> ----------
> From: Automatic digest processor
> Reply To: Museum discussion list
> Sent: Mercredi 19 Avril 2000 4:08 PM
> To: Recipients of MUSEUM-L digests
> Subject: MUSEUM-L Digest - 17 Apr 2000 to 18 Apr 2000 (#2000-110)
>
> There are 18 messages totalling 1345 lines in this issue.
>
> Topics of the day:
>
> 1. Collecting decisions (was school books & non-collecting) (2)
> 2. non-collecting facilities (3)
> 3. A museum by any other name (nee: non-collections institutions)
> 4. CCAHA Workshop Announcement
> 5. Marking of Objects (4)
> 6. conservation?
> 7. Fw: Museum Exhibit Designer Job
> 8. summer employment opportunity
> 9. Thanks
> 10. Legal Issues in Experiential Education Workshop
> 11. Looking for an education opening
> 12. Tourism, Culture, and the Arts: Partnerships for the New Economy -
> learning opportunity
>
> =========================================================
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>
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> ----------------------------------------------------------------------
>
> Date: Mon, 17 Apr 2000 18:09:54 -0700
> From: "Olivia S. Anastasiadis" <[log in to unmask]>
> Subject: Re: Collecting decisions (was school books & non-collecting)
>
> This talk of textbooks and recycling makes me think of a big bonfire.
> Does that count? Must've been that Lord of the Flies book.
>
> O
> Olivia S. Anastasiadis, Curator
> Richard Nixon Library & Birthplace
> 18001 Yorba Linda Blvd.
> Yorba Linda, CA 92886
> (714) 993-5075 ext. 224; (714) 528-0544
>
>
> On Sat, 15 Apr 2000 14:57:54 EDT Annmarie Zan <[log in to unmask]>
> writes:
> > Just a question. Has anyone done any research on how the
> > availability of recycling has affected the number of textbooks and
> other
> > contemporary books and journals are available? May these be rarer than
> they were in the
> > past?
>
> > Just a thought. Annmarie
> >
> > =========================================================
> > 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
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> >
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>
>
> ________________________________________________________________
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> ------------------------------
>
> Date: Mon, 17 Apr 2000 17:48:33 -0700
> From: "Olivia S. Anastasiadis" <[log in to unmask]>
> Subject: Re: non-collecting facilities
>
> I remember when as a grad student we discussed the issue of
> non-collecting facilities; I noted that for the most part, non-collecting
> agencies distinguished themselves as "Center" or "Gallery." These
> centers or galleries were there for the benefit of a traveling
> exhibition, or an educational program for the local kids. These centers
> and galleries would for the most part be affiliated with the city or
> county and they would be subsidized by the city or county (or the state)
> through grants. Memberships were available. So these centers would
> pretty much be managed like a museum, where memberships were offered,
> rental of the facility was available, a program of changing exhibits and
> lectures with educational programs for kids were offered. These centers
> and galleries are very successful in bringing together the community.
> What I am saying is that we already have a "NAMING" system for
> institutions that do not collect. They also emphasize in their mission
> statements that they are non-collecting. But if those centers and
> galleries do decide to collect, then they can get their board together,
> and discuss amending the mission statement. I am grateful that there
> are institutions such as this because they can be very flexible in the
> type of shows they can bring to their audience (the Fullerton Museum
> Center is a darned good one), from science to history to art; me I'm
> stuck with Presidential history (of course some times I can tweak in an
> art show, but it still has to be related somehow to our mission).
>
> O
> Olivia S. Anastasiadis, Curator
> Richard Nixon Library & Birthplace
> 18001 Yorba Linda Blvd.
> Yorba Linda, CA 92886
> (714) 993-5075 ext. 224; (714) 528-0544
>
> ________________________________________________________________
> YOU'RE PAYING TOO MUCH FOR THE INTERNET!
> Juno now offers FREE Internet Access!
> Try it today - there's no risk! For your FREE software, visit:
> http://dl.www.juno.com/get/tagj.
>
> ------------------------------
>
> Date: Mon, 17 Apr 2000 18:07:51 -0700
> From: "Olivia S. Anastasiadis" <[log in to unmask]>
> Subject: Re: A museum by any other name (nee: non-collections
> institutions)
>
> On Sat, 15 Apr 2000 16:18:55 -0400 Regina Bacote <[log in to unmask]>
> writes:
> > .... The firm that did the study said 'museum' is becoming an unpopular
> label. People no longer want to visit a museum, they want a 'Center' or
> something else........
>
> > Jerrie,
> > I also think the word "Center" is being overused in this day and time
> and confusing people as to what exactly goes on at the place simply
> called a "Center". Case in point, we have a theatre which has been
> donned the Edna Boykin Cultural Center. NO ONE knows what the heck
> happens there..........Now why not just call it the Edna Boykin Theatre?
> Because it's not pc.......
>
>
> Holy Cow! I must be getting old or something. What do you mean "Center"
> is overused? How the heck else will you describe something that is not
> exactly a museum, yet is a Cultural bastion to the community? And how
> can renaming a building be "not pc?" We just don't have enough
> information here about the renaming of Edna's Theater (which I think
> would make for a great ceremony and grand ribbon cutting occasion). May
> even give them more members who can disseminate the knowledge about the
> need for Edna's Theater's very survival! And it's good to know that
> Regina isn't all for pc in this instance as she may have hit the nail on
> the head about renaming this particular cultural center (I vote for
> Edna's Theater)!
>
> People just LOVE going to museums. There are too many examples of that
> when you read the articles and surveys in general newspapers or Museum
> News or Curator or Prologue or History News, and on, and on. We at the
> Nixon Library are inherently a museum, but we don't actually have that
> word in our title. Don't let some "cutting edge" firm tell you that you
> shouldn't use museum in your title; we are always at pains to describe
> our Library as including an Archives and Museum, and yes indeed we do
> have permanent collections.
>
> O
> Olivia S. Anastasiadis, Curator
> Richard Nixon Library & Birthplace
> 18001 Yorba Linda Blvd.
> Yorba Linda, CA 92886
> (714) 993-5075 ext. 224; (714) 528-0544
>
> ________________________________________________________________
> YOU'RE PAYING TOO MUCH FOR THE INTERNET!
> Juno now offers FREE Internet Access!
> Try it today - there's no risk! For your FREE software, visit:
> http://dl.www.juno.com/get/tagj.
>
> ------------------------------
>
> Date: Mon, 17 Apr 2000 21:17:59 +1000
> From: Sue Terry <[log in to unmask]>
> Subject: Re: Collecting decisions (was school books & non-collecting)
>
> Lucy wrote:
>
> >Of course we can't be right on all the time, thus the need to perhaps
> >over save a bit at the front end, then weed regularly and routinely, but
> >oh so carefully, perhaps 20 - 25 years out. Of great frustration to me
> >are those who say, if our museum can't make use of it *now* we won't
> >take it.
>
> As one involved in collecting what some may call ephemera - eg
> publicity fliers for album releases, all sorts of publicity kits and
> media release etc etc - I'm inclined to agree with Lucy. Of course,
> the challenge is how much to over-save because every bit of weeding
> later takes time from the next lot of oversaving! At my organisation
> we are dealing every day with the results of the over-saving of the
> past - and are trying to find a 'better' balance - but then
> second-guessing the future is the essence of the job eh?
>
> Cheers, Sue
>
>
> __________________________________________________________________________
> ___
>
> Sue Terry __ /\
> / \/ \ Manager, Documentation
> Development
> +61 2 6248 2180 (w) / \ Collections Branch
> +61 2 6286 8336 (h) / / ScreenSound Australia
> +61 2 6248 2165 (fax) \ __ */ Canberra ACT 2600
> `-' \_/
> [log in to unmask]
>
> 'The secret of survival is to embrace change, and to adapt' (Rohinton
> Mistry)
> __________________________________________________________________________
> ___
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 08:40:55 -0400
> From: CCAHA <[log in to unmask]>
> Subject: CCAHA Workshop Announcement
>
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_0084_01BFA911.CF943CC0
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
> CCAHA WORKSHOP ANNOUNCEMENT
>
>
> WATER, WATER EVERYWHERE
> Good Decision Making When Recovering Water-Damaged Paper Collections
>
> Conservation Center for Art and Historic Artifacts (CCAHA) announces a =
> daylong program, "Water, Water Everywhere: Good Decision Making When =
> Recovering Water-Damaged Paper Collections". The program is partially =
> funded by the National Endowment for the Humanities (NEH).
>
>
>
> DATE:
>
> Wednesday, July 19, 2000
> 9:00 A.M. - Registration & Refreshments=20
> 9:30 A.M.-4:30 P.M. - Workshop
>
> ***The registration deadline is Wednesday, July 5, 2000***
>
>
> LOCATION:
>
> The Maryland Historical Society
> 210 West Monument Street
> Baltimore, MD 21201-4674
> www.mdhs.org
>
>
> SUBJECT:
>
> The goal of this one-day program is to provide a basic understanding of =
> the decisions involved in organizing recovery of water-damaged paper =
> collections. Tools for assessing damage, evaluating available =
> resources, and selecting recovery methods will be illustrated through =
> lectures, slides, and emergency scenarios. Scenarios will include =
> small- to mid-sized emergencies involving a variety of paper-based =
> collections. Priority setting, handling issues and drying methods and =
> procedures for recovering damaged paper collections will be reviewed.
>
> * Books * Documents * Photographs * Art on Paper * Ephemera * Maps=20
> * Posters * Papier M=E2ch=E9 * Architectural Records * Vital Records=20
>
>
> AUDIENCE:
>
> This workshop is intended for librarians, archivists, curators, =
> collection managers, stewards of historic house museums and collection =
> care professionals involved in safeguarding paper-based collections and =
> in recovery during an emergency.
>
>
>
>
> SPEAKERS:
>
> Betty Fiske, Paper Conservator, Winterhur Museum, Garden and Library=20
>
> Glen Ruzicka, Director of Conservation, Conservation Center for Art and =
> Historic Artifacts (CCAHA).
>
>
> CO-SPONSORS
>
> The program is co-sponsored by: Maryland Historical Society, *Chesapeake =
> Information and Research Library Alliance (CIRLA), *Mid-Atlantic =
> Association of Museums, *PALINET, *Technical Services Division of the =
> Maryland Library Association, and *Washington Conservation Guild.
>
>
>
> FEES:
>
> The registration fee is $65.00 for members of CCAHA and the =
> co-sponsoring organizations noted by an asterisk symbol "*", and $75.00 =
> for non-members. Lunch is not included. The registration deadline is =
> Wednesday, July 5, 2000.
>
>
> FOR FURTHER INFORMATION AND A REGISTRATION FORM:
>
> Complete program information and printable registration form is =
> available on CCAHA's website (www.ccaha.org) or contact:
>
> Preservation Services Office
> Conservation Center for Art and Historic Artifacts (CCAHA)
> 264 South 23rd Street
> Philadelphia, PA 19103
> Tel: 215.545.0613 Fax: 215.735.9313 email: [log in to unmask]
> Website: http://www.ccaha.org
>
>
> Created by Congress in 1965, the National Endowment for the Humanities =
> (NEH) is an independent agency that supports education, research, =
> preservation projects, and public programs in the humanities.
>
> The Conservation Center for Art and Historic Artifacts (CCAHA), =
> established in 1977, is a non-profit regional conservation laboratory =
> serving other non-profit cultural, educational, and research =
> institutions, as well as private individuals and organizations. CCAHA =
> specializes in the treatment of works of art and historic artifacts on =
> paper, such as drawings, prints, maps, posters, historic wallpaper, =
> photographs, rare books, scrapbooks, manuscripts, and related materials, =
> such as parchment and papyrus. It also offers on-site consultation =
> services; educational programs and seminars; and internships, =
> fellowships, and apprenticeships.
>
>
> ------=_NextPart_000_0084_01BFA911.CF943CC0
> 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 5.00.2314.1000" name=3DGENERATOR>
> <STYLE></STYLE>
> </HEAD>
> <BODY bgColor=3D#ffffff>
> <DIV>CCAHA WORKSHOP ANNOUNCEMENT</DIV>
> <DIV> </DIV>
> <DIV><BR>WATER, WATER EVERYWHERE<BR>Good Decision Making When Recovering =
>
> Water-Damaged Paper Collections</DIV>
> <DIV> </DIV>
> <DIV>Conservation Center for Art and Historic Artifacts (CCAHA) =
> announces a=20
> daylong program, "Water, Water Everywhere: Good Decision Making When =
> Recovering=20
> Water-Damaged Paper Collections". The program is partially funded =
> by the=20
> National Endowment for the Humanities (NEH).</DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV>DATE:</DIV>
> <DIV> </DIV>
> <DIV>Wednesday, July 19, 2000<BR> 9:00 A.M. - Registration &=20
> Refreshments <BR> 9:30 A.M.-4:30 P.M. - Workshop</DIV>
> <DIV> </DIV>
> <DIV>***The registration deadline is Wednesday, July 5, 2000***</DIV>
> <DIV> </DIV>
> <DIV><BR>LOCATION:</DIV>
> <DIV> </DIV>
> <DIV>The Maryland Historical Society<BR>210 West Monument =
> Street<BR>Baltimore,=20
> MD 21201-4674<BR><A =
> href=3D"http://www.mdhs.org">www.mdhs.org</A></DIV>
> <DIV> </DIV>
> <DIV><BR>SUBJECT:</DIV>
> <DIV> </DIV>
> <DIV>The goal of this one-day program is to provide a basic =
> understanding of the=20
> decisions involved in organizing recovery of water-damaged paper=20
> collections. Tools for assessing damage, evaluating available =
> resources,=20
> and selecting recovery methods will be illustrated through lectures, =
> slides, and=20
> emergency scenarios. Scenarios will include small- to mid-sized=20
> emergencies involving a variety of paper-based collections. =
> Priority=20
> setting, handling issues and drying methods and procedures for =
> recovering=20
> damaged paper collections will be reviewed.</DIV>
> <DIV> </DIV>
> <DIV> * Books * Documents * Photographs * Art on Paper * =
> Ephemera *=20
> Maps <BR> * Posters * Papier M=E2ch=E9 * Architectural =
> Records * Vital=20
> Records </DIV>
> <DIV> </DIV>
> <DIV><BR>AUDIENCE:</DIV>
> <DIV> </DIV>
> <DIV>This workshop is intended for librarians, archivists, curators, =
> collection=20
> managers, stewards of historic house museums and collection care =
> professionals=20
> involved in safeguarding paper-based collections and in recovery during =
> an=20
> emergency.</DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV><BR>SPEAKERS:</DIV>
> <DIV> </DIV>
> <DIV>Betty Fiske, Paper Conservator, Winterhur Museum, Garden and =
> Library </DIV>
> <DIV> </DIV>
> <DIV>Glen Ruzicka, Director of Conservation, Conservation Center for Art =
> and=20
> Historic Artifacts (CCAHA).</DIV>
> <DIV> </DIV>
> <DIV><BR>CO-SPONSORS</DIV>
> <DIV> </DIV>
> <DIV>The program is co-sponsored by: Maryland Historical Society, =
> *Chesapeake=20
> Information and Research Library Alliance (CIRLA), *Mid-Atlantic =
> Association of=20
> Museums, *PALINET, *Technical Services Division of the Maryland Library=20
> Association, and *Washington Conservation Guild.</DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV>FEES:</DIV>
> <DIV> </DIV>
> <DIV>The registration fee is $65.00 for members of CCAHA and the =
> co-sponsoring=20
> organizations noted by an asterisk symbol "*", and $75.00 for =
> non-members. =20
> Lunch is not included. The registration deadline is Wednesday, =
> July 5,=20
> 2000.</DIV>
> <DIV> </DIV>
> <DIV><BR>FOR FURTHER INFORMATION AND A REGISTRATION FORM:</DIV>
> <DIV> </DIV>
> <DIV>Complete program information and printable registration form is =
> available=20
> on CCAHA's website (<A href=3D"http://www.ccaha.org">www.ccaha.org</A>) =
> or=20
> contact:</DIV>
> <DIV> </DIV>
> <DIV>Preservation Services Office<BR>Conservation Center for Art and =
> Historic=20
> Artifacts (CCAHA)<BR>264 South 23rd Street<BR>Philadelphia, PA=20
> 19103<BR>Tel: 215.545.0613 Fax: =
> 215.735.9313 =20
> email: <A=20
> href=3D"mailto:[log in to unmask]">[log in to unmask]</A><BR>Website: <A =
>
> href=3D"http://www.ccaha.org">http://www.ccaha.org</A></DIV>
> <DIV> </DIV>
> <DIV><BR>Created by Congress in 1965, the National Endowment for the =
> Humanities=20
> (NEH) is an independent agency that supports education, research, =
> preservation=20
> projects, and public programs in the humanities.</DIV>
> <DIV> </DIV>
> <DIV>The Conservation Center for Art and Historic Artifacts (CCAHA), =
> established=20
> in 1977, is a non-profit regional conservation laboratory serving other=20
> non-profit cultural, educational, and research institutions, as well as =
> private=20
> individuals and organizations. CCAHA specializes in the treatment =
> of works=20
> of art and historic artifacts on paper, such as drawings, prints, maps, =
> posters,=20
> historic wallpaper, photographs, rare books, scrapbooks, manuscripts, =
> and=20
> related materials, such as parchment and papyrus. It also offers =
> on-site=20
> consultation services; educational programs and seminars; and =
> internships,=20
> fellowships, and apprenticeships.</DIV>
> <DIV> </DIV></BODY></HTML>
>
> ------=_NextPart_000_0084_01BFA911.CF943CC0--
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 14:40:40 GMT0BST
> From: HEATHER PERRY <[log in to unmask]>
> Subject: Re: Marking of Objects
>
> I've used Paraloid (Acryloid in the US) B-72 as a base coat for marking
> objects,
> with black or white ink for the numbering, depending on the colour of the
> object - a method
> which seems to work well. I got a solution of 50% and then diluted
> it using acetone to get a suitable consistancy to apply to the object.
> B-72 is used in conservation treatments and has been tested for its
> suitability for use with museum objects - it remains soluble in acetone
> and doesn't yellow or peel. The ink used should be pigment rather
> than dye based as it is less likely to fade or lose its colour.
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 08:01:56 -0600
> From: Miles Miller <[log in to unmask]>
> Subject: Re: conservation?
>
> Amy Hubbard you might want to contact the conservator, Susan Heald at the
> =
> National Museum of the American Indian, Cultural Resource Center, Suitland
> =
> Maryland, she could give you some advise on textile care. And another =
> conservator/textile expert is Marion Roddee at the Maxwell Museum at the =
> University of New Mexico, Albuquerque. Good luck.
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 07:08:43 -0700
> From: campbell <[log in to unmask]>
> Subject: Re: non-collecting facilities
>
> from the LA Times (OC edition), 4/13/2000...
>
> <snip>"Our curators are not as much collection-based as traditional
> museums once were," he said. "The focus is on major exhibitions and we
> have gone to bringing in guest curators in that are usually
> world-renowned experts on that specific subject for each exhibit."<snip>
>
> The museum in question (that's the director talking), with a staff of
> about 50 and a collection of about 75,000 artifacts relating either to
> California history or Pacific Rim (& African) cultural and folk art, had
> three curators in 1995, and has one now...
>
> I am wondering if this museum will still be a museum when it has no
> curators and no collection? What do you folks think?
> --
> Timothy L. Campbell
> [log in to unmask]
> http://www.geocities.com/Tokyo/Towers/8189
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 10:25:33 -0400
> From: "David S. Brose" <[log in to unmask]>
> Subject: Fw: Museum Exhibit Designer Job
>
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_0049_01BFA920.A75CFD00
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
> From: David&Barbara Brose <[log in to unmask]>
> To: all interested museum staff=20
> Date: Tuesday, April 18 2000
> Subject: Museum Exhibit Designer Position
> Search Re-opened=20
>
>
> PLEASE POST
>
> Schiele Museum of Natural History, Gastonia NC seeks dynamic Head of =
> Exhibit Design and Development
>
> The Schiele Museum of Natural History and Planetarium, specializing in =
> the environment and human ecology of the southern piedmont, seeks a =
> 2D/3D designer with graphics and construction and/or major gallery =
> renovation
> experience. =20
>
> The Head of Exhibit Design and Development will report directly to the =
> museum's President, and will work closely with Collections and Research, =
> Communications, and Education departments to plan and implement natural
> science/anthropology exhibits. The Head Designer will also work closely =
> with the museum's Development and Finance Officers to co-ordinate a =
> dynamic program of adult and family traveling exhibitions.
>
> The Head of Exhibit Design and Development supervises an experienced =
> staff engaged in preparation and installation of both traditional and =
> interactive exhibits. He/she is responsible for designing, bidding and =
> monitoring fabrication, installation and maintenance of text and =
> graphics panels, cased and free-standing specimen and artifact exhibits, =
> and full-sized and scale model dioramas for temporary in-house =
> exhibitions, for major gallery renovations and for proposed new =
> galleries and public spaces.
>
> The successful candidate must have working knowledge of modern graphics =
> production and exhibition lighting; experience in working with the =
> results of visitor and educational pre-testing and evaluation; a =
> commitment to
> conservation and security procedures; and a genuine interest in the =
> educational mission of the Museum. Facility with CAD and Internet =
> presentation are essential. Experience in managing budgets and =
> personnel for multi-year projects is desirable.
>
> Competitive salary, depending on level of education and experience, with =
> excellent benefit package.
>
> For more information about the museum,check out www.schielemuseum.org =20
> Send letter of interest and resume to:
> David S. Brose, Ph.D, President
> Schiele Museum of Natural =
> History and Planetarium
> 1500 E. Garrison Blvd.
> Gastonia, NC 28054
> [log in to unmask]
> =20
>
> ------=_NextPart_000_0049_01BFA920.A75CFD00
> Content-Type: text/html;
> charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
> <!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
> <HTML>
> <HEAD>
>
> <META content=3Dtext/html;charset=3Diso-8859-1 =
> http-equiv=3DContent-Type><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 =
> Transitional//EN">
> <META content=3D'"MSHTML 4.72.2106.6"' name=3DGENERATOR>
> <STYLE></STYLE>
>
> </HEAD>
> <BODY bgColor=3D#ffffff>
> <DIV><FONT face=3DArial size=3D2><B>From: </B>David&Barbara Brose =
> <<A=20
> href=3D"mailto:[log in to unmask]">brose.david-barbara@=
> worldnet.att.net</A>><BR><B>To:=20
> all interested museum staff </B><BR><B>Date: Tuesday, April 18=20
> 2000</B></FONT></DIV>
> <DIV><FONT face=3DArial size=3D2><B></B><B>Subject: </B><FONT=20
> size=3D3><STRONG><EM>Museum Exhibit Designer=20
> Position</EM></STRONG></FONT></FONT></DIV>
> <DIV><FONT face=3DArial size=3D2><FONT=20
> size=3D3><STRONG><EM> &nbs=
> p; =20
> Search Re-opened </EM></STRONG></FONT><BR><BR></DIV></FONT>
> <DIV><FONT face=3D"Comic Sans MS"><STRONG>PLEASE =
> POST</STRONG></FONT></DIV>
> <DIV><FONT face=3D"Comic Sans MS"><STRONG></STRONG></FONT> </DIV>
> <DIV><STRONG><FONT face=3D"Comic Sans MS">Schiele Museum of Natural =
> History,=20
> Gastonia NC </FONT></STRONG><STRONG><FONT face=3D"Comic Sans MS">seeks =
> dynamic=20
> Head of Exhibit Design and Development</FONT></STRONG></DIV>
> <DIV> </DIV>
> <DIV align=3Dleft><STRONG><FONT face=3D"Comic Sans MS">The Schiele =
> Museum of Natural=20
> History and Planetarium, specializing in the environment and human =
> ecology of=20
> the southern piedmont, seeks a 2D/3D designer with graphics and =
> construction=20
> and/or major gallery renovation<BR>experience. =
> </FONT></STRONG></DIV>
> <DIV align=3Dleft><STRONG><FONT face=3D"Comic Sans =
> MS"></FONT></STRONG> </DIV>
> <DIV align=3Dleft><STRONG><FONT face=3D"Comic Sans MS">The Head of =
> Exhibit Design=20
> and Development will report directly to the museum's President, and will =
> work=20
> closely with Collections and Research, Communications, and Education =
> departments=20
> to plan and implement natural<BR>science/anthropology exhibits. The Head =
>
> Designer will also work closely with the museum's Development and =
> Finance=20
> Officers to co-ordinate a dynamic program of adult and family traveling=20
> exhibitions.</FONT></STRONG></DIV>
> <DIV> </DIV>
> <DIV align=3Dleft><STRONG><FONT face=3D"Comic Sans MS">The Head of =
> Exhibit Design=20
> and Development supervises an experienced staff engaged in preparation =
> and=20
> installation of both traditional and interactive exhibits. He/she =
> is=20
> responsible for designing, bidding and monitoring fabrication, =
> installation and=20
> maintenance of text and graphics panels, cased and free-standing =
> specimen and=20
> artifact exhibits, and full-sized and scale model dioramas for temporary =
>
> in-house exhibitions, for major gallery renovations and for proposed new =
>
> galleries and public spaces.</FONT></STRONG></DIV>
> <DIV> </DIV>
> <DIV align=3Dleft><STRONG><FONT face=3D"Comic Sans MS">The successful =
> candidate must=20
> have working knowledge of modern graphics production and exhibition =
> lighting;=20
> experience in working with the results of visitor and educational =
> pre-testing=20
> and evaluation; a commitment to<BR>conservation and security procedures; =
> and a=20
> genuine interest in the educational mission of the Museum. =
> Facility with=20
> CAD and Internet presentation are essential. Experience in =
> managing=20
> budgets and personnel for multi-year projects is=20
> desirable.</FONT></STRONG></DIV>
> <DIV> </DIV>
> <DIV align=3Dleft><STRONG><FONT face=3D"Comic Sans MS">Competitive =
> salary, depending=20
> on level of education and experience, with excellent benefit =
> package.<BR><BR>For=20
> more information about the museum,check out <A=20
> href=3D"http://www.schielemuseum.org">www.schielemuseum.org</A> =
> <BR>Send=20
> letter of interest and resume to:</FONT></STRONG></DIV>
> <DIV align=3Dleft><STRONG><FONT=20
> face=3D"Comic Sans =
> MS"> &nb=
> sp; &nbs=
> p;  =
> ; =20
> David S. Brose, Ph.D,=20
> President<BR> =
> &=
> nbsp; &n=
> bsp; =20
> Schiele Museum of Natural History and=20
> Planetarium<BR> &nbs=
> p;  =
> ; =
> =20
> 1500 E. Garrison=20
> Blvd.<BR> &nbs=
> p;  =
> ; =
> =20
> Gastonia, NC=20
> 28054<BR> &nbs=
> p;  =
> ; =
> =20
> <A=20
> href=3D"mailto:[log in to unmask]">[log in to unmask]</A></FO=
> NT></STRONG></DIV>
> <DIV align=3Dleft><STRONG><FONT face=3D"Comic Sans =
> MS"> =20
> </FONT></STRONG></DIV></BODY></HTML>
>
> ------=_NextPart_000_0049_01BFA920.A75CFD00--
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 10:59:13 -0400
> From: Allen Smith <[log in to unmask]>
> Subject: summer employment opportunity
>
> > THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not
> understand
> this format, some or all of this message may not be legible.
>
> --MS_Mac_OE_3038900353_640330_MIME_Part
> Content-type: text/plain; charset="ISO-8859-1"
> Content-transfer-encoding: quoted-printable
>
> Fine Art Preparator
> Regional fine art storage and transportation company seeks individual to
> work with the existing staff. Duties include assisting with deinstallation
> and installation of artistic and historic objects; wrapping and packing;
> crate construction; loading, unloading and transportation; maintenance of
> preparation spaces and storage areas; inventory control; general cleaning
> and environmental control..
>
> Prefer a bachelor's degree in fine arts, art history or related field,
> combined with experience as a preparator in a museum, gallery or
> commercial
> fine art service company. Carpentry and framing skills helpful. Job
> require=
> s
> lifting (50 pounds minimum); climbing ladders; physical stamina;
> concentration and the ability to work amiably with others under pressure.
> Valid driver=B9s license, good communications skills and flexibility to
> trave=
> l
> are necessary. Applicants must be available June 1 through September 5,
> 200=
> 0
> to qualify for this full-time, temporary position.
>
> Please submit letter of application and resume to Allen C.. Smith,
> Director=
> ,
> Naglee Fine Arts, 1525 Grand Central Ave., Elmira, NY 14901, e-mail:
> [log in to unmask]
> --MS_Mac_OE_3038900353_640330_MIME_Part
> Content-type: text/html; charset="ISO-8859-1"
> Content-transfer-encoding: quoted-printable
>
> <HTML>
> <HEAD>
> <TITLE>summer employment opportunity</TITLE>
> </HEAD>
> <BODY BGCOLOR=3D"#FFFFFF">
> <FONT FACE=3D"Palatino"><U>Fine Art Preparator<BR>
> </U>Regional fine art storage and transportation company seeks individual
> t=
> o work with the existing staff. Duties include assisting with
> deinstallation=
> and installation of artistic and historic objects; wrapping and packing;
> cr=
> ate construction; loading, unloading and transportation; maintenance of
> prep=
> aration spaces and storage areas; inventory control; general cleaning and
> en=
> vironmental control..<BR>
> <BR>
> Prefer a bachelor's degree in fine arts, art history or related field,
> comb=
> ined with experience as a preparator in a museum, gallery or commercial
> fine=
> art service company. Carpentry and framing skills helpful. Job requires
> lif=
> ting (50 pounds minimum); climbing ladders; physical stamina;
> concentration =
> and the ability to work amiably with others under pressure. Valid
> driver=B9s l=
> icense, good communications skills and flexibility to travel are
> necessary. =
> Applicants must be available June 1 through September 5, 2000 to qualify
> for=
> this full-time, temporary position. <BR>
> <BR>
> Please submit letter of application and resume to Allen C.. Smith,
> Director=
> , Naglee Fine Arts, 1525 Grand Central Ave., Elmira, NY 14901,
> e-mail:=
> <FONT COLOR=3D"#0000FF"><U>[log in to unmask]</U></FONT></FONT>
> </BODY>
> </HTML>
>
> --MS_Mac_OE_3038900353_640330_MIME_Part--
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 11:37:25 -0400
> From: Rebecca Fifield <[log in to unmask]>
> Subject: Re: Marking of Objects
>
> It's not the Liquid Label that's the problem. Basically you are using a
> plastic dissolved in the solvent that smudges things, and can damage the
> bottom layer that you've already applied. When applying the top layer, I
> just dot on the B-72 (don't brush) and let it set. After that dries, I
> brush
> on a second layer for extra protection against abrasion of the number.
> Blurring of the numbers can also occur if you apply too much.
>
> Several years ago the NPS did a Conserve-O-Gram on labeling - I found it
> pretty helpful. Definitely check out New Museum Reg. Methods.
>
> Becky Fifield
>
>
> -----Original Message-----
> From: Rebecca Phipps [mailto:[log in to unmask]]
> Sent: Monday, April 17, 2000 11:30 AM
> To: [log in to unmask]
> Subject: Re: Marking of Objects
>
>
> Recently I gave up on using the Liquid Label sold through Light
> Impressions.
> The base does not dry properly and the ink suggested by the makers runs
> off
> when the top coat is added. Perhaps I am doing something wrong, and if
> anyone has any suggestions, please let me know. For the time being, and
> until I can find a more satisfactory way of labeling, I am using acid-free
> paper tags.
>
> Rebecca J. Phipps
> Wyandotte County Museum
> ----- Original Message -----
> From: Diana Baber <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Sunday, April 16, 2000 6:38 AM
> Subject: Marking of Objects
>
>
> > For a paper I'm doing for my Collections Management course, I'd
> appreciate
> > knowing what methods you are using to mark artifacts and objects in your
> > collections, particularly small or especially precious objects.
> >
> > I understand that not everyone may wish to read the responses, so if you
> > prefer, you may send reponses directly to me.
> >
> > Thank you in advance for your assistance.
> >
> > Diana Baber
> >
> > =========================================================
> > 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).
>
> =========================================================
> 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, 18 Apr 2000 09:23:49 -0400
> From: Rebecca Fifield <[log in to unmask]>
> Subject: Re: Marking of Objects
>
> The only thing I suggest in addition is not to use clear nail polish, as
> it
> cracks and yellows over time, leading to the loss of the number. Look up
> UP,
> Light Impressions, Gaylord &c for their already mixed combinations of B-72
> Acryloid (or whatever name it is going by these days) in acetone (some
> people use toluene or xylene, but these solvents are greater health
> risks).
> This material is much more stable.
>
> As for marking wood - I know it's a quandry! I usually try and look for
> some
> metallic hardware to mark, but they aren't always forthcoming on wood
> objects.
>
> Rebecca L. Fifield
> Collections Care Specialist
> Department of Textiles and Costume
> Museum of Fine Arts, Boston
>
> www.mfa.org
>
> -----Original Message-----
> From: Tim McShane [mailto:[log in to unmask]]
> Sent: Sunday, April 16, 2000 3:58 PM
> To: [log in to unmask]
> Subject: Re: Marking of Objects
>
>
> Ah, the numbering question. It's a contradiction, really; you want the
> pieces to be permanently numbered, but in a way that doesn't interfere
> with
> the object's historic material so it can be removed, if necessary. It
> should be in a discreet location, but one that can be easily found.
>
> I use nail polish and ink on most items. First a small patch of clear
> nail
> polish is applied to the artifact--somewhere that won't be too noticeable
> if
> the object is put on display, but can still be visible when the artifact
> is
> in storage to minimize handling (mostly on the back side of an artifact,
> near the bottom; then I store the artifacts on shelves with their back
> sides
> facing the aisle) Try to avoid placing the number on the bottom of the
> object; this will require that the artifact be picked up to read its
> number.
> For larger objects, such as furniture, I also attach a paper tag with a
> large, easily readable number; these are removed when the piece is
> displayed.
>
> Back to the nail polish. Once it is dry, apply the number with a dip pen
> and a good quality drawing ink (I like Pelican, but there are a number
> available; check with an art or drafting supply store). I have both black
> and white ink in my "tool kit;" use the one that will provide the best
> contrast. Once the ink is dry, apply a second coat of clear nail polish
> to
> protect the ink.
>
> The nail polish is best applied to metal, so it can be easily and
> completely
> removed, if necessary.
>
> To number paper artifacts, use a pencil. Nail polish will permanently
> attach itself to paper, and this is something to avoid.
>
> This raises a question that I have wondered about for some time; what's
> the
> best way to number wooden artifacts? If nail polish is applied to a
> varnished wood surface, the varnish will be affected if ever the number
> has
> to be removed. On unfinished wood, the nail polish will soak into the
> wood.
> I've tried to use pencil on wood, but the number is usually difficult to
> read. Any thoughts from other listers?
>
> For small objects, I've seen them put into small plastic boxes, and the
> number applied to the box. As for "valuable" objects, treat them just the
> same as other pieces in your collection.
>
>
> Tim McShane, Collections Manager
> West Parry Sound District 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).
>
> ------------------------------
>
> Date: Mon, 17 Apr 2000 14:57:10 -0700
> From: "VCMHA.org - Collections" <[log in to unmask]>
> Subject: Thanks
>
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_001B_01BFA87D.3565B6E0
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
> Thanks to everyone who responded to my post about non-profit retirement =
> plans. Your information was excellent, and my director (and I) =
> appreciate your help.
> Thanks again!
> Kathy Henri
> Ventura County Museum of History & Art
>
> ------=_NextPart_000_001B_01BFA87D.3565B6E0
> 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 5.00.2614.3500" name=3DGENERATOR>
> <STYLE></STYLE>
> </HEAD>
> <BODY bgColor=3D#ffffff>
> <DIV><FONT face=3DArial>Thanks to everyone who responded to my post =
> about=20
> non-profit retirement plans. Your information was excellent, and my =
> director=20
> (and I) appreciate your help.</FONT></DIV>
> <DIV><FONT face=3DArial>Thanks again!</FONT></DIV>
> <DIV><FONT face=3DArial>Kathy Henri</FONT></DIV>
> <DIV><FONT face=3DArial>Ventura County Museum of History &=20
> Art</FONT></DIV></BODY></HTML>
>
> ------=_NextPart_000_001B_01BFA87D.3565B6E0--
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 11:39:33 -0400
> From: Elena Mayberry <[log in to unmask]>
> Subject: Legal Issues in Experiential Education Workshop
>
> I thought that this might be of interest to some of the list members.
>
>
>
> The National Society for Experiential Education Presents
>
> "Legal Issues in Experiential Education"
> May 12, 2000
> 9 a.m. - 4 p.m.
> Alexandria, VA
>
>
>
> This one-day Professional Development Institute will examine the broad =
> range
> of legal issues that arise in administering service-learning, internship,
> and cooperative education programs.
>
> To learn more visit NSEE's Web Site at www.nsee.org or=20
> email [log in to unmask] for a registration brochure.
>
>
> Elena
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> Elena Piquer Mayberry
> Experiential Programs Manager
> Smithsonian Center for Education and Museum Studies
> 900 Jefferson Drive, SW Suite 2235
> Washington, DC 20560-0427
> 202.633.8988
> 202.357.3346 fax
> [log in to unmask]
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 09:31:45 -0700
> From: "Susan B.F. Wageman" <[log in to unmask]>
> Subject: Re: non-collecting facilities
>
> On Monday, April 17, 2000 5:49 PM, Olivia S. Anastasiadis
> [SMTP:[log in to unmask]]
> wrote:
> > I remember when as a grad student we discussed the issue of
> > non-collecting facilities; I noted that for the most part,
> non-collecting
> > agencies distinguished themselves as "Center" or "Gallery."
>
> This may seem like a simple solution, but it didn't work for us. The Tech
> Museum of Innovation used to be called The Technology Center of Silicon
> Valley.
> People were confused. They thought we were a convention center (where you
> find
> trade shows). This is what the word "center" means in our region. By using
> the
> word "museum" in our title, people have more of a clue what we are about.
> Yes,
> some people still are confused ... but not quite so many.
>
> FYI - The Tech's exhibits and experiences focus on contemporary
> technology. We
> use objects to interpret our themes, but we are not a collecting
> institution.
>
> Susan B.F. Wageman
> Evaluation Manager [log in to unmask]
> The Tech Museum of Innovation 408-795-6303 >
> 201 South Market Street fax: 408-279-7167
> San Jose, California USA 95113 http://www.thetech.org
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 09:57:53 -0500
> From: Terry Vidal <[log in to unmask]>
> Subject: Re: Marking of Objects
>
> We use a polyvinylacetate, vinac b-15, for our undercoat/overcoat with
> an acetone solvent. It is archivally sound. We no longer hand write
> numbers if it can be avoided, and on most objects it can be avoided. We
> use 100% cotton rag acid free paper and a deskjet printer to produce the
> numbers. This is very successful, since legible numbers can be produced
> as small as 4 pt. fontsize (4 pt. fits on the edge of most coins). We
> have been using this technique since 1994. There is little excuse not to
> adopt this technique by other institutions. Who among us has not been
> frustrated by an object whose number is completely illegible? Likewise,
> who among us is not guilty of writing an illegible number on a minute
> object? Deskjet printers can be purchased for less than $100.
>
> My experiments with copier and laser printer toners have produced
> unacceptable results. Toner is affixed to paper through a heat transfer
> process. It flakes off and smears (as it is dissolved by the solvent).
> Ink from deskjet printers is absorbed into the paper, and the black ink
> on cotton paper has been very stable for us. We use Hewlett Packard
> printers. I have inquired to Hewlett Packard for details on their black
> ink with little success, except to be reassured that they have conducted
> successful archival and permanency tests. Whatever that means.
>
> I am amazed at the some of the bad advice I've seen concerning this
> topic, particularly with the suggestion of using finger nail polish. Are
> we still in the dark ages? The enthusiasm to offer assistance should not
> overrule the need to supply _good_ advice. I obtained a five pound
> sample of vinac b-15 at no cost from the manufacturer (Air Products). I
> still have three pounds of it, and have given away at least a pound and
> a half to other institutions in my area who want to pull themselves out
> of the dark ages. I feel I still have a lifetime supply of the stuff
> too. It comes as itty-bitty beads (homopolymer) that we dissolve in
> acetone to the consistency necessary. I understand that Air Products has
> sold off the homopolymer side of their business. A quick look at the
> Thomas Regional Industrial Directory (http://www.thomasregional.com/)
> should prove fruitful.
>
> On the other hand I have seen some good advice given too. This is
> encouraging, so, take a deep breath, out with the bad and in with the
> good:-) Please do yourselves and future generations of collections
> managers' a favor by adopting this or a similar method.
>
> -----------------------------------------------------------------------
> TAG - YOU'RE 'IT'
> Terry Vidal
> Collections Manager
> University Museum
> University Of Northern Iowa
>
> [log in to unmask]
> http://www.uni.edu/museum
>
> If you can read this YOU'RE close enough.
> _______________________________________________________________________
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 16:41:49 -0400
> From: Lauren <[log in to unmask]>
> Subject: Looking for an education opening
>
> Hello. I'm soon to be a grad of the Penn State Art Education/Museum
> Education Program with a semester of full time museum education
> experience.
> I'm looking for an employment opportunity in New York/New Jersey Area.
> Does
> anybody know of one. Please contact me at [log in to unmask]
> Thank You
> Lauren Cacciamani
>
> ------------------------------
>
> Date: Tue, 18 Apr 2000 15:37:41 -0700
> From: Brenda Weatherston <[log in to unmask]>
> Subject: Tourism, Culture,
> and the Arts: Partnerships for the New Economy - learning
> opportunity
>
> "Tourism, Culture, and the Arts: Partnerships for the New Economy"
>
> Cultural Resource Management Program, University of Victoria, Canada
> ---- ---- ----
>
> As our May offering of this course is full, we are investigating a second
> offering from June 5-10 to meet the registration requests we have been
> receiving. If you are interested in participating, please contact us as
> soon
> as possible. Thanks!
>
> Brenda Weatherston
> Program Coordinator
> Cultural Resource Management Program
> Continuing Studies, University of Victoria
> PO Box 3030 STN CSC
> Victoria, BC V8W 3N6 Canada
> Tel: (250) 721-6119
> Fax: (250) 721-8774
> Email: [log in to unmask] <mailto:[log in to unmask]>
> Visit our Website! http://www.uvcs.uvic.ca/crmp
>
>
> COURSE DESCRIPTION
>
> Cultural sector partnerships with the tourism industry are emerging as a
> key
> feature of the new knowledge-based economy as visitors seek more diverse
> cultural experiences, and the complex range of tourism organizations seek
> competitive advantage and market share. Museums, heritage sites and
> attractions, and performing and visual arts organizations are recognized
> as
> central players, although there are few guidelines for communicating
> between
> the tourism industry and the cultural organizations involved in forming
> working partnerships. By examining case studies and identifying practical
> strategies for creating mutually beneficial partnerships and cultural
> tourism products, this course develops your ability to:
>
> * recognize cultural, arts, and heritage tourism issues and opportunities
> in
> the information economy
> * anticipate the influence of changing tourism demographics on cultural,
> arts, and heritage tourism in BC and beyond
> * recognize major ethical issues
> * address key marketing and competition analysis issues
> * develop appropriate strategies and techniques for communicating and
> negotiating
> * undertake product/market matching
> * identify the main elements in team-building and leadership for cultural
> tourism partnerships
> * define elements and issues in planning for cultural tourism in urban
> heritage districts
> * consider key issues in planning and repositioning cultural events for
> the
> tourism market
>
> Instructor: Dr. Brian White draws on his extensive teaching, consulting,
> and
> research experience in tourism issues. He is convenor of senior-level
> courses for the Tourism Program at Capilano College in Vancouver, British
> Columbia, and consults internationally on a range of tourism development
> initiatives and issues.
>
> Dates: June 5-10, 2000 with a preparatory assignment
> Please register by: May 12
> Fee: $589 (Canadian funds, credit or non-credit options)
>
> Travel: Victoria is easily accessible from Seattle and Vancouver
>
> Accommodation: Program staff are pleased to provide information on local
> B&B, hotel, and on-campus options
>
> Comments from past participants:
> "Brian is an incredibly knowledgeable instructor with so much diverse,
> applicable experience. He has tremendous enthusiasm for the subject."
> "The diverse backgrounds of classmates stimulated conversation and
> creativity."
>
> LEARNING OUTCOMES
> Upon completion of this course, participants will be able to:
>
> * recognize cultural, arts, and heritage tourism issues and opportunities
> in
> the information economy,
> * anticipate the influence of changing tourism demographics on cultural,
> arts, and heritage tourism in BC and beyond,
> * recognize major ethical issues,
> * address key marketing and competition analysis issues,
> * develop appropriate strategies and techniques for communicating and
> negotiating agreements,
> * undertake product/market matching,
> * identify the main elements in team-building and leadership for cultural
> tourism partnerships,
> * define elements and issues in planning for cultural tourism in urban
> heritage districts,
> * consider key issues in planning and repositioning cultural events for
> the
> tourism market.
>
> DRAFT OUTLINE
> Monday May 8th
> Culture, the arts, and tourism: The view from the new economy
> * Introductions; Language and sociology of tourism
> * Cultural and heritage tourism: concepts and issues
> * Tourism planning: global trends, BC and the new economic realities
> * Short presentations by course participants on their interests,
> Discussion
> of course assignments, critique developed from learning outcomes and
> pre-reading package
> Tuesday, May 9th
> Cultural tourism: bridging to the community stakeholders
> * Planning for community tourism: perceptions and priorities
> * Bridging strategies for the tourism, heritage, and arts communities
> * Events planning, cultural tourism, community development
> * Discussion of course assignments, group planning exercise
> * optional dinner
> Wednesday, May 10th
> Issues of the arts, heritage and culture as product
> * Community case studies (TBA)
> * Tools of the trade I: product-market matching and the marketing plan
> * The tools of the trade II: team-building and leadership
> * Case study
> Thursday, May 11th
> Heritage, arts, and culture in the city: renewal and development
> * Cultural and heritage tourism, approaches and methods: international
> case
> studies
> * Planning partnerships: visual arts in Victoria
> * Downtown field trip: The arts in a heritage district
> * Learning from "HuupuKwanum/Tupaat: Out of the Mist: Treasures of the
> Nuu-chah-nulth Chiefs" exhibit (Royal British Columbia Museum)
> Friday, May 12th
> From principles to practice
> * Aboriginal culture and tourism approaches
> * Packaging cultural experiences: what we've learned
> * Community/cultural group planning exercise
> Saturday, May 13th
> Conclusions
> * Debrief
> * Participants' presentations
> * Course summary
>
>
>
> For more information, please contact:
>
> Joy Davis, Program Director
> Cultural Resource Management Program
> Division of Continuing Studies, University of Victoria
> Phone 250-721-8462
> FAX 250-721-8774
> E-mail [log in to unmask]
> Visit our website! www.uvcs.uvic.ca/crmp
> To receive e-mail updates, please e-mail [log in to unmask]
>
> ------------------------------
>
> End of MUSEUM-L Digest - 17 Apr 2000 to 18 Apr 2000 (#2000-110)
> ***************************************************************
>
=========================================================
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