Have you tried installing locking casters under your heaviest cases? If you
have enough of an overhang of the case construction material it should hide
the casters.
Michelle Zupan
Curator
Hickory Hill & the Tom Watson Birthplace
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of MUSEUM-L automatic digest system
Sent: Wednesday, November 16, 2005 12:01 AM
To: [log in to unmask]
Subject: MUSEUM-L Digest - 14 Nov 2005 to 15 Nov 2005 (#2005-317)
There are 20 messages totalling 2033 lines in this issue.
Topics of the day:
1. Temperature parameters / conditions in a storage area (2)
2. Arrowheads plastic resin casts (2)
3. Trying not to scrape the floors... advice? (4)
4. Cataloguing Reproductions in PastPerfect (2)
5. Museum Database Programs--Accounting and Membership software
6. Nomenclature (was Cataloguing Reproductions in PastPerfect) (2)
7. Basic Copyright Question (3)
8. Educators and Costumes
9. Source for replica/artificial trees, shrubbery, grass
10. neighborhood park interpretation ideas
11. FW: After Katrina: N.O. art museum
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Date: Tue, 15 Nov 2005 07:41:17 -0700
From: John Martinson <[log in to unmask]>
Subject: Temperature parameters / conditions in a storage area
We are looking at taking a warehouse with no heat, etc., and dedicating
a portion of it
to storing museum property/artifacts/paper, etc. It will be walled
in, plus a heater/temperature
controls added. Presently, the items are sitting in the open
warehouse, subject to dust,
rodents, etc.
Does anyone have a recommendation on the standard temperature
parameters and/or what
type of unit would be required to meet these standards? The area will
likely be ONLY
15X15 feet in that range, so will not be a major heater/AC unit.
Suggestions are welcomed.
John
Boise, ID
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------------------------------
Date: Tue, 15 Nov 2005 08:14:04 -0700
From: John Martinson <[log in to unmask]>
Subject: Arrowheads plastic resin casts
We're looking at putting in plastic resin cast of PaleoIndian, Western
Pluvial Lakes Tradition, and Early, Middle and Late Archaic period
replicas in an exhibit. We have original pieces, but no quality pieces
so looking at a good sampling of various types such as Haskett,
Scottsbluff, Elk-eared, Rosegate pint, Cottonwood triangular points,
etc.
Does anyone know any quality vendors that can reproduce these points?
We are also looking
at a flintknapper doing the pieces. Thanks in advance.
John
Boise, ID
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------------------------------
Date: Tue, 15 Nov 2005 10:36:32 -0500
From: Marion Mecklenburg <[log in to unmask]>
Subject: Re: Temperature parameters / conditions in a storage area
Dear John, I would be useful to know what exactly is going to be stored.
However for basic useful information about temperature most objects with
the exception of painted and varnished surfaces can be stored in cold
temperatures. Oil paint gets brittle at around -5C and artist acrylics get
brittle at around +5C to +10C. So keeping that in mind every thing else can
be kept cool, say above freezing. This is a way of keeping the relative
under control, Between 35% RH and 60%RH in the wintertime.
If you have further questions please contact me directly.
Sincerely,
Marion
Marion F. Mecklenburg, Ph.D
Senior Research Scientist
Smithsonian Center for Materials Research and Education
Museum Support Center, Room F2013
4210 Silver Hill Road
Suitland, MD 20746-2863
Phone: 301-238-1241
Fax: 301-238-3709
e-mail [log in to unmask]
>>> [log in to unmask] 11/15/05 09:41AM >>>
We are looking at taking a warehouse with no heat, etc., and dedicating
a portion of it
to storing museum property/artifacts/paper, etc. It will be walled
in, plus a heater/temperature
controls added. Presently, the items are sitting in the open
warehouse, subject to dust,
rodents, etc.
Does anyone have a recommendation on the standard temperature
parameters and/or what
type of unit would be required to meet these standards? The area will
likely be ONLY
15X15 feet in that range, so will not be a major heater/AC unit.
Suggestions are welcomed.
John
Boise, ID
=========================================================
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(without the quotes).
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=========================================================
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------------------------------
Date: Tue, 15 Nov 2005 12:38:59 -0500
From: Chris Hanson <[log in to unmask]>
Subject: Re: Arrowheads plastic resin casts
I've seen the castings done by Pete Bostrom and they are fantastic. He has
a huge selection of castings available including many of the best known
pieces. His website is: www.lithiccastinglab.com
Chris Hanson
Ketchikan Museums
Ketchikan, AK
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------------------------------
Date: Tue, 15 Nov 2005 12:44:38 -0500
From: Tracy Sullivan <[log in to unmask]>
Subject: Trying not to scrape the floors... advice?
Hi everyone. We currently have some (rather heavy) pedestal-base exhibit
cases in a room with a slate floor. In order to install exhibits, the
cases need to be moved a bit. The floor has been newly refinished and
there is now concern that we are going to scrape the floor during
installation. Does anyone know of something that we can place on the
bottom of the cases to prevent scraping? The slate on the floor has some
natural ridging that means the floor isn't perfectly flat.
Any thoughts are welcomed.
Thanks!
Tracy Sullivan
~~
Director, John Q. Adams Center for the History of Otolaryngology--Head and
Neck Surgery
Alexandria, VA
=========================================================
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------------------------------
Date: Tue, 15 Nov 2005 13:24:51 -0500
From: Rachel Talent <[log in to unmask]>
Subject: Re: Trying not to scrape the floors... advice?
Hi, Tracy.
We have very large, heavy, free-standing walls that we move around our
wood-floored galleries with each exhibition. We lined the bases with low
profile carpet, which makes them much easier to move and protects the floor
from scrapes.
Good luck,
Rachel
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of Tracy Sullivan
Sent: Tuesday, November 15, 2005 12:45 PM
To: [log in to unmask]
Subject: Trying not to scrape the floors... advice?
Hi everyone. We currently have some (rather heavy) pedestal-base exhibit
cases in a room with a slate floor. In order to install exhibits, the cases
need to be moved a bit. The floor has been newly refinished and there is now
concern that we are going to scrape the floor during installation. Does
anyone know of something that we can place on the bottom of the cases to
prevent scraping? The slate on the floor has some natural ridging that means
the floor isn't perfectly flat.
Any thoughts are welcomed.
Thanks!
Tracy Sullivan
~~
Director, John Q. Adams Center for the History of Otolaryngology--Head and
Neck Surgery Alexandria, VA
=========================================================
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http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
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to [log in to unmask] . The body of the message should read "help"
(without the quotes).
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=========================================================
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------------------------------
Date: Tue, 15 Nov 2005 14:37:56 -0500
From: Lea Foster Warden <[log in to unmask]>
Subject: Cataloguing Reproductions in PastPerfect
Hello,
We are trying to determine the best way to enter reproductions into our
PastPerfect database. A hypothetical example would be a lithograph by Joe
Smith of a painting by van Gogh or a painting by Sally May that is a copy of
a van Gogh.
We have consulted the Getty web site but have not determined the best way to
transfer recommendations to PastPerfect. The revised Chenall nomenclature
does not address reproductions.
Questions:
Where should we note that the item is a reproduction? Object Name, Other
Name, Description, Custom Field..
How should we handle the layered artists? Using the example above place the
following in the artist field [Smith, Joe (orig. van Gogh)]
Lea Foster Warden
Collections Manager
The Yager Museum of Art and Culture
=========================================================
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------------------------------
Date: Tue, 15 Nov 2005 15:26:19 -0500
From: Sabrina Henneman <[log in to unmask]>
Subject: Re: Cataloguing Reproductions in PastPerfect
When I have replicas, I note it in the description field of Past
Perfect. The object name is the same whether it is an original or
replica - a lithograph is always a lithograph. Just a thought to ponder
- is it truly a replica or is it an individual "original" itself? That
can be a whole other philosophical discussion! For example, 19th century
engravings of Thomas Cole's paintings The Voyage of Life have two
artists - Cole and the engraver. I would consider the engravings
original works of art even though they are reproducing another artist's
painting. =20
As for multiple artists, what I would do is separate the two artists by
a slash, as you would if there are multiple materials, etc. Past Perfect
is set up to understand that a slash separates terms. So, I would do
"May, Sally/Van Gogh, Vincent" as your artist entry. That way, if you
are searching for a particular artist, you will be able to find the
lithograph, painting, etc. by either artist name.=20
Hope my thoughts help.
Sincerely,
Sabrina Henneman
-----Original Message-----
From: Lea Foster Warden [mailto:[log in to unmask]]
Sent: Tuesday, November 15, 2005 2:38 PM
To: [log in to unmask]
Subject: [MUSEUM-L] Cataloguing Reproductions in PastPerfect
Hello,
We are trying to determine the best way to enter reproductions into our
PastPerfect database. A hypothetical example would be a lithograph by
Joe
Smith of a painting by van Gogh or a painting by Sally May that is a
copy of
a van Gogh.
We have consulted the Getty web site but have not determined the best
way to
transfer recommendations to PastPerfect. The revised Chenall
nomenclature
does not address reproductions.
Questions:
Where should we note that the item is a reproduction? Object Name, Other
Name, Description, Custom Field..
How should we handle the layered artists? Using the example above place
the
following in the artist field [Smith, Joe (orig. van Gogh)]
Lea Foster Warden
Collections Manager
The Yager Museum of Art and Culture
=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
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D=3D=3D=3D=3D=3D=3D
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------------------------------
Date: Tue, 15 Nov 2005 10:26:50 -0800
From: Lucy Sperlin <[log in to unmask]>
Subject: Re: Trying not to scrape the floors... advice?
Lowly thoughts:
The first was that are many low-tech ways to put something protective under
the cases that will not catch on the slate's ridges -tip slightly and slip
large sheet of heavy cardboard beneath, -slip thick washcloths under feet
to slide, etc.
However, the real problem comes when you have to remove the protecting thing
and you have to tip the case even a teeny bit with artifacts in it. Unless
the artifacts are absolutely firmly fastened in place you just can't do it.
So, is there any way you can affix something to the bottom of the case while
it is empty that will not have to be removed? Low pile carpet scraps? Thick
felt? Think the largere equivalent of those little felt dots you put under
lamps and ceramics to protect your table tops.
So, hark, the lesson is to those who are planning exhibit case systems...
make them so exhibits can be installed in place!
Lucy Sperlin
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of Tracy Sullivan
Sent: Tuesday, November 15, 2005 9:45 AM
To: [log in to unmask]
Subject: Trying not to scrape the floors... advice?
Hi everyone. We currently have some (rather heavy) pedestal-base exhibit
cases in a room with a slate floor. In order to install exhibits, the
cases need to be moved a bit. The floor has been newly refinished and
there is now concern that we are going to scrape the floor during
installation. Does anyone know of something that we can place on the
bottom of the cases to prevent scraping? The slate on the floor has some
natural ridging that means the floor isn't perfectly flat.
Any thoughts are welcomed.
Thanks!
Tracy Sullivan
~~
Director, John Q. Adams Center for the History of Otolaryngology--Head and
Neck Surgery
Alexandria, VA
=========================================================
Important Subscriber Information:
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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).
=========================================================
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------------------------------
Date: Tue, 15 Nov 2005 14:44:46 -0500
From: Anne Lane <[log in to unmask]>
Subject: Re: Trying not to scrape the floors... advice?
We just moved some kitchen appliances t my sister's house. She bought
some of those sliding thingies that you place under the feet of items
like refrigerators and stoves that make them really easy to move. I
think they're called move-alls or some such thing. You can get them at
Home Depot. They glide over rough surfaces really well and make it
possible to move heavy stuff without marring your floors or getting hung
up on room threshholds and stuff.
Anne
Anne T. Lane, Collections Manager
Charlotte Museum of History
3500 Shamrock Drive
Charlotte NC 28215
704-568-1774, ext 110
[log in to unmask]
Featured Events and Exhibits:Civil War Lantern Tour - Saturday, November
5, 6:00-10:00 p.m.Hands-on-History: Indian Traditions - Saturday,
November 12, 2:00-4:00 p.m.Celtic Traditions Festival - Saturday,
December 10, 11:00-4:00 p.m. and Sunday, December 11, 2:30-6:00
p.m.Exhibits Alive: Colonial Christmas - Saturday, December 17,
2:00-4:00 p.m.
Faces & Stories: A Portrait of Southern Writers on exhibit October
2005-January 2006
American Visions of Liberty & Freedom, February 4-May 28, 2006
For information on these and all other events, please call (704)
568-1774 or visit us online at www.charlottemuseum.org=20
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On
Behalf Of Tracy Sullivan
Sent: Tuesday, November 15, 2005 12:45 PM
To: [log in to unmask]
Subject: Trying not to scrape the floors... advice?
Hi everyone. We currently have some (rather heavy) pedestal-base exhibit
cases in a room with a slate floor. In order to install exhibits, the=20
cases need to be moved a bit. The floor has been newly refinished and=20
there is now concern that we are going to scrape the floor during=20
installation. Does anyone know of something that we can place on the=20
bottom of the cases to prevent scraping? The slate on the floor has some
natural ridging that means the floor isn't perfectly flat.
Any thoughts are welcomed.
Thanks!
Tracy Sullivan
~~
Director, John Q. Adams Center for the History of Otolaryngology--Head
and=20
Neck Surgery
Alexandria, VA
=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
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------------------------------
Date: Tue, 15 Nov 2005 15:21:05 -0500
From: Will Scott <[log in to unmask]>
Subject: Museum Database Programs--Accounting and Membership software
This is a multi-part message in MIME format.
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I do not know of any off-the-shelf collections management software
packages that also handle accounting. With fully-featured accounting
software available for very little money (Quickbooks runs about $200), I
wonder if such an all-encompassing solution is viable for companies
making collections management software for small museums. Does anyone
have statistics on what software small museums use for accounting and
for memberships?
Best wishes,
Will
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On
Behalf Of Reine Hauser
Sent: Monday, November 14, 2005 2:23 PM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] Museum Database Programs
As a small historic estate museum, we are new users of Past Perfect, but
are very happy with it so far. We've been using it for our membership
database, and will be using it for collections, too, in the near future.
It's been simple to use, the company is very responsive, and the
database is VERY well designed. But then, our membership is relatively
small-we only have a few thousand records.
It doesn't have an accounting feature, so we use Quikbooks (which is
linked to our gift shop POS system.) I'm hoping that someday Past
Perfect will develop a POS system for museum gift shops!
Raiser's Edge is the state-of-the-art. However, unless you have a
membership department with at least a couple of full time employees, I'd
avoid it due to price, and complexity (it requires extensive off site
training.)
Hope this helps!
Reine Hauser
Executive Director
The Graycliff Conservancy, Inc
http://graycliff.bfn.org
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<BODY lang=3DEN-US id=3Drole_body bottomMargin=3D7 vLink=3Dpurple =
link=3Dblue leftMargin=3D7=20
topMargin=3D7 rightMargin=3D7>
<DIV><SPAN class=3D524004920-14112005><FONT face=3DArial size=3D2>I do =
not know of any=20
off-the-shelf collections management software packages that also handle=20
accounting. With fully-featured accounting software available for very =
little=20
money (Quickbooks runs about $200), I wonder if such an all-encompassing =
solution is viable for companies making collections management =
software for=20
small museums. Does anyone have statistics on what software =
small=20
museums use for accounting and for memberships? =
</FONT></SPAN></DIV>
<DIV><SPAN class=3D524004920-14112005><FONT face=3DArial =
size=3D2></FONT></SPAN><SPAN=20
class=3D524004920-14112005><FONT face=3DArial =
size=3D2></FONT></SPAN> </DIV>
<DIV><FONT face=3DArial><FONT size=3D2><SPAN =
class=3D524004920-14112005>Best=20
wishes,</SPAN></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT size=3D2><SPAN=20
class=3D524004920-14112005></SPAN></FONT></FONT> </DIV>
<DIV><FONT face=3DArial><FONT size=3D2><SPAN=20
class=3D524004920-14112005>Will</SPAN><SPAN=20
class=3D524004920-14112005></SPAN></FONT></FONT></DIV>
<DIV><SPAN class=3D524004920-14112005><FONT face=3DArial=20
size=3D2></FONT></SPAN> </DIV>
<DIV><SPAN class=3D524004920-14112005><FONT face=3DArial=20
size=3D2></FONT></SPAN> </DIV>
<DIV><SPAN class=3D524004920-14112005><FONT face=3DArial=20
size=3D2></FONT></SPAN> </DIV>
<DIV></DIV>
<DIV><FONT face=3DTahoma size=3D2>-----Original =
Message-----<BR><B>From:</B> Museum=20
discussion list [mailto:[log in to unmask]] <B>On Behalf Of =
</B>Reine=20
Hauser<BR><B>Sent:</B> Monday, November 14, 2005 2:23 PM<BR><B>To:</B>=20
[log in to unmask]<BR><B>Subject:</B> Re: [MUSEUM-L] Museum =
Database=20
Programs<BR><BR></DIV></FONT>
<BLOCKQUOTE dir=3Dltr style=3D"MARGIN-RIGHT: 0px">
<DIV class=3DSection1>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">As a small =
historic=20
estate museum, we are new users of Past Perfect, but are very happy =
with it so=20
far. We’ve been using it for our membership database, and =
will be using=20
it for collections, too, in the near future. It’s been =
simple to use,=20
the company is very responsive, and the database is VERY well =
designed. =20
But then, our membership is relatively small—we only have a few =
thousand=20
records.</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT> </P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">It =
doesn’t have an=20
accounting feature, so we use Quikbooks (which is linked to our gift =
shop POS=20
system.) I’m hoping that someday Past Perfect will develop =
a POS system=20
for museum gift shops!</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT> </P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT> </P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial">Raiser’s Edge is the=20
state-of-the-art. However, unless you have a membership department =
with=20
<I><SPAN style=3D"FONT-STYLE: italic">at least</SPAN></I> a couple of =
full time=20
employees, I’d avoid it due to price, and complexity (it =
requires extensive=20
off site training.)</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT> </P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Hope this=20
helps!</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT> </P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT> </P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT> </P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"></SPAN></FONT> </P>
<DIV>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Reine=20
Hauser</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Executive=20
Director</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">The =
Graycliff=20
Conservancy, Inc</SPAN></FONT></P>
<P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial">http://graycliff.bfn.org</SPAN></FONT></P></DIV>
<P class=3DMsoNormal style=3D"MARGIN-LEFT: 0.5in"><FONT face=3D"Times =
New Roman"=20
size=3D3><SPAN=20
style=3D"FONT-SIZE: =
12pt"></SPAN></FONT> </P></DIV>=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=20
Important Subscriber Information:=20
<P>The Museum-L FAQ file is located at=20
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed=20
information about the listserv commands by sending a one line e-mail =
message=20
to [log in to unmask] . The body of the message should read =
"help"=20
(without the quotes).=20
<P>If you decide to leave Museum-L, please send a one line e-mail =
message to=20
[log in to unmask] . The body of the message should read =
"Signoff=20
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=
quotes).=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=20
Subscriber Information:=20
<P>The Museum-L FAQ file is located at=20
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed=20
information about the listserv commands by sending a one line e-mail =
message=20
to [log in to unmask] . The body of the message should read =
"help"=20
(without the quotes).=20
<P>If you decide to leave Museum-L, please send a one line e-mail =
message to=20
[log in to unmask] . The body of the message should read =
"Signoff=20
Museum-L" (without the quotes).=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=20
Information:=20
<P>The Museum-L FAQ file is located at=20
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed=20
information about the listserv commands by sending a one line e-mail =
message=20
to [log in to unmask] . The body of the message should read =
"help"=20
(without the quotes).=20
<P>If you decide to leave Museum-L, please send a one line e-mail =
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[log in to unmask] . The body of the message should read =
"Signoff=20
Museum-L" (without the quotes).</P></BLOCKQUOTE></BODY></HTML>
=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=
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<p>
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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"
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<p>
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------=_NextPart_000_0001_01C5E9F8.32ADA850--
------------------------------
Date: Tue, 15 Nov 2005 12:43:38 -0800
From: Lucy Sperlin <[log in to unmask]>
Subject: Nomenclature (was Cataloguing Reproductions in PastPerfect)
Lea,
Chenhall's NOMENCLATURE (original 1978 edition) addressed the issue of
reproductions and replicas. I believe the advice still holds good:
In your first example, the lithograph would be named as such, with the fact
that it is a reproduction shown in the catalog record -in the description
for sure, and elsewhere as your internal custom of PP usage dictates, I
think. (Sabrina's suggestion about using both artists in the artist field
is a good one.)
The second example sounds more like a replica:
"A replica is...an attempt to create an object which, as nearly as
possible, exactly duplicates the original. It is done in the same medium and
to the same scale as the original object....When a replica is identified, it
is necessary to include the word REPLICA as part of the object name so that
there can be no possible confusion with the original in the catalog records.
The procedure for achieving this is to use exactly the same classification
term/object name combination that would be used for cataloguing the original
but append the word REPLICA to the object name as a suffix qualifier."
(example: in EXCHANGE MEDIUM use "COIN, REPLICA")
Chenhall,
1978 p.20
If anyone involved in working on the next update of NOMENCLATURE reads this,
let's put in a big plug for including the first twenty pages of the 1978
edition (which were eliminated from the 1988 edition). It is very difficult
to use the system correctly and consistently without them!
Lucy Sperlin
(Nomenclature user since 1979)
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of Lea Foster Warden
Sent: Tuesday, November 15, 2005 11:38 AM
To: [log in to unmask]
Subject: Cataloguing Reproductions in PastPerfect
Hello,
We are trying to determine the best way to enter reproductions into our
PastPerfect database. A hypothetical example would be a lithograph by Joe
Smith of a painting by van Gogh or a painting by Sally May that is a copy of
a van Gogh.
We have consulted the Getty web site but have not determined the best way to
transfer recommendations to PastPerfect. The revised Chenall nomenclature
does not address reproductions.
Questions:
Where should we note that the item is a reproduction? Object Name, Other
Name, Description, Custom Field..
How should we handle the layered artists? Using the example above place the
following in the artist field [Smith, Joe (orig. van Gogh)]
Lea Foster Warden
Collections Manager
The Yager Museum of Art and Culture
=========================================================
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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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, 15 Nov 2005 15:49:16 EST
From: Susan Floyd <[log in to unmask]>
Subject: Basic Copyright Question
-------------------------------1132087756
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
Hello,
There is a map which is part of an exhibit. It was created by the museum
staff. We wish to reproduce the map for community outreach purposes but
before
we do, we'd like to copyright the map. Does just adding at the bottom
@ (
or copyright sign) +2005+name of museum suffice?
Susan
=========================================================
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).
-------------------------------1132087756
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.2900.2769" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000;
FONT-FAMILY:=20=
Arial"=20
bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT
id=3Drol=
e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>Hello,</DIV>
<DIV>There is a map which is part of an exhibit. It was created by the
museu=
m=20
staff. We wish to reproduce the map for community outreach purposes but
befo=
re=20
we do, we'd like to copyright the map. Does just adding at the=20
bottom @ ( or copyright sign) +2005+name of
museum=20
suffice?</DIV>
<DIV> </DIV>
<DIV>Susan</DIV></FONT></BODY></HTML>
=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=3
D=3D=3D=3D=3D=3D=3D
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<p>
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-------------------------------1132087756--
------------------------------
Date: Tue, 15 Nov 2005 15:05:07 -0600
From: Mark Janzen <[log in to unmask]>
Subject: Re: Basic Copyright Question
Susan,
Yes, the copyright c, with year and institution will be sufficient for
notification of copyright. Formal registration of copyright is not a
condition of protection.
Depending on your use, their distribution, or your institutional concerns,
you might want to go through the formal copyright registration process, but
it is not technically necessary. Make sure you keep the original and
document the production of the copies for future reference. Who copied
them, how many, etc.
The formal registration process is always recommended if you have any
concerns with protecting your intellectual property for the future. Check
out the registration information at www.copyright.gov, with specific
attention to the "inducements/advantages" of formal registration. There is
a $30 fee for registering such graphic works as your map, but it could be
well worth the effort if problems ever arose. It is also not hard to do.
Good luck.
Mark Janzen
Registrar/Collections Manager
Edwin A. Ulrich Museum of Art
Martin H. Bush Outdoor Sculpture Collection
Wichita State University
(316)978-5850
Susan Floyd
<[log in to unmask]
OM> To
Sent by: Museum [log in to unmask]
discussion list cc
<[log in to unmask]
SE.LSOFT.COM> Subject
Basic Copyright Question
11/15/2005 02:49
PM
Please respond to
Museum discussion
list
<[log in to unmask]
SE.LSOFT.COM>
Hello,
There is a map which is part of an exhibit. It was created by the museum
staff. We wish to reproduce the map for community outreach purposes but
before we do, we'd like to copyright the map. Does just adding at the
bottom @ ( or copyright sign) +2005+name of museum suffice?
Susan
========================================================= 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, 15 Nov 2005 15:09:41 -0800
From: Elizabeth Furlow <[log in to unmask]>
Subject: Re: Nomenclature (was Cataloguing Reproductions in PastPerfect)
I second Lucy's endorsement of the introduction to the original
Nomenclature. The categories in Revised Nomeclature make more sense than
the oirginal ones, but the explanation of how to determine the name of an
object is much more complete and understandable in the 1978 version. I
copied it from the old book and have all new interns read the 1978
introduction PLUS the Revised introduction to learn about Nomenclature
classification.
-----Original Message-----
From: Lucy Sperlin [mailto:[log in to unmask]]
Sent: Tuesday, November 15, 2005 12:44 PM
To: [log in to unmask]
Subject: Nomenclature (was Cataloguing Reproductions in PastPerfect)
Lea,
Chenhall's NOMENCLATURE (original 1978 edition) addressed the issue of
reproductions and replicas. I believe the advice still holds good:
In your first example, the lithograph would be named as such, with the fact
that it is a reproduction shown in the catalog record -in the description
for sure, and elsewhere as your internal custom of PP usage dictates, I
think. (Sabrina's suggestion about using both artists in the artist field
is a good one.)
The second example sounds more like a replica:
"A replica is...an attempt to create an object which, as nearly as
possible, exactly duplicates the original. It is done in the same medium and
to the same scale as the original object....When a replica is identified, it
is necessary to include the word REPLICA as part of the object name so that
there can be no possible confusion with the original in the catalog records.
The procedure for achieving this is to use exactly the same classification
term/object name combination that would be used for cataloguing the original
but append the word REPLICA to the object name as a suffix qualifier."
(example: in EXCHANGE MEDIUM use "COIN, REPLICA")
Chenhall,
1978 p.20
If anyone involved in working on the next update of NOMENCLATURE reads this,
let's put in a big plug for including the first twenty pages of the 1978
edition (which were eliminated from the 1988 edition). It is very difficult
to use the system correctly and consistently without them!
Lucy Sperlin
(Nomenclature user since 1979)
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of Lea Foster Warden
Sent: Tuesday, November 15, 2005 11:38 AM
To: [log in to unmask]
Subject: Cataloguing Reproductions in PastPerfect
Hello,
We are trying to determine the best way to enter reproductions into our
PastPerfect database. A hypothetical example would be a lithograph by Joe
Smith of a painting by van Gogh or a painting by Sally May that is a copy of
a van Gogh.
We have consulted the Getty web site but have not determined the best way to
transfer recommendations to PastPerfect. The revised Chenall nomenclature
does not address reproductions.
Questions:
Where should we note that the item is a reproduction? Object Name, Other
Name, Description, Custom Field..
How should we handle the layered artists? Using the example above place the
following in the artist field [Smith, Joe (orig. van Gogh)]
Lea Foster Warden
Collections Manager
The Yager Museum of Art and Culture
=========================================================
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).
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------------------------------
Date: Tue, 15 Nov 2005 18:00:10 -0500
From: Christa <[log in to unmask]>
Subject: Re: Educators and Costumes
I work for a small history museum and when we go to the schools for our
trunk shows or the schools come to us, we dress up in costumes. Since I
work in the South I get to wear a lovely hoop skirt costume. Kids really
enjoy the costume and it does get everyone's attention. I think that
costumes really enhance the experience because the kids want to know what
I am wearing and why. I do go into first person when discussing my
costume. Also if I were a third grader listening to someone giving a talk,
it would be more fun if they were in costume and not in jeans and a t-
shirt or dressed as a business professional.
Just my 2 cents.
Christa Weinberger
Registrar
Marietta Museum of History
=========================================================
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------------------------------
Date: Tue, 15 Nov 2005 20:50:34 EST
From: Pamela Silvestri <[log in to unmask]>
Subject: Re: Basic Copyright Question
-------------------------------1132105834
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
Along with the information already posted for this question, regarding
registering the copyright with the Library of Congress...I highly recommend
this
also, which would require the fees and a deposit of a copy of the map.
If your museum does not, and someone else creates a similar map, or
recreates your museum's and submits a registration on their own (and maybe
claim that
they produced theirs before yours and independently of yours) then they
would own the copyright. If they earned a profit by selling/reproducing the
map
in any way, shape or form the burden of proof of ownership would be to the
museum to prove otherwise.
However, you should include, with the copyright information printed on this
map -anything similar to the effect that, 'Any use and/or reproduction of
this map in part or whole including original data contained within, must be
requested in writing and approved by this museum/organization'.
If you do not add any statement such as this, than it is implied that the
map can be reproduced as long as it is properly credited to the museum.
If the map your staff created is in any way extracted from any existing
maps
and data, then what you may have is a 'rendition' or a 'version' and not an
original - but you can still register a copyright for it as such.
Since the map was created by staff for the museum, it is considered 'work
for hire' and therefore the museum owns all rights to the map. The creators
of
the map relinquish their right to profit and reproduce the map for personal
gain without permission from the museum.
Pam
In a message dated 11/15/2005 3:50:17 P.M. Eastern Standard Time,
[log in to unmask] writes:
Hello,
There is a map which is part of an exhibit. It was created by the museum
staff. We wish to reproduce the map for community outreach purposes but
before
we do, we'd like to copyright the map. Does just adding at the bottom
@ (
or copyright sign) +2005+name of museum suffice?
Susan
Pamela Silvestri, Museum Assistant
Northeast States Civilian Conservation Corps Museum
Shenipsit State Forest
166 Chestnut Hill Road
Stafford Springs, Connecticut 06076
Telephone: (860) 684-3430
e-mail: [log in to unmask]
=========================================================
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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
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-------------------------------1132105834
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.2900.2769" name=3DGENERATOR></HEAD>
<BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000;
FONT-FAMILY:=20=
Arial"=20
bottomMargin=3D7 leftMargin=3D7 topMargin=3D7 rightMargin=3D7><FONT
id=3Drol=
e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>
<DIV>
<DIV>Along with the information already posted for this question,
regarding=20
registering the copyright with the Library of Congress...I highly
recommend=20=
this=20
also, which would require the fees and a deposit of a copy of the=20
map.</DIV>
<DIV> </DIV>
<DIV>If your museum does not, and someone else creates a similar
map,=20
or recreates your museum's and submits a registration on their own
(and=
=20
maybe claim that they produced theirs before yours and independently of
your=
s)=20
then they would own the copyright. If they earned a profit by=20
selling/reproducing the map in any way, shape or form the burden of proof
of=
=20
ownership would be to the museum to prove otherwise.</DIV>
<DIV> </DIV>
<DIV>However, you should include, with the copyright information
printe=
d on=20
this map -anything similar to the effect that, 'Any use and/or
reproduc=
tion=20
of this map in part or whole including original data contained within,
must=20=
be=20
requested in writing and approved by this museum/organization'.</DIV>
<DIV> </DIV>
<DIV>If you do not add any statement such as this, than it is implied that
t=
he=20
map can be reproduced as long as it is properly credited to the
museum.</DIV=
>
<DIV> </DIV>
<DIV>If the map your staff created is in any way extracted from any=20
existing maps and data, then what you may have is a 'rendition' or a
'versio=
n'=20
and not an original - but you can still register a copyright for it as=20
such.</DIV>
<DIV> </DIV>
<DIV>Since the map was created by staff for the museum, it is considered
'wo=
rk=20
for hire' and therefore the museum owns all rights to the map. The
creators=20=
of=20
the map relinquish their right to profit and reproduce the map for
pers=
onal=20
gain without permission from the museum.</DIV>
<DIV> </DIV>
<DIV>Pam</DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV>In a message dated 11/15/2005 3:50:17 P.M. Eastern Standard Time,=20
[log in to unmask] writes:</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px
solid"><=
FONT=20
style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 size=
=3D2><FONT=20
face=3DArial color=3D#000000 size=3D2>
<DIV>Hello,</DIV>
<DIV>There is a map which is part of an exhibit. It was created by the
mus=
eum=20
staff. We wish to reproduce the map for community outreach purposes but
be=
fore=20
we do, we'd like to copyright the map. Does just adding at the=20
bottom @ ( or copyright sign) +2005+name of
museum=
=20
suffice?</DIV>
<DIV> </DIV>
<DIV>Susan</DIV></FONT></FONT></BLOCKQUOTE></DIV>
<DIV></DIV></DIV>
<DIV> </DIV>
<DIV><FONT lang=3D0 face=3D"Times New Roman" size=3D2 FAMILY=3D"SERIF"=20
PTSIZE=3D"10"><B>Pamela Silvestri, Museum Assistant<BR>Northeast States
Civi=
lian=20
Conservation Corps Museum<BR>Shenipsit State Forest<BR>166 Chestnut Hill=20
Road<BR>Stafford Springs, Connecticut 06076<BR>Telephone: (860)=20
684-3430<BR>e-mail:
[log in to unmask]</B></FONT></DIV></FONT></BODY></HTM=
L>
=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=3
D=3D=3D=3D=3D=3D=3D
Important Subscriber Information:
<p>
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).
<p>
If you decide to leave Museum-L, please send a one line e-mail message to
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Museum-L" (without the quotes).
-------------------------------1132105834--
------------------------------
Date: Tue, 15 Nov 2005 21:19:22 -0500
From: "Liz N." <[log in to unmask]>
Subject: Source for replica/artificial trees, shrubbery, grass
Hi. We are in the process of planning an exhibit for toddlers and their
caregivers. The exhibit involves a wooded path and forest floor complete
with soft toys, nature sounds, etc. We are looking for a source for replica
trees (we were hoping to have trees found in Ohio--e.g. maple, elm buckeye,
oak) as well as flower and shrubbery. We are looking, of course, to make
this exhibit as safe and "soft" as possible. While I would prefer that the
materials look very realistic, some of my committee members are also
interested in giving the forest an animated look as well. For example,
flowers with smiles, etc. I hope this makes sense. I did see one company in
California called Naturemaker. They have beautiful sculptures but this will
most likely not be within budget. Any thoughts would be appreciated. I am
also looking for floor covering that resembles grass but that is softer than
the regular turf I have seen. I hope I offered enough information. Thanks.
Liz
=========================================================
Important Subscriber Information:
The Museum-L FAQ file is located at
http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
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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
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Museum-L" (without the quotes).
------------------------------
Date: Tue, 15 Nov 2005 21:30:21 -0500
From: Kristin Lockerman <[log in to unmask]>
Subject: neighborhood park interpretation ideas
I'm looking for interpretation ideas for a small neighborhood park. The
park is on
the former site of an 1800s brick schoolhouse that was razed in the 1970s.
The
community is trying to gain support for park funds through an interpretative
program that would honor the former school.
I know that that's not much information, but any ideas/examples would be
greatly
appreciated. I am specifically trying to find interpretive plans that are
creative,
concise and include little to no signage.
Thanks for your help,
Kristie Lockerman
=========================================================
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
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------------------------------
Date: Tue, 15 Nov 2005 22:43:34 -0500
From: Diane Gutenkauf <[log in to unmask]>
Subject: FW: After Katrina: N.O. art museum
This is a multi-part message in MIME format.
------_=_NextPart_001_01C5EA5F.EB97C6F4
Content-Type: text/plain;
charset="us-ascii"
Content-Transfer-Encoding: quoted-printable
Sent to me by a friend in a PR firm....FYI
=20
Diane Gutenkauf
________________________________
=20
=20
NEW ORLEANS (AP) ... The baseball-sized French glass Mardi=20
Gras beads still dangle on live oak trees outside the New=20
Orleans Museum of Art. Somehow, they defied Hurricane Katrina's=20
fury.[EP
The Degas, Monet and Gauguin paintings, the jeweled Faberge=20
eggs, the Ansel Adams photographs, they're all safe inside.=20
Even though storm winds uprooted 60-foot-tall trees nearby and=20
8-foot-deep floodwaters surrounded the museum like a lake with=20
an island castle, the art treasures were spared.[EP
But the museum wasn't and its scars are just beginning to=20
show.[EP
The New Orleans Museum of Art has been forced to lay off=20
most of its 86 workers, it must raise millions of dollars to=20
survive the next few years and it will not reopen its doors for=20
months. And that's just for starters.[EP
``It's going to take years to get back to where we were,''=20
says Jackie Sullivan, the museum's deputy director. ``The=20
toughest time is definitely now.''[EP
The museum's plight typifies the dilemma a cultural=20
institution here ... especially one dependent on city dollars ...=20
faces in this post-Katrina era. New Orleans has no money, no=20
sizable number of tourists and no crystal ball to predict when=20
all will change.[EP
Then there's the matter of priorities.[EP
In a city where hundreds of people died, thousands of homes=20
were destroyed, jobs are gone and schools and businesses=20
closed, the preservation of an art museum just doesn't rank at=20
the top of the must-do list.[EP
But E. John Bullard, the museum's director, argues that art=20
must be a part of the city's revival.[EP
``Obviously, the people have to have houses to live in,'' he=20
says. ``They have to have hospitals. They have to have schools.=20
I think museums ... are on the same level. You can't live in a=20
cultural desert. Especially in New Orleans. You just can't.''[EP
The 94-year-old museum, a neoclassical white stone building=20
set on a circle, is important, too, because it attracts=20
out-of-town visitors ... and that means money.[EP
``I think the city has wakened up to the fact that tourism=20
is its last great hope,'' says John Keefe, one of the laid-off=20
museum workers.[EP
The museum needs $15 million in the next three years and is=20
now trying to raise money to make up for losing visitors (about=20
150,000 a year) and fees from its 10,000 members, many of whom=20
have fled New Orleans.[EP
``We're hanging out a little tin cup,'' says Bullard, who=20
says his recent trip to New York to appeal to foundations for=20
help brought in pledges of $900,000.[EP
The museum's crisis came after the storm. Mayor Ray Nagin=20
announced in October that New Orleans was broke and had to lay=20
off as many as 3,000 people, about half the city's work force.[EP
That had a dramatic impact on the museum because 60 percent=20
of the staff are civil servants, including most curators. One=20
of them, Dan Piersol, suddenly found himself out of work after=20
25 years.[EP
``If there's anyone expendable, it's got to be museum=20
people,'' says Piersol, who was curator of prints and drawings.=20
``I feared that and it came true.''[EP
Piersol says even as the flooding, looting and chaos that=20
enveloped the city were unfolding in horrifying TV images, he=20
was determined to return. ``The more I watched, the more I=20
thought this is not going to work,'' he says.[EP
Friends, he says, urged him to look for a new job and he did=20
even before his layoff notice arrived. He quickly was hired as=20
deputy director at the Mississippi Museum of Art in Jackson.[EP
``It was self-preservation,'' he says. ``Everyone did or=20
will get to that point.''[EP
Piersol also had another bit of luck. When he returned to=20
his New Orleans house in the Bywater neighborhood, ``it was dry=20
as a bone'' and 30 years of his paintings were not damaged.=20
``It was just astonishing to see everything exactly as we left=20
it,'' he says.[EP
While Piersol has a new career, some colleagues scattered=20
around the country are in limbo ... and waiting to return to=20
their old jobs.[EP
``I can't imagine not being there,'' says Victoria Cooke,=20
the museum's curator of European painting who is living in New=20
York, working on her dissertation and planning an impressionist=20
exhibition for 2008.[EP
Cooke, who just bought a new house near the museum last=20
year, says it's painful being laid off but she understands. ``I=20
have to put my faith in the people who have to deal with this,=20
that they'll find a solution,'' she says. ``That's my hope. I'm=20
trying to be patient.''[EP
But for Keefe, curator of decorative arts, these are=20
worrisome days. After 23 years at the museum, he says he=20
thought he had enough seniority to still be working and is=20
annoyed the board didn't give the staff even a few hundred=20
dollars each to tide them over. At age 64, he fears he'll be=20
forced into retirement without a good pension.[EP
``After all these years of service,'' Keefe says, ``you kind=20
of feel, 'Why did I do this?' ``[EP
Sullivan, the deputy director, says the museum had to pare=20
its staff to 14 workers and with the doors closed, there's no=20
need for people such as education curators or a volunteer=20
coordinator.[EP
She's also aware there will be permanent losses. ``The void=20
is tremendous,'' she says. ``It's hard to replace someone who=20
was a curator with 30 years of experience.''[EP
Bullard worries, too, about the obstacles in reopening: Will=20
workers want to return? Where will they find housing? How will=20
his museum compete with other places offering fatter paychecks?[EP
``How many people will want to come to New Orleans at the=20
salary we pay? ... When we go to rehire people, it's going to=20
be hard,'' he says.[EP
Many staff members had worked at the museum for a decade or=20
more and were a close-knit group, working as a team even as=20
they prepared for Katrina: They took paintings off the walls=20
that were near skylights and put others on wooden blocks in=20
basement storage areas. Some sculptures were brought inside and=20
some others ... including the Mardi Gras beads ... were tied to=20
trees.[EP
Several workers ... maintenance and security crew, along with=20
their families ... took refuge in the building and stayed there=20
in the turbulent first week after the storm. They were so=20
determined to protect the treasures from possible looters, they=20
refused to leave when they had the chance.[EP
Some stayed downstairs, while others kept vigil on the main=20
floor. They had already stocked up on food and filled giant=20
garbage cans and ice chests with water. They watched the news=20
on a television powered by a generator until they were finally=20
ordered out by the National Guard.[EP
On the Saturday after the storm, Sullivan, the deputy=20
director, finally made her way to the building in a harrowing=20
nine-hour journey in a two-boat convoy, passing floating bodies=20
along the way. She was accompanied by M-16 rifle-toting=20
security guards, mostly former New York City police working for=20
a firm that had been hired by the museum's insurer.[EP
The security force remained there for six weeks. Two Orleans=20
Parish sheriff's deputies now guard the museum.[EP
Sullivan says she was thrilled at what she found. ``I could=20
have just screamed,'' she says. ``Everything was pristine.''[EP
Though there was no flooding in the galleries, the ground=20
floor had cracks that caused some water to seep in the storage=20
and office areas. Only one sculpture, a piece of furniture, two=20
Kachina dolls and a pair of Japanese screens were damaged but=20
the inventory is still being taken.[EP
Only a fraction of the 40,000 or so pieces in the museum's=20
$250 million collection is normally on display. The museum also=20
remains a temporary home to about 1,000 works from private=20
collectors.[EP
The museum needs to make repairs valued at more than $6=20
million, including fixing the huge freight elevator,=20
waterproofing the basement, landscaping, new outside lights and=20
other improvements in the sculpture garden. Most of those costs=20
will be covered by insurance or the Federal Emergency=20
Management Agency.[EP
The public will be able to walk around the sculpture garden=20
next month, but the museum won't be open until March 1, Ash=20
Wednesday, the day after Mardi Gras.[EP
Meanwhile, Bullard plans a fund-raising campaign, making=20
stops in such cities as Los Angeles, Chicago and Palm Beach,=20
Fla., to encourage more people to open their checkbooks.[EP
Already, there are signs of good will. French officials=20
recently announced they'll loan some 50 paintings from their=20
institutions, including the Louvre, to be displayed in a=20
special exhibition late next year or in early 2007 at the New=20
Orleans Museum of Art.[EP
The museum will also bring some works to a New York gallery=20
next year to raise money and pay tribute to the security force=20
that guarded the building.[EP
Meanwhile, George Roland, who was a donor, volunteer and=20
eventually an assistant at the museum, wonders about the future=20
... the museum's, the city's and his own.[EP
``I don't think anything in the city is going to come back=20
the way it is,'' he says. ``I think New Orleans is gone, at=20
least the New Orleans that everyone thinks about.''[EP
But he says the camaraderie with his co-workers and the=20
museum are reasons enough for him to return.[EP
``It's not New Orleans as a city that will bring me back,''=20
he says. ``It's the museum.''[EP
Keefe, his former colleague, says even though people are=20
worried about housing and other essential needs now, he's=20
certain the museum will survive because it's part of the fabric=20
and the future of New Orleans.[EP
``Art is not a luxury,'' he says. ``It's something that=20
enhances life. And this city is all about the enhancement of=20
life.''[EP
AP-CS-11-15-05 1111EST[QL
=20
=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=3
D=3D=3D=3D=3D=3D=3D
Important Subscriber Information:
The Museum-L FAQ file is located at
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to [log in to unmask] . The body of the message should read "help"
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If you decide to leave Museum-L, please send a one line e-mail message to
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------_=_NextPart_001_01C5EA5F.EB97C6F4
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charset="us-ascii"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD><TITLE>Message</TITLE>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Dus-ascii">
<META content=3D"MSHTML 6.00.2900.2769" name=3DGENERATOR></HEAD>
<BODY>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff =
size=3D2><SPAN=20
class=3D147244003-16112005>Sent to me by a friend in a PR=20
firm....FYI</SPAN></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff =
size=3D2><SPAN=20
class=3D147244003-16112005></SPAN></FONT> </DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff =
size=3D2><SPAN=20
class=3D147244003-16112005>Diane Gutenkauf</SPAN></FONT></DIV><BR>
<DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr align=3Dleft>
<HR tabIndex=3D-1>
</DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2> NEW ORLEANS (AP) … =
The baseball-sized=20
French glass Mardi <BR>Gras beads still dangle on live oak trees outside =
the New=20
<BR>Orleans Museum of Art. Somehow, they defied Hurricane Katrina's=20
<BR>fury.[EP<BR> The Degas, Monet and Gauguin paintings, the =
jeweled=20
Faberge <BR>eggs, the Ansel Adams photographs, they're all safe inside. =
<BR>Even=20
though storm winds uprooted 60-foot-tall trees nearby and =
<BR>8-foot-deep=20
floodwaters surrounded the museum like a lake with <BR>an island castle, =
the art=20
treasures were spared.[EP<BR> But the museum wasn't and its =
scars=20
are just beginning to <BR>show.[EP<BR> The New Orleans =
Museum of Art=20
has been forced to lay off <BR>most of its 86 workers, it must raise =
millions of=20
dollars to <BR>survive the next few years and it will not reopen its =
doors for=20
<BR>months. And that's just for starters.[EP<BR> ``It's =
going to=20
take years to get back to where we were,'' <BR>says Jackie Sullivan, the =
museum's deputy director. ``The <BR>toughest time is definitely=20
now.''[EP<BR> The museum's plight typifies the dilemma a =
cultural=20
<BR>institution here … especially one dependent on city dollars =
… <BR>faces in=20
this post-Katrina era. New Orleans has no money, no <BR>sizable number =
of=20
tourists and no crystal ball to predict when <BR>all will=20
change.[EP<BR> Then there's the matter of=20
priorities.[EP<BR> In a city where hundreds of people died,=20
thousands of homes <BR>were destroyed, jobs are gone and schools and =
businesses=20
<BR>closed, the preservation of an art museum just doesn't rank at =
<BR>the top=20
of the must-do list.[EP<BR> But E. John Bullard, the =
museum's=20
director, argues that art <BR>must be a part of the city's=20
revival.[EP<BR> ``Obviously, the people have to have houses =
to live=20
in,'' he <BR>says. ``They have to have hospitals. They have to have =
schools.=20
<BR>I think museums ... are on the same level. You can't live in a =
<BR>cultural=20
desert. Especially in New Orleans. You just can't.''[EP<BR> =
The=20
94-year-old museum, a neoclassical white stone building <BR>set on a =
circle, is=20
important, too, because it attracts <BR>out-of-town visitors … and =
that means=20
money.[EP<BR> ``I think the city has wakened up to the fact =
that=20
tourism <BR>is its last great hope,'' says John Keefe, one of the =
laid-off=20
<BR>museum workers.[EP<BR> The museum needs $15 million in =
the next=20
three years and is <BR>now trying to raise money to make up for losing =
visitors=20
(about <BR>150,000 a year) and fees from its 10,000 members, many of =
whom=20
<BR>have fled New Orleans.[EP<BR> ``We're hanging out a =
little tin=20
cup,'' says Bullard, who <BR>says his recent trip to New York to appeal =
to=20
foundations for <BR>help brought in pledges of =
$900,000.[EP<BR> The=20
museum's crisis came after the storm. Mayor Ray Nagin <BR>announced in =
October=20
that New Orleans was broke and had to lay <BR>off as many as 3,000 =
people, about=20
half the city's work force.[EP<BR> That had a dramatic =
impact on the=20
museum because 60 percent <BR>of the staff are civil servants, including =
most=20
curators. One <BR>of them, Dan Piersol, suddenly found himself out of =
work after=20
<BR>25 years.[EP<BR> ``If there's anyone expendable, it's =
got to be=20
museum <BR>people,'' says Piersol, who was curator of prints and =
drawings.=20
<BR>``I feared that and it came true.''[EP<BR> Piersol says =
even as=20
the flooding, looting and chaos that <BR>enveloped the city were =
unfolding in=20
horrifying TV images, he <BR>was determined to return. ``The more I =
watched, the=20
more I <BR>thought this is not going to work,'' he =
says.[EP<BR> =20
Friends, he says, urged him to look for a new job and he did <BR>even =
before his=20
layoff notice arrived. He quickly was hired as <BR>deputy director at =
the=20
Mississippi Museum of Art in Jackson.[EP<BR> ``It was=20
self-preservation,'' he says. ``Everyone did or <BR>will get to that=20
point.''[EP<BR> Piersol also had another bit of luck. When =
he=20
returned to <BR>his New Orleans house in the Bywater neighborhood, ``it =
was dry=20
<BR>as a bone'' and 30 years of his paintings were not damaged. <BR>``It =
was=20
just astonishing to see everything exactly as we left <BR>it,'' he=20
says.[EP<BR> While Piersol has a new career, some colleagues =
scattered <BR>around the country are in limbo … and waiting to =
return to=20
<BR>their old jobs.[EP<BR> ``I can't imagine not being =
there,'' says=20
Victoria Cooke, <BR>the museum's curator of European painting who is =
living in=20
New <BR>York, working on her dissertation and planning an impressionist=20
<BR>exhibition for 2008.[EP<BR> Cooke, who just bought a new =
house=20
near the museum last <BR>year, says it's painful being laid off but she=20
understands. ``I <BR>have to put my faith in the people who have to deal =
with=20
this, <BR>that they'll find a solution,'' she says. ``That's my hope. =
I'm=20
<BR>trying to be patient.''[EP<BR> But for Keefe, curator of =
decorative arts, these are <BR>worrisome days. After 23 years at the =
museum, he=20
says he <BR>thought he had enough seniority to still be working and is=20
<BR>annoyed the board didn't give the staff even a few hundred =
<BR>dollars each=20
to tide them over. At age 64, he fears he'll be <BR>forced into =
retirement=20
without a good pension.[EP<BR> ``After all these years of =
service,''=20
Keefe says, ``you kind <BR>of feel, 'Why did I do this?' =
``[EP<BR> =20
Sullivan, the deputy director, says the museum had to pare <BR>its staff =
to 14=20
workers and with the doors closed, there's no <BR>need for people such =
as=20
education curators or a volunteer <BR>coordinator.[EP<BR> =
She's also=20
aware there will be permanent losses. ``The void <BR>is tremendous,'' =
she says.=20
``It's hard to replace someone who <BR>was a curator with 30 years of=20
experience.''[EP<BR> Bullard worries, too, about the =
obstacles in=20
reopening: Will <BR>workers want to return? Where will they find =
housing? How=20
will <BR>his museum compete with other places offering fatter=20
paychecks?[EP<BR> ``How many people will want to come to New =
Orleans=20
at the <BR>salary we pay? ... When we go to rehire people, it's going to =
<BR>be=20
hard,'' he says.[EP<BR> Many staff members had worked at the =
museum=20
for a decade or <BR>more and were a close-knit group, working as a team =
even as=20
<BR>they prepared for Katrina: They took paintings off the walls =
<BR>that were=20
near skylights and put others on wooden blocks in <BR>basement storage =
areas.=20
Some sculptures were brought inside and <BR>some others … =
including the Mardi=20
Gras beads … were tied to <BR>trees.[EP<BR> Several =
workers …=20
maintenance and security crew, along with <BR>their families … =
took refuge in=20
the building and stayed there <BR>in the turbulent first week after the =
storm.=20
They were so <BR>determined to protect the treasures from possible =
looters, they=20
<BR>refused to leave when they had the chance.[EP<BR> Some =
stayed=20
downstairs, while others kept vigil on the main <BR>floor. They had =
already=20
stocked up on food and filled giant <BR>garbage cans and ice chests with =
water.=20
They watched the news <BR>on a television powered by a generator until =
they were=20
finally <BR>ordered out by the National Guard.[EP<BR> On the =
Saturday after the storm, Sullivan, the deputy <BR>director, finally =
made her=20
way to the building in a harrowing <BR>nine-hour journey in a two-boat =
convoy,=20
passing floating bodies <BR>along the way. She was accompanied by M-16=20
rifle-toting <BR>security guards, mostly former New York City police =
working for=20
<BR>a firm that had been hired by the museum's =
insurer.[EP<BR> The=20
security force remained there for six weeks. Two Orleans <BR>Parish =
sheriff's=20
deputies now guard the museum.[EP<BR> Sullivan says she was =
thrilled=20
at what she found. ``I could <BR>have just screamed,'' she says. =
``Everything=20
was pristine.''[EP<BR> Though there was no flooding in the=20
galleries, the ground <BR>floor had cracks that caused some water to =
seep in the=20
storage <BR>and office areas. Only one sculpture, a piece of furniture, =
two=20
<BR>Kachina dolls and a pair of Japanese screens were damaged but =
<BR>the=20
inventory is still being taken.[EP<BR> Only a fraction of =
the 40,000=20
or so pieces in the museum's <BR>$250 million collection is normally on =
display.=20
The museum also <BR>remains a temporary home to about 1,000 works from =
private=20
<BR>collectors.[EP<BR> The museum needs to make repairs =
valued at=20
more than $6 <BR>million, including fixing the huge freight elevator,=20
<BR>waterproofing the basement, landscaping, new outside lights and =
<BR>other=20
improvements in the sculpture garden. Most of those costs <BR>will be =
covered by=20
insurance or the Federal Emergency <BR>Management =
Agency.[EP<BR> The=20
public will be able to walk around the sculpture garden <BR>next month, =
but the=20
museum won't be open until March 1, Ash <BR>Wednesday, the day after =
Mardi=20
Gras.[EP<BR> Meanwhile, Bullard plans a fund-raising =
campaign,=20
making <BR>stops in such cities as Los Angeles, Chicago and Palm Beach,=20
<BR>Fla., to encourage more people to open their =
checkbooks.[EP<BR> =20
Already, there are signs of good will. French officials <BR>recently =
announced=20
they'll loan some 50 paintings from their <BR>institutions, including =
the=20
Louvre, to be displayed in a <BR>special exhibition late next year or in =
early=20
2007 at the New <BR>Orleans Museum of Art.[EP<BR> The museum =
will=20
also bring some works to a New York gallery <BR>next year to raise money =
and pay=20
tribute to the security force <BR>that guarded the =
building.[EP<BR> =20
Meanwhile, George Roland, who was a donor, volunteer and <BR>eventually =
an=20
assistant at the museum, wonders about the future <BR>… the =
museum's, the city's=20
and his own.[EP<BR> ``I don't think anything in the city is =
going to=20
come back <BR>the way it is,'' he says. ``I think New Orleans is gone, =
at=20
<BR>least the New Orleans that everyone thinks =
about.''[EP<BR> But=20
he says the camaraderie with his co-workers and the <BR>museum are =
reasons=20
enough for him to return.[EP<BR> ``It's not New Orleans as a =
city=20
that will bring me back,'' <BR>he says. ``It's the =
museum.''[EP<BR> =20
Keefe, his former colleague, says even though people are <BR>worried =
about=20
housing and other essential needs now, he's <BR>certain the museum will =
survive=20
because it's part of the fabric <BR>and the future of New=20
Orleans.[EP<BR> ``Art is not a luxury,'' he says. ``It's =
something=20
that <BR>enhances life. And this city is all about the enhancement of=20
<BR>life.''[EP<BR> AP-CS-11-15-05 1111EST[QL</FONT></DIV>
<DIV> </DIV>
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End of MUSEUM-L Digest - 14 Nov 2005 to 15 Nov 2005 (#2005-317)
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