The University of Victoria offers a Diploma in Cultural Resource Management,
which allows a student to aquire a comprehensive understanding of the
museum, heritage conservation or cultural management fields. The Diploma
program is offered in distance education or immersion format and welcomes
students who already have a professional interest in this field who want to
expand and develop their skills. I beleive that a few Universities across
North America offer a similar type of learning format usually offered as a
Diploma or Certificate in museum studies. Hope this helps,
Lisa Mort-Putland
Program Coordinator -Cultural Resource Management Program
The University of Victoria
-----Original Message-----
From: Automatic digest processor [mailto:[log in to unmask]]
Sent: July 11, 2001 9:06 PM
To: Recipients of MUSEUM-L digests
Subject: MUSEUM-L Digest - 10 Jul 2001 to 11 Jul 2001 (#2001-190)
There are 36 messages totalling 2383 lines in this issue.
Topics of the day:
1. Labelling artifacts (4)
2. proposed Regional Humanities Center
3. FREE: Quilt Travel Crates Offered
4. unsubscribe (2)
5. Certificate vs. Degree (8)
6. Sample job descriptions
7. Writing on the floor
8. archive conservation (2)
9. Job Posting
10. Advanced Certificate in Museum Studies
11. Rights question (4)
12. Scorpion woman has fever, Cave reveals spectacular secrets, Schindler
List
Returned ?, Appalled by 'untidy' Museum, History Written by Winners
13. Volunteer handbooks,manuals....
14. Life Size Aminals for Temporary Exhibits
15. curator contract
16. Museum Director
17. Mount-Making
18. Aerospace artifacts available for donation
19. acknowledging gifts
20. Museums and HIV Communities
21. Beatrice Cenci
=========================================================
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to [log in to unmask] . The body of the message should read "help"
(without the quotes).
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Museum-L" (without the quotes).
----------------------------------------------------------------------
Date: Tue, 10 Jul 2001 18:33:33 -0700
From: Katherine Neustadt <[log in to unmask]>
Subject: Labelling artifacts
Hello. I am new to the list and would like to say hello to everyone out
there in cyberspace.
I have a question regarding methods of labelling artifacts. Does anyone
have any information about the use of clear nail polish as a base & top coat
for labelling archaeological artifacts. I have always been under the
impression that it was not an acceptable practice, but my supervisor wants
us to use it to save on cost.
Advice, comments, etc. greatly appreciated.
Thanks,
Kae
K.E. Neustadt, Lab Manager
Northland Research, Inc.
2510 S. Rural, Ste. 108
Tempe, AZ 85282
(480) 736-0501
(480) 894-0957 fax
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
------------------------------
Date: Wed, 11 Jul 2001 08:14:17 -0400
From: Anna Fariello <[log in to unmask]>
Subject: proposed Regional Humanities Center
Dear listers: I would like to correspond with a few museums/historic house
directors or curators from VA, NC, SC, GA, Puerto Rico and the Virgin Is.
about the South Atlantic Regional Humanities Center. The center is
proposed as part of an NEH intitiative to establish ten regional centers
throughout the US which will function as networking organizations to
promote projects and scholarship in the humanties. I would especially like
to correspond with folks who are active in SEMC.
Please respond off line to: [log in to unmask]
Anna Fariello
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Anna Fariello, Curatorial InSight, Box 505, Christiansburg VA 24068
www.curatorialinsight.com; 540-382-3946; [log in to unmask]
Center for Interdisciplinary Studies, Virginia Tech, Blacksburg VA
24061-0227
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
------------------------------
Date: Wed, 11 Jul 2001 08:33:38 -0400
From: "Morehouse, Rebecca" <[log in to unmask]>
Subject: Re: Labelling artifacts
Hi Kae-
The use of clear nail polish isn't really a good idea for labeling
archaeological artifacts. While some believe that the clear nail polish you
can now buy is probably better than that used say ten years ago,
(particularly the hypo-allergenic kinds), it still has the potential to have
unknown and potentially damaging additives. The best method we have come up
with is a base coat of 10% B-72 in acetone and a top coat of either 25% B-72
in acetone or 20% Akron P-90 or B-67 in mineral spirits. I prefer the B-72
as both top and bottom coat because acetone is less toxic than mineral
spirits and it also dries more quickly.
You can order 25% B-72 premixed in small bottles from archival supplies like
University Products. We mix our own solutions. If you are equipped to do
this it is much more cost effective.
Becky Morehouse
Curator, Maryland State Highway Administration
Maryland Archaeological Conservation Laboratory
10515 Mackall Road
St. Leonard, MD 20685
410-586-8583
410-586-3643 (fax)
-----Original Message-----
From: Katherine Neustadt [SMTP:[log in to unmask]]
Sent: July 10, 2001 9:34 PM
To: [log in to unmask]
Subject: Labelling artifacts
Hello. I am new to the list and would like to say hello to everyone
out
there in cyberspace.
I have a question regarding methods of labelling artifacts. Does
anyone
have any information about the use of clear nail polish as a base &
top coat
for labelling archaeological artifacts. I have always been under
the
impression that it was not an acceptable practice, but my supervisor
wants
us to use it to save on cost.
Advice, comments, etc. greatly appreciated.
Thanks,
Kae
K.E. Neustadt, Lab Manager
Northland Research, Inc.
2510 S. Rural, Ste. 108
Tempe, AZ 85282
(480) 736-0501
(480) 894-0957 fax
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
=========================================================
Important Subscriber Information:
The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
information about the listserv commands by sending a one line e-mail message
to [log in to unmask] . The body of the message should read "help"
(without the quotes).
If you decide to leave Museum-L, please send a one line e-mail
message to [log in to unmask] . The body of the message should
read "Signoff Museum-L" (without the quotes).
------------------------------
Date: Tue, 10 Jul 2001 16:14:58 -0400
From: Paul Rubenson <[log in to unmask]>
Subject: FREE: Quilt Travel Crates Offered
The Maryland Historical Society is offering up to seven high-quality travel
crates to any interested institution which can use them. These crates were
made to transport rolled quilts from the US to Japan, and have been used by
the Shelburne Museum and the MHS. The crates are free, but the recipient
is responsible for transportation. Transport cost from the Shelburne to
MHS in 1999 was about $1000. IMPORTANT: The recipinent would have to
arrange transport by September, 2001.
DESCRIPTION: These are well-constructed, gasketted, crate-in-crate, travel
crates. The exterior crates are high-impact plastic with metal corners,
latches, and aluminum edges. The interior crates are sealed and coated
lightweight plywood. These crates are LARGE, 3'x4' in cross section, and
range between seven and nine feet in length. The interiors are currently
outfitted to accept six 4" rolling tubes each.
CONTACT:
Paul Rubenson, Assoc. Registrar
[log in to unmask]
(410) 685-3750 x314
Or:
Don Renaud, Production Coordinator
[log in to unmask]
------------------------------
Date: Wed, 11 Jul 2001 10:13:59 -0300
From: Jenna Whalen <[log in to unmask]>
Subject: Re: unsubscribe
<html><DIV>
<P>signoff Museum-L<BR></P></DIV><br clear=all><hr>Get Your Private, Free
E-mail from MSN Hotmail at <a
href="http://www.hotmail.com">http://www.hotmail.com</a>.<br></p></html>
------------------------------
Date: Wed, 11 Jul 2001 10:27:19 -0400
From: Julie Clark <[log in to unmask]>
Subject: Certificate vs. Degree
This is a multi-part message in MIME format.
------=_NextPart_000_0042_01C109F4.103EB5E0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Good Morning-
I've seen many posts to the list that mention a "certificate" in Museum =
Studies. I had never heard of this before. Can anyone please explain the =
difference between a certificate and a degree such as a MA? I'm guessing =
that the former takes less time to acquire. Do many universities offer a =
certificate now? Also, do the employers out there have an opinion on the =
issue when it comes to interviewing and hiring a potential new employee?
Thank you-
Julie Clark
Dairy Barn Cultural Arts Center
------=_NextPart_000_0042_01C109F4.103EB5E0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.3018.900" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#e8e8e8>
<DIV><FONT face=3D"Lucida Casual" size=3D2>Good Morning-</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3D"Lucida Casual" size=3D2>I've seen many posts to the =
list that=20
mention a "certificate" in Museum Studies. I had never heard of this =
before. Can=20
anyone please explain the difference between a certificate and a degree =
such as=20
a MA? I'm guessing that the former takes less time to acquire. Do many=20
universities offer a certificate now? Also, do the employers out there =
have an=20
opinion on the issue when it comes to interviewing and hiring a =
potential new=20
employee?</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3D"Lucida Casual" size=3D2>Thank you-</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3D"Lucida Casual" size=3D2>Julie Clark</FONT></DIV>
<DIV><FONT face=3D"Lucida Casual" size=3D2>Dairy Barn Cultural Arts=20
Center</FONT></DIV></BODY></HTML>
------=_NextPart_000_0042_01C109F4.103EB5E0--
------------------------------
Date: Wed, 11 Jul 2001 08:34:39 -0600
From: Erin Quinn <[log in to unmask]>
Subject: Re: Labelling artifacts
According to The New Museum Registration Methods (highly recommended by =
the way), clear nail polish is not acceptable because it is often made =
from cellulose nitrate that can yellow, shrink or turn brittle as time =
goes on. Even modern nail polishes which may be made of more stable =
materials are still uncertain and require a harsh solvent to remove them. =
Other products like Soluvar require a less harsh solvent such as mineral =
spirits. Tell your supervisor that the nail polish may peel with age, =
taking the accession number and/or the surface of the object with it. At =
our museum, liquid paper was used for the white coat for many years and =
all the numbers are falling off - it makes for a very difficult time =
during inventory and reconciliation.
[Mostly all stolen from The New Registration Methods edited by Rebecca =
Buck and Jean Allman Gilmore)
Erin
_______________________________________________
Erin Quinn
Collections Coordinator
City of Greeley Museums
919 7th Street
Greeley, CO 80631
(970) 350-9218
[log in to unmask]
>>> [log in to unmask] 07/10/01 07:33PM >>>
Hello. I am new to the list and would like to say hello to everyone out
there in cyberspace.
I have a question regarding methods of labelling artifacts. Does anyone
have any information about the use of clear nail polish as a base & top =
coat
for labelling archaeological artifacts. I have always been under the
impression that it was not an acceptable practice, but my supervisor wants
us to use it to save on cost.
Advice, comments, etc. greatly appreciated.
Thanks,
Kae
K.E. Neustadt, Lab Manager
Northland Research, Inc.
2510 S. Rural, Ste. 108
Tempe, AZ 85282
(480) 736-0501
(480) 894-0957 fax
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com=20
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D
Important Subscriber Information:
The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-fa=
q/ . You may obtain detailed information about the listserv commands by =
sending a one line e-mail message to [log in to unmask] . The =
body of the message should read "help" (without the quotes).
If you decide to leave Museum-L, please send a one line e-mail message to =
[log in to unmask] . The body of the message should read =
"Signoff Museum-L" (without the quotes).
------------------------------
Date: Wed, 11 Jul 2001 08:58:25 -0600
From: Christopher Dill <[log in to unmask]>
Subject: Re: Sample job descriptions
Didn't AAM (TIS??) do this several years ago? I distinctly remember =
being asked if one from my (then) institution could be included in an =
"examples" document. They used Accreditation applications to identify =
good examples, as I recall.
Chris Dill, Superintendent
City of Greeley Museums
919 7th Street
Greeley CO 80631
T: (970)350-9217
F: (970)350-9570
E: [log in to unmask]
www.greeleymuseums.com
------------------------------
Date: Wed, 11 Jul 2001 10:48:10 -0400
From: Darlene Richardson <[log in to unmask]>
Subject: Re: Certificate vs. Degree
The "certificate" is normally a specialization (or minor) within a master's
degree that requires certain coursework or practicums. At UVa, for
example, you can get a M.A. in History with a "certificate" in Historic
Preservation.
At 10:27 AM 7/11/2001 -0400, you wrote:
> Good Morning- I've seen many posts to the list that mention a
>"certificate" in Museum Studies. I had never heard of this before. Can
>anyone please explain the difference between a certificate and a degree
>such as a MA? I'm guessing that the former takes less time to acquire. Do
>many universities offer a certificate now? Also, do the employers out
>there have an opinion on the issue when it comes to interviewing and
>hiring a potential new employee? Thank you- Julie Clark Dairy Barn
>Cultural Arts Center
Darlene Richardson
Historian & Archivist
Virginia Museum of Transportation
303 Norfolk Avenue, SW
Roanoke, VA 24016
Direct Phone #: (540) 767-4642
Fax: (540) 342-6898
mail to: [log in to unmask]
------------------------------
Date: Wed, 11 Jul 2001 11:03:48 -0400
From: Carolyn Payne <[log in to unmask]>
Subject: Re: Writing on the floor
Cheryl,
I might suggest painting the hopscotch grid on a sheet of 1/8" masonite,
sand the edges to a bevel, clearcoat and secure it to the floor with
countersunk screws. Then it is easily taken up, with little abuse to the
floor. Also you have a sheet of masonite with a good side to be used for
another project later or or you can donate the hopscotch board to a day
care center.
Tape applied to the floor for an extended period of time is going to
accumulate a lot of dirt around the edges and look pretty scraggly quickly
with wear and tear.. Also any tape with a good enough adhesive is going to
require either a solvent (mineral spirits, denatured alcohol maybe) or
adhesive remover and a lot of elbow grease to remove. All of which could
be more damaging to the wood that patching a few screw holes.
Good luck!!
Carolyn Payne
Exhibits Designer
Virginia Museum of Transportation
303 Norfolk Av. SW
Roanoke, VA 24016
www.vmt.org
Ph: 540.767.4643
Fax: 540.342.6898
At 06:16 PM 7/10/01 -0700, you wrote:
>Check with theater supply stores. They have tape that
>you can use to mark stages (wooden included). The
>tape stays put until it is time to take it up, then
>leaves no marks when you pull it up. It is the only
>kind of tape I've come across that has the necessary
>qualities!
>Good luck!
>
>Elizabeth Newman
>
>--- Cheryl Brookshear <[log in to unmask]> wrote:
>> Hello all,
>> As part of an exhibit I am planning I would like to
>> create a temporary
>> hopscotch gird on a wood floor. This needs to last
>> a couple of months
>> and then needs to come up. My first inclination is
>> to use tape. Can
>> anyone recommend a tape that would last a couple of
>> months but come up
>> off the floor with minimal fuss? The other
>> consideration is cost, of
>> course, this is a very small (2 person) museum.
>> Thank you for your recommendations,
>> Cheryl Brookshear
>> Curator of Education
>> Hearthstone Historic House Museum
>>
>>
>=========================================================
>> Important Subscriber Information:
>>
>> The Museum-L FAQ file is located at
>> http://www.finalchapter.com/museum-l-faq/ . You may
>> obtain detailed information about the listserv
>> commands by sending a one line e-mail message to
>> [log in to unmask] . The body of the
>> message should read "help" (without the quotes).
>>
>> If you decide to leave Museum-L, please send a one
>> line e-mail message to [log in to unmask]
>> . The body of the message should read "Signoff
>> Museum-L" (without the quotes).
>
>
>__________________________________________________
>Do You Yahoo!?
>Get personalized email addresses from Yahoo! Mail
>http://personal.mail.yahoo.com/
>
>=========================================================
>Important Subscriber Information:
>
>The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
information about the listserv commands by sending a one line e-mail
message to [log in to unmask] . The body of the message should
read "help" (without the quotes).
>
>If you decide to leave Museum-L, please send a one line e-mail message to
[log in to unmask] . The body of the message should read "Signoff
Museum-L" (without the quotes).
>
>
Sincerely,
Carolyn Payne
Exhibits Designer
Virginia Museum of Transportation
303 Norfolk Av. SW
Roanoke, VA 24016
www.vmt.org
Ph: 540.767.4643
Fax: 540.342.6898
E-mail: [log in to unmask]
------------------------------
Date: Wed, 11 Jul 2001 16:09:10 +0100
From: sebastiano barassi <[log in to unmask]>
Subject: archive conservation
Dear listers,
Can any of you suggest a good place - ideally a website - where I could
find information on standards and guidlines for the conservation of
archival material?
Thank you for your help.
Sebastiano Barassi
------------------------------
Date: Wed, 11 Jul 2001 11:12:42 -0400
From: Rebecca Fifield <[log in to unmask]>
Subject: Re: Certificate vs. Degree
Some institutions offer certificates as one year programs versus the MA
degree's 2+ years. George Washington University's programs work that way. I
think the certificate program is often used by professionals already in the
field but might never have taken a degree.
Rebecca L. Fifield
Collections Care Specialist
Department of Textile and Fashion Arts
Museum of Fine Arts, Boston
www.mfa.org
-----Original Message-----
From: Darlene Richardson [mailto:[log in to unmask]]
Sent: Wednesday, July 11, 2001 10:48 AM
To: [log in to unmask]
Subject: Re: Certificate vs. Degree
The "certificate" is normally a specialization (or minor) within a master's
degree that requires certain coursework or practicums. At UVa, for
example, you can get a M.A. in History with a "certificate" in Historic
Preservation.
At 10:27 AM 7/11/2001 -0400, you wrote:
> Good Morning- I've seen many posts to the list that mention a
>"certificate" in Museum Studies. I had never heard of this before. Can
>anyone please explain the difference between a certificate and a degree
>such as a MA? I'm guessing that the former takes less time to acquire. Do
>many universities offer a certificate now? Also, do the employers out
>there have an opinion on the issue when it comes to interviewing and
>hiring a potential new employee? Thank you- Julie Clark Dairy Barn
>Cultural Arts Center
Darlene Richardson
Historian & Archivist
Virginia Museum of Transportation
303 Norfolk Avenue, SW
Roanoke, VA 24016
Direct Phone #: (540) 767-4642
Fax: (540) 342-6898
mail to: [log in to unmask]
=========================================================
Important Subscriber Information:
The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
information about the listserv commands by sending a one line e-mail message
to [log in to unmask] . The body of the message should read "help"
(without the quotes).
If you decide to leave Museum-L, please send a one line e-mail message to
[log in to unmask] . The body of the message should read "Signoff
Museum-L" (without the quotes).
------------------------------
Date: Wed, 11 Jul 2001 11:18:12 -0400
From: "Schwabe, Diane" <[log in to unmask]>
Subject: Job Posting
> -----Original Message-----
> From: Schwabe, Diane
> Sent: Wednesday, July 11, 2001 11:15 AM
> To: [log in to unmask]
> Subject: Job Posting
>
>
>
>
> Please add the following notice to your job posting list.
>
> Thank you.
>
> Diane Schwabe
> Conservation Department Secretary
> Carnegie Museum of Art
> [log in to unmask]
>
>
>
> JOB POSTING
>
>
>
>
> To better serve the needs of the public and the long-term preservation of
> the collection, the Carnegie Museum of Art is embarking upon a major
> renovation and expansion project. This project requires the safe
> relocation of the collections to temporary locations on site, as well as
> to a possible off-site location. Most of the objects owned by the Museum,
> with the exception of prints, drawings and materials in the Heinz
> Architectural center, will be affected by the move. There are
> approximately 29,000 items ranging from Oriental ivories to contemporary
> paintings; the bulk of the collection is decorative arts items.
>
> The Conservation department is providing guidelines for safe rehousing of
> the collection and is making arrangements for complex treatment of
> unstable objects. We are in the process of hiring a Move Conservator who
> will be responsible for the day-to-day conservation aspects of the move of
> the collections. A Move Consultant is already on board.
>
> The Carnegie Museum of Art is seeking applicants for a conservation
> technician position. This person will assist the Move Conservator and the
> supervising staff Objects Conservator. Tasks include, but are not limited
> to: creating packages, compartmentalizing sealable boxes, dusting and
> bagging furniture, palletizing oversized objects, packing china, rehousing
> paintings.
>
> Prefer individual with excellent manual skills. Motivation to continue in
> the conservation field is desirable, experience (minimum one year)
> working within a conservation lab setting or under the supervision of a
> conservator is a plus. Undergraduate degree in studio arts or related
> field desired.
>
> Please send resume and letter of interest to:
> Diane Schwabe
> Conservation Secretary
> Carnegie Museum of Art
> 4400 Forbes Ave.
> Pittsburgh, PA 15213-4080
>
> Or email: [log in to unmask]
>
>
>
>
------------------------------
Date: Wed, 11 Jul 2001 10:53:48 -0500
From: Jerry Fahey <[log in to unmask]>
Subject: Re: archive conservation
Sebastiano,
Try the National Parks Service Museum Managment Program at
http://www.cr.nps.gov/csd/ .
Jerry Fahey
sebastiano barassi wrote:
> Dear listers,
>
> Can any of you suggest a good place - ideally a website - where I could
> find information on standards and guidlines for the conservation of
> archival material?
>
> Thank you for your help.
>
> Sebastiano Barassi
>
> =========================================================
> Important Subscriber Information:
>
> The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
information about the listserv commands by sending a one line e-mail message
to [log in to unmask] . The body of the message should read "help"
(without the quotes).
>
> If you decide to leave Museum-L, please send a one line e-mail message to
[log in to unmask] . The body of the message should read "Signoff
Museum-L" (without the quotes).
------------------------------
Date: Wed, 11 Jul 2001 11:46:26 -0400
From: "[log in to unmask]" <[log in to unmask]>
Subject: Re: Certificate vs. Degree
SOme places' certificate programs are targetted more toward technical
museum experience, ans provide a broad overview of the field of
museology, whereas a Masters degree may have a more academic research
specialty required as well (which as why they take longer). From programs
I know of, you would want to go for Masters of higher is you were
interested in curatorial work, where a certificate in many cases is more
suitable for collections management or administration. I suspect that is
changing as the field coninues to professionalize and organize itself.
I guess the definition is rather murky and you need to look at each
program individually to know just what their "angle" is.
Juliette Rogers
Stephen Phillips Trust House
Salem MA
On Wed, 11 Jul 2001, Julie Clark wrote:
> Good Morning-
>
> I've seen many posts to the list that mention a "certificate" in Museum
Studies. I had never heard of this before. Can anyone please explain the
difference between a certificate and a degree such as a MA? I'm guessing
that the former takes less time to acquire. Do many universities offer a
certificate now? Also, do the employers out there have an opinion on the
issue when it comes to interviewing and hiring a potential new employee?
>
> Thank you-
>
> Julie Clark
> Dairy Barn Cultural Arts Center
>
------------------------------
Date: Wed, 11 Jul 2001 09:37:24 -0700
From: Indigo Nights <[log in to unmask]>
Subject: Re: unsubscribe
You guys, your mom is probably not on this list, so
you're going to have to unsubscribe yourselves:
Third link down on this page:
http://home.ease.lsoft.com/archives/museum-l.html
And, if someone is wanting a resend of a digest, I
think you're going to have to go to the above page and
query the archives for the missing days.
Just a helpful hint for the neophytes on the list. I
keep a folder in my email called Registrations. Any
time I sign up for a list, I usually keep a copy of
the instructions in that folder. Then, if I need to
change my subscription or sign off, the info is close
at hand.
--- Jenna Whalen <[log in to unmask]> wrote:
<HR>
<html><DIV>
<P>signoff Museum-L<BR></P></DIV><br clear=all><hr>Get
Your Private, Free E-mail from MSN Hotmail at <a
href="http://www.hotmail.com">http://www.hotmail.com</a>.<br></p></html>
=========================================================
Important Subscriber Information:
The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may
obtain detailed information about the listserv
commands by sending a one line e-mail message to
[log in to unmask] . The body of the message
should read "help" (without the quotes).
If you decide to leave Museum-L, please send a one
line e-mail message to [log in to unmask] .
The body of the message should read "Signoff Museum-L"
(without the quotes).
=====
Indigo Nights
[log in to unmask]
__________________________________________________
Do You Yahoo!?
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------------------------------
Date: Wed, 11 Jul 2001 12:49:07 -0400
From: Jennifer Horner <[log in to unmask]>
Subject: Re: Certificate vs. Degree
As a recent graduate of the University of Delaware's American History and
Museum Studies certification program, (and speaking to other students who
are pursuing their degrees in Museum Studies) a certificate in museum
studies is usually pursed in conjunction with a degree in something else
(e.g. history, art or English). Here at U of DE, museum studies certificate
candidates are required to perform an internship, take a core course in the
"Leadership and Management of Museums," and then choose from at least two
other courses that focus on topics such as collections management, grant
writing, historic preservation, or museums and modern technology (to name a
few).
Jennifer Horner
Newark, DE
----- Original Message -----
From: "[log in to unmask]" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, July 11, 2001 11:46 AM
Subject: Re: Certificate vs. Degree
> SOme places' certificate programs are targetted more toward technical
> museum experience, ans provide a broad overview of the field of
> museology, whereas a Masters degree may have a more academic research
> specialty required as well (which as why they take longer). From programs
> I know of, you would want to go for Masters of higher is you were
> interested in curatorial work, where a certificate in many cases is more
> suitable for collections management or administration. I suspect that is
> changing as the field coninues to professionalize and organize itself.
>
> I guess the definition is rather murky and you need to look at each
> program individually to know just what their "angle" is.
>
> Juliette Rogers
> Stephen Phillips Trust House
> Salem MA
>
>
> On Wed, 11 Jul 2001, Julie Clark wrote:
>
> > Good Morning-
> >
> > I've seen many posts to the list that mention a "certificate" in Museum
Studies. I had never heard of this before. Can anyone please explain the
difference between a certificate and a degree such as a MA? I'm guessing
that the former takes less time to acquire. Do many universities offer a
certificate now? Also, do the employers out there have an opinion on the
issue when it comes to interviewing and hiring a potential new employee?
> >
> > Thank you-
> >
> > Julie Clark
> > Dairy Barn Cultural Arts Center
> >
>
> =========================================================
> Important Subscriber Information:
>
> The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
information about the listserv commands by sending a one line e-mail message
to [log in to unmask] . The body of the message should read "help"
(without the quotes).
>
> If you decide to leave Museum-L, please send a one line e-mail message to
[log in to unmask] . The body of the message should read "Signoff
Museum-L" (without the quotes).
------------------------------
Date: Wed, 11 Jul 2001 13:37:09 -0400
From: Michael Cahall <[log in to unmask]>
Subject: Re: Certificate vs. Degree
Dear Julie:
In terms of Duquesne University's Archives, Museum, and Editing
Program,
our certification process is for individuals who already have a masters
degree (usually in history) and want to get further training in the areas
covered by our program. These students do not have to take the history
courses required of our degree candidates. The certificate can be earned
in a year's time.
I hope this clears up the difference for you.
Sincerely,
Mike Cahall
At 10:27 AM 7/11/01 -0400, you wrote:
> Good Morning- I've seen many posts to the list that mention a
>"certificate" in Museum Studies. I had never heard of this before. Can
>anyone please explain the difference between a certificate and a degree
>such as a MA? I'm guessing that the former takes less time to acquire. Do
>many universities offer a certificate now? Also, do the employers out
>there have an opinion on the issue when it comes to interviewing and
>hiring a potential new employee? Thank you- Julie Clark Dairy Barn
>Cultural Arts Center
Michael Cahall, Ph.D.
Department of History
Duquesne University
[log in to unmask]
------------------------------
Date: Wed, 11 Jul 2001 14:26:03 -0400
From: Tatiana Kamorina <[log in to unmask]>
Subject: Advanced Certificate in Museum Studies
To all interested in Certificate Programs:
The Program in Museum Studies at New York University offers a 24-credit
program leading to the New York State Advanced Certificate in Museum
Studies.
Our graduates are working around the world in museums of fine arts,
history, anthropology, and natural history; in arboretums, national parks,
and science centers; with private and corporate collections; in government
agencies, historical societies, and art galleries.
The Program in committed to preparing museums professionals with a solid
disciplinary background. The Program must be combined with graduate study
in humanities, social sciences, or sciences. Those who already have an M.A.
or Ph.D. or who are enrolled, or will be enrolled, in graduate programs at
universities in the USA or abroad are eligible to apply.
The Program includes individual, project-based internships at one of the
more than 90 museums in metropolitan New York.
Also, the Graduate School of Arts and Science currently offers four Master
of Arts degrees with Concentration in Museum Studies, for those interested
in combining formal museological training with an area of specialization.
With Concentration in Museum Studies, the Master of Arts in Africana
Studies, the Master of Arts in Latin American and Caribbean Studies, the
Master of Arts in Near Eastern Studies, and Master of Arts in Hebrew and
Judaic Studies, are special 36-48 credit programs which may take three
semesters to complete.
For more information please contact the Program in Museum Studies, Graduate
School of Arts and Science, New York University, 726 Broadway, Suite 601,
New York, NY 10003.
Telephone: 212-998-8080
Fax: 212-995-4185
E-mail: [log in to unmask]
For current course schedule and updates please visit our web site at
http://www.nyu.edu/gsas/program/museum .
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Tatiana Kamorina
Administrative Coordinator
Program in Museum Studies
Graduate School of Arts and Science
New York University
726 Broadway, Suite 601
New York, NY 10003
Tel: (212) 998-8082
Fax: (212) 995-4185
E-mail: [log in to unmask]
Web site: http://www.nyu.edu/gsas/program/museum
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
------------------------------
Date: Wed, 11 Jul 2001 14:30:36 -0400
From: "Feltus, Pamela" <[log in to unmask]>
Subject: Rights question
We have alot of photographs from private collections (like family
scrapbooks) which over the past 40 years have been given to the museum.
Now, for all my years in this field I have never had a problem taking a
photo like these from the collection and using it in an exhibit, catalogue
or marketing materials. We have a new archivist who is saying that if people
did not sign a form releasing copyright when they donated, we can not use
it. Is this true? I know it would be if we had government photos or
something that is specifically copyrighted, but is a family picture of
grandpa that the family (or grandpa) donated to a museum?
Thanks!
Pamela Feltus
Curator
National Museum of American Jewish Military History
1811 R Street NW, Washington DC 20009
202-265-6280 x201
www.nmajmh.org
------------------------------
Date: Wed, 11 Jul 2001 20:51:21 +1200
From: Roger Smith <[log in to unmask]>
Subject: Scorpion woman has fever, Cave reveals spectacular secrets,
Schindler List Returned ?, Appalled by 'untidy' Museum,
History Written by Winners
Welcome to Global Museum, your free webzine read in more than 88 countries
each week. Online subscription. http://www.globalmuseum.org Don't forget
the G.M. Website of The Year Awards!
The international headlines in this week's (for the full story visit the
webzine) edition include:
** Scorpion woman has fever after repeated stings - the sequel to last
week's story
A Malaysian woman who has vowed to live in a locked museum room with 2,000
scorpions for a month has fever
** Cave reveals spectacular secrets
The major archaeological find, near the small village of Cussac, was made by
an amateur cave explorer . Plus a BBC video presentation
** Museum Web Awards attract 51 nominations
Global Museum's 2001 Web Awards have so far attracted 51 nominations to date
and the international judging panel are reviewing them. Nominations close at
the end of July and may be submitted online.
** £Michelangelo drawing could fetch 8 million
Two exquisite drawings by arguably the greatest artists in history are to be
offered for sale at separate auctions in London
** Schindler Widow Wants List Returned
Oskar Schindler's widow said Tuesday that Israel should return to Germany
his documents, including a list of some 1,200 Jewish prisoners
** Bronze age village saved from the diggers
Archaeologists have unearthed the remains of a British Bronze Age village
dating back 3,500 years
** Clock expert keeps towers ticking
In a sweltering room high in the Bromo Seltzer Tower, the Clock Man peers
through bifocals at a gear the size of his hand
____________________________________________________________________________
__
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forecasts, car rentals.. We provide competitive rates for more than 40,000
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** Divers preparing to raise engine from USS Monitor
The seawater soon extinguished the boilers' fire, cutting the power and
sending the ship 230 feet down to its grave
** Charles calls for cash to 'wean children off computers'
Speaking in the Round Reading Room at the British Museum in London, the
Prince spoke about the battle against video games
** Swamp yields moa haul in historic dig
Indications were that the forest swamp discovery - including many of the
200kg giant moa - was the most significant of the past 100 years
** Circus train arrives with its antique wagons for parade
Cheering spectators greeted a train carrying dozens of restored antique
circus wagons as it arrived Monday
____________________________________________________________________________
___
DVD: The Prado This collection features the jewels of the Prado, gathered
by the kings and queens of Spain, and shown in all their splendor
http://www.amazon.com/exec/obidos/ASIN/0810981475/drdrumsnotforpro
____________________________________________________________________________
____
** Medieval Transylvanian city wins the right to host Dracula Land theme
park
Sighisoara has won the right to host a multimillion dollar Dracula Land
theme park
** Undersea bonanza
A rich covering of sediment in the hull of the ship, particularly in Semmes'
quarters, had kept artifacts in remarkable condition
** Lombardo's kin appalled by 'untidy' museum
The family of the late bandleader has ordered London to stop using his name
and likeness to promote the museum because it is "substandard," and "small
and untidy."
** Raised Confederate Sub Reveals Gold Mine of History
Through her rubber gloves, she could feel its round shape and the ridges
along its edge
____________________________________________________________________________
___
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____________________________________________________________________________
___
** Vandals damage monument at Devil's Rope Museum
The balls came tumbling down at the Devil's Rope Museum on Sunday night
** Testimony ends in dispute over moving Frick family archives
The archives document the Frick family's life, the rise of industry, art
collecting in the gilded age and the Victorian era
** Exhibition to Show Japan's War Crimes
A total of 918 pieces of evidence will be presented to let visitors review
the 1894-1945 history
** History Is Written by the Winners
Former Chancellor Helmut Kohl's cardigan has gone into storage, replaced by
a leather jacket with pockets sturdy enough to carry rocks
** Mississippi museum unveils Gehry-designed, $16 million project
The centerpiece of the $16 million Ohr-O'Keefe Museum of Art will be a
gallery dedicated to the works of the "Mad Potter of Biloxi,"
** This Week's GLOBAL MUSEUM CAPTION CONTEST
** Feldberg Exhibition and Symposium at the University of Toronto
Self-portraits - Mirror or Mask?
____________________________________________________________________________
___
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____________________________________________________________________________
___
** From Negative To Positive
October 23-25, 2001 - Philadelphia PA
** The National Gallery of Canada pays tribute to a friend
** Brilliant: Navajo Germantown and Eyedazzler Textiles
** The Collections of Anthony & Susan Hardy and Sze Yuan Tang
Asian Civilisations Museum, Singapore
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http://www.globalmuseum.org
------------------------------
Date: Tue, 10 Jul 2001 17:09:34 -0500
From: Lisa Moellering <[log in to unmask]>
Subject: Volunteer handbooks,manuals....
Does anyone have volunteer handbooks, manuals, forms... - with policies,
etc... we are working on updating and would like guidance from those working
in this area.
Thanks very much.
Lisa Moellering
Holocaust Museum Houston
5401 Caroline Street
Houston, TX 77004
713/942-8000 ext. 120
fax: 713/942-7953
[log in to unmask]
------------------------------
Date: Wed, 11 Jul 2001 15:21:04 -0400
From: Michael MacDonald <[log in to unmask]>
Subject: Life Size Aminals for Temporary Exhibits
Dear Listers:
We are in the development and planning stages of a temporary exhibit that
will open in early 2003. In general, the exhibit focuses on the westward
expansion of the US and will feature many artifacts related to this period
in US history. The curator also wants to display a selction of life-size
(stuffed) animals commonly found on the Great Plains and in the Rocky
Mountains, including large mammals like grizzly bears, pronged horn
antalopes, buffalo, big horn sheep, as well as, a host of smaller animals
(badgers, prairie dogs, beavers, etc.).
Since we are a history museum and rarely deal with natural history
collections, I am wondering how to acquire these animals. For previous
exhibits we have have purchased coyotes, rabbits and snakes from local
taxidermists, but the number and types of animals needed for this
exhibit cannot be obtained locally.
Is there is an institution that is deals in loans of stuffed animals to
museums? If so, what is their address and phone number? Or, do natural
history museums use donated and/or purchased specimans for their
exhibition?
Any guidence and information related to this topic will be greatly
appreciated.
Thank you in advance.
Michael MacDonald
Assistant Registrar
Lyndon B. Johnson Library & Museum
2313 Red River St.
Austuin, TX 78705
(512) 916-5137 x-283
[log in to unmask]
------------------------------
Date: Wed, 11 Jul 2001 15:13:42 -0400
From: Mary Agnes Beach <[log in to unmask]>
Subject: curator contract
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Friends:
Our art museum is going to hire a curator for a single project -- to =
curate an exhibition that we hope to travel. What I am trying to find =
out is does the industry have a standard sort of contract for these =
sorts of business relationships? If anyone has a sample of one they =
can send me as an e-mail attachment I would be much obliged.
Mary Agnes
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Unicode">Friends:</FONT></DIV>
<DIV> </DIV>
<DIV><FONT color=3D#0000ff face=3D"Lucida Sans Unicode">Our art museum =
is going to=20
hire a curator for a single project -- to curate an exhibition that we =
hope to=20
travel. What I am trying to find out is does the industry have a =
standard=20
sort of contract for these sorts of business relationships? =
If=20
anyone has a sample of one they can send me as an e-mail attachment =
I would=20
be much obliged.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT color=3D#0000ff face=3D"Lucida Sans Unicode">Mary=20
Agnes</FONT></DIV></BODY></HTML>
------=_NextPart_000_0125_01C10A1C.12566B20--
------------------------------
Date: Wed, 11 Jul 2001 15:40:10 -0400
From: April Segadi/HR <[log in to unmask]>
Subject: Museum Director
MUSEUM DIRECTOR
Cheekwood Botanical Gardens and Museum of Art, Nashville TN.
Cheekwood seeks an engaging, motivated professional with skill in curating
exhibitions and a commitment to education as well as demonstrated
experiences in forging strong relationships with collectors, donors, staff,
and volunteers. Cheekwood recently completed an $18.5-million capital
campaign that resulted in site-wide improvements to the Museum of Art and
the Botanical Garden. Our collections of contemporary art, American
paintings and prints, Worcester porcelain, and silver have been enhanced by
the campaign, particularly with the establishment of the Carell Woodland
Sculpture Trail and new installation of art galleries. Cheekwood, the
largest private collecting museum in Nashville, is poised to expand its
collection as well as continue to broaden its appeal to the community at
large with innovative exhibitions and programs. The new director of the
Museum of Art will motivate and inspire a gifted staff that includes award-
winning exhibition curators and educators. S/he also will embrace the
benefit of the museum=92s location on a 55-acre estate designated as one of
the top five =93must see Southern gardens=94 by the editors of Southern
Living. Candidates will have obtained an advanced degree in art history,
arts administration, or management; at least five years=92 curatorial
experience; a specialization in education or modern/contemporary art; and
exceptional interpersonal and writing skills. Business and marketing
experience a plus. Interested candidates are encouraged to submit letter
of interest, curriculum vitae, and three references to:
Jane Jerry, President
Cheekwood Botanical Gardens and Museum of Art
1200 Forrest Park Drive
Nashville, TN 37205.
Cheekwood is an affirmative action, equal opportunity employer.
------------------------------
Date: Wed, 11 Jul 2001 15:17:28 -0500
From: Jerry Fahey <[log in to unmask]>
Subject: Mount-Making
Hello everyone,
I've just finished Mount-Making for Museum Objects from the Canadian
Conservation Institute. Although it has some very good information in
it, I'm looking for something a little more in-depth. More of a step by
step format. Particularly dealing with metal armatures and shaping
plexiglass. Anyone have any suggestions??
Thank you,
Jerry Fahey
Exhibits Designer
S.I.U.E.
------------------------------
Date: Wed, 11 Jul 2001 10:47:45 -0700
From: Ellen Kwan Lewis <[log in to unmask]>
Subject: Aerospace artifacts available for donation
Aerospace artifacts available for donation
The California Science Center is donating aerospace artifacts to any
interested museums. These items include; One Delta trailer (luggage
carrier), one Flying Tigers cargo container, one Flying Tigers cargo
carrier, one Union Oil Company truck, one Delta truck (baggage loader), and
one Hughes antenna satellite dish. Individual artifacts are being held at
the California Science Center and may be viewed by appointment. More
information on each item is also available via email, however at this time
please contact:
Eva Marie Ayala
[log in to unmask]
Telephone: 213.744.7616
Fax: 213.744.7579
California Science Center
Special Exhibitions Department, #128
700 State Drive
Los Angles, CA 90037
------------------------------
Date: Wed, 11 Jul 2001 16:33:17 -0400
From: Amy Phillips <[log in to unmask]>
Subject: acknowledging gifts
I'm very new to the world of Development in a museum setting, and just
today located this list service. I'm not sure if this is an appropriate
request in this forum, but here goes.
Part of my position is involved with acknowledging the gifts that are
bestowed on our museum. Unlike my last position where most of the
acknowledgments were formalized "cards", the method here is far more
towards customization and personalization of letters. Until such time
as I can locate a book or other material with suggestions for text, I'm
hoping that some folks on this service are willing to share some samples
from their site. I would be most grateful for any and all suggestions,
as well as recommendations for literature on typical acknowledgment
text.
Many thanks!
Amy
------------------------------
Date: Wed, 11 Jul 2001 16:36:10 -0400
From: John Suau <[log in to unmask]>
Subject: Museums and HIV Communities
I need your help!
In an attempt to move beyond "A Day without Art" - an initiative that many
international art museums observe in commemoration of AIDS victims - I am
working with the AAM AIDS Network leaders to identify museums that work with
HIV+ communities (people who are now living with HIV), or organizations that
serve those communities, to assist them with raising awareness and/or funds
through programming and/or fundraising events. Does any institution come to
mind? Thanks for your assistance!
John T. Suau, Manager
Meetings, Professional Education and Diversity
American Association of Museums
1575 Eye Street, NW - Suite 400
Washington, DC 20005
(202) 218-7676 (t)
(202) 289-6578 (f)
[log in to unmask]
Click to our new Annual Meeting web site at http://www.aam-us.org
> -----Original Message-----
> From: Amy Phillips [mailto:[log in to unmask]]
> Sent: Wednesday, July 11, 2001 4:33 PM
> To: [log in to unmask]
> Subject: acknowledging gifts
>
>
> I'm very new to the world of Development in a museum setting, and just
> today located this list service. I'm not sure if this is an
> appropriate
>
> request in this forum, but here goes.
>
> Part of my position is involved with acknowledging the gifts that are
> bestowed on our museum. Unlike my last position where most of the
> acknowledgments were formalized "cards", the method here is far more
> towards customization and personalization of letters. Until such time
> as I can locate a book or other material with suggestions for
> text, I'm
> hoping that some folks on this service are willing to share
> some samples
>
> from their site. I would be most grateful for any and all
> suggestions,
> as well as recommendations for literature on typical acknowledgment
> text.
>
> Many thanks!
>
> Amy
>
> =========================================================
> Important Subscriber Information:
>
> The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
information about the listserv commands by sending a one line e-mail message
to [log in to unmask] . The body of the message should read "help"
(without the quotes).
If you decide to leave Museum-L, please send a one line e-mail message to
[log in to unmask] . The body of the message should read "Signoff
Museum-L" (without the quotes).
------------------------------
Date: Wed, 11 Jul 2001 16:37:44 -0400
From: Robert Panzer <[log in to unmask]>
Subject: Re: Rights question
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Regarding Pamela Feltus's questions about copyright:
While the questions seem basic, the answers are actually complex. As a =
general statement, the Museum's archivist is correct in saying that if =
there is no written transfer of rights (or at least a license to use the =
images) then the images should not be used without obtaining permission =
from the rights holder (presumably the photographer, but not =
necessarily). This would be most definitely true for photos created =
after 1978. For photos published (not created) prior to 1978 but post =
1923, the law is significantly more complex, and rights depend on many =
factors such as, publication date, whether the image was registered or =
re-registered, copyright notice placement, etc. One basic rule: If the =
Museum knows that the photo was first published prior to 1923, then it =
is in the public domain in the US, but not necessarily in foreign =
countries.=20
It is a good idea to hire a copyright attorney to provide basic advice =
on the law, and to help develop a policy on how and under what =
circumstances due diligence is required. If the Museum is not able to =
hire counsel, it is probably best to be conservative. A broad rule of =
thumb would be to try to locate a rights holder if the work was =
published between 1923 and 1978. For works published after '78, =
definitely locate the rights holder. Post 1978 copyright protection =
lasts for 70 years after the death of the photographer. If the rights =
holder is a business, the right last for 95 years after first =
publication.
It should be noted that the word "copyrighted" does not necessarily mean =
that someone has registered the copyright with the Copyright Office in =
Washington. Prior to 1978 and post 1923, copyright was awarded at =
creation. For some of those years, it was a requirement to renew (not =
register) the copyright, though there were (and still are) incentives to =
register prior to publication. Since 1978, there has been no =
requirement to register or renew. Copyright is now awarded upon =
creation.
Ms. Feltus writes about the use of photos in exhibits, catalogues, and =
marketing materials. Unless the donor of the photos stipulated =
otherwise, the Museum would certainly have the right to display the =
photos it owns. Even reproducing a photo and hanging the reproduction =
might be acceptable under Fair Use. A museum might do this in order to =
preserve the original photo, which might be in poor condition. =
Catalogues and marketing materials would probably need to be cleared. =
Some museum professionals however, believe such uses are Fair Uses =
under the copyright law. Fair Use means that under some circumstances, =
such as for certain types of educational uses, rights do not need to be =
cleared (To read the Fair Use clause of the Copyright Act, go to =
http://www.loc.gov/copyright/title17/92chap1.html#107).
Finally, the fact that the photographs are of families, has no effect on =
the copyright status of the images. I should end by indicating that I am =
the Executive Director of VAGA (Visual Artists and Galleries =
Association), a copyright collective, which protects and administers =
copyrights for fine artists.
Sincerely,
Robert Panzer
VAGA=20
350 Fifth Avenue
Suite 6305
New York, NY 10118
tel. 212 736 6666
fax. 212 736 6767
E-mail. [log in to unmask]
----- Original Message -----=20
From: Feltus, Pamela=20
To: [log in to unmask]
Sent: Wednesday, July 11, 2001 2:30 PM
Subject: Rights question
We have alot of photographs from private collections (like family
scrapbooks) which over the past 40 years have been given to the =
museum.
Now, for all my years in this field I have never had a problem taking =
a
photo like these from the collection and using it in an exhibit, =
catalogue
or marketing materials. We have a new archivist who is saying that if =
people
did not sign a form releasing copyright when they donated, we can not =
use
it. Is this true? I know it would be if we had government photos or
something that is specifically copyrighted, but is a family picture of
grandpa that the family (or grandpa) donated to a museum?
Thanks!
Pamela Feltus
Curator
National Museum of American Jewish Military History
1811 R Street NW, Washington DC 20009
202-265-6280 x201
www.nmajmh.org
=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D
Important Subscriber Information:
The Museum-L FAQ file is located at =
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed =
information about the listserv commands by sending a one line e-mail =
message to [log in to unmask] . The body of the message should =
read "help" (without the quotes).
If you decide to leave Museum-L, please send a one line e-mail message =
to [log in to unmask] . The body of the message should read =
"Signoff Museum-L" (without the quotes).
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Regarding Pamela Feltus's questions =
about=20
copyright:</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>While the questions seem basic, the =
answers are=20
actually complex. As a general statement, the Museum's archivist =
is=20
correct in saying that if there is no written transfer of rights (or at =
least a=20
license to use the images) then the images should not be used without =
obtaining=20
permission from the rights holder (presumably the photographer, but not=20
necessarily). This would be most definitely true for =
photos created=20
after 1978. For photos published (not created) prior to 1978 but post =
1923, the=20
law is significantly more complex, and rights depend on many factors =
such as,=20
publication date, whether the image was registered or re-registered, =
copyright=20
notice placement, etc. </FONT><FONT face=3DArial size=3D2> One =
basic rule: If=20
the Museum knows that the photo was first published prior to 1923, then =
it is in=20
the public domain in the US, but not necessarily in foreign=20
countries. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>It is a good idea to hire a copyright =
attorney=20
to provide basic advice on the law, and to help develop a policy on =
how and=20
under what circumstances due diligence is required. If the=20
Museum is not able to hire counsel, it is probably =
best to be=20
conservative. A broad rule of thumb would be to try to locate =
a=20
rights holder if the work was published between 1923 and =
1978. For=20
works published after '78, definitely locate the rights holder. Post =
1978 =20
copyright protection lasts for 70 years after the death of the=20
photographer. If the rights holder is a business, the right last=20
for 95 years after first publication.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>It should be noted that the word =
"copyrighted" does=20
not necessarily mean that someone has registered the copyright with the=20
Copyright Office in Washington. Prior to 1978 and post 1923, =
copyright was=20
awarded at creation. For some of those years, it was a requirement =
to=20
renew (not register) the copyright, though there were (and still are) =
incentives=20
to register prior to publication. Since 1978, there has been no=20
requirement to register or renew. Copyright is now awarded upon=20
creation.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>Ms. Feltus writes about the use =
of photos in=20
exhibits, catalogues, and marketing materials. Unless the donor of =
the=20
photos stipulated otherwise, the Museum would certainly have the right =
to=20
display the photos it owns. Even reproducing a photo and hanging =
the=20
reproduction might be acceptable under Fair Use. A museum=20
might do this in order to preserve the original photo, which might =
be in=20
poor condition. Catalogues and marketing materials would probably =
need to=20
be cleared. Some museum professionals however, believe such =
uses are=20
Fair Uses under the copyright law. Fair Use means that under some=20
circumstances, such as for certain types of educational uses, rights do =
not=20
need to be cleared (To read the Fair Use clause of the Copyright Act, go =
to <A=20
href=3D"http://www.loc.gov/copyright/title17/92chap1.html#107">http://www=
.loc.gov/copyright/title17/92chap1.html#107</A>).</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>Finally, the fact that the photographs =
are of=20
families, has no effect on the copyright status of the images. I =
should end=20
by indicating that I am the Executive Director of VAGA (Visual Artists =
and=20
Galleries Association), a copyright collective, which protects and =
administers=20
copyrights for fine artists.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>Sincerely,</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>Robert Panzer</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>VAGA <BR>350 Fifth Avenue<BR>Suite =
6305<BR>New=20
York, NY 10118<BR>tel. 212 736 6666<BR>fax. 212 736 =
6767<BR>E-mail. <A=20
href=3D"mailto:[log in to unmask]">[log in to unmask]</A></FONT><=
/DIV>
<DIV> </DIV>
<BLOCKQUOTE=20
style=3D"BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
<DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV=20
style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
<A href=3D"mailto:[log in to unmask]" [log in to unmask]>Feltus, =
Pamela</A>=20
</DIV>
<DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
href=3D"mailto:[log in to unmask]"=20
[log in to unmask]>[log in to unmask]</A> =
</DIV>
<DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Wednesday, July 11, 2001 =
2:30=20
PM</DIV>
<DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Rights question</DIV>
<DIV><BR></DIV>We have alot of photographs from private collections =
(like=20
family<BR>scrapbooks) which over the past 40 years have been given to =
the=20
museum.<BR><BR>Now, for all my years in this field I have never had a =
problem=20
taking a<BR>photo like these from the collection and using it in an =
exhibit,=20
catalogue<BR>or marketing materials. We have a new archivist who is =
saying=20
that if people<BR>did not sign a form releasing copyright when they =
donated,=20
we can not use<BR>it. Is this true? I know it would be if we had =
government=20
photos or<BR>something that is specifically copyrighted, but is a =
family=20
picture of<BR>grandpa that the family (or grandpa) donated to a=20
museum?<BR><BR>Thanks!<BR><BR>Pamela Feltus<BR>Curator<BR>National =
Museum of=20
American Jewish Military History<BR>1811 R Street NW, Washington DC=20
20009<BR>202-265-6280 x201<BR><BR><A=20
=
href=3D"http://www.nmajmh.org">www.nmajmh.org</A><BR><BR>=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D<BR>Important=20
Subscriber Information:<BR><BR>The Museum-L FAQ file is located at <A=20
=
href=3D"http://www.finalchapter.com/museum-l-faq/">http://www.finalchapte=
r.com/museum-l-faq/</A>=20
. You may obtain detailed information about the listserv commands by =
sending a=20
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quotes).<BR><BR>If you=20
decide to leave Museum-L, please send a one line e-mail message to <A=20
=
href=3D"mailto:[log in to unmask]">[log in to unmask]
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------=_NextPart_000_001A_01C10A27.CF89C740--
------------------------------
Date: Wed, 11 Jul 2001 15:37:36 -0500
From: Janice Klein <[log in to unmask]>
Subject: Re: Labelling artifacts
There are several excellent sources for artifact labeling information,
starting with The New Museum Registration Methods. The Registrars Committee
has published two handbooks (Beyond Finger Nail Polish I and II) that are
available by containing Bill Tompkins at the Smithsonian ([log in to unmask]).
Janice Klein
Director
Mitchell Museum of the American Indian, Kendall College
[log in to unmask]
-----Original Message-----
From: Katherine Neustadt <[log in to unmask]>
To: [log in to unmask] <[log in to unmask]>
Date: Tuesday, July 10, 2001 11:30 PM
Subject: Labelling artifacts
>Hello. I am new to the list and would like to say hello to everyone out
>there in cyberspace.
>I have a question regarding methods of labelling artifacts. Does anyone
>have any information about the use of clear nail polish as a base & top
coat
>for labelling archaeological artifacts. I have always been under the
>impression that it was not an acceptable practice, but my supervisor wants
>us to use it to save on cost.
>Advice, comments, etc. greatly appreciated.
>Thanks,
>Kae
>
>K.E. Neustadt, Lab Manager
>Northland Research, Inc.
>2510 S. Rural, Ste. 108
>Tempe, AZ 85282
>(480) 736-0501
>(480) 894-0957 fax
>
>_________________________________________________________________
>Get your FREE download of MSN Explorer at http://explorer.msn.com
>
>=========================================================
>Important Subscriber Information:
>
>The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
information about the listserv commands by sending a one line e-mail message
to [log in to unmask] . The body of the message should read "help"
(without the quotes).
>
>If you decide to leave Museum-L, please send a one line e-mail message to
[log in to unmask] . The body of the message should read "Signoff
Museum-L" (without the quotes).
------------------------------
Date: Wed, 11 Jul 2001 14:36:52 -0700
From: Kimberly Kenney <[log in to unmask]>
Subject: Re: Rights question
It is my understanding that when anything is donated
to the museum, the donor gives up all rights to it
unless otherwise specified. The Deed of Gift should
be explicit about what a donation to the museum means.
To me, a photo album is no different than the quilt
grandma stitched -- if they were donated to the
museum, they are the property of the museum, and can
be accessed for research, exhibitions, programs, etc.
Kimberly Kenney
Curator
Historical Society of Rockland County
New City, NY
--- "Feltus, Pamela" <[log in to unmask]> wrote:
> We have alot of photographs from private collections
> (like family
> scrapbooks) which over the past 40 years have been
> given to the museum.
>
> Now, for all my years in this field I have never had
> a problem taking a
> photo like these from the collection and using it in
> an exhibit, catalogue
> or marketing materials. We have a new archivist who
> is saying that if people
> did not sign a form releasing copyright when they
> donated, we can not use
> it. Is this true? I know it would be if we had
> government photos or
> something that is specifically copyrighted, but is a
> family picture of
> grandpa that the family (or grandpa) donated to a
> museum?
>
> Thanks!
>
> Pamela Feltus
> Curator
> National Museum of American Jewish Military History
> 1811 R Street NW, Washington DC 20009
> 202-265-6280 x201
>
> www.nmajmh.org
>
>
=========================================================
> Important Subscriber Information:
>
> The Museum-L FAQ file is located at
> http://www.finalchapter.com/museum-l-faq/ . You may
> obtain detailed information about the listserv
> commands by sending a one line e-mail message to
> [log in to unmask] . The body of the
> message should read "help" (without the quotes).
>
> If you decide to leave Museum-L, please send a one
> line e-mail message to [log in to unmask]
> . The body of the message should read "Signoff
> Museum-L" (without the quotes).
__________________________________________________
Do You Yahoo!?
Get personalized email addresses from Yahoo! Mail
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------------------------------
Date: Wed, 11 Jul 2001 16:50:39 -0500
From: Lori Allen <[log in to unmask]>
Subject: Re: Certificate vs. Degree
This is a multi-part message in MIME format.
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charset="iso-8859-1"
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Julie,
When deciding on my graduate course of study, I found a book called Museums:
A Place to Work, Planning Museum Careers. It is by Jane R. Glaser with
Artemis A. Zenetou. I got it from the AAM bookstore (online at the
website). Chapter 8 discusses "Training and preparation" and states: "Many
of the best programs offer master's degrees in a discipline with a
certificate in Museum Studies." Later in the chapter the author(s) state
that "Programs (Museum Studies) may be oriented toward history, the
sciences, anthropology or art, for example, or they may have important
strengths in such work areas as curatorship, museum education, or
management".
What I gathered from my reading this and other sources is that an MA/MS in a
discipline is still preferred in most situations over a Masters in Museum
Studies. Many people who already have masters or PhD.'s are going back for
the specialized training in a Museum Studies Certificate Program. Lots of
us are seeking the certificate in conjunction with a MA in a discipline. My
certificate program is a joint offering by the departments of History, Art
History and Anthropology. It is geared towards the study of Museology with
courses in curatorship, principles and practices, visitor services,
education, management, etc. My MA will be in in History. It is a 2 year
program (if you go full time). Most people are working in my program and so
it takes about 3 years to complete.
According to the above mentioned book, Museum Studies programs have been
around since the 1920's, but I had not heard of them either until I started
my research (so don't feel alone). Plus, I don't think they were generally
accepted as valid courses of study until just recently. Ironically, I used
to work at a non-profit gallery in which the director had a Masters in
Museum Studies from UC-Berkley and she was in her 40's or 50's then (10
years ago), but I didn't even remember this until I was accepted.
By the way, my program is at the University of Missouri - St. Louis
(http://www.UMSL) Hope this info helps.
Best of Luck,
Lori Allen,
Graduate Student, UMSL
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<BODY>
<DIV align=3Dleft><FONT size=3D2><SPAN=20
class=3D790330621-11072001>Julie,</SPAN></FONT></DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN=20
class=3D790330621-11072001></SPAN></FONT> </DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN class=3D790330621-11072001>When =
deciding on my=20
graduate course of study, I found a book called <U>Museums: A Place =
to=20
Work, Planning Museum Careers</U>. It is by Jane R. Glaser with =
Artemis A.=20
Zenetou. I got it from the AAM bookstore (online at the=20
website). Chapter 8 discusses "Training and =
preparation"=20
and states: "Many of the best programs offer master's degrees in a =
discipline=20
with a certificate in Museum Studies." Later in the chapter the =
author(s)=20
state that "Programs (Museum Studies) may be oriented toward history,=20
the sciences, anthropology or art, for example, or they may =
have=20
important strengths in such work areas as curatorship, museum education, =
or=20
management".</SPAN></FONT></DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN=20
class=3D790330621-11072001></SPAN></FONT> </DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN class=3D790330621-11072001>What I =
gathered from=20
my reading this and other sources is that an MA/MS in a discipline =
is still=20
preferred in most situations over a Masters in Museum Studies. =
Many people=20
who already have masters or PhD.'s are going back for the specialized =
training=20
in a Museum Studies Certificate Program. Lots of us are seeking =
the=20
certificate in conjunction with a MA in a discipline. My =
certificate=20
program is a joint offering by the departments of History, Art =
History and=20
Anthropology. It is geared towards the study of Museology with =
courses in=20
curatorship, principles and practices, visitor services, education, =
management,=20
etc. My MA will be in in History. It is a 2 year =
program (if=20
you go full time). Most people are working in my program and so it =
takes=20
about 3 years to complete. </SPAN></FONT></DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN=20
class=3D790330621-11072001></SPAN></FONT> </DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN =
class=3D790330621-11072001>According to the=20
above mentioned book, Museum Studies programs have been around since the =
1920's,=20
but I had not heard of them either until I started my research (so =
don't=20
feel alone). Plus, I don't think they were generally accepted as =
valid=20
courses of study until just recently. Ironically, I used to work =
at a=20
non-profit gallery in which the director had a Masters in Museum Studies =
from=20
UC-Berkley and she was in her 40's or 50's then (10 years ago), but I =
didn't=20
even remember this until I was accepted. </SPAN></FONT></DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN=20
class=3D790330621-11072001></SPAN></FONT> </DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN class=3D790330621-11072001>By the =
way, my=20
program is at the University of Missouri - St. Louis (<A=20
href=3D"http://www.UMSL">http://www.UMSL</A>) Hope this info =
helps. =20
</SPAN></FONT></DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN=20
class=3D790330621-11072001></SPAN></FONT> </DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN class=3D790330621-11072001>Best =
of=20
Luck,</SPAN></FONT></DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN=20
class=3D790330621-11072001></SPAN></FONT> </DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN=20
class=3D790330621-11072001></SPAN></FONT> </DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN class=3D790330621-11072001>Lori=20
Allen,</SPAN></FONT></DIV>
<DIV align=3Dleft><FONT size=3D2><SPAN =
class=3D790330621-11072001>Graduate Student,=20
UMSL</SPAN></FONT></DIV></BODY></HTML>
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------------------------------
Date: Wed, 11 Jul 2001 17:28:21 -0700
From: Lucy Sperlin Skjelstad <[log in to unmask]>
Subject: Re: Certificate vs. Degree
Julie,
All respondents so far have mentioned a certificate program in
conjunction with a Master's Degree, or at least at the post graduate
level.
Sometimes a certificate is given at the Bachelor's Degree level, again
as a sub field or specialty in a regular degree program such as
Anthropology or History. I personally think that it is not a good way
to enter the museum field, but if someone is super interested in museums
at the under grad level, and is going on for a Master's, it may have
merit in adding "weight" to a person's total package of museum specific
academic work.
Lucy Sperlin
Michael Cahall wrote:
>
> Dear Julie:
>
> In terms of Duquesne University's Archives, Museum, and Editing
Program,
> our certification process is for individuals who already have a masters
> degree (usually in history) and want to get further training in the areas
> covered by our program. These students do not have to take the history
> courses required of our degree candidates. The certificate can be earned
> in a year's time.
>
> I hope this clears up the difference for you.
>
> Sincerely,
>
> Mike Cahall
>
> At 10:27 AM 7/11/01 -0400, you wrote:
> > Good Morning- I've seen many posts to the list that mention a
> >"certificate" in Museum Studies. I had never heard of this before. Can
> >anyone please explain the difference between a certificate and a degree
> >such as a MA? I'm guessing that the former takes less time to acquire.
Do
> >many universities offer a certificate now? Also, do the employers out
> >there have an opinion on the issue when it comes to interviewing and
> >hiring a potential new employee? Thank you- Julie Clark Dairy Barn
> >Cultural Arts Center
> Michael Cahall, Ph.D.
> Department of History
> Duquesne University
> [log in to unmask]
>
> =========================================================
> Important Subscriber Information:
>
> The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
information about the listserv commands by sending a one line e-mail message
to [log in to unmask] . The body of the message should read "help"
(without the quotes).
>
> If you decide to leave Museum-L, please send a one line e-mail message to
[log in to unmask] . The body of the message should read "Signoff
Museum-L" (without the quotes).
------------------------------
Date: Wed, 11 Jul 2001 22:26:36 -0500
From: Amy Einspahr <[log in to unmask]>
Subject: Beatrice Cenci
This is a multi-part message in MIME format.
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Hello all -=20
First, a brief word of introduction:=20
I am a graduate student at South Dakota State University in Brookings, =
South Dakota, currently researching my thesis topic which concerns the =
influence of Beatrice Cenci in American literature.
Cenci was an Italian noble woman who, along with her mother and brother, =
allegedly hired killers to murder her violent and abusive father in the =
1590's. In 1599 Beatrice was publicaly beheaded in Rome. Her mother =
and brother were executed as well. =20
My question for you is in regards to a painting, originally attributed =
to Guido Reni, that was thought to be of "poor Beatrice." One legend =
that I came across states that some years after Beatrice's death, this =
mysterious painting surfaced and someone identified the subject as "that =
poor Cenci girl." The name stuck. A copy of this painting is at =
http://www.artepadova.com/eventi/Guercino/Guercino_2.htm .
My initial research has revealed that art scholars have proven that Reni =
was not the artist who painted the portrait, but I have been unable to =
discern whether anyone has made any further discoveries/guesses as to =
who might have painted the portrait or who the subject of the portrait =
might be. I would appreciate any help any of you might be able to offer =
me. =20
My second question is for those of you familiar with the "Cenci =
portrait." Recently I ran across a copy of Johannes Vermeer's portrait =
Girl With a Pearl Earring, and I found a striking similarity with the =
girl in the "Cenci portrait." I am wondering if anyone else has seen =
this similarity. You can view Girl With a Pearl Earring at: =
http://www.mystudios.com/vermeer/12/vermeer-girl-pearl-earring.html .
The research that I have done on Beatrice thus far has been hit and =
miss. I have found few resources that corroborate. It seems as if =
every author or researcher has a different version of the legend and a =
different story about the painting. I believe the painting is now =
housed in the National Gallery of Art in Rome, but not all of my sources =
agree on even that point! I would greatly appreciate any guidance any =
of you might be able to offer me. Thank you in advance for your =
assistance.
Sincerely,
Amy Einspahr =20
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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Hello all - </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>First, a brief word of=20
introduction: </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>I am a graduate student at South Dakota =
State=20
University in Brookings, South Dakota, currently researching my thesis =
topic=20
which concerns the influence of Beatrice Cenci in American=20
literature.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Cenci was an Italian noble woman who, =
along with=20
her mother and brother, allegedly hired killers to murder her violent =
and=20
abusive father in the 1590's. In 1599 Beatrice was publicaly =
beheaded in=20
Rome. Her mother and brother were executed as=20
well. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>My question for you is =
in regards to=20
a painting, originally attributed to Guido Reni, that was thought to be =
of "poor=20
Beatrice." One legend that I came across states that some years =
after=20
Beatrice's death, this mysterious painting surfaced and someone =
identified the=20
subject as "that poor Cenci girl." The name stuck. A copy of =
this=20
painting is at <A=20
href=3D"http://www.artepadova.com/eventi/Guercino/Guercino_2.htm">http://=
www.artepadova.com/eventi/Guercino/Guercino_2.htm</A>=20
.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>My initial research has revealed that =
art scholars=20
have proven that Reni was not the artist who painted the portrait, but I =
have=20
been unable to discern whether anyone has made any further =
discoveries/guesses=20
as to who might have painted the portrait or who the subject of the =
portrait=20
might be. I would appreciate any help any of you might be able to =
offer=20
me. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>My second question is for those of you =
familiar=20
with the "Cenci portrait." Recently I ran across a copy of =
Johannes=20
Vermeer's portrait <EM>Girl With a Pearl Earring</EM>, and I found a =
striking=20
similarity with the girl in the "Cenci portrait." I am wondering =
if anyone=20
else has seen this similarity. You can view <EM>Girl With a Pearl=20
Earring</EM> at: <A=20
href=3D"http://www.mystudios.com/vermeer/12/vermeer-girl-pearl-earring.ht=
ml">http://www.mystudios.com/vermeer/12/vermeer-girl-pearl-earring.html</=
A>=20
.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>The research that I have done on =
Beatrice thus far=20
has been hit and miss. I have found few resources that=20
corroborate. It seems as if every author or researcher has a =
different=20
version of the legend and a different story about=20
the painting. I believe the painting is now housed in =
the=20
National Gallery of Art in Rome, but not all of my sources agree on =
even=20
that point! I would greatly appreciate any guidance any of =
you might=20
be able to offer me. Thank you in advance for your=20
assistance.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Sincerely,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Amy =
Einspahr </FONT></DIV></BODY></HTML>
------=_NextPart_000_0028_01C10A58.8C13EB40--
------------------------------
Date: Wed, 11 Jul 2001 21:37:36 -0400
From: Steven Bush <[log in to unmask]>
Subject: Re: Rights question
PLEASE PLEASE PLEASE DO NOT GO ON THIS ASSUMPTION!!!!!
Kimberly Kenney wrote:
> It is my understanding that when anything is donated
> to the museum, the donor gives up all rights to it
> unless otherwise specified. The Deed of Gift should
> be explicit about what a donation to the museum means.
> To me, a photo album is no different than the quilt
> grandma stitched -- if they were donated to the
> museum, they are the property of the museum, and can
> be accessed for research, exhibitions, programs, etc.
>
> Kimberly Kenney
> Curator
> Historical Society of Rockland County
> New City, NY
>
> --- "Feltus, Pamela" <[log in to unmask]> wrote:
> > We have alot of photographs from private collections
> > (like family
> > scrapbooks) which over the past 40 years have been
> > given to the museum.
> >
> > Now, for all my years in this field I have never had
> > a problem taking a
> > photo like these from the collection and using it in
> > an exhibit, catalogue
> > or marketing materials. We have a new archivist who
> > is saying that if people
> > did not sign a form releasing copyright when they
> > donated, we can not use
> > it. Is this true? I know it would be if we had
> > government photos or
> > something that is specifically copyrighted, but is a
> > family picture of
> > grandpa that the family (or grandpa) donated to a
> > museum?
> >
> > Thanks!
> >
> > Pamela Feltus
> > Curator
> > National Museum of American Jewish Military History
> > 1811 R Street NW, Washington DC 20009
> > 202-265-6280 x201
> >
> > www.nmajmh.org
> >
> >
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End of MUSEUM-L Digest - 10 Jul 2001 to 11 Jul 2001 (#2001-190)
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