Is this University of Victoria Canada? Is there a web site?
Thanks
At 08:58 AM 7/12/2001 -0700, you wrote:
>The University of Victoria offers a Diploma in Cultural Resource Management,
>which allows a student to aquire a comprehensive understanding of the
>museum, heritage conservation or cultural management fields. The Diploma
>program is offered in distance education or immersion format and welcomes
>students who already have a professional interest in this field who want to
>expand and develop their skills. I beleive that a few Universities across
>North America offer a similar type of learning format usually offered as a
>Diploma or Certificate in museum studies. Hope this helps,
>Lisa Mort-Putland
>Program Coordinator -Cultural Resource Management Program
>The University of Victoria
>-----Original Message-----
>From: Automatic digest processor [mailto:[log in to unmask]]
>Sent: July 11, 2001 9:06 PM
>To: Recipients of MUSEUM-L digests
>Subject: MUSEUM-L Digest - 10 Jul 2001 to 11 Jul 2001 (#2001-190)
>
>
>There are 36 messages totalling 2383 lines in this issue.
>
>Topics of the day:
>
> 1. Labelling artifacts (4)
> 2. proposed Regional Humanities Center
> 3. FREE: Quilt Travel Crates Offered
> 4. unsubscribe (2)
> 5. Certificate vs. Degree (8)
> 6. Sample job descriptions
> 7. Writing on the floor
> 8. archive conservation (2)
> 9. Job Posting
> 10. Advanced Certificate in Museum Studies
> 11. Rights question (4)
> 12. Scorpion woman has fever, Cave reveals spectacular secrets, Schindler
>List
> Returned ?, Appalled by 'untidy' Museum, History Written by Winners
> 13. Volunteer handbooks,manuals....
> 14. Life Size Aminals for Temporary Exhibits
> 15. curator contract
> 16. Museum Director
> 17. Mount-Making
> 18. Aerospace artifacts available for donation
> 19. acknowledging gifts
> 20. Museums and HIV Communities
> 21. Beatrice Cenci
>
>=========================================================
>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, 10 Jul 2001 18:33:33 -0700
>From: Katherine Neustadt <[log in to unmask]>
>Subject: Labelling artifacts
>
>Hello. I am new to the list and would like to say hello to everyone out
>there in cyberspace.
>I have a question regarding methods of labelling artifacts. Does anyone
>have any information about the use of clear nail polish as a base & top coat
>for labelling archaeological artifacts. I have always been under the
>impression that it was not an acceptable practice, but my supervisor wants
>us to use it to save on cost.
>Advice, comments, etc. greatly appreciated.
>Thanks,
>Kae
>
>K.E. Neustadt, Lab Manager
>Northland Research, Inc.
>2510 S. Rural, Ste. 108
>Tempe, AZ 85282
>(480) 736-0501
>(480) 894-0957 fax
>
>_________________________________________________________________
>Get your FREE download of MSN Explorer at http://explorer.msn.com
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 08:14:17 -0400
>From: Anna Fariello <[log in to unmask]>
>Subject: proposed Regional Humanities Center
>
>Dear listers: I would like to correspond with a few museums/historic house
>directors or curators from VA, NC, SC, GA, Puerto Rico and the Virgin Is.
>about the South Atlantic Regional Humanities Center. The center is
>proposed as part of an NEH intitiative to establish ten regional centers
>throughout the US which will function as networking organizations to
>promote projects and scholarship in the humanties. I would especially like
>to correspond with folks who are active in SEMC.
>Please respond off line to: [log in to unmask]
>Anna Fariello
>
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>Anna Fariello, Curatorial InSight, Box 505, Christiansburg VA 24068
>www.curatorialinsight.com; 540-382-3946; [log in to unmask]
>Center for Interdisciplinary Studies, Virginia Tech, Blacksburg VA
>24061-0227
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 08:33:38 -0400
>From: "Morehouse, Rebecca" <[log in to unmask]>
>Subject: Re: Labelling artifacts
>
>Hi Kae-
>
>The use of clear nail polish isn't really a good idea for labeling
>archaeological artifacts. While some believe that the clear nail polish you
>can now buy is probably better than that used say ten years ago,
>(particularly the hypo-allergenic kinds), it still has the potential to have
>unknown and potentially damaging additives. The best method we have come up
>with is a base coat of 10% B-72 in acetone and a top coat of either 25% B-72
>in acetone or 20% Akron P-90 or B-67 in mineral spirits. I prefer the B-72
>as both top and bottom coat because acetone is less toxic than mineral
>spirits and it also dries more quickly.
>
>You can order 25% B-72 premixed in small bottles from archival supplies like
>University Products. We mix our own solutions. If you are equipped to do
>this it is much more cost effective.
>
>Becky Morehouse
>Curator, Maryland State Highway Administration
>Maryland Archaeological Conservation Laboratory
>10515 Mackall Road
>St. Leonard, MD 20685
>410-586-8583
>410-586-3643 (fax)
>
> -----Original Message-----
> From: Katherine Neustadt [SMTP:[log in to unmask]]
> Sent: July 10, 2001 9:34 PM
> To: [log in to unmask]
> Subject: Labelling artifacts
>
> Hello. I am new to the list and would like to say hello to everyone
>out
> there in cyberspace.
> I have a question regarding methods of labelling artifacts. Does
>anyone
> have any information about the use of clear nail polish as a base &
>top coat
> for labelling archaeological artifacts. I have always been under
>the
> impression that it was not an acceptable practice, but my supervisor
>wants
> us to use it to save on cost.
> Advice, comments, etc. greatly appreciated.
> Thanks,
> Kae
>
> K.E. Neustadt, Lab Manager
> Northland Research, Inc.
> 2510 S. Rural, Ste. 108
> Tempe, AZ 85282
> (480) 736-0501
> (480) 894-0957 fax
>
> _________________________________________________________________
> Get your FREE download of MSN Explorer at http://explorer.msn.com
>
> =========================================================
> 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, 10 Jul 2001 16:14:58 -0400
>From: Paul Rubenson <[log in to unmask]>
>Subject: FREE: Quilt Travel Crates Offered
>
>The Maryland Historical Society is offering up to seven high-quality travel
>crates to any interested institution which can use them. These crates were
>made to transport rolled quilts from the US to Japan, and have been used by
>the Shelburne Museum and the MHS. The crates are free, but the recipient
>is responsible for transportation. Transport cost from the Shelburne to
>MHS in 1999 was about $1000. IMPORTANT: The recipinent would have to
>arrange transport by September, 2001.
>
>DESCRIPTION: These are well-constructed, gasketted, crate-in-crate, travel
>crates. The exterior crates are high-impact plastic with metal corners,
>latches, and aluminum edges. The interior crates are sealed and coated
>lightweight plywood. These crates are LARGE, 3'x4' in cross section, and
>range between seven and nine feet in length. The interiors are currently
>outfitted to accept six 4" rolling tubes each.
>
>CONTACT:
>Paul Rubenson, Assoc. Registrar
>[log in to unmask]
>(410) 685-3750 x314
>
>Or:
>Don Renaud, Production Coordinator
>[log in to unmask]
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 10:13:59 -0300
>From: Jenna Whalen <[log in to unmask]>
>Subject: Re: unsubscribe
>
>signoff Museum-L
>
>
>----------
>Get Your Private, Free E-mail from MSN Hotmail at
><http://www.hotmail.com>http://www.hotmail.com.
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 10:27:19 -0400
>From: Julie Clark <[log in to unmask]>
>Subject: Certificate vs. Degree
>
>This is a multi-part message in MIME format.
>
>------=_NextPart_000_0042_01C109F4.103EB5E0
>Content-Type: text/plain;
> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
>Good Morning-
>
>I've seen many posts to the list that mention a "certificate" in Museum =
>Studies. I had never heard of this before. Can anyone please explain the =
>difference between a certificate and a degree such as a MA? I'm guessing =
>that the former takes less time to acquire. Do many universities offer a =
>certificate now? Also, do the employers out there have an opinion on the =
>issue when it comes to interviewing and hiring a potential new employee?
>
>Thank you-
>
>Julie Clark
>Dairy Barn Cultural Arts Center
>
>------=_NextPart_000_0042_01C109F4.103EB5E0
>Content-Type: text/html;
> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>Good Morning-
>
>I've seen many posts to the = list that=20 mention a "certificate" in
>Museum Studies. I had never heard of this = before. Can=20 anyone please
>explain the difference between a certificate and a degree = such as=20 a
>MA? I'm guessing that the former takes less time to acquire. Do many=20
>universities offer a certificate now? Also, do the employers out there =
>have an=20 opinion on the issue when it comes to interviewing and hiring a
>= potential new=20 employee?
>
>Thank you-
>
>Julie Clark
>Dairy Barn Cultural Arts=20 Center
>
>------=_NextPart_000_0042_01C109F4.103EB5E0--
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 08:34:39 -0600
>From: Erin Quinn <[log in to unmask]>
>Subject: Re: Labelling artifacts
>
>According to The New Museum Registration Methods (highly recommended by =
>the way), clear nail polish is not acceptable because it is often made =
>from cellulose nitrate that can yellow, shrink or turn brittle as time =
>goes on. Even modern nail polishes which may be made of more stable =
>materials are still uncertain and require a harsh solvent to remove them. =
>Other products like Soluvar require a less harsh solvent such as mineral =
>spirits. Tell your supervisor that the nail polish may peel with age, =
>taking the accession number and/or the surface of the object with it. At =
>our museum, liquid paper was used for the white coat for many years and =
>all the numbers are falling off - it makes for a very difficult time =
>during inventory and reconciliation.
>
>[Mostly all stolen from The New Registration Methods edited by Rebecca =
>Buck and Jean Allman Gilmore)
>
>Erin
>
>_______________________________________________
>Erin Quinn
>Collections Coordinator
>City of Greeley Museums
>919 7th Street
>Greeley, CO 80631
>(970) 350-9218
>[log in to unmask]
>
>
> >>> [log in to unmask] 07/10/01 07:33PM >>>
>Hello. I am new to the list and would like to say hello to everyone out
>there in cyberspace.
>I have a question regarding methods of labelling artifacts. Does anyone
>have any information about the use of clear nail polish as a base & top =
>coat
>for labelling archaeological artifacts. I have always been under the
>impression that it was not an acceptable practice, but my supervisor wants
>us to use it to save on cost.
>Advice, comments, etc. greatly appreciated.
>Thanks,
>Kae
>
>K.E. Neustadt, Lab Manager
>Northland Research, Inc.
>2510 S. Rural, Ste. 108
>Tempe, AZ 85282
>(480) 736-0501
>(480) 894-0957 fax
>
>_________________________________________________________________
>Get your FREE download of MSN Explorer at http://explorer.msn.com=20
>
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D
>Important Subscriber Information:
>
>The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-fa=
>q/ . 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: Wed, 11 Jul 2001 08:58:25 -0600
>From: Christopher Dill <[log in to unmask]>
>Subject: Re: Sample job descriptions
>
>Didn't AAM (TIS??) do this several years ago? I distinctly remember =
>being asked if one from my (then) institution could be included in an =
>"examples" document. They used Accreditation applications to identify =
>good examples, as I recall.
>
>
>
>Chris Dill, Superintendent
>City of Greeley Museums
>919 7th Street
>Greeley CO 80631
>T: (970)350-9217
>F: (970)350-9570
>E: [log in to unmask]
>www.greeleymuseums.com
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 10:48:10 -0400
>From: Darlene Richardson <[log in to unmask]>
>Subject: Re: Certificate vs. Degree
>
>The "certificate" is normally a specialization (or minor) within a master's
>degree that requires certain coursework or practicums. At UVa, for
>example, you can get a M.A. in History with a "certificate" in Historic
>Preservation.
>
>
>
>
>
>
>
>At 10:27 AM 7/11/2001 -0400, you wrote:
> > Good Morning- I've seen many posts to the list that mention a
> >"certificate" in Museum Studies. I had never heard of this before. Can
> >anyone please explain the difference between a certificate and a degree
> >such as a MA? I'm guessing that the former takes less time to acquire. Do
> >many universities offer a certificate now? Also, do the employers out
> >there have an opinion on the issue when it comes to interviewing and
> >hiring a potential new employee? Thank you- Julie Clark Dairy Barn
> >Cultural Arts Center
>Darlene Richardson
>Historian & Archivist
>Virginia Museum of Transportation
>303 Norfolk Avenue, SW
>Roanoke, VA 24016
>Direct Phone #: (540) 767-4642
>Fax: (540) 342-6898
>mail to: [log in to unmask]
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 11:03:48 -0400
>From: Carolyn Payne <[log in to unmask]>
>Subject: Re: Writing on the floor
>
>Cheryl,
>
>I might suggest painting the hopscotch grid on a sheet of 1/8" masonite,
>sand the edges to a bevel, clearcoat and secure it to the floor with
>countersunk screws. Then it is easily taken up, with little abuse to the
>floor. Also you have a sheet of masonite with a good side to be used for
>another project later or or you can donate the hopscotch board to a day
>care center.
>Tape applied to the floor for an extended period of time is going to
>accumulate a lot of dirt around the edges and look pretty scraggly quickly
>with wear and tear.. Also any tape with a good enough adhesive is going to
>require either a solvent (mineral spirits, denatured alcohol maybe) or
>adhesive remover and a lot of elbow grease to remove. All of which could
>be more damaging to the wood that patching a few screw holes.
>Good luck!!
>
>Carolyn Payne
>Exhibits Designer
>Virginia Museum of Transportation
>303 Norfolk Av. SW
>Roanoke, VA 24016
>www.vmt.org
>Ph: 540.767.4643
>Fax: 540.342.6898
>
>
>
>At 06:16 PM 7/10/01 -0700, you wrote:
> >Check with theater supply stores. They have tape that
> >you can use to mark stages (wooden included). The
> >tape stays put until it is time to take it up, then
> >leaves no marks when you pull it up. It is the only
> >kind of tape I've come across that has the necessary
> >qualities!
> >Good luck!
> >
> >Elizabeth Newman
> >
> >--- Cheryl Brookshear <[log in to unmask]> wrote:
> >> Hello all,
> >> As part of an exhibit I am planning I would like to
> >> create a temporary
> >> hopscotch gird on a wood floor. This needs to last
> >> a couple of months
> >> and then needs to come up. My first inclination is
> >> to use tape. Can
> >> anyone recommend a tape that would last a couple of
> >> months but come up
> >> off the floor with minimal fuss? The other
> >> consideration is cost, of
> >> course, this is a very small (2 person) museum.
> >> Thank you for your recommendations,
> >> Cheryl Brookshear
> >> Curator of Education
> >> Hearthstone Historic House 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).
> >
> >
> >__________________________________________________
> >Do You Yahoo!?
> >Get personalized email addresses from Yahoo! Mail
> >http://personal.mail.yahoo.com/
> >
> >=========================================================
> >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).
> >
> >
>Sincerely,
>
>Carolyn Payne
>Exhibits Designer
>Virginia Museum of Transportation
>303 Norfolk Av. SW
>Roanoke, VA 24016
>www.vmt.org
>
>Ph: 540.767.4643
>Fax: 540.342.6898
>E-mail: [log in to unmask]
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 16:09:10 +0100
>From: sebastiano barassi <[log in to unmask]>
>Subject: archive conservation
>
>Dear listers,
>
>Can any of you suggest a good place - ideally a website - where I could
>find information on standards and guidlines for the conservation of
>archival material?
>
>Thank you for your help.
>
>Sebastiano Barassi
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 11:12:42 -0400
>From: Rebecca Fifield <[log in to unmask]>
>Subject: Re: Certificate vs. Degree
>
>Some institutions offer certificates as one year programs versus the MA
>degree's 2+ years. George Washington University's programs work that way. I
>think the certificate program is often used by professionals already in the
>field but might never have taken a degree.
>
>Rebecca L. Fifield
>Collections Care Specialist
>Department of Textile and Fashion Arts
>Museum of Fine Arts, Boston
>www.mfa.org
>
>
>-----Original Message-----
>From: Darlene Richardson [mailto:[log in to unmask]]
>Sent: Wednesday, July 11, 2001 10:48 AM
>To: [log in to unmask]
>Subject: Re: Certificate vs. Degree
>
>
>The "certificate" is normally a specialization (or minor) within a master's
>degree that requires certain coursework or practicums. At UVa, for
>example, you can get a M.A. in History with a "certificate" in Historic
>Preservation.
>
>
>
>
>
>
>
>At 10:27 AM 7/11/2001 -0400, you wrote:
> > Good Morning- I've seen many posts to the list that mention a
> >"certificate" in Museum Studies. I had never heard of this before. Can
> >anyone please explain the difference between a certificate and a degree
> >such as a MA? I'm guessing that the former takes less time to acquire. Do
> >many universities offer a certificate now? Also, do the employers out
> >there have an opinion on the issue when it comes to interviewing and
> >hiring a potential new employee? Thank you- Julie Clark Dairy Barn
> >Cultural Arts Center
>Darlene Richardson
>Historian & Archivist
>Virginia Museum of Transportation
>303 Norfolk Avenue, SW
>Roanoke, VA 24016
>Direct Phone #: (540) 767-4642
>Fax: (540) 342-6898
>mail to: [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: Wed, 11 Jul 2001 11:18:12 -0400
>From: "Schwabe, Diane" <[log in to unmask]>
>Subject: Job Posting
>
> > -----Original Message-----
> > From: Schwabe, Diane
> > Sent: Wednesday, July 11, 2001 11:15 AM
> > To: [log in to unmask]
> > Subject: Job Posting
> >
> >
> >
> >
> > Please add the following notice to your job posting list.
> >
> > Thank you.
> >
> > Diane Schwabe
> > Conservation Department Secretary
> > Carnegie Museum of Art
> > [log in to unmask]
> >
> >
> >
> > JOB POSTING
> >
> >
> >
> >
> > To better serve the needs of the public and the long-term preservation of
> > the collection, the Carnegie Museum of Art is embarking upon a major
> > renovation and expansion project. This project requires the safe
> > relocation of the collections to temporary locations on site, as well as
> > to a possible off-site location. Most of the objects owned by the Museum,
> > with the exception of prints, drawings and materials in the Heinz
> > Architectural center, will be affected by the move. There are
> > approximately 29,000 items ranging from Oriental ivories to contemporary
> > paintings; the bulk of the collection is decorative arts items.
> >
> > The Conservation department is providing guidelines for safe rehousing of
> > the collection and is making arrangements for complex treatment of
> > unstable objects. We are in the process of hiring a Move Conservator who
> > will be responsible for the day-to-day conservation aspects of the move of
> > the collections. A Move Consultant is already on board.
> >
> > The Carnegie Museum of Art is seeking applicants for a conservation
> > technician position. This person will assist the Move Conservator and the
> > supervising staff Objects Conservator. Tasks include, but are not limited
> > to: creating packages, compartmentalizing sealable boxes, dusting and
> > bagging furniture, palletizing oversized objects, packing china, rehousing
> > paintings.
> >
> > Prefer individual with excellent manual skills. Motivation to continue in
> > the conservation field is desirable, experience (minimum one year)
> > working within a conservation lab setting or under the supervision of a
> > conservator is a plus. Undergraduate degree in studio arts or related
> > field desired.
> >
> > Please send resume and letter of interest to:
> > Diane Schwabe
> > Conservation Secretary
> > Carnegie Museum of Art
> > 4400 Forbes Ave.
> > Pittsburgh, PA 15213-4080
> >
> > Or email: [log in to unmask]
> >
> >
> >
> >
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 10:53:48 -0500
>From: Jerry Fahey <[log in to unmask]>
>Subject: Re: archive conservation
>
>Sebastiano,
> Try the National Parks Service Museum Managment Program at
>http://www.cr.nps.gov/csd/ .
>
>Jerry Fahey
>
>sebastiano barassi wrote:
>
> > Dear listers,
> >
> > Can any of you suggest a good place - ideally a website - where I could
> > find information on standards and guidlines for the conservation of
> > archival material?
> >
> > Thank you for your help.
> >
> > Sebastiano Barassi
> >
> > =========================================================
> > 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: Wed, 11 Jul 2001 11:46:26 -0400
>From: "[log in to unmask]" <[log in to unmask]>
>Subject: Re: Certificate vs. Degree
>
>SOme places' certificate programs are targetted more toward technical
>museum experience, ans provide a broad overview of the field of
>museology, whereas a Masters degree may have a more academic research
>specialty required as well (which as why they take longer). From programs
>I know of, you would want to go for Masters of higher is you were
>interested in curatorial work, where a certificate in many cases is more
>suitable for collections management or administration. I suspect that is
>changing as the field coninues to professionalize and organize itself.
>
>I guess the definition is rather murky and you need to look at each
>program individually to know just what their "angle" is.
>
>Juliette Rogers
>Stephen Phillips Trust House
>Salem MA
>
>
>On Wed, 11 Jul 2001, Julie Clark wrote:
>
> > Good Morning-
> >
> > I've seen many posts to the list that mention a "certificate" in Museum
>Studies. I had never heard of this before. Can anyone please explain the
>difference between a certificate and a degree such as a MA? I'm guessing
>that the former takes less time to acquire. Do many universities offer a
>certificate now? Also, do the employers out there have an opinion on the
>issue when it comes to interviewing and hiring a potential new employee?
> >
> > Thank you-
> >
> > Julie Clark
> > Dairy Barn Cultural Arts Center
> >
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 09:37:24 -0700
>From: Indigo Nights <[log in to unmask]>
>Subject: Re: unsubscribe
>
>You guys, your mom is probably not on this list, so
>you're going to have to unsubscribe yourselves:
>
>Third link down on this page:
>
>http://home.ease.lsoft.com/archives/museum-l.html
>
>And, if someone is wanting a resend of a digest, I
>think you're going to have to go to the above page and
>query the archives for the missing days.
>
>Just a helpful hint for the neophytes on the list. I
>keep a folder in my email called Registrations. Any
>time I sign up for a list, I usually keep a copy of
>the instructions in that folder. Then, if I need to
>change my subscription or sign off, the info is close
>at hand.
>
>
>
>
>--- Jenna Whalen <[log in to unmask]> wrote:
>
><HR>
>
>signoff Museum-L
>
>
>----------
>Get Your Private, Free E-mail from MSN Hotmail at
><http://www.hotmail.com>http://www.hotmail.com.
>
>=========================================================
>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).
>
>
>=====
>Indigo Nights
>[log in to unmask]
>
>
>__________________________________________________
>Do You Yahoo!?
>Get personalized email addresses from Yahoo! Mail
>http://personal.mail.yahoo.com/
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 12:49:07 -0400
>From: Jennifer Horner <[log in to unmask]>
>Subject: Re: Certificate vs. Degree
>
>As a recent graduate of the University of Delaware's American History and
>Museum Studies certification program, (and speaking to other students who
>are pursuing their degrees in Museum Studies) a certificate in museum
>studies is usually pursed in conjunction with a degree in something else
>(e.g. history, art or English). Here at U of DE, museum studies certificate
>candidates are required to perform an internship, take a core course in the
>"Leadership and Management of Museums," and then choose from at least two
>other courses that focus on topics such as collections management, grant
>writing, historic preservation, or museums and modern technology (to name a
>few).
>
>Jennifer Horner
>Newark, DE
>----- Original Message -----
>From: "[log in to unmask]" <[log in to unmask]>
>To: <[log in to unmask]>
>Sent: Wednesday, July 11, 2001 11:46 AM
>Subject: Re: Certificate vs. Degree
>
>
> > SOme places' certificate programs are targetted more toward technical
> > museum experience, ans provide a broad overview of the field of
> > museology, whereas a Masters degree may have a more academic research
> > specialty required as well (which as why they take longer). From programs
> > I know of, you would want to go for Masters of higher is you were
> > interested in curatorial work, where a certificate in many cases is more
> > suitable for collections management or administration. I suspect that is
> > changing as the field coninues to professionalize and organize itself.
> >
> > I guess the definition is rather murky and you need to look at each
> > program individually to know just what their "angle" is.
> >
> > Juliette Rogers
> > Stephen Phillips Trust House
> > Salem MA
> >
> >
> > On Wed, 11 Jul 2001, Julie Clark wrote:
> >
> > > Good Morning-
> > >
> > > I've seen many posts to the list that mention a "certificate" in Museum
>Studies. I had never heard of this before. Can anyone please explain the
>difference between a certificate and a degree such as a MA? I'm guessing
>that the former takes less time to acquire. Do many universities offer a
>certificate now? Also, do the employers out there have an opinion on the
>issue when it comes to interviewing and hiring a potential new employee?
> > >
> > > Thank you-
> > >
> > > Julie Clark
> > > Dairy Barn Cultural Arts Center
> > >
> >
> > =========================================================
> > 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: Wed, 11 Jul 2001 13:37:09 -0400
>From: Michael Cahall <[log in to unmask]>
>Subject: Re: Certificate vs. Degree
>
>Dear Julie:
>
> In terms of Duquesne University's Archives, Museum, and Editing
>Program,
>our certification process is for individuals who already have a masters
>degree (usually in history) and want to get further training in the areas
>covered by our program. These students do not have to take the history
>courses required of our degree candidates. The certificate can be earned
>in a year's time.
>
> I hope this clears up the difference for you.
>
>
> Sincerely,
>
>
> Mike Cahall
>
>
>At 10:27 AM 7/11/01 -0400, you wrote:
> > Good Morning- I've seen many posts to the list that mention a
> >"certificate" in Museum Studies. I had never heard of this before. Can
> >anyone please explain the difference between a certificate and a degree
> >such as a MA? I'm guessing that the former takes less time to acquire. Do
> >many universities offer a certificate now? Also, do the employers out
> >there have an opinion on the issue when it comes to interviewing and
> >hiring a potential new employee? Thank you- Julie Clark Dairy Barn
> >Cultural Arts Center
>Michael Cahall, Ph.D.
>Department of History
>Duquesne University
>[log in to unmask]
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 14:26:03 -0400
>From: Tatiana Kamorina <[log in to unmask]>
>Subject: Advanced Certificate in Museum Studies
>
>To all interested in Certificate Programs:
>
>The Program in Museum Studies at New York University offers a 24-credit
>program leading to the New York State Advanced Certificate in Museum
>Studies.
>
>Our graduates are working around the world in museums of fine arts,
>history, anthropology, and natural history; in arboretums, national parks,
>and science centers; with private and corporate collections; in government
>agencies, historical societies, and art galleries.
>
>The Program in committed to preparing museums professionals with a solid
>disciplinary background. The Program must be combined with graduate study
>in humanities, social sciences, or sciences. Those who already have an M.A.
>or Ph.D. or who are enrolled, or will be enrolled, in graduate programs at
>universities in the USA or abroad are eligible to apply.
>
>The Program includes individual, project-based internships at one of the
>more than 90 museums in metropolitan New York.
>
>Also, the Graduate School of Arts and Science currently offers four Master
>of Arts degrees with Concentration in Museum Studies, for those interested
>in combining formal museological training with an area of specialization.
>With Concentration in Museum Studies, the Master of Arts in Africana
>Studies, the Master of Arts in Latin American and Caribbean Studies, the
>Master of Arts in Near Eastern Studies, and Master of Arts in Hebrew and
>Judaic Studies, are special 36-48 credit programs which may take three
>semesters to complete.
>
>For more information please contact the Program in Museum Studies, Graduate
>School of Arts and Science, New York University, 726 Broadway, Suite 601,
>New York, NY 10003.
>Telephone: 212-998-8080
>Fax: 212-995-4185
>E-mail: [log in to unmask]
>For current course schedule and updates please visit our web site at
>http://www.nyu.edu/gsas/program/museum .
>
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>Tatiana Kamorina
>Administrative Coordinator
>Program in Museum Studies
>Graduate School of Arts and Science
>New York University
>726 Broadway, Suite 601
>New York, NY 10003
>Tel: (212) 998-8082
>Fax: (212) 995-4185
>E-mail: [log in to unmask]
>Web site: http://www.nyu.edu/gsas/program/museum
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 14:30:36 -0400
>From: "Feltus, Pamela" <[log in to unmask]>
>Subject: Rights question
>
>We have alot of photographs from private collections (like family
>scrapbooks) which over the past 40 years have been given to the museum.
>
>Now, for all my years in this field I have never had a problem taking a
>photo like these from the collection and using it in an exhibit, catalogue
>or marketing materials. We have a new archivist who is saying that if people
>did not sign a form releasing copyright when they donated, we can not use
>it. Is this true? I know it would be if we had government photos or
>something that is specifically copyrighted, but is a family picture of
>grandpa that the family (or grandpa) donated to a museum?
>
>Thanks!
>
>Pamela Feltus
>Curator
>National Museum of American Jewish Military History
>1811 R Street NW, Washington DC 20009
>202-265-6280 x201
>
>www.nmajmh.org
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 20:51:21 +1200
>From: Roger Smith <[log in to unmask]>
>Subject: Scorpion woman has fever, Cave reveals spectacular secrets,
> Schindler List Returned ?, Appalled by 'untidy' Museum,
> History Written by Winners
>
>Welcome to Global Museum, your free webzine read in more than 88 countries
>each week. Online subscription. http://www.globalmuseum.org Don't forget
>the G.M. Website of The Year Awards!
>
>The international headlines in this week's (for the full story visit the
>webzine) edition include:
>
>** Scorpion woman has fever after repeated stings - the sequel to last
>week's story
>A Malaysian woman who has vowed to live in a locked museum room with 2,000
>scorpions for a month has fever
>
>** Cave reveals spectacular secrets
>The major archaeological find, near the small village of Cussac, was made by
>an amateur cave explorer . Plus a BBC video presentation
>
>** Museum Web Awards attract 51 nominations
>Global Museum's 2001 Web Awards have so far attracted 51 nominations to date
>and the international judging panel are reviewing them. Nominations close at
>the end of July and may be submitted online.
>
>** £Michelangelo drawing could fetch 8 million
>Two exquisite drawings by arguably the greatest artists in history are to be
>offered for sale at separate auctions in London
>
>** Schindler Widow Wants List Returned
>Oskar Schindler's widow said Tuesday that Israel should return to Germany
>his documents, including a list of some 1,200 Jewish prisoners
>
>** Bronze age village saved from the diggers
>Archaeologists have unearthed the remains of a British Bronze Age village
>dating back 3,500 years
>
>** Clock expert keeps towers ticking
>In a sweltering room high in the Bromo Seltzer Tower, the Clock Man peers
>through bifocals at a gear the size of his hand
>____________________________________________________________________________
>__
>
>Global Museum Travel: Hotel reservations, airline discounts, weather
>forecasts, car rentals.. We provide competitive rates for more than 40,000
>hotels in 5,000 cities and 140 countries. Global Museum Travel offers
>discounts of up to 65% on over 700 hotels in almost every major city and up
>to 40% on over 7,000 hotels around the world. CLICK
>http://www4.wave.co.nz/~jollyroger/travel1.html TO VIEW & USE THE TRAVEL
>SERVICE - GROUP DISCOUNTS
>____________________________________________________________________________
>____
>
>** Divers preparing to raise engine from USS Monitor
>The seawater soon extinguished the boilers' fire, cutting the power and
>sending the ship 230 feet down to its grave
>
>** Charles calls for cash to 'wean children off computers'
>Speaking in the Round Reading Room at the British Museum in London, the
>Prince spoke about the battle against video games
>
>** Swamp yields moa haul in historic dig
>Indications were that the forest swamp discovery - including many of the
>200kg giant moa - was the most significant of the past 100 years
>
>** Circus train arrives with its antique wagons for parade
>Cheering spectators greeted a train carrying dozens of restored antique
>circus wagons as it arrived Monday
>____________________________________________________________________________
>___
>
>DVD: The Prado This collection features the jewels of the Prado, gathered
>by the kings and queens of Spain, and shown in all their splendor
>http://www.amazon.com/exec/obidos/ASIN/0810981475/drdrumsnotforpro
>____________________________________________________________________________
>____
>
>** Medieval Transylvanian city wins the right to host Dracula Land theme
>park
>Sighisoara has won the right to host a multimillion dollar Dracula Land
>theme park
>
>** Undersea bonanza
>A rich covering of sediment in the hull of the ship, particularly in Semmes'
>quarters, had kept artifacts in remarkable condition
>
>** Lombardo's kin appalled by 'untidy' museum
>The family of the late bandleader has ordered London to stop using his name
>and likeness to promote the museum because it is "substandard," and "small
>and untidy."
>
>** Raised Confederate Sub Reveals Gold Mine of History
>Through her rubber gloves, she could feel its round shape and the ridges
>along its edge
>____________________________________________________________________________
>___
>
>Advertisement: AMERICA'S #1 TOURING SCIENCE MAGIC STAGE SHOW
>THE DR. WILDERNESS SHOW is booking our "performance exhibit" WORLDWIDE .
>3 actors. Incredible stage illusions. Digital surround sound. Music! Magic!
>Dance!
>Contact us for availability, and a video CD. An EMMY AWARD WINNING
>Production.
>CLICK http://www.drwilderness.com/
>____________________________________________________________________________
>___
>
>** Vandals damage monument at Devil's Rope Museum
>The balls came tumbling down at the Devil's Rope Museum on Sunday night
>
>** Testimony ends in dispute over moving Frick family archives
>The archives document the Frick family's life, the rise of industry, art
>collecting in the gilded age and the Victorian era
>
>** Exhibition to Show Japan's War Crimes
>A total of 918 pieces of evidence will be presented to let visitors review
>the 1894-1945 history
>
>** History Is Written by the Winners
>Former Chancellor Helmut Kohl's cardigan has gone into storage, replaced by
>a leather jacket with pockets sturdy enough to carry rocks
>
>** Mississippi museum unveils Gehry-designed, $16 million project
>The centerpiece of the $16 million Ohr-O'Keefe Museum of Art will be a
>gallery dedicated to the works of the "Mad Potter of Biloxi,"
>
>** This Week's GLOBAL MUSEUM CAPTION CONTEST
>
>** Feldberg Exhibition and Symposium at the University of Toronto
>Self-portraits - Mirror or Mask?
>____________________________________________________________________________
>___
>
>Advertisement: Art & Artifacts - The Kensington House Collections.
>Traditional,timeless elegance,cherished for generations! Elegant living in
>traditional style! Exquisite handcrafted old world fine art prints,european
>tapestries,handknotted oriental rugs. Traditional elegance and exceptional
>value! Free shipping! Free rug pads! Guaranteed satisfaction! Secure
>ordering! www.artartifacts.com
>____________________________________________________________________________
>___
>
>** From Negative To Positive
>October 23-25, 2001 - Philadelphia PA
>
>** The National Gallery of Canada pays tribute to a friend
>
>** Brilliant: Navajo Germantown and Eyedazzler Textiles
>
>** The Collections of Anthony & Susan Hardy and Sze Yuan Tang
>Asian Civilisations Museum, Singapore
>
>
>+++++PLUS+++++
>
>Chat in real time, the latest museum JOBS, BOOKSHOP, RESOURCES, Hot JOB
>TIPS, great people posting their RESUMES, FORUM, Cheap and reliable world
>TRAVEL, MALL, Museum Accredited Courses, a Health Store, Traditional Toy
>Store, Products & Services, Classical Music store, and a Jazz Emporium.
>http://www.globalmuseum.org
>
>------------------------------
>
>Date: Tue, 10 Jul 2001 17:09:34 -0500
>From: Lisa Moellering <[log in to unmask]>
>Subject: Volunteer handbooks,manuals....
>
>Does anyone have volunteer handbooks, manuals, forms... - with policies,
>etc... we are working on updating and would like guidance from those working
>in this area.
>
>Thanks very much.
>
>Lisa Moellering
>Holocaust Museum Houston
>5401 Caroline Street
>Houston, TX 77004
>713/942-8000 ext. 120
>fax: 713/942-7953
>[log in to unmask]
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 15:21:04 -0400
>From: Michael MacDonald <[log in to unmask]>
>Subject: Life Size Aminals for Temporary Exhibits
>
>Dear Listers:
>
>We are in the development and planning stages of a temporary exhibit that
>will open in early 2003. In general, the exhibit focuses on the westward
>expansion of the US and will feature many artifacts related to this period
>in US history. The curator also wants to display a selction of life-size
>(stuffed) animals commonly found on the Great Plains and in the Rocky
>Mountains, including large mammals like grizzly bears, pronged horn
>antalopes, buffalo, big horn sheep, as well as, a host of smaller animals
>(badgers, prairie dogs, beavers, etc.).
>
>Since we are a history museum and rarely deal with natural history
>collections, I am wondering how to acquire these animals. For previous
>exhibits we have have purchased coyotes, rabbits and snakes from local
>taxidermists, but the number and types of animals needed for this
>exhibit cannot be obtained locally.
>
>Is there is an institution that is deals in loans of stuffed animals to
>museums? If so, what is their address and phone number? Or, do natural
>history museums use donated and/or purchased specimans for their
>exhibition?
>
>Any guidence and information related to this topic will be greatly
>appreciated.
>
>Thank you in advance.
>
>Michael MacDonald
>Assistant Registrar
>Lyndon B. Johnson Library & Museum
>2313 Red River St.
>Austuin, TX 78705
>
>(512) 916-5137 x-283
>[log in to unmask]
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 15:13:42 -0400
>From: Mary Agnes Beach <[log in to unmask]>
>Subject: curator contract
>
>This is a multi-part message in MIME format.
>
>------=_NextPart_000_0125_01C10A1C.12566B20
>Content-Type: text/plain;
> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
>Friends:
>
>Our art museum is going to hire a curator for a single project -- to =
>curate an exhibition that we hope to travel. What I am trying to find =
>out is does the industry have a standard sort of contract for these =
>sorts of business relationships? If anyone has a sample of one they =
>can send me as an e-mail attachment I would be much obliged.
>
>Mary Agnes
>
>------=_NextPart_000_0125_01C10A1C.12566B20
>Content-Type: text/html;
> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>
>Our art museum = is going to=20 hire a curator for a single project -- to
>curate an exhibition that we = hope to=20 travel. What I am trying to
>find out is does the industry have a = standard=20 sort of contract for
>these sorts of business relationships? = If=20 anyone has a sample of
>one they can send me as an e-mail attachment = I would=20 be much obliged.
>
>Mary=20 Agnes
>
>------=_NextPart_000_0125_01C10A1C.12566B20--
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 15:40:10 -0400
>From: April Segadi/HR <[log in to unmask]>
>Subject: Museum Director
>
>MUSEUM DIRECTOR
>
>Cheekwood Botanical Gardens and Museum of Art, Nashville TN.
>
>Cheekwood seeks an engaging, motivated professional with skill in curating
>exhibitions and a commitment to education as well as demonstrated
>experiences in forging strong relationships with collectors, donors, staff,
>and volunteers. Cheekwood recently completed an $18.5-million capital
>campaign that resulted in site-wide improvements to the Museum of Art and
>the Botanical Garden. Our collections of contemporary art, American
>paintings and prints, Worcester porcelain, and silver have been enhanced by
>the campaign, particularly with the establishment of the Carell Woodland
>Sculpture Trail and new installation of art galleries. Cheekwood, the
>largest private collecting museum in Nashville, is poised to expand its
>collection as well as continue to broaden its appeal to the community at
>large with innovative exhibitions and programs. The new director of the
>Museum of Art will motivate and inspire a gifted staff that includes award-
>winning exhibition curators and educators. S/he also will embrace the
>benefit of the museum=92s location on a 55-acre estate designated as one of
>the top five =93must see Southern gardens=94 by the editors of Southern
>Living. Candidates will have obtained an advanced degree in art history,
>arts administration, or management; at least five years=92 curatorial
>experience; a specialization in education or modern/contemporary art; and
>exceptional interpersonal and writing skills. Business and marketing
>experience a plus. Interested candidates are encouraged to submit letter
>of interest, curriculum vitae, and three references to:
>Jane Jerry, President
>Cheekwood Botanical Gardens and Museum of Art
>1200 Forrest Park Drive
>Nashville, TN 37205.
>Cheekwood is an affirmative action, equal opportunity employer.
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 15:17:28 -0500
>From: Jerry Fahey <[log in to unmask]>
>Subject: Mount-Making
>
>Hello everyone,
>I've just finished Mount-Making for Museum Objects from the Canadian
>Conservation Institute. Although it has some very good information in
>it, I'm looking for something a little more in-depth. More of a step by
>step format. Particularly dealing with metal armatures and shaping
>plexiglass. Anyone have any suggestions??
>Thank you,
>Jerry Fahey
>Exhibits Designer
>S.I.U.E.
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 10:47:45 -0700
>From: Ellen Kwan Lewis <[log in to unmask]>
>Subject: Aerospace artifacts available for donation
>
>Aerospace artifacts available for donation
>
>The California Science Center is donating aerospace artifacts to any
>interested museums. These items include; One Delta trailer (luggage
>carrier), one Flying Tigers cargo container, one Flying Tigers cargo
>carrier, one Union Oil Company truck, one Delta truck (baggage loader), and
>one Hughes antenna satellite dish. Individual artifacts are being held at
>the California Science Center and may be viewed by appointment. More
>information on each item is also available via email, however at this time
>please contact:
>
>Eva Marie Ayala
>[log in to unmask]
>Telephone: 213.744.7616
>Fax: 213.744.7579
>California Science Center
>Special Exhibitions Department, #128
>700 State Drive
>Los Angles, CA 90037
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 16:33:17 -0400
>From: Amy Phillips <[log in to unmask]>
>Subject: acknowledging gifts
>
>I'm very new to the world of Development in a museum setting, and just
>today located this list service. I'm not sure if this is an appropriate
>
>request in this forum, but here goes.
>
>Part of my position is involved with acknowledging the gifts that are
>bestowed on our museum. Unlike my last position where most of the
>acknowledgments were formalized "cards", the method here is far more
>towards customization and personalization of letters. Until such time
>as I can locate a book or other material with suggestions for text, I'm
>hoping that some folks on this service are willing to share some samples
>
>from their site. I would be most grateful for any and all suggestions,
>as well as recommendations for literature on typical acknowledgment
>text.
>
>Many thanks!
>
>Amy
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 16:36:10 -0400
>From: John Suau <[log in to unmask]>
>Subject: Museums and HIV Communities
>
>I need your help!
>
>In an attempt to move beyond "A Day without Art" - an initiative that many
>international art museums observe in commemoration of AIDS victims - I am
>working with the AAM AIDS Network leaders to identify museums that work with
>HIV+ communities (people who are now living with HIV), or organizations that
>serve those communities, to assist them with raising awareness and/or funds
>through programming and/or fundraising events. Does any institution come to
>mind? Thanks for your assistance!
>
>John T. Suau, Manager
>Meetings, Professional Education and Diversity
>American Association of Museums
>1575 Eye Street, NW - Suite 400
>Washington, DC 20005
>(202) 218-7676 (t)
>(202) 289-6578 (f)
>[log in to unmask]
>
>Click to our new Annual Meeting web site at http://www.aam-us.org
>
>
> > -----Original Message-----
> > From: Amy Phillips [mailto:[log in to unmask]]
> > Sent: Wednesday, July 11, 2001 4:33 PM
> > To: [log in to unmask]
> > Subject: acknowledging gifts
> >
> >
> > I'm very new to the world of Development in a museum setting, and just
> > today located this list service. I'm not sure if this is an
> > appropriate
> >
> > request in this forum, but here goes.
> >
> > Part of my position is involved with acknowledging the gifts that are
> > bestowed on our museum. Unlike my last position where most of the
> > acknowledgments were formalized "cards", the method here is far more
> > towards customization and personalization of letters. Until such time
> > as I can locate a book or other material with suggestions for
> > text, I'm
> > hoping that some folks on this service are willing to share
> > some samples
> >
> > from their site. I would be most grateful for any and all
> > suggestions,
> > as well as recommendations for literature on typical acknowledgment
> > text.
> >
> > Many thanks!
> >
> > Amy
> >
> > =========================================================
> > 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: Wed, 11 Jul 2001 16:37:44 -0400
>From: Robert Panzer <[log in to unmask]>
>Subject: Re: Rights question
>
>This is a multi-part message in MIME format.
>
>------=_NextPart_000_001A_01C10A27.CF89C740
>Content-Type: text/plain;
> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
>Regarding Pamela Feltus's questions about copyright:
>
>While the questions seem basic, the answers are actually complex. As a =
>general statement, the Museum's archivist is correct in saying that if =
>there is no written transfer of rights (or at least a license to use the =
>images) then the images should not be used without obtaining permission =
>from the rights holder (presumably the photographer, but not =
>necessarily). This would be most definitely true for photos created =
>after 1978. For photos published (not created) prior to 1978 but post =
>1923, the law is significantly more complex, and rights depend on many =
>factors such as, publication date, whether the image was registered or =
>re-registered, copyright notice placement, etc. One basic rule: If the =
>Museum knows that the photo was first published prior to 1923, then it =
>is in the public domain in the US, but not necessarily in foreign =
>countries.=20
>
>It is a good idea to hire a copyright attorney to provide basic advice =
>on the law, and to help develop a policy on how and under what =
>circumstances due diligence is required. If the Museum is not able to =
>hire counsel, it is probably best to be conservative. A broad rule of =
>thumb would be to try to locate a rights holder if the work was =
>published between 1923 and 1978. For works published after '78, =
>definitely locate the rights holder. Post 1978 copyright protection =
>lasts for 70 years after the death of the photographer. If the rights =
>holder is a business, the right last for 95 years after first =
>publication.
>
>It should be noted that the word "copyrighted" does not necessarily mean =
>that someone has registered the copyright with the Copyright Office in =
>Washington. Prior to 1978 and post 1923, copyright was awarded at =
>creation. For some of those years, it was a requirement to renew (not =
>register) the copyright, though there were (and still are) incentives to =
>register prior to publication. Since 1978, there has been no =
>requirement to register or renew. Copyright is now awarded upon =
>creation.
>
>Ms. Feltus writes about the use of photos in exhibits, catalogues, and =
>marketing materials. Unless the donor of the photos stipulated =
>otherwise, the Museum would certainly have the right to display the =
>photos it owns. Even reproducing a photo and hanging the reproduction =
>might be acceptable under Fair Use. A museum might do this in order to =
>preserve the original photo, which might be in poor condition. =
>Catalogues and marketing materials would probably need to be cleared. =
>Some museum professionals however, believe such uses are Fair Uses =
>under the copyright law. Fair Use means that under some circumstances, =
>such as for certain types of educational uses, rights do not need to be =
>cleared (To read the Fair Use clause of the Copyright Act, go to =
>http://www.loc.gov/copyright/title17/92chap1.html#107).
>
>Finally, the fact that the photographs are of families, has no effect on =
>the copyright status of the images. I should end by indicating that I am =
>the Executive Director of VAGA (Visual Artists and Galleries =
>Association), a copyright collective, which protects and administers =
>copyrights for fine artists.
>
>Sincerely,
>
>Robert Panzer
>
>VAGA=20
>350 Fifth Avenue
>Suite 6305
>New York, NY 10118
>tel. 212 736 6666
>fax. 212 736 6767
>E-mail. [log in to unmask]
>
> ----- Original Message -----=20
> From: Feltus, Pamela=20
> To: [log in to unmask]
> Sent: Wednesday, July 11, 2001 2:30 PM
> Subject: Rights question
>
>
> We have alot of photographs from private collections (like family
> scrapbooks) which over the past 40 years have been given to the =
>museum.
>
> Now, for all my years in this field I have never had a problem taking =
>a
> photo like these from the collection and using it in an exhibit, =
>catalogue
> or marketing materials. We have a new archivist who is saying that if =
>people
> did not sign a form releasing copyright when they donated, we can not =
>use
> it. Is this true? I know it would be if we had government photos or
> something that is specifically copyrighted, but is a family picture of
> grandpa that the family (or grandpa) donated to a museum?
>
> Thanks!
>
> Pamela Feltus
> Curator
> National Museum of American Jewish Military History
> 1811 R Street NW, Washington DC 20009
> 202-265-6280 x201
>
> www.nmajmh.org
>
> =
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D
> Important Subscriber 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_001A_01C10A27.CF89C740
>Content-Type: text/html;
> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>Regarding Pamela Feltus's questions = about=20 copyright:
>
>While the questions seem basic, the = answers are=20 actually complex. As
>a general statement, the Museum's archivist = is=20 correct in saying that
>if there is no written transfer of rights (or at = least a=20 license to
>use the images) then the images should not be used without = obtaining=20
>permission from the rights holder (presumably the photographer, but not=20
>necessarily). This would be most definitely true for = photos created=20
>after 1978. For photos published (not created) prior to 1978 but post =
>1923, the=20 law is significantly more complex, and rights depend on many
>factors = such as,=20 publication date, whether the image was registered
>or re-registered, = copyright=20 notice placement, etc. One = basic rule:
>If=20 the Museum knows that the photo was first published prior to 1923,
>then = it is in=20 the public domain in the US, but not necessarily in
>foreign=20 countries.
>
>It is a good idea to hire a copyright = attorney=20 to provide basic
>advice on the law, and to help develop a policy on = how and=20 under what
>circumstances due diligence is required. If the=20 Museum is not able to
>hire counsel, it is probably = best to be=20 conservative. A broad rule
>of thumb would be to try to locate = a=20 rights holder if the work was
>published between 1923 and = 1978. For=20 works published after '78,
>definitely locate the rights holder. Post = 1978 =20 copyright protection
>lasts for 70 years after the death of the=20 photographer. If the rights
>holder is a business, the right last=20 for 95 years after first publication.
>
>It should be noted that the word = "copyrighted" does=20 not necessarily
>mean that someone has registered the copyright with the=20 Copyright
>Office in Washington. Prior to 1978 and post 1923, = copyright was=20
>awarded at creation. For some of those years, it was a requirement =
>to=20 renew (not register) the copyright, though there were (and still
>are) = incentives=20 to register prior to publication. Since 1978, there
>has been no=20 requirement to register or renew. Copyright is now awarded
>upon=20 creation.
>
>Ms. Feltus writes about the use = of photos in=20 exhibits, catalogues,
>and marketing materials. Unless the donor of = the=20 photos stipulated
>otherwise, the Museum would certainly have the right = to=20 display the
>photos it owns. Even reproducing a photo and hanging = the=20
>reproduction might be acceptable under Fair Use. A museum=20 might do
>this in order to preserve the original photo, which might = be in=20 poor
>condition. Catalogues and marketing materials would probably = need to=20
>be cleared. Some museum professionals however, believe such = uses
>are=20 Fair Uses under the copyright law. Fair Use means that under
>some=20 circumstances, such as for certain types of educational uses,
>rights do = not=20 need to be cleared (To read the Fair Use clause of the
>Copyright Act, go = to <3d.htm>http://www=
>.loc.gov/copyright/title17/92chap1.html#107).
>
>Finally, the fact that the photographs = are of=20 families, has no effect
>on the copyright status of the images. I = should end=20 by indicating
>that I am the Executive Director of VAGA (Visual Artists = and=20
>Galleries Association), a copyright collective, which protects and =
>administers=20 copyrights for fine artists.
>
>Sincerely,
>
>Robert Panzer
>
>VAGA
>350 Fifth Avenue
>Suite = 6305
>New=20 York, NY 10118
>tel. 212 736 6666
>fax. 212 736 = 6767
>E-mail. <3d.htm>[log in to unmask]<= /DIV>
>
>----- Original Message -----
>Feltus, = Pamela=20
>To: <3d.htm>[log in to unmask] =
>Sent: Wednesday, July 11, 2001 = 2:30=20 PM
>Subject: Rights question
>
>We have alot of photographs from private collections = (like=20 family
>scrapbooks) which over the past 40 years have been given to = the=20 museum.
>
>Now, for all my years in this field I have never had a = problem=20 taking a
>photo like these from the collection and using it in an = exhibit,=20
>catalogue
>or marketing materials. We have a new archivist who is = saying=20 that if
>people
>did not sign a form releasing copyright when they = donated,=20 we can not
>use
>it. Is this true? I know it would be if we had = government=20 photos or
>something that is specifically copyrighted, but is a = family=20 picture of
>grandpa that the family (or grandpa) donated to a=20 museum?
>
>Thanks!
>
>Pamela Feltus
>Curator
>National = Museum of=20 American Jewish Military History
>1811 R Street NW, Washington DC=20 20009
>202-265-6280 x201
>
>www.nmajmh.org
>
>=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D
>Important=20 Subscriber Information:
>
>The Museum-L FAQ file is located at http://www.finalchapte=
>r.com/museum-l-faq/=20 . You may obtain detailed information about the
>listserv commands by = sending a=20 one line e-mail message to
>[log in to unmask] .=20 The body of the message should read
>"help" (without the = quotes).
>
>If you=20 decide to leave Museum-L, please send a one line e-mail message
>to [log in to unmask] .=20 The body of the message should read
>"Signoff Museum-L" (without the=20 quotes).
>
>------=_NextPart_000_001A_01C10A27.CF89C740--
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 15:37:36 -0500
>From: Janice Klein <[log in to unmask]>
>Subject: Re: Labelling artifacts
>
>There are several excellent sources for artifact labeling information,
>starting with The New Museum Registration Methods. The Registrars Committee
>has published two handbooks (Beyond Finger Nail Polish I and II) that are
>available by containing Bill Tompkins at the Smithsonian ([log in to unmask]).
>
>Janice Klein
>Director
>Mitchell Museum of the American Indian, Kendall College
>[log in to unmask]
>
>-----Original Message-----
>From: Katherine Neustadt <[log in to unmask]>
>To: [log in to unmask] <[log in to unmask]>
>Date: Tuesday, July 10, 2001 11:30 PM
>Subject: Labelling artifacts
>
>
> >Hello. I am new to the list and would like to say hello to everyone out
> >there in cyberspace.
> >I have a question regarding methods of labelling artifacts. Does anyone
> >have any information about the use of clear nail polish as a base & top
>coat
> >for labelling archaeological artifacts. I have always been under the
> >impression that it was not an acceptable practice, but my supervisor wants
> >us to use it to save on cost.
> >Advice, comments, etc. greatly appreciated.
> >Thanks,
> >Kae
> >
> >K.E. Neustadt, Lab Manager
> >Northland Research, Inc.
> >2510 S. Rural, Ste. 108
> >Tempe, AZ 85282
> >(480) 736-0501
> >(480) 894-0957 fax
> >
> >_________________________________________________________________
> >Get your FREE download of MSN Explorer at http://explorer.msn.com
> >
> >=========================================================
> >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: Wed, 11 Jul 2001 14:36:52 -0700
>From: Kimberly Kenney <[log in to unmask]>
>Subject: Re: Rights question
>
>It is my understanding that when anything is donated
>to the museum, the donor gives up all rights to it
>unless otherwise specified. The Deed of Gift should
>be explicit about what a donation to the museum means.
> To me, a photo album is no different than the quilt
>grandma stitched -- if they were donated to the
>museum, they are the property of the museum, and can
>be accessed for research, exhibitions, programs, etc.
>
>Kimberly Kenney
>Curator
>Historical Society of Rockland County
>New City, NY
>
>--- "Feltus, Pamela" <[log in to unmask]> wrote:
> > We have alot of photographs from private collections
> > (like family
> > scrapbooks) which over the past 40 years have been
> > given to the museum.
> >
> > Now, for all my years in this field I have never had
> > a problem taking a
> > photo like these from the collection and using it in
> > an exhibit, catalogue
> > or marketing materials. We have a new archivist who
> > is saying that if people
> > did not sign a form releasing copyright when they
> > donated, we can not use
> > it. Is this true? I know it would be if we had
> > government photos or
> > something that is specifically copyrighted, but is a
> > family picture of
> > grandpa that the family (or grandpa) donated to a
> > museum?
> >
> > Thanks!
> >
> > Pamela Feltus
> > Curator
> > National Museum of American Jewish Military History
> > 1811 R Street NW, Washington DC 20009
> > 202-265-6280 x201
> >
> > www.nmajmh.org
> >
> >
>=========================================================
> > 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).
>
>
>__________________________________________________
>Do You Yahoo!?
>Get personalized email addresses from Yahoo! Mail
>http://personal.mail.yahoo.com/
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 16:50:39 -0500
>From: Lori Allen <[log in to unmask]>
>Subject: Re: Certificate vs. Degree
>
>This is a multi-part message in MIME format.
>
>------=_NextPart_000_0011_01C10A29.9D4EAB40
>Content-Type: text/plain;
> charset="iso-8859-1"
>Content-Transfer-Encoding: 7bit
>
>Julie,
>
>When deciding on my graduate course of study, I found a book called Museums:
>A Place to Work, Planning Museum Careers. It is by Jane R. Glaser with
>Artemis A. Zenetou. I got it from the AAM bookstore (online at the
>website). Chapter 8 discusses "Training and preparation" and states: "Many
>of the best programs offer master's degrees in a discipline with a
>certificate in Museum Studies." Later in the chapter the author(s) state
>that "Programs (Museum Studies) may be oriented toward history, the
>sciences, anthropology or art, for example, or they may have important
>strengths in such work areas as curatorship, museum education, or
>management".
>
>What I gathered from my reading this and other sources is that an MA/MS in a
>discipline is still preferred in most situations over a Masters in Museum
>Studies. Many people who already have masters or PhD.'s are going back for
>the specialized training in a Museum Studies Certificate Program. Lots of
>us are seeking the certificate in conjunction with a MA in a discipline. My
>certificate program is a joint offering by the departments of History, Art
>History and Anthropology. It is geared towards the study of Museology with
>courses in curatorship, principles and practices, visitor services,
>education, management, etc. My MA will be in in History. It is a 2 year
>program (if you go full time). Most people are working in my program and so
>it takes about 3 years to complete.
>
>According to the above mentioned book, Museum Studies programs have been
>around since the 1920's, but I had not heard of them either until I started
>my research (so don't feel alone). Plus, I don't think they were generally
>accepted as valid courses of study until just recently. Ironically, I used
>to work at a non-profit gallery in which the director had a Masters in
>Museum Studies from UC-Berkley and she was in her 40's or 50's then (10
>years ago), but I didn't even remember this until I was accepted.
>
>By the way, my program is at the University of Missouri - St. Louis
>(http://www.UMSL) Hope this info helps.
>
>Best of Luck,
>
>
>Lori Allen,
>Graduate Student, UMSL
>
>------=_NextPart_000_0011_01C10A29.9D4EAB40
>Content-Type: text/html;
> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>Julie,
>
>When = deciding on my=20 graduate course of study, I found a book called
>Museums: A Place = to=20 Work, Planning Museum Careers. It is by Jane R.
>Glaser with = Artemis A.=20 Zenetou. I got it from the AAM bookstore
>(online at the=20 website). Chapter 8 discusses "Training and =
>preparation"=20 and states: "Many of the best programs offer master's
>degrees in a = discipline=20 with a certificate in Museum Studies." Later
>in the chapter the = author(s)=20 state that "Programs (Museum Studies)
>may be oriented toward history,=20 the sciences, anthropology or art, for
>example, or they may = have=20 important strengths in such work areas as
>curatorship, museum education, = or=20 management".
>
>What I = gathered from=20 my reading this and other sources is that an
>MA/MS in a discipline = is still=20 preferred in most situations over a
>Masters in Museum Studies. = Many people=20 who already have masters or
>PhD.'s are going back for the specialized = training=20 in a Museum
>Studies Certificate Program. Lots of us are seeking = the=20 certificate
>in conjunction with a MA in a discipline. My = certificate=20 program is
>a joint offering by the departments of History, Art = History and=20
>Anthropology. It is geared towards the study of Museology with = courses
>in=20 curatorship, principles and practices, visitor services, education,
>= management,=20 etc. My MA will be in in History. It is a 2 year =
>program (if=20 you go full time). Most people are working in my program
>and so it = takes=20 about 3 years to complete.
>
>According to the=20 above mentioned book, Museum Studies programs have
>been around since the = 1920's,=20 but I had not heard of them either
>until I started my research (so = don't=20 feel alone). Plus, I don't
>think they were generally accepted as = valid=20 courses of study until
>just recently. Ironically, I used to work = at a=20 non-profit gallery in
>which the director had a Masters in Museum Studies = from=20 UC-Berkley
>and she was in her 40's or 50's then (10 years ago), but I = didn't=20
>even remember this until I was accepted.
>
>By the = way, my=20 program is at the University of Missouri - St. Louis
>(<3d.htm>http://www.UMSL) Hope this info = helps. =20
>
>Best = of=20 Luck,
>
>
>Lori=20 Allen,
>Graduate Student,=20 UMSL
>
>------=_NextPart_000_0011_01C10A29.9D4EAB40--
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 17:28:21 -0700
>From: Lucy Sperlin Skjelstad <[log in to unmask]>
>Subject: Re: Certificate vs. Degree
>
>Julie,
>
>All respondents so far have mentioned a certificate program in
>conjunction with a Master's Degree, or at least at the post graduate
>level.
>
>Sometimes a certificate is given at the Bachelor's Degree level, again
>as a sub field or specialty in a regular degree program such as
>Anthropology or History. I personally think that it is not a good way
>to enter the museum field, but if someone is super interested in museums
>at the under grad level, and is going on for a Master's, it may have
>merit in adding "weight" to a person's total package of museum specific
>academic work.
>
>Lucy Sperlin
>
>
>
>Michael Cahall wrote:
> >
> > Dear Julie:
> >
> > In terms of Duquesne University's Archives, Museum, and Editing
>Program,
> > our certification process is for individuals who already have a masters
> > degree (usually in history) and want to get further training in the areas
> > covered by our program. These students do not have to take the history
> > courses required of our degree candidates. The certificate can be earned
> > in a year's time.
> >
> > I hope this clears up the difference for you.
> >
> > Sincerely,
> >
> > Mike Cahall
> >
> > At 10:27 AM 7/11/01 -0400, you wrote:
> > > Good Morning- I've seen many posts to the list that mention a
> > >"certificate" in Museum Studies. I had never heard of this before. Can
> > >anyone please explain the difference between a certificate and a degree
> > >such as a MA? I'm guessing that the former takes less time to acquire.
>Do
> > >many universities offer a certificate now? Also, do the employers out
> > >there have an opinion on the issue when it comes to interviewing and
> > >hiring a potential new employee? Thank you- Julie Clark Dairy Barn
> > >Cultural Arts Center
> > Michael Cahall, Ph.D.
> > Department of History
> > Duquesne University
> > [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: Wed, 11 Jul 2001 22:26:36 -0500
>From: Amy Einspahr <[log in to unmask]>
>Subject: Beatrice Cenci
>
>This is a multi-part message in MIME format.
>
>------=_NextPart_000_0028_01C10A58.8C13EB40
>Content-Type: text/plain;
> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
>Hello all -=20
>
>First, a brief word of introduction:=20
>
>I am a graduate student at South Dakota State University in Brookings, =
>South Dakota, currently researching my thesis topic which concerns the =
>influence of Beatrice Cenci in American literature.
>
>Cenci was an Italian noble woman who, along with her mother and brother, =
>allegedly hired killers to murder her violent and abusive father in the =
>1590's. In 1599 Beatrice was publicaly beheaded in Rome. Her mother =
>and brother were executed as well. =20
>
>My question for you is in regards to a painting, originally attributed =
>to Guido Reni, that was thought to be of "poor Beatrice." One legend =
>that I came across states that some years after Beatrice's death, this =
>mysterious painting surfaced and someone identified the subject as "that =
>poor Cenci girl." The name stuck. A copy of this painting is at =
>http://www.artepadova.com/eventi/Guercino/Guercino_2.htm .
>
>My initial research has revealed that art scholars have proven that Reni =
>was not the artist who painted the portrait, but I have been unable to =
>discern whether anyone has made any further discoveries/guesses as to =
>who might have painted the portrait or who the subject of the portrait =
>might be. I would appreciate any help any of you might be able to offer =
>me. =20
>
>My second question is for those of you familiar with the "Cenci =
>portrait." Recently I ran across a copy of Johannes Vermeer's portrait =
>Girl With a Pearl Earring, and I found a striking similarity with the =
>girl in the "Cenci portrait." I am wondering if anyone else has seen =
>this similarity. You can view Girl With a Pearl Earring at: =
>http://www.mystudios.com/vermeer/12/vermeer-girl-pearl-earring.html .
>
>The research that I have done on Beatrice thus far has been hit and =
>miss. I have found few resources that corroborate. It seems as if =
>every author or researcher has a different version of the legend and a =
>different story about the painting. I believe the painting is now =
>housed in the National Gallery of Art in Rome, but not all of my sources =
>agree on even that point! I would greatly appreciate any guidance any =
>of you might be able to offer me. Thank you in advance for your =
>assistance.
>
>Sincerely,
>Amy Einspahr =20
>
>------=_NextPart_000_0028_01C10A58.8C13EB40
>Content-Type: text/html;
> charset="iso-8859-1"
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>Hello all -
>
>First, a brief word of=20 introduction:
>
>I am a graduate student at South Dakota = State=20 University in
>Brookings, South Dakota, currently researching my thesis = topic=20 which
>concerns the influence of Beatrice Cenci in American=20 literature.
>
>Cenci was an Italian noble woman who, = along with=20 her mother and
>brother, allegedly hired killers to murder her violent = and=20 abusive
>father in the 1590's. In 1599 Beatrice was publicaly = beheaded in=20
>Rome. Her mother and brother were executed as=20 well.
>
>My question for you is = in regards to=20 a painting, originally
>attributed to Guido Reni, that was thought to be = of "poor=20
>Beatrice." One legend that I came across states that some years =
>after=20 Beatrice's death, this mysterious painting surfaced and someone =
>identified the=20 subject as "that poor Cenci girl." The name stuck. A
>copy of = this=20 painting is at <3d.htm>http://=
>www.artepadova.com/eventi/Guercino/Guercino_2.htm=20 .
>
>My initial research has revealed that = art scholars=20 have proven that
>Reni was not the artist who painted the portrait, but I = have=20 been
>unable to discern whether anyone has made any further =
>discoveries/guesses=20 as to who might have painted the portrait or who
>the subject of the = portrait=20 might be. I would appreciate any help
>any of you might be able to = offer=20 me.
>
>My second question is for those of you = familiar=20 with the "Cenci
>portrait." Recently I ran across a copy of = Johannes=20 Vermeer's
>portrait Girl With a Pearl Earring, and I found a = striking=20 similarity
>with the girl in the "Cenci portrait." I am wondering = if anyone=20 else
>has seen this similarity. You can view Girl With a Pearl=20 Earring at: =20 .
>
>The research that I have done on = Beatrice thus far=20 has been hit and
>miss. I have found few resources that=20 corroborate. It seems as if
>every author or researcher has a = different=20 version of the legend and
>a different story about=20 the painting. I believe the painting is now
>housed in = the=20 National Gallery of Art in Rome, but not all of my
>sources agree on = even=20 that point! I would greatly appreciate any
>guidance any of = you might=20 be able to offer me. Thank you in advance
>for your=20 assistance.
>
>Sincerely,
>Amy = Einspahr
>
>------=_NextPart_000_0028_01C10A58.8C13EB40--
>
>------------------------------
>
>Date: Wed, 11 Jul 2001 21:37:36 -0400
>From: Steven Bush <[log in to unmask]>
>Subject: Re: Rights question
>
>PLEASE PLEASE PLEASE DO NOT GO ON THIS ASSUMPTION!!!!!
>
>Kimberly Kenney wrote:
>
> > It is my understanding that when anything is donated
> > to the museum, the donor gives up all rights to it
> > unless otherwise specified. The Deed of Gift should
> > be explicit about what a donation to the museum means.
> > To me, a photo album is no different than the quilt
> > grandma stitched -- if they were donated to the
> > museum, they are the property of the museum, and can
> > be accessed for research, exhibitions, programs, etc.
> >
> > Kimberly Kenney
> > Curator
> > Historical Society of Rockland County
> > New City, NY
> >
> > --- "Feltus, Pamela" <[log in to unmask]> wrote:
> > > We have alot of photographs from private collections
> > > (like family
> > > scrapbooks) which over the past 40 years have been
> > > given to the museum.
> > >
> > > Now, for all my years in this field I have never had
> > > a problem taking a
> > > photo like these from the collection and using it in
> > > an exhibit, catalogue
> > > or marketing materials. We have a new archivist who
> > > is saying that if people
> > > did not sign a form releasing copyright when they
> > > donated, we can not use
> > > it. Is this true? I know it would be if we had
> > > government photos or
> > > something that is specifically copyrighted, but is a
> > > family picture of
> > > grandpa that the family (or grandpa) donated to a
> > > museum?
> > >
> > > Thanks!
> > >
> > > Pamela Feltus
> > > Curator
> > > National Museum of American Jewish Military History
> > > 1811 R Street NW, Washington DC 20009
> > > 202-265-6280 x201
> > >
> > > www.nmajmh.org
> > >
> > >
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>------------------------------
>
>End of MUSEUM-L Digest - 10 Jul 2001 to 11 Jul 2001 (#2001-190)
>***************************************************************
>
>=========================================================
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Annette Bethke, Outreach Associate
Texas Historical Commission
History Programs Division
(512) 463-3105
[log in to unmask]
========================================================Important Subscriber Information:
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