Awww, Shucks!?!  Now ya' got me blushin'!?!  I do not mind if folks
contact me either on or off list.  It is a seemingly straightforward
issue, but it can be as slippery as an eel!

VivianLea Stevens
former Curator of Collections and Exhibitions
Museum of American Frontier Culture
Staunton, VA

Lee Langston-Harrison wrote:
>
> You got it VLS!  I think you're take on the issue (real vs Memorex) was
> brillant . . . if you don't mind folks asking for help, more the better!
> Museum-L folks . . . go to Staunton!  Lee :)
>
> Lee Langston-Harrison
> Director of Curatorial Operations
> Montpelier, Home of James & Dolley Madison
> Montpelier Station, VA 22957
> (540) 672-0007
> [log in to unmask]
>
> ----------
> > From: Vivian Lea Stevens <[log in to unmask]>
> > To: [log in to unmask]
> > Subject: Re: Museum Purpose (was Introduction and Inquiry)
> > Date: Thursday, January 21, 1999 6:48 PM
> >
> > Thanks, Lee!  As the Curator who moved the institution away from using
> > mostly originals with some repros to mostly repos with some originals, I
> > appreciate the vote of confidence.  It was a difficult task to convince
> > staff and board why it was necessary, but with careful and persistent
> > education, they began to embrace the shift in philosophy.  Then came the
> > task of writing an effective collection policy that addressed the use of
> > reproductions.  It is difficult work to ferret out good reproductions,
> > but it can be done.
> >
> > Thanks again for the vote of confidence!
> > VivianLea Stevens
> > former Curator of Collections and Exhibitions,
> > Museum of American Frontier Culture,
> > Staunton, VA
> >
> > Lee Langston-Harrison wrote:
> > >
> > > Well stated Lisa!  A good example of a facility that has tackled this
> issue
> > > is the American Frontier Culture Museum in Staunton, Virginia . . . if
> > > possible, go have a look at how they are dealing with the "real vs
> > > reproduction" issue.
> > >
> > > Lee Langston-Harrison
> > > Dir. of Curatorial Ops
> > > Montpelier, Home of James & Dolley Madison
> > > Montpelier Station, VA
> > >
> > > ----------
> > > From: Lisa Craig Brisson (Lisa Brisson) <[log in to unmask]>
> > > To: [log in to unmask]
> > > Subject: Re: Museum Purpose (was Introduction and Inquiry)
> > > Date: Thursday, January 21, 1999 8:57 AM
> > >
> > > I think the issue of using originals and reproductions in a living
> history
> > > setting is more complicated and is one that almost every historic site
> > > deals with.  It begins with the use of historic buildings, which are
> > > themselves usually part of a museum's collection, and leads to a can of
> > > worms with artifacts as well.
> > >
> > > This seems especially true for historic sites with living history
> programs.
> > >  Most living history sites I know struggle to find a balance between
> > > showing "the real things" and showing a way of life or a process.
> > > Collecting and preserving PROCESS is a big part of some museum's
> collecting
> > > mission.  In order to demonstrate (preserve) processes, you have to USE
> > > stuff.  When you use something, it tends to deteriorate.  Unlike some
> other
> > > types of museums, where all artifacts are in carefully protected and
> > > regulated environments, artifacts (or reproductions) at living history
> > > sites are out in the open and at risk for all kinds of dangers.
> > >
> > > It would be pretty irresponsible of me (and MANY people would not be
> > > amused) if I let the interpretive staff at the Biddle House conduct
> cooking
> > > demonstrations with an original wooden bowl that belonged to Agatha
> Biddle.
> > >  They are great interpreters, and great cooks, but they tend to be a
> little
> > > hard on things.  To have them use the bowl just because it's the "real
> > > thing" would completely contradict the part of our mission that charges
> us
> > > to "preserve."  Instead, we buy reproduction items for the staff to
> cook
> > > with.  They can be used for their original purpose, and are easily
> replaced
> > > if destroyed.
> > >
> > > One way that we and many other sites give visitors the opportunity to
> see
> > > "the real thing," while still allowing for good living history
> programs, is
> > > to have original artifacts exhibited in separate spaces.  Often these
> > > exhibits are in visitor centers or other buildings on site.  It allows
> us
> > > to both protect the things we are charged with preserving and give
> visitors
> > > access to original artifacts.  That's where I think the Biddle bowl
> > > belongs.
> > >
> > > For more information about how living history sites think about
> artifacts,
> > > take a look at the article "The Challenges of Collections Care in
> Living
> > > History Museums" written by Bob Cottrell in the Summer 1995 issue of
> > > History News.
> > >
> > > I've worked at several living history sites and heard the question "Is
> that
> > > real?" thousands of times.  I've found that while many visitors expect
> to
> > > see original artifacts, many other visitors mainly want to see "how it
> > > was."  When I explain that we are using reproduction to show a process
> that
> > > would destroy an original artifact, most visitors understand and are
> happy
> > > to know how we operate.  This is just my opinion (it would be a neat
> study
> > > though) but I think it is shared by many others working at living
> history
> > > sites.
> > >
> > > One thing that Museum-L helps me to understand is how truly diverse the
> > > museum community is.  We share many of the same struggles, but all have
> our
> > > own challenges and rewards as well.
> > >
> > > Lisa Craig Brisson
> > > Museum Educator
> > > Mackinac State Historic Parks
> > > [log in to unmask]
> > > ----------