SCONUL Library Design Awards 2019
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The Fourth Report of Senior Pay and Perks in UK Universities History This
Transparency at the top? The fourth report of senior pay and perks in UK universities History This is the fourth report on pay and perks at the top of British higher education institutions (HEIs) to be published by the University and College Union (UCU). It forms part of the union’s ongoing campaign for greater transparency in higher education, including the rationale behind senior pay rises. UCU submitted a Freedom of Information (FoI) request to 158 HEIs in October 2017. This followed similar requests submitted in 2016, 2015 and 2014. All requests were designed to shine a light on the arbitrary nature of senior pay and perks in universities, and support the union’s call for reform. The basis for this report The FoI request that forms the basis of this report was sent to 158 (HEIs). It requested details of vice-chancellors’ (or head of institution if known by a different title) salaries and those of other senior post-holders earning over £100,000 at the institution during the academic year of 2016/17 (1 August 2016 to 31 July 2017). It also asked for details of flights, spending on hotels, spending on expenses and if the vice-chancellor was provided with accommodation by the university. Finally, we requested to know whether or not the vice-chancellor was a member of the remuneration committee, and requested a copy of the most recently ratified minutes of the institution’s remuneration committee. Variety of responses The questions on expenditure on flights, hotels, expenses and accommodation for vice-chancellors elicited a huge variation in responses with many institutions deploying exemptions under the Freedom of Information Act to avoid providing data. -
Annual Report 2016 / 17
Annual Report 2016 / 17 BMT_Annual Report 16/17.indd 1 03/11/2017 10:39 Reflecting Birmingham to the World, & the World to Birmingham Registered Charity Number: 1147014 Cover image © 2016 Christie’s Images Limited. Image p.24 © Vanley Burke. BMT_Annual Report 16/17.indd 2 03/11/2017 10:39 02 – 03 Birmingham Museums Trust is an independent CONTENTS educational charity formed in 2012. 04 CHAIR’S FOREWORD It cares for Birmingham’s internationally important collection of over 800,000 objects 05 DIRECTOR’S INTRODUCTION which are stored and displayed in nine unique venues including six Listed Buildings and one 06 OUR ACHIEVEMENTS Scheduled Ancient Monument. 08 AUDIENCES Birmingham Museums Trust is a company limited by guarantee. 12 SUPPORTERS 14 VENUES 15 Birmingham Museum & Art Gallery 16 Aston Hall 17 Blakesley Hall 18 Museum of the Jewellery Quarter 19 Sarehole Mill 20 Soho House 21 Thinktank Science Museum 22 Museum Collection Centre 23 Weoley Castle 24 COLLECTIONS 26 CURATORIAL 28 MAKING IT HAPPEN 30 TRADING 31 DEVELOPMENT 32 FINANCES 35 BOARD OF TRUSTEES 36 TALKS AND LECTURES BMT_Annual Report 16/17.indd 3 03/11/2017 10:39 Chair’s foreword Visitor numbers exceeded one million for the It is with pleasure that third year running, and younger and more diverse audiences visited our nine museums. Birmingham I present the 2016/17 Museum & Art Gallery was the 88th most visited art museum in the world. We won seven awards annual report for and attracted more school children to our venues Birmingham Museums than we have for five years. A Wellcome Trust funded outreach project enabled Trust. -
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Leah Tether and Laura Chuhan Campbell Early Book Collections and Modern Audiences: Harnessing the Identity/ies of Book Collections as Collective Resources This article summarizes and contextualizes the discussions of a workshop held at Durham University in November 2018. In this workshop, participants (includ- ing academics, students, independent scholars, special and rare books librarians, and archivists) discussed the notion of the collection (that is, the identity of collection as a whole, rather than just its constituent parts), and its potential to serve as a means of engaging both scholarly and public audiences with early book cultures. This study sets out a series of considerations and questions that might be used when tackling such special collections engagement projects, including ones involving more modern collections than the case studies examined here. In November 2018, the Institute for Medieval and Early Modern Studies at Durham University kindly funded a workshop to investigate the ways in which contemporary audiences have been, are being, and can become engaged with medieval and early- modern book culture through the provision and distribution of key resources. These resources range from published books to digital artefacts and editions; from replica teaching kits—such as scriptorium suitcases—to physical archives and repositories.1 The aim of the workshop, which was led by one of this article’s two authors (Leah Tether), was to build a picture of best practice to inform the teaching and commu- 1. The authors are grateful to Durham’s Institute for Medieval and Early Modern Studies for fund- ing the workshop, and to the administrators of the Residential Research Library Fellowships (jointly organized by Ushaw College and Durham University) that enabled Leah Tether to spend time in Durham in November 2018. -
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 -
The Field Description of Igneous Rocks the Field Description of Igneous Rocks
The Field Description of Igneous Rocks The Field Description of Igneous Rocks SECOND EDITION Dougal Jerram Durham University Nick Petford University of Northampton A John Wiley & Sons, Ltd., Publication The Geological Field Guide Series Barnes, J.W. and Lisle, R.J. (2004) Basic Geological Mapping, 4th edn. ISBN: 978-0-470-84986-6, 5th edn publishing (2011). ISBN: 978-0-470-68634-8 Fry, N. (1991) The Field Description of Metamorphic Rocks. ISBN: 978-0-471-93221-5 McClay, K.R. (1991) The Mapping of Geological Structures. ISBN: 978-0-471-93243-7 Milsom, J. and Eriksen, A. (2010) Field Geophysics, 4th edn. ISBN: 978-0-470-74984-5 Tucker, M.E. (2011) Sedimentary Rocks in the Field, 4th edn. ISBN: 978-0-470-68916-5 This edition first published 2011 2011 by John Wiley & Sons, Ltd. Wiley-Blackwell is an imprint of John Wiley & Sons, formed by the merger of Wiley’s global Scientific, Technical and Medical business with Blackwell Publishing. Registered office: John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offices: 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK 111 River Street, Hoboken, NJ 07030-5774, USA For details of our global editorial offices, for customer services and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/ wiley-blackwell The right of the author to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. -
Designation Panel
Designation Panel Dr Stella Butler (Chair) University Librarian and Keeper of the Brotherton Collection, University of Leeds Dr Stella Butler joined the University of Leeds in 2011 as University Librarian and Keeper of the Brotherton Collection. The Brotherton Library with its iconic round reading room dates from 1936 and houses distinguished collections of archives, rare books and manuscripts, five of which are Designated. Stella was Head of Special Collections and latterly Deputy University Librarian at the University of Manchester between 2000 and 2011 and was responsible between 2003 and 2007 for the £17M refurbishment and re-development of the magnificent John Rylands Library. She was Chair of the Board of Directors of Research Libraries UK from 2013 to 2015. She chairs the Academic Advisory Board of the UK Medical Heritage Library, a Jisc-Wellcome Trust funded project. She is a trustee of Seven Stories, the UK’s national centre for children’s books and chairs the management committee of Chetham’s Library in Manchester, the oldest public library in the English-speaking world. Stella has published widely on the history of medicine and science and on issues relating to libraries and museums. Dr Caroline Campbell Director of Collections and Research at the National Gallery Formerly The Jacob Rothschild Head of the Curatorial Department and Curator of Italian Paintings before 1500 Earlier in her career, Caroline held curatorial positions at The Courtauld Gallery, London (where she was Curator of Paintings from 2005-12); the National Gallery and the Ashmolean Museum, Oxford. Born in Belfast, Caroline was educated at University College, Oxford, and the Courtauld Institute of Art, London, and is a former fellow of the Center for Curatorial Leadership, New York. -
News Update for London's Museums
@LondonMusDev E-update for London’s Museums – 10 June 2021 Museum Development London Recovery grants programme (£32k) supported by The Art Fund This programme, supported by The Art Fund, is designed to help museums to analyse and assess their current position and to identify priorities for activity to support post Covid recovery through a short, facilitated self-assessment process. Further to self-assessment and analysis 8 grants of up to £4000 will be available to successful participants. Further information and access to full guidance and application documents can be found here. Deadline for applications to the programme 05 July 2021. Museum Estate and Development Fund (MEND) The MEND grants scheme is an open-access capital fund targeted at non-national Accredited museums and local authorities based in England. Details of How to Apply are available on the ACE website. Closing date for applications: 05 July. As outlined in the ‘roadmap’ for England to move out of lockdown, museums are now able to open. The government has published the ‘COVID-19 Response - Spring 2021’ document, which outlines the plan in more detail. The move out of lockdown is reliant on four conditions which must be met before moving on a step – so these dates should be used as guides for the time being. Government has recently announced the Restart Grant scheme which supports businesses in the non-essential retail, hospitality, leisure, personal care and accommodation sectors with a one-off grant, to reopen safely as COVID-19 restrictions are lifted. The grants are available now through your local authorities and consist of either up to £6,000 in the non-essential retail sector (likely to reopen on 12th April) or up to £18,000 in the hospitality, museums, accommodation, leisure, personal care and gym sectors. -
Pearls and Wisdom
Pearls and wisdom Arts Council England’s vision for the Designation Scheme for collections of national significance 2 Contents Foreword 5 The development of the Scheme so far 7 Arts Council England’s vision for the future of Designation 10 Case studies Beamish, The Living Museum of the North 14 Library of Birmingham 16 Derby Museums Trust 18 Hull Museums 20 Norfolk Museums Services 22 Oxford University Museums 24 The Tank Museum 26 The Wellcome Library 28 The Wordsworth Trust 30 English Folk Dance and Song Society 32 Designated Collections by Area 34 3 Front cover: Astrolabe for Shah Abbas II, by Muhammad Muqim al-Yazdi, Persian, 1647/8. Credit: Museum of the History of Science, University of Oxford Inside cover: ‘The Co-op flag that covers the world’ Credit: National Co-operative Archive Below: Coronet worn by Princess Patricia to King Edward VII’s coronation in 1902 Credit: Historic Royal Palaces 4 Such collections, often shaped by Foreword strong characters and enduring enthusiasms, merge disciplines, crossing art and science in fascinating ways; they tell gripping stories, help us to understand our past, and suggest how our future might be different. These vital collections are located in rural and urban centres across the country, from Cornwall to Suffolk, from the South Coast to Cumbria. The Designation Scheme exists to recognise cultural collections of The Arts Council invests its funds and outstanding richness and resonance resources according to the objectives – collections that help deepen our set out in its 10-year strategy, Great art understanding of the world, and and culture for everyone. -
Learning and Teaching Reimagined
Learning and teaching reimagined A new dawn for higher education? November 2020 With thanks to: All those who contributed to this research, from students, staff and leaders to sector organisations and our advisory board. Advisory board members Professor David Maguire, interim principal and vice-chancellor, University of Dundee Chair, learning and teaching reimagined Professor Liz Barnes CBE, vice-chancellor, Staffordshire University Professor Tim Blackman, vice-chancellor, The Open University Professor Nick Braisby, vice-chancellor, Buckinghamshire New University Professor Alec Cameron, vice-chancellor, Aston University Professor Anne Carlisle OBE, vice-chancellor and CEO, Falmouth University Professor Sir Chris Husbands, vice-chancellor, Sheffield Hallam University Professor Tansy Jessop, pro-vice-chancellor, University of Bristol Heidi Fraser-Krauss, executive director of corporate services, The University of Sheffield Professor Julie Lydon, vice-chancellor, University of South Wales Professor Peter Mathieson, principal, The University of Edinburgh Professor Nick Petford, vice-chancellor, University of Northampton Professor Anne Trefethen, pro-vice-chancellor, University of Oxford Ashley Wheaton, principal, University College of Estate Management Advisory board observers Dr Paul Feldman, CEO, Jisc Chris Hale, director of policy, Universities UK Alison Johns, CEO, Advance HE Nic Newman, Emerge Education Authors Professor David Maguire, interim principal and vice-chancellor, University of Dundee Chair, learning and teaching reimagined -
Midlands Innovation University Collections Group Project Report
Midlands Innovation: Supporting our Universities’ Collections Table of Contents Summary Sheet ............................................................................................................................................... 2 1. Introduction ............................................................................................................................................ 3 2. Methods ................................................................................................................................................. 3 Desk research ......................................................................................................................................... 3 Online survey .......................................................................................................................................... 3 One-to-one conversations ...................................................................................................................... 4 3. Characterising collections-based activity across the MI consortium ..................................................... 4 Collections content and status ................................................................................................................... 4 Programming for public and university audiences ..................................................................................... 7 Research Impact and Engagement ............................................................................................................ -
Perspectives Autumn-Winter.Qxd 11/11/10 4:57 Pm Page 1 Perspectivebirmingham S AUTUMN / WINTER 2010 JOURNAL of BIRMINGHAM CIVIC SOCIETY
Perspectives Autumn-Winter.qxd 11/11/10 4:57 pm Page 1 PerspectiveBIRMINGHAM s AUTUMN / WINTER 2010 JOURNAL OF BIRMINGHAM CIVIC SOCIETY Made in Birmingham: how one local firm shone a light on the House of Lords Birmingham’s forgotten gardens The Big Interview: “The whole vibrancy of the people of Birmingham is something we badly under use.” Perspectives Autumn-Winter.qxd 11/11/10 4:58 pm Page 2 First word David Clarke, Chairman of Birmingham Civic Society Leaders of tomorrow I was walking along Edmund Street in Birmingham city centre - Colmore Business District as it has recently been named - and ahead of me I spotted a group of six youngsters, chatting excitedly. They were smartly dressed in school uniforms and had evidently just emerged from the white mini bus that was parked at the side of the road. Brought to attention by their wards - two teachers I would imagine - enable short listed schools to experience something of Birmingham's they disappeared in to the lobby area of one of the office buildings. I business life - and to see inside and experience offices and the workplace. knew which one it was; I was destined to be there myself to attend, as (One of my ambitions, which you never know I may well in due course one of the judges, the semi final round of Birmingham Civic Society's fulfil, is to organise what might be described as reverse 'seeing is believing' Next Generation Awards at the offices of Anthony Collins Solicitors. visits. Those of you that have participated in such an activity will be The children stood, politely, at the reception desk whilst their names familiar with the format. -
Programme July – September 2014 Free Entry
Programme July – September 2014 www.ikon-gallery.org Free entry As Exciting As We Can Make It Rasheed Araeen Art & Language Ikon in the 1980s Sue Arrowsmith 2 July – 31 August 2014 Kevin Atherton First and Second Floor Galleries Terry Atkinson Gillian Ayres A survey of Ikon’s programme from the 1980s, Bernard Bazile As Exciting As We Can Make It, is a highlight of our Ian Breakwell 50th anniversary year. A comprehensive exhibition, Vanley Burke 2 including work by 29 artists, it features painting, Eddie Chambers sculpture, installation, film and photography actually Shelagh Cluett The 1980s saw the rise of postmodernism, a fast-moving shown at the gallery during this pivotal decade. Agnes Denes zeitgeist that chimed in with broader cultural shifts in Britain, in particular the politics that evolved under the Max Eastley premiership of Margaret Thatcher. There was a return to figurative painting; a shameless “appropriationism” that Charles Garrad saw artists ‘pick and mix’ from art history, non-western art and popular culture; and an enthusiastic re-embrace of Ron Haselden Dada and challenge to notions of self contained works of art Susan Hiller through an increasing popularity of installation. Ikon had a reputation by the end of the 1980s as a key John Hilliard national venue for installation art. Dennis Oppenheim’s Albert Irvin extraordinary work Vibrating Forest (From the Fireworks Series) (1982), made from welded steel, a candy floss machine and Tamara Krikorian unfired fireworks, returns to Ikon for the exhibition, as does Charles Garrad’s Monsoon (1986) featuring a small building, Pieter Laurens Mol set out as a restaurant somewhere in South East Asia, subjected to theatrical effects of thunder and lightning in an Mali Morris evocative scenario.