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January 28, 2021 Introductions Faculty
Art Conservation Open House January 28, 2021 Introductions Faculty Debra Hess Norris Dr. Jocelyn Alcántara-García Brian Baade Maddie Hagerman Dr. Joyce Hill Stoner Nina Owczarek Photograph Conservator Conservation Scientist Paintings Conservator Objects Conservator Paintings Conservator Objects Conservator Chair and Professor of Photograph Associate Professor Assistant Professor Instructor Edward F. and Elizabeth Goodman Rosenberg Assistant Professor Conservation Professor of Material Culture Unidel Henry Francis du Pont Chair Students Director, Preservation Studies Doctoral Program Annabelle Camp Kelsey Marino Katie Rovito Miriam-Helene Rudd Art conservation major, Class of 2019 Art conservation major, Class of 2020 WUDPAC Class of 2022 Senior art conservation major, WUDPAC Class of 2022 Preprogram conservator Paintings major Class of 2021 Textile major, organic objects minor President of the Art Conservation Club What is art conservation? • Art conservation is the field dedicated to preserving cultural property • Preventive and interventive • Conservation is an interdisciplinary field that relies heavily on chemistry, art history, history, anthropology, ethics, and art Laura Sankary cleans a porcelain plate during an internship at UD Art Conservation at the University of Delaware • Three programs • Undergraduate degree (BA or BS) • Winterthur/University of Delaware Program in Art Conservation or WUDPAC (MS) at Winterthur Museum, Garden & Library near Wilmington, DE • Doctorate in Preservation Studies (PhD) Miriam-Helene Rudd cleans a -
CONSERVATORS/RESTORERS Updated: 8/2015
CONSERVATORS/RESTORERS Updated: 8/2015 **THE HOOD MUSEUM OF ART DOES NOT RECOMMEND SPECIFIC CONSERVATORS. THIS LISTING IS MADE FOR PURPOSES OF INFORMATION ONLY.** Online directory of members of AIC (American Institute for Conservation of Historic and Artistic works): www.conservation-us.org/membership/find-a-conservator GENERAL – Also see individual media below Straus Center for conservation and Technical Studies Harvard University Art Museums 32 Quincy Street Cambridge, MA 02138 Paper, Objects, Textiles P: 617/495.2392 F: 617/495.0322 Website: www.harvardartmuseums.org Isabella Stewart Gardner Museum 25 Evans Way Boston, MA 02115 P: 617/566.1401 Paper, Objects, Textiles F: 617/278.5167 Email: [email protected] Website: www.gardnermuseum.org Vermont Museum and Gallery Alliance C/O Fairbanks Museum Referrals. Good source for general 1302 Main Street information on storage, packing, and St. Johnsbury, VT 05819 care of artwork. P: 802/751.8381 Williamstown Art Conservation Center, Inc. 227 South Street Williamstown, MA 02167 Paintings, paper, objects, furniture, P: 413/458.5741 sculpture, frames, analytical F: 413/458.2314 Email: [email protected] Website: www.williamstownart.org Worcester Art Museum 55 Salisbury Street Worcester, MA 01609 Paper, Paintings P: 508/799.4406 Email: [email protected] Website: www.worcesterart.org CONSERVATORS/RESTORERS Updated: 8/2015 General Continued Art Conservation Resource Center 262 Beacon Street, #4 Paintings, paper, photographs, textiles, Boston, MA 02116 objects and sculpture P: -
Report of a Preservation Needs Assessment Executive Summary
Report of a Preservation Needs Assessment Wrentham Historical Commission Wrentham, MA March 29, 2018 Submitted on June 8, 2018 Sean Ferguson Preservation Specialist Northeast Document Conservation Center 100 Brickstone Square Andover, MA 01810 978.470.1010 [email protected] Executive Summary Paper-based, audiovisual and photographic materials housed in the Old Fiske Library Museum of the Wrentham Historical Commission (WHC) were assessed for preservation planning purposes by Sean Ferguson, Preservation Specialist for the Northeast Document Conservation Center (NEDCC) in Wrentham, MA on March 29, 2018. Simmons College graduate student Lauren Hansen joined the assessment as an educational opportunity and observed and took part in the assessment. The assessment evaluated the buildings and environments as they relate to the preservation needs of the materials; examined current policies, storage, and handling procedures; and assessed the general condition of materials. Observations and recommendations are based on a pre-site visit questionnaire, a full-day site visit, and discussions with Chairman Greg Stahl, Vice Chairman Leo Baldyga, Treasurer and Secretary Susan Harris, Members Marion Cafferky, William Keyes, Alex Leonard, Kim Shipala, and Volunteer Cheri Leonard. Wrentham Historical Commission was established on March 27, 1967 and is responsible the stewardship and exhibition of Wrentham’s history. To these ends, WHC maintains an archives of historical materials and artifacts, manages the circa 1740’s Wampum House, and operates a plaque program to mark locations of historical significance in the Town. In 2010, WHC renovated the Old Fiske Museum, which was formally the town library, to make it suitable for the storage of historical collections. Following the renovation, the Commission relocated nearly all its historical collections into the Museum. -
Repurposing Archival Theory in the Practice of Data Curation
Repurposing Archival Theory in the Practice of Data Curation Elizabeth Rolando| Wendy Hagenmaier |Susan Wells Parham Introduction Methodology • Expansion of data curation and digital archiving services at the Georgia Tech Library • Process the same digital collection, once by data curator, once by digital archivist and Archives. • Data curation processing informed by OAIS Reference Model1, ICPSR workflow2, and • How do data curation and archival science intersect? UK Data Archive workflow3 • How can comparing data curation and archival science lead to improvements in • Archival processing informed by concepts, such as appraisal, respect des fonds, local workflows and practices? original order, and archival value4, as well documented practices at peer institutions • Compare processing plans to discover areas of agreement and areas of conflict Data Transfer Data Processing Metadata Processing Preservation Access Unique Data Curation Processing Steps -Deposit agreement modeled on -Format transformation policies -Review and enhancement of -Varied retention periods, -Datasets treated as active and institutional repository license guided by reuse over preservation README file, used to accommodate determined by Board of Regents reusable -Funding model for sustainability -Create derivatives to promote diverse depositor needs Retention Schedule and funding -Datasets linked to publications access and re-use model -Bulk or individual file download -Correct erroneous or missing data Common Processing Steps -Data quarantine -Format identification -
Conservation of Cultural and Scientific Objects
CHAPTER NINE 335 CONSERVATION OF CULTURAL AND SCIENTIFIC OBJECTS In creating the National Park Service in 1916, Congress directed it "to conserve the scenery and the natural and historic objects and the wild life" in the parks.1 The Service therefore had to address immediately the preservation of objects placed under its care. This chapter traces how it responded to this charge during its first 66 years. Those years encompassed two developmental phases of conservation practice, one largely empirical and the other increasingly scientific. Because these tended to parallel in constraints and opportunities what other agencies found possible in object preservation, a preliminary review of the conservation field may clarify Service accomplishments. Material objects have inescapably finite existence. All of them deteriorate by the action of pervasive external and internal agents of destruction. Those we wish to keep intact for future generations therefore require special care. They must receive timely and. proper protective, preventive, and often restorative attention. Such chosen objects tend to become museum specimens to ensure them enhanced protection. Curators, who have traditionally studied and cared for museum collections, have provided the front line for their defense. In 1916 they had three principal sources of information and assistance on ways to preserve objects. From observation, instruction manuals, and formularies, they could borrow the practices that artists and craftsmen had developed through generations of trial and error. They might adopt industrial solutions, which often rested on applied research that sought only a reasonable durability. And they could turn to private restorers who specialized in remedying common ills of damaged antiques or works of art. -
A: Mandates and Standards for NPS Museum Collections
Appendix A: Mandates and Standards for NPS Museum Collections Page A. Overview...................................................................................................................................................... A:1 B. Laws, Regulations, and Conventions – NPS Cultural Collections......................................................... A:1 Laws related to NPS cultural collections ...................................................................................................... A:1 Regulations related to NPS cultural collections............................................................................................ A:4 International conventions related to NPS cultural collections....................................................................... A:5 Contacts for laws, regulations, and conventions – NPS cultural collections ................................................ A:6 C. Laws, Regulations, and Conventions – NPS Natural History Collections............................................. A:6 Laws related to NPS natural history collections ........................................................................................... A:6 Regulations related to NPS natural history collections................................................................................. A:8 International conventions related to NPS natural history collections............................................................ A:8 Contacts for laws, regulations, and conventions – NPS natural history collections .................................... -
Efficient Processing Guidelines
Guidelines for Efficient Archival Processing in the University of California Libraries Version 3.2 September 18, 2012 Developed by Next Generation Technical Services POT 3 Lightning Team 2 Kelley Bachli (UCLA) James Eason (UCB) Michelle Light (UCI) (Chair and POT 3 Liaison) Kelly McAnnaney (UCSD) Daryl Morrison (UCD) David Seubert (UCSB) With contributions from Lightning Team 2b Audra Eagle Yun (UCI) (Chair) Jillian Cuellar (UCLA) Teresa Mora (UCB) Adrian Turner (CDL) (POT 3 Liaison) Table of Contents 1. Introduction .............................................................................................................................................. 4 1.A. Background ........................................................................................................................................ 4 1.B. Goals .................................................................................................................................................. 5 1.C. The Core, Recommended Principles .................................................................................................. 5 1.D. How to Use These Guidelines ............................................................................................................ 6 1.E. Why is MPLP Relevant to the UCs? .................................................................................................... 7 1.F. "Good-enough" Processing Can Be Quality Processing ..................................................................... 7 1.G. Implications Beyond -
Carolyn M. Chesarino. an Analysis of Finding Aid Structure and Authority Control for Large Architectural Collections
Carolyn M. Chesarino. An Analysis of Finding Aid Structure and Authority Control for Large Architectural Collections. A Master’s Paper for the M.S. in L.S degree. November, 2012. 41 pages. Advisor: Stephanie W. Haas This study discusses best practices in describing architectural records in special collections repositories through encoded finding aids. It argues that metadata elements within these finding aids could serve as more effective access points if end users were more easily able to develop their own ways of highlighting relationships which exist within and across collections. Based on the information gathered from semi-structured interviews, this paper reports how other archivists developed institutional standards with which to catalog and process their architectural collections. Finally, this paper provides examples of what could be achieved in the realm of data visualization in an attempt to inspire repositories to make it easier for end users to extract the metadata that archivists and librarians spend so much time collecting. Headings: Architectural drawings Faceted classification Finding aids Libraries--Special collections AN ANALYSIS OF FINDING AID STRUCTURE AND AUTHORITY CONTROL FOR LARGE ARCHITECTURAL COLLECTIONS by Carolyn M. Chesarino A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. Chapel Hill, North Carolina November 2012 Approved -
Archive Service Accreditation Guidance for Developing and Completing an Application June 2020
Archive Service Accreditation Guidance for developing and completing an application June 2020 0 Archive Service Accreditation – Guidance for developing and completing an application – June 2020 ARCHIVE SERVICE ACCREDITATION GUIDANCE Contents: Introduction to your Archive Service 3 A. Applicant details B. Service and Collection details Section 1 Organisational Health 8 1.1 Mission statement 1.2 Governance and management structures 1.3 Forward planning 1.4 Resources: spaces 1.5 Resources: finance 1.6 Resources: workforce Section 2 Collections 35 2.1 Collections management policies 2.2. Collections development 2.3 Collections information 2.4 Collections care and conservation Section 3 Stakeholders and their Experiences 70 3.1 Access policy 3.2 Access plans and planning 3.3. Access information, procedures and activities 1 Archive Service Accreditation – Guidance for developing and completing an application – June 2020 Introduction to this guidance Each requirement in the Archive Service Accreditation standard is accompanied by guidance, designed to help applicants to: Understand the significance of the requirement and the desired outcomes that come from its achievement Understand the expectations of the assessment process for that particular requirement, with some guidance on how to relate it to their particular archive type and scale Identify possible supporting evidence Find tools and resources that might assist with meeting the requirement This guidance is organised into: General guidance for the requirement as a whole Guidance for specific questions (indicated by their ‘Q’ number) where suitable Scaled guidance relevant to specific archive types and scales – where this scaled guidance is relevant to a specific question it is attached to the question. -
Integrating Archaeology and Conservation of Archaeology and Conservation the Past, Forintegrating the Future
SC 13357-2 11/30/05 2:39 PM Page 1 PROCEEDINGS PROCEEDINGS The Getty Conservation Institute The Conservation Los Angeles Theme of the 5th World Archaeological Congress Of the Past, for the Future: Washington, D.C. Printed in Canada June 2003 Integrating Archaeology and Conservation Of the Past, for the Future: Integrating Archaeology and Conservation The Getty Conservation Institute i-xii 1-4 13357 10/26/05 10:56 PM Page i Of the Past, for the Future: Integrating Archaeology and Conservation i-xii 1-4 13357 10/26/05 10:56 PM Page ii i-xii 1-4 13357 10/26/05 10:56 PM Page iii Of the Past, for the Future: Integrating Archaeology and Conservation Proceedings of the Conservation Theme at the 5th World Archaeological Congress, Washington, D.C., 22–26 June 2003 Edited by Neville Agnew and Janet Bridgland The Getty Conservation Institute Los Angeles i-xii 1-4 13357 10/26/05 10:56 PM Page iv The Getty Conservation Institute Timothy P. Whalen, Director Jeanne Marie Teutonico, Associate Director, Field Projects and Science The Getty Conservation Institute works internationally to advance conserva- tion and to enhance and encourage the preservation and understanding of the visual arts in all of their dimensions—objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research; education and training; field projects; and the dissemination of the results of both its work and the work of others in the field. In all its endeavors, the Institute is committed to addressing unanswered questions and promoting the highest possible standards of conservation practice. -
Efficient Processing Guidelines
Guidelines for Efficient Archival Processing in the University of California Libraries Version 3.2 September 18, 2012 Developed by Next Generation Technical Services POT 3 Lightning Team 2 Kelley Bachli (UCLA) James Eason (UCB) Michelle Light (UCI) (Chair and POT 3 Liaison) Kelly McAnnaney (UCSD) Daryl Morrison (UCD) David Seubert (UCSB) With contributions from Lightning Team 2b Audra Eagle Yun (UCI) (Chair) Jillian Cuellar (UCLA) Teresa Mora (UCB) Adrian Turner (CDL) (POT 3 Liaison) Table of Contents 1. Introduction .............................................................................................................................................. 4 1.A. Background ........................................................................................................................................ 4 1.B. Goals .................................................................................................................................................. 5 1.C. The Core, Recommended Principles .................................................................................................. 5 1.D. How to Use These Guidelines ............................................................................................................ 6 1.E. Why is MPLP Relevant to the UCs? .................................................................................................... 7 1.F. "Good-enough" Processing Can Be Quality Processing ..................................................................... 7 1.G. Implications Beyond -
LARA KAPLAN 5105 Kennett Pike OBJECTS CONSERVATOR Winterthur, DE 19735 [email protected]
Winterthur Museum LARA KAPLAN 5105 Kennett Pike Winterthur, DE 19735 OBJECTS CONSERVATOR [email protected] EDUCATION Winterthur/University of Delaware Program in Art Conservation, Winterthur, DE M.S./Certificate in Art Conservation, objects major – August 2003 Rice University, Houston, TX B.A. Art/Art History and Linguistics, cum laude – May 1997 CONSERVATION EXPERIENCE 7/19-Present: Objects Conservator; Affiliated Assistant Professor Winterthur Museum, Library and Gardens; Winterthur/University of Delaware Program in Art Conservation (WUDPAC) – Winterthur, DE At Winterthur, preserving three-dimensional objects in the museum collection, conducting technical examinations and treatment, and consulting on proper handling, storage, transport, and exhibition requirements. For WUDPAC, leading the Organic Block portion of the 1st-year curriculum, covering plant materials, skin/leather, keratins, ivory, bone, and related materials, and plastics; supervising 2nd- and 3rd-year objects majors; serving on student advisory committees; teaching advanced seminars on specialized topics, including characterization and treatment of skin/leather artifacts, conservation of basketry, feathers, and plastics, ethical issues in the conservation of modern/contemporary collections and objects from indigenous cultures, and opening a conservation private practice. 1/05-Present: Freelance Conservator Baltimore, MD (1/05-12/18); Philadelphia, PA (1/19-Present) Working as an independent conservator for institutions, galleries, and private individuals. Services include examination, treatment, surveys, art historical research, and sampling/testing of art and artifacts made of a wide range of materials (glass, ceramics, stone, plaster, metals, lacquer, wood and other plant materials, skin and leather, horn, tortoiseshell, feather, ivory, bone, shell, rubber, and plastics), as well as consultation and preparing objects for storage, transportation, and exhibition.