Have you looked at PastPerfect? It does everything from collections, to membership and volunteers, to development. Although we only use it for collections, having one database to link donors of objects, money, in-kind, and membership/volunteer activity could be a real benefit. They also help with conversions and it's pretty inexpensive.
Sabrina Henneman
Collections Registrar
Genesee Country Museum
-----Original Message-----
From: Museum discussion list [mailto: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: Wed, 6 Jan 2010 15:49:21 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Leslie Ornstein <[log in to unmask]>
Subject: Fred Wilson: "The Silent Message of the Museum"
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Apologies for cross posting.
Seton Hall University
Presents
“The Silent Message of the Museum”
A Lecture by Fred Wilson
A recipient of a McArthur fellowship as well as the 2003 American
representative at the Venice Biennale, Fred Wilson has become
internationally known for his museum installations, in which he re-installs
and re-labels objects owned by a museum for the purpose of creating new
meanings and non-conventional narratives. Beyond bringing home the point
that the way we view and “read” objects is conditioned by context and
juxtaposition, Wilson’s installations subvert, criticize, or poke fun at the
unspoken assumptions that museums make about the social order, including
such issues as class, gender, and ethnicity, In his lecture, Wilson will
show how his interventions expose the one-directional view typical of
traditional museum practice and remind us that there are many different
perspectives and viewpoints other that those contained in traditional museum
wall texts.
Seton Hall University
400 South Orange Ave.
South Orange, NJ
Jubilee Hall Auditorium
February 3, 2010 at 7:00 PM
Free and open to the public
For information, call 973-761-7966
For directions, see http://www.shu.edu/visiting/
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Apologies for cross posting.
Seton Hall University
Presents
“The Silent Message of the Museum”
A Lecture by Fred Wilson
A recipient of a McArthur fellowship as well as the 2003 American representative at the Venice Biennale, Fred Wilson has become internationally known for his museum installations, in which he re-installs and re-labels objects owned by a museum for the purpose of creating new meanings and non-conventional narratives. Beyond bringing home the point that the way we view and “read” objects is conditioned by context and juxtaposition, Wilson’s installations subvert, criticize, or poke fun at the unspoken assumptions that museums make about the social order, including such issues as class, gender, and ethnicity, In his lecture, Wilson will show how his interventions expose the one-directional view typical of traditional museum practice and remind us that there are many different perspectives and viewpoints other that those contained in traditional museum wall texts.
Seton Hall University
400 South Orange Ave.
South Orange, NJ
Jubilee Hall Auditorium
February 3, 2010 at 7:00 PM
Free and open to the public
For information, call 973-761-7966
For directions, see http://www.shu.edu/visiting/
=========================================================
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: Wed, 6 Jan 2010 15:05:35 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Cathy Ricciardelli <[log in to unmask]>
Subject: percentage of your collection on view
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Dear Colleagues,
I know that the answer to my question "What percentage of your collection is on view?" will vary by the size of the institution, the number of objects in the collection, etc. , but I am going to ask the question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the following programs:
Prendergast in Italy
Williams College Museum of Art, July 18-September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009-January 3, 2010
Museum of Fine Arts, Houston, February 14-May 9, 2010
For more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you must. Think Green and Reduce, Reuse, Recycle.
=========================================================
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Dear Colleagues,
I know that the answer to my question “What percentage
of your collection is on view?” will vary by the size of the institution,
the number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your
collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy
Ricciardelli
Registrar
Terra
Foundation for American Art
980 N.
Michigan Avenue, Suite 1315
Chicago,
IL 60611
T:
1 (312) 654 2244
F:
1 (312) 664 2052
The
Terra Foundation for American Art is pleased to present the following programs:
Prendergast
in Italy
Williams
College Museum of Art, July 18–September 20, 2009
Peggy
Guggenheim Collection, Venice, October 9, 2009–January 3, 2010
Museum
of Fine Arts, Houston, February 14–May 9, 2010
For
more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you
must. Think Green and Reduce, Reuse, Recycle.
=========================================================
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).
--_000_A8A1240F00D0DA48AE75DA17F8648C4C95507892TERRA2K8terrafo_--
========================================================================Date: Wed, 6 Jan 2010 16:17:00 EST
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Barbara Hass <[log in to unmask]>
Subject: Re: percentage of your collection on view
MIME-Version: 1.0
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boundary="part1_fe2e.729f0d7e.387657cc_boundary"
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here's one answer:
_Crocker Art Museum :: Permanent Collection_ (http://about:blank)
"...The Crocker’s permanent collection includes more than 14,000 works ..."
"With less than four percent of the permanent collection on view at any one
time because of space limitations, works are constantly rotated within our
galleries. When the _expansion_
(http://www.crockerartmuseum.org/expansion/index.htm) is completed in 2010, approximately 20 percent of the
collection will be on view. "
Search terms:
museum percentage collection on view
Barbara Hass, retired librarian
In a message dated 1/6/2010 2:08:16 P.M. Mountain Standard Time,
[log in to unmask] writes:
Dear Colleagues,
I know that the answer to my question “What percentage of your collection
is on view?” will vary by the size of the institution, the number of
objects in the collection, etc. , but I am going to ask the question anyway in
hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what
percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the following
programs:
Prendergast in Italy
Williams College Museum of Art, July 18–September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009–January 3, 2010
Museum of Fine Arts, Houston, February 14–May 9, 2010
For more information, please visit _www.terraamericanart.org_
(mip://072ce400/www.terraamericanart.org) .
P Please consider the environment and only print this email if you must.
Think Green and Reduce, Reuse, Recycle.
========================================================= Important
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. The body of the message should read "help" (without the quotes).
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[log in to unmask] (mailto:[log in to unmask]) . The
body of the message should read "Signoff Museum-L" (without the quotes).
=========================================================
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here's one answer:
"...The Crocker’s permanent collection includes more than 14,000 works
..."
"With less than four percent of the permanent collection on view at any one
time because of space limitations, works are constantly rotated within our
galleries. When the
expansion is completed in 2010, approximately 20 percent of
the collection will be on view. "
Search terms:
museum percentage collection on view
Barbara Hass, retired librarian
In a message dated 1/6/2010 2:08:16 P.M. Mountain Standard Time,
[log in to unmask] writes:
Dear Colleagues,
I know that the answer to my question “What percentage of
your collection is on view?” will vary by the size of the institution, the
number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your
collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy
Ricciardelli
Registrar
Terra
Foundation for American Art
980 N.
Michigan Avenue, Suite 1315
Chicago,
IL 60611
T: 1
(312) 654 2244
F: 1
(312) 664 2052
The Terra
Foundation for American Art is pleased to present the following
programs:
Prendergast
in Italy
Williams
College Museum of Art, July 18–September 20, 2009
Peggy
Guggenheim Collection, Venice, October 9, 2009–January 3,
2010
Museum of
Fine Arts, Houston, February 14–May 9, 2010
For more
information, please visit www.terraamericanart.org.
P Please
consider the environment and only print this email if you must. Think
Green and Reduce, Reuse, Recycle.
=========================================================
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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[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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--part1_fe2e.729f0d7e.387657cc_boundary--
========================================================================Date: Wed, 6 Jan 2010 15:09:24 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Michael Reuter <[log in to unmask]>
Subject: Re: percentage of your collection on view
In-Reply-To: <[log in to unmask]>
MIME-Version: 1.0
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Less than one percent.
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of Cathy Ricciardelli
Sent: Wednesday, January 06, 2010 3:06 PM
To: [log in to unmask]
Subject: [MUSEUM-L] percentage of your collection on view
Dear Colleagues,
I know that the answer to my question "What percentage of your collection is
on view?" will vary by the size of the institution, the number of objects in
the collection, etc. , but I am going to ask the question anyway in hopes
of getting a number of responses.
If you reply, please let me know the size of your collection and what
percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the following
programs:
Prendergast in Italy
Williams College Museum of Art, July 18-September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009-January 3, 2010
Museum of Fine Arts, Houston, February 14-May 9, 2010
For more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you must.
Think Green and Reduce, Reuse, Recycle.
========================================================= 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).
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Museum-L" (without the quotes). No virus found in this incoming message.
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07:35:00
========================================================Important Subscriber Information:
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Less than one percent.
From: Museum discussion
list [mailto:[log in to unmask]] On Behalf Of Cathy
Ricciardelli
Sent: Wednesday, January 06, 2010 3:06 PM
To: [log in to unmask]
Subject: [MUSEUM-L] percentage of your collection on view
Dear Colleagues,
I know that the answer to my question “What percentage of
your collection is on view?” will vary by the size of the institution, the
number of objects in the collection, etc. , but I am going to ask the question
anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your
collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy
Ricciardelli
Registrar
Terra
Foundation for American Art
980 N.
Michigan Avenue, Suite 1315
Chicago,
IL 60611
T:
1 (312) 654 2244
F:
1 (312) 664 2052
The
Terra Foundation for American Art is pleased to present the following programs:
Prendergast
in Italy
Williams
College Museum of Art, July 18–September 20, 2009
Peggy
Guggenheim Collection, Venice, October 9, 2009–January 3, 2010
Museum
of Fine Arts, Houston, February 14–May 9, 2010
For
more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you
must. Think Green and Reduce, Reuse, Recycle.
=========================================================
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
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virus found in this incoming message.
Checked by AVG - www.avg.com
Version: 8.5.432 / Virus Database: 270.14.127/2603 - Release Date: 01/06/10 07:35:00
=========================================================
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========================================================================Date: Wed, 6 Jan 2010 16:40:54 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Ray Arnett <[log in to unmask]>
Subject: Re: Looking for a membership database compatible with Quickbooks
In-Reply-To: <[log in to unmask]>
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Try out Giftworks - it works well for both fundraising and tracking
membership and it should integrate with Quickbooks (although I have not used
that part of the program).
It is very reasonably priced and you can try out a version for a month and
see if it will work for you. If it does, then you simply add in your
purchase code and you are off and running without any need to re-do what
you've already input.
Also, you should be able to export a report from Quickbooks to Excel and
then import it into Giftworks. I would suggest downloading the trial version
and try out the inporting fee.
I hope this is helpful,
Ray Arnett
Fremont Area District Library
On Wed, Jan 6, 2010 at 2:33 PM, Katie <[log in to unmask]> wrote:
> Hi. The director of my organization is looking for a membership
> database that is compatible with Quickbooks. Right now we are using
> Quickbooks for all of our membership tracking and it isn't working as
> well as we would like. If there are any institutions that have found
> a database system that works in conjunction with Quickbooks I'd love
> to know. Or if anyone knows of a cheap membership database that too
> would be helpful. Thanks!
>
> Katie Reinhardt
> Curator of Exhibitions
> Ormond Memorial Art 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).
>
========================================================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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Try out Giftworks - it works well for both fundraising and tracking membership and it should integrate with Quickbooks (although I have not used that part of the program).
It is very reasonably priced and you can try out a version for a month and see if it will work for you. If it does, then you simply add in your purchase code and you are off and running without any need to re-do what you've already input.
Also, you should be able to export a report from Quickbooks to Excel and then import it into Giftworks. I would suggest downloading the trial version and try out the inporting fee.
I hope this is helpful,
Ray Arnett
Fremont Area District Library
On Wed, Jan 6, 2010 at 2:33 PM, Katie
<[log in to unmask]> wrote:
Hi. The director of my organization is looking for a membership
database that is compatible with Quickbooks. Right now we are using
Quickbooks for all of our membership tracking and it isn't working as
well as we would like. If there are any institutions that have found
a database system that works in conjunction with Quickbooks I'd love
to know. Or if anyone knows of a cheap membership database that too
would be helpful. Thanks!
Katie Reinhardt
Curator of Exhibitions
Ormond Memorial Art 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
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=========================================================
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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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========================================================================Date: Wed, 6 Jan 2010 15:55:14 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Curtis, Nan" <[log in to unmask]>
Subject: Re: percentage of your collection on view
In-Reply-To: <000c01ca8f14$8671e710$9355b530$@net>
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About 2%
Nan Curtis
Director
MSC Forsyth Center Galleries
110 N. Main St.
Bryan, TX 77803-3234
979 845 9251
From: Museum discussion list [mailto:[log in to unmask]] On
Behalf Of Michael Reuter
Sent: Wednesday, January 06, 2010 3:09 PM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] percentage of your collection on view
Less than one percent.
From: Museum discussion list [mailto:[log in to unmask]] On
Behalf Of Cathy Ricciardelli
Sent: Wednesday, January 06, 2010 3:06 PM
To: [log in to unmask]
Subject: [MUSEUM-L] percentage of your collection on view
Dear Colleagues,
I know that the answer to my question "What percentage of your
collection is on view?" will vary by the size of the institution, the
number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what
percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the
following programs:
Prendergast in Italy
Williams College Museum of Art, July 18-September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009-January 3, 2010
Museum of Fine Arts, Houston, February 14-May 9, 2010
For more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you must.
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About 2%
Nan Curtis
Director
MSC Forsyth Center Galleries
110 N. Main St.
Bryan, TX 77803-3234
979 845 9251
From: Museum discussion
list [mailto:[log in to unmask]] On Behalf Of Michael Reuter
Sent: Wednesday, January 06, 2010 3:09 PM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] percentage of your collection on view
Less than one percent.
From: Museum discussion
list [mailto:[log in to unmask]] On Behalf Of Cathy Ricciardelli
Sent: Wednesday, January 06, 2010 3:06 PM
To: [log in to unmask]
Subject: [MUSEUM-L] percentage of your collection on view
Dear Colleagues,
I know that the answer to my question “What percentage of
your collection is on view?” will vary by the size of the institution, the
number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your
collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy
Ricciardelli
Registrar
Terra
Foundation for American Art
980 N.
Michigan Avenue, Suite 1315
Chicago,
IL 60611
T:
1 (312) 654 2244
F:
1 (312) 664 2052
The
Terra Foundation for American Art is pleased to present the following programs:
Prendergast
in Italy
Williams
College Museum of Art, July 18–September 20, 2009
Peggy
Guggenheim Collection, Venice, October 9, 2009–January 3, 2010
Museum
of Fine Arts, Houston, February 14–May 9, 2010
For
more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you
must. Think Green and Reduce, Reuse, Recycle.
=========================================================
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========================================================================Date: Wed, 6 Jan 2010 16:04:05 -0600
Reply-To: Museum discussion list <[log in to unmask]>
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From: "Yearous, Jenny Dee" <[log in to unmask]>
Subject: Re: percentage of your collection on view
In-Reply-To: <[log in to unmask]>
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We have in the museum collections (there are also archaeological, archives and paleo collections which I am not counting) about 60,000 objects of which 6-8% or on view somewhere at any time. This could be in our main gallery, on exhibit in one of our temporary galleries, at one of our 10 branch museums, or on loan somewhere.
Jenny Yearous
Curator of Collections Management
State Historical Society of North Dakota
From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Cathy Ricciardelli
Sent: Wednesday, January 06, 2010 3:06 PM
To: [log in to unmask]
Subject: [MUSEUM-L] percentage of your collection on view
Dear Colleagues,
I know that the answer to my question "What percentage of your collection is on view?" will vary by the size of the institution, the number of objects in the collection, etc. , but I am going to ask the question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the following programs:
Prendergast in Italy
Williams College Museum of Art, July 18-September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009-January 3, 2010
Museum of Fine Arts, Houston, February 14-May 9, 2010
For more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you must. Think Green and Reduce, Reuse, Recycle.
========================================================= Important Subscriber Information:
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We have in the museum
collections (there are also archaeological, archives and paleo collections
which I am not counting) about 60,000 objects of which 6-8% or on view
somewhere at any time. This could be in our main gallery, on exhibit in one of
our temporary galleries, at one of our 10 branch museums, or on loan somewhere.
Jenny Yearous
Curator of Collections
Management
State Historical Society of
North Dakota
From: Museum discussion
list [mailto:[log in to unmask]] On Behalf Of Cathy
Ricciardelli
Sent: Wednesday, January 06, 2010 3:06 PM
To: [log in to unmask]
Subject: [MUSEUM-L] percentage of your collection on view
Dear Colleagues,
I know that the answer to my question “What percentage
of your collection is on view?” will vary by the size of the institution,
the number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your
collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy
Ricciardelli
Registrar
Terra
Foundation for American Art
980 N.
Michigan Avenue, Suite 1315
Chicago,
IL 60611
T:
1 (312) 654 2244
F:
1 (312) 664 2052
The
Terra Foundation for American Art is pleased to present the following programs:
Prendergast
in Italy
Williams
College Museum of Art, July 18–September 20, 2009
Peggy
Guggenheim Collection, Venice, October 9, 2009–January 3, 2010
Museum
of Fine Arts, Houston, February 14–May 9, 2010
For
more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you
must. Think Green and Reduce, Reuse, Recycle.
=========================================================
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]
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The body of the message should read "Signoff Museum-L" (without the
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=========================================================
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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--_000_1A920DACFC4E914E87B38B3ABC3060945A0A8DF91CITDMBX3ndgov_--
========================================================================Date: Wed, 6 Jan 2010 16:23:38 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Scher Thomae, Dawn" <[log in to unmask]>
Subject: Re: percentage of your collection on view
In-Reply-To: A<[log in to unmask]>
MIME-Version: 1.0
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We have less than one percent of our over 4 million objects on exhibit.
Dawn Scher Thomae
Milwaukee Public Museum
From: Museum discussion list [mailto:[log in to unmask]] On
Behalf Of Cathy Ricciardelli
Sent: Wednesday, January 06, 2010 3:06 PM
To: [log in to unmask]
Subject: percentage of your collection on view
Dear Colleagues,
I know that the answer to my question "What percentage of your
collection is on view?" will vary by the size of the institution, the
number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what
percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the
following programs:
Prendergast in Italy
Williams College Museum of Art, July 18-September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009-January 3, 2010
Museum of Fine Arts, Houston, February 14-May 9, 2010
For more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you must.
Think Green and Reduce, Reuse, Recycle.
========================================================= 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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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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We have less than one percent of
our over 4 million objects on exhibit.
Dawn Scher Thomae
Milwaukee Public Museum
From: Museum discussion
list [mailto:[log in to unmask]] On Behalf Of Cathy
Ricciardelli
Sent: Wednesday, January 06, 2010 3:06 PM
To: [log in to unmask]
Subject: percentage of your collection on view
Dear Colleagues,
I know that the answer to my question “What percentage of
your collection is on view?” will vary by the size of the institution, the
number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your
collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy
Ricciardelli
Registrar
Terra
Foundation for American Art
980 N.
Michigan Avenue, Suite 1315
Chicago,
IL 60611
T:
1 (312) 654 2244
F:
1 (312) 664 2052
The
Terra Foundation for American Art is pleased to present the following programs:
Prendergast
in Italy
Williams
College Museum of Art, July 18–September 20, 2009
Peggy
Guggenheim Collection, Venice, October 9, 2009–January 3, 2010
Museum
of Fine Arts, Houston, February 14–May 9, 2010
For
more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you
must. Think Green and Reduce, Reuse, Recycle.
=========================================================
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
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=========================================================
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========================================================================Date: Wed, 6 Jan 2010 22:56:16 -0000
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: jerry symonds <[log in to unmask]>
Subject: Re: percentage of your collection on view
MIME-Version: 1.0
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Hi Cathy,
Echoing Barbara's point, there's really two factors here: what percentage you have on display - and how often you rotate what you display.
A "20 percent on display" statistic might sound great - but if the display items are seldom rotated, then I'd suggest it wasn't so good! Equally a 2 or 5 percent on display statistic might sound low - but if the items are being rotated, then that's a pragmatic approach, especially in light of space limitations.
There are two other factors you might like to consider:
1. Do you also allow (limited) access to items not on display and what conditions apply?
2. What degree of "virtual" access do your provide to your collection via online digital images - through your museum website or Web 2.0 media?
Hope that's some help.
Kind Regards,
Jerry Symonds - Senior Internal Auditor
Historic Royal Palaces
England
----- Original Message -----
From: Barbara Hass
To: [log in to unmask]
Sent: Wednesday, January 06, 2010 9:17 PM
Subject: Re: [MUSEUM-L] percentage of your collection on view
here's one answer:
Crocker Art Museum :: Permanent Collection
"...The Crocker’s permanent collection includes more than 14,000 works ..."
"With less than four percent of the permanent collection on view at any one time because of space limitations, works are constantly rotated within our galleries. When the expansion is completed in 2010, approximately 20 percent of the collection will be on view. "
Search terms:
museum percentage collection on view
Barbara Hass, retired librarian
In a message dated 1/6/2010 2:08:16 P.M. Mountain Standard Time, [log in to unmask] writes:
Dear Colleagues,
I know that the answer to my question “What percentage of your collection is on view?” will vary by the size of the institution, the number of objects in the collection, etc. , but I am going to ask the question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the following programs:
Prendergast in Italy
Williams College Museum of Art, July 18–September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009–January 3, 2010
Museum of Fine Arts, Houston, February 14–May 9, 2010
For more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you must. Think Green and Reduce, Reuse, Recycle.
========================================================= 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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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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Hi Cathy,
Echoing Barbara's point, there's really two factors here: what percentage
you have on display - and how often you rotate what you display.
A "20 percent on display" statistic might sound great - but if the display
items are seldom rotated, then I'd suggest it wasn't so good! Equally a 2
or 5 percent on display statistic might sound low - but if the items are
being rotated, then that's a pragmatic approach, especially in light of space
limitations.
There are two other factors you might like to consider:
1. Do you also allow (limited) access to items not on display and
what conditions apply?
2. What degree of "virtual" access do your provide to your collection
via online digital images - through your museum website or Web 2.0
media?
Hope that's some help.
Kind Regards,
Jerry Symonds - Senior Internal Auditor
Historic Royal Palaces
England
----- Original Message -----
Sent: Wednesday, January 06, 2010 9:17
PM
Subject: Re: [MUSEUM-L] percentage of
your collection on view
here's one answer:
"...The Crocker’s permanent collection includes more than 14,000 works
..."
"With less than four percent of the permanent collection on view at any
one time because of space limitations, works are constantly rotated within our
galleries. When the
expansion is completed in 2010, approximately 20 percent of
the collection will be on view. "
Search terms:
museum percentage collection on view
Barbara Hass, retired librarian
In a message dated 1/6/2010 2:08:16 P.M. Mountain Standard Time,
[log in to unmask] writes:
Dear Colleagues,
I know that the answer to my question “What percentage of
your collection is on view?” will vary by the size of the institution, the
number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your
collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy
Ricciardelli
Registrar
Terra
Foundation for American Art
980 N.
Michigan Avenue, Suite 1315
Chicago,
IL 60611
T: 1
(312) 654 2244
F: 1
(312) 664 2052
The
Terra Foundation for American Art is pleased to present the following
programs:
Prendergast
in Italy
Williams
College Museum of Art, July 18–September 20, 2009
Peggy
Guggenheim Collection, Venice, October 9, 2009–January 3,
2010
Museum
of Fine Arts, Houston, February 14–May 9, 2010
For
more information, please visit www.terraamericanart.org.
P Please
consider the environment and only print this email if you must. Think
Green and Reduce, Reuse, Recycle.
=========================================================
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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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).
No virus found in this incoming message.
Checked by AVG -
www.avg.com
Version: 8.5.432 / Virus Database: 270.14.127/2603 - Release
Date: 01/06/10 07:35:00
=========================================================
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========================================================================Date: Wed, 6 Jan 2010 17:16:32 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Timothy McShane <[log in to unmask]>
Subject: Re: percentage of your collection on view
In-Reply-To: <[log in to unmask]>
Mime-Version: 1.0
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Our collection is around 20,300 pieces. We have about 850 items out in
our permanent gallery--just over 4%.
Cheers,
------------------------------------------------------------
Tim McShane, Assistant--Cultural History
Esplanade Museum
401 First Street SE
Medicine Hat, AB T1A 8W2
Tel: (403) 502-8587
[log in to unmask]
>>> Cathy Ricciardelli <[log in to unmask]> 1/6/2010
2:05 PM >>>
Dear Colleagues,
I know that the answer to my question *What percentage of your
collection is on view?* will vary by the size of the institution, the
number of objects in the collection, etc. , but I am going to ask the
question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what
percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the
following programs:
Prendergast in Italy
Williams College Museum of Art, July 18*September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009*January 3, 2010
Museum of Fine Arts, Houston, February 14*May 9, 2010
For more information, please visit www.terraamericanart.org.
PPlease consider the environment and only print this email if you must.
Think Green and Reduce, Reuse, Recycle.
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Our collection is around 20,300 pieces. We have about 850 items out in our permanent gallery--just over 4%.
Cheers,
------------------------------------------------------------
Tim McShane, Assistant--Cultural History
Esplanade Museum
401 First Street SE
Medicine Hat, AB T1A 8W2
Tel: (403) 502-8587
[log in to unmask]>>> Cathy Ricciardelli <
[log in to unmask]> 1/6/2010 2:05 PM >>>
Dear Colleagues,
I know that the answer to my question "What percentage of your collection is on view?" will vary by the size of the institution, the number of objects in the collection, etc. , but I am going to ask the question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the following programs:
Prendergast in Italy
Williams College Museum of Art, July 18-September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009-January 3, 2010
Museum of Fine Arts, Houston, February 14-May 9, 2010
For more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you must. Think Green and Reduce, Reuse, Recycle.
========================================================= 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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addressee and may contain confidential, proprietary and/or privileged
material. Any unauthorized review, distribution or other use of or
the taking of any action in reliance upon this information is
prohibited. If you received this in error, please contact the sender
and delete or destroy this message and any copies
=========================================================
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========================================================================Date: Wed, 6 Jan 2010 17:56:37 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Steph Gaub <[log in to unmask]>
Subject: Job Post
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Education Coordinator - Albany, New York, USA
http://www.museumprofessionals.org/forum/educator-jobs/5395-education-coordinator-albany-new-york-usa.html
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Education Coordinator - Albany, New York, USA
|
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========================================================================Date: Wed, 6 Jan 2010 17:09:21 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Kimberly Stull <[log in to unmask]>
Subject: Shadow Theater for sale in Chicago Western Suburbs
In-Reply-To: <[log in to unmask]>
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We are removing our existing Shadow Theater panels when we redesign the area in January and would be interested in seeing the panels go to someone who can use them rather than throwing them away.
It consists of a large curved wall that comes apart in four sections. It is approximately 24' long and 8' high (although I will get better measurements for anyone who is interested). The center panel of each of the three panels is an opaque panel that light shines through so kids can see their shadow on the inside and the outside.
I have photos I can share.
It would have to be picked up the week of January 4 - 8, 2010. It could be shipped, but my guess is freight will really cost you.
Kimberly Stull
DuPage Children's Museum
[log in to unmask]
630-637-8000, ext. 5000
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We are removing our existing Shadow Theater panels when we redesign the area in January and would be interested in seeing the panels go to someone who can use them rather than throwing them away.
It consists of a large curved wall that comes apart in four sections. It is approximately 24' long and 8' high (although I will get better measurements for anyone who is interested). The center panel of each of the three panels is an opaque panel that light shines through so kids can see their shadow on the inside and the outside.
I have photos I can share.
It would have to be picked up the week of January 4 - 8, 2010. It could be shipped, but my guess is freight will really cost you.
Kimberly Stull
DuPage Children's Museum
[log in to unmask]
630-637-8000, ext. 5000
=========================================================
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========================================================================Date: Thu, 7 Jan 2010 09:05:00 +0000
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "REYNOLDS, Trevor" <[log in to unmask]>
Subject: Re: percentage of your collection on view
In-Reply-To: <[log in to unmask]>
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Our collection contains around 500,000 objects. Around 5% of these are on display during opening hours at one of 130 of our 412 sites. Opening hours vary widely between sites (from 2 or 3 weekends a year through to all daylight hours).
Within the overall figure 80-90% of our fine and decorative arts material is on display but less than 1% of our archaeology/architectural stone work collections.
Trevor Reynolds
Collections Registrar, English Heritage
37 Tanner Row, York, YO1 6WP tel: 01904 601905
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Cathy Ricciardelli
Sent: 06 January 2010 21:06
To: [log in to unmask]
Subject: percentage of your collection on view
Dear Colleagues,
I know that the answer to my question "What percentage of your collection is on view?" will vary by the size of the institution, the number of objects in the collection, etc. , but I am going to ask the question anyway in hopes of getting a number of responses.
If you reply, please let me know the size of your collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The Terra Foundation for American Art is pleased to present the following programs:
Prendergast in Italy
Williams College Museum of Art, July 18-September 20, 2009
Peggy Guggenheim Collection, Venice, October 9, 2009-January 3, 2010
Museum of Fine Arts, Houston, February 14-May 9, 2010
For more information, please visit www.terraamericanart.org.
P Please consider the environment and only print this email if you must. Think Green and Reduce, Reuse, Recycle.
========================================================= Important Subscriber Information:
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_________________________________________________________________________________
Concerned about how climate change may affect older properties? What about saving energy?
Visit our new website www.climatechangeandyourhome.org.uk today.
This e-mail (and any attachments) is confidential and may contain personal views which are not the
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from your system and notify the sender immediately. Do not use, copy or disclose the information in
any way nor act in reliance on it. Any information sent to English Heritage may become publicly available.
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Our collection contains around 500,000
objects. Around 5% of these are on display during opening hours at one of 130
of our 412 sites. Opening hours vary widely between sites (from 2 or 3
weekends a year through to all daylight hours).
Within the overall figure 80-90% of our
fine and decorative arts material is on display but less than 1% of our
archaeology/architectural stone work collections.
Trevor Reynolds
Collections Registrar, English Heritage
37 Tanner Row, York, YO1 6WP tel: 01904 601905
-----Original
Message-----
From: Museum
discussion list
[mailto:[log in to unmask]] On
Behalf Of Cathy Ricciardelli
Sent: 06 January 2010 21:06
To: [log in to unmask]
Subject: percentage of your
collection on view
Dear Colleagues,
I know that the answer to my question
“What percentage of your collection is on view?” will vary by the
size of the institution, the number of objects in the collection, etc. ,
but I am going to ask the question anyway in hopes of getting a number of
responses.
If you reply, please let me know the size
of your collection and what percent you consider on view.
Thank you in adance.
***************************
Cathy Ricciardelli
Registrar
Terra Foundation for American Art
980 N. Michigan Avenue, Suite 1315
Chicago, IL 60611
T: 1 (312) 654 2244
F: 1 (312) 664 2052
The
Terra Foundation for American Art is pleased to present the following programs:
Prendergast in Italy
Williams
College Museum of Art, July 18–September 20, 2009
Peggy
Guggenheim Collection, Venice, October 9, 2009–January 3, 2010
Museum
of Fine Arts, Houston, February 14–May 9, 2010
For
more information, please visit www.terraamericanart.org.
P Please consider the environment and only
print this email if you must. Think Green and Reduce, Reuse, Recycle.
Concerned about how climate change may affect older properties? What about saving energy?
Visit our new website
www.climatechangeandyourhome.org.uk today.
This e-mail (and any attachments) is confidential and may contain personal views which are not the
views of English Heritage unless specifically stated. If you have received it in error, please delete it
from your system and notify the sender immediately. Do not use, copy or disclose the information in
any way nor act in reliance on it. Any information sent to English Heritage may become publicly available.
=========================================================
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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=========================================================
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========================================================================Date: Thu, 7 Jan 2010 20:05:08 +0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Roger <[log in to unmask]>
Subject: Homage And Heresy * New Cut Ear Clue * Sound The Trumpet *
280-Million-Year-Old Meal * Pantomime Villain Tomb * Toy Guitar
In A Shoe Box * Cyber Archaeology * More!
Comments: To: [log in to unmask]
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Welcome back to GLOBAL MUSEUM, your award-winning & free web compendium,
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The international headlines (FOR THE FULL STORY VISIT THE WEBZINE at this
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** Homage and heresy - Holy See lets faded missives see the light of day
A 13th-century letter from Genghis Khan's grandson demanding homage from
Pope Innocent IV is among a collection of documents from the Vatican's
Secret Archives that has been published for the first time
** Massive statue of Egyptian pharaoh Taharqa found deep inside Sudan
According to a report in the Heritage Key, the site where the statue of the
pharaoh was discovered is located approximately 350 km northeast of the
modern Sudanese capital of Khartoum
** Jordan asks Canada to seize Dead Sea scrolls
Jordan has asked Canada to seize the 2,000-year-old Dead Sea scrolls, on
display at the Royal Ontario Museum in Toronto, invoking international law
in a bid to keep the artefacts out of the hands of Israel until their
disputed ownership is settled
** Carnegie officials are bullish to display huge Dali work
An enormous stage curtain created by Salvador Dali for the Ballet Russe de
Monte Carlo has been unfurled at the Carnegie Museum of Art for the first
time since the museum acquired it 33 years
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** Why Van Gogh cut his ear: new clue
The established view is that Vincent did not learn of Theo's engagement
until after he mutilated his ear, but our research suggests that news of the
love affair reached him on 23 December
** Artist buys house to watch it fall in sea
The bottom line is that Knipe Point is a story of human misery, but we want
to get something more creative and positive out of it
** Brilliance is in the fine print
They can remind us, for instance, that Dürer's stress on originality and
invention set a new benchmark for artistic independence, ushering in ideas
of creative genius that are still with us today
** Mexica Sun Stone Inspires the Google Search Engine Logo
According to specialists, the Sun Stone was originally set in a horizontal
position and served as recipient of the heart and blood of defeated warriors
that were sacrificed as offering so the Sun could reappear each day,
overcoming the feminine nightly powers represented by the Moon and stars
** Cyber archaeology?
Since 2006, archaeology professor Ruth Tringham and her students at Berkeley
have been using the Second Life platform to reconstruct a full-scale virtual
model of Çatalhöyük, a 9,000-year-old Neolithic archaeological site in
central Turkey
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** Degas artwork stolen from museum
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** Nazi Propaganda Exhibit at the Holocaust Museum
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special exhibition that focuses on the Nazis' extensive use of propaganda
before and during World War Two
** Picasso toy guitar found in Italy
Italian police have found a toy guitar sculpture created by Pablo Picasso
for his daughter Paloma, which had been kept in a shoe box by a businessman
** Sound the Trumpet: Music Museum Opening in Phoenix
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the museum aims to help visitors better understand musical expression in
different cultures and in various aspects of life
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** 280-Million-Year-Old Reptiles' Last Meal Preserved
This strongly suggests that the pre-Dinosaur Era equivalent of today's
lizards feasted on insects, and it's the first known evidence for this
behaviour among vertebrates
** Chechnya's Favourite Russian: Leo Tolstoy
A museum devoted to the Russian writer Leo Tolstoy reopened this month in
the Chechen village where he spent formative years as a writer in the 1850s,
and warned then of the pitfalls of Russia's quest to tame the restive region
in the Northern Caucasus
** Ceremonial war bonnet returns to Comanche Nation
An early 20th century ceremonial war bonnet once belonging to former
Comanche Tribal Leader, William Karty, will soon be on display at the
Comanche National Museum and Cultural Center
** Chinese archaeologists 'discover' tomb of notorious pantomime villain
Cao Cao
Cao Cao, also known as the Emperor Wu of Wei, was a politician, general and
poet whose brilliance as a military strategist and wordsmith was tarnished
forever by the novel The Romance of the Three Kingdoms
** Chile confronts past with new museum
That Chile is recognizing victims of its military dictatorship in a striking
new "monument to memories" is positive, said Iglesias, both a victim and a
historian of Augusto Pinochet's bloody 17-year rule
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** Dramatic Carnegie Museum exhibit due for the top of the table
For many visitors of the Carnegie Museum of Natural History, the diorama
exhibit of a Barbary lion attacking a man on a camel is scary, unsettling
** The Top Ten Stories of the Last 4.5 Billion Years
Prominent ethnochoreologists now believe that roughly 20,000 years ago,
early humans finally consumed an amount of fermented fruits and vegetables
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known today as dancing
** European Association of Museums for the History of Medical Sciences
The 15th biannual conference of the European Association of Museums for the
History of Medical Sciences (EAMHMS) will be held at the University of
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** Heritage Impact 2010
Socio-economic impact measurement, impact drivers and strategies for change
** New Perspectives on American Freemasonry and Fraternalism
Registration is now open for "New Perspectives on American Freemasonry and
Fraternalism" to be held at the National Heritage Museum
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========================================================================Date: Thu, 7 Jan 2010 09:51:27 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: VivianLea Stevens <[log in to unmask]>
Subject: Stolen Reproduction Cannon - Please keep alert
Comments: To: Registrars Committee of the AAM <[log in to unmask]>
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Please forgive the cross-posting and slightly off list topic. The following
announcement was posted to a Revolutionary War reenacting list serve to
which I subscribe. Please share with others who may have dealings with the
Civil War Reenacting Community (from whence the cannon comes). Many thanks!
Sincerely,
VivianLea Stevens
Curatorial & Collections Management Consultant
580 Wheeler Road
Monroe, CT 06468
203-308-0279 Cell
203-268-7940 Home
My Cannon, limber and covered Car hauler was stolen from my lot at 4218
Pelham, Dearborn Heights, MI 48125. Batty B 1st Michigan Light Artillery's
entire gear was enclosed in the well locked up trailer. My trailer has
distinctive bullet hole decals running up both sides and a giant cannonball
splat on the back door. I want to get this information out as quick as I
can. The more eyes we have looking the better!
U.S. 1841 6pdr cannon mark C.A.& CO 1845 on trunnions 298 over W.V. on
Muzzle
No. 5. Limber U.S. 6 pdr.
Trailer is a 2000 Haulmark 18ft covered car hauler charcoal gray, VIN
16HGB1834YH065667.
Please forward to any and all your C.W. reenactors and reenacting websites.
Police Contact is: Dearborn Hgts.
Police
313 277-6770
Officer Beaudree
Case # 2010-84
Reward!
Thanks
Dr. Bill Vecchioni
313 277-1100
313-274-5412
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Please forgive the
cross-posting and slightly off list topic. The following announcement was
posted to a Revolutionary War reenacting list serve to which I subscribe.
Please share with others who may have dealings with the Civil War Reenacting
Community (from whence the cannon comes). Many thanks!
Sincerely,
VivianLea Stevens
Curatorial &
Collections Management Consultant
580 Wheeler Road
Monroe, CT 06468
203-308-0279 Cell
203-268-7940 Home
My Cannon, limber and covered Car hauler was stolen from my lot at 4218
Pelham, Dearborn Heights, MI 48125. Batty
B 1st Michigan Light Artillery's entire gear was
enclosed in the well locked up trailer. My trailer has distinctive bullet hole
decals running up both sides and a giant cannonball splat on the back door. I
want to get this information out as quick as I can. The more eyes we have
looking the better!
U.S. 1841
6pdr cannon mark C.A.& CO 1845 on trunnions 298 over W.V. on Muzzle
No. 5. Limber U.S. 6 pdr.
Trailer is a 2000 Haulmark 18ft covered car hauler charcoal gray, VIN 16HGB1834YH065667.
Please forward to any and all your C.W. reenactors and reenacting websites.
Police Contact is: Dearborn Hgts.
Police
313 277-6770
Officer Beaudree
Case # 2010-84
Reward!
Thanks
Dr. Bill Vecchioni
313 277-1100
313-274-5412
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========================================================================Date: Thu, 7 Jan 2010 14:52:18 +0000
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Chris Goodlett <[log in to unmask]>
Subject: Stylistic Reproductions-Copyright Issues?
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Dear List Members:
We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
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Dear List Members:
We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
Hotmail: Powerful Free email with security by Microsoft. Get it now.
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========================================================================Date: Thu, 7 Jan 2010 10:42:29 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Candace Perry <[log in to unmask]>
Subject: Re: Stylistic Reproductions-Copyright Issues?
In-Reply-To: <[log in to unmask]>
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Chris - isn't there an estate of Sawyier that administers his work? I would
think she would need to discuss it with them.
Candace Perry
_____
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of Chris Goodlett
Sent: Thursday, January 07, 2010 9:52 AM
To: [log in to unmask]
Subject: [MUSEUM-L] Stylistic Reproductions-Copyright Issues?
Dear List Members:
We recently received a request from an artist to incorporate artwork from
artist Paul Sawyier into a project. She plans to use his original artwork
as a reference and essentially reproduce them as part of a public art
project. She isn't using the same medium and, stylistically, the
reproductions will be different from the originals. It seems she'll also be
very forward in informing the public that her work reproduces/borrows from
Sawyier. The reason this question came to us is that one of the works she's
interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this
artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
_____
Hotmail: Powerful Free email with security by Microsoft. Get it
now.
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Subscriber Information:
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Chris – isn’t there an estate
of Sawyier that administers his work? I would think she would need to discuss
it with them…
Candace Perry
From: Museum discussion list
[mailto:[log in to unmask]] On
Behalf Of Chris Goodlett
Sent: Thursday, January 07, 2010
9:52 AM
To: [log in to unmask]
Subject: [MUSEUM-L] Stylistic
Reproductions-Copyright Issues?
Dear List Members:
We recently received a request from an artist to incorporate artwork from
artist Paul Sawyier into a project. She plans to use his original artwork
as a reference and essentially reproduce them as part of a public
art project. She isn't using the same medium and, stylistically, the
reproductions will be different from the originals. It seems she'll also
be very forward in informing the public that her work reproduces/borrows
from Sawyier. The reason this question came to us is that one of the
works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this
artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky
Historical Society
Hotmail: Powerful Free email with security by Microsoft. Get it
now.
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========================================================================Date: Thu, 7 Jan 2010 08:12:32 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Randy Little <[log in to unmask]>
Subject: Re: Stylistic Reproductions-Copyright Issues?
In-Reply-To: <[log in to unmask]>
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There was a case back in the late 90's about an artist/illustrator being
sued and losing for copying a photograph into an illustration. It was
the a Corel draw sponsored competition and the artist copied a Jeff Schewe
Photograph. They where sued again later for putting a similar copy of a
photo on their CorelDraw 8 box. Not a laywer but its something to be very
careful of.
Randy S. Little
http://reel.rslittle.com
http://imdb.com/name/nm2325729/
http://www.linkedin.com/in/rslittle
On Thu, Jan 7, 2010 at 7:52 AM, Chris Goodlett
<[log in to unmask]>wrote:
> Dear List Members:
>
> We recently received a request from an artist to incorporate artwork from
> artist Paul Sawyier into a project. She plans to use his original artwork
> as a reference and essentially reproduce them as part of a public
> art project. She isn't using the same medium and, stylistically, the
> reproductions will be different from the originals. It seems she'll also be
> very forward in informing the public that her work reproduces/borrows from
> Sawyier. The reason this question came to us is that one of the works she's
> interested in is from our collection.
>
> So, the question is what are the relevant copyright issues here? Does this
> artist need permission to reproduce this work in such a manner?
>
> Thanks for any help you can provide.
>
> Chris Goodlett
> Curator
> Kentucky Historical Society
>
> ------------------------------
> Hotmail: Powerful Free email with security by Microsoft. Get it now.
> ========================================================= 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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There was a case back in the late 90's about an artist/illustrator being sued and losing for copying a photograph into an illustration. It was the a Corel draw sponsored competition and the artist copied a Jeff Schewe Photograph. They where sued again later for putting a similar copy of a photo on their CorelDraw 8 box. Not a laywer but its something to be very careful of.
Randy S. Little
http://reel.rslittle.comhttp://imdb.com/name/nm2325729/http://www.linkedin.com/in/rslittle
On Thu, Jan 7, 2010 at 7:52 AM, Chris Goodlett
<[log in to unmask]> wrote:
Dear List Members:
We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
Hotmail: Powerful Free email with security by Microsoft.
Get it now.
=========================================================
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========================================================================Date: Thu, 7 Jan 2010 10:31:58 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Tracy Sullivan <[log in to unmask]>
Subject: Collections internship available, Alexandria, VA
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Message-ID: <[log in to unmask]>
Title: Collections management intern – Lee-Fendall House Museum, Alexandria, VA
Supervisor: Executive Director
Status: Part Time – Flexible (weekends acceptable)
Duties and Responsibilities:
The Lee-Fendall House Museum & Garden, located in Old Town Alexandria, is seeking a collections management intern. Intern responsibilities will include, but are not limited to:
- Weekly monitoring and recording of environmental conditions (temperature, relative humidity, etc.)
- Monitoring and reporting on artifact conditions
- Cleaning of rooms and artifacts on display
- Aiding in the installation and de-installation of exhibited artifacts
- Compiling information for conservation priorities
- Helping with basic artifact conservation
- In addition, short-term, independent research projects related to the collection can be developed
Preferred Qualifications:
The intern must be flexible and willing to assist with all aspects of the organization’s work. An understanding of museum collections, basic conservation, and basic object handling is required. Excellent oral and written communication skills important. Applicant must have database experience (preferably PastPerfect) and be capable of lifting and moving objects.
To Apply: Please forward letter of interest and resume to Tracy L. Sullivan, Executive Director, at [log in to unmask]
Tracy L. Sullivan
Executive Director
Lee-Fendall House Museum and Garden
Alexandria, VA
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========================================================================Date: Thu, 7 Jan 2010 07:45:39 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Sarah Griswold <[log in to unmask]>
Subject: Exhibit preparation schedules
Comments: cc: Gunn Memorial Museum <[log in to unmask]>
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Happy New Year. I am wondering how far in advance of your exhibit openings are your exhibits completed. (We've been told to have the exhibit essentially complete 2 weeks in advance of the opening date. That doesn't seem too realistic to us, but we wonder if any of you have managed it.)
Thanks
Sarah Griswold
Gunn Museum
Washington, CT
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Happy New Year. I am wondering how far in advance of your exhibit openings are your exhibits completed. (We've been told to have the exhibit essentially complete 2 weeks in advance of the opening date. That doesn't seem too realistic to us, but we wonder if any of you have managed it.)
Thanks
Sarah Griswold
Gunn Museum
Washington, CT
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: Thu, 7 Jan 2010 10:43:00 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Robert Vosburgh <[log in to unmask]>
Subject: Re: Stylistic Reproductions-Copyright Issues?
In-Reply-To: <[log in to unmask]>
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Chris,
Why is this an issue for your museum? Are you concerned that by providing access to the work in your collection that you are aiding in a possible infringement? To what extent is the artist asking the museum to assist her in creating this (possibly) "derivative work?"
Consider that there are also fair use exceptions to copyrights. See the humorous but informative clip at: http://www.youtube.com/watch?v=CJn_jC4FNDo
IP issues are very fact sensitive, and different jurisdictions notoriously interpret the fair use exceptions differently. Given these issues, the artist (and maybe the museum, but on the facts presented it's not clear what your involvement is) should speak with an attorney. Many states have Volunteer Lawyers for the Arts organizations, and this is a good place to start.
Nothing in this post should be considered legal advice.
Robert Vosburgh, Jr., Esq.
Associate Professor
Director, Museum Communication Program
University of the Arts
-----Original Message-----
From: Chris Goodlett <[log in to unmask]>
To: [log in to unmask]
Sent: Thu, Jan 7, 2010 9:52 am
Subject: Stylistic Reproductions-Copyright Issues?
Dear List Members:
We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
Hotmail: Powerful Free email with security by Microsoft. Get it now.=========================================================Important Subscriber Information:
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Chris,
Why is this an issue for your museum? Are you concerned that by providing access to the work in your collection that you are aiding in a possible infringement? To what extent is the artist asking the museum to assist her in creating this (possibly) "derivative work?"
Consider that there are also fair use exceptions to copyrights. See the humorous but informative clip at: http://www.youtube.com/watch?v=CJn_jC4FNDo
IP issues are very fact sensitive, and different jurisdictions notoriously interpret the fair use exceptions differently. Given these issues, the artist (and maybe the museum, but on the facts presented it's not clear what your involvement is) should speak with an attorney. Many states have Volunteer Lawyers for the Arts organizations, and this is a good place to start.
Nothing in this post should be considered legal advice.
Robert Vosburgh, Jr., Esq.
Associate Professor
Director, Museum Communication Program
University of the Arts
-----Original Message-----
From: Chris Goodlett <
[log in to unmask]>
To:
[log in to unmask]
Sent: Thu, Jan 7, 2010 9:52 am
Subject: Stylistic Reproductions-Copyright Issues?
Dear List Members:
We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
Hotmail: Powerful Free email with security by Microsoft.
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========================================================================Date: Thu, 7 Jan 2010 10:18:54 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Anna Poull <[log in to unmask]>
Subject: Re: Exhibit preparation schedules
In-Reply-To: <[log in to unmask]>
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I feel that is unrealistic for a lot of museums. I have worked on some exhibits where we were doing finishing touches the day of the opening. I don't recommend this but I would think aiming for having it completely done for about 2-3 days ahead of time would be good.
Anna Poull
Date: Thu, 7 Jan 2010 07:45:39 -0800
From: [log in to unmask]
Subject: [MUSEUM-L] Exhibit preparation schedules
To: [log in to unmask]
Happy New Year. I am wondering how far in advance of your exhibit openings are your exhibits completed. (We've been told to have the exhibit essentially complete 2 weeks in advance of the opening date. That doesn't seem too realistic to us, but we wonder if any of you have managed it.)
Thanks
Sarah Griswold
Gunn Museum
Washington, CT
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I feel that is unrealistic for a lot of museums. I have worked on some exhibits where we were doing finishing touches the day of the opening. I don't recommend this but I would think aiming for having it completely done for about 2-3 days ahead of time would be good.
Anna Poull
Date: Thu, 7 Jan 2010 07:45:39 -0800
From:
[log in to unmask]Subject: [MUSEUM-L] Exhibit preparation schedules
To:
[log in to unmask]
Happy New Year. I am wondering how far in advance of your exhibit openings are your exhibits completed. (We've been told to have the exhibit essentially complete 2 weeks in advance of the opening date. That doesn't seem too realistic to us, but we wonder if any of you have managed it.)
Thanks
Sarah Griswold
Gunn Museum
Washington, CT
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========================================================================Date: Thu, 7 Jan 2010 10:59:28 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Thomas W Kavanagh <[log in to unmask]>
Subject: Re: Stolen Reproduction Cannon - Please keep alert
In-Reply-To: <50C05A9A24E140988EF7AFD3B316B9A9@KATIE>
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--_000_F26978E85CF87E46B6DF0FC029846DC55713B713FEE2K7CCRshuedu_
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It's been found and returned.
Quoted from the North-South Skirmish Association bulletin board:
"Great news! I got this update this evening. Thanks everyone for spreading the word.
Well Boys,
Were back in business. Got an anonymous phone call from a couple of"good Samaritans" in Detroit who was really scared of finding a stolen trailer in his neighborhood with a cannon in it after watching the news today. He offered to bring it to me anonymously and he did so around 5pm today. Ole number 5 is back home minus the winch and battery and with a broken side door handle Cursory look thru the inventory in the dark is that all the important stuff is there and I will do a daylight check tommorrow. Have to go back tonight with another padlock for the tongue. Good news is Good news and thanks for all the help the Batty mates put out. Got a call from a fellow cannoneer in Richmond Va this am and he notified the entire east coast about the theft. This afternoon got a call from a fellow in Dallas Tx and he notified the entire southwest of the US. Great Lakes region was notified. What an amazing network of fellow reenactors we have. Description of No. 5 went cross country in a half day..
Thanks all,
Col. Bill"
________________________________
From: Museum discussion list [[log in to unmask]] On Behalf Of VivianLea Stevens [[log in to unmask]]
Sent: Thursday, January 07, 2010 9:51 AM
To: [log in to unmask]
Subject: [MUSEUM-L] Stolen Reproduction Cannon - Please keep alert
Please forgive the cross-posting and slightly off list topic. The following announcement was posted to a Revolutionary War reenacting list serve to which I subscribe. Please share with others who may have dealings with the Civil War Reenacting Community (from whence the cannon comes). Many thanks!
Sincerely,
VivianLea Stevens
Curatorial & Collections Management Consultant
580 Wheeler Road
Monroe, CT 06468
203-308-0279 Cell
203-268-7940 Home
My Cannon, limber and covered Car hauler was stolen from my lot at 4218 Pelham, Dearborn Heights, MI 48125. Batty B 1st Michigan Light Artillery's entire gear was enclosed in the well locked up trailer. My trailer has distinctive bullet hole decals running up both sides and a giant cannonball splat on the back door. I want to get this information out as quick as I can. The more eyes we have looking the better!
U.S. 1841 6pdr cannon mark C.A.& CO 1845 on trunnions 298 over W.V. on Muzzle
No. 5. Limber U.S. 6 pdr.
Trailer is a 2000 Haulmark 18ft covered car hauler charcoal gray, VIN 16HGB1834YH065667.
Please forward to any and all your C.W. reenactors and reenacting websites.
Police Contact is: Dearborn Hgts.
Police
313 277-6770
Officer Beaudree
Case # 2010-84
Reward!
Thanks
Dr. Bill Vecchioni
313 277-1100
313-274-5412
========================================================= Important Subscriber Information:
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It's been found and returned.
Quoted from the North-South Skirmish Association bulletin board:
"Great news! I got this update this evening. Thanks everyone for spreading the word.
Well Boys,
Were back in business. Got an anonymous phone call from a couple of"good Samaritans" in Detroit who was really scared of finding a stolen trailer in his neighborhood with a cannon in it after watching the news today. He offered to bring it to me anonymously
and he did so around 5pm today. Ole number 5 is back home minus the winch and battery and with a broken side door handle Cursory look thru the inventory in the dark is that all the important stuff is there and I will do a daylight check tommorrow. Have to
go back tonight with another padlock for the tongue. Good news is Good news and thanks for all the help the Batty mates put out. Got a call from a fellow cannoneer in Richmond Va this am and he notified the entire east coast about the theft. This afternoon
got a call from a fellow in Dallas Tx and he notified the entire southwest of the US. Great Lakes region was notified. What an amazing network of fellow reenactors we have. Description of No. 5 went cross country in a half day..
Thanks all,
Col. Bill"
Please forgive the cross-posting and slightly off list topic. The following announcement was posted to a Revolutionary War reenacting
list serve to which I subscribe. Please share with others who may have dealings with the Civil War Reenacting Community (from whence the cannon comes). Many thanks!
Sincerely,
VivianLea Stevens
Curatorial & Collections Management Consultant
580 Wheeler Road
Monroe,
CT
06468
203-308-0279 Cell
203-268-7940 Home
My Cannon, limber and covered Car hauler was stolen from my lot at 4218 Pelham,
Dearborn Heights,
MI
48125. Batty B 1st
Michigan Light Artillery's entire gear was enclosed in the well locked up
trailer. My trailer has distinctive bullet hole decals running up both sides and a giant cannonball splat on the back door. I want to get this information out as quick as I can. The more eyes we have looking the better!
U.S. 1841 6pdr cannon mark C.A.& CO 1845 on trunnions 298 over W.V. on Muzzle
No. 5. Limber U.S. 6 pdr.
Trailer is a 2000 Haulmark 18ft covered car hauler charcoal gray, VIN 16HGB1834YH065667.
Please forward to any and all your C.W. reenactors and reenacting websites.
Police Contact is: Dearborn Hgts.
Police
313 277-6770
Officer Beaudree
Case # 2010-84
Reward!
Thanks
Dr. Bill Vecchioni
313 277-1100
313-274-5412
========================================================= 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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=========================================================
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========================================================================Date: Thu, 7 Jan 2010 08:19:51 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: David Harvey <[log in to unmask]>
Subject: Re: Stylistic Reproductions-Copyright Issues?
In-Reply-To: <[log in to unmask]>
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--0016e64dd6a8fc3e4e047c957157
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The artist who contacted you is the one who is liable for any copyright
issues unless your museum is commissioning this as new works for hire.
Just because you physically own the art does not mean that you own the
copyright unless it was expressly transferred by the artist / creator.
Fair use is limited and its scope does not cover any commercial activities -
only purely educational and scholarly ones.
Go to the US Copyright Office and read the FAQ.
http://www.copyright.gov/
If the works being used as the basis of derivative works are still under
copyright and not in the public domain then you will need to obtain
permission from the Artist or heirs who own the rights.
Cheers!
Dave
David Harvey
Senior Conservator and Museum Consultant
Los Angeles CA
On Thu, Jan 7, 2010 at 7:43 AM, Robert Vosburgh <[log in to unmask]> wrote:
> Chris,
>
> Why is this an issue for your museum? Are you concerned that by providing
> access to the work in your collection that you are aiding in a possible
> infringement? To what extent is the artist asking the museum to assist her
> in creating this (possibly) "derivative work?"
>
> Consider that there are also fair use exceptions to copyrights. See the
> humorous but informative clip at:
> http://www.youtube.com/watch?v=CJn_jC4FNDo
>
> IP issues are very fact sensitive, and different jurisdictions notoriously
> interpret the fair use exceptions differently. Given these issues, the
> artist (and maybe the museum, but on the facts presented it's not clear what
> your involvement is) should speak with an attorney. Many states have
> Volunteer Lawyers for the Arts organizations, and this is a good place to
> start.
>
> Nothing in this post should be considered legal advice.
>
> Robert Vosburgh, Jr., Esq.
> Associate Professor
> Director, Museum Communication Program
> University of the Arts
>
>
>
> -----Original Message-----
> From: Chris Goodlett <[log in to unmask]>
> To: [log in to unmask]
> Sent: Thu, Jan 7, 2010 9:52 am
> Subject: Stylistic Reproductions-Copyright Issues?
>
> Dear List Members:
>
> We recently received a request from an artist to incorporate artwork from
> artist Paul Sawyier into a project. She plans to use his original artwork
> as a reference and essentially reproduce them as part of a public
> art project. She isn't using the same medium and, stylistically, the
> reproductions will be different from the originals. It seems she'll also be
> very forward in informing the public that her work reproduces/borrows from
> Sawyier. The reason this question came to us is that one of the works she's
> interested in is from our collection.
>
> So, the question is what are the relevant copyright issues here? Does this
> artist need permission to reproduce this work in such a manner?
>
> Thanks for any help you can provide.
>
> Chris Goodlett
> Curator
> Kentucky Historical Society
>
> ------------------------------
> Hotmail: Powerful Free email with security by Microsoft. Get it now.========================================================> 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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> [log in to unmask] . The body of the message should read
> "Signoff Museum-L" (without the quotes).
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> Subscriber Information:
>
> The Museum-L FAQ file is located at
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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).
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> "Signoff Museum-L" (without the quotes).
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The artist who contacted you is the one who is liable for any copyright issues unless your museum is commissioning this as new works for hire.
Just because you physically own the art does not mean that you own the copyright unless it was expressly transferred by the artist / creator.
Fair use is limited and its scope does not cover any commercial activities - only purely educational and scholarly ones.
Go to the US Copyright Office and read the FAQ.
http://www.copyright.gov/
If the works being used as the basis of derivative works are still under copyright and not in the public domain then you will need to obtain permission from the Artist or heirs who own the rights.
Cheers!
Dave
David Harvey
Senior Conservator and Museum Consultant
Los Angeles CA
On Thu, Jan 7, 2010 at 7:43 AM, Robert Vosburgh
<[log in to unmask]> wrote:
Chris,
Why is
this an issue for your museum? Are you concerned that by providing access to the work in your collection that you are aiding in a possible infringement? To what extent is the artist asking the museum to assist her in creating this (possibly) "derivative work?"
Consider that there are also fair use exceptions to copyrights. See the humorous but informative clip at: http://www.youtube.com/watch?v=CJn_jC4FNDo
IP issues are very fact sensitive, and different jurisdictions notoriously interpret the fair use exceptions differently. Given these issues, the artist (and maybe the museum, but on the facts presented it's not clear what your involvement is) should speak with an attorney. Many states have Volunteer Lawyers for the Arts organizations, and this is a good place to start.
Nothing in this post should be considered legal advice.
Robert Vosburgh, Jr., Esq.
Associate Professor
Director, Museum Communication Program
University of the Arts
Sent: Thu, Jan 7, 2010 9:52 am
Subject: Stylistic Reproductions-Copyright Issues?
Dear List Members:
We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
Hotmail: Powerful Free email with security by Microsoft.
Get it now.=========================================================
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========================================================================Date: Thu, 7 Jan 2010 12:10:41 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Julie Blood <[log in to unmask]>
Subject: Electric simmer pots used in museums
Mime-Version: 1.0
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Message-ID: <[log in to unmask]>
I'd like some advice on the use of electric simmer pots for scented wax in museums. I share an office space with our education and visitor services manager and yesterday she started using one of these at her desk. The smell isn't bad, it is a mild spiced scent, but our desks are located in an area where collections are processed and a collections storage room with a closed door is located about 10 feet away from her desk. What are the effects of the scent being released on the collections even though they are in another room and most are boxed? Any suggestions on how to handle this would be greatly appreciated. She's worked for the Museum for 10 years and I've been here only a year so I don't want to alienate her, but I'm also looking out for the Museum's collections.
Thanks,
Julie
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========================================================================Date: Thu, 7 Jan 2010 11:26:20 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Travis Nygard <[log in to unmask]>
Subject: Re: Stylistic Reproductions-Copyright Issues?
In-Reply-To: <[log in to unmask]>
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The College Art Association, which is the professional organization
for academic artists and art historians in the US, published an
article a few years ago that introduces some of the issues.
"Q: I am an artist who uses images of other works of art in my own
creations. What legal risks might I face when using
(&ledquo;appropriating”) artworks made by others in my own?"
http://www.collegeart.org/ip/qa7.html
All the best,
Travis
On Thu, Jan 7, 2010 at 8:52 AM, Chris Goodlett
<[log in to unmask]> wrote:
>
> Dear List Members:
>
> We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
>
> So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
>
> Thanks for any help you can provide.
>
> Chris Goodlett
> Curator
> Kentucky Historical Society
>
> ________________________________
> Hotmail: Powerful Free email with security by Microsoft. Get it now.
> ========================================================= 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).
--
==================================
Travis Nygard
[log in to unmask]
http://www.haa.pitt.edu/graduate/nygard.html
http://arthistoriansatwork.blogspot.com/
==================================
=========================================================
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========================================================================Date: Thu, 7 Jan 2010 12:19:26 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Robert Vosburgh <[log in to unmask]>
Subject: Re: Stylistic Reproductions-Copyright Issues?
In-Reply-To: <[log in to unmask]>
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Chris,
As I indicated in my previous post, this is a fact-sensitive area and nothing in this email is to be taken as legal advice. If you are concerned about the museum's position, you should speak with an attorney, but on the facts presented I don't understand your concern.
A previous post suggests that a commissioned work of art is a "commercial activity" for purposes of the fair use exemption. This is an interesting question, and I would love to see some case law on it.
With respect to the commercial activity prong of the fair use test, different jurisdictions interpret this differently. Even within some jurisdictions there is an inconsistent understanding of this test. A previous post's statement that "Fair use is limited and its scope does not cover any commercial activities - only purely educational and scholarly ones" isn't true.
The four factors to consider with respect to the fair use defense are:
1. The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes
2. The nature of the copyrighted work
3. The amount and substantiality of portion used in relation to the copyrighted work as a whole
4. The effect of the use upon the potential market for or value of the copyrighted work
See, e.g.
Castle Warner Bros. Entm't Inc. v. RDR Books, 575 F. Supp. 2d 513(S.D.N.Y. 2008)
District Court rejected the defendant’s claim of fair use with respect to its publication of a reference guide to J.K. Rowling’s Harry Potter books, not because the use was "commercial" but because of the substantial portion of the copyrighted work used and the lack of transformative use.
Rock Entertainment v. Carol Publ'g Group, 150 F.3d 132 (2d Cir. 1998)
Second Circuit rejected the defendant’s claim of fair use relating to the publication of a book containing trivia questions and answers about events and characters depicted in the
Seinfeld television series, not because of the infringing use was "commercial" but because there was no transformative use.
Perfect 10, Inc. v. Amazon.com, Inc., 487 F.3d 701
9th Cir. 2007), reprinted as amended at Perfect 10, Inc. v. Amazon.com, Inc., 508 F.3d 1146 (9th Cir. 2007).
Ninth Circuit found that Google was likely to succeed in proving a fair use defense with respect to thumbnail images, holding that Google’s activities were a “highly transformative”fair use despite the commercial nature of Google's use.
Robert Vosburgh, Jr., Esq.
Associate Professor
Director, Museum Communication Program
University of the Arts
-----Original Message-----
From: David Harvey <[log in to unmask]>
To: [log in to unmask]
Sent: Thu, Jan 7, 2010 11:19 am
Subject: Re: Stylistic Reproductions-Copyright Issues?
The artist who contacted you is the one who is liable for any copyright issues unless your museum is commissioning this as new works for hire.
Just because you physically own the art does not mean that you own the copyright unless it was expressly transferred by the artist / creator.
Fair use is limited and its scope does not cover any commercial activities - only purely educational and scholarly ones.
Go to the US Copyright Office and read the FAQ.
http://www.copyright.gov/
If the works being used as the basis of derivative works are still under copyright and not in the public domain then you will need to obtain permission from the Artist or heirs who own the rights.
Cheers!
Dave
David Harvey
Senior Conservator and Museum Consultant
Los Angeles CA
On Thu, Jan 7, 2010 at 7:43 AM, Robert Vosburgh <[log in to unmask]> wrote:
Chris,
Why is this an issue for your museum? Are you concerned that by providing access to the work in your collection that you are aiding in a possible infringement? To what extent is the artist asking the museum to assist her in creating this (possibly) "derivative work?"
Consider that there are also fair use exceptions to copyrights. See the humorous but informative clip at: http://www.youtube.com/watch?v=CJn_jC4FNDo
IP issues are very fact sensitive, and different jurisdictions notoriously interpret the fair use exceptions differently. Given these issues, the artist (and maybe the museum, but on the facts presented it's not clear what your involvement is) should speak with an attorney. Many states have Volunteer Lawyers for the Arts organizations, and this is a good place to start.
Nothing in this post should be considered legal advice.
Robert Vosburgh, Jr., Esq.
Associate Professor
Director, Museum Communication Program
University of the Arts
-----Original Message-----
From: Chris Goodlett <[log in to unmask]>
To: [log in to unmask]
Sent: Thu, Jan 7, 2010 9:52 am
Subject: Stylistic Reproductions-Copyright Issues?
Dear List Members:
We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
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Chris,
As I indicated in my previous post, this is a fact-sensitive area and nothing in this email is to be taken as legal advice. If you are concerned about the museum's position, you should speak with an attorney, but on the facts presented I don't understand your concern.
A previous post suggests that a commissioned work of art is a "commercial activity" for purposes of the fair use exemption. This is an interesting question, and I would love to see some case law on it.
With respect to the commercial activity prong of the fair use test, different jurisdictions interpret this differently. Even within some jurisdictions there is an inconsistent understanding of this test. A previous post's statement that "Fair use is limited and its scope does not cover any commercial activities - only purely educational and scholarly ones" isn't true.
The four factors to consider with respect to the fair use defense are:
1. The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes
2. The nature of the copyrighted work
3. The amount and substantiality of portion used in relation to the copyrighted work as a whole
4. The effect of the use upon the potential market for or value of the copyrighted work
See, e.g.
Castle Warner Bros. Entm't Inc. v. RDR Books, 575 F. Supp. 2d 513(S.D.N.Y. 2008)
District Court rejected the defendant’s claim of fair use with respect to its publication of a reference guide to J.K. Rowling’s Harry Potter books, not because the use was "commercial" but because of the substantial portion of the copyrighted work used and the lack of transformative use.
Rock Entertainment v. Carol Publ'g Group, 150 F.3d 132 (2d Cir. 1998)
Second Circuit rejected the defendant’s claim of fair use relating to the publication of a book containing trivia questions and answers about events and characters depicted in the
Seinfeld television series, not because of the infringing use was "commercial" but because there was no transformative use.
Perfect 10, Inc. v. Amazon.com, Inc., 487 F.3d 701
9th Cir. 2007), reprinted as amended at Perfect 10, Inc. v. Amazon.com, Inc., 508 F.3d 1146 (9th Cir. 2007).
Ninth Circuit found that Google was likely to succeed in proving a fair use defense with respect to thumbnail images, holding that Google’s activities were a “highly transformative”fair use despite the commercial nature of Google's use.
Robert Vosburgh, Jr., Esq.
Associate Professor
Director, Museum Communication Program
University of the Arts
-----Original Message-----
From: David Harvey <
[log in to unmask]>
To:
[log in to unmask]
Sent: Thu, Jan 7, 2010 11:19 am
Subject: Re: Stylistic Reproductions-Copyright Issues?
The artist who contacted you is the one who is liable for any copyright issues unless your museum is commissioning this as new works for hire.
Just because you physically own the art does not mean that you own the copyright unless it was expressly transferred by the artist / creator.
Fair use is limited and its scope does not cover any commercial activities - only purely educational and scholarly ones.
Go to the US Copyright Office and read the FAQ.
http://www.copyright.gov/
If the works being used as the basis of derivative works are still under copyright and not in the public domain then you will need to obtain permission from the Artist or heirs who own the rights.
Cheers!
Dave
David Harvey
Senior Conservator and Museum Consultant
Los Angeles CA
On Thu, Jan 7, 2010 at 7:43 AM, Robert Vosburgh
<[log in to unmask]> wrote:
Chris,
Why is
this an issue for your museum? Are you concerned that by providing access to the work in your collection that you are aiding in a possible infringement? To what extent is the artist asking the museum to assist her in creating this (possibly) "derivative work?"
Consider that there are also fair use exceptions to copyrights. See the humorous but informative clip at: http://www.youtube.com/watch?v=CJn_jC4FNDo
IP issues are very fact sensitive, and different jurisdictions notoriously interpret the fair use exceptions differently. Given these issues, the artist (and maybe the museum, but on the facts presented it's not clear what your involvement is) should speak with an attorney. Many states have Volunteer Lawyers for the Arts organizations, and this is a good place to start.
Nothing in this post should be considered legal advice.
Robert Vosburgh, Jr., Esq.
Associate Professor
Director, Museum Communication Program
University of the Arts
Sent: Thu, Jan 7, 2010 9:52 am
Subject: Stylistic Reproductions-Copyright Issues?
Dear List Members:
We recently received a request from an artist to incorporate artwork from artist Paul Sawyier into a project. She plans to use his original artwork as a reference and essentially reproduce them as part of a public art project. She isn't using the same medium and, stylistically, the reproductions will be different from the originals. It seems she'll also be very forward in informing the public that her work reproduces/borrows from Sawyier. The reason this question came to us is that one of the works she's interested in is from our collection.
So, the question is what are the relevant copyright issues here? Does this artist need permission to reproduce this work in such a manner?
Thanks for any help you can provide.
Chris Goodlett
Curator
Kentucky Historical Society
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========================================================================Date: Thu, 7 Jan 2010 09:27:27 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Cheryl Branyan <[log in to unmask]>
Subject: Re: Electric simmer pots used in museums
In-Reply-To: <[log in to unmask]>
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Hello list! Please reply to the list as this subject has recently come up where I work as well. I am interested in seeing the replies.
Thanks.
Cheryl
________________________________
From: Julie Blood <[log in to unmask]>
To: [log in to unmask]
Sent: Thu, January 7, 2010 11:10:41 AM
Subject: [MUSEUM-L] Electric simmer pots used in museums
I'd like some advice on the use of electric simmer pots for scented wax in museums. I share an office space with our education and visitor services manager and yesterday she started using one of these at her desk. The smell isn't bad, it is a mild spiced scent, but our desks are located in an area where collections are processed and a collections storage room with a closed door is located about 10 feet away from her desk. What are the effects of the scent being released on the collections even though they are in another room and most are boxed? Any suggestions on how to handle this would be greatly appreciated. She's worked for the Museum for 10 years and I've been here only a year so I don't want to alienate her, but I'm also looking out for the Museum's collections.
Thanks,
Julie
=========================================================
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Hello list! Please reply to the list as this subject has recently come up where I work as well. I am interested in seeing the replies.
Thanks.
Cheryl
From: Julie Blood <[log in to unmask]>
To: [log in to unmask]
Sent: Thu, January 7, 2010 11:10:41 AM
Subject: [MUSEUM-L] Electric simmer pots used in museums
I'd like some advice on the use of electric simmer pots for scented wax in museums. I share an office space with our education and visitor services manager and yesterday she started using one of these at her desk. The smell isn't bad, it is a mild spiced scent, but our desks are located in an area where collections are processed and a collections storage room with a closed door is located about 10 feet away from her desk. What are the effects of the scent being released on the collections even though they are in another room and most are
boxed? Any suggestions on how to handle this would be greatly appreciated. She's worked for the Museum for 10 years and I've been here only a year so I don't want to alienate her, but I'm also looking out for the Museum's collections.
Thanks,
Julie
=========================================================
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========================================================================Date: Thu, 7 Jan 2010 13:20:27 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Candace Perry <[log in to unmask]>
Subject: Re: Electric simmer pots used in museums
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How about the presence of odors in general - whether it be a simmer pot or
cooking? I really hate when lunch odors are wafting through the museum when
it is not necessary in my institution (there is a lunch room removed from
the public areas). If the public can smell it, especially, I think the
simmering nuisance should be removed. And I may be a Grinch, but there are
very, very few of those commercial fragrances I can tolerate...I'm not
allergic, I just simply don't like them. I think it's rude of your co
worker to assume you like it.
I can't imagine what harm it would do to the artifacts in those conditions.
I just think it is unnecessary in a work environment.
Grinchily,
Candace Perry
_____
From: Museum discussion list [mailto:[log in to unmask]] On Behalf
Of Cheryl Branyan
Sent: Thursday, January 07, 2010 12:27 PM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] Electric simmer pots used in museums
Hello list! Please reply to the list as this subject has recently come up
where I work as well. I am interested in seeing the replies.
Thanks.
Cheryl
_____
From: Julie Blood <[log in to unmask]>
To: [log in to unmask]
Sent: Thu, January 7, 2010 11:10:41 AM
Subject: [MUSEUM-L] Electric simmer pots used in museums
I'd like some advice on the use of electric simmer pots for scented wax in
museums. I share an office space with our education and visitor services
manager and yesterday she started using one of these at her desk. The smell
isn't bad, it is a mild spiced scent, but our desks are located in an area
where collections are processed and a collections storage room with a closed
door is located about 10 feet away from her desk. What are the effects of
the scent being released on the collections even though they are in another
room and most are boxed? Any suggestions on how to handle this would be
greatly appreciated. She's worked for the Museum for 10 years and I've been
here only a year so I don't want to alienate her, but I'm also looking out
for the Museum's collections.
Thanks,
Julie
========================================================Important Subscriber Information:
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information about the listserv commands by sending a one line e-mail message
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How about the presence of odors in general
– whether it be a simmer pot or cooking? I really hate when lunch
odors are wafting through the museum when it is not necessary in my institution
(there is a lunch room removed from the public areas). If the public can
smell it, especially, I think the simmering nuisance should be removed.
And I may be a Grinch, but there are very, very few of those commercial
fragrances I can tolerate...I’m not allergic, I just simply don’t
like them. I think it’s rude of your co worker to assume you like
it.
I can’t imagine what harm it would
do to the artifacts in those conditions. I just think it is unnecessary in
a work environment.
Grinchily,
Candace Perry
From: Museum discussion list
[mailto:[log in to unmask]] On
Behalf Of Cheryl Branyan
Sent: Thursday, January 07, 2010
12:27 PM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] Electric
simmer pots used in museums
Hello list! Please reply to the list as this subject has recently come
up where I work as well. I am interested in seeing the replies.
From: Julie Blood
<[log in to unmask]>
To: [log in to unmask]
Sent: Thu, January 7, 2010
11:10:41 AM
Subject: [MUSEUM-L] Electric
simmer pots used in museums
I'd like some advice on the use of electric simmer pots for scented wax in
museums. I share an office space with our education and visitor services
manager and yesterday she started using one of these at her desk. The
smell isn't bad, it is a mild spiced scent, but our desks are located in an
area where collections are processed and a collections storage room with a
closed door is located about 10 feet away from her desk. What are the
effects of the scent being released on the collections even though they are in
another room and most are boxed? Any suggestions on how to handle this
would be greatly appreciated. She's worked for the Museum for 10 years
and I've been here only a year so I don't want to alienate her, but I'm also
looking out for the Museum's collections.
Thanks,
Julie
=========================================================
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========================================================================Date: Thu, 7 Jan 2010 17:39:26 +0000
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Graeme Farnell <[log in to unmask]>
Subject: Announcement: New Audio CD - Museums | Inclusion | Engagement
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In December, we held a conference in London entitled Museums | Inclusion |
Engagement. It turned out to be a unique sharing of experience between
leading museum professionals and an influential international audience.
Delegates’ response to the event was outstandingly positive. So much so that
we’ve decided to make the content internationally available by releasing it
as the first in a new CD Collection.
Here’s what delegates said who experienced the event:
• excellent and inspiring speakers with a wide range of expertise
• information on the long-term impact of projects was particularly valuable
• the very clear session on evaluation was particularly pertinent
• very interesting to hear the radical approach to putting the power of
interpretation in the hands of the community
• the speakers talked honestly around the challenges they face
• a real variety of experiences and approaches - both interesting and useful
• enjoyed learning from other's experiences - reassuring and inspiring for
my work
The Museums | Inclusion | Engagement CD includes audio recordings,
Powerpoint presentations and films - around five hours of practical
information to help your museum engage with and meaningfully involve your
diverse communities. The presentations include some of the most successful
and advanced experience in this field currently available anywhere.
The CD contains these stimulating, thought-provoking presentations and
world-class experience:
• Lucie Fitton, Inclusion Officer, Museum of London: Keep Up The Good Work?
Exploring the Long-Term Impact of Social Inclusion Initiatives.
• Gurdeep Thiara, Outreach Officer and Tim Manley, Head of Marketing &
Audience Development, Manchester Museum: The Virtuous Circle: Community
Engagement at the Manchester Museum.
• Liz Puddick, Learning Manager, London Transport Museum: How To Involve the
Communities You Serve In All You Do In Your Museum.
• Eithne Nightingale, Head of Diversity Strategy, V&A: Drivers for Change -
Capacity Building and Cultural Ownership.
• Laura Phillips, Community Partnerships Manager and Dr Emma Poulter,
Talking Objects Manager, British Museum: Working With New Audiences at the
British Museum.
• Alison James and Nicky Boyd, Museum Consultants (Audiences): Community
Engagement: Evaluating the Impact.
• Alison Lightbown, Head of Learning & Education, Geffrye Museum: An Ageing
Society - Learning, Engagement and Participation in Museums for the Over
50s.
• Mark Miller, Curator Youth Programmes, Tate Britain: Practice, Reflection
and Pathways.
• Alice Fox, Course Leader, Inclusive Arts Practice, University of Brighton:
Smudged Performance - Using Collections to Collaborate Artistically with
People with Learning Disabilities.
• Steph Parmee, Museum Project Officer, Suffolk County Council Heritage:
Making Time for Everyone - Museum Clubs for Adults with Learning
Disabilities.
Studying the material, and sharing it with colleagues, users will discover:
• how to evaluate the short- and long-term impact of your projects
• how to reaching the most excluded groups or individuals
• how to prioritise your work among the various communities
• how to use new community-based communication media
• how to build the right organisational structure to deliver effective
programmes
• how to involve the communities you serve in everything you do in your
museum what can be learnt from the experience of other sectors working in
these fields
• how to obtain sustainable, ongoing funding to support long-term programmes
which make a difference.
We’re making available an initial 250 copies at the reduced rate of just Ł77
(official rate Ł97) until 31 January - or until they're sold out.
To secure your copy please visit: www.museumsetc.com/?p=2023
Graeme Farnell
MuseumsEtc
=========================================================
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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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In December, we held a conference in London entitled Museums | Inclusion | Engagement. It turned out to be a unique sharing of experience between leading museum professionals and an influential international audience. Delegates’ response to the event was outstandingly positive. So much so that we’ve decided to make the content internationally available by releasing it as the first in a new CD Collection.
Here’s what delegates said who experienced the event:
• excellent and inspiring speakers with a wide range of expertise
• information on the long-term impact of projects was particularly valuable
• the very clear session on evaluation was particularly pertinent
• very interesting to hear the radical approach to putting the power of interpretation in the hands of the community
• the speakers talked honestly around the challenges they face
• a real variety of experiences and approaches - both interesting and useful
• enjoyed learning from other's experiences - reassuring and inspiring for my work
The Museums | Inclusion | Engagement CD includes audio recordings, Powerpoint presentations and films - around five hours of practical information to help your museum engage with and meaningfully involve your diverse communities. The presentations include some of the most successful and advanced experience in this field currently available anywhere.
The CD contains these stimulating, thought-provoking presentations and world-class experience:
• Lucie Fitton, Inclusion Officer, Museum of London: Keep Up The Good Work? Exploring the Long-Term Impact of Social Inclusion Initiatives.
• Gurdeep Thiara, Outreach Officer and Tim Manley, Head of Marketing & Audience Development, Manchester Museum: The Virtuous Circle: Community Engagement at the Manchester Museum.
• Liz Puddick, Learning Manager, London Transport Museum: How To Involve the Communities You Serve In All You Do In Your Museum.
• Eithne Nightingale, Head of Diversity Strategy, V&A: Drivers for Change - Capacity Building and Cultural Ownership.
• Laura Phillips, Community Partnerships Manager and Dr Emma Poulter, Talking Objects Manager, British Museum: Working With New Audiences at the British Museum.
• Alison James and Nicky Boyd, Museum Consultants (Audiences): Community Engagement: Evaluating the Impact.
• Alison Lightbown, Head of Learning & Education, Geffrye Museum: An Ageing Society - Learning, Engagement and Participation in Museums for the Over 50s.
• Mark Miller, Curator Youth Programmes, Tate Britain: Practice, Reflection and Pathways.
• Alice Fox, Course Leader, Inclusive Arts Practice, University of Brighton: Smudged Performance - Using Collections to Collaborate Artistically with People with Learning Disabilities.
• Steph Parmee, Museum Project Officer, Suffolk County Council Heritage: Making Time for Everyone - Museum Clubs for Adults with Learning Disabilities.
Studying the material, and sharing it with colleagues, users will discover:
• how to evaluate the short- and long-term impact of your projects
• how to reaching the most excluded groups or individuals
• how to prioritise your work among the various communities
• how to use new community-based communication media
• how to build the right organisational structure to deliver effective programmes
• how to involve the communities you serve in everything you do in your museum what can be learnt from the experience of other sectors working in these fields
• how to obtain sustainable, ongoing funding to support long-term programmes which make a difference.
We’re making available an initial 250 copies at the reduced rate of just Ł77 (official rate Ł97) until 31 January - or until they're sold out.
Graeme Farnell
MuseumsEtc
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========================================================================Date: Thu, 7 Jan 2010 12:06:20 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Cherie Cook <[log in to unmask]>
Subject: Visitors Count!
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Please share with colleagues:
AASLH's Visitors Count! survey program helps history museums, historic houses, and sites discover what people want and need for a high quality visitor experience.
Visitors Count! saves you time and money with its proven survey instrument. Other valuable program benefits include:
a.. Benchmarks that compare your results with museums and sites of similar type, budget size, governance, and geographic location. No other program offers this important information!
b.. Custom survey questions that allow you to ask about issues specific to your institution.
c.. Key Drivers that identify your museum or historic house's unique visitor experience attributes-save time by learning where you need to focus first.
d.. An affordable payment plan that allows most institutions to pay the program fee over two fiscal years.
Sign up before the end of January to survey your spring and summer visitors. Or, sign up by June 1 to collect surveys from summer and fall visitors. Visit www.aaslh.org/visitorscount.htm for details and to see the list of over 130 museums that have already taken part in the program.
Cherie Cook, Senior Program Manager
American Association for State and Local History
Tel 573.893.5164
[log in to unmask]
===============================
Check out the new StEPs standards self-study
program for small- and mid-sized organizations!
Go to http://www.aaslh.org/steps.htm for
more information.
=========================
=========================================================
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Please share with
colleagues:
AASLH’s Visitors Count! survey program helps history
museums, historic houses, and sites discover what people want and
need for a high quality visitor experience.
Visitors Count! saves you time and money with its
proven survey instrument. Other valuable program benefits
include:
- Benchmarks
that compare your results with museums and sites of similar type, budget
size, governance, and geographic location. No other program offers this
important information!
-
Custom
survey questions that allow you to ask about issues specific to your
institution.
-
Key
Drivers that identify your museum or historic house’s unique visitor
experience attributes—save time by learning where you need to focus first.
-
An
affordable payment plan that allows most institutions to pay the program fee
over two fiscal years.
Sign up before the end of January to survey your spring
and summer visitors. Or, sign up by June 1 to collect surveys from summer
and fall visitors. Visit www.aaslh.org/visitorscount.htm for details and to see the list of over 130 museums
that have already taken part in the program.
Cherie
Cook, Senior Program Manager
American Association for State and Local
History
Tel 573.893.5164
[log in to unmask]
===============================
Check
out the new StEPs standards self-study
program for small- and mid-sized
organizations!
Go to http://www.aaslh.org/steps.htm for
more information.
=========================
=========================================================
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: Thu, 7 Jan 2010 10:25:20 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: David Harvey <[log in to unmask]>
Subject: Re: Electric simmer pots used in museums
In-Reply-To: <[log in to unmask]>
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Ok. Fragrances or perfumes work by releasing a fine aerosol into the air
that is either done mechanically (via spray), through evaporation
(solvents), or burning (smoke). Each of these can have detrimental effects
on nearby collections objects. There is also a safety issue as these some of
these simmer pots were recalled in 2008 due to fire and shock hazards. But a
far larger issue is that of indoor air quality. Many people have allergies
or asthma or other condition which can be set off by just a few
parts-per-million of a substance. So there is a liability issue here which
makes the museum liable if they permit the use of these scent devices. The
other issue is just one of courtesy. Why should one person spread their
scent in a common work area? It is just not part of a professional
environment in my opinion. The only place I can think of where a scent might
be permissible in a museum would be in a bathroom.
Cheers!
Dave
David Harvey
Senior Conservator and Museum Consultant
On Thu, Jan 7, 2010 at 9:10 AM, Julie Blood <
[log in to unmask]> wrote:
> I'd like some advice on the use of electric simmer pots for scented wax in
> museums. I share an office space with our education and visitor services
> manager and yesterday she started using one of these at her desk. The smell
> isn't bad, it is a mild spiced scent, but our desks are located in an area
> where collections are processed and a collections storage room with a closed
> door is located about 10 feet away from her desk. What are the effects of
> the scent being released on the collections even though they are in another
> room and most are boxed? Any suggestions on how to handle this would be
> greatly appreciated. She's worked for the Museum for 10 years and I've been
> here only a year so I don't want to alienate her, but I'm also looking out
> for the Museum's collections.
>
> Thanks,
> Julie
>
> ========================================================> 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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> "Signoff Museum-L" (without the quotes).
>
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Ok. Fragrances or perfumes work by releasing a fine aerosol into the air that is either done mechanically (via spray), through evaporation (solvents), or burning (smoke). Each of these can have detrimental effects on nearby collections objects. There is also a safety issue as these some of these simmer pots were recalled in 2008 due to fire and shock hazards. But a far larger issue is that of indoor air quality. Many people have allergies or asthma or other condition which can be set off by just a few parts-per-million of a substance. So there is a liability issue here which makes the museum liable if they permit the use of these scent devices. The other issue is just one of courtesy. Why should one person spread their scent in a common work area? It is just not part of a professional environment in my opinion. The only place I can think of where a scent might be permissible in a museum would be in a bathroom.
Cheers!
Dave
David Harvey
Senior Conservator and Museum Consultant
On Thu, Jan 7, 2010 at 9:10 AM, Julie Blood
<[log in to unmask]> wrote:
I'd like some advice on the use of electric simmer pots for scented wax in museums. I share an office space with our education and visitor services manager and yesterday she started using one of these at her desk. The smell isn't bad, it is a mild spiced scent, but our desks are located in an area where collections are processed and a collections storage room with a closed door is located about 10 feet away from her desk. What are the effects of the scent being released on the collections even though they are in another room and most are boxed? Any suggestions on how to handle this would be greatly appreciated. She's worked for the Museum for 10 years and I've been here only a year so I don't want to alienate her, but I'm also looking out for the Museum's collections.
Thanks,
Julie
=========================================================
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=========================================================
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========================================================================Date: Thu, 7 Jan 2010 13:27:11 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Kathy Haas <[log in to unmask]>
Subject: Re: Exhibit preparation schedules
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We typically aim to get everything installed and the cases closed with
2-3 days to spare which we then use for lighting and any last minute
issues.
Kathy Haas
Rosenbach Museum
Philadelphia, PA
________________________________
From: Museum discussion list [mailto:[log in to unmask]] On
Behalf Of Sarah Griswold
Sent: Thursday, January 07, 2010 10:46 AM
To: [log in to unmask]
Subject: [MUSEUM-L] Exhibit preparation schedules
Happy New Year. I am wondering how far in advance of your exhibit
openings are your exhibits completed. (We've been told to have the
exhibit essentially complete 2 weeks in advance of the opening date.
That doesn't seem too realistic to us, but we wonder if any of you have
managed it.)
Thanks
Sarah Griswold
Gunn Museum
Washington, CT
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We typically aim to get everything installed
and the cases closed with 2-3 days to spare which we then use for lighting and
any last minute issues.
Kathy Haas
Rosenbach Museum
Philadelphia, PA
From: Museum discussion list
[mailto:[log in to unmask]] On
Behalf Of Sarah Griswold
Sent: Thursday, January 07, 2010
10:46 AM
To: [log in to unmask]
Subject: [MUSEUM-L] Exhibit
preparation schedules
Happy New Year. I am wondering how far in
advance of your exhibit openings are your exhibits completed. (We've been told
to have the exhibit essentially complete 2 weeks in advance of the opening
date. That doesn't seem too realistic to us, but we wonder if any of you have
managed it.)
=========================================================
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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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=========================================================
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========================================================================Date: Thu, 7 Jan 2010 04:41:09 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Helen Alten <[log in to unmask]>
Subject: Online preservation class starts Monday
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MS104: An Introduction to Collections Preservation
Dates: Jan 11 - Feb 5, 2010
Price: $475
Instructor: Helen Alten
Location:
http://museumclasses.org/training/trol_classes_ms104.html
Description:
Every museum professional needs a solid foundation in
preservation principles and techniques. Introduction to
Collections Preservation provides an overview of current
preservation issues from environmental monitoring to
collection cleaning, exhibit mounts and storage furniture.
Participants learn about every aspect of the modern museum
and how the building, staff and fixtures affect
preservation. Subjects include the agents of deterioration,
risk management, object handling and transport, object
labeling, exhibit lighting, security, emergency
preparedness, materials for storage and display, storage
and exhibit philosophies, and condition assessments.
Course Outline:
1. Preservation Principles
2. Agents of Deterioration
3. Monitoring
4. Collection Handling
5. Collection Labeling
6. Collection Cleaning
7. Storage Principles
8. Exhibit Principles
9. Emergency Preparation
10. Conclusion
Logistics:
Participants in An Introduction to Collections Preservation
work at their own pace through 10 sections and interact
through online forums and chats. Instructor Helen Alten
will be available at scheduled times for email support.
Materials include online readings and lecture notes, slide
shows, quizzes and links to relevant web sites. The course
is limited to 20 participants.
An Introduction to Collections Preservation runs for four
weeks. To reserve a spot in the course, please pay at
http://www.collectioncare.org/tas/tas.html If you have
trouble please contact Helen Alten at
[log in to unmask]
Student Comments for MS104: An Introduction to Collections
Preservation:
"An online course like this is very convenient for people
who cannot attend classes in another city."
"I didn't really know what to expect because I had never
taken an online class before, nor had a taken any sort of
collections/preservation class. I definitely learned a lot;
I now understand the overall goals and practices of
collections preservation."
"I particularly liked seeing images in the PowerPoint
slides. They really can add to the understanding of a
topic."
"I really enjoyed the excellent course reading material. It
has really helped me understand so much more about the work
I do."
"I've been working as a collection manager for 10 years. I
have no formal training in museum techniques. I thought
this class would solidify everything I've learned. I didn't
think I would learn anything new, but I did. Great course.
I would recommend it to anyone starting out in the museum
field."
"My experience with the MS104 online course has been
exceptional, a 10! Thank you! Thank you for such a high
quality and demanding workshop!"
"I AM THE ONE WHO SHOULD THANK YOU! EUREKA! I REALLY GAINED
ALOT AND REALLY ENJOYED STUDYING WITH YOU."
"It may have been an on-line course, but I feel like I've
got a textbook. And one written by many different sources,
two heads being better than one."
The Instructor:
Helen Alten, is the Director of Northern States
Conservation Center and its chief Objects Conservator. For
nearly 30 years she has been involved in objects
conservation, starting as a pre-program intern at the
Oriental Institute in Chicago and the University Museum of
the University of Pennsylvania. She completed a degree in
Archaeological Conservation and Materials Science from the
Institute of Archaeology at the University of London in
England. She has built and run conservation laboratories in
Bulgaria, Montana, Greece, Alaska and Minnesota. She has a
broad understanding of three-dimensional materials and
their deterioration, wrote and edited the quarterly
Collections Caretaker, maintains the popular
www.collectioncare.org web site, lectures throughout the
United States on collection care topics, was instrumental
in developing a state-wide protocol for disaster response
in small Minnesota museums, has written, received and
reviewed grants for NEH and IMLS, worked with local
foundations funding one of her pilot programs, and is
always in search of the perfect museum mannequin. She has
published chapters on conservation and deterioration of
archeological glass with the Materials Research Society and
the York Archaeological Trust, four chapters on different
mannequin construction techniques in Museum Mannequins: A
Guide for Creating the Perfect Fit (2002), preservation
planning, policies, forms and procedures needed for a small
museum in The Minnesota Alliance of Local History Museums'
Collection Initiative Manual, and is co-editor of the
penultimate book on numbering museum collections (still in
process) by the Gilcrease Museum in Oklahoma. Helen Alten
has been a Field Education Director, Conservator, and staff
trainer. She began working with people from small, rural,
and tribal museums while as the state conservator for
Montana and Alaska. Helen currently conducts conservation
treatments and operates a conservation center in
Charleston, WV and St. Paul, MN.
========================================================Important Subscriber Information:
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========================================================================Date: Thu, 7 Jan 2010 10:39:40 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Jim Reed <[log in to unmask]>
Subject: Re: Electric simmer pots used in museums
In-Reply-To: <[log in to unmask]>
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Speaking as one with a sensitivity to perfumes, I suggest that your museum
may want to establish a policy about scents. More than once, I have been
placed in the awkward situation of having to ask a co-worker or volunteer to
please refrain from wearing perfume, as it can trigger a bad headache for me
within seconds. I agree with David that scents should be restricted to the
restroom. Further info can be found at:
http://en.wikipedia.org/wiki/Perfume_allergy
On Thu, Jan 7, 2010 at 10:25 AM, David Harvey <[log in to unmask]> wrote:
> Ok. Fragrances or perfumes work by releasing a fine aerosol into the air
> that is either done mechanically (via spray), through evaporation
> (solvents), or burning (smoke). Each of these can have detrimental effects
> on nearby collections objects. There is also a safety issue as these some of
> these simmer pots were recalled in 2008 due to fire and shock hazards. But a
> far larger issue is that of indoor air quality. Many people have allergies
> or asthma or other condition which can be set off by just a few
> parts-per-million of a substance. So there is a liability issue here which
> makes the museum liable if they permit the use of these scent devices. The
> other issue is just one of courtesy. Why should one person spread their
> scent in a common work area? It is just not part of a professional
> environment in my opinion. The only place I can think of where a scent might
> be permissible in a museum would be in a bathroom.
>
> Cheers!
> Dave
>
> David Harvey
> Senior Conservator and Museum Consultant
>
> On Thu, Jan 7, 2010 at 9:10 AM, Julie Blood <
> [log in to unmask]> wrote:
>
>> I'd like some advice on the use of electric simmer pots for scented wax in
>> museums. I share an office space with our education and visitor services
>> manager and yesterday she started using one of these at her desk. The smell
>> isn't bad, it is a mild spiced scent, but our desks are located in an area
>> where collections are processed and a collections storage room with a closed
>> door is located about 10 feet away from her desk. What are the effects of
>> the scent being released on the collections even though they are in another
>> room and most are boxed? Any suggestions on how to handle this would be
>> greatly appreciated. She's worked for the Museum for 10 years and I've been
>> here only a year so I don't want to alienate her, but I'm also looking out
>> for the Museum's collections.
>>
>> Thanks,
>> Julie
>>
>> =========================================================
>> 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).
>
--
Public hours for History San José's Research Library are Tuesdays, 1-4 PM,
and Wednesdays, 9 AM-Noon and 1-4 PM.
Jim Reed
Curator of Archives and Library
History San Jose
1650 Senter Road
San Jose, CA 95112
(408) 521-5026
fax (408) 287-2291
http://www.historysanjose.org/research/library/
http://www.siliconvalleyhistory.org/
Visit our blog at http://blog.historysanjose.org/
"Museums cure social amnesia."
-- Ralph Appelbaum
=========================================================
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Speaking as one with a sensitivity to perfumes, I suggest that your museum may want to establish a policy about scents. More than once, I have been placed in the awkward situation of having to ask a co-worker or volunteer to please refrain from wearing perfume, as it can trigger a bad headache for me within seconds. I agree with David that scents should be restricted to the restroom. Further info can be found at: http://en.wikipedia.org/wiki/Perfume_allergy
On Thu, Jan 7, 2010 at 10:25 AM, David Harvey
<[log in to unmask]> wrote:
Ok. Fragrances or perfumes work by releasing a fine aerosol into the air that is either done mechanically (via spray), through evaporation (solvents), or burning (smoke). Each of these can have detrimental effects on nearby collections objects. There is also a safety issue as these some of these simmer pots were recalled in 2008 due to fire and shock hazards. But a far larger issue is that of indoor air quality. Many people have allergies or asthma or other condition which can be set off by just a few parts-per-million of a substance. So there is a liability issue here which makes the museum liable if they permit the use of these scent devices. The other issue is just one of courtesy. Why should one person spread their scent in a common work area? It is just not part of a professional environment in my opinion. The only place I can think of where a scent might be permissible in a museum would be in a bathroom.
Cheers!
Dave
David Harvey
Senior Conservator and Museum Consultant
On Thu, Jan 7, 2010 at 9:10 AM, Julie Blood
<[log in to unmask]> wrote:
I'd like some advice on the use of electric simmer pots for scented wax in museums. I share an office space with our education and visitor services manager and yesterday she started using one of these at her desk. The smell isn't bad, it is a mild spiced scent, but our desks are located in an area where collections are processed and a collections storage room with a closed door is located about 10 feet away from her desk. What are the effects of the scent being released on the collections even though they are in another room and most are boxed? Any suggestions on how to handle this would be greatly appreciated. She's worked for the Museum for 10 years and I've been here only a year so I don't want to alienate her, but I'm also looking out for the Museum's collections.
Thanks,
Julie
=========================================================
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--
Public hours for History San José's Research Library are Tuesdays, 1-4 PM, and Wednesdays, 9 AM-Noon and 1-4 PM.
Jim Reed
Curator of Archives and Library
History San Jose
1650 Senter Road
San Jose, CA 95112
(408) 521-5026
fax (408) 287-2291
http://www.historysanjose.org/research/library/
http://www.siliconvalleyhistory.org/
Visit our blog at http://blog.historysanjose.org/
"Museums cure social amnesia."
-- Ralph Appelbaum
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========================================================================Date: Thu, 7 Jan 2010 14:36:38 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lorin Farris <[log in to unmask]>
Subject: Collections Internship (Rockville, MD)
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Collections Intern
Peerless Rockville Historic Preservation, Ltd, an award-winning historic
preservation organization, is currently looking for a spring intern to
helped with our collections management including accessioning, cataloging,
and loans. The intern will work on a variety of collections tasks including
developing skills in historic research; handling, preserving, and housing
objects; cataloging, marking, and digitally photographing objects in the
museum's collections; cataloging objects that meet professional standards
and best practices; digitizing our photographic collection; providing
detailed supplemental collection descriptions; and improving access of the
collection to the public. The intern will also receive practical experience
in all aspects of collections management as well as other areas of museum
work.
Applicants enrolled in a graduate program in museum studies, history, or a
related field will be given strong consideration. Course work or experience
in collections management/museum registration as well as PastPerfect museum
software preferred. Requirements include proficiency in Microsoft Office,
strong written and oral communication skills, professional presentation and
friendly demeanor, and punctuality.
Applicants will be expected to complete 15 to 18 hours a week. Days and
hours are flexible. Peerless will offer a stipend to all interested
students and academic credit may be available through your home institution.
Those interested may attach a cover letter and resume in Word or PDF format
to [log in to unmask] Send materials by COB on Thursday, January
14, 2010.
========================================================Important Subscriber Information:
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Collections Intern
Peerless Rockville Historic
Preservation, Ltd, an award-winning historic preservation organization, is
currently looking for a spring intern to helped with our collections management
including accessioning, cataloging, and loans. The intern will work on
a variety of collections tasks including developing skills in
historic research; handling, preserving, and housing objects; cataloging,
marking, and digitally photographing objects in the museum’s collections;
cataloging objects that meet professional standards and best practices;
digitizing our photographic collection; providing detailed supplemental
collection descriptions; and improving access of the collection to the public.
The intern will also receive practical experience in all aspects of collections
management as well as other areas of museum work.
Applicants enrolled in a graduate
program in museum studies, history, or a related field will be given strong
consideration. Course work or experience in collections management/museum
registration as well as PastPerfect museum software preferred. Requirements
include proficiency in Microsoft Office, strong written and oral communication
skills, professional presentation and friendly demeanor, and punctuality.
Applicants will be expected to
complete 15 to 18 hours a week. Days and hours are flexible. Peerless will
offer a stipend to all interested students and academic credit may be available
through your home institution. Those interested may attach a cover letter
and resume in Word or PDF format to [log in to unmask].
Send materials by COB on Thursday,
January 14, 2010.
=========================================================
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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: Thu, 7 Jan 2010 13:36:36 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Levad, Maren" <[log in to unmask]>
Subject: Museum to-go-kits
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In putting together family day kits to be sent out to libraries state-wide, and then returned, I am looking for some advice.
Any lessons learned about creating museum to-go kits?
Thanks!
Maren Levad
Minnesota Historical Society
Library Partnership Coordinator
651-259-3480
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In putting together family day kits to be sent out to
libraries state-wide, and then returned, I am looking for some advice.
Any lessons learned about creating museum to-go kits?
Thanks!
Maren Levad
Minnesota Historical Society
Library Partnership Coordinator
651-259-3480
=========================================================
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: Thu, 7 Jan 2010 14:53:42 EST
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Barbara Hass <[log in to unmask]>
Subject: Re: Museum to-go-kits
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If you search for
history "to go" kits
you will find a dozen or more such examples - here is one
_http://www.tampabayhistorycenter.org/historytogo.html_
(http://www.tampabayhistorycenter.org/historytogo.html)
Try contacting the ones you like to ask about their solutions and problems?
Barbara Hass, retired librarian
In a message dated 1/7/2010 12:42:23 P.M. Mountain Standard Time,
[log in to unmask] writes:
In putting together family day kits to be sent out to libraries
state-wide, and then returned, I am looking for some advice.
Any lessons learned about creating museum to-go kits?
Thanks!
Maren Levad
Minnesota Historical Society
Library Partnership Coordinator
651-259-3480
========================================================= Important
Subscriber Information:
The Museum-L FAQ file is located at
_http://www.finalchapter.com/museum-l-faq/_ (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] (mailto:[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] (mailto:[log in to unmask]) . The
body of the message should read "Signoff Museum-L" (without the quotes).
========================================================Important Subscriber Information:
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If you search for
history "to go" kits
you will find a dozen or more such examples - here is one
Try contacting the ones you like to ask about their solutions and
problems?
Barbara Hass, retired librarian
In a message dated 1/7/2010 12:42:23 P.M. Mountain Standard Time,
[log in to unmask] writes:
In putting together family day kits to be sent out to
libraries state-wide, and then returned, I am looking for some advice.
Any lessons learned about creating museum to-go
kits?
Thanks!
Maren Levad
Minnesota Historical Society
Library Partnership Coordinator
651-259-3480
=========================================================
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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========================================================================Date: Thu, 7 Jan 2010 12:00:24 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Barbee, Rebecca" <[log in to unmask]>
Subject: Art Bus/Artmobile Research
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Good Morning,
The Palo Alto Art Center will be "on the road" during 2011 due to a
planned building renovation and we have secured the funding to purchase
an art bus to continue our programs during the building closure. I have
been charged with researching current mobile art programs and am hoping
that my fellow museum professionals will be able to aid me in my
research.
If your organization has a mobile art program would you kindly take a
few minutes and answer the questions listed below? Also, if you know of
any similar art bus programs or other resources that might be helpful I
would love to hear about them.
Many thanks in advance for the assistance!
Art Bus/Art Mobile Questions:
1) What is the primary purpose of your Art bus?
2) How long have you had the Art bus program?
3) What challenges has this program presented for your
organization?
4) What types of opportunities has the program offered?
5) Where did you purchase your bus?
6) Did you retrofit the bus? What did that process entail?
7) Do you know of any other mobile art programs in the US and do
you have contact information for those programs?
Best regards,
Rebecca Barbee
Arts Producer
Palo Alto Art Center
[log in to unmask]
www.cityofpaloalto.org/artcenter
=========================================================
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Good Morning,
The Palo Alto
Art Center
will be “on the road” during 2011 due to a planned building
renovation and we have secured the funding to purchase an art bus to continue
our programs during the building closure. I have been charged with researching
current mobile art programs and am hoping that my fellow museum professionals
will be able to aid me in my research.
If your organization has a mobile art program would you
kindly take a few minutes and answer the questions listed below? Also, if
you know of any similar art bus programs or other resources that might be
helpful I would love to hear about them.
Many thanks in advance for the assistance!
Art Bus/Art Mobile
Questions:
1) What is the
primary purpose of your Art bus?
2) How long
have you had the Art bus program?
3) What
challenges has this program presented for your organization?
4) What types
of opportunities has the program offered?
5) Where did
you purchase your bus?
6) Did you
retrofit the bus? What did that process entail?
7) Do you know
of any other mobile art programs in the US and do you have contact
information for those programs?
Best regards,
Rebecca Barbee
Arts Producer
Palo Alto Art Center
[log in to unmask]
www.cityofpaloalto.org/artcenter
=========================================================
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========================================================================Date: Thu, 7 Jan 2010 14:00:54 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Jodi Wright-Gidley <[log in to unmask]>
Subject: Source for free cotton?
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I need some cotton for an educational program. Isn't there a source were
you can request free cotton grade samples?
Jodi Wright-Gidley
Director
Galveston County Historical Museum
123 Rosenberg (25th Street), Suite 4157
Galveston, TX 77550
409-766-2340
=========================================================
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I need some cotton for an educational program. Isn’t
there a source were you can request free cotton grade samples?
Jodi Wright-Gidley
Director
Galveston County Historical
Museum
123 Rosenberg (25th Street),
Suite 4157
Galveston, TX 77550
409-766-2340
=========================================================
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========================================================================Date: Thu, 7 Jan 2010 13:24:18 -0800
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Steph Gaub <[log in to unmask]>
Subject: Director position in Virginia
Comments: To: [log in to unmask]
MIME-Version: 1.0
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Executive Director - Martinsville, VA, USA
http://www.museumprofessionals.org/forum/administration-jobs/5401-executive-director-martinsville-va-usa.html
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Executive Director - Martinsville, VA, USA
|
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========================================================================Date: Thu, 7 Jan 2010 16:01:26 -0600
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: danielle plumer <[log in to unmask]>
Subject: Texas Heritage Digitization Initiative Annual Meeting Invitation
Comments: To: "Archives & Archivists (A&A) List"
<[log in to unmask]>
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Texas Heritage Digitization Initiative
2010 Annual Meeting
The annual Texas Heritage Digitization Initiative meeting will be held on
February 4 and 5, 2010, at the Lady Bird Johnson Wildflower Center in Austin
(www.wildflower.org). Everyone is invited to attend.
Speakers this year include Dr. Andrew Torget from the University of North
Texas, who will ask "Can Historians Survive the 21st Century?" Additional
presentations will include discussions on GIS and Historic Maps, Storage
Basics, Digital Asset Management Systems for Archivists, a panel discussion
with funding agencies and foundations about their priorities and purposes,
and a series of "5 minute updates" from various digital projects around the
state.
Two pre-meeting workshops will be offered on February 4: "Distributed
Preservation Networks: Challenges and Opportunities," and "An Introduction
to Digitizing Video and Film."
Registration
The registration fee for the meeting is $25, and lunch and refreshments will
be provided. Each workshop has an additional $15 registration fee. Event
registration is handled by Amigos Library Services (registration page coming
soon!).
Hotel Information
For those of you planning your travel, we have reserved a block of rooms at
the La Quinta Inn
at near the Wildflower Center at the rate of $65 plus tax for the evenings
of February 4 and 5. To reserve a room, please contact the hotel at
1-866-527-1498 and use the Texas State Library's group reservation number,
0478GRDHIG, by January 13.
For more information, see
www.tsl.state.tx.us/thdi/meeting-2010/invitation.html
Danielle Cunniff Plumer, Coordinator
Texas Heritage Digitization Initiative
Texas State Library and Archives Commission
512.463.5852 (phone) / 512.936.2306 (fax)
[log in to unmask]
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Texas Heritage Digitization Initiative
2010 Annual Meeting
The annual Texas Heritage Digitization Initiative meeting will be held on February 4 and 5, 2010, at the Lady Bird Johnson Wildflower Center in Austin (www.wildflower.org). Everyone is invited to attend.
Speakers this year include Dr. Andrew Torget from the University of North Texas, who will ask "Can Historians Survive the 21st Century?" Additional presentations will include discussions on GIS and Historic Maps, Storage Basics, Digital Asset Management Systems for Archivists, a panel discussion with funding agencies and foundations about their priorities and purposes, and a series of "5 minute updates" from various digital projects around the state.
Two pre-meeting workshops will be offered on February 4: "Distributed Preservation Networks: Challenges and Opportunities," and "An Introduction to Digitizing Video and Film."
Registration
The registration fee for the meeting is $25, and lunch and refreshments will be provided. Each workshop has an additional $15 registration fee. Event registration is handled by Amigos Library Services (registration page coming soon!).
Hotel Information
For those of you planning your travel, we have reserved a block of rooms at the La Quinta Inn <www.lq.com/lq/properties/propertyProfile.do?ident=LQ177> at near the Wildflower Center at the rate of $65 plus tax for the evenings of February 4 and 5. To reserve a room, please contact the hotel at 1-866-527-1498 and use the Texas State Library's group reservation number, 0478GRDHIG, by January 13.
For more information, see www.tsl.state.tx.us/thdi/meeting-2010/invitation.html
Danielle Cunniff Plumer, Coordinator
Texas Heritage Digitization Initiative
Texas State Library and Archives Commission
512.463.5852 (phone) / 512.936.2306 (fax)
[log in to unmask]
=========================================================
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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: Thu, 7 Jan 2010 17:38:44 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: greg_p_palumbo <[log in to unmask]>
Subject: Re: Exhibit preparation schedules
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I pride myself on finishing early and my best ever has been three days. I think if you are done more than a week before your opening you might look at whether or not you are short changing the previous exhibit.
Greg Palumbo
Exhibit Manager
Ah-Tah-Thi-Ki Museum
Sent from my Verizon Wireless Phone
-----Original Message-----
From: Anna Poull <[log in to unmask]>
Sent: Thursday, January 07, 2010 11:18 AM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] Exhibit preparation schedules
I feel that is unrealistic for a lot of museums. I have worked on some exhibits where we were doing finishing touches the day of the opening. I don't recommend this but I would think aiming for having it completely done for about 2-3 days ahead of time would be good.
Anna Poull
Date: Thu, 7 Jan 2010 07:45:39 -0800
From: [log in to unmask]
Subject: [MUSEUM-L] Exhibit preparation schedules
To: [log in to unmask]
Happy New Year. I am wondering how far in advance of your exhibit openings are your exhibits completed. (We've been told to have the exhibit essentially complete 2 weeks in advance of the opening date. That doesn't seem too realistic to us, but we wonder if any of you have managed it.)
Thanks
Sarah Griswold
Gunn Museum
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I pride myself on finishing early and my best ever has been three days. I think if you are done more than a week before your opening you might look at whether or not you are short changing the previous exhibit.
Greg Palumbo
Exhibit Manager
Ah-Tah-Thi-Ki Museum
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From: Anna Poull <[log in to unmask]>
Sent: Thursday, January 07, 2010 11:18 AM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] Exhibit preparation schedules
I feel that is unrealistic for a lot of museums. I have worked on some exhibits where we were doing finishing touches the day of the opening. I don't recommend this but I would think aiming for having it completely done for about 2-3 days ahead of time would be good.
Anna Poull
Date: Thu, 7 Jan 2010 07:45:39 -0800
From:
[log in to unmask]Subject: [MUSEUM-L] Exhibit preparation schedules
To:
[log in to unmask]Happy New Year. I am wondering how far in advance of your exhibit openings are your exhibits completed. (We've been told to have the exhibit essentially complete 2 weeks in advance of the opening date. That doesn't seem too realistic to us, but we wonder if any of you have managed it.)
Thanks
Sarah Griswold
Gunn Museum
Washington, CT
========================================================= Important Subscriber Information: The Museum-L FAQ file is located at
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[log in to unmask] . The body of the message should read "help" (without the quotes).
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========================================================================Date: Thu, 7 Jan 2010 15:12:53 -0600
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From: Terri Bedore <[log in to unmask]>
Subject: Re: Electric simmer pots used in museums
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My Thoughts:
It has always been my understanding that "if you can smell it, those
chemicals have entered your nasal passage - *and are touching you*". So,
that means to me, that if you can smell it ANYWHERE near your collections,
there's a very good chance those chemicals are settling on your objects -
which isn't good.
I'm not "hip" on what comprises perfume these days, but perfumers
were historically known to use animal urine, floral essences, food & seed
oils, etc - a feast for any museum pest!
Also, have you ever been into an old greasy spoon? You know - the kind with
the grease and smoke just dripping off the walls? It happened through
evaporation of hot fats, oils, and waxes, etc...
Terri L. Bedore
Museum Technician
National Park Service
[log in to unmask]
231-715-1759 google voice
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My Thoughts:
It has always been my understanding that "if you can smell it, those chemicals have entered your nasal passage - and are touching you". So, that means to me, that if you can smell it ANYWHERE near your collections, there's a very good chance those chemicals are settling on your objects - which isn't good.
I'm not "hip" on what comprises perfume these days, but perfumers were historically known to use animal urine, floral essences, food & seed oils, etc - a feast for any museum pest!
Also, have you ever been into an old greasy spoon? You know - the kind with the grease and smoke just dripping off the walls? It happened through evaporation of hot fats, oils, and waxes, etc...
Terri L. Bedore
Museum Technician
=========================================================
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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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