DOCSLIB.ORG

ANNU AL REPO RT 2015 to 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ANNU AL REPO RT 2015 to 2016 University ofOxford University ANNUAL REPORT 2015 to 2016 Contents MISSION STATEMENT To inspire and share knowledge and understanding with global audiences about humanity’s many ways of knowing, being, creating and coping in our interconnected worlds by providing a world-leading museum for the cross-disciplinary study of humanity through material culture. 1 Director’s introduction 4 9 Running the Museum 27 Administration 27 2 The year’s highlights 6 Front of House 27 The VERVE project enters its last phase 6 Commercial activities 27 The Cook-Voyages Case 6 Donation boxes 27 Kintsugi: Celebrating Imperfection 6 Balfour Library 28 Vice-Chancellor’s Award for Public Engagement with Research 7 Buildings and maintenance 28 Cataloguing the handling collection 7 10 Appendices 29 3 Permanent galleries and temporary A Pitt Rivers Museum Board of Visitors as of exhibitions 8 1 August 2015 29 Permanent galleries 8 B Museum staff by section 29 Temporary displays 9 C Finance 30 Long Gallery 10 D Visitor numbers, enquiries, research visits and loans 31 Archive Case 10 Object collections 31 Photograph, manuscript, film and sound collections 31 4 Higher education teaching and research 12 Loans 31 Research Associates 14 E Interns, volunteers and work experience 32 Object collections 32 5 Collections and their care 16 Photograph, manuscript, film and sound collections 32 Photograph, manuscript, film and sound collections 16 Conservation department 32 Conservation work 18 Education department 32 Oxford University Internship Programme 18 F New acquisitions 33 Cover photograph: Japanese carver Hideta Kitazawa making Asante weights 18 Donations 33 Storage projects 18 Purchases 33 a Noh mask (2015.28.4), commissioned by the Museum for Catalogue databases 19 Transfers 33 its new Woodwork display as part of the VERVE project. Balfour Library 33 Photograph by Sohta Kitazawa. 6 Digital innovations 20 G Staff publications 33 Designed and produced by Claire Venables at Giraffe Corner 7 Museum and community 22 The VERVE project 22 Photographs and text are copyright of the Pitt Rivers Museum, Family activities 22 University of Oxford, unless otherwise stated Primary school activities 23 Secondary school activities 23 Pitt Rivers Museum Adult and community activities 24 South Parks Road, Oxford, OX1 3PP Out in Oxford 25 [email protected] 01865 270927 www.prm.ox.ac.uk 8 Supporting the Museum: The Friends 26 PITT RIVERS MUSEUM 3 Director’s introduction 1 © John Cairns This year has been an exceptionally exciting one, with a significant university museum in the 21st century, and on finding a focus that Oxford as a city is rapidly diversifying. With 36.4% of the For decades many generous trusts, foundations and research funders number of staff changes, displays and exhibitions, and large-scale suits the contemporary, acknowledges our pasts and imagines new population of Oxford city being of other than white British descent, have financed our activities. We need to secure further funding like off-site storage collection moves. At the beginning of the year, the futures. All staff contributed generously as we organised several series and most tourist and web audiences also being very diverse, how do this to continue the core work this financial support has enabled. In Museum said farewell to Professor Michael O’Hanlon, who served of conversations about the values, principles and vision that guide us: we ensure the stories we tell are relevant to all of our future visitors? particular, I would like to express my sincere thanks to the William as its Director since April 1998. His achievements in the post are too • To celebrate expertise wherever it may arise, to respect the sensitive How do we engage with stimulating, ongoing discussions regarding Delafield Charitable Trust for their continuous generous support many to mention here, but include leading capital redevelopments of nature of the objects we keep and treat this legacy with the greatest pressing matters such as equal access to opportunity, mobility and to enable the Museum to develop our exhibitions, programs and the Museum, successive year after year growth in visitor numbers, and of care. representation? How do we ensure we are a truly hospitable place for collections. However, in these financially turbulent times and in many successful and transformative grant applications. On Mike’s • To engage in and facilitate cutting-edge research on the collections; all our possible audiences and engage inclusively with the intrinsically order to achieve a sustainable operating model, the Museum is also retirement, Professor Laura Peers assumed the Acting Directorship in continually adding knowledge, perspectives and new objects. complex histories represented in our collections? How do we best becoming increasingly reliant on fundraising, commercial income and October to pass the baton to me in March. • To challenge thinking about museums and their place in the world connect to the other GLAM1 collections, to the University of is looking to raise endowments for senior staff posts. We are happy to What should a new Director bring to an institution that is already through teaching and research; engaging in dialogues and debates Oxford at large and to more international settings, so that we ensure be able to count on the support of GLAM’s Development Office to ranked among the best of its kind? A world-class museum of about the Museum, its collections and the entangled histories that a multiplicity of voices is invited to tell the manifold stories our ensure we meet our targets in this area. Simultaneously, we are looking anthropology and archaeology, the Pitt Rivers Museum (PRM) is a underpin them. collections hold of humanity’s creative ways of being, ways of knowing to diversify our income streams and develop our commercial activity, centre for object-based teaching and research so loved by its visitors • We want to be thought-provoking, need to be self-reflexive, and and ways of coping? as well as identify resource efficiencies, including the use of our space. that on TripAdvisor it features as the second of over 160 things to do in work in sustained relationships between people, objects, pasts, pre- In the meantime, very down-to-earth logistical matters have also I would like to thank the Museum’s Friends organisation, under its Oxford. A consciously curated mix of contemporary interpretation and sents and futures, including reconnecting objects with originating kept us occupied. We are moving one-third of our collections to a energetic Chair Gillian Morriss-Kay, and of course every member of historic object labels in the displays offers an insight into the palimpsest communities. different space. Over 110,000 Pitt Rivers Museum objects currently staff, whether mentioned by name in this Annual Report or not. On a of meaning-giving that is the making of representations. The richness • We respect cultural diversity and enable audiences to perceive the stored offsite are in the process of being catalogued, photographed, weekly basis, I receive praise that is illustrative of how people experience in the histories of the displays, the collections themselves and the Pitt displays, collections and their histories from different points of view packed and transported to a new home that will hold much of the our Museum, its displays, events, and programmes, their impact and Rivers Museum’s founding role in the formation of material culture philosophically, physically and virtually. University’s museums’ collections and hopefully (we must allow how the very personal involvement of our staff is appreciated widely. studies have made it a must-visit venue for students and researchers of • We want to ensure that we are part of a process of redress, social ourselves to dream) a joint University of Oxford collections research Comments concern the quality, honesty and engagement of our staff many disciplines. Indeed, our curatorial principles suggest a democracy healing and mending of historically difficult relationships through centre. The management of this requires a unique combination of and are not a reflection of any individual’s work alone, but are very much of things and illustrate how, paradoxically, much of humanity’s histories collaboration with stakeholders near and far. imaginative thinking and focused efficiency to address this daunting a tribute to the joint effort put into all activity by every member of staff. and experiences are at times interwoven with and, simultaneously, very • To inspire creativity in all its many forms. task. At the same time we are conscious that the move is also an I gladly share a selection of these throughout the report. much the product of, a great many coexisting realities where people There are several activities or events from this year that I wish to amazing opportunity to finally give this part of our collections the find very different solutions to solving similar problems. highlight. The Museum’s major Heritage Lottery Fund (HLF)-funded attention it so greatly deserves and to make it accessible to our global Densely packed and multi-layered Victorian displays – with over project VERVE (Visitors, Engagement, Renewal, Visibility and audiences. 55,000 objects on view – offer a unique experience to every visitor who Enrichment) entered its final phase. In November we had the honour of Several major, externally funded research and public engagement comes through our doors. We try to welcome each and every one of hosting two Japanese lacquerware artists at the Museum for the kintsugi projects also benefitted from financial support this year, to trace, them. The 430,000 people who visited us this year (an all-time record) artist residency. During the ten-day residency the artists held workshops, interrogate and establish links between collectors, collections, came to find inspiration, enchantment and knowledge that were of gave gallery demonstrations, delivered a Saturday Spotlight talk and an contemporary issues and communities across the world.
Load more

Recommended publications
  • Collections Development Policy
    Collections Development Policy Acquisition and disposal of collections Contents 1 Relationship to other relevant policies/plans of the organisation ......................................... 3 2 History of the collections ...................................................................................................... 4 3 An overview of the current collections.................................................................................. 4 4 Themes and priorities for future collecting ........................................................................... 7 5 Themes and priorities for rationalisation and disposal ........................................................... 8 6 Legal and ethical framework for acquisition and disposal of items ........................................ 9 7 Collecting policies of other museums ................................................................................... 9 8 Archival holdings .................................................................................................................. 9 9 Acquisition .......................................................................................................................... 10 10 Human Remains ................................................................................................................ 11 11 Biological and geological material ...................................................................................... 11 12 Archaeological material ....................................................................................................
    [Show full text]
  • Boost the Conservation Signal! by Suzy Morgan, for EMG FAIC News 10
    January 2015 Vol. 40, No. 1 Inside From the Executive Director 2 AIC News 5 Annual Meeting 9 Boost the Conservation Signal! By Suzy Morgan, for EMG FAIC News 10 JAIC News 12 The uses of social media for communicating and outreach have been widely covered in the library, museum, and popular literature. Has New Publications 12 social media just been a fad, or does it have real implications for the future of conservation outreach and the changing public perception People 13 of conservators? A few recent social media “events” have shown that COLUMN conservators and allied professionals have found new and creative SPONSORED In Memoriam 13 ways to successfully utilize these tools. Many of our allies in other BY EM G professions, such as libraries, archives, and museums, have already Conservation Training Programs 15 been using these tools to promote their existing blogs and websites, and communicate Specialty Group Columns 16 with their readers in a more informal and colloquial way. This article will describe how cultural heritage professionals have been using these tools to increase awareness of Network Columns 23 conservation activities and preservation issues, both within and without the field. Grants & Fellowships 24 #5DaysOfPreservation and Going Viral In July 2014, Kevin Driedger, the author of the blog Library Preservation 2, started a social Courses, Conferences, & Seminars 25 media project that he dubbed #5DaysOfPreservation. He described his intent for the project in an email sent to ALA’s Preservation Awareness Discussion Group list: Positions, Internships & Fellowships 29 “The activities that fall under the umbrella of preservation are vast, growing, and often have characteristics specific to individuals and institutions.
    [Show full text]
  • Resurrecting Della Robbia's Resurrection
    Article: Resurrecting della Robbia’s Resurrection: Challenges in the Conservation of a Monumental Renaissance Relief Author(s): Sara Levin, Nick Pedemonti, and Lisa Bruno Source: Objects Specialty Group Postprints, Volume Twenty-Four, 2017 Pages: 388–412 Editors: Emily Hamilton and Kari Dodson, with Tony Sigel Program Chair ISSN (print version) 2169-379X ISSN (online version) 2169-1290 © 2019 by American Institute for Conservation of Historic and Artistic Works 727 15th Street NW, Suite 500, Washington, DC 20005 (202) 452-9545 www.culturalheritage.org Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation (AIC). It is a conference proceedings volume consisting of papers presented in the OSG sessions at AIC Annual Meetings. Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Unless otherwise noted, images are provided courtesy of the author, who has obtained permission to publish them here. This article is published in the Objects Specialty Group Postprints, Volume Twenty-Four, 2017. It has been edited for clarity and content. The article was peer-reviewed by content area specialists and was revised based on this anonymous review. Responsibility for the methods and materials described herein, however, rests solely with the author(s), whose article should not be considered an official statement of the OSG or the AIC. OSG2017-Levin.indd 1 12/4/19 6:45 PM RESURRECTING DELLA ROBBIA’S RESURRECTION: CHALLENGES IN THE CONSERVATION OF A MONUMENTAL RENAISSANCE RELIEF SARA LEVIN, NICK PEDEMONTI, AND LISA BRUNO The Resurrection (ca.
    [Show full text]
  • Zenobia Kozak Phd Thesis
    =><9<@6;4 @52 =.?@! =>2?2>B6;4 @52 3A@A>2 , />6@6?5 A;6B2>?6@C 52>[email protected] 0<8820@6<;? .;1 612;@6@C 9.>72@6;4 DIQRFME 7R\EN . @LIUMU ?WFPMVVIH JRT VLI 1IKTII RJ =L1 EV VLI AQMXITUMV[ RJ ?V# .QHTIYU '%%* 3WOO PIVEHEVE JRT VLMU MVIP MU EXEMOEFOI MQ >IUIETGL-?V.QHTIYU,3WOO@IZV EV, LVVS,$$TIUIETGL"TISRUMVRT[#UV"EQHTIYU#EG#WN$ =OIEUI WUI VLMU MHIQVMJMIT VR GMVI RT OMQN VR VLMU MVIP, LVVS,$$LHO#LEQHOI#QIV$&%%'($)%+ @LMU MVIP MU STRVIGVIH F[ RTMKMQEO GRS[TMKLV @LMU MVIP MU OMGIQUIH WQHIT E 0TIEVMXI 0RPPRQU 8MGIQUI Promoting the past, preserving the future: British university heritage collections and identity marketing Zenobia Rae Kozak PhD, Museum and Gallery Studies 20, November 2007 Table of Contents List of Figures………………………………………………………………………………………………………………………1 List of Tables……………………………………………………………………………………………………………………….2 List of Acronyms and Abbreviations…………………………………………………………………………………......3 List of Appendices………………………………………………………………………………………………………………..4 Acknowledgements………………………………………………………………………………………………………………5 Abstract……………………………………………………..………………………………………………………………………7 1. Introduction: the ‘crisis’ of university museums…………………………………………...8 1.1 UK reaction to the ‘crisis’…………………………………………………………………………………………………9 1.2 International reaction to the ‘crisis’…………………………………………………………………………………14 1.3 Universities, museums and collections in the UK………………………………………………………………17 1.3.1 20th-century literature review…………………………………………………………………………………19 1.4 The future of UK university museums and collections………………………………………………………24 1.4.1 Marketing university museums
    [Show full text]
  • Museums and Galleries of Oxfordshire 2014
    Museums and Galleries of Oxfordshire 2014 includes 2014 Museum and Galleries D of Oxfordshire Competition OR SH F IR X E O O M L U I S C MC E N U U M O S C Soldiers of Oxfodshire Museum, Woodstock www.oxfordshiremuseums.org The SOFO Museum Woodstock By a winning team Architects Structural Project Services CDM Co-ordinators Engineers Management Engineers OXFORD ARCHITECTS FULL PAGE AD museums booklet ad oct10.indd 1 29/10/10 16:04:05 Museums and Galleries of Oxfordshire 2012 Welcome to the 2012 edition of Museums or £50, there is an additional £75 Blackwell andMuseums Galleries of Oxfordshire and Galleries. You will find oftoken Oxfordshire for the most questions answered2014 detailsWelcome of to 39 the Museums 2014 edition from of everyMuseums corner and £75correctly. or £50. There is an additional £75 token for ofGalleries Oxfordshire of Oxfordshire, who are your waiting starting to welcomepoint the most questions answered correctly. Tokens you.for a journeyFrom Banbury of discovery. to Henley-upon-Thames, You will find details areAdditionally generously providedthis year by we Blackwell, thank our Broad St, andof 40 from museums Burford across to Thame,Oxfordshire explore waiting what to Oxford,advertisers and can Bloxham only be redeemed Mill, Bloxham in Blackwell. School, ourwelcome rich heritageyou, from hasBanbury to offer. to Henley-upon- I wouldHook likeNorton to thank Brewery, all our Oxfordadvertisers London whose Thames, all of which are taking part in our new generousAirport, support Smiths has of allowedBloxham us and to bring Stagecoach this Thecompetition, competition supported this yearby Oxfordshire’s has the theme famous guidewhose to you, generous and we supportvery much has hope allowed that us to Photo: K T Bruce Oxfordshirebookseller, Blackwell.
    [Show full text]
  • E. Rhodes and Leona B. Carpenter Foundation Conservator for Asian Art Position Summary: the Newark Museum Seeks a Full-Time Cons
    E. Rhodes and Leona B. Carpenter Foundation Conservator for Asian Art Position Summary: The Newark Museum seeks a full-time conservator for a two-year minimum posting to oversee the conservation of the Museum’s Asian collections, one of the larger and finest collections of Asian art in the United States. The Conservator for Asian Art oversees the safekeeping, proper installation and conservation of all Asian works in the Newark Museum’s permanent collection (approximately 30,000 works). The conservator also assists with processing potential out-going loan requests with regard to their physical condition, potential treatment and recommendations and/or oversight of appropriate packing/crating. The successful candidate will have at a minimum a Master’s Degree and three years’ experience as a conservator, a record of successful treatments and proven ability as a manager. Working closely with the curatorial, registration and exhibitions department, s/he will have the reputation and skills to build partnerships. The individual will be able to coordinate outside contract conservators where the work required is beyond their own area of expertise. The conservator will report to the Curator for the Arts of Asia and work closely and collaboratively with the registrar, collections manager and exhibitions department as well as with colleagues throughout the Museum and its contractors. Duties and Responsibilities: • Design, oversee and implement the appropriate re-housing of selected groups of objects—particularly the Museum’s collections of Asian
    [Show full text]
  • Lower Gallery Upper Gallery
    LOWER GALLERY UPPER GALLERY Case 90.A ‘Games and Puzzles’ Case 14.A ‘Baby Carriers’ Case 3.B ‘Shields’ Case 49.A ‘Clubs’ Turn right at you enter the gallery. The You will find this large wall case close by. As you enter the gallery look left to cases At the entrace to the gallery turn right and case is a desktop. covering the wall. look for a desktop case. Here you will find a small club known Here you will find 1911.29.68, as a life preserver, 1911.29.66. The shown above, twelve small wooden shaft is made from baleen (though it pegs, in a cardboard box, used in was originally thought to have been the game ‘merry peg’ from Baldon- made from whale bone) and the two on-the-Green (possibly Marsh This is 1911.29.86, a wooden baby runner from Long Crendon, just over the border ends are weighted with lead. Such Baldon), Oxfordshire. This game bludgeons were used as self defence is more often called ‘nine men’s in Buckinghamshire. This runner was Look for the kite-shaped shield from used to teach children to walk. It consists against attackers’ wrists or heads. The morris’. It has a long history--it England in the nearest corner to the shaft is flexible. is known to have been played in of a wooden ring into which the baby was gallery entrance. An eagle with a halo is popped attached to a wooden upright. Ancient Egypt. Each player has nine painted on the front. This is 1911.29.12.
    [Show full text]
  • Central Oxford
    Food & Drink Where to Stay Central Oxford dailyinfo.co.uk/venues/hotels D Going Out FARNDON R to Summertown, ring road (A34) to Summertown, ring road (M40) to Victoria Arms, Old Marston K Bath Place Hotel 4-5 Bath Place, Holywell St, OX1 3SU I6 D E F G H I & Marston Ferry Rd J L Historic, comfortable cottage-style rooms in the heart of Oxford. Simpkins Lee dailyinfo.co.uk/venues/restaurants Guest parking. 01865 791812 D Theatre RD AM R round W [email protected] www.bathplace.co.uk PTO for Summertown Map Y H s G alk Cinemas dailyinfo.co.uk/events/cinema OR ’ Cafe Loco The Old Palace, 85/87 St Aldate’s, OX1 1RA H9 UR N e RB e E B Arts venues Open all day, great setting. Find us opposite the Christ Church 24-26 George St, OX1 2AE T F b The Bocardo Hotel G6 R AN Rose & Crown Y n Curzon Cinema G8 e Meadow gates. Mon-Fri: 7.30am-6pm, Sat: 9am-6pm, Sun: 9.30am-6pm C A F Boutique hotel offering excellent accommodation in the heart of W z £ I Lady Margaret Hall New boutique cinema expected to open in Westgate Centre, autumn 2017. D E a Art Galleries 01865 200959 [email protected] B the city centre. 01865 591234 A European L L U M D Lazenbee’s www.goingloco.com RDKINGSTON R Studies dailyinfo.co.uk/events/exhibitions Odeon Cinemas (mainstream and blockbuster films) [email protected] www.thebocardo.co.uk N T O R BANBURY RD Pond L Centre B R Odeon, George St 0871 2244 007 G6 E (St Antony’s) D O D WOODSTOCK RD Oxford E Caffè Ethos off G10 Ethos Hotel and Caffè Ethos off G10 R H Cognitive & R Christ Church Picture Gallery Small charge I8 R T K Odeon, Magdalen St 0871 2244 007 G6 R R C see Ethos Hotel listing, under Where To Stay C O DE Violins Evolutionary O RI 59 and 60 Western Rd, Grandpont, OX1 4LF Latin N A D 300 paintings & 2000 drawings by Old Masters.
    [Show full text]
  • Objects Specialty Group Postprints Volume Fourteen 2007
    Objects Specialty Group Postprints Volume Fourteen 2007 Objects Specialty Group Postprints Volume Fourteen 2007 Compiled by Virginia Greene, Patricia Griffin and Christine DelRe Proceedings of the Objects Specialty Group Session April 19 and 20, 2007 35th Annual Meeting Richmond, Virginia The American Institute for Conservation of Historic & Artistic Works This publication entitled Objects Specialty Group Postprints, Volume Fourteen, 2007 is produced by the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Cover photograph by Franko Khoury. © 2008 by The American Institute for Conservation of Historic & Artistic Works. The papers presented in this publication have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Additional copies of this publication are available for purchase by contacting AIC. American Institute for Conservation of Historic & Artistic Works 1156 15th Street, NW • Suite 320 • Washington DC, 20005 (202) 452-9545 • fax (202) 452-9328 • [email protected] http://aic.stanford.edu AIC Objects Specialty Group Postprints, Vol. 14, 2007 TABLE OF CONTENTS Foreword …………………………………………………………………………………………1 Object Lessons: The Politics of Preservation and Museum Building in the Early 20th Century …………………………………………………………………………………………..3 Sanchita Balachandran From Delicious to Not Quite Right: Subtleties in Discerning the Authenticity of African Art ……………………………………………………………………………………4 Stephen Mellor Thermoluminescence Dating for European Sculpture: A Consumer’s Guide …………….32 Jane Bassett Only Time Will Tell: Examination and Analysis of an Early German Watch …………….47 Meg Loew Craft Refining the Database for White Marbles: Isotope Analysis of 18th Century Marble Busts by Jean-Antoine Houdon ………………………………………………………65 Katherine A.
    [Show full text]
  • A Closer Look: Conservation of Paintings Ebook
    A CLOSER LOOK: CONSERVATION OF PAINTINGS PDF, EPUB, EBOOK David Bomford,Jill Dunkerton,Martin Wyld | 96 pages | 25 Aug 2009 | National Gallery Company Ltd | 9781857094411 | English | London, United Kingdom A Closer Look: Conservation of Paintings PDF Book Surface cleaning on encaustic paintings can typically be done with distilled water and swabs is sufficient. Christina rated it it was amazing Aug 27, Analysis of modern paints. Help Learn to edit Community portal Recent changes Upload file. These pollutants can be physical, chemical, or biological. The National Gallery. Christine rated it really liked it Sep 01, The number of layers may vary, and each can be left in its natural transparent state, or colored with pigments to create Lacquer painting. Graciela S. Washington D. Scroll paintings often are multiple layers of paper and silk attached to wooden bars called a stave and dowel. Collector's Guide. Due to its thin washes and light colors, watercolor paintings are very light sensitive. There are no discussion topics on this book yet. Damage can be mitigated with proper relative humidity levels and storing of textiles in acid-free tissue or clean cotton sheets. Cradling was previously used to correct warping by thinning the original structural support and then adhering the cradle to the reverse side of the support. Korrena added it Mar 27, Also, due to their exposed support they are vulnerable to damage from dirt, dust, and pollutants. The intensity of fluorescent paints can decline quite rapidly, making it difficult for conservators to care for. Avoiding exposure to unfiltered daylight and fluorescent lamps can help to prevent this type of damamge.
    [Show full text]
  • Oxford Reminiscence Project (MOOR)
    Renaissance South East: Case study Title of the project: The Museum of Oxford Reminiscence Project (MOOR) Institutes conducting the project: Oxford City Council, Oxford Museums Partnership (hosted by the Museum of Oxford in partnership with Oxford University Museums and the Oxfordshire County Council Museum Service). Funding: Renaissance South East Project dates: October 2009 – March 2011 (extended to February 2012) Project aims: For the museum and the partnership: Increase Oxford Museums Partnership’s community engagement capacity and deliver against Oxford City Council’s key priorities Make the Museum Service and collections, including museum objects and photographs, more accessible to members of the community in Oxford who would not usually consider using them either due to frailty or a belief that it has nothing of interest to them Expand the service delivered by Hands on Oxfordshire’s Heritage (HOOH) into Oxford City. For the older people: Encourage older people in the City of Oxford, predominantly in day- care and sheltered housing settings, to communicate with each other by sharing memories and stories in a fun way Help build a sense of community identity through social interaction and shared histories Help improve the use of memory and enhance the wellbeing of older people in Oxford Increase the participation in museum related activities amongst BME communities in Oxford Increase the sense of ownership of the heritage service to the wider Oxford community Target audience: Older people, especially non-traditional museum visitors 1 Project summary: In 2009, the Oxford Museums Partnership was set up to facilitate the planning and delivery of a reminiscence service, called the Museum of Oxford Reminiscence Project (MOOR), to groups of older people in the City of Oxford who were predominantly in day-care and sheltered housing settings.
    [Show full text]
  • Introductions
    1/12/2021 While we are waiting for everyone to join, please reply to the WELCOME! following question in chat: Museum Skills Lab Conducting an Inventory What experience do you have with inventories? > artsandmuseums.utah.gov Museum Skills Lab Conducting an Inventory > artsandmuseums.utah.gov Introductions > artsandmuseums.utah.gov 1 1/12/2021 Inventories are important! Inventory defined Workflow & logistics Overview Activity Inventory in action After the inventory Q&A > artsandmuseums.utah.gov Inventories are important! > artsandmuseums.utah.gov Why do an inventory? > artsandmuseums.utah.gov 2 1/12/2021 Inventory defined > artsandmuseums.utah.gov An inventory is... - Knowing what you have and where you have it - Knowing why you have it and what condition it is in - In the collections management system (CMS) or in someone’s brain 勞 - Required by a good Collections Management Policy (CMP) > artsandmuseums.utah.gov Types of inventories COMPLETE INVENTORY (a.k.a. 100 percent, wall-to-wall, or full inventory) - Whole collection - Results can be authoritatively reconciled against museum records - Often funded by grants and is a major undertaking > artsandmuseums.utah.gov 3 1/12/2021 Types of inventories PARTIAL INVENTORY - By group or category - Randomized - Stealth or piggy-backed - Everyday spot - Visual - Salvage > artsandmuseums.utah.gov With all partial inventories, you will not be able to definitively reconcile against museum records. > artsandmuseums.utah.gov Scope: how detailed should it be? GOOD - Accession number - Current location - Name of staff confirming the location - Date the object is confirmed in location This information will help discover missing or misplaced objects. This information will NOT provide any additional benefits for documentation or preservation.
    [Show full text]