Boost the Conservation Signal! by Suzy Morgan, for EMG FAIC News 10

Total Page:16

File Type:pdf, Size:1020Kb

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. I am interested in get- ting a better picture of what this broadening landscape looks like, and I’m hoping others are too. Don’t forget to... “Therefore, to create this picture I am inviting all who are willing and able to take at least one picture each day during the week of July 14-18 of what preservation looks like for you that day.” • Register now! Money-saving early registration rate for the Images were connected and shared by using the hashtag #5DaysOfPreservation; Annual Meeting ends on submissions came in via Facebook, Twitter, and Tumblr. I interviewed Kevin about 2/28/2015—and reserve your his project, how he came up with the idea, and the end results. The initial idea was spot on one of our fantastic tours. spawned when he noticed a distinct lack of pictures in an otherwise well-written preservation management book that did a very good job of describing the diversity • Renew your membership! of preservation work. At the same time he was also reading a book about visual story- Membership Dues for 2015 are telling and the importance of using images to convey a story. He decided to create a due by Jan. 31, 2015. simple tool for people working in preservation to visually share images of their daily work. His goal for the project was to create something that had a really low barrier • Nominate a colleague for a to involvement using tools that most people use every day. Initially, he wasn’t sure if position or award, including the anyone was going to participate, but in the end, the project was highly successful and specialty group elections. Kevin said he received very positive feedback about it. Over 300 images were shared via the #5DaysOfPreservation hashtag, and are archived on the project’s Tumblr at • Review and comment on http://5daysofpreservation.tumblr.com, illustrating everything from digitization efforts the new proposed bylaws at to pest management and control. www.conservation-us.org/ bylawsdiscussion Boost the Conservation Signal continues on page 3 From the Executive Director AIC NEWS AIC News (ISSN 1060-3247) is published bi-monthly by the American Institute for AIC is off to a great start in 2015, as we launch the Conservation of Historic & Artistic Works, 1156 Connecting to Collections Care Online Community 15th Street, NW, Ste. 320, Washington, D.C. 20005; (C2C Care), an initiative administered by FAIC with 202-452–9545; Fax: 202-452–9328; the assistance of the AIC Collection Care Network. We [email protected] thank the Institute of Museum and Library Services www.conservation-us.org (IMLS) for providing funds that will be available over a two-year period for FAIC to operate and enhance Send address changes to: this active and highly successful online community, AIC News an outgrowth of IMLS’s “Connecting to Collections” 1156 15th Street, NW, Suite 320 initiative to help small collecting institutions obtain reli- Washington, D.C. 20005 able information about caring for their collections. CCN members are on the new C2C Care advisory board, and Opinions expressed in AIC News are those of the we are excited to see the fruits of their efforts in planning contributors and not official statements of AIC. new webinars and answering queries in the community forum. Responsibility for the materials/methods described C2C Care offers online discussions, resource files, web links, and 50 archived webinar herein rests solely with the contributors. recordings on a wide range of topics, all without charge to the user. Under the leadership of Heritage Preservation, over 5,700 people have created accounts on the site, which Deadline for March editorial submissions allow them to post to the discussion boards, and 6,450 have registered for online courses. ([email protected]): The community augments FAIC and AIC’s growing digital presence and provides a February 1, 2015. forum for us to reach the broader collection care community. I am grateful to all the AIC We reserve the right to edit for brevity and clarity. members who, by sharing their expertise, have already or will be helping AIC ensure that this valued resource continues to evolve in support of its users. ADVERTISING In addition to C2C Care, AIC and its Foundation have a great many other projects AIC accepts position-available ads only from equal and initiatives moving forward in the coming year. Keep up to date on all our activities opportunity employers. All position ads must by taking advantage of the range of communications tools we offer. And, please do conform to the standards for equal opportunity consider ways you can contribute—we welcome your involvement. employment. AIC does not necessarily endorse the With thanks and all best wishes for the coming year! products advertised in nor position announcements posted in AIC News. We encourage job seekers —Eryl P. Wentworth, Executive Director, ewentworth [at] conservation-us.org to conduct their own research to determine if the advertised position is right for them. The cost of Internships and Fellowships, Positions Available, and Classified Ads are: $1.05 per word for members and $2.15 per word for nonmembers; the minimum charge is $75. The cost of display ads is: 1/6 page $215; 1/3 page $360; 1/2 page $445; 2/3 page $570; full page $695. Deadlines for advertising copy are: February 10, April 10, June 10, August 10, October 10, and December 10. All ads should be submitted to Ruth Seyler at [email protected]. AIC NEWS STAFF Lisa Goldberg, Editor Eryl P. Wentworth, Managing Editor Sheila Cummins, Editor, New Publications Bonnie Naugle, Production Editor Ruth Seyler, Marketing Director Eric Pourchot, Institutional Advancement Director © Copyright 2015. AIC News cannot be reproduced in its entirety without permission from AIC. Individual articles may be reproduced if permission has been granted by the owner of copyright and proper citation attributed. 2 AIC NEWS, January 2015 BOOST THE CONSERVATION SIGNAL Boost the Conservation Signal continued from front cover What’s a Hashtag? Show the Conservator in Conservation “The # symbol, called a hashtag, is used to mark In my conversation with Kevin, we discussed how social media keywords or topics in a Tweet. It was created organically can engage the public and allied professionals by showing pres- by Twitter users as a way to categorize messages.” ervation and conservation on a much more “human” scale, by (source: https://support.twitter.com/ revealing the “conservator in conservation” (http://librarypreser- articles/49309-using-hashtags-on-twitter) vation2.blogspot.com/2011/11/finding-conservator-in-conser- On many social media sites—such as Tumblr, Twitter, Flickr, and vation.html). This is something that is difficult to do in academic Facebook—hashtags are automatically turned into a link to a page conservation literature, but is integral to social media, as well as to that gathers all content created by other users who tagged it with blogs and personal websites. After the first few days of the project, the same hashtag. Some sites and mobile device applications even have a feature that will let you “follow” certain hashtags, and Kevin specifically asked participants to share more pictures of alert you whenever new content with that hashtag has appeared. themselves (“post pics of the people who preserve”), rather than just their collections. An find allies in places beyond the field. For book and paper conser- example of the humaniza- vators, this could mean following the accounts of special collec- tion of a heavily stereotyped tions librarians, archivists, or digital preservationists. Outreach is and mysterious profession a two-way street. The larger issues in these allied professions can can be found in the sciences, and the explosion of popularity for have a direct impact on our work as conservators; similarly, those science communicators across various types of media. Particularly in allied professions can also become advocates for conservation notable examples are Emily Grasile, currently the Field Museum’s by sharing our concerns through their own networks. When we, “Chief Curiosity Correspondent,” Cara Santa Maria, Joe Hanson, as conservators, publicly express an interest in the work of our and of course Neil Degrasse Tyson.
Recommended publications
  • 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]
  • 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]
  • 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.
    [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]
  • 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]
  • The History, Treatment and Display Techniques of Gut Garments at the Pitt Rivers Museum
    Kate Jackson and Andrew Hughes Gut Reaction: The history, treatment and display techniques of gut garments at the Pitt Rivers Museum. Introduction The Pitt Rivers Museum is renowned for its traditional typological displays and the high density of objects on display. More than 20,000 objects are on permanent display with tens of thousands more in open storage within drawers under desktop cases. Many of the cases date from the Museum’s opening in 1886 and are regarded as intrinsic to the museum. Although there is an ongoing program of updating and readjusting permanent displays, the high object density and issues surrounding the original cases can cause the process to be slow. The Arctic clothing case is a permanent display in the Museum Court; it houses furs, skins and gut garments of Arctic provenance. Following a moth infestation in 2006 all the garments were removed and systematically frozen. It was decided not to return the gut garments to display until the case and mounts could be adjusted to better house these fragile pieces. A building project started in 2008 and saw the museum close to the public for 10 months; advantage was taken of this closure to work on the Arctic clothing case. This paper will concern the history, treatment, mount making and redisplay of two of the gut garments: a cloak with neck-cape and hip length parka. History of the garments The cloak with neck-cape (1886.1.871) was among a number of items collected from the Arctic and transferred from the Ashmolean Museum to the Pitt Rivers Museum in 1886.
    [Show full text]
  • LORI HALL-ARAUJO, Phd Curriculum Vitae
    LORI HALL-ARAUJO, PhD Curriculum vitae EDUCATION 2013 PhD, Communication and Culture, Indiana University-Bloomington 1998 MA, History of Religions, The University of Chicago 1993 BA, Philosophy, Michigan State University RESEARCH SPECIALITIES Cultures of Collecting, Display, and Exhibition Dress and Performance Studies Film and Costume Material Culture PROFESSIONAL APPOINTMENTS 2016-2020 Assistant Professor and Curator, Fashion Program, School of Arts and Humanities and the Costume Museum and Research Library, Stephens College, Columbia, MO 2015-2016 Anawalt Postdoctoral Fellow, Center for the Study of Regional Dress, Fowler Museum, University of California, Los Angeles, CA 2014-2015 Consultant for Hollywood Costume, curated by Deborah Nadoolman Landis for the Victoria and Albert Museum in London and hosted by the Academy of Motion Picture Arts and Sciences, Los Angeles, CA 2013-2014 Project Specialist, Textile Arts Conservation Studio, Los Angeles, CA 2012-2013 Curator of Collections, Temple Israel Synagogue and Museum (restored 1884 synagogue), Leadville, CO 2009-2010 Archival Specialist, The Roy and Sophia Sieber African Art Collection, Bloomington, IN 2007 Catalogue Data Specialist for Costumes, Chicago History Museum (formerly the Chicago Historical Society), Chicago, IL 2004-2006 Collection Manager for Costumes and Textiles, Chicago Historical Society, Chicago, IL 1 2002-2004 Collection Technician, Chicago Historical Society, Chicago, IL 2001 Exhibition Assistant for "Fashion, Flappers 'n All That Jazz,” Chicago Historical Society, Chicago, IL OTHER PROFESSIONAL AND RESEARCH EXPERIENCE 2020-present Copyeditor/Proofreader, academic publications and marketing copy for the tech industry 2021 Museum Consultant for Chicago-area museums 2020 Visiting Scholar, Museum and Exhibition Studies Program, University of Illinois at Chicago, Chicago, IL 2015 Postdoctoral Researcher for Deborah Nadoolman Landis, Director of the David C.
    [Show full text]
  • NMNH-Anthropology Loan Procedures and Requirements
    Updated August 2019 Smithsonian Institution National Museum of Natural History, Department of Anthropology Conditions for Exhibition Loans Loans of objects from the Department of Anthropology collections will only be made to non- profit, educational institutions for educational and scholarly purposes. The Department does not loan items to individuals or for-profit institutions. This document lists the steps in the Department of Anthropology’s loan process and provides the Borrower with important information about Departmental requirements and procedures for the review and processing of loan requests. This document pertains only to the loan of objects for exhibition. I. GUIDELINES FOR OBTAINING INFORMATION ABOUT ANTHROPOLOGY COLLECTIONS Borrowers can begin their search for relevant objects by searching the online Anthropology collections database (https://collections.nmnh.si.edu/search/anth/). When available, digital photographs of the objects have been included in the online database. Borrowers are strongly encouraged to visit the collections while compiling the list of proposed objects. Consultation with the appropriate curator is also strongly encouraged. Collections staff can provide contact information. II. THE LOAN PROCESS All efforts will be made to process loan requests as expeditiously as possible, but borrowers should aim to submit the required documentation no later than 18 months before the desired shipping date. A long lead time is especially important with large requests or requests that are seeking the loan of fragile or high-profile objects. A Preliminary Loan Request Form, General Facility Report for all venues, and a copy of the borrower’s Fine Art Insurance Policy, if applicable, should be sent to the Department of Anthropology Registrar, Allison Butler ([email protected]).
    [Show full text]
  • Non-Structural Mitigation Against Earthquake: a Case Study of Istanbul Museums
    MUSEUM SOS: Strategies for Emergency Response and Salvage American Museum of Natural History, New York, U.S.A. May 11-16, 2004 NON-STRUCTURAL MITIGATION AGAINST EARTHQUAKE: A CASE STUDY OF ISTANBUL MUSEUMS Nevra Ertürk,Research Assistant Yildiz Technical University, Faculty of Art and Design (FAD) Museum Studies Graduate Program, Art Management Program [email protected] Bilgen Sungay, Architect, Project Development Team Bogazici University (B.U.), Kandilli Observatory and Earthquake Research Institute (KOERI), Disaster Preparedness Education Program [email protected] INTRODUCTION Earthquakes in Turkey and vicinity between 1900-2004 with M>5 Resource: http://www.koeri.boun.edu.tr/sismo.marmara.jpg • The exposure of the Marmara and Aegean regions of Turkey to a major and devastating earthquake in the near future is a scientific fact. • An earthquake will put the rich and irreplaceable cultural heritage of world civilizations exhibited and stored in Istanbul Museums at great peril. INFORMATION ABOUT ISTANBUL MUSEUMS • There are approximately 200 public museums in Turkey, administered by the General Directorate of Cultural Assets and Museums, Republic of Turkey, Ministry of Culture and Tourism. Additionally, 98 museums in Turkey are under various other public and private institutions, agencies and foundations with oversight by Republic of Turkey, Ministry of Culture and Tourism. • Istanbul, the most populous city in Turkey, has approximately 50 public and private museums which daily host thousands of visitors. • The content of Istanbul Museums’ collections are classified as follows: history, ethnography, art, textile, archaeology, industry and technology, military, aviation, calligraphy and decorative arts (T.C. Kultur Bakanligi, Turkiye Muzeleri, Ankara: T.C.
    [Show full text]
  • MUSEUM Karen L
    http://oi.uchicago.edu/OI/AR/02-03/02-03_AR_TOC.html MUSEUM Karen L. Wilson During the past year, most of the museum staff’s attention has been focused on the installation of the new Edgar and Deborah Jannotta Mesopotamian Gallery, including the Robert and Linda Braidwood Prehistory Exhibit and the Yelda Khorsabad Court. It has been exciting and deeply satisfying to see it all coming together into what promises to be a stunning whole, thanks to the creative energies of everyone involved. At the very beginning of the year, Dianne Hanau-Strain of Hanau-Strain Associates was hired to be in charge of graphic design for the gallery. Dianne came to the Institute two afternoons a week to meet with the Mesopotamian Gallery Installation Committee — McGuire Gibson, my- self, and Exhibit Designer Joe Scott, who was just recently replaced by Installation Coordinator Markus Dohner. Together we worked on case layouts, image selection, and graphic design. The completion of the Prehistory Exhibit proved to us that we had made the right choice in Dianne — her graphics really give both context and life to chipped stone tools 150,000 years old. As of this writing, that section of the gallery plus the entire Chronology section, Khorsabad Court, and Seals and Sealing Practices exhibit have been installed by Gallery Preparator Erik Lindahl and Mount Maker Beal Stafford. Work is about to get underway on constructing buildups and mak- ing mounts for the Daily Life section, the graphics for which are at the production house, and Markus is embarking upon case layouts for Writing and Intellectual Life.
    [Show full text]
  • Curating Research Free
    FREE CURATING RESEARCH PDF Hyunjoo Byeon,Carson Chan,Olga Fernandez-Lopez,Kate Fowle,Maja Fowkes,Reuben Fowkes,Liam Gillick,Georgina Jackson,Sidsel Nelund,Simon Sheikh | 262 pages | 24 Feb 2015 | Open Editions | 9780949004031 | English | London, United Kingdom Curating for Research | JAR A curator from Latin : curameaning "to take care" [1] is a manager or overseer. Traditionally, a curator or keeper of a cultural heritage institution e. A traditional curator's concern necessarily involves tangible objects of some sort — artwork, collectibles, historic items or scientific collections. More recently, new kinds of curators have started to emerge: curators of digital data objects and biocurators. In smaller organizations, a curator may have sole responsibility for acquisitions and even for collections care. The curator makes decisions regarding what objects to select, oversees their potential and documentation, conducts research based on the collection and its history, provides proper packaging of art for transportation, and shares research with the public and community through exhibitions and publications. In very small, volunteer-based museums such as those of local historical societies, a curator may be the only paid staff-member. In larger institutions, the curator's primary function is that of a subject specialist, with the expectation that he or she will conduct original research on objects and Curating Research the organization in Curating Research collecting. Such institutions can have multiple curators, each assigned to a specific collecting area e. In such organizations, the physical care of the Curating Research may be overseen by museum collections-managers or by museum conservators, with documentation and administrative matters such as personnel, insurance, and loans handled by a museum registrar.
    [Show full text]