Amy,
I suspect you might have better luck going with jobs listings in such
newsletters as AVISO and the Regional Museum Associations newsletters,
AASLH, etc.
I have received any numbers of applications at various museum's I have
worked for, and have always tried to respond. But the reality is, that
museum's can rarely create a job, no matter how good the candidate is.
Kathrine Walker, Beach Museum of Art
On Tue, 6 Feb 1996, Automatic digest processor wrote:
> There are 59 messages totalling 1596 lines in this issue.
>
> Topics of the day:
>
> 1. Museum Web Stats...
> 2. How Many Museums?
> 3. (no subject)
> 4. Manekins as Exhibit/Educational Tools-Experiences and Opinions (4)
> 5. Searching For Expert Opinion
> 6. MoMA to Expand
> 7. Collection Management Software (3)
> 8. NAEA Conference
> 9. PDB/Napthalene
> 10. Paradichlorobenzene
> 11. Call for Papers-Textile Symposium 97
> 12. free int'l faxes from your email
> 13. Collection Software
> 14. Collections Management Software (5)
> 15. Re[2]: Digital photography (2)
> 16. query: international opportunities
> 17. NEW LISTSERV ON MATERIALS TESTING
> 18. Museum Mergers
> 19. industrial design
> 20. Disaster Recovery
> 21. Photography pricing
> 22. New York City Museum School at The Brooklyn Museum
> 23. (Mus Stdies) outside experience (3)
> 24. Marking Firearms
> 25. Marking Firearms -Reply (2)
> 26. Women Museum Professionals: Salary
> 27. Postings? (4)
> 28. mentoring programs in regional associations... (3)
> 29. lighting seminar
> 30. Request for job search tips
> 31. New Book on Arms and Armor
> 32. Course: Multimedia in Programs and Exhibitions
> 33. Anyone from the Getty out there?
> 34. research museums-was(MSTD) outside experience
> 35. Still Looking For Expert Opinion!
> 36. Thank you all!
> 37. help!
> 38. Chicago Area Conservation Group Meeting
> 39. The web, images, copyright and loan agreements
> 40. Getty Conservation Institute Earthquake study
> 41. MUS: Allusions to Chaucer wanted
>
> ----------------------------------------------------------------------
>
> Date: Mon, 5 Feb 1996 03:27:56 GMT
> From: Arthur Anderson <[log in to unmask]>
> Subject: Museum Web Stats...
>
> Hi All,
>
> As an avid collector of museum URLs, I have noticed that the number of
> museum web sites has apparently doubled over the last two months. This is
> not entirely surprizing since Internet involvement in general tends to
> double each year. Yet, my observations are very relative and I would like
> some independant perspectives on the growth of museum presence on the
> World Wide Web (WWW). If anyone has any other measurments regarding this
> topic, I would very much enjoy e-mail or post on the subject.
>
> Best Wishes,
> Arthur
> [log in to unmask]
> The Lost Museum of Sciences
> http://www.netaxs.com/people/aca3/ATRIUM.HTM
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 09:21:33 +0100
> From: Peter van Mensch <[log in to unmask]>
> Subject: Re: How Many Museums?
>
> >Does anyone happen to know how many *science* museums (museums of
> >physical science, natural history, technology, and the like) there
> >currently are in the world?
> >
> >Also, would someone happen to know how many of these museums have web
> >sites? (that figure probably changes monthly)
> >
> > Thanx in advance,
> > Arthur
> > [log in to unmask]
> >
> You are asking for the impossible. Since the definition of 'science museum'
> is not standardized the usual national statistics cannot be used. In my own
> country (the Netherlands) we do not even have a term comparable to 'science
> museum'. We have natural history museums, technical museums, transport
> museums and maritime museums + science centres. Many of the technical,
> transport and maritime museums consider themselves cultural history museums
> rather than science museums.
>
> Peter van Mensch
> lecturer of theoretical museology and museum ethics
> Reinwardt Academie
> Dapperstraat 315
> 1093 BS Amsterdam
>
> e-mail [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 07:41:23 +0000
> From: HNEEDHAM <[log in to unmask]>
> Subject: Re: (no subject)
>
> Gary;
>
> There is an excellent parallel example in New Zealand, where the Manawatu
> Museum (with a mandate that includes (inter alia) science merged with a Scienc
e
> Centre. Contact Pam Lovis, Curator, at Te Whare Pupuri Taonga o Manawatu, +64
6
> 355-5000 (voice),
> +64 6 358-3552 (fax) or lovis(at)snowhite.pncc.govt.nz (email).
>
> Harry Needham
> Canadian War Museum
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 08:07:30 +0000
> From: HNEEDHAM <[log in to unmask]>
> Subject: Re: Manekins as Exhibit/Educational Tools-Experiences and Opinions
>
> The museum of archaeology on the Montreal waterfront uses a holographic talkin
g
> head to answer simple questions. It is possible to carry out a simple
> conversation with it!
>
> Harry Needham
> Canadian War Museum
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 08:37:02 -0500
> From: Sheila Bowness - SHTM/W94 <[log in to unmask]>
> Subject: Re: Searching For Expert Opinion
>
> > Hi! I'm currently a student at Ryerson university and looking for
> > information regarding museum entrance fees. In particular, I'm
> > researching how museum entrance fees affect visitor price perception. If
> > anyone out there has any opinions or documented information regarding
> > this issue, I would appreciate some help. I can be E-Mailed at:
> > [log in to unmask]
> >
> > Thanks Alot!
> >
> > Alya
> >
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 09:18:36 +0000
> From: Murph the Surf <[log in to unmask]>
> Subject: MoMA to Expand
>
> NEW YORK -- The Museum of Modern Art, increasingly
> cramped for space, has bought the neighboring Dorset
> Hotel and two adjacent brownstones in a $50 million
> transaction that will nearly double the museum's size.
>
> New York Times (http://www.nytimes.com) 2/5/96
>
>
>
> --
> ROBBIN MURPHY, creative director, artnetweb
> [log in to unmask] -- http://artnetweb.com
> 426 Broome Street, NYC 10013 212 925-1885
> NEW THIS WEEK: http//artnetweb.com/resource/new.html
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 09:28:52 -0400
> From: Janis Wilkens <[log in to unmask]>
> Subject: Re: Collection Management Software
>
> I read somewhere recently that Bell Labs decided it was easier to teach
> writers about computers than it was to teach computer programmers how to
> write . . .
> Janis Wilkens
> Curator of Collections/Interim Assoc. Director
> Museum of York County
> 4621 Mount Galllant Road
> Rock Hill, SC 29732-9905
> 803-329-2121 ext 119
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 09:08:36 -0600
> From: Kathrine L Walker <[log in to unmask]>
> Subject: NAEA Conference
>
> National Art Education Association
> Conference Registration Desk
> 1916 Association Drive
> Reston, VA 22091-1590
>
> Registration form is in January issue of Art Education
> The only phone number I could find is (703)860-8000 which is publications.
> Kathrine Walker, Beach Museum of Art
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 09:36:36 -0600
> From: [log in to unmask]
> Subject: Collection Management Software
>
> Julian Humphries wrote:
> "You don't build the microscopes you use to examine artifacts nor do
> you tell your doctor how to remove your gall bladder."
>
> It seems to me that there has been a lot of awareness recently, what
> with lots of the wrong gall bladders being removed, that maybe
> division of labor has gone a little too far. Division of labor in
> our society has led to the erection of barriers between people in
> the form of professional jargons etc., which are designed to protect
> jobs and privileges but which actually do us who can't always afford
> hordes of professionals not a lot of good. I argue what I argue
> about symbol processing because I am a humanities specialist who
> found it very easy to cross the line once I learned the language--as
> did Robert Baron and several others on this list, as did those who
> have written most of the specific commercial museum applications now
> available. I think it is important for people to understand how
> their tools work, whether they want to make them or directly use
> them or not, so that they can decide whether they want to buy into
> the assumptions that their tools inevitably embody, that's all. If
> people want to ignore that and trust their data to someone else's
> vision and business acumen that's fine: we all must trust to a huge
> degree in the society we live in, and tend to do so without thinking
> about it where the trust doesn't hit too close to home. But
> sometimes when we trust in that way, we end up with unusable
> data--or minus a perfectly healthy gall bladder.
>
> Pat Galloway
> MS Dept. of Archives and History
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 09:25:02 CST
> From: Klein <[log in to unmask]>
> Subject: PDB/Napthalene
>
> In addition to the words of wisdom posted by Gutenkauf about
> the health risks of these two materials, you should know that
> they are _different_ materials with different results. Paradi-
> chlorobenzine (PDB) is a repellent - it keeps insects away, but
> it does not kill them. Napthalene is a fumigant and kills
> insects. You need to read the label on mothballs, cakes, flakes
> and crystals to see which chemical is in them. It takes a ton
> of napthalene (a pound per cubic foot) to be effective _and_
> it is heavier than air, so infestations at the top of an object
> may not be affected by napthalene placed near the bottom of the
> object.
> As indicated in an earlier post (thanks again Diane) neither
> one of these chemicals has any effect on mildew, which is caused
> by too high a relative humidity.
>
> Janice Klein, The Field Museum
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 09:40:07 -0600
> From: Rachel Ward <[log in to unmask]>
> Subject: Re: Paradichlorobenzene
>
> According to James Harmon's Integrated Pest Management manual, PDB is no
> longer available for sale in
> the U.S., and Naphthalene is, at least now, the primary ingredient in
> mothballs, but it
> also carries health hazards. Non-chemical pest treatments might be worth
> investigating. Also, at the 1995 AIC conference, during Wendy Jessup's
> and Monona Rossol's presentation on pest management (which Ms. Rossol was
> not present for), an analysis of pelts in one collection revealed, along
> with other chemicals, residual PDB. I THINK, that the most danger for
> this is in fatty tissues. So your staff might also want to use caution
> in handling some of the materials that have been treated with PDB. If
> you want specific citations, e-mail me directly.
>
> Rachel Ward
> Paper Conservation Technician
> Missouri Secretary of State's Office
> [log in to unmask]
> All opinions are solely my own and not my employer's.
>
> On Sat, 3 Feb 1996, Anita Cohen-Williams wrote:
>
> > Wait a minute! Isn't the common name for paradichlorobenzene, "mothballs"? A
nd
> > haven't people all over the U.S. been using these mothballs for over a hundr
ed
> > years? I have yet to see any scientific reports that link cancer to mothball
s
> > in closets. (Not to say there haven't been any, I just haven't seen any.) Le
t
> > me check MEDLINE and get back to you.
> >
> > Anita Cohen-Williams; Reference Services; Hayden Library
> > Arizona State University, Tempe, AZ 85287-1006
> > PHONE: (602) 965-4579 FAX: (602) 965-9169
> > [log in to unmask] Owner: HISTARCH, SPANBORD, SUB-ARCH
> >
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 10:10:42 EST
> From: Janet Wagner <[log in to unmask]>
> Subject: Call for Papers-Textile Symposium 97
>
> Call for Papers TEXTILE SYMPOSIUM '97
> Fabric of an Exhibition: An Interdisciplinary Approac
h
>
> You are invited to submit an abstract for the first North American Textil
e
> Conservation Conference which will be held in Ottawa, Canada September 22
> to 25, 1997. This symposium will be hosted by the Canadian Conservation
> Institute, Department of Canadian Heritage. Subsequent symposia, with
> varying themes, will be hosted by major institutions in North America on
a
> biennial basis. Curators, designers, conservators and other museum
> professionals will address issues related to the successful exhibition of
> textiles. Topics to be covered could include:
>
> - travelling exhibitions
> - safe or unsafe exhibition materials and methods
> - lighting
> - balancing preservation and accessibility of collections
> - display and mounting solutions
> - exhibit considerations for both large and small institutions
> - limitations of conservation treatment for exhibitions
>
> Papers, which should be of 30 minutes duration, INCLUDING time for
> introduction and questions, will be published as preprints. The official
> languages of the symposium will be English and French.
>
> Call for Posters
> In addition to formal presentations, submissions for poster sessions are
> also welcome. A cash prize of $300 (CDN) is graciously being offered by t
he
> Textile Conservation Newsletter for the best poster submitted by a studen
t
> enrolled in a museum/conservation programme. The student posters will be
> juried and the award made, provided the poster is of sufficient merit.
>
> Call for Demonstrations and Videos
> Submission for demonstrations and videos are also encouraged. The length
of
> time for demonstrations is flexible, but should be no longer than one hou
r.
>
> Edited abstracts of posters, demonstrations and videos will also be
> published in the preprints.
>
> Abstracts (300-400 words) for formal presentations, poster sessions,
> demonstrations and videos should be submitted by 1 August, 1996. Edited
> abstracts will be published in both languages. All submissions will be
> reviewed by the Steering Committee who will make the selection of papers,
> posters, demonstrations and videos.
>
> Authors will be notified of acceptance by early October, 1996 and will be
> sent a guideline for text, poster, demonstration or video. Final texts of
> papers for the preprints will be required by 30 January, 1997.
>
> All submissions should consist of the speaker's name, address, Internet o
r
> e-mail address, telephone and fax numbers, a short one paragraph biograph
y,
> the title of the submission and a 300-400 word abstract.
>
> Please send your submission to:
>
> Symposium '97
> Canadian Conservation Institute
> Department of Canadian Heritage
> 1030 Innes Road
> Ottawa, Canada K1A 0M5
> Tel: (613) 998-3721
> Fax: (613) 998-4721
> E-Mail: [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 10:52:50 -0600
> From: "Paul H. Kronfield" <[log in to unmask]>
> Subject: free int'l faxes from your email
>
> I have discovered a utility for sending international and domestic long
> distance faxes FOR FREE via your email.
>
> For details, look at my links in homepage: http://www.ghgcorp.com/geoprobe
>
> --
> Paul Kronfield
> Houston, Texas, USA
> [log in to unmask]
> http://www.ghgcorp.com/geoprobe/
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 12:16:29 EST
> From: Diane Gutenkauf <[log in to unmask]>
> Subject: Re: Collection Software
>
> On 2/5, Pat Galloway wrote:
>
> ...snip...
> >I argue what I argue about symbol processing because I am a humanities
> specialist who
> >found it very easy to cross the line once I learned the language-...snip...
> >I think it is important for people to understand how their tools work, whethe
r
> they want to make them or >directly use them or not, ...snip...
>
> Lingo and language are different. Lingo includes "My new Micron is a screamer
> 133P5 w/ a 1 gig HD and that new Soundblaster." Curator lingo includes "
> Postcard, Documentary Artifact, Communication Artifact."
>
> Language is what you program in, C++ for example. I think most computer litera
te
> curators learn the lingo. Remember, getting a grasp of the difference between
an
> operating system and an application is only the first baby step toward
> programming. No doubt many of us are capable of learning to program. Why would
> we want to? I've got better things to do with my time. Like manage collections
> and design exhibits.
>
> Of course it is important to understand the basics of how tools work. That
> doesn't mean you have to be the tool designer or repair man.
>
> Gutenkauf
> [log in to unmask]
> ******************************
> As always, my opinions are my own and do not reflect those of any institution
> with which I am affiliated.
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 12:16:31 EST
> From: Diane Gutenkauf <[log in to unmask]>
> Subject: Re: Collections Management Software
>
> On 2/3, Julian Humphries wrote
>
> ...snip
> >Don't you think that the software engineers, information scientists and
> >programmers that create the system that manages your money at the bank, or
> >processes tickets for airlines or create knowledge systems for medical
> >diagnoses started each of those processes with no particular experience or
> >training in their customers discipline?
> ...snip...
> >Part of the problem is the many people, particularly within museums for some
> >strange reason, think that these kinds of jobs are just rote tasks that can b
e
> >learned and accomplished easily. I presume this is simple ignorance of the
> >skills and training required to do a good job. But the singularity with whic
h
> >software creation gets singled out for such condescension is perplexing.
> ...snip...
>
> Right On Julian,
>
> Another part of the problem is the failure to recognize the difference between
> customizing an off-the-shelf data base package so the screens look pretty and
> actually designing a data base. Designing involves hundreds of hours of writin
g
> code. Writing code is how one tells the computer what to do. Anyone can buy
> FoxPro or an Xbase package and customize some screens. It will allow one to do
> simple information collecting and sorting but it won't be as efficient as
> purchasing a package designed to manage museum collections. It won't allow
> hierarchical security access to sensitive information, for example.
>
> The big guys (Willoughby, Vernon Systems, Questor, etc) have done a heck of a
> lot more with their underlying packages than design pretty screens. That's why
> the packages cost big $$, on par with what businesses pay for sophisticated
> accounting packages. Assuming that a moderately DOS-literate curator can desig
n
> a database cheaper and more efficently than a trained programmer is folly. Let
's
> say a database costs US$5000. At standard programmer rates of $100/hr. That
> works out to 50 hours of programmer time. No Way can a sophisticated program b
e
> written in 50 hours.
>
> Gutenkauf
> [log in to unmask]
> **********************************
> As always, my opinions are my own and do not reflect those of any institution
> with which I am affiliated.
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 13:39:55 GMT
> From: "E. L. Wimett" <[log in to unmask]>
> Subject: Re: Re[2]: Digital photography
>
> In article <[log in to unmask]>,
> Sara Witter Connor <[log in to unmask]> wrote:
>
> >There is a digital camera avilable for IBM users called "Snappy." I is
> >$89 and give very good images.
>
> If this is the "Snappy" that has been highly advertised in the trades, I am
> afraid it is not a digital camera, although it can be used for getting
> digitized images.
>
> It is a frame capture device (similar to the traditional frame capture boards
> though it is external and uses the parallel port). It can be placed between a
> video camera, VCR, etc. and the computer to capture a single frame from a
> videotape for use in computerized applications (e.g., presentation graphics).
>
> It is very useful and created a new price break (although the cheapest I have
> seen it is c. $179) but is NOT a camera. The cheapest digital camera with
> half-way decent image I have seen is the Kodak which has recently had its
> price dropped significantly to c. $699.
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 13:04:41 -0500
> From: Jennifer Jeffress <[log in to unmask]>
> Subject: query: international opportunities
>
> I am a new subscriber, and I am interested in learning how to find
> entry-level museum jobs outside the U.S. I am primarily looking for jobs in
> English-speaking countries, as I only speak some French.
>
> Please respond to the e-mail address below:
>
> [log in to unmask]
>
> Thanks in advance for your help.
>
> Jennifer Jeffress
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 13:08:19 -0500
> From: James S MArtin <[log in to unmask]>
> Subject: NEW LISTSERV ON MATERIALS TESTING
>
> NEW LISTSERV ANNOUNCED -- MATERIALS-L
>
> A new listserv called MATERIALS-L has been established at
> [log in to unmask] The purpose of MATERIALS-L is to (1)
> facilitate discussion about the use, reliability and application of current
> methods for testing the suitability of materials for use in storage,
> exhibition and conservation of archival, artistic and historic works, and
> (2) to facilitate cooperative research into more reliable, quantitative and
> systematic approaches to materials testing.
>
> MATERIALS-L will be of interest to persons who are responsible for the
> care and preservation of archival, artistic and historic works, and is
> directly accessible to persons who are actively involved in materials
> testing (e.g., conservation scientists, conservators, collection managers,
> etc.). For the broader conservation/museum community, discussion on
> MATERIALS-L will be periodically edited and bundled for distribution via
> the CONSERVATION DISTLIST, and will be archived at CONSERVATION ON-LINE
> (CoOL, http://palimpsest.stanford.edu). To subscribe to the CONSERVATION
> DISTLIST, send the message "subscribe consdist" to consdist-
> [log in to unmask]
>
> Persons who are actively involved in materials testing and would like to
> subscribe to MATERIALS-L may do so by providing the information
> included in the following example (e-mail to
> [log in to unmask]):
>
> NAME: James Martin
> E-MAIL ADDRESS: [log in to unmask]
> TITLE (OR JOB): Director of Analytical Services and
> Research/Associate Conservator of Paintings
> POSTAL ADDRESS: Williamstown Art Conservation Center, 225
> South Street, Williamstown, MA, USA
> PHONE: 413-458-5741
> FAX: 413-458-2314
> TESTING METHODS: Oddy, Hopwood, Beilstein, sodium-azide,
> extraction, PLM, FM, FT-IR, SEM-EDS
> RESEARCH AREAS: Artists' materials and techniques, Materials
> characterization, Applications of analysis to
> practical conservation
> REASON FOR
> SUBSCRIBING TO
> MATERIALS-L: Concerns over the reliability and application of
> current methods of materials testing; Desire to
> facilitate discussion of these issues and a
> develop more reliable and quantitative methods for
> materials testing.
>
>
> MATERIALS-L is co-owned by Williams College and James Martin.
> Questions and comments about MATERIALS-L should be addressed to
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 09:55:55 -0800
> From: Richard Chute <[log in to unmask]>
> Subject: Museum Mergers
>
> To Gary and others in this position--
>
> You might want to check out an article on mergers of charitable
> organizations in the January 25 (I think that date's correct) edition of
> The Chronicle of Philanthropy. The article is pretty good, and it has a
> short bibliography at the end. Also, you might want to check out the
> program for this year's AAM meetings. Kit Matthew--previously Exec.
> Director of the New Mexico Museum of Nat'l History--has organized a panel
> (of which I am member) that will talk about the "Advisability of Alliances"
> which will discuss the topic of mergers and other affiliation arrangements
> between non-profits. Should be an interesting session as an increasing
> number of non-profits look to consolidating with other organizations to
> save $ and acheive their missions more effectively.
>
> >Can anyone pass along examples---successful or unsuccessful---of mergers
> >between museums?I am
> >director of a history museum, $800,000 budget, being asked to consider mergin
g
> >with a historical
> >society of approximately similar size. I would like to be able to talk to
> >others who have been
> >through a similar experience. Are there already successful models out there?
> >Thanks for your
> >help!
> >
> >Gary N. Smith
> >Executive Director
> >Dallas County Heritage Society
> >Dallas, Texas
>
> Richard Chute ([log in to unmask]) Dir. of Corp. & Fndtn. Rel.
>
> Rancho Santa Ana Botanic Garden 1500 North College Ave.
> Claremont, CA 91711
> Phone: (909) 625-8767, ext. 222 FAX: (909) 626-7670
>
> ------------------------------
>
> Date: Thu, 1 Feb 1996 00:28:22 GMT
> From: Jesper Christensen <[log in to unmask]>
> Subject: industrial design
>
> I am looking for a thesaurus on industrial design - does anybody know
> where to search? (I have checked the AAT from Getty, but it doesn't look
> like they have anything to offer)
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 14:22:40 EST
> From: Carol Dellios <[log in to unmask]>
> Subject: Re: Disaster Recovery
>
> The message below is posted on behalf of the Southeastern Library
> Network (SOLINET).
>
> Help your institution learn how to prepare for and deal with
> emergency situations. Sign up now for SOLINET's "DISASTER
> PREPAREDNESS AND RECOVERY" workshop on Thursday, March 14, 1996,
> at the University of North Carolina at Charlotte.
>
> This workshop will provide the training necessary to plan,
> organize and execute a disaster plan and salvage operation. In
> addition to in-depth discussion on the disaster planning process,
> there will be demonstrations of salvage techniques including
> air-drying books, separating and drying manuscripts, rinsing
> books, and drying photographic materials. The course is designed
> for staff members interested in or responsible for organizing and
> implementing institutional or cooperative disaster preparedness
> and response procedures.
>
> The workshop will run from 9 AM to 4 PM, and will be conducted by
> Christine Wiseman, SOLINET Preservation Field Service Officer.
> Cost for the workshop is $85 for SOLINET members, and $125 for
> non-SOLINET members and FEDLINK. Those who register three weeks
> prior to the class date receive a $10 discount. Any institution
> within North Carolina qualifies for the member rate.
>
> Contact Steve Eberhardt at 1-800-999-8558 ext. 285 for further
> information or to register.
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 10:37:42 -0900
> From: Diane Brenner <[log in to unmask]>
> Subject: Re: Photography pricing
>
> The photograph folks at the Isabella Stewart Gardner Museum did a survey
> of photo prices/services. It's hiding in my pile here, but it looked
> great when I had a chance to look at it. I'll be they'd send it out to
> anyone who asked.
> Diane Brenner, Anchorage Museum
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 13:26:37 -0500
> From: Collections Dude <[log in to unmask]>
> Subject: Re: Re[2]: Digital photography
>
> As for "Snappy" the digital image capture hardware device marketed by Play,
> Inc., I have just gone through a hellish experience that leaves me regretting
> that I paid for the product. Don't expect their claims to be true. Don't
> expect the manual to be useful, complete or acurate. And definently Don't
> expect the technical support crew to be of any use! I've seen what the produc
t
> can do, but I've also had the reality of trying to get the software to run and
> dealing with the crappy people that Snappy has working for them.
>
> Terry Vidal
> UNI Museum
> [log in to unmask]
> http://www.uni.edu/vidal
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 11:52:38 -0800
> From: Richard Rabinowitz <[log in to unmask]>
> Subject: Re: New York City Museum School at The Brooklyn Museum
>
> Some six weeks ago, I read a posting about the New York City Museum
> School. It's taken me a while to sort out my thoughts, but I hope it's not to
o
> late to share some reflections.
>
> When I first read the message, I thought back to my first job as a museum
> educator. A number of us sixties types had somehow been given
> responsibility for creating a museum education center at Old Sturbridge
> Village in Massachusetts. We went at it with a vengeance, vowing to
> rethink the way all education in New England was delivered, from primary
> school up through programs for senior citizens. As dessert, we would
> proceed to reconstruct the way history itself was "done," especially in
> museums, and who would do it. It was a wild and wacky enterprise, which
> did yield a splendid new building housing many studios where kids could
> try their hands at making cloth, doing farm work, blacksmithing, printing,
> conducting town meetings, cooking meals, even exploring the experience of
> being pre-teens and teenagers in an industrializing society. I hope some of
> you have had a chance to visit it.
>
> (A digression: We called our building "The Horace Mann Space Center at
> Old Sturbridge Village," in honor of "the father of American common
> school education," and in punning tribute to the Apollo project, but the
> museum's vice-president complained that Mann wasn't our list of major
> donors.)
>
> The touchstone of our work was even then an ancient text, John Dewey's
> SCHOOL AND SOCIETY, published in 1900 and still (to this day) the best
> book ever written on museum education. Of course, it wasn't about
> museums, but Dewey certainly loved what museums could do to build upon
> a child's curiosity by the exercise of every sort of (what we would call)
> learning style. Long before Howard Gardner got his first gig in the "Frame
> Shop," Dewey envisioned the group's learning as a cooperative exploration,
> a social process, and a lifelong effort to make connections among
> disciplines. I cite a short excerpt:
>
> "Take the textile room as an illustration of such a synthesis. I am talking
> about a future school, the one we hope, sometime, to have. The basal fact in
> that room is that it is a workshop, doing actual things in sewing, spinning,
> and weaving. The children come into immediate connection with the
> materials, with various fabrics of silk, cotton, linen, and wool. Information
> at once appears in connection with these materials; their origin, history,
> their adaptation to particular uses, and the machines of various kinds by
> which the raw materials are utilized. Discipline arises in dealing with the
> problems involved, both theoretical and practical. Whence does the culture
> arise? Partly from seeing all these things reflected through the medium of
> their scientific and historic conditions and associations, whereby the child
> learns how to appreciate them as technical achievements, as thoughts
> precipitated; and partly because of the introduction of the art idea [i.e., wh
at
> we would call "hands-on learning," and more] into the room itself. In the
> ideal school there would be something of this sort: first, a complete
> industrial museum, ...."
>
> (For those who don't want to cite the web as a source, here's the proper note
> form: THE CHILD AND THE CURRICULUM and THE SCHOOL AND
> SOCIETY (Chicago: University of Chicago Press, 1956), 89-90.)
>
> This is what we aimed to create in the Museum Education Center, a
> complete industrial museum that would enhance all of a visiting child's
> skills.
>
> Fortunately there were teachers abroad in the land who were excited about
> the idea, and one nearby seventh-grade teacher decided to build his whole
> curriculum around coming to the museum. Week after week, we devised
> lessons in social studies, but also in music, art, science (the 19th-century
> village is a wonderful laboratory in classical mechanics), architecture,
> drama, mathematics, government, and so on. The staff faced an
> exhilarating challenge in discovering how many different elements of 19th-
> century rural New England culture could be made relevant and exciting to
> 1970s 13-year-olds; we even found ourselves venturing far beyond what
> academic historians had ever questioned about the past.
>
> The key point we discovered is that a museum like Old Sturbridge Village is
> both a culture and the representation of a culture. In developing our
> programs, we needed to understand how a professional world like our own
> operates -- what is its own range of skills, its aesthetics and politics,
> traditions and innovations. And this exploration would allow us to read the
> 19th-century New England rural village as an equally complex, if much
> less accessible, culture.
>
> Most museums, of course, are efforts to represent many cultures and
> historical moments, even science museums that are actually composites of
> "sciences" of different disciplines, eras, and modes of investigation.
> It's critical to convey this to students, who need above all to recognize
> how the diverse media they confront are each shaping the world in
> different ways. History museums don't interpret the same history as
> scholarly monographs or college courses, not because they aim at a wider
> audience (though they do) but because their modes of representation
> permit attention to different phenomena of the human experience.
>
> For our visiting students at Sturbridge, the museum itself was not
> invisible. It
> was as intriguing and puzzling as the historical world it was supposedly
> interpreting. The students had to be given a chance to see us as workers, as
> people struggling with ordinary challenges as well as with the apparently
> exciting responsibility of preserving and interpreting a civilization that had
> disappeared.
>
> We learned in the course of the year to design parallel investigations, not
> only into the neo-classical architecture of New England but into the motives
> and methods of our own interest in studying it. As a result, we became
> much more sensitive to the politics and cultural context of our own work.
> The children taught us to see ourselves as historical figures, as strange to
> the passing whims of American society in the 1970s as those old folks
> dressed in dark capes who led horse-drawn wagons to market in Boston in 1830.
>
> Too often museums view themselves as mere technicians, as professional
> transmitters of other realities, rather than as artists, as actors, as prisms
> through which the past, or the exotic, or the mysterious, is illuminated in
> our own day.
>
> Of course, as the thread which followed this original message revealed,
> there are some in the museum world who want education to be anything
> other than "thoughts precipitated into action." But Dewey's vision is
> still compelling to many of us who believe that even aesthetic
> apprehension is (to use a wonderful 1970s word) empowering and
> efficacious in the "real world."
>
> Good luck.
>
> Richard Rabinowitz
> American History Workshop
> 588 Seventh Street
> Brooklyn, NY 11215-3707
> Phone: 718/499-6500; fax: 718/499-6575
> email: [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 11:34:47 -5
> From: Robin Panza <[log in to unmask]>
> Subject: Re: Manekins as Exhibit/Educational Tools-Experiences and Opinions
>
> In article <[log in to unmask]>, Edward Jay Pershey <[log in to unmask]>
> writes:
> > Mannekins answering questions...sounds absolutely awful. If you want to
> >
> > Ed Pershey
>
> I don't know. Sounds like high art, to me. The current Carnegie Internationa
l
> Art Exhibition (Carnegie Museum of Art, Pittsburgh PA) has something just
> like this. It is a suit of clothes standing upright, with a flattish white
> thing (looks rather like a sofa pillow) where the face should be. Projected
> onto the pillow is a human face, talking. I haven't stopped to listen to what
> it says, but it sure sounds a lot like the mannekins answering canned
> questions. The CI is supposed to be a prestigious show (as a biologist, I
> can't claim to know), so I guess talking mannekins must be "in".
>
> Robin Panza
> Section of Birds
> Carnegie Museum of Natural History
>
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 20:58:00 +0100
> From: Gerhard Dangel-Reese <[log in to unmask]>
> Subject: Re: Collections Management Software
>
> Some days ago somebody mentioned a "collections managments software"
> called squarenote. I load it down but im still rather helpless what it
> will we good for. Would be somebody of the native english speaking member
> who knows this programm tell me what its intentions are. I feel so silly !
> Gerhard Dangel-Reese
> Augustinermuseum Freiburg
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 15:08:38 -0500
> From: Adrienne DeArmas <[log in to unmask]>
> Subject: Re: (Mus Stdies) outside experience
>
> In a message dated 96-02-01 17:16:13 EST, [log in to unmask]
> (Christopher Whittle) writes:
>
> >Excepting, of course, those museums that consider themselves strictly
> >research museums ( I bet you can't name one).
>
> National Museum of Natural History, SI?
>
> - Adrienne
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 15:09:03 -0500
> From: Adrienne DeArmas <[log in to unmask]>
> Subject: Re: Marking Firearms
>
> In a message dated 96-02-01 19:52:21 EST, [log in to unmask] (Henry B.
> Crawford) writes:
>
> >Few things
> >please insurance investigators and police departments more than seeing
> >museum objects properly numbered, identified, and securly stored or
> >exhibited.
>
> I stand corrected, but am still glad that we do not mark our firearms.
>
> - Adrienne
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 15:09:05 -0500
> From: Adrienne DeArmas <[log in to unmask]>
> Subject: Re: Marking Firearms -Reply
>
> In a message dated 96-02-02 13:35:20 EST, [log in to unmask]
> (Lynn Murdoch) writes:
>
> >Unless absolutely necessary, why label the object at all when a properly
> >attached non-acidic tag will serve the purpose?
>
> Finally, someone in my corner :?)
>
> - Adrienne
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 15:09:14 -0500
> From: Adrienne DeArmas <[log in to unmask]>
> Subject: Re: Manekins as Exhibit/Educational Tools-Experiences and Opinions
>
> Wayne,
>
> we are getting ready to purchase manequins for our temp/travelling exhibit -
> one will be a Buffalo Soldier and the other a Texas Ranger. Do you really
> find that the manequins detract from the acoutrements? I was hoping they
> would draw the crowd in so that people would actually look at the stuff they
> are wearing, but I am new to this type of audience.
>
> - Adrienne DeArmas
> Assistant Curator, National Firearms Museum
>
> In a message dated 96-02-04 10:32:41 EST, [log in to unmask] writes:
>
> >We have a similar problem when exhibiting military uniforms. We
> >strive to explain the design basis for the uniform while illustrating
> >the functionality of the garment. We often construct "T" display
> >stands from 3/4" pvc and use wedding dress cardboard chests to fill
> >out the body. The support is completely hidden and the uniform and
> >its insignia become the focal point of the display. You are about to
> >spend a great deal of money for someone's TOYS. Money which could
> >better be distributed in your museum.
> >
> >
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 15:09:16 -0500
> From: Adrienne DeArmas <[log in to unmask]>
> Subject: Re: Women Museum Professionals: Salary
>
> In a message dated 96-02-04 10:41:30 EST, [log in to unmask] (Quentin260)
> writes:
>
> > I am especially
> >interested in salary parity/disparity between men and women in the field.
>
> It has been my experience within the government museums (SI) that education
> has more to do with ceilings, and where you got your degree and who you know
> and how well you kiss, well you know :?) than being male or female. I knew
> just as many male Phd's who were working far below what they should have been
> as females. Now that I think of it, there are actually a surprising number of
> female scientists there considering the median age of the population - 30
> years ago, when they were mostly hired, only men were hired for anything you
> needed a brain to do. What says anyone else?
>
> - Adrienne
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 13:10:03 -0700
> From: Anita Cohen-Williams <[log in to unmask]>
> Subject: Re: Collections Management Software
>
> Gerhard,
>
> Squarenote is a program for keeping notecards of material. In other words, a
> computer file of index cards that contain specific information on them. I have
> also downloaded the program, but have not yet gone through the tutorial.
>
> Anita Cohen-Williams; Reference Services; Hayden Library
> Arizona State University, Tempe, AZ 85287-1006
> PHONE: (602) 965-4579 FAX: (602) 965-9169
> [log in to unmask] Owner: HISTARCH, SPANBORD, SUB-ARCH
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 13:29:25 -0700
> From: Christopher Whittle <[log in to unmask]>
> Subject: Re: (Mus Stdies) outside experience
>
> I'd say not. A research museum/collection would not have public
> programs and displays. Museums like the MCZ (abbreviated to protect the
> innocent) justify their substandard exhibits by claiming to be a research
> museum. They put up the displays as an after thought, a token bone
> thrown to the public and then hide behind the moniker research museum
> when the public wants better/updated exhibits.
>
> On Mon, 5 Feb 1996, Adrienne DeArmas wrote:
>
> > In a message dated 96-02-01 17:16:13 EST, [log in to unmask]
> > (Christopher Whittle) writes:
> >
> > >Excepting, of course, those museums that consider themselves strictly
> > >research museums ( I bet you can't name one).
> >
> > National Museum of Natural History, SI?
> >
> > - Adrienne
> >
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 15:44:12 EST
> From: "AUDREY B. DAVIS" <[log in to unmask]>
> Subject: Re: (Mus Stdies) outside experience
>
> The National Museum of American Historyis most definitely a research
> and exhibition type museum. Masny curators and other staff have very
> respectable publishing, collecting and exhibition records and rank
> among the best in their specialities. It is by no means an easy
> career to follow, being splintered between three quite different
> responsibilities: research, collection and exhibition, not to mention
> public service but staff members do follow long term careers at the
> museum-I spent 27 years on the staff before coming to the National
> Museum of Dentistry in 1994 to help launch this new museum.
> Audrey Davis
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 15:54:01 -0500
> From: mark ast <[log in to unmask]>
> Subject: Re: Collections Management Software
>
> Anita,
>
> Would you be kind enough to look at the software package and find for me the
> name of the mfr and also the tel and fax # for the Squarenote program?
>
> Thanks in advance!
>
> Mark
>
>
> At 01:10 PM 2/5/96 -0700, you wrote:
> >Gerhard,
> >
> >Squarenote is a program for keeping notecards of material. In other words, a
> >computer file of index cards that contain specific information on them. I hav
e
> >also downloaded the program, but have not yet gone through the tutorial.
> >
> >Anita Cohen-Williams; Reference Services; Hayden Library
> >Arizona State University, Tempe, AZ 85287-1006
> >PHONE: (602) 965-4579 FAX: (602) 965-9169
> >[log in to unmask] Owner: HISTARCH, SPANBORD, SUB-ARCH
> >
> >
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 14:20:10 -0700
> From: Anita Cohen-Williams <[log in to unmask]>
> Subject: Re: Collections Management Software
>
> The address of the Squarenote developer is as follows:
>
> SQN Inc.
> 60 East Chestnut St., #422
> Chicago, IL 60611
> email: [log in to unmask]
> http://sqn.com/
>
> Anita Cohen-Williams; Reference Services; Hayden Library
> Arizona State University, Tempe, AZ 85287-1006
> PHONE: (602) 965-4579 FAX: (602) 965-9169
> [log in to unmask] Owner: HISTARCH, SPANBORD, SUB-ARCH
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 16:20:59 -0500
> From: Mia Rausa Llarena <[log in to unmask]>
> Subject: Postings?
>
> Have there been less postings on Museum-L (average 10 in the last three
> days) or is there something wrong with my computer/our system?
>
> Thanks
> Mia Llarena
>
> ***************************************************************************
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 16:36:37 EST
> From: "Schansberg, Jennifer A." <[log in to unmask]>
> Subject: mentoring programs in regional associations...
>
> I'm looking to get in contact with the people who are coordinating
> these efforts for their regions. I'm interested in hearing about
> ALL professional committees who are doing this IN GENERAL, but am
> specifically interested in the registrars committees' programs.
> Any contacts anyone can give me would be wonderful. If you respond
> to the list at large, please also copy to my private email
> address as well. I'm "digested" and sometimes it's difficult to
> pick out the responses that are meant specifically for me.
>
> Thank you so much. I'm so glad you are all out there!
>
> Jennifer Schansberg
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 16:10:04 -0500
> From: Larry Bowers <[log in to unmask]>
> Subject: lighting seminar
>
> Museum Lighting Seminar
>
> The Washington Conservation Guild, in association with the
> National Park Service,Division of Conservation,is presenting
> a seminar entitled "Museum Exhibit Lighting, Conservation,
> Lighting Design, and Current Technology." The Seminar is
> co-sponsored by the National Archives and Record
> Administration.
>
> Place: Archives II
> College Park, Maryland (a suburb of
> Washington, DC)
>
> Date: March 6-8. 1996
>
>
> Content: The course will consist of a two day seminar,
> followed by a third day of specialized workshops, and will
> include a manufacturers' showcase. Presenters will include
> nationally recognized museum lighting designers,
> conservators, lighting educators, conservation scientists,
> and representatives from industry. Emphasis will be on
> integrating conservation requirements with aesthetic
> concerns.
>
> Applications open to all exhibit professionals, including
> conservators, exhibit designers, curators, museum
> fabricators, and exhbit specialists. Attendance will be
> limited.
>
> For further information and/or course applications contact:
>
> Ann Boulton 410-578-0145
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 16:52:07 EST
> From: "Schansberg, Jennifer A." <[log in to unmask]>
> Subject: mentoring programs in regional associations...
>
> I'm looking to get in contact with the people who are coordinating
> these efforts for their regions. I'm interested in hearing about
> ALL professional committees who are doing this IN GENERAL, but am
> specifically interested in the registrars committees' programs.
> Any contacts anyone can give me would be wonderful. If you respond
> to the list at large, please also copy to my private email
> address as well. I'm "digested" and sometimes it's difficult to
> pick out the responses that are meant specifically for me.
>
> Thank you so much. I'm so glad you are all out there!
>
> Jennifer Schansberg
> [log in to unmask]
>
>
> -----------------------------------------------------------------
> Sorry! I hadn't quite finished this message before I sent it off.
> I would also like to hear some feedback from people who have taken
> part in such programs--to get a general idea of what was good, what
> was maybe not so good, etc. Please send thoughts regardless of if
> you were mentor or "mentee". Thanks again!
> Jennifer
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 14:03:00 EST
> From: MARSHAM <[log in to unmask]>
> Subject: Re: Postings?
>
> When I got in this morning there were 60 something from when I left on
> Friday--something is wrong with your system I guess.
>
> *********************************************************************
>
> Marsha Matthews
>
> Director/Museum Collections Oregon Historical Society
>
> 1200 SW Park Ave. Portland OR 97205
>
> Internet: [log in to unmask] Telephone: 503/306-5274
>
> FAX: 503/221-2035
>
>
>
> **********************************************************************
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 17:14:59 -0500
> From: Amy Loewen - IDSN/F95 <[log in to unmask]>
> Subject: Re: Request for job search tips
>
> I am a new subscriber about to plunge into a job search in the
> museum field, despite the startling but informative discussion which
> recently took place on the topic of salaries.
>
> My chosen method is to send out "cold" resumes and cover letters to all
> large museums and related institutions on the West coast of Canada and the
> U.S., that being the part of North America I would most like to settle in
> right now. I did my contact research using the A.M.A. Musesum Directory
> at the Royal Ontario Museum in Toronto where I work as a volunteer. Does
> anyone have any tips to offer me in my search? Is this "shot in the
> dark" approach appropriate in my chosen field? My background is a
> combination of anthropology, design, music, and overseas teaching -- a
> pretty good package, I think, for museum work -- now it's just a matter
> of creative digging, finding out where my skills can be put to use. Any
> comments or suggestions would be greatly appreciated.
>
> Thank you in adavance,
> Amy Loewen
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 15:50:22 -0700
> From: Anita Cohen-Williams <[log in to unmask]>
> Subject: New Book on Arms and Armor
>
> Karcheski, Walter J., Jr. ARMS AND ARMOR IN THE ART INSTITUTE OF CHICAGO
> (Chicago: Art Institute of Chicago/Little, Brown, 1995). ISBN 0-8212-2205-8.
>
> Anita Cohen-Williams; Reference Services; Hayden Library
> Arizona State University, Tempe, AZ 85287-1006
> PHONE: (602) 965-4579 FAX: (602) 965-9169
> [log in to unmask] Owner: HISTARCH, SPANBORD, SUB-ARCH
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 17:54:23 -0500
> From: Lori van Handel <[log in to unmask]>
> Subject: Re: mentoring programs in regional associations...
>
> New England Registrar's Association has such a mentoring program.
> Contact:
>
> Linda Best
> Amherst College
> Amherst, MA 01002
> tel: 413-542-2335
> fax: 413-542-2117
>
> Lori van Handel
> Director of Field Services/Assistant Conservator of Objects
> Williamstown Art Conservation Center
> Williamstown,,
>
> ------------------------------
>
> Date: Tue, 6 Feb 1996 15:25:53 +0000
> From: Brenda Weatherston <[log in to unmask]>
> Subject: Course: Multimedia in Programs and Exhibitions
>
> Course Announcement: Multimedia in Programs and Exhibitions
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> The current explosion in interactive multimedia technologies provides us
> with exciting new communication tools-and challenging educational,
> financial, and management issues. In this course, you explore the
> innovative ways in which both conventional media and such innovations as
> CD-ROM, WWW sites, interactive kiosks, virtual reality and hyperlinks to
> the Internet, attract, educate, and entertain audiences.
> You also take a critical look at their role and effectiveness in
> achieving exhibition and programming goals. Topics include:
> - impacts and implications of the communications revolution
> - evolving audience needs and interests
> - innovative multimedia approaches
> - reaching new audiences: around town/around the world
> - influence of medium on message
> - interactivity in the learning process
> - balancing authentic and virtual experiences
> - design, technical, and management issues
> - a look to the future
> Instructors: David Vogt, Director of Science for Science World, has
> extensive experience in the innovative uses of multimedia in exhibitions
> and programming. Recent projects for Science World have included the
> Virtual Science Centre and Science, Eh?, an interactive Internet science
> magazine. He is a member of the SchoolNet Advisory Board, the Canadian
> Educational Network Coalition, and served as chairperson for the CBC's
> Advisory Committee on Science and Technology.
>
> Dates: April 15-24
> Please register by: March 18
> Fee: $589 Canadian (Credit and Non-credit participation available)
> Accommodation: On-campus bed & breakfast accommodation is available for
> $60.00/night. Program staff can advise on off-campus alternatives.
>
> For more information, please contact:
> Brenda Weatherston
> Program Coordinator
> Cultural Resource Management Program
> University of Victoria
> Box 3030
> Victoria BC V8W 3P2
> Tel: (604) 721-8462
> Fax: (604) 721-8774
> Email: [log in to unmask]
> Website: http://www.uvcs.uvic.ca/crmp/crmphome.htm
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 17:11:11 -0700
> From: Anita Cohen-Williams <[log in to unmask]>
> Subject: Anyone from the Getty out there?
>
> Could anyone from the Getty please get in touch with me off-list? I have some
> questions about current job openings there.
>
> Anita Cohen-Williams; Reference Services; Hayden Library
> Arizona State University, Tempe, AZ 85287-1006
> PHONE: (602) 965-4579 FAX: (602) 965-9169
> [log in to unmask] Owner: HISTARCH, SPANBORD, SUB-ARCH
>
> ------------------------------
>
> Date: Tue, 6 Feb 1996 08:51:17 +1000
> From: Robin Trotter <[log in to unmask]>
> Subject: Re: Postings?
>
> >Have there been less postings on Museum-L (average 10 in the last three
> >days) or is there something wrong with my computer/our system?
> >
> >Thanks
> >Mia Llarena
> >
> Mia has been lucky - my subscription just dropped out completely and and
> with no postings for a week I checked subscription to find I was no longer
> listed!! Any similar experiences? Is it my end or has there been a
> problem with Museum-L system?
>
> Thanks
> Robin Trotter
> >***************************************************************************
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 19:19:23 -0500
> From: Michael Cronk <[log in to unmask]>
> Subject: Re: Postings?
>
> I was also dropped from the list. So, okay, I won't take it personally.
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 19:34:46 -0500
> From: Adrienne DeArmas <[log in to unmask]>
> Subject: Re: research museums-was(MSTD) outside experience
>
> In a message dated 96-02-05 15:31:43 EST, [log in to unmask]
> (Christopher Whittle) writes:
>
> >Museums like the MCZ (abbreviated to protect the
> >innocent) justify their substandard exhibits by claiming to be a research
> >museum. They put up the displays as an after thought, a token bone
> >thrown to the public and then hide behind the moniker research museum
> >when the public wants better/updated exhibits.
>
> Interesting. In my experience, those who could put up better than substandard
> exhibits wanted to, but were not given the funds. It is often hard to
> seperate those that run the museums and those that can make things happen
> (when allowed). Also, the existing exhibits are only substandard by today's
> standards. When they were originally put up, cavemen still walked the halls
> (without cavewomen by their sides :?) I am not sure I agree with you, if we
> are talking about the same institution, but then I was once one of the people
> who applied my research towards better/updated exhibits. The sad thing is
> that the research is there, but there is no money to mount it as an exhibit,
> so it just sits, unused or unappreciated.
>
> - Adrienne
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 20:31:23 -0500
> From: Sheila Bowness - SHTM/W94 <[log in to unmask]>
> Subject: Re: Still Looking For Expert Opinion!
>
> Hi it's me again. I recently posted a question to the newsgroup, but
> seeing as there has been some technical difficulty with the group I'll
> try one more time.
>
> I am searching for ANY information or expert opinion on attitudes
> regarding museum entrance fees. How do you the professionals feel about
> charging an entrance fee to a museum open to the public? How do you
> justify the price of admission? Arbitrarily or in relation to value?
> I'm interested to know since I am writing a research paper for the
> Toronto Historical Board in Toronto, Canada. They are investigating
> profitable marketing strategies in relation to transient visitors and
> educational tours. I need information regarding price perception of
> these two groups.
>
> Any information you could donate can be sent to me at:
> [log in to unmask] OR
> post in on the bullitin c/o Sheila
>
> Thanks A Lot!
> Sheila
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 20:46:28 -0500
> From: Maria Lizzi <[log in to unmask]>
> Subject: Thank you all!
>
> I would like to thank all of you who took the time to share your knowledge of
> museum publishing with me. I, unfortuately, am unable to answer the specific
> questions I was asked as my mailbox was cleaned out and many of addresses
> vanished! I apologize wholeheartedly and would be most willing to answer
> any questions you have about the work which I'm doing! Once again, my thanks
> and apologies -Maria Lizzi
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 17:36:13 PST
> From: [log in to unmask]
> Subject: help!
>
> Help! I was given brief instructions on how to add my name
> to the Museum Discussion List but so far I haven't been able
> to do it correctly.
>
> Can anyone tell me what to do or who to call? My e-mail
> address is: [log in to unmask]
>
> Thanks!
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 21:04:49 GMT
> From: Patricia Reynolds <[log in to unmask]>
> Subject: Re: Manekins as Exhibit/Educational Tools-Experiences and Opinions
>
> In article <[log in to unmask]>
> [log in to unmask] "Matthew White" writes:
>
> > ... The idea was put forth to use robotic, lifelike manekins to give
> > pre-recorded speeches and answer pre-canned answers to visitor's
> > questions. ...
>
> I wouldn't put historic costume on a _moving_ manequins for one of the
> reasons I wouldn't put it on myself: moving can put strains on the
> fabric. At least the manequin can't sweat. But does it get hot?
>
> Personally, I find these things a bit embarrasing, a hallmark of
> the more money than sense tourist attraction. That's probably just me.
> There are probably those who hate interactive videos and audios,
> which I like, providing they don't carry the main weight of the
> exhibition.
>
> --
> Patricia Reynolds
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 14:41:03 -0600
> From: Sally Baulch <[log in to unmask]>
> Subject: Re: Marking Firearms -Reply
>
> Hey-
>
> >From experience (painful):
> Mark the number on the outside of the trigger guard in clearly
> visible ink (paint a white acrylic patch on top of the B-72 and then write
> the number in black if the metal finish is dark.) Our collection areas and
> exhibit areas are not well lit (well, they're not suppose to be, are
> they?) and trying to squint at a number skillfully hidden on the inside
> of a trigger guard leads to a lot of flipping of said longarm leading to
> accidents like hitting the cabinet next to you or something on the
> table. Alright, maybe not if it's on exhibit....
>
> Also, about the comment of reversibility and thieves:
> Unless you have skillfully written your museum's name on the gun,
> the catalog number is not going to mean much to thieves or buyers. We
> have a collection where the donor painted numbers on the
> stocks on messy white splotches of paint (pretty much irreversible.) I
> would suspect that guns in circulation would have a lot of such
> marks--your museum's mark would not draw comment so it is not a security
> feature in that sense. It is a security feature in keeping it
> identified--without it's number and attached records, in a hundred years
> when we're all dead and gone would a new worker still identify the
> longarm as Napoleon's gun? (Unless his name is engraved on the stock like
> our Sam Houston pistol and Mirabeau Lamar shotgun...Texas guys....)
> Collections care includes control of information.
>
> Sally Baulch
> Collections Manager, Anthropology/History
> Texas Memorial Museum
>
> PS: Since you're asking about renumbering guns, you ought to ask how to
> number the horn chairs on exhibit :)
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 19:10:55 -0500
> From: Craig1708 <[log in to unmask]>
> Subject: Chicago Area Conservation Group Meeting
>
> The Chicago Area Conservation Group is holding their February meeting
> Tuesday,
> Feb. 6th. at 6pm at the Chicago Historical Society, Clark at North Ave.
> Our speaker will be Catherine Anderson, Assistant Conservator at the Field
> Museum of Natural History. Her talk will focus on the Conservation and
> Installation of Ruatepupuke II: A Maori meeting house.
>
> All are welcome to enjoy refreshments and Ms. Andersons presentation.
>
>
>
> **************************************************************************
> Craig Deller
> The Deller Conservation Group Ltd
> Geneva, Illinois
> USA
> [log in to unmask] "Conservators make it last longer"
> http://home.aol.com/DELLERCON
> **************************************************************************
> *
>
> ------------------------------
>
> Date: Tue, 6 Feb 1996 03:09:10 GMT
> From: Anne Robinson <[log in to unmask]>
> Subject: The web, images, copyright and loan agreements
>
> I know there has have been numerous discussions of copyright of images used on
> the web,many of them dealing with anxiety over duplication/modification by
> users, but I have a question on this topic that I do not recall seeing
> discussed.
>
> When an art museum (or exhibition management company) organizes and circulates
> an art exhibition, there is usually a stipulation in the exhibition contract
> that a certain number of images will be provided for public relations use.
> These are submitted to the borrowing institutions for use in promoting the
> exhibition, particularly with the press, but also for use on posters,
> invitations and the like.
>
> In turn, in loan agreements with collectors who contibute to the show, there i
s
> often standard language concerning the right to use photographs of a work for
> publicity purposes, although the collector may negotitate this passage and hav
e
> it tricken from the agreement. (At any rate, these are procedures we deal with
> at the Indianapolis Museum of Art.)
>
> Are any museums specifically adding language concerning digital reproduction o
f
> works for use in on-line publications as part of loan agreements or exhibition
> contracts? What is the thinking on this?
>
> Anne Robinson
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 19:38:30 -0800
> From: "T. Preston" <[log in to unmask]>
> Subject: Getty Conservation Institute Earthquake study
>
> I just read an article from The Chronicle of Higher Education about a
> Getty Conservation Institute earthquake study completed with the help of
> USC engineers in 1989(?). I was wondering if there is anyone out there
> from the Getty or elsewhere who can give me some info on where to get a
> hold of the results. I'm interested in looking at their ideas. If
> anyone used the study and then experienced an earthquake, I'd like to
> know how it all turned out.
>
> Just a museology grad who is curious . . .
>
> Toni Preston
> Graduate student in Museology
> University of Washington
> email: [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 23:12:14 -0500
> From: Helen Glazer <[log in to unmask]>
> Subject: MUS: Allusions to Chaucer wanted
>
> Robert Raymo, a prominent Chaucer scholar at New York University,
> is compiling every allusion to Chaucer he can find in the art, literature
> and popular culture of the 19th and 20th centuries for a book he plans to
> publish on the subject. This
> includes such things as comic books and songs as well as the fine arts.
> He will acknowledge contributors of any material in the book. So if you
> have any relevant items in your museum's collections, or just happen to
> know of something of interest, please email me and I will pass the
> information along to him. I offered to assist him with contacting people
> on the Internet.
>
> Thanks for your help,
> Helen Glazer
> Goucher College, Baltimore, Maryland, USA
> [log in to unmask]
>
> ------------------------------
>
> Date: Mon, 5 Feb 1996 21:51:44 -0500
> From: "Frank E. Thomson, III" <[log in to unmask]>
> Subject: Re: Collection Management Software
>
> Subject: Collection Management Software
>
> Julian Humphries wrote:
> "You don't build the microscopes you use to examine artifacts nor do
> you tell your doctor how to remove your gall bladder."
>
> There are some people who can write computer programs, there are others =
> who manage collections. Most people who write computer programs do not =
> have the desire or knowledge to manage collections. Most people who =
> manage collections do not have the desire, knowledge or time to write a =
> computer program. Without the specifics of both sides one develops an =
> inferior product that no one wants to use.
>
> Much of the time such software is developed as a collaboration between a =
> programmer and a client. Some of these will develop into a commercially =
> available product.
> There are those individuals who have knowledge of both sides of the =
> issue and the support to develop a collections management program =
> sjpecifically for their institution's collection. I manage a small art =
> museum collection about a thousand object. With grant support we were =
> able to purchase a computer, a scanner, and hire an assistant for data =
> entry, plus pay for computer training courses. The financial cost to =
> the museum was about what an entry level package would cost. =20
>
> While this approach is not for everyone. It offers the opportunity for =
> growth. We are currently working towards making information on the art =
> and the artists in our collection available to the public both at the =
> museum and through an internet access. =20
>
> Remember the old, old, old cliche, "feed a curator a fish and you feed =
> it for a day, teach a curator to fish and it won't bother you until the =
> next grant cycle." ;-)
>
> ------------------------------
>
> End of MUSEUM-L Digest - 4 Feb 1996 to 5 Feb 1996
> *************************************************
>
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