Hi Erin,

In regards to your first issue -- Who is taking on the expense of making the prints, the artist or the museum? Even though the prints are specifically for the show, it sounds from your brief description like it should still be treated as a 'loan,' in which case, the prints would either be returned to the artist (to dispose of if that's what he wishes:-(, or traveled with his permission.

On copyright -- traveling and publicizing the exhibition will give the artist a level of exposure which I would think is of great value to him. So, hopefully he will be amenable to an agreement to use his work for publicity, and you should have a written contract specifying the terms, as well as the parameters of the loan/donation. (You can find examples online, or hopefully one of our museum colleagues can supply you with an example). Items to take into consideration: which works can be reproduced? in what capacity can they be reproduced (e.g. in newspapers/magazines and on postcards but not on mousepads:-)? what credit line is requested/required? what is the maximum ppi for web use?

Hope that's helpful!
-Johanna
--
Johanna Goldfeld Design, LLC
Exhibition and Graphic Design
Visit my website: www.jgoldfeld-design.com
Sign up for my monthly newsletter! Pointers: Tips, ideas and inspiration from the world of exhibition and graphic design: http://jgoldfeld-design.com/info/contact.html
Tel: 718-789-1238



-----Original Message-----
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========================================================================Date: Sat, 25 Jun 2011 13:25:48 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Johanna Goldfeld <[log in to unmask]> Subject: Re: Issues with a Traveling Exhibit MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Message-ID: <[log in to unmask]> [Apologies for posting twice! I neglected to change the subject heading the first time...] Hi Erin, In regards to your first issue -- Who is taking on the expense of making the prints, the artist or the museum? Even though the prints are specifically for the show, it sounds from your brief description like it should still be treated as a 'loan,' in which case, the prints would either be returned to the artist (to dispose of if that's what he wishes:-(, or traveled with his permission. On copyright -- traveling and publicizing the exhibition will give the artist a level of exposure which I would think is of great value to him. So, hopefully he will be amenable to an agreement to use his work for publicity, and you should have a written contract specifying the terms, as well as the parameters of the loan/donation. (You can find examples online, or hopefully one of our museum colleagues can supply you with an example). Items to take into consideration: which works can be reproduced? in what capacity can they be reproduced (e.g. in newspapers/magazines and on postcards but not on mousepads:-)? what credit line is requested/required? what is the maximum ppi for web use? Hope that's helpful! -Johanna -- Johanna Goldfeld Design, LLC Exhibition and Graphic Design Visit my website: www.jgoldfeld-design.com Sign up for my monthly newsletter! "Pointers: Tips, ideas and inspiration from the world of exhibition and graphic design": http://jgoldfeld-design.com/info/contact.html Tel: 718-789-1238 >> -----Original Message----- >> From: Museum discussion list [mailto:[log in to unmask]] On >> Behalf Of Erin O'Malley >> Sent: Friday, June 24, 2011 10:23 PM >> To: [log in to unmask] >> Subject: [MUSEUM-L] Issues with a Traveling Exhibit >> >> Hello Museum-L! >> I have an issue I hope you can help me with. We are preparing a photo >> exhibit for this coming fall. There has been serious discussion about >> traveling it in the future. The artist is still living and still sells >> his work as limited edition prints. He's concerned about how the prints >> produced for the exhibit will effect those bought by collectors. If we >> don't end up traveling it he's requested that our prints be destroyed >> (which we'd hate to do). If it does travel, though, we want to make >> sure there are no other issues that may come up in regards to copyright, >> etc. We want to respect his rights as an artist, but also be able to >> travel and publicize the exhibit as we see fit. I just want to know how >> other museums have dealt with this sort of issue. This is the first time >> we've ever considered traveling anything and also the first time we've >> worked with a living artist who produced prints explicitly for our >> exhibit. >> >> thanks! >> Erin O'Malley >> Exhibit Designer >> ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). ========================================================================Date: Sat, 25 Jun 2011 16:21:19 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "Joshua K. Blay" <[log in to unmask]> Subject: How to Remove Paint from Plexiglas? In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0021_01CC3353.EC1B8370" Message-ID: <6257E2EBF94C48168440B181A2974A72@businessgl5et4> This is a multi-part message in MIME format. ------=_NextPart_000_0021_01CC3353.EC1B8370 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit While this is a non-museum related question but I was hoping someone on the list might have dealt with this before and it seems like an issue of interest. I'm looking to remove light spray paint from a Plexigas surface and I don't want to mar the surface at all. Any suggestions? Best regards, Joshua _____ To unsubscribe from the MUSEUM-L list, click the following link: http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L &A=1 ========================================================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). ------=_NextPart_000_0021_01CC3353.EC1B8370 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

While this is a non-museum related question but I was hoping someone on the list might have dealt with this before and it seems like an issue of interest.  I’m looking to remove light spray paint from a Plexigas surface and I don’t want to mar the surface at all.  Any suggestions?

 

Best regards,

 

Joshua


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------=_NextPart_000_0021_01CC3353.EC1B8370-- ========================================================================Date: Sat, 25 Jun 2011 17:21:32 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "[log in to unmask]" <[log in to unmask]> Subject: Re: How to Remove Paint from Plexiglas? In-Reply-To: <6257E2EBF94C48168440B181A2974A72@businessgl5et4> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="--------MB_8CE0194FD6261C4_2878_37EDF_webmail-d142.sysops.aol.com" Message-ID: <[log in to unmask]> ----------MB_8CE0194FD6261C4_2878_37EDF_webmail-d142.sysops.aol.com Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="utf-8" http://www.ehow.com/how_4842889_remove-paint-plexiglass.html try this web site found by searching using the terms how remove spray paint from plexiglass how it and a few other hits might help Best wishes, Barbara, retired librarian -----Original Message----- From: Joshua K. Blay <[log in to unmask]> To: [log in to unmask] Sent: Sat, Jun 25, 2011 2:21 pm Subject: [MUSEUM-L] How to Remove Paint from Plexiglas? While this is a non-museum relatedquestion but I was hoping someone on the list might have dealt with this beforeand it seems like an issue of interest. I’m looking to remove lightspray paint from a Plexigas surface and I don’t want to mar the surfaceat all. Any suggestions? Best regards, Joshua To unsubscribe from the MUSEUM-L list, click the following link: http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L&A=1 To unsubscribe from the MUSEUM-L list, click the following link: http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L&A=1 ========================================================= 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). ----------MB_8CE0194FD6261C4_2878_37EDF_webmail-d142.sysops.aol.com Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset="utf-8"
http://www.ehow.com/how_4842889_remove-paint-plexiglass.html

try this web site
found by searching using the terms

how remove spray paint from plexiglass

how it and a few other hits might help

Best wishes, Barbara, retired librarian


-----Original Message-----
From: Joshua K. Blay <[log in to unmask]>
To: [log in to unmask]
Sent: Sat, Jun 25, 2011 2:21 pm
Subject: [MUSEUM-L] How to Remove Paint from Plexiglas?

While this is a non-museum related question but I was hoping someone on the list might have dealt with this before and it seems like an issue of interest.  I’m looking to remove light spray paint from a Plexigas surface and I don’t want to mar the surface at all.  Any suggestions?
 
Best regards,
 
Joshua

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----------MB_8CE0194FD6261C4_2878_37EDF_webmail-d142.sysops.aol.com-- ========================================================================Date: Sun, 26 Jun 2011 17:25:42 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Brewster Buttfield <[log in to unmask]> Subject: Re: How to Remove Paint from Plexiglas? In-Reply-To: <6257E2EBF94C48168440B181A2974A72@businessgl5et4> MIME-Version: 1.0 Content-Type: multipart/alternative; boundarye6ba53aaaebf289904a6a41309 Message-ID: <[log in to unmask]> --90e6ba53aaaebf289904a6a41309 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable Joshua There is a polish made specifically for acrylics. You can rub it on by hand with a soft cloth or paper towel and it will take off paint and fine scratches. I just used the product last week. I believe the brand is Novus and my local plastic supplier carries it. It comes in several grades depending on how abrasive you need. Good luck. Brewster On Sat, Jun 25, 2011 at 4:21 PM, Joshua K. Blay <[log in to unmask]>wrote: > While this is a non-museum related question but I was hoping someone on > the list might have dealt with this before and it seems like an issue of > interest. Im looking to remove light spray paint from a Plexigas surface > and I dont want to mar the surface at all. Any suggestions?**** > > ** ** > > Best regards,**** > > ** ** > > Joshua**** > > ------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L&A=1 > > ------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L&A=1 > -- Brewster Buttfield Prospect Design prospectdesign.me Kennebec Highlands History Project 424 Fore Street Portland, ME 04101 207-749-7400 ========================================================= 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). --90e6ba53aaaebf289904a6a41309 Content-Type: text/html; charset=windows-1252 Content-Transfer-Encoding: quoted-printable Joshua
There is a polish made specifically for acrylics. You can rub it on by hand with a soft cloth or paper towel and it will take off paint and fine scratches. I just used the product last week. I believe the brand is Novus and my local plastic supplier carries it. It comes in several grades depending on how abrasive you need.
Good luck.
Brewster



On Sat, Jun 25, 2011 at 4:21 PM, Joshua K. Blay <[log in to unmask]> wrote:

While this is a non-museum related question but I was hoping someone on the list might have dealt with this before and it seems like an issue of interest. Im looking to remove light spray paint from a Plexigas surface and I dont want to mar the surface at all. Any suggestions?

Best regards,

Joshua


To unsubscribe from the MUSEUM-L list, click the following link:
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--
Brewster Buttfield
Prospect Design
prospectdesign.me
Kennebec Highlands History Project
424 Fore Street
Portland, ME 04101
207-749-7400


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--90e6ba53aaaebf289904a6a41309-- ========================================================================Date: Sun, 26 Jun 2011 21:07:38 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Norman Paul Stromdahl <[log in to unmask]> Subject: Re: Issues with a Traveling Exhibit In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary cf3054a83323979504a6a9b186 Message-ID: <[log in to unmask]> --20cf3054a83323979504a6a9b186 Content-Type: text/plain; charset=ISO-8859-1 Erin, Setting the suggestions aside... What is outlined in the rights agreement you have with the artist? Ownership rights can/are/should be clearly defined as part of acquiring, presenting or reproducing a copy protected piece of work. Do you own the complete rights (ownership of the work as well as all rights to reproduction) to the works you are presenting? Or do you just own the photos themselves (one can own art and not the right the reproduction). This agreement would be the basis for both the resident show as well as any traveling exhibit. As for his desire that you destroy the pieces you printed for the show, what is his basis for this request, how is it outlined in your agreement? Paul Stromdahl Curator, Chief of Exhibits Illinois State Museum If you are simply displaying his work (the prints) On Fri, Jun 24, 2011 at 1:23 PM, Erin O'Malley <[log in to unmask]>wrote: > Hello Museum-L! > I have an issue I hope you can help me with. We are preparing a photo > exhibit for this coming fall. There has been serious discussion about > traveling it in the future. The artist is still living and still sells his > work as limited edition prints. He's concerned about how the prints produced > for the exhibit will effect those bought by collectors. If we don't end up > traveling it he's requested that our prints be destroyed (which we'd hate to > do). If it does travel, though, we want to make sure there are no other > issues that may come up in regards to copyright, etc. We want to respect his > rights as an artist, but also be able to travel and publicize the exhibit as > we see fit. I just want to know how other museums have dealt with this sort > of issue. This is the first time we've ever considered traveling anything > and also the first time we've worked with a living artist who produced > prints explicitly for our exhibit. > > thanks! > Erin O'Malley > Exhibit Designer > > ========================================================> 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). > -- Norman *Paul* Stromdahl Curator, Chief of Exhibits Illinois State Museum 206 251 6354 (M) http://www.linkedin.com/in/npscreates Be paperwise and print only if necessary:) This email may contain confidential information that is legally privileged. If you are not the addressee indicated in this message, you may not distribute, copy or otherwise use the information herein. If you have received this email in error, kindly notify the sender by reply email and destroy it. Thank you ========================================================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). --20cf3054a83323979504a6a9b186 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Erin,
Setting the suggestions aside...
What is outlined in the rights agreement you have with the artist? Ownership rights can/are/should be clearly defined as part of acquiring, presenting or reproducing a copy protected piece of work. Do you own the complete rights (ownership of the work as well as all rights to reproduction) to the works you are presenting? Or do you just own the photos themselves (one can own art and not the right the reproduction). This agreement would be the basis for both the resident show as well as any traveling exhibit.

As for his desire that you destroy the pieces you printed for the show, what is his basis for this request, how is it outlined in your agreement?

Paul Stromdahl
Curator, Chief of Exhibits
Illinois State Museum

If you are simply displaying his work (the prints)

On Fri, Jun 24, 2011 at 1:23 PM, Erin O'Malley <[log in to unmask]> wrote:
Hello Museum-L!
I have an issue I hope you can help me with. We are preparing a photo exhibit for this coming fall. There has been serious discussion about traveling it in the future. The artist is still living and still sells his work as limited edition prints. He's concerned about how the prints produced for the exhibit will effect those bought by collectors. If we don't end up traveling it he's requested that our prints be destroyed (which we'd hate to do). If it does travel, though, we want to make sure there are no other issues that may come up in regards to copyright, etc. We want to respect his rights as an artist, but also be able to travel and publicize the exhibit as we see fit. I just want to know how other museums have dealt with this sort of issue. This is the first time we've ever considered traveling anything and also the first time we've worked with a living artist who produced prints explicitly for our exhibit.

thanks!
Erin O'Malley
Exhibit Designer

=========================================================
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).



--
Norman Paul Stromdahl
Curator, Chief of Exhibits
Illinois State Museum

206 251 6354 (M)




Be paperwise and print only if necessary:)
This email may contain confidential information that is legally privileged. If you are not the addressee indicated in this message, you may not distribute, copy or otherwise use the information herein. If you have received this email in error, kindly notify the sender by reply email and destroy it.
Thank you


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--20cf3054a83323979504a6a9b186-- ========================================================================Date: Mon, 27 Jun 2011 07:19:01 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Cass Karl <[log in to unmask]> Subject: Re: Issues with a Traveling Exhibit In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundaryMessage-ID: <[log in to unmask]> --0016e6d99d1d7a145004a6b08ee6 Content-Type: text/plain; charset=ISO-8859-1 I agree with Paul and other PPs- It sounds like there is not a clear agreement in this instance. I think your first step is to work with the artist and make one stating whether this is a gift (or sale) of the prints themselves, a gift (or sale) of the content of the art (which would include all right and title), or a loan. I have examples of agreements for all of these types if you would like to see them... -Casandra On Sun, Jun 26, 2011 at 11:07 PM, Norman Paul Stromdahl < [log in to unmask]> wrote: > Erin, > Setting the suggestions aside... > What is outlined in the rights agreement you have with the artist? > Ownership rights can/are/should be clearly defined as part of acquiring, > presenting or reproducing a copy protected piece of work. Do you own the > complete rights (ownership of the work as well as all rights to > reproduction) to the works you are presenting? Or do you just own the photos > themselves (one can own art and not the right the reproduction). This > agreement would be the basis for both the resident show as well as any > traveling exhibit. > > As for his desire that you destroy the pieces you printed for the show, > what is his basis for this request, how is it outlined in your agreement? > > Paul Stromdahl > Curator, Chief of Exhibits > Illinois State Museum > > If you are simply displaying his work (the prints) > > On Fri, Jun 24, 2011 at 1:23 PM, Erin O'Malley <[log in to unmask]>wrote: > >> Hello Museum-L! >> I have an issue I hope you can help me with. We are preparing a photo >> exhibit for this coming fall. There has been serious discussion about >> traveling it in the future. The artist is still living and still sells his >> work as limited edition prints. He's concerned about how the prints produced >> for the exhibit will effect those bought by collectors. If we don't end up >> traveling it he's requested that our prints be destroyed (which we'd hate to >> do). If it does travel, though, we want to make sure there are no other >> issues that may come up in regards to copyright, etc. We want to respect his >> rights as an artist, but also be able to travel and publicize the exhibit as >> we see fit. I just want to know how other museums have dealt with this sort >> of issue. This is the first time we've ever considered traveling anything >> and also the first time we've worked with a living artist who produced >> prints explicitly for our exhibit. >> >> thanks! >> Erin O'Malley >> Exhibit Designer >> >> ========================================================>> 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). >> > > > > -- > Norman *Paul* Stromdahl > Curator, Chief of Exhibits > Illinois State Museum > > 206 251 6354 (M) > > http://www.linkedin.com/in/npscreates > > > > Be paperwise and print only if necessary:) > This email may contain confidential information that is legally privileged. > If you are not the addressee indicated in this message, you may not > distribute, copy or otherwise use the information herein. If you have > received this email in error, kindly notify the sender by reply email and > destroy it. > Thank you > > > ------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L&A=1 > ========================================================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). --0016e6d99d1d7a145004a6b08ee6 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
I agree with Paul and other PPs- It sounds like there is not a clear agreement in this instance. I think your first step is to work with the artist and make one stating whether this is a gift (or sale) of the prints themselves, a gift (or sale) of the content of the art (which would include all right and title), or a loan. I have examples of agreements for all of these types if you would like to see them...
-Casandra


On Sun, Jun 26, 2011 at 11:07 PM, Norman Paul Stromdahl <[log in to unmask]> wrote:
Erin,
Setting the suggestions aside...
What is outlined in the rights agreement you have with the artist? Ownership rights can/are/should be clearly defined as part of acquiring, presenting or reproducing a copy protected piece of work. Do you own the complete rights (ownership of the work as well as all rights to reproduction) to the works you are presenting? Or do you just own the photos themselves (one can own art and not the right the reproduction). This agreement would be the basis for both the resident show as well as any traveling exhibit.

As for his desire that you destroy the pieces you printed for the show, what is his basis for this request, how is it outlined in your agreement?

Paul Stromdahl
Curator, Chief of Exhibits
Illinois State Museum

If you are simply displaying his work (the prints)

On Fri, Jun 24, 2011 at 1:23 PM, Erin O'Malley <[log in to unmask]> wrote:
Hello Museum-L!
I have an issue I hope you can help me with. We are preparing a photo exhibit for this coming fall. There has been serious discussion about traveling it in the future. The artist is still living and still sells his work as limited edition prints. He's concerned about how the prints produced for the exhibit will effect those bought by collectors. If we don't end up traveling it he's requested that our prints be destroyed (which we'd hate to do). If it does travel, though, we want to make sure there are no other issues that may come up in regards to copyright, etc. We want to respect his rights as an artist, but also be able to travel and publicize the exhibit as we see fit. I just want to know how other museums have dealt with this sort of issue. This is the first time we've ever considered traveling anything and also the first time we've worked with a living artist who produced prints explicitly for our exhibit.

thanks!
Erin O'Malley
Exhibit Designer

=========================================================
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).



--
Norman Paul Stromdahl
Curator, Chief of Exhibits
Illinois State Museum

206 251 6354 (M)




Be paperwise and print only if necessary:)
This email may contain confidential information that is legally privileged. If you are not the addressee indicated in this message, you may not distribute, copy or otherwise use the information herein. If you have received this email in error, kindly notify the sender by reply email and destroy it.
Thank you


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--0016e6d99d1d7a145004a6b08ee6-- ========================================================================Date: Mon, 27 Jun 2011 07:59:54 -0700 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Norman Paul Stromdahl <[log in to unmask]> Subject: Re: Issues with a Traveling Exhibit In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundaryMessage-ID: <[log in to unmask]> --00151747b520d838c304a6b2cdb0 Content-Type: text/plain; charset=ISO-8859-1 Erin, Go here; http://www.copyright.gov/title17/. It will give you a basis for your current use copyright status, future conversations with the artist as well as the venues the exhibit might travel to. For instance, your institution may have purchased or been given (donation) the prints of the artist's work. You own the prints and that is all. You don't have the right to reproduce unless you have an agreement with the artist to do so. You might feel that you can create reproductions as a "fair use." DON'T assume that because you are a not-for-profit or a 501c3, or a museum or an educational institution you are automatically protected, especially if you are going to charge a fee for your presentation or to rent the traveling version. Charging a fee changes the definition of "fair use" and the penalities. And considering the artist's request that you destroy your reproductions you need to be VERY confident that the reproduction is covered by "fair use." More thoughts as I review the string. Paul On Mon, Jun 27, 2011 at 5:19 AM, Cass Karl <[log in to unmask]> wrote: > I agree with Paul and other PPs- It sounds like there is not a clear > agreement in this instance. I think your first step is to work with the > artist and make one stating whether this is a gift (or sale) of the prints > themselves, a gift (or sale) of the content of the art (which would include > all right and title), or a loan. I have examples of agreements for all of > these types if you would like to see them... > > -Casandra > > > > On Sun, Jun 26, 2011 at 11:07 PM, Norman Paul Stromdahl < > [log in to unmask]> wrote: > >> Erin, >> Setting the suggestions aside... >> What is outlined in the rights agreement you have with the artist? >> Ownership rights can/are/should be clearly defined as part of acquiring, >> presenting or reproducing a copy protected piece of work. Do you own the >> complete rights (ownership of the work as well as all rights to >> reproduction) to the works you are presenting? Or do you just own the photos >> themselves (one can own art and not the right the reproduction). This >> agreement would be the basis for both the resident show as well as any >> traveling exhibit. >> >> As for his desire that you destroy the pieces you printed for the show, >> what is his basis for this request, how is it outlined in your agreement? >> >> Paul Stromdahl >> Curator, Chief of Exhibits >> Illinois State Museum >> >> If you are simply displaying his work (the prints) >> >> On Fri, Jun 24, 2011 at 1:23 PM, Erin O'Malley <[log in to unmask]>wrote: >> >>> Hello Museum-L! >>> I have an issue I hope you can help me with. We are preparing a photo >>> exhibit for this coming fall. There has been serious discussion about >>> traveling it in the future. The artist is still living and still sells his >>> work as limited edition prints. He's concerned about how the prints produced >>> for the exhibit will effect those bought by collectors. If we don't end up >>> traveling it he's requested that our prints be destroyed (which we'd hate to >>> do). If it does travel, though, we want to make sure there are no other >>> issues that may come up in regards to copyright, etc. We want to respect his >>> rights as an artist, but also be able to travel and publicize the exhibit as >>> we see fit. I just want to know how other museums have dealt with this sort >>> of issue. This is the first time we've ever considered traveling anything >>> and also the first time we've worked with a living artist who produced >>> prints explicitly for our exhibit. >>> >>> thanks! >>> Erin O'Malley >>> Exhibit Designer >>> >>> ========================================================>>> 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). >>> >> >> >> >> -- >> Norman *Paul* Stromdahl >> Curator, Chief of Exhibits >> Illinois State Museum >> >> 206 251 6354 (M) >> >> http://www.linkedin.com/in/npscreates >> >> >> >> Be paperwise and print only if necessary:) >> This email may contain confidential information that is legally >> privileged. If you are not the addressee indicated in this message, you may >> not distribute, copy or otherwise use the information herein. If you have >> received this email in error, kindly notify the sender by reply email and >> destroy it. >> Thank you >> >> >> ------------------------------ >> >> To unsubscribe from the MUSEUM-L list, click the following link: >> http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L&A=1 >> > > > ------------------------------ > > To unsubscribe from the MUSEUM-L list, click the following link: > http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L&A=1 > -- Norman *Paul* Stromdahl Curator, Chief of Exhibits Illinois State Museum 206 251 6354 (M) http://www.linkedin.com/in/npscreates Be paperwise and print only if necessary:) This email may contain confidential information that is legally privileged. If you are not the addressee indicated in this message, you may not distribute, copy or otherwise use the information herein. If you have received this email in error, kindly notify the sender by reply email and destroy it. Thank you ========================================================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). --00151747b520d838c304a6b2cdb0 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Erin,
Go here;http://www.copyright.gov/title17/.
It will give you a basis for your current use copyright status, future conversations with the artist as well as the venues the exhibit might travel to.

For instance, your institution may have purchased or been given (donation) the prints of the artist's work. You own the prints and that is all. You don't have the right to reproduce unless you have an agreement with the artist to do so. You might feel that you can create reproductions as a "fair use." DON'T assume that because you are a not-for-profit or a 501c3, or a museum or an educational institution you are automatically protected, especially if you are going to charge a fee for your presentation or to rent the traveling version. Charging a fee changes the definition of "fair use" and the penalities. And considering the artist's request that you destroy your reproductionsyou need to be VERY confident that the reproduction is covered by "fair use."
More thoughts as I review the string.
Paul



On Mon, Jun 27, 2011 at 5:19 AM, Cass Karl <[log in to unmask]> wrote:
I agree with Paul and other PPs- It sounds like there is not a clear agreement in this instance. I think your first step is to work with the artist and make one stating whether this is a gift (or sale) of the prints themselves, a gift (or sale) of the content of the art (which would include all right and title), or a loan. I have examples of agreements for all of these types if you would like to see them...
-Casandra


On Sun, Jun 26, 2011 at 11:07 PM, Norman Paul Stromdahl <[log in to unmask]> wrote:
Erin,
Setting the suggestions aside...
What is outlined in the rights agreement you have with the artist? Ownership rights can/are/should be clearly defined as part of acquiring, presenting or reproducing a copy protected piece of work. Do you own the complete rights (ownership of the work as well as all rights to reproduction) to the works you are presenting? Or do you just own the photos themselves (one can own art and not the right the reproduction). This agreement would be the basis for both the resident show as well as any traveling exhibit.

As for his desire that you destroy the pieces you printed for the show, what is his basis for this request, how is it outlined in your agreement?

Paul Stromdahl
Curator, Chief of Exhibits
Illinois State Museum

If you are simply displaying his work (the prints)

On Fri, Jun 24, 2011 at 1:23 PM, Erin O'Malley <[log in to unmask]> wrote:
Hello Museum-L!
I have an issue I hope you can help me with. We are preparing a photo exhibit for this coming fall. There has been serious discussion about traveling it in the future. The artist is still living and still sells his work as limited edition prints. He's concerned about how the prints produced for the exhibit will effect those bought by collectors. If we don't end up traveling it he's requested that our prints be destroyed (which we'd hate to do). If it does travel, though, we want to make sure there are no other issues that may come up in regards to copyright, etc. We want to respect his rights as an artist, but also be able to travel and publicize the exhibit as we see fit. I just want to know how other museums have dealt with this sort of issue. This is the first time we've ever considered traveling anything and also the first time we've worked with a living artist who produced prints explicitly for our exhibit.

thanks!
Erin O'Malley
Exhibit Designer

=========================================================
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--
Norman Paul Stromdahl
Curator, Chief of Exhibits
Illinois State Museum

206 251 6354 (M)




Be paperwise and print only if necessary:)
This email may contain confidential information that is legally privileged. If you are not the addressee indicated in this message, you may not distribute, copy or otherwise use the information herein. If you have received this email in error, kindly notify the sender by reply email and destroy it.
Thank you


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--
Norman Paul Stromdahl
Curator, Chief of Exhibits
Illinois State Museum

206 251 6354 (M)




Be paperwise and print only if necessary:)
This email may contain confidential information that is legally privileged. If you are not the addressee indicated in this message, you may not distribute, copy or otherwise use the information herein. If you have received this email in error, kindly notify the sender by reply email and destroy it.
Thank you


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--00151747b520d838c304a6b2cdb0-- ========================================================================Date: Mon, 27 Jun 2011 10:45:28 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Lee Goodan <[log in to unmask]> Subject: Re: How to Remove Paint from Plexiglas? Comments: To: "Joshua K. Blay" <[log in to unmask]> Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="UTF-8" Message-ID: <[log in to unmask]> Try Everclear. It's the best thing I've found to clean sticky residue and paint off plexi. I haven't had any trouble with it "hazing" the surface. But, as precaution, you should test an inconspicuous area first - just to be safe. Good Luck, Lee Goodan Exhibits Manager Charlotte Museum of History [log in to unmask] ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). ========================================================================Date: Mon, 27 Jun 2011 13:00:02 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: "Stefania R. Van Dyke" <[log in to unmask]> Subject: Do you work with indigenous peoples' collections? Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="UTF-8" Message-ID: <[log in to unmask]> Dear colleagues, Left Coast Press, Inc. is pleased to announce a new publication, coming in August: Museums & Māori: Heritage Professionals, Indigenous Collections, Current Practice Conal McCarthy (Director, Museum and Heritage Studies Program at the Victoria University of Wellington) 336 pp. "Using a theoretical perspective grounded in museum practice, McCarthy masterfully brings the experiences of both museum professionals and Māori communities together over the past three decades and discusses the successes, pitfalls and frustrations posed by the social and ethnic tensions that exist in New Zealand despite the government's attempts at 'biculturalism.' ... This case study of museums and the Māori could fit any country where Europeans invaded and colonized indigenous peoples. This book is required reading for museum professionals currently working in museums that hold and exhibit indigenous collections and for anyone planning to become a museum professional. I would also recommend this to anyone studying identity politics, the history of colonization and de-colonization, and the advancements by indigenous peoples throughout the world who are engaging in the process of self-determination." -Shelby Tisdale, Ph.D., Director, Museum of Indian Arts & Culture / Laboratory of Anthropology (Santa Fe) For more information and to order through our U.S. distributor at 15% off, go to: http://www.lcoastpress.com/book.php?id=351 Paperback (978-1-61132-077-0):$34.95 $29.71 Hardback (978-1-61132-076-3):$99.00 $84.15 *** Stefania R. Van Dyke Museum Studies & Practice Left Coast Press, Inc. [log in to unmask] Journal orders: 925-935-3380 phone; 925-935-2916 fax Book orders: 800-621-2736 / 773-702-7000 phone Book orders: 800-621-8476 / 773-702-7212 fax 1630 N. Main Street, #400 Walnut Creek, CA 94596 www.LCoastPress.com We are now distributed by the Chicago Distribution Center of University of Chicago Press Find us on Facebook! Follow us on Twitter: https://twitter.com/LeftCoastPress ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). ========================================================================Date: Mon, 27 Jun 2011 12:53:46 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: MuseumPods <[log in to unmask]> Subject: iMuseum for iPhone available MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0002_01CC34C9.41F18580" Message-ID: <000101cc34ea$c9032580$5b097080$@com> This is a multi-part message in MIME format. ------=_NextPart_000_0002_01CC34C9.41F18580 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hello, The iMuseum app for iPhone, iPad, and iPod is now online. You can start uploading social media at http://www.museumpods.com/join-the-app.html The content will appear on both iMuseum for iPhones and The Museum App for Android. We are also looking for museums to be featured on both apps. We can customize the 'sub' app with your logos and graphics along with Google maps and more.visit here if interested http://www.museumpods.com/featured-museum.html iMuseum http://itunes.apple.com/us/app/imuseum/id402389596?mt=8 &ls=1# The Museum App for Android https://market.android.com/details?id=com.museumpods.imuseum &feature=search_result Special thanks to all the museums that have already joined. Best, Kurt Stuchell MuseumPods ========================================================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). ------=_NextPart_000_0002_01CC34C9.41F18580 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Hello,

 

The iMuseum app for iPhone, iPad, and iPod is now online.  You can start uploading social media at http://www.museumpods.com/join-the-app.html The content will appear on both iMuseum for iPhones and The Museum App for Android.

 

We are also looking for museums to be featured on both apps. We can customize the 'sub' app with your logos and graphics along with Google maps and more…visit here if interested http://www.museumpods.com/featured-museum.html

 

iMuseum

http://itunes.apple.com/us/app/imuseum/id402389596?mt=8&ls=1#

 

The Museum App for Android

https://market.android.com/details?id=com.museumpods.imuseum&feature=search_result

 

Special thanks to all the museums that have already joined.

 

Best,

Kurt Stuchell

MuseumPods

 


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------=_NextPart_000_0002_01CC34C9.41F18580-- ========================================================================Date: Mon, 27 Jun 2011 16:28:16 +0000 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Anthony Bowman <[log in to unmask]> Subject: Pen/Pencil Storage Content-Type: multipart/alternative; boundary="_000_5A04846941645541B1C3D28489D04688C14AWPSDGQGLOPRSTATEFAR_" MIME-Version: 1.0 Message-ID: <[log in to unmask]> --_000_5A04846941645541B1C3D28489D04688C14AWPSDGQGLOPRSTATEFAR_ Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Hello, I'm interested to learn how other institutions store pens and pencils (and other similarly shaped objects). They are currently stored on shelves in metal cabinets. Any help is greatly appreciated. Thank you, Anthony Bowman Archivist Assistant (309) 735-5459 [log in to unmask] ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). --_000_5A04846941645541B1C3D28489D04688C14AWPSDGQGLOPRSTATEFAR_ Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable
Hello,
 
I’m interested to learn how other institutions store pens and pencils (and other similarly shaped objects).  They are currently stored on shelves in metal cabinets.  Any help is greatly appreciated.
 
Thank you,
 
 
Anthony Bowman
Archivist Assistant
(309) 735-5459
 
 
 

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--_000_5A04846941645541B1C3D28489D04688C14AWPSDGQGLOPRSTATEFAR_-- ========================================================================Date: Mon, 27 Jun 2011 17:15:27 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Adrienne Meraz <[log in to unmask]> Subject: How does one become a Museum Registrar? Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="UTF-8" Message-ID: <[log in to unmask]> Dear Subscribers, I seek your advice-- how does one become a Museum Registrar? I'm an aspiring Registrar with a BA in Art History. I currently work in NYC as an Art Gallery Registrar with the hopes of working for an art museum or private collection. In your opinion, is it necessary to go to Grad School? What about getting a Museum Studies certificate instead? Also, I'm offering myself as a dedicated and capable volunteer to help a Museum Professional in the NYC area. I'll gladly email my resume privately. Any career advice would be greatly appreciated. Thank you, Adrienne Meraz [log in to unmask] ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). ========================================================================Date: Mon, 27 Jun 2011 20:23:57 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Women In Photography International <[log in to unmask]> Subject: Cameron Parsons Research MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="--------MB_8CE0340CDEB5B17_1CB4_35C79_webmail-m172.sysops.aol.com" Message-ID: <[log in to unmask]> This is a multi-part message in MIME format. ----------MB_8CE0340CDEB5B17_1CB4_35C79_webmail-m172.sysops.aol.com Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="us-ascii" Hello, Looking for information about Los Angeles based artist. Marjorie Cameron, (1922-1995) often known as "Cameron" Getty Pacific Standard Time program: A great deal of attention to artist's who live/ed and worked in Southern California (1945 to 1980) will be explored and exhibited, Oct. 2011 thru Feb. 2012. With Cameron's growing popularity, would like to know who has collected her work and what institutions or galleries plan to showcase her work in 2011-2012 either in the US or abroad. Marjorie Cameron Parsons Kimmel Artist extraordinaire with a unique legendary career, an artist who lived her life with great abandon, curiosity, lust, magick and spiritually. Born: 1922, Bell Plain Iowa Military: Enlisted in the Navy and served by drawing maps and working with photographs. Moved to Los Angeles 1945 1946, married Jack Parsons, scientist, inventor of rocket fuel, founding member of the Jet Propulsion Lab in Pasadena, crater on the moon named after him. Cameron spent time in Los Angeles, Desert areas, San Francisco, New Mexico, Mexico, New York, Paris. Samson DeBrier, (1910-1995), raconteur and aesthete was a close friend of Cameron. Introduced her to director, Kenneth Anger "The Inauguration of the Pleasure Dome".. Cameron and Samson along with Anais Nin, starred in the 1954 avant garde cult classic, filmed in Hollywood in the home of DeBrier. Cameron was also the star of Curtis Harrington's 1955, 16mm b/w 10 min. artistic film Wormwood Star, a movie about Cameron as an artist. Wallace Berman opening at the Ferus Gallery, Los Angeles, summer, 1957 Cameron's galvanizing image included in the Berman show, provoked the Los Angeles Police to close Berman exhibition on grounds of indecency. Cameron Parsons Foundation: http://cameron-parsons.org/cameron.html Tosh Berman - Book Soup (Feb. 2011) New biography on Cameron "Wormwood Star" available at Book Soup / Los Angeles Excellent reviews of two Jack Parson's books as well biography by Spencer Kansa "Wormwood Star, The Magickal Life of Marjorie Cameron" "Wormwood Star" is good reading, personal insights, poor picture quality, no available images of her art work! A very unusual story, no cookie cutter artist here! Someone was truly driven by her inner sanctum of expression. http://www.youtube.com/watch?v=IO92y_SLtUM Anyone producing a book or exhibition on Cameron? NOTE: I have a portfolio of images on Samson DeBrier, late 70's thru the end of his life. Samson died, April 1, 1995. I also have images of Cameron attending his private memorial at his home holding a large scale nude sketch of her work. She died 3 months later, July 1995. Please contact: Jean Ferro [log in to unmask] Jean Ferro http://www.JeanFerro.com Women In Photography International (WIPI) http://www.womeninphotography.org Please follow WIPI on Facebook: http://www.facebook.com/pages/Women-in-Photography-International/52330307762?ref=ts ========================================================= 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). ----------MB_8CE0340CDEB5B17_1CB4_35C79_webmail-m172.sysops.aol.com Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset="us-ascii"
Hello, Looking for information about Los Angeles based artist. 
Marjorie Cameron, (1922-1995)
often known as "Cameron" 

Getty Pacific Standard Time program: A great deal of attention to artist's who live/ed and worked in Southern California (1945 to 1980) will be explored and exhibited, Oct. 2011 thru Feb. 2012. 

With Cameron's growing popularity, would like to know who has collected her work and what institutions or galleries plan to showcase her work in 2011-2012 either in the US or abroad.

Marjorie Cameron Parsons Kimmel

Artist extraordinaire with a unique legendary career, an artist who lived her life with great abandon, curiosity, lust, magick and spiritually.
Born: 1922, Bell Plain Iowa
Military: Enlisted in the Navy and served by drawing maps and working with photographs.
Moved to Los Angeles 1945
1946, married Jack Parsons, scientist, inventor of rocket fuel, founding member of the Jet Propulsion Lab in Pasadena, crater on the moon named after him.

Cameron spent time in  Los Angeles, Desert areas, San Francisco, New Mexico, Mexico, New York, Paris.

Samson DeBrier, (1910-1995), raconteur and aesthete was a close friend of Cameron.
Introduced her to director, Kenneth Anger "The Inauguration of the Pleasure Dome".. Cameron and Samson along with Anais Nin, starred in the 1954 avant garde cult classic, filmed in Hollywood in the home of DeBrier.

Cameron was also the star of Curtis Harrington's 1955, 16mm b/w 10 min. artistic film Wormwood Star, a movie about Cameron as an artist. 

Wallace Berman opening at the Ferus Gallery, Los Angeles, summer, 1957
Cameron's galvanizing image included in the Berman show, provoked the Los Angeles Police to close Berman exhibition on grounds of indecency.

Cameron Parsons Foundation:

Tosh Berman - Book Soup (Feb. 2011)
New biography on Cameron "Wormwood Star" 
available at Book Soup / Los Angeles

Excellent reviews of two Jack Parson's books as well 
biography by Spencer Kansa "Wormwood Star, The Magickal Life of Marjorie Cameron" 

"Wormwood Star" is good reading, personal insights, poor picture quality, 
no available images of her art work! A very unusual story, no cookie cutter artist here! Someone was truly driven by her inner sanctum of expression.

Anyone producing a book or exhibition on Cameron? 
NOTE: I have a portfolio of images on Samson DeBrier, late 70's thru the end of his life. Samson died, April 1, 1995.  I also have images of Cameron attending his private memorial at his home holding a large scale nude sketch of her work. She died 3 months later, July 1995.  

Please contact:
Jean Ferro

Jean Ferro
http://www.JeanFerro.com

Women In Photography International  (WIPI)

Please follow WIPI on Facebook:
http://www.facebook.com/pages/Women-in-Photography-International/52330307762?ref=ts

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----------MB_8CE0340CDEB5B17_1CB4_35C79_webmail-m172.sysops.aol.com-- ========================================================================Date: Tue, 28 Jun 2011 07:35:27 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Regan Brooks <[log in to unmask]> Subject: Fall 2011 Internships Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="UTF-8" Message-ID: <[log in to unmask]> 2011 Fall/Winter Internships at The Gaston County Museum Dallas, North Carolina Collections Internships (2 positions available) Fall/Winter, 2011 (30 to 40 hours per week) Application Deadline: July 22, 2011 HOUSING PROVIDED The Gaston County Museum is currently seeking 2 collections interns for fall/winter 2011. Current intern projects include: (3 month internship) Local Gaston County Oral History Project, (6 month internship) Archives. In addition, both interns will assist the Curatorial Staff in collections management, as well as some work in exhibit design/installation. The successful candidates will be detail oriented, organized, and able to work independently. Must be able to work with and meet deadlines, lift up to 30 pounds, and climb stairs and ladders. Preference will be given to candidates with previous museum work or course experience and/or candidates wishing to pursue a career in museums. Knowledge of PastPerfect collections database a plus. The internships are unpaid, but housing that is within walking distance to the museum is provided. Both internships will begin at the end of August/early September. Internships will end in December (unless the intern would like to stay for 6 months), and be 30 to 40 hours per week during that time. Deadline for application is July 22, 2011. Interested applicants should send a cover letter, resume, as well as a 1 page essay indicating why they want do their internship at the Gaston County Museum and what they hope to gain from the experience to: The Gaston County Museum Attn: Stephanie Haiar P.O. Box 429 Dallas, NC 28034 Phone: 704-922-7681 x.104 Fax: 704-922-7683 Email: [log in to unmask] ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). ========================================================================Date: Tue, 28 Jun 2011 08:24:49 -0500 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Cass Karl <[log in to unmask]> Subject: Re: How does one become a Museum Registrar? In-Reply-To: <[log in to unmask]> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary cf302ad698a171a504a6c597af Message-ID: <[log in to unmask]> --20cf302ad698a171a504a6c597af Content-Type: text/plain; charset=ISO-8859-1 Adrienne, Let me start by saying that it may be a bit different in the art world, but most registrars I know in history museums do not have a masters in museum studies. They generally have some sort of specialized training (either a certificate or just having attended registration methods classes or workshops), but much less formal/ specialized education than many other museum professionals. I worked as a registrar for nearly 15 years before becoming a director, and it is my belief that when dealing with registration or collections management, that there is no substitute for experience. I think where you are now is a good start. You may consider joining a local or national registrars group (such as RCAAM or a state or regional organization if there is one in your area) as this is a good opportunity to keep abreast of current issues and practises as well as network and get job announcements. If you are a fairly active member, it also looks nice on your resume or CV. Also, be prepared for the fact that entry-level registrarial positions are some of the lowest paid in the museum world. You will probably make more money (although have less job security and fewer benefits) if you continue to work in the for-profit sector. Not to discourage you, I'm just trying to be honest... -Casandra On Mon, Jun 27, 2011 at 4:15 PM, Adrienne Meraz <[log in to unmask]>wrote: > Dear Subscribers, > > I seek your advice-- how does one become a Museum Registrar? I'm an > aspiring Registrar with a BA in Art History. I currently work in NYC as an > Art Gallery Registrar with the hopes of working for an art museum or private > collection. In your opinion, is it necessary to go to Grad School? What > about getting a Museum Studies certificate instead? > > Also, I'm offering myself as a dedicated and capable volunteer to help a > Museum Professional in the NYC area. I'll gladly email my resume privately. > > > > Any career advice would be greatly appreciated. > Thank you, > > > Adrienne Meraz > > [log in to unmask] > > ========================================================> Important Subscriber Information: > > The Museum-L FAQ file is located at > http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed > information about the listserv commands by sending a one line e-mail message > to [log in to unmask] . The body of the message should read > "help" (without the quotes). > > If you decide to leave Museum-L, please send a one line e-mail message to > [log in to unmask] . The body of the message should read > "Signoff Museum-L" (without the quotes). > ========================================================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). --20cf302ad698a171a504a6c597af Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
Adrienne,
Let me start by saying that it may be a bit different in the art world, but most registrars I know in history museums do not have a masters in museum studies. They generally have some sort of specialized training (either a certificate or just having attended registration methods classes or workshops), but much less formal/ specializededucation than many other museum professionals. I worked as a registrar fornearly 15 years before becoming a director, and it is my belief that when dealing with registration or collections management, that there is no substitute for experience.
I think where you are now is a good start. You may consider joining a local or national registrars group (such as RCAAM or a state or regional organization if there is one in your area) as this is a good opportunity to keep abreast of current issues and practises as well as network and get job announcements. If you are a fairly active member, it also looks nice on your resume or CV.
Also, be prepared for the fact that entry-level registrarial positions are some of the lowest paid in the museum world. You will probably make more money (although have less job security and fewer benefits) if you continue to work in the for-profit sector. Not to discourage you, I'm just trying to be honest...
-Casandra

On Mon, Jun 27, 2011 at 4:15 PM, Adrienne Meraz <[log in to unmask]> wrote:
Dear Subscribers,

I seek your advice-- how does one become a Museum Registrar? I'm an aspiring Registrar with a BA in Art History. I currently work in NYC as an Art Gallery Registrar with the hopes of working for an art museum or private collection. In your opinion, is it necessary to go to Grad School? What about getting a Museum Studies certificate instead?

Also, I'm offering myself as a dedicated and capable volunteer to help a Museum Professional in the NYC area. I'll gladly email my resume privately.



Any career advice would be greatly appreciated.
Thank you,


Adrienne Meraz

[log in to unmask]

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--20cf302ad698a171a504a6c597af-- ========================================================================Date: Tue, 28 Jun 2011 12:43:49 -0400 Reply-To: Museum discussion list <[log in to unmask]> Sender: Museum discussion list <[log in to unmask]> From: Marc A Williams <[log in to unmask]> Subject: Collections Preservation and Care group on LinkedIn MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_005C_01CC3591.072F6B60" Message-ID: <6C99323817D04CF9A7A0D546C9C1DE77@PC261231188215> This is a multi-part message in MIME format. ------=_NextPart_000_005C_01CC3591.072F6B60 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Colleagues, I am the manager of the LinkedIn group Collections Preservation and Care. The group was created to facilitate a discussion of issues pertinent to any aspect the care and preservation of cultural artifacts, including architectural components. It is member-driven, with your queries and contributions being essential. Currently, there are over 700 members from all around the world and growing rapidly. With the help of members, I envision the possibility of the group being THE go-to location for pertinent, timely preservation information, as well as being THE place to post conservation RFPs, short-term openings, preservation projects, internships, and other preservation/care opportunities and jobs. But, it all depends upon you. If you are interested in joining, please visit the link below. Thanks. http://www.linkedin.com/groups?gid=1844717&trk=hb_side_g Marc American Conservation Consortium, Ltd. 4 Rockville Road Broad Brook, CT 06016 www.conservator.com 860-386-6058 Marc A. Williams, President MS in Art Conservation, Winterthur Museum Program Former Chief Wooden Objects Conservator, Smithsonian Institution Fellow, American Institute for Conservation (AIC) ========================================================= 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). ------=_NextPart_000_005C_01CC3591.072F6B60 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Colleagues,
 
I am the manager of the LinkedIn group Collections Preservation and Care.  The group was created to facilitate a discussion of issues pertinent to any aspect the care and preservation of cultural artifacts, including architectural components.  It is member-driven, with your queries and contributions being essential.  Currently, there are over 700 members from all around the world and growing rapidly.  With the help of members, I envision the possibility of the group being THE go-to location for pertinent, timely preservation information, as well as being THE place to post conservation RFPs, short-term openings, preservation projects, internships, and other preservation/care opportunities and jobs.  But, it all depends upon you.  If you are interested in joining, please visit the link below.  Thanks.
 
 
Marc

American Conservation Consortium, Ltd.
     4 Rockville Road
     Broad Brook, CT 06016
     www.conservator.com
     860-386-6058
 
Marc A. Williams, President
     MS in Art Conservation, Winterthur Museum Program
     Former Chief Wooden Objects Conservator, Smithsonian Institution
     Fellow, American Institute for Conservation (AIC)
 
 

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------=_NextPart_000_005C_01CC3591.072F6B60-- ========================================================================Date: Tue, 28 Jun 2011 16:17:20 +0000 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: Commission Agreement query In-Reply-To: <[log in to unmask]> Content-Type: multipart/alternative; boundary="_000_858F3FA92EC03040932F9EEF0876A3C107A5B8B3exchrosenbach20_" MIME-Version: 1.0 Message-ID: <[log in to unmask]> --_000_858F3FA92EC03040932F9EEF0876A3C107A5B8B3exchrosenbach20_ Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Sorry to chime in belatedly, but was finally catching up on e-mail. We commission art (visual, musical, etc.) on a fairly regular basis, but the pieces are not intended to become part of our permanent accessioned collection-instead they are typically "artist's projects" that are inspired by our collections and are displayed or performed for a limited time at the completion of the project. Our typical agreement with artists has been that they retain copyright, but that we have the right to use the piece for promotional or educational purposes. If we want to create any merchandise based on their work, that would be negotiated separately, since they retain copyright. I don't know if this is helpful for your situation. Kathy Haas Katherine Haas Assistant Curator Rosenbach Museum & Library 2008 Delancey Pl. Philadelphia, PA 19103 215-732-1600 x129 215-545-7529 (fax) From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Carrie Snow Sent: Thursday, June 23, 2011 12:54 PM To: [log in to unmask] Subject: [MUSEUM-L] Commission Agreement query We are revising our suite of contracts for purchase and commissioning of works of art. How are some of your current contracts dealing with shared copyright agreements with artists? Thanks in advance. Carrie E. Snow Manager Collections Care Church History Museum 801-240-4619 801-244-2307 (cell) NOTICE: This email message is for the sole use of the intended recipient(s) and may contain confidential and privileged information. Any unauthorized review, use, disclosure or distribution is prohibited. If you are not the intended recipient, please contact the sender by reply email and destroy all copies of the original message. ________________________________ To unsubscribe from the MUSEUM-L list, click the following link: http://home.ease.lsoft.com/scripts/wa.exe?SUBED1=MUSEUM-L&A=1 ========================================================= 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_858F3FA92EC03040932F9EEF0876A3C107A5B8B3exchrosenbach20_ Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Sorry to chime in belatedly, but was finally catching up on e-mail. We commission art (visual, musical, etc.) on a fairly regular basis, but the pieces are not intended to become part of our permanent accessioned collection—instead they are typically “artist’s projects” that are inspired by our collections and are displayed or performed for a limited time at the completion of the project. Our typical agreement with artists has been that they retain copyright, but that we have the right to use the piece for promotional or educational purposes. If we want to create any merchandise based on their work, that would be negotiated separately, since they retain copyright.  I don’t know if this is helpful for your situation.

 

Kathy Haas

 

Katherine Haas

Assistant Curator

Rosenbach Museum & Library

2008 Delancey Pl.

Philadelphia, PA 19103

215-732-1600 x129

215-545-7529 (fax)

 

From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of Carrie Snow
Sent: Thursday, June 23, 2011 12:54 PM
To: [log in to unmask]
Subject: [MUSEUM-L] Commission Agreement query

 

 

 

 

We are revising our suite of contracts for purchase and commissioning of works of art. How are some of your current contracts dealing with shared copyright agreements with artists?

 

Thanks in advance.

 

 

 

Carrie E. Snow

Manager Collections Care

Church History Museum

801-240-4619

801-244-2307 (cell)

 



NOTICE: This email message is for the sole use of the intended recipient(s) and may contain confidential and privileged information. Any unauthorized review, use, disclosure or distribution is prohibited. If you are not the intended recipient, please contact the sender by reply email and destroy all copies of the original message.

 

 

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--_000_858F3FA92EC03040932F9EEF0876A3C107A5B8B3exchrosenbach20_-- ========================================================================Date: Tue, 28 Jun 2011 17:32:55 -0700 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: Registrar - Shelburne, VT MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-707203306-1309307575=:65489" Message-ID: <[log in to unmask]> --0-707203306-1309307575=:65489 Content-Type: text/plain; charset=us-ascii Registrar - Shelburne, VT http://www.museumprofessionals.org/forum/registrar-collections-jobs/7159-registrar-shelburne-vt.html ========================================================Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes). --0-707203306-1309307575=:65489 Content-Type: text/html; charset=us-ascii
Registrar - Shelburne, VT

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