Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Assistant Curator Job Description ……
Assistant Curator Job description ……. Background For over a century, the Whitechapel Gallery has premiered world-class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucien Freud, Sarah Lucas and Walid Raad. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the newly expanded Gallery is open all year round, so there is always something free to see. The Gallery is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. Exhibitions Department The Exhibitions Department realises the ambitious programme of temporary exhibitions and commissions, including the production of catalogues to accompany these events. In addition, the Department is closely involved with an MA in Curating Contemporary Art, taught jointly with London Metropolitan University. The Department consists of the Chief Curator, Curator and Head of MA Curatorial Studies, Curator, 3 x Assistant Curators, Assistant Curator – Special Projects, Archivist and Archive Curator, Head of Exhibition Design and Production, Gallery Manager and Installation Manager. Role The Assistant Curator works with a small and busy team on the realisation of projects with artists, lenders and arts institutions; delivering modern and contemporary exhibitions and commissions, including the organisation of transport and insurance; registrarial duties; and the production of catalogues. As a member of the exhibitions team, the Assistant Curator contributes ideas to the Gallery’s programme, is essential to the department's collegiate work environment and liaises with other internal departments and with the professional art world, in one of the most dynamic art environments in Europe. -
Fixing Historic Preservation: a Constructive Critique of “Significance”
Peer Reviewed Title: Fixing Historic Preservation: A Constructive Critique of "Significance" [Research and Debate] Journal Issue: Places, 16(1) Author: Mason, Randall Publication Date: 2004 Publication Info: Places Permalink: http://escholarship.org/uc/item/74q0j4j2 Acknowledgements: This article was originally produced in Places Journal. To subscribe, visit www.places-journal.org. For reprint information, contact [email protected]. Keywords: places, placemaking, architecture, environment, landscape, urban design, public realm, planning, design, research, debate, historic, preservation, contructive, critique, significance, Randall Mason Copyright Information: All rights reserved unless otherwise indicated. Contact the author or original publisher for any necessary permissions. eScholarship is not the copyright owner for deposited works. Learn more at http://www.escholarship.org/help_copyright.html#reuse eScholarship provides open access, scholarly publishing services to the University of California and delivers a dynamic research platform to scholars worldwide. Fixing Historic Preservation: A Constructive Critique of “Significance” Randall Mason The idea of “significance” is exceed- Second, once judgments are made projects that tell their particular sto- ingly important to the practice of about a site, its significance is regarded ries. The broadening of preservation historic preservation. In significance, as largely fixed. Such inertia needs to from its curatorial roots has been a preservationists pack all their theory, be overcome, and -
1. Introduction
This PDF is a simplified version of the original article published in Internet Archaeology. All links also go to the online version. Please cite this as: Nicholson, C., Fernandez, R. and Irwin, J. 2021 Digital Archaeological Data in the Wild West: the challenge of practising responsible digital data archiving and access in the United States, Internet Archaeology 58. https://doi.org/10.11141/ia.58.22 Digital Archaeological Data in the Wild West: the challenge of practising responsible digital data archiving and access in the United States Christopher Nicholson, Rachel Fernandez and Jessica Irwin Summary Archaeology in the United States is conducted by a number of different sorts of entities under a variety of legal mandates that lack uniform standards for data archiving. The difficulty of accessing data from projects in which one was not directly involved indicates an apparent reluctance to archive raw data and supplemental information with digital repositories to be reused in the future. There is hope that additional legislation, guidelines from professional organisations, and educational efforts will change these practices. 1. Introduction Though we are well into the 21st century, responsible digital archiving of archaeological data in the United States is not common practice. Digital archiving of cultural resource management reports in State Historic Preservation Offices, where they are often available by request though perhaps at a cost, is common; however, digitally archiving the datasets and other supporting materials that went into the creation of those documents is not. Though a vocal minority advocates for responsible digital archiving practices (Kansa and Kansa 2013; 2018; Kansa et al. -
Deaccessioning Done Right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore
technical bulletin Deaccessioning done right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore Oklahoma Museums eaccessioning is the process used to ered; private sales can be problematic due to Association Dremove permanently an object from a transparency and accountability issues. The Technical Bulletin #47 museum’s collection or to document the rea- use of all proceeds should comply with the Published January sons for an involuntary removal of an object professional ethics and the law. from such a collection. The deaccession- 2009 ing process is used only when accessioned Procedures should be developed along with objects are at issue. Deaccessioning should policies. Deaccession check lists should not be viewed as a routine way to manage follow policy parameters. The registrar/col- indiscriminate collecting. The first rule is lection manager/curator should oversee the Back issues of techni- careful, focused collecting. process and maintain permanent records of cal bulletins published all deaccessions. by the Oklahoma There are a number of reasons why a mu- seum may be prompted to consider deacces- Problems may arise with the deaccession of Museums Associa- sioning. The condition of the object may be an object. The title to the object may be in- tion are available free so bad that it threatens other objects in the complete. Restrictions may have been placed to members. For a collection. A collection may contain unneces- on deaccessioning the object when donated. complete list of tech- sary duplicates. These dupes take resources Other issues that may appear include pri- nical bulletin topics, that could be used for new objects. -
DIGITAL DOCUMENTATION for HISTORIC RESOURCES By
DIGITAL DOCUMENTATION FOR HISTORIC RESOURCES by MELISSA EVE GOGO Under the Direction of Mark Reinberger ABSTRACT This paper briefly analyzes the current documentation standards for Federal programs and creates an argument for the use of digital technologies in historic documentation. The technologies of photogrammetry, and laser scanning are addressed as methods for three dimensional modeling and compared to the current standard. Additionally, the issues posed by archiving on digital media are presented and courses of action suggested. Finally, the feasibility of a universal file format for archival purposes is addressed, and current progression toward this goal discussed. INDEX WORDS: Historic resource documentation, Photogrammetry, Laser scanning, Digital photography, HABS documentation guidelines, Digital storage media, Universal file format DIGITAL DOCUMENTATION FOR HISTORIC RESOURCES by MELISSA EVE GOGO B.S., State University of New York at New Paltz, 2005 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF HISTORIC PRESERVATION ATHENS, GEORGIA 2011 © 2011 Melissa Eve Gogo All Rights Reserved DIGITAL DOCUMENTATION FOR HISTORIC RESOURCES by MELISSA EVE GOGO Major Professor: Mark Reinberger Committee: Wayde Brown Ashley Calabria Christine Perkins Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2011 iv ACKNOWLEDGEMENTS I would like to acknowledge my major professor, Mark Reinberger, for agreeing -
Historic Preservation
Historic Preservation Request We urge Congress to: • support FY 2021 funding of $61 million for State Historic Preservation Offices (SHPOs) and $22 million for Tribal Historic Preservation Offices (THPOs). • provide $18 million for Save America's Treasures. • provide $28 million for competitive grants to preserve the sites and stories of the Civil Rights Movement. • support $10 million for Paul Bruhn Historic Revitalization grants for the rehabilitation of historic properties and economic development of rural communities. • continue to support the Historic Tax Credit by cosponsoring the Historic Tax Credit Growth and Opportunity Act (H.R. 2825/S. 2615). • support the legislative proposals recommended by the U.S. Semiquincentennial Commission in its report to the President on the country’s 250th commemoration. Introduction State Historic Preservation Offices (SHPOs) and Tribal Historic Preservation Offices (THPOs) carry out the work of the federal government in the states and tribal communities: finding America’s historic places, making nominations to the National Register of Historic Places, reviewing impacts of federal projects, providing assistance to developers seeking a rehabilitation tax credit, creating alliances with local government preservation commissions and conducting preservation education and planning. This federal-state-local foundation of America’s historic preservation program was established by the National Historic Preservation Act. Established in 1998, Save America's Treasures is a public-private partnership that includes the National Park Service, the Institute of Museum and Library Services, and other federal cultural agencies. The grant program helps preserve nationally significant historic properties and collections that convey our nation's rich heritage to future generations of Americans. Since 1999, there have been almost 4,000 requests for funding totaling $1.54 billion. -
Cultural Resource Management U.S. National Park Service Presented To
Cultural Resource Management U.S. National Park Service Presented to The Institute for Parks, People and Biodiversity University of California September 6, 2019 Stephanie Toothman, Ph.D. Kalaupapa National Historical Park Cultural Resource Management The National Park Service will protect, preserve, and foster appreciation of the cultural resources in its custody and demonstrate its respect for the peoples traditionally associated with Big Hole National Battlefield those resources through appropriate programs of research, planning, and stewardship. National Park Service Management Policies 2006, Cultural Resource Management, Chapter Five. Cultural Resources: Tangible and intangible aspects of cultural systems, both living and dead, that are valued by or representative of a given culture or that contain information about a culture. Effigy Mounds National Monument Independence National Historical Park Culture/Nature: Natural resources such as fish, clean water, and plant materials may be considered as cultural resources if they support a way of life. Salmon returning to the Elwha River, Olympic National Park Musselshell Meadows, Nez Perce National Historical Park NPS Cultural Resources Classifications • Archeological Resources • Cultural Landscapes • Ethnographic Resources • Historic and Prehistoric Structures • Museum Collections Fort Monroe National Monument Archeological Resources are the sites and material remains of past human life or activities which are of archeological interest such as tools, pottery, rock carvings, and human remains. Knife River Indian Villages National Historic Site Jamestown, Colonial National Historical Park Biscayne National Park Petrified Forest National Park Cultural Landscapes represent the combined works of nature and man. They are geographic areas, including both cultural and natural resources associated with a historic event, activity, or person or exhibiting other cultural or aesthetic values. -
CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee
CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee Standing Committee on Ethics ABSTRACT Curator Core Competencies is a comprehensive statement of the domains in which curators work, the duties they perform, and the applied skills that they must all possess to be successful in today’s profession. It defines who we are, what we do, and why curators are important. 1 A Curator’s Core Competencies Introduction The role of the museum curator is rewarding, broad and challenging. This compilation of curatorial core competencies created by CurCom’s Standing Committee on Ethics addresses the skills required of curators to be successful in their profession. During the creation of this document, several sources provided valuable information regarding the skills identified by respective institutions as integral to the role of curators. The AAM, CurCom’s Code of Ethics, US Federal Government’s position classifications, US National Park Service classifications, College Art Association’s standards and guidelines, International Committee for the Training of Personnel and International Council of Museums served as references, helping to create the foundation for this document. Most important were the informal conversations with curatorial colleagues and conference sessions since the 2012 AAM annual meeting, which provided valuable insights into the demands on museum curators today, and revealed the growing need to formally study curatorial education, experience, and training, as well as to express the competencies required to practice the craft. The 2014 survey conducted by CurCom validated much of the input taken from these discussions and revealed other interesting considerations. For all the things this document is, there are several things that it is not. -
Curator of Archaeology and Assistant Professor in Anthropology
Curator of Archaeology and Assistant Professor in Anthropology The University of Colorado Museum of Natural History and the Department of Anthropology invite applications for a tenure-track, joint position as Curator of Archaeology and Assistant Professor. Applicants should have PhD with specialization in Archaeology, and museum experience. Strong preference for candidates with experience in Southwestern material culture research and publication, NAGPRA, collaborative research, and teaching, with strengths in contemporary archaeological and museological theory. The successful candidate will teach no more than one course per semester and be a part of the museum’s Anthropology Section, working closely with the Collections Manager and the Curator of Cultural Anthropology. Duties include establishing and executing a vital research program with extramural funding; curating archaeology collections (including a large collection of Southwest pottery); implementing NAGPRA; teaching in both units including graduate and undergraduate courses; and, advising MA and PhD students in Anthropology (http://www.colorado.edu/Anthropology) and Museum & Field Studies (http://cumuseum.colorado.edu). We offer a collaborative, intellectually stimulating, and supportive environment in which a new professor can thrive. Contact: [email protected]. The anthropology collections at the University of Colorado Museum of Natural History include more than 1.5 million archaeological and ethnographic objects, and nearly 50,000 photographic images relevant to these collections. The geographic foci of the collections are the North American Southwest and Rocky Mountain-Plains. The anthropology collections are primarily archaeological materials resulting from the systematic work of Earl H. Morris and Joe Ben Wheat. Morris built the museum's anthropological collections from 1913–1956. Wheat served as Curator of Anthropology and Curator Emeritus from 1952–1997, and directed the Yellow Jacket field school from 1954–1991. -
Cultural Resources Update
Cultural Resources Update Department of Defense Cultural Resources Program Newsletter Volume 11, No 1, Spring/Summer 2015 The NHPA’s New Home in the US Code—Title 54 By Michelle Volkema with contributions from John Renaud, NPS As you’ve probably already heard, the National Historic Preservation Act (NHPA) has a new home in the United States Code. The NHPA’s previous home was in Title 16 – Conservation, 16 U.S.C. § 470 et seq. Its new location is Title 54 – National Park Service and Related Programs, 54 U.S.C. § 300101 et seq. While the name “National Historic Preservation Act” has been removed from Title 54, the NHPA remains a valid statute of law, P.L. 89-665. As such, referring to sections of the NHPA as “Section 106” or “Section 110” is still correct, as those are sections of the statute and not the code, however their legal citations have changed. While the code revision was a surprise to many, it is actually just another step in a long effort to clean up the U.S. Code undertaken by the Office of the Law Revision Counsel (OLRC) beginning in 1974. The OLRC is an office within the US House of Representatives, and is tasked with maintaining, revising, and updating the U.S. Code. More about the OLRC here: http:// uscode.house.gov/about_office.xhtml;jsessionid=DC0095D711738160D197FBB4B0466803 Signed in 1974, Public Law 93-554 (2 U.S.C. 285b(1)) directed the OLRC to begin cleaning up the U.S. Code, including revision and reorganization. So, in December 2014, when President Obama signed P.L. -
Collect Like a Curator with Liberty Hall Museum
Collect like a Curator with Liberty Hall Museum What is a collection? A collection is group of objects usually brought together for their similar subject matter or purpose. That’s a fancy definition—but what does that mean? Let’s explore collections together! Where do collections come from? o Collections come from individuals who have a passion for certain objects, such as art, historic items, a sport’s team, etc. These individuals then go out and find examples of these objects and decide to group and store them together, making a collection. Many times these collections end up in a museum like Liberty Hall! What do museums do with collections? o Museums take on the responsibility for caring and preserving their collections, so visitors like you can enjoy them. The person primarily responsible for caring for a museum collection is a curator. What is a curator? o Museum curators are in charge of a collection of exhibits in a museum. Their job is to build up collections and develop ways in which objects, archives and artworks can be interpreted, through exhibitions, publications, events and audio-visual presentations. How do curators keep track of all the objects in a museum collection? o Curators keep track of a collection by making sure every object has a written record of information about that object. All of that information is then stored in a catalog or a database. o Curators will also assign each object a different number to help organize the objects. This number is called an accession number. Does Liberty Hall have any collections? o Yes indeed! In fact, Liberty Hall is a museum that is made up of collections. -
SAA Guidelines for Preparing Legacy Archaeology Collections
GUIDELINES FOR PREPARING LEGACY ARCHAEOLOGICAL COLLECTIONS FOR CURATION Michelle K. Knoll and Bruce B. Huckell ACKNOWLEDGMENTS We are grateful to a number of colleagues for their advice and assistance in compiling and reviewing previous drafts of this document. Our first thanks go to volunteers nearing retirement who completed a preliminary survey about what kinds of collections, samples, and materials they had in their possession that needed to be curated. They helped us assess what topics might best be covered in this guide. Once we started the process of compiling sections and full drafts, we had the good fortune to receive editorial comments, suggestions, and thoughtful reactions from our colleagues on the SAA Committee on Museums, Collections, and Curation. In particular, we are most grateful to committee chair Danielle Benden, Terry Childs, Jenna Domeischel, Susan Gilliland, and Marybeth Tomka. Bill Lipe, Professor Emeritus, Washington State University, long concerned with the proper curation of legacy collections, provided us with much food for thought on both an initial and a revised draft of this guide. We thank Richard Talbot, Brigham Young University, and Janaki Krishna, Natural History Museum of Utah, who also reviewed drafts, and Andrea Knoll for assistance with designing the cover. Our thanks as well to our colleagues at the University of Utah and the University of New Mexico for important conversations about aspects of curation that came up as we worked on the guide. Finally, we are grateful to the SAA Board of Directors for their invitation to prepare the guide and for their review and final approval of it.