By Year of Completion) 1 Carl Blaurock (#1 & #2 tie) Pikes Peak 1911 1923 2 William F. Ervin (#1 & #2 tie) Pikes Peak 1911 1923 3 Albert Ellingwood 4 Mary Cronin Longs Peak 1921 9 1934 5 Carl Melzer 1937 6 Robert B. Melzer 1937 7 Elwyn Arps Eolus, Mt. 1920 7 1938 8 Joe Merhar Pyramid Peak 8 1938 9 O. P. Settles Longs Peak 1927 7 1939 10 Harry Standley Elbert, Mt. 1923 9 1939 11 Whitney M. Borland Pikes Peak 6 1941 12 Vera DeVries Longs Peak 1936 Kit Carson Peak 8 1941 13 Robert M. Ormes Pikes Peak Capitol Peak 8 1941 14 Jack Graham 9 1941 15 John Ambler 9 1943 16 Paul Gorham Pikes Peak 1926 8 1944 17 Ruth Gorham Grays Peak 1933 8 1944 18 Henry Buchtel Longs Peak 1946 19 Herb Hollister Longs Peak 1927 7 1947 20 Roy Murchison Longs Peak 1908 8 1947 21 Evelyn Runnette Longs Peak 1931 Uncompahgre Peak 9 1947 22 Marian Rymer Longs Peak 1926 Crestones 9 1948 23 Charles Rymer Longs Peak 1927 Crestones 9 1948 24 Nancy E. Nones (Perkins) Quandary 1937 Eolus, Mt. 9 1948 25 John Spradley Longs Peak 1943 7 1949 26 Eliot Moses Longs Peak 1921 7 1949 27 Elizabeth S. Cowles Lincoln, Mt. 9 1932 Wetterhorn Peak 9 1949 28 Dorothy Swartz Crestones 8 1950 29 Robert Swartz Bross, Mt. 1941 Crestones 8 1950 30 Ted Cooper Longs Peak 8 1950 31 Stirling Cooper Longs Peak 8 1950 32 Harold Brewer Longs Peak 1937 El Diente 9 1950 33 Wilbur F. -
Curatorial Care of Easel Paintings
Appendix L: Curatorial Care of Easel Paintings Page A. Overview................................................................................................................................... L:1 What information will I find in this appendix?.............................................................................. L:1 Why is it important to practice preventive conservation with paintings?...................................... L:1 How do I learn about preventive conservation? .......................................................................... L:1 Where can I find the latest information on care of these types of materials? .............................. L:1 B. The Nature of Canvas and Panel Paintings............................................................................ L:2 What are the structural layers of a painting? .............................................................................. L:2 What are the differences between canvas and panel paintings?................................................. L:3 What are the parts of a painting's image layer?.......................................................................... L:4 C. Factors that Contribute to a Painting's Deterioration............................................................ L:5 What agents of deterioration affect paintings?............................................................................ L:5 How do paint films change over time?........................................................................................ L:5 Which agents -
Daily Iowan (Iowa City, Iowa), 1943-10-13
• Ration Calenclai PROCESSED rooDS ltampe u. V and W exp1re Oct. 10; x. Y and II: expire Nov. 10; MEAT brvwn ~ - , Cooler C, D and E, Book 3. ~xplre Oct. 30; SUGAR atamp " and )tOME CANNING at.mpe 15 and II expIN Oct. 31; SHOE atamp No. 18 vallet indefinitely: rua. On. THE DAILY IOWAN IOWA: Showen, eooler. w per. 1 c:ouporu '43-''',. expire JUl. 3. '44. , ! Iowa City's Morning Newspaper TIla AliobAftD na.. IOWA CITY. IOWA WEDNESDAY. OCTOBER 13. 1943 TDa A.IOCIATaD ..... VOLUME XLIVtroMBER 16 FIVE CENTS I . " e of rowa lera WiU cCOrding Deal~rs d by 1\ they are , . 'anceon' Ie of IOwa IVa river l !ries on Widen Areas 01 Penetration ;aturda)l Italian 'Mvcf '~og~ ' Allies, JStomers I easl Of leliverect ,At Dnieper r Beal Back Nazis Ind Fri. BritishI Get., Alliea Bases: LONDON, Wedn day (AP)-8oviet force widened their areM I of penetration on the west bank of the Dnieper in clo e quarter -tudes a ,I' . fighting yesterday after battering down German counter-attacks, Produc. find thc Berlin radio said the Red army had opened a new drive ownship "north of Kiev." program Portugal Grants Use flood Wifers .Sweep ,' pan~sr The Russian operational communique and midnigllt supple election Ie place. Of Bases in Azores ment, broadcast from Moscow and recorded by the So,<jet monitor, :ol}clude disclosed today that Red army troops had edged closer to the Miring Heavy U.S. Equipment" - Whitc Russi{lD citadcl of Vitebsk in the north in the face of stern re askect To Great Britain enemy oppo ition. -
Acquisition and Disposal of Collections
139 ACQUISITION AND DISPOSAL OF COLLECTIONS The goal of collections development is to shape collections whose composition supports a collecting unit’s mission and programs. The main tools of collections development are acquisitions and disposals. This chapter discusses these tools. acquisition and disposal 140 ollections are acquired through various methods, such as donation, field collection, transfer from another organization, and purchase. “Disposal” means termination of ownership and physical removal of accession C 1 collection items. In the United States, “deaccessioning” and “disposal” are often used interchangeably, but technically the former term refers only to the first step in disposal — the removal of an item from the catalogue of accession collections.2 The first section of this chapter addresses acquisitions, with particular emphasis on how collecting units have built their collections, the policy framework related to acquisitions, and how collecting units are responding to a changed collecting environment. It also examines how collecting units make acquisition decisions, and considers alternatives to traditional collection methods. The second section addresses deaccessioning and disposal. It discusses the reasons units dispose of items, and the obstacles to disposal. The role of organizational and professional culture in collections development is discussed. Also discussed briefly is the issue of duplication and overlap of collections at the Smithsonian. The chapter closes with conclusions. FINDINGS acquisitions Collecting appears to be an innate human propensity. Archaeological excavations indicate, for example, that 80,000 years ago Neanderthals assembled collections of small stones (Neal 1980, 24). Norman Rosenthal, exhibitions secretary at the Royal 1 Collecting units also dispose of non-accessioned items, but that is not the focus here. -
Cultural Collections Projects Program
The year in review At the start of the year, each new project listed on the Cultural Collections Projects Program website represents a unique learning opportunity waiting for the ‘right’ person to come along. Then, once a project is assigned it is interesting to see how this collaboration develops over the ensuing months. From the initial meeting with the collection manager, where timelines are mapped, expectations discussed and logistics considered, there is much energy and enthusiasm. Over the duration of the project I usually meet with the student while they are working in situ to find out how their project is progressing. I am often impressed as they expertly explain the processes involved, or outline their exciting research discoveries. A sense of pride and ownership in the project is apparent. Fast forward December 2015 December 2015 to the project end, when goals have been met - maybe exhibition labels have been written and installed in a gallery space; a collection has been rehoused to archival standards; collection items have been catalogued; or perhaps the research has evolved into an article for an upcoming edition of Collections magazine – all are very tangible and significant outcomes. And all of this before taking into account the benefits of the experience for the volunteer! This year interest in projects with the University’s collections continued to grow, with an increasing number of students and volunteers seeking the opportunity to work on a project through the Program. As a result, many well qualified and enthusiastic individuals have participated, their contribution demonstrating the cultural collections are a dynamic and central part of an enriched campus experience. -
Museums and Collections Projects Program 2020 University of Melbourne
Museums and Collections Projects Program 2020 University of Melbourne Tiegs Museum, School of Bio Sciences Student/Volunteer Position Guide Position Title: Collection Management – Catalogue Assistant Supervisor: Michiko Mirams, Manager Technical Teaching Support; Collection Manager, Tiegs Museum Dr David Young – Director, Tiegs Museum Helen Arnoldi, Museums and Collections Projects Program Coordinator Position Goal: The primary goal of this position will be to catalogue objects within the storage areas of the Tiegs Museum that have not been previously documented. This project will also involve reviewing, updating and cross-checking existing catalogue records of collection items in storage that have been partially documented previously. New and updated catalogue records will be added to a spreadsheet which will aid in the management, accessibility, long-term preservation and appreciation of the collection. Background: The Tiegs Museum of the University of Melbourne was established in the late 1880s and is Australia’s oldest university museum of zoology. The collection, accumulated over 120 years, has specimens contributed by the first Professor of the department, Sir Walter Baldwin Spencer. It has an extensive collection of specimens representing the whole animal kingdom, ranging from small invertebrates to prepared whole-mounts and skeletons of vertebrates including an African lion, and a moa (an extinct emu-like bird from New Zealand). A comprehensive range of Australian animals comprises the skulls of many marsupials and others of increasing significance as the species becomes endangered. The collection also includes eleven ‘type’ specimens of marine invertebrates; these are the original specimens used to describe new species. There is also an extensive collection of microscope slides, with contributions from Professor Spencer and other former researchers in the department, and a large number of reprints and other historical documents of cultural significance. -
Inmemoriam1994 316-334.Pdf
In Memoriam TERRIS MOORE 1908-1993 Terris Moore, age 85, of Cambridge, Massachusetts, explorer, mountaineer, light-plane pilot and President Emeritus of the University of Alaska, died on November 7 after a massive heart attack. He became internationally known in 1932 when he and three companions reached and surveyed Minya Konka (now called Gongga Shan) in Sichuan, China. Moore and Richard Burdsall, both AAC members, ascended this very difficult mountain (that Burdsall and Arthur Emmons surveyed as 24,490 feet high), and in doing so climbed several thousand feet higher than Americans had gone before. At the time, Moore was the outstanding American climber. Moore, Terry to his friends, was born in Haddonfield, New Jersey, on April 11, 1908 and attended schools in Haddonfield, Philadelphia and New York before entering and graduating from Williams College, where he captained the cross-country team and became an avid skier. After graduating from college, he attended the Harvard School of Business Administration, from which he received two degrees: Master of Business Administration and Doctor of Commercial Science. Terry’s mountain climbing had begun long before this time. In 1927, he climbed Chimborazo (20,702 feet) in Ecuador and made the first ascent of 17,159-foot Sangai, an active volcano there. Three years later, he joined the Harvard Mountaineering Club and also became a member of the American Alpine Club, connections which led that year to his making the first ascent of 16,400-foot Mount Bona in Alaska with Allen Carp& and the first unguided ascent of Mount Robson in the Canadian Rockies. -
Collections Management Policy
Collections Management Policy Approved by SDMoM Board of Trustees 9/25/14 Table of Contents Introduction and Overview ............................................................................................................. 3 Governance of Collection Policies and Procedures ........................................................................ 4 Collecting Strategies ....................................................................................................................... 6 Acquisition Policy ........................................................................................................................... 9 Native American Graves Protection and Repatriation Act ........................................................... 13 Deaccession Policy ....................................................................................................................... 14 Outgoing Loan Policy ................................................................................................................... 19 Incoming Loans ............................................................................................................................ 23 Access To and Use of Collections ................................................................................................ 25 Photography and Filming at the Museum ..................................................................................... 27 Reproduction Policy ..................................................................................................................... -
Southwest Florida Archaeological Society (SWFAS) 1980 to 2020 - OUR 40Th YEAR March 2020 Newsletter
Southwest Florida Archaeological Society (SWFAS) 1980 to 2020 - OUR 40th YEAR March 2020 Newsletter http://swflarchaeology.org/ PRESIDENT’S CORNER By John F. Furey M.A., RPA SHELLS, SHELLS, SHELLS: they are everywhere on archaeological sites here in southwest Florida since clams and oysters were a staple of the coastal Florida Native American diet. We know that they consumed vast quantities of them and, through time, built large shell rings and mounds to create an elevated place to stay above the high tides and storms that frequent this region. But, beyond their diet, what can these discarded shells tell us about the seasonality of their harvest and food preparation cooking techniques to utilize them? Our two articles this month do just that. MARCH is also Archaeology Month in Florida. Every March, statewide programs and events celebrating Florida Archaeology Month are designed to encourage Floridians and visitors to learn more about the archaeology and history of the state, and to preserve these important parts of Florida's rich cultural heritage. SWFAS has beautifully designed Archaeology Month posters to distribute. This year’s theme is African American Cemeteries in Florida. Events, activities, and education materials are available at http://fpan.us/FAM/ . SWFAS FIELD TRIP TO KORESHAN STATE PARK: MARCH 21, 2020 - CANCELLED Please note that due to concerns regarding the Covid 19 Virus Pandemic, Koreshan State Park has cancelled all programs including our field trip. MARCH PRESENTATION – Xenia Kyriakou, The Bioarchaeology of Monasticism: The Unruly Nuns of Cyprus - CANCELLED Please Note: Due to concerns regarding the Covid 19 Virus Pandemic, the IMAG has closed and we have cancelled our presentation.