> ---------- > 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 > > ========================================================= > 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 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 > > 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). > > > ________________________________________________________________ > 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 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) > *************************************************************** > ========================================================= 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).