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Date: Fri, 10 Aug 2001 14:12:32 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lin Nelson-Mayson <[log in to unmask]>
Subject: Re: Public Relations Committe of a Museum Board
First - the public relations committee's first duty is to help provide
visibility for your museum. A general purpose brochure for visitor
centers, hotels, etc. is a great task as is some form of regular
commuication, like a newsletter, to your members and to a mailing list of
the press, area political leaders, area libraries and schools. However,
while the brochure is a one-time project that just needs to be reprinted
when you runs out, the newsletter will require a committment of time again
and again. If the Committee decides to take this on, some one(s) will need
to make a longer-term committment to help you write, edit, etc. Other good
PR activities may include, finding opportunities for partnerships within
your community and speaking to various area groups about the museum. Even
helping to improve signage would be a good task.
Second - the web page. I agree with you about not putting all of your
collection on line. A good web page should give a sense of your
institution, its collections, its exhibition(s), and general info like
directions and membership. You still want visitors to come to the museum!
However, I think I would put a higher priority on the brochure and
newsletter than the web is you have to make choices. Make sure your
institution is listed on any community web pages and develop a link to
visitor info pages when you get you web page developed.
Third - Collections Committee may be the right name. That implies that
your committee deals with (unless they don't) loans, conservation, storage,
collection management - all issues that a collection may have.
Acquisitions Committee is much more limited in duties.
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Date: Fri, 10 Aug 2001 15:42:30 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Mary Agnes Beach <[log in to unmask]>
Subject: Re: Monitoring the comment book
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
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I monitor the comment book at my museum and remove pages with comments that
are meant simply to hurt or insult..usually they have nothing to do with the
art. I use a three-ring binder (making it a breeze to remove pages) and
make a page header with the name of the exhibit. I use the same font as I
choose for the signs, didactics, and invitation so that the comment book
pages are of one piece visually with the other exhibit elelments.
Mary Agnes Beach
Curator of Exhibitions and Collections
Hickory Museum of Art
Box 2572 Hickory, NC 28603
828-327-8576 X 203
fax 327-7281
www.hickorymuseumofart.org
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Date: Fri, 10 Aug 2001 13:43:29 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lauren Roth <[log in to unmask]>
Subject: Re: Job Posting: NYC, Grants Management/Visual Arts/Museum
MIME-Version: 1.0
Content-Type: text/plain
this sounds great. thanks so much. i'm going to pursue.
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]]On
Behalf Of Kristin Herron
Sent: Friday, August 10, 2001 12:29 PM
To: [log in to unmask]
Subject: Job Posting: NYC, Grants Management/Visual Arts/Museum
New York State Council on the Arts
August 6, 2001
Please Post
EMPLOYMENT OPPORTUNITY
TEAM ASSOCIATE (GRADE 18)
Deadline: September 27, 2001
The New York State Council on the Arts is recruiting for the position of
Team Associate (P.S.&T. Grade 18). The Associate works with NYSCA's
Architecture, Planning and Design Program; Capital Projects; the Electronic
Media and Film Program, the Folk Arts Program, the Museum Program and the
Visual Arts Program in the administration of the agency's grants programs.
The starting salary is $39,469 plus $1,000 location pay. There is a full
benefits package available including life, health, dental, vision and
retirement plans.
The minimum qualifications are a four year college degree in an arts field
(or equivalent experience) plus one year work experience in the arts.
Candidates must be computer proficient in word processing, data spreadsheet
programs and on-line communications.
The candidate should have proven organizational skills, a sense of detail,
and be able to communicate clearly and effectively, both verbally and in
writing. Sensitivity to a variety of esthetic systems and the ability to
work well with people are essential.
Responsibilities include coordinating applications for competitive review
by a peer panel; conducting reviews either on-site or by phone; evaluating
and analyzing applications; and preparing written reports and statistical
analyses.
Other duties include assisting the program directors to convene meetings,
forums and seminars; assisting in the implementation of technical
assistance programs and projects; collecting and maintaining data,
maintaining electronic and paper applicant files, and compiling analyses,
statistics and information.
The U.S. Immigration and Nationality Act Stipulates that no individual may
be employed without proof of authority to work in this country.
NYSCA is an EQUAL OPPORTUNITY/AFFIRMATIVE ACTION EMPLOYER. We do not
discriminate on the basis of race, color, religion, gender, age, national
origin, marital or veteran status, disability or sexual orientation.
Information on this employment opportunity is posted on the NYSCA website:
www.nysca.org
Inquiries should be made in writing (Do Not Telephone) with a resume and
writing sample to:
Debby Silverfine, Deputy Director
NYS Council on the Arts
915 Broadway, 8th Floor
NYC, NY 10010
Deadline for Application: September 27, 2001
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Kristin Herron
Director, Museum Program
New York State Council on the Arts
915 Broadway, 8th Floor
New York, NY 10010
phone: 212-387-7060 email: [log in to unmask] url: www.nysca.org
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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=========================================================================
Date: Fri, 10 Aug 2001 21:06:41 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: quigley <[log in to unmask]>
Subject: Re: Art Transport
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
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I think what you are looking for may be IATA - International Association of
Art Transporters (?) It's an international membership-based affiliation of
fine arts forwarders. Try contacting Dave Epstein at Masterpiece
International in New York. He may be able to give you information.
--
Suzanne Quigley
Head Registrar, Collections & Exhibitions
Whitney Museum of American Art
945 Madison Avenue
New York, NY 10021
v: 212 570 7795
f: 212 570 7784
e: [log in to unmask]
> Date: Thu, 9 Aug 2001 09:39:22 -0400
> From: Exhibitions International <[log in to unmask]>
> Subject: Art transport
>
> Dear colleagues,
>
> I am looking for information about the International Association of Art
> Transport. If anyone has information about this organization I would be
> most grateful to hear it.
>
> Thanks!
>
> Leah E. Goldberg, Assistant Exhibition Coordinator
> Exhibitions International
> 200 Park Avenue South, Suite 1406
> New York, New York 10003
> Tel: 212.674.7726 Fax: 212.979.2818
> www.exhibitionsinternational.org
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Date: Sat, 11 Aug 2001 14:34:44 +1000
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Bernadette Jones <[log in to unmask]>
Organization: Gammin Design
Subject: Re: Monitoring the comment book
MIME-Version: 1.0
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No.
We at gammaSPACE, a contemporary commercial gallery, have a comments book and we get a huge variety of different marks and comments; good, bad and downright ugly. We also get an array of wonderful drawings in the book.
All of it is valid and all contributes to an interesting compedium to be archived and cherished, even the offensive bits. The best outcome of the book is that it creates an open forum for people to express their responses much like going to a football match and yelling at the
umpire. If people feel comfortable enough to openly express how they are responding to the work on display then surely this is an indicator that you have reached your audience. I think expecting them to always agree with you is a bit presumptuous.
Bernadette Jones
Curator
Amy Kleinert wrote:
> Jay brought up that they monitor their comment book
> and remove "lewd, racist, sexist, etc. comments." Is
> this common practice in other museums as well?
>
> Amy Kleinert
> Marketing Manager
> South Bend Regional Museum of Art
> South Bend, IN
>
> --- Jay Heuman <[log in to unmask]> wrote:
> > Hi Pamela,
> >
> > I think the Barnes & Noble or Borders suggestion is
> > best and
> > cheapest.
> >
> > If you are not already, prepare yourselves to review
> > the
> > comment book on a daily basis to remove pages with
> > offensive
> > comments. We had a comment book during an
> > exhibition of
> > glass work by Dale Chihuly last year -- ended up
> > with lots
> > of lewd, racist, sexist, etc. comments (written
> > mostly by
> > unsupervised school children). We checked every day
> > . . .
> > cut out pages with such comments with an Exacto
> > knife.
> >
> > Sincerely,
> >
> > Jay Heuman, Visitor & Volunteer Services Coordinator
> > Joslyn Art Museum, 2200 Dodge Street, Omaha, NE,
> > 68102
> > 342-3300 (telephone) 342-2376 (fax)
> > http://www.joslyn.org
> >
> >
> >
> > > -----Original Message-----
> > > From: Museum discussion list
> > [mailto:[log in to unmask]]On
> > > Behalf Of Feltus, Pamela
> > > Sent: Friday, August 10, 2001 10:19 am
> > > To: [log in to unmask]
> > > Subject: Comment book
> > >
> > > In an exhibit we're about to open, I included a
> > comment
> > book,
> > > thinking it would be easy to find one. I though I
> > could
> > goto
> > > my local art supply store and buy a blank drawing
> > book.
> > Boy-
> > > was I wrong! I can not find a thing! Does anyone
> > have any
> > > recommendations/ sources/ tips on a comment book
> > for an
> > > exhibit? What people have used that works well?
> > >
> > > 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]
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>
> __________________________________________________
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>
> =========================================================
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>
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>
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=========================================================================
Date: Sat, 11 Aug 2001 09:43:54 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Ellen B. Cutler" <[log in to unmask]>
Subject: Re: Monitoring the comment book
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
Actually, I'd like to know if the noxious stuff excised from the comment
books is archived. Somehow it seems like such graffiti-esque expressions
might be somehow more telling or anthropologically interesting. I agree that
museums and non-profits should probably do what they can to contain
gratuitously offensive jottings, but might such scribbles be worth keeping?
Ellen Cutler
LNB Associates: Writing, Editing, Research Services
Aberdeen, MD 21001
----- Original Message -----
From: Bernadette Jones <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, August 10, 2001 9:34 PM
Subject: Re: Monitoring the comment book
> No.
>
> We at gammaSPACE, a contemporary commercial gallery, have a comments book
and we get a huge variety of different marks and comments; good, bad and
downright ugly. We also get an array of wonderful drawings in the book.
>
> All of it is valid and all contributes to an interesting compedium to be
archived and cherished, even the offensive bits. The best outcome of the
book is that it creates an open forum for people to express their responses
much like going to a football match and yelling at the
> umpire. If people feel comfortable enough to openly express how they are
responding to the work on display then surely this is an indicator that you
have reached your audience. I think expecting them to always agree with you
is a bit presumptuous.
>
> Bernadette Jones
> Curator
>
>
>
> Amy Kleinert wrote:
>
> > Jay brought up that they monitor their comment book
> > and remove "lewd, racist, sexist, etc. comments." Is
> > this common practice in other museums as well?
> >
> > Amy Kleinert
> > Marketing Manager
> > South Bend Regional Museum of Art
> > South Bend, IN
> >
> > --- Jay Heuman <[log in to unmask]> wrote:
> > > Hi Pamela,
> > >
> > > I think the Barnes & Noble or Borders suggestion is
> > > best and
> > > cheapest.
> > >
> > > If you are not already, prepare yourselves to review
> > > the
> > > comment book on a daily basis to remove pages with
> > > offensive
> > > comments. We had a comment book during an
> > > exhibition of
> > > glass work by Dale Chihuly last year -- ended up
> > > with lots
> > > of lewd, racist, sexist, etc. comments (written
> > > mostly by
> > > unsupervised school children). We checked every day
> > > . . .
> > > cut out pages with such comments with an Exacto
> > > knife.
> > >
> > > Sincerely,
> > >
> > > Jay Heuman, Visitor & Volunteer Services Coordinator
> > > Joslyn Art Museum, 2200 Dodge Street, Omaha, NE,
> > > 68102
> > > 342-3300 (telephone) 342-2376 (fax)
> > > http://www.joslyn.org
> > >
> > >
> > >
> > > > -----Original Message-----
> > > > From: Museum discussion list
> > > [mailto:[log in to unmask]]On
> > > > Behalf Of Feltus, Pamela
> > > > Sent: Friday, August 10, 2001 10:19 am
> > > > To: [log in to unmask]
> > > > Subject: Comment book
> > > >
> > > > In an exhibit we're about to open, I included a
> > > comment
> > > book,
> > > > thinking it would be easy to find one. I though I
> > > could
> > > goto
> > > > my local art supply store and buy a blank drawing
> > > book.
> > > Boy-
> > > > was I wrong! I can not find a thing! Does anyone
> > > have any
> > > > recommendations/ sources/ tips on a comment book
> > > for an
> > > > exhibit? What people have used that works well?
> > > >
> > > > 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]
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> > > Museum-L" (without the quotes).
> >
> > __________________________________________________
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> >
> > =========================================================
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> >
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> >
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=========================================================================
Date: Sat, 11 Aug 2001 10:08:30 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Jay Heuman <[log in to unmask]>
Subject: Re: Monitoring the comment book
In-Reply-To: <[log in to unmask]>
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 8bit
Hello Benadette et al.:
Bernadette Jones wrote:
> We at gammaSPACE, a contemporary commercial gallery, have
a
> comments book and we get a huge variety of different marks
> and comments; good, bad and downright ugly. We also get
an
> array of wonderful drawings in the book.
Same here at Joslyn. Our comment book during the Dale
Chihuly exhibition (Feb-June 2000) was filled with a huge
variety of comments: positive, mediocre and negative. We
did not remove pages if they simply had negative comments
about the exhibition. I am referring to removing pages
containing profanities and sexual comments, wholly
unconnected to the exhibition -- along that lines of "Would
you **** me?" and "I love the penis-shaped thing." These
are nothing more than infantile and unconstructive reactions
by school children, serving no purpose but providing the
thrill of (potentially) getting caught red handed.
> All of it is valid and all contributes to an interesting
> compedium to be archived and cherished, even the offensive
> bits.
The offensive bits were recorded, but not left out for
public display. Similarly, we do not post negative
commentary about the paintings of nudes hanging throughout
Joslyn -- "Oh, I'd love to **** her!" or "Wow, he's got a
giant ****!" Surely you are not suggesting such comments
remain in public view, when children (not to mention
sensitive adults) are around?
> The best outcome of the book is that it creates an open
forum
> for people to express their responses much like going to a
> football match and yelling at the umpire. If people feel
> comfortable enough to openly express how they are
responding
> to the work on display then surely this is an indicator
that you
> have reached your audience. I think expecting them to
always
> agree with you is a bit presumptuous.
This has nothing to do with simple agreement or
disagreement. It has to do with commentary that is
inappropriate -- gratuitous graffiti serving no purpose but
the thrill of wrong-doing by school children. We, at
Joslyn, do not edit out negative comments, as even they can
be poignant, interesting and helpful. We remove those
comments which are vulgar and pointless.
Sincerely,
Jay Heuman, Visitor & Volunteer Services Coordinator
Joslyn Art Museum, 2200 Dodge Street, Omaha, NE, 68102
342-3300 (telephone) 342-2376 (fax)
http://www.joslyn.org
=========================================================
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=========================================================================
Date: Mon, 13 Aug 2001 14:09:01 +0100
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Anne Abernethy <[log in to unmask]>
Subject: Re: Monitoring the comment book
In-Reply-To: <[log in to unmask]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
The Ulster Museum, Belfast, Northern Ireland put on an exhibition called
Icons. It concerned images and objects with a great deal of meaning to the
Northern Irish communities. We were very keen to get feedback from our
visitors much of which we knew may be very controversial. We invited people
to write their comments on postcards and then posted these on a board. We
then chose some of the more interesting or inquisitive comments to reply to.
The comment board elicited a lot of response. Comments from both sides of
the community declared that the exhibit was biased towards the opposite
side, people suggested their own Icons and many thought that the board was
the best bit of the exhibition.
The postcards had the advantage that many people could read them at the
same time and as others were making their comments. Also any inappropriate
comments could be easily removed.
Anne Abernethy
Acting Registrar
Ulster Museum
Botanic Gardens
Belfast
BT9 5AB
Tel +44 (0)28 9038 3090
Fax +44 (0)28 9038 3003
=========================================================
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=========================================================================
Date: Mon, 13 Aug 2001 07:33:08 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Aaron Marcavitch <[log in to unmask]>
Subject: Pardon my asking (Jacksonville Flordia)
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Hi folks,
I am trying to help a good friend of mine do some job searching. She really wants to stay close
to the Jacksonville area. Any good pointers for finding stuff in that area? She is historic
preservationist, but also has a studio art degree (both BA). She is a really cracker jack
conservationist (she did some wallpaper analysis for her final project). I dont think she really
understands what she wants out of a job, but I was just wondering if someone could give me a few
ideas.
I dont need the general stuff, I am looking for names and contacts if you have some.
Thanks,
Aaron
=====
www.aaronmarcavitch.com
Webmaster, VAF (www.vernaculararchitecture.org)
Webmaster, ADM (www.americandinermuseum.org)
Co-Webmaster, RPPN (www.recentpast.org)
Grad. Student Caucus Chair, Am. Assoc of History & Computing
M.A. (Public) History, Middle TN St. Univ
__________________________________________________
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Date: Mon, 13 Aug 2001 07:51:33 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Aaron Marcavitch <[log in to unmask]>
Subject: Good Point (Jacksonville Flordia)
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Someone told me--
> if you are trying to find a job for your friend - do not play
> down her abilities, or her apparent indecisiveness. It will do little to
> get her hired.
Good Point! My fault entirely. I really shouldn't have said that. She is a fantastic person.
Hope you all can help and I appreciate your time.
Aaron
=====
www.aaronmarcavitch.com
Webmaster, VAF (www.vernaculararchitecture.org)
Webmaster, ADM (www.americandinermuseum.org)
Co-Webmaster, RPPN (www.recentpast.org)
Grad. Student Caucus Chair, Am. Assoc of History & Computing
M.A. (Public) History, Middle TN St. Univ
__________________________________________________
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Date: Mon, 13 Aug 2001 09:28:39 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Elizabeth A. Moore" <[log in to unmask]>
Organization: Virginia Museum of Natural History
Subject: Re: Comment book
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
I love these green books and when I worked for the fed. gov. used them
extensively. Do you know of any place that sells to civilians?
Elizabeth Moore
Dr. Elizabeth A. Moore, Curator
Virginia Museum of Natural History
1001 Douglas Avenue
Martinsville, VA 24112
[log in to unmask]
----- Original Message -----
From: "Carucci James GS-11 30CES/CEVPC" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, August 10, 2001 11:42 AM
Subject: Re: Comment book
> geeze. here in government we have those ubiquitous Green, cloth covered
> "Record" books. They come in all sizes, from cute little ones to over 10
by
> 12 inches. surely these record books (which I used as field notebooks and
> day books) are available to the civilian public??
>
> jc
>
> -----Original Message-----
> From: Eileen Mott [mailto:[log in to unmask]]
> Sent: Friday, August 10, 2001 8:23 AM
> To: [log in to unmask]
> Subject: Re: Comment book
>
>
> I'd check out the blank books in the local Barnes & Noble or Tower Books.
> They usually offer a wide variety of sizes and shapes, usually with
bindings
> that allow you to open them flat. I've found many of our visitor comment
> books there.
>
>
>
> -----Original Message-----
> From: Feltus, Pamela [mailto:[log in to unmask]]
> Sent: Friday, August 10, 2001 11:19 AM
> To: [log in to unmask]
> Subject: Comment book
>
>
> In an exhibit we're about to open, I included a comment book, thinking it
> would be easy to find one. I though I could goto my local art supply store
> and buy a blank drawing book. Boy- was I wrong! I can not find a thing!
Does
> anyone have any recommendations/ sources/ tips on a comment book for an
> exhibit? What people have used that works well?
>
>
>
> 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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=========================================================================
Date: Mon, 13 Aug 2001 16:49:27 +1000
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Robert Gowty <[log in to unmask]>
Organization: gammaSPACE
Subject: Re: Monitoring the comment book
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854";
x-mac-creator="4D4F5353"
Content-Transfer-Encoding: 7bit
Hi Jay
In considering the implications of overtly offensive material being left in the comments book, my inclination would tend towards putting up a sign of warning as opposed to ripping or cutting out pages or even blacking out offensive content. Irrespective of whether or not I or
others interpret these comments as offensive, their worth as Ellen Cutler pointed to in her email is one of anthropological interest. Its merit for me is that it is a response to the museum experience. If the most the visitor can make out of their excursion to a museum or arts
institution is to indulge in juvenile banter then perhaps we need to look at different ways to reach these people so as to more involve them in the museum experience.
Bernadette Jones
Curator gammaSPACE
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Date: Mon, 13 Aug 2001 11:35:51 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Bronwyn Terrill <[log in to unmask]>
Organization: Cold Spring Harbor Laboratory
Subject: Neanderthal skeleton replica
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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Dear colleagues
I have recently rejoined this list from a new position at the Dolan DNA
Learning Center in Cold Spring Harbor, NY. As part of a new human
genetics exhibition, I'd like to display a replica/reconstruction of an
adult Neanderthal skeleton (articulated), but am not sure which museum
preparatory departments or design companies would be able to perform
this task.
Advice and/or contacts would be greatly appreciated.
Sincerely
Bronwyn Terrill
--
Bronwyn Terrill
Multimedia Developer
Dolan DNA Learning Center
One Bungtown Road
Cold Spring Harbor NY 11724 USA
Ph. +1 516 367 5186
Fax +1 516 367 5182
email: [log in to unmask]
=========================================================
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=========================================================================
Date: Mon, 13 Aug 2001 12:10:50 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Michael Lord <[log in to unmask]>
Subject: Job Opening--School Program Manager
Mime-Version: 1.0
Content-Type: multipart/alternative; boundary="=_D8829900.12731F63"
This is a MIME message. If you are reading this text, you may want to
consider changing to a mail reader or gateway that understands how to
properly handle MIME multipart messages.
--=_D8829900.12731F63
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: quoted-printable
Philipsburg Manor, Upper Mills is a nationally significant survival of an =
early 18th century milling and trading complex. Owned by an Anglo-Dutch =
family of merchants and traders, tenanted by farmers of diverse European =
backgrounds, the site--as interpreted to the mid-18th century-- was =
operated by an enslaved community of 23 men, women and children. The goal =
of Philipsburg Manor is to present the history of slavery in the colonial =
north and its effects on the commercial and social development of the =
lower Hudson River region.
Please send resume and cover letter to:=20
Carol Hagglund=20
Site Director, Philipsburg Manor=20
c/o Historic Hudson Valley=20
150 White Plains Road=20
Tarrytown, NY 10591
tel: 914-631-3992 x12
fax: 914-631-7740
JOB DESCRIPTION=20
Job Title: School Program Manager Name:=20
Department: Program =
FLSA: NE=20
Reports to: Site Director, PMUM Pay =
Cycle: FT 70=20
Location: Philipsburg Manor =
DATE: 12/99=20
Primary Responsibility:=20
To assume primary responsibility for the planning, preparation, and =
implementation of all programs for school audiences.=20
Principal Duties:=20
Contact teachers in advance of their visits to confirm reservations, =
inform them of program policies, inquire about pre-visit preparation, and =
ascertain any special needs=20
Supervise the daily school program representative, provide school program =
introductions, and coordinate schedule changes with Site Director=20
Inform interpreters about content of the days tours, number of students, =
changes to schedule, content or presentation=20
Work as part of site management team to develop new school programs, =
revise and enrich existing programs, customize school programs as =
appropriate;=20
To design, implement and/or supervise training of school program interprete=
rs=20
To seek from and provide to interpreters feedback; participate in the =
formal review process of school program interpreters=20
To develop, implement and evaluate pre- and post-visit materials=20
To serve as a liaison to schools, teachers and community=20
To plan and develop collaborative, multi-visit and/or off-site programs=20
To serve as a costumed interpreter and maintain awareness of interpretive =
material=20
To continue to seek professional development by attending such conferences,=
training sessions, seminars, etc., as agreed upon with Site Director=20
Assist with planning, development and implementation of other programming =
as needed or assigned=20
Perform other duties as requested by the Site Director=20
Relationships: Internal=20
Site director and all site staff=20
Director of Program=20
School program counterparts at other HHV sites=20
Relationships: External=20
School administrators, teachers, and students=20
Outside specialists and consultants=20
Other museum professionals=20
Knowledge, Skills, Abilities:=20
Working knowledge of NYS education curriculum, American culture and =
history;=20
Degree in museum studies or equivalent museum experience;=20
Strong organizational and communications skills;=20
Initiative, resourcefulness, and creativity;=20
Ability to work as a team member and under pressure;=20
Computer skills.=20
Work Conditions:=20
General office conditions; outside work on site=20
Some travel to schools, conferences, and sites.=20
--=_D8829900.12731F63
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Content-Transfer-Encoding: quoted-printable
Content-Description: HTML
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3Diso-8859-1"=
>
<META content=3D"MSHTML 5.50.4611.1300" name=3DGENERATOR></HEAD>
<BODY style=3D"MARGIN-TOP: 2px; FONT: 8pt MS Sans Serif; MARGIN-LEFT: =
2px">
<DIV><FONT size=3D2>Philipsburg Manor, Upper Mills is a nationally =
significant=20
survival of an early 18th century milling and trading complex. Owned =
by an=20
Anglo-Dutch family of merchants and traders, tenanted by farmers of =
diverse=20
European backgrounds, the site--as interpreted to the mid-18th century-- =
was=20
operated by an enslaved community of 23 men, women and children. The =
goal=20
of Philipsburg Manor is to present the history of slavery in the colonial =
north=20
and its effects on the commercial and social development of the lower =
Hudson=20
River region.</FONT></DIV>
<DIV><FONT size=3D2></FONT><FONT><BR><FONT size=3D2>Please send resume and =
cover=20
letter to: <BR>Carol Hagglund <BR>Site Director, Philipsburg Manor =
<BR>c/o=20
Historic Hudson Valley <BR>150 White Plains Road <BR>Tarrytown, NY=20
10591</FONT></DIV>
<DIV><FONT size=3D2>tel: 914-631-3992 x12</FONT></DIV>
<DIV><FONT size=3D2>fax: 914-631-7740</FONT></DIV>
<DIV><BR><FONT size=3D2><STRONG>JOB DESCRIPTION <BR><BR></STRONG></FONT><FO=
NT=20
size=3D2>Job Title: <STRONG>School Program=20
Manager</STRONG>  =
; &n=
bsp; =20
Name: <BR>Department:=20
Program &n=
bsp;  =
; &n=
bsp;  =
; =20
FLSA: NE <BR>Reports to: Site Director,=20
PMUM  =
; &n=
bsp; =20
Pay Cycle: FT 70 <BR>Location: Philipsburg=20
Manor &nbs=
p; &=
nbsp; &nbs=
p; =20
DATE: 12/99 <BR><BR></FONT></FONT><FONT size=3D2><STRONG>Primary Responsibi=
lity:=20
<BR></STRONG>To assume primary responsibility for the planning, preparation=
, and=20
implementation of all programs for school audiences. <BR><BR></FONT><FONT=
=20
size=3D2><STRONG>Principal Duties: <BR></STRONG>Contact teachers in =
advance of=20
their visits to confirm reservations, inform them of program policies, =
inquire=20
about pre-visit preparation, and ascertain any special needs <BR>Supervise =
the=20
daily school program representative, provide school program introductions, =
and=20
coordinate schedule changes with Site Director <BR>Inform interpreters =
about=20
content of the days tours, number of students, changes to schedule, =
content or=20
presentation <BR>Work as part of site management team to develop new =
school=20
programs, revise and enrich existing programs, customize school programs =
as=20
appropriate; <BR>To design, implement and/or supervise training of =
school=20
program interpreters <BR>To seek from and provide to interpreters =
feedback;=20
participate in the formal review process of school program interpreters =
<BR>To=20
develop, implement and evaluate pre- and post-visit materials <BR>To serve =
as a=20
liaison to schools, teachers and community <BR>To plan and develop=20
collaborative, multi-visit and/or off-site programs <BR>To serve as a =
costumed=20
interpreter and maintain awareness of interpretive material <BR>To =
continue to=20
seek professional development by attending such conferences, training =
sessions,=20
seminars, etc., as agreed upon with Site Director <BR>Assist with =
planning,=20
development and implementation of other programming as needed or =
assigned=20
<BR>Perform other duties as requested by the Site Director <BR><BR></FONT><=
FONT=20
size=3D2><STRONG>Relationships: Internal <BR></STRONG>Site director and =
all site=20
staff <BR>Director of Program <BR>School program counterparts at other HHV =
sites=20
<BR><BR></FONT><FONT size=3D2><STRONG>Relationships: External <BR></STRONG>=
School=20
administrators, teachers, and students <BR>Outside specialists and =
consultants=20
<BR>Other museum professionals <BR><BR></FONT><FONT size=3D2><STRONG>Knowle=
dge,=20
Skills, Abilities: <BR></STRONG>Working knowledge of NYS education =
curriculum,=20
American culture and history; <BR>Degree in museum studies or equivalent =
museum=20
experience; <BR>Strong organizational and communications skills; <BR>Initia=
tive,=20
resourcefulness, and creativity; <BR>Ability to work as a team member and =
under=20
pressure; <BR>Computer skills. <BR><BR></FONT><FONT size=3D2><STRONG>Work=
=20
Conditions: <BR></STRONG>General office conditions; outside work on =
site=20
<BR>Some travel to schools, conferences, and sites.=20
<BR></DIV></FONT></BODY></HTML>
--=_D8829900.12731F63--
=========================================================
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=========================================================================
Date: Mon, 13 Aug 2001 12:42:27 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Backus Heritage Village <[log in to unmask]>
Subject: Re: Neanderthal skeleton replica
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
I would contact Reseach Casting International, based out of Beamsville
Ontario.
Sorry, I don't have the contact details off hand, but they do excellent
work.
Clark Bernat
Curator
Backus Heritage Village
R.R. #1
Port Rowan, ON N0E 1M0
[log in to unmask]
www.lprca.on.ca
----- Original Message -----
From: Bronwyn Terrill <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, August 13, 2001 11:35 AM
Subject: Neanderthal skeleton replica
> Dear colleagues
>
> I have recently rejoined this list from a new position at the Dolan DNA
> Learning Center in Cold Spring Harbor, NY. As part of a new human
> genetics exhibition, I'd like to display a replica/reconstruction of an
> adult Neanderthal skeleton (articulated), but am not sure which museum
> preparatory departments or design companies would be able to perform
> this task.
>
> Advice and/or contacts would be greatly appreciated.
>
> Sincerely
> Bronwyn Terrill
> --
> Bronwyn Terrill
> Multimedia Developer
> Dolan DNA Learning Center
> One Bungtown Road
> Cold Spring Harbor NY 11724 USA
>
> Ph. +1 516 367 5186
> Fax +1 516 367 5182
> 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).
=========================================================
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=========================================================================
Date: Mon, 13 Aug 2001 12:42:16 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Mark Fowle @ INNOVA" <[log in to unmask]>
Organization: INNOVA Applied Technology
Subject: Re: Neanderthal skeleton replica
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
Bronwyn,
I would suggest that you try Exhibit Builder's Magazine. They have a Source
Book which is included with a subscription and they are also online.
I looked under Mannequins and there are several well know producers of
mannequins which should be able to do what you want.
Try this link:
http://www.exhibitbuilder.net/CompaniesByCategory3_list.asp?CategoryPKey=47&
BrandName=&CompanyName=&ContactFirstName=&ContactLastName=&SORTBY=NAME&Submi
t1=Search
or
http://www.exhibitbuilder.net/category-index3.asp
-Mark-
* Mark Fowle, General Manager
* INNOVA Applied Technology
* 2841 East 19th Street
* Signal Hill, CA 90804
* Email: [log in to unmask]
* http://www.INNOVA-AT.com/
* Phone: (800) 417-9060
* Fax: (800) 773-7694
* Providers of Interactive Solutions *
----- Original Message -----
From: "Bronwyn Terrill" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, August 13, 2001 8:35 AM
Subject: Neanderthal skeleton replica
> Dear colleagues
>
> I have recently rejoined this list from a new position at the Dolan DNA
> Learning Center in Cold Spring Harbor, NY. As part of a new human
> genetics exhibition, I'd like to display a replica/reconstruction of an
> adult Neanderthal skeleton (articulated), but am not sure which museum
> preparatory departments or design companies would be able to perform
> this task.
>
> Advice and/or contacts would be greatly appreciated.
>
> Sincerely
> Bronwyn Terrill
> --
> Bronwyn Terrill
> Multimedia Developer
> Dolan DNA Learning Center
> One Bungtown Road
> Cold Spring Harbor NY 11724 USA
>
> Ph. +1 516 367 5186
> Fax +1 516 367 5182
> 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).
=========================================================
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, 13 Aug 2001 15:03:39 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Wesley Creel <[log in to unmask]>
Subject: Re: Neanderthal skeleton replica
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
The Wenner-Gren casts of fossils hominids are excellent. I believe they are
available through the U of Penn. Casting Program. Contact the director of
the program Dr. Mann at [log in to unmask]
Wesley Creel
Administrator of Programs
Pink Palace Family of Museums
Memphis, TN
----- Original Message -----
From: "Bronwyn Terrill" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, August 13, 2001 10:35 AM
Subject: Neanderthal skeleton replica
> Dear colleagues
>
> I have recently rejoined this list from a new position at the Dolan DNA
> Learning Center in Cold Spring Harbor, NY. As part of a new human
> genetics exhibition, I'd like to display a replica/reconstruction of an
> adult Neanderthal skeleton (articulated), but am not sure which museum
> preparatory departments or design companies would be able to perform
> this task.
>
> Advice and/or contacts would be greatly appreciated.
>
> Sincerely
> Bronwyn Terrill
> --
> Bronwyn Terrill
> Multimedia Developer
> Dolan DNA Learning Center
> One Bungtown Road
> Cold Spring Harbor NY 11724 USA
>
> Ph. +1 516 367 5186
> Fax +1 516 367 5182
> 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
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>
=========================================================
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=========================================================================
Date: Mon, 13 Aug 2001 23:26:36 EDT
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "David E. Haberstich" <[log in to unmask]>
Subject: Re: Monitoring the comment book
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In a message dated 01-08-13 10:58:27 EDT, Robert Gowty aka Bernadette Jones
wrote:
<< In considering the implications of overtly offensive material being left
in the comments book, my inclination would tend towards putting up a sign of
warning as opposed to ripping or cutting out pages or even blacking out
offensive content. Irrespective of whether or not I or
others interpret these comments as offensive, their worth as Ellen Cutler
pointed to in her email is one of anthropological interest. Its merit for me
is that it is a response to the museum experience. If the most the visitor
can make out of their excursion to a museum or arts
institution is to indulge in juvenile banter then perhaps we need to look at
different ways to reach these people so as to more involve them in the museum
experience.
>>
I'm sorry, but I think putting up a warning sign about the presence of
offensive material would just draw more attention to the comment book,
encouraging contributions of even more crude, offensive remarks, feeding off
each other. Monkey see, monkey do. Do you really want your comment book to
BE the exhibit, to distract the people you're supposedly trying to reach away
from the (original) exhibit? The higher the percentage of neo-Neanderthal
obscenities, juvenile remarks, and silliness in your comment book, the less
inspired anyone will be to contribute thoughtful reactions to the exhibit.
Yes, you'll compile an "anthropological" document of some value, but much of
it will have little to do with any "response to the museum experience". On
the other hand, a comment book filled with vulgarities and inanities might
serve as a useful wake-up call to museum folks who delude themselves into
thinking they're providing a relevant learning experience to rowdy kids who
just consider museum field trips great opportunities to cut loose under
minimal supervision and try to impress their buddies with how clever and cute
they are. I realize I'm likely to take some heat for such cynicism, but I
think the kind of nonsense which we're concerned about represents a response
to a situation, not "the museum experience." I would suggest that a comment
book can be a factor which can actually compete with an exhibit and prevent
people from having a positive museum experience.
Last week I attended an art gallery opening in which a comment book was
positioned prominently. I don't think some of the superficial, mostly
favorable remarks that I saw were particularly useful, but at least they
recorded responses to the show, with nary an obscenity or gratuitous
irrelevancy in sight. That's because the event was self-filtering and a high
percentage of the people there attended because they really wanted to be
there, either (a) to view the art, (b) have a good time in a particular
ambience, or (c) both. They weren't all adults, either. By contrast, I
think many kids herded together into museums on field trips are primarily
responding to each other in a new venue and not to the museum itself.
So I'm in favor of excising the irrelevant garbage from the comment book,
while preserving it for study by anthropologists, sociologists,
psychologists, zoologists, or other appropriate professionals. I'm not
convinced that museologists will get much out of it.
Hmm. Why is it beginning to feel so warm in here?
David Haberstich
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=========================================================================
Date: Tue, 14 Aug 2001 08:50:10 +0000
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: michele jacobs <[log in to unmask]>
Subject: Fwd: Call for Papers: New Directions in Museum Anthropology
Comments: To: [log in to unmask], [log in to unmask], [log in to unmask],
[log in to unmask]
Comments: cc: [log in to unmask]
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>From: "Lee Adendorff" <[log in to unmask]>
>Reply-To: <[log in to unmask]>
>To: [log in to unmask]
>Subject: Call for Papers: New Directions in Museum Anthropology
>Date: Tue, 14 Aug 2001 16:30:23 -0400
>
>
>From AMOL's mailbox for the interest of subscribers.
>
>---------------------------------------------------
>
>Australian Anthropological Society Inc. (AAS)
>Conference 2001: 27-29 September
>La Trobe University Victoria 3086
>
> For further information go to www.latrobe.edu.au/www/socpol/aas.htm
>
>An extra session is being organised for the AAS conference...
>
>"New Directions in Museum Anthropology"
>
>The new millennium has seen an unprecedented flurry of new Museum
>exhibitions
>pertaining to Indigenous issues in Australia. Those exhibitions - for
>example,
>at Museum Victoria, the South Australian Museum and the new National Museum
>in
>Canberra - are both highly diverse and indicative of tensions in the mood
>and
>practice of museum anthropology in Australia. The tensions are not
>restricted to
>the exhibition context, but relate to a much wider context particularly
>involving issues to do with ownership, control and repatriation.
>
>This session calls for papers that address the directions museum
>anthropology
>(and associated matters) is taking in Australia at the present time. Papers
>that
>focus on both exhibitions and 'behind-the-scenes' work on collections are
>welcome, as are papers that look at associated issues to do with
>collecting,
>representation, ownership etc. outside of a strict museum context.
>
>Anyone interested in giving a paper in this session should submit a title
>and
>abstract (c. 100-150 words) ASAP to Brett Galt-Smith at the Strehlow
>Research
>Centre, PO Box 831, Alice Springs, NT 0871 - email
>[log in to unmask]
>
>
>
>
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
=========================================================
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Date: Tue, 14 Aug 2001 06:25:19 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Jim Roberts <[log in to unmask]>
Subject: Position Available, Leicester, UK
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Content-Type: text/plain; charset=ISO-8859-1
University of Leicester
Department of Museum Studies
PROJECT CO-ORDINATOR (0.75FTE):
HEROBC PROJECT
Available in October 2001 for 12 months
OR1 =A317,278 - =A322,078 per annum pro rata
Ref: E5061/MJ/GD
To develop distance learning modules addressing contemporary international
museum issues. Candidates must have excellent writing skills and experience
of successful project delivery. Museum Studies qualification desirable.
Full details from The Department of Museum Studies Jobs Desk;
http://www.le.ac.uk/museumstudies/jobsp.htm#leic
Details of the Department of Museum Studies at
http://www.le.ac.uk/museumstudies/
Application forms and further particulars are available from the Personnel
Office,
Tel: 0116 252 5114. Fax: 0116 252 5140. Email: [log in to unmask] or via
the web on http://www.le.ac.uk/personnel/jobs.
Closing date: 30 September 200
=========================================================
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=========================================================================
Date: Tue, 14 Aug 2001 08:03:43 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Jill Brush <[log in to unmask]>
Subject: Re: Monitoring the comment book
Mime-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
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I've been watching this thread with some humor, as I am monitoring the =
comment book in our newest temporary exhibit: Sinners ans Saints: Vice and =
Reform in Kansas.=20
While the topics themselves (prostitution, gambling, smoking, and =
drinking) might induce some to write offensive comments, I too find that =
it is young folks writing unrelated, "dirty" remarks in our book.
Generally, I (as the lead curator of the show) check the book every =
morning before we open and pull out those pages with unrelated, offensive =
comments. We are asking people to respond to speficic questions and so I =
am typing up the relevant comments and keeping them for our files. I put =
back the pages that have relevant, thought provoking responses in the hope =
that others will catch on. =20
As for those who would say that this is censorship or something, I can =
only say that I don't see the value in comments like "bunghole" and =
"cornhoolio" in an comment book!
Good luck!
Jill L. Brush
Jill Brush
Curator
Kansas State Historical Society
6425 SW 6th Avenue
Topeka, Kansas 66615-1099
Phone: 785.272.8681 x 425=20
Fax: 785.272.8682
[log in to unmask]
>>> "David E. Haberstich" <[log in to unmask]> 08/13/01 10:26PM >>>
In a message dated 01-08-13 10:58:27 EDT, Robert Gowty aka Bernadette =
Jones
wrote:
<< In considering the implications of overtly offensive material being =
left
in the comments book, my inclination would tend towards putting up a sign =
of
warning as opposed to ripping or cutting out pages or even blacking out
offensive content. Irrespective of whether or not I or
others interpret these comments as offensive, their worth as Ellen Cutler
pointed to in her email is one of anthropological interest. Its merit for =
me
is that it is a response to the museum experience. If the most the =
visitor
can make out of their excursion to a museum or arts
institution is to indulge in juvenile banter then perhaps we need to look =
at
different ways to reach these people so as to more involve them in the =
museum
experience.
>>
I'm sorry, but I think putting up a warning sign about the presence of
offensive material would just draw more attention to the comment book,
encouraging contributions of even more crude, offensive remarks, feeding =
off
each other. Monkey see, monkey do. Do you really want your comment book =
to
BE the exhibit, to distract the people you're supposedly trying to reach =
away
from the (original) exhibit? The higher the percentage of neo-Neanderthal
obscenities, juvenile remarks, and silliness in your comment book, the =
less
inspired anyone will be to contribute thoughtful reactions to the exhibit.
Yes, you'll compile an "anthropological" document of some value, but much =
of
it will have little to do with any "response to the museum experience". =
On
the other hand, a comment book filled with vulgarities and inanities might
serve as a useful wake-up call to museum folks who delude themselves into
thinking they're providing a relevant learning experience to rowdy kids =
who
just consider museum field trips great opportunities to cut loose under
minimal supervision and try to impress their buddies with how clever and =
cute
they are. I realize I'm likely to take some heat for such cynicism, but I
think the kind of nonsense which we're concerned about represents a =
response
to a situation, not "the museum experience." I would suggest that a =
comment
book can be a factor which can actually compete with an exhibit and =
prevent
people from having a positive museum experience.
Last week I attended an art gallery opening in which a comment book was
positioned prominently. I don't think some of the superficial, mostly
favorable remarks that I saw were particularly useful, but at least they
recorded responses to the show, with nary an obscenity or gratuitous
irrelevancy in sight. That's because the event was self-filtering and a =
high
percentage of the people there attended because they really wanted to be
there, either (a) to view the art, (b) have a good time in a particular
ambience, or (c) both. They weren't all adults, either. By contrast, I
think many kids herded together into museums on field trips are primarily
responding to each other in a new venue and not to the museum itself.
So I'm in favor of excising the irrelevant garbage from the comment book,
while preserving it for study by anthropologists, sociologists,
psychologists, zoologists, or other appropriate professionals. I'm not
convinced that museologists will get much out of it.
Hmm. Why is it beginning to feel so warm in here?
David Haberstich
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=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).
=========================================================
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=========================================================================
Date: Tue, 14 Aug 2001 08:59:34 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Katherine Palm <[log in to unmask]>
Subject: scheduling software
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We are in the process of researching computer software programs to help =
with public program record keeping. Specifically, the scheduling of group =
tours and registering individuals for classes and lectures. What programs =
can you recommend to use or to stay away from.
Thanks in advance for you help.
Katie Palm
US Botanic Garden
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Date: Tue, 14 Aug 2001 10:25:01 -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: Archives in old houses
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
As our institution looks toward getting a good, secure, organized archive
room set up, we are torn between two ideas. We are a historic house
museum, and as such are in an old structure whose timbers are from 90 to
200 years old. We have a good integrated alarm system for fire and theft,
but no fire suppression system. There is some climate control, though
that would be boosted if we were to move archives there. From a practical
point of view, it seems logical to try to find a space within our physical
building to store archives and provide space for their use. But there are
people worried about the fire risk of the building.
The other option is to rent a space 15 minutes walk away, in a modern
office building on the main street of the small coastal city we live in.
It has a sprinkler system, alarms, and better climate control - though as
things stand we wouldn't have control of the climate control. We would
have security systems installed. Either location would be fitted with
good cabinets and shelves suitable for archives, though I would explore
"fireproof" housing more deeply if the archives were to be in the museum.
Off-site would be a nuisance, as staff would have to suspend other work
any time outside researchers needed to use the archives, not to mention
the added risk of transferring papers back and forth for exhibit and
prolonged staff research.
So, any thoughts on the risks of keeping archives in a historic structure
but on our own property, as opposed to keeping them in a more modern
building with suppression integrated but less in our control and under our
oversite? I appreciate any thoughts, however random!
Thanks,
Juliette Rogers
Collections Manager/Registrar
Stephen Phillips Trust House
Salem Mass.
=========================================================
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Date: Tue, 14 Aug 2001 10:47:14 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Jay Heuman <[log in to unmask]>
Subject: Re: Monitoring the comment book
In-Reply-To: <[log in to unmask]>
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Hello Bernadette et al:
Crude messages left by unsupervised school children are not
indicative of their "museum experience" so much as their
unsupervised mischief.
What I have already written is that we keep a record of all
comments (relevant and irrelevant to the exhibition), but we
will not leave crude comments on public display. Do not
pretend that sexually explicit comments irrelevant to art
exhibitions could be interpreted by anyone as other than
crude and offensive. F***, c*** and s*** and the host of
other four letter words are wholly inappropriate for public
display -- at least in Omaha. In the Midwestern USA, such
language causes a stir in this environment -- just as the
giant breast with nipple in our painting Tom Wesselman draws
much ire from some parents who would keep the naked body
forever garbed, burn Playboy/Playgirl magazines, and delay
the "bird & bees" talk with their children as long as
possible.
Maybe these comments are of anthropological interest . . .
but that doesn't solve the short-term issue of what to do
with crude comments in a publicly accessible book. The
solution: cut those pages out, record the comments, then
dispose of them. Art museums are under no legal or ethical
obligation to save the actual comment books (or pages) for
posterity, as they do not constitute 'artwork' from the
curatorial/registrarial perspective. I suppose museums
could donate their comment books to anthropology museums . .
. or the Museum of Sex in New York. Speaking of which, I
wonder if any researchers have been hired there yet? <grin>
Sincerely,
Jay Heuman, Visitor & Volunteer Services Coordinator
Joslyn Art Museum, 2200 Dodge Street, Omaha, NE, 68102
342-3300 (telephone) 342-2376 (fax)
http://www.joslyn.org
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=========================================================================
Date: Tue, 14 Aug 2001 11:53:50 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Wiener, Wendy" <[log in to unmask]>
Subject: Re: Archives in old houses
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Juliette-
You should explore the amount of weight your floors can hold. Here at the
Octagon, an 1801 Federal period house in downtown Washington, DC, our floors
are not capable of handling heavy loads such as paper and books. We have
some collections storage onsite (chairs and other small furniture, small dec
arts such as plates and glasses, etc.). Our archives for the museum,
architectural prints and drawings, books, and other paper-based collection
objects are stored in an off-site warehouse.
Wendy Wiener
Curatorial Assistant
The Octagon
1799 New York Avenue, NW
Washington, DC 20006-5291
(202) 626-7369
(202) 879-7764 fax
www.theoctagon.org
-----Original Message-----
From: [log in to unmask] [mailto:[log in to unmask]]
Sent: Tuesday, August 14, 2001 10:25 AM
To: [log in to unmask]
Subject: Archives in old houses
As our institution looks toward getting a good, secure, organized archive
room set up, we are torn between two ideas. We are a historic house
museum, and as such are in an old structure whose timbers are from 90 to
200 years old. We have a good integrated alarm system for fire and theft,
but no fire suppression system. There is some climate control, though
that would be boosted if we were to move archives there. From a practical
point of view, it seems logical to try to find a space within our physical
building to store archives and provide space for their use. But there are
people worried about the fire risk of the building.
The other option is to rent a space 15 minutes walk away, in a modern
office building on the main street of the small coastal city we live in.
It has a sprinkler system, alarms, and better climate control - though as
things stand we wouldn't have control of the climate control. We would
have security systems installed. Either location would be fitted with
good cabinets and shelves suitable for archives, though I would explore
"fireproof" housing more deeply if the archives were to be in the museum.
Off-site would be a nuisance, as staff would have to suspend other work
any time outside researchers needed to use the archives, not to mention
the added risk of transferring papers back and forth for exhibit and
prolonged staff research.
So, any thoughts on the risks of keeping archives in a historic structure
but on our own property, as opposed to keeping them in a more modern
building with suppression integrated but less in our control and under our
oversite? I appreciate any thoughts, however random!
Thanks,
Juliette Rogers
Collections Manager/Registrar
Stephen Phillips Trust House
Salem Mass.
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Date: Tue, 14 Aug 2001 12:45:13 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Rebecca Fifield <[log in to unmask]>
Subject: Re: Archives in old houses
MIME-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Hi Juliette -
I used to work at a small historical society in a building of the same age.
Our archives were in the library on the basement floor - so timbers weren't
an issue. However, our collections storage was on the floor above, and
during our CAP survey we got nailed for floor-loading issues. Residence
buildings of that age were not meant to support shelving and certainly not
the fireproof kind.
Another thought - if these archives include collections records or other
important material - you should be keeping copies off-site or at another
building. I would especially do this because you are in a building with high
fire risk.
I would definitely push for the off-site storage. Does your museum have
connections in the town that such a space may be donated, or that somebody
may give you a price break? Good luck!
Rebecca L. Fifield
Collections Care Specialist
Department of Textile and Fashion Arts
Museum of Fine Arts, Boston
www.mfa.org
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Date: Tue, 14 Aug 2001 12:25:32 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: David Palmquist <[log in to unmask]>
Subject: Re: Archives in old houses
Comments: To: [log in to unmask]
Mime-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: quoted-printable
I would not keep original archives in a wooden building. I would keep =
copies there, on microfilm or in photocopy.
There is a third alternative: build a modern concrete slab one-room =
addition onto the back of your existing building. Install a 4-hour rated =
vault door to enter the room from your existing house. Install appropriate=
climate control and alarms. Cover the outside with clapboard or shingles =
and trim to match your original structure, and add a pitched roof or =
whatever to match. =20
This assumes your historic house is sited so that a small exterior =
addition on the rear would not be objectionable. Although it might be =
tempting, I would not build this room below ground, especially since you =
are in a coastal location.
You would only need a space large enough for the materials and shelving. =
You could provide a reading room for researchers and staff in the house =
itself, so long as you locked up all books and papers in the vault room =
each day at closing. =20
David W. Palmquist
Head, Chartering Program
NY State Museum
State Education Department
3090 Cultural Education Center
Albany NY 12230
518-473-3131
FAX 518-473-8496
e-mail: [log in to unmask]
web site: www.nysm.nysed.gov/charter/
>>> [log in to unmask] 08/14/01 10:25AM >>>
As our institution looks toward getting a good, secure, organized archive
room set up, we are torn between two ideas. We are a historic house
museum, and as such are in an old structure whose timbers are from 90 to
200 years old. We have a good integrated alarm system for fire and theft,
but no fire suppression system. There is some climate control, though
that would be boosted if we were to move archives there. From a practical
point of view, it seems logical to try to find a space within our physical
building to store archives and provide space for their use. But there are
people worried about the fire risk of the building.
The other option is to rent a space 15 minutes walk away, in a modern
office building on the main street of the small coastal city we live in.
It has a sprinkler system, alarms, and better climate control - though as
things stand we wouldn't have control of the climate control. We would
have security systems installed. Either location would be fitted with
good cabinets and shelves suitable for archives, though I would explore
"fireproof" housing more deeply if the archives were to be in the museum.
Off-site would be a nuisance, as staff would have to suspend other work
any time outside researchers needed to use the archives, not to mention
the added risk of transferring papers back and forth for exhibit and
prolonged staff research.
So, any thoughts on the risks of keeping archives in a historic structure
but on our own property, as opposed to keeping them in a more modern
building with suppression integrated but less in our control and under our
oversite? I appreciate any thoughts, however random!
Thanks,
Juliette Rogers
Collections Manager/Registrar
Stephen Phillips Trust House
Salem Mass.
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D
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Date: Tue, 14 Aug 2001 12:25:13 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: William Maurer <[log in to unmask]>
Subject: Re: Archives in old houses
In-Reply-To: <[log in to unmask]>
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The idea of having a place separate from the historic house museum for
archive space is a great one. The thought of having more room - if
affordable - is usually a dream for any historic house. I would also
consider that fifteen minute walk to the new building becoming the office
for your administration and research rather than a room within the house.
The electricity would probably support the copier and a spare computer
better than some place in the house. You would probably have more room to
spread out there too.
If you have had an office in the historic house museum, consider converting
the room back to what ever it was before. Usually you have plenty of
material and artifacts from the period to do this. If the idea of
interpreting the new room is no good - oh, no, not another bedroom! - how
about making it into a "trophy" room as we have done at Mill House. We have
taken all our "prizes" that couldn't or wouldn't be integrated or usually
displayed within the house's rooms - maps, deeds, "the denization",
genealogy charts, pictures of the house in its past lives, etc. and put them
into a gallery setting in one room. This room, by the way, was added on
after the period set aside by our Historic Structures Report. Maybe combine
a small gift shop in there.
As far as the staff going to the new site for to support someone's research,
you and I have done enough research to know that we are at the mercy of
smaller house museums and historical societies as to the use of their staff,
hours and facilities. And, as museum professionals we can certainly
sympathize with them. Set up your research hours for times that would be
convenient for both your staffing and the public and make the hours for
research well known. There might even be some volunteer who would consider
sitting in an office building, answering questions and telephones who might
not like the facilities in the house itself.
How great it must be to be able to afford and to have nearby some additional
space! Good luck.
Bill Maurer
Director
Gomez Mill House
www.gomez.org
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]]On
Behalf Of [log in to unmask]
Sent: Tuesday, August 14, 2001 10:25 AM
To: [log in to unmask]
Subject: Archives in old houses
As our institution looks toward getting a good, secure, organized archive
room set up, we are torn between two ideas. We are a historic house
museum, and as such are in an old structure whose timbers are from 90 to
200 years old. We have a good integrated alarm system for fire and theft,
but no fire suppression system. There is some climate control, though
that would be boosted if we were to move archives there. From a practical
point of view, it seems logical to try to find a space within our physical
building to store archives and provide space for their use. But there are
people worried about the fire risk of the building.
The other option is to rent a space 15 minutes walk away, in a modern
office building on the main street of the small coastal city we live in.
It has a sprinkler system, alarms, and better climate control - though as
things stand we wouldn't have control of the climate control. We would
have security systems installed. Either location would be fitted with
good cabinets and shelves suitable for archives, though I would explore
"fireproof" housing more deeply if the archives were to be in the museum.
Off-site would be a nuisance, as staff would have to suspend other work
any time outside researchers needed to use the archives, not to mention
the added risk of transferring papers back and forth for exhibit and
prolonged staff research.
So, any thoughts on the risks of keeping archives in a historic structure
but on our own property, as opposed to keeping them in a more modern
building with suppression integrated but less in our control and under our
oversite? I appreciate any thoughts, however random!
Thanks,
Juliette Rogers
Collections Manager/Registrar
Stephen Phillips Trust House
Salem Mass.
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=========================================================================
Date: Tue, 14 Aug 2001 12:53:13 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lois Herr <[log in to unmask]>
Subject: Marketing Websites
Mime-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
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Can anyone recommend any websites that deal with marketing your museum--aud=
ience research, industry data, visitation trends? Thank you for sharing =
your thoughts.
Thanks.
Bobbie Athon
Kansas State Historical Society
[log in to unmask]
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Date: Tue, 14 Aug 2001 14:15:31 -0400
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: "Anne M. Tyrrell" <[log in to unmask]>
Subject: JOB OPPORTUNITY:
MIME-Version: 1.0
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The New York State Museum in Albany, NY is seeking applicants to fill
positions to assist with moving the museum=92s history collection to a new
storage area within the same building. These are temporary positions
starting immediately and continuing through March of 2002, perhaps longer.
Job responsibilities: Assisting with packing, transporting, unpacking, and
rehousing a variety of historical artifacts. Working with professional
movers to assure the safe movement of furniture collection and palletized
boxed artifacts. Tracking and updating location changes.
Nature of Work: This job is physical and involves bending, lifting, and
pushing carts, etc. Employees must be able to stand for long periods of
time and be able to work quickly and accurately in a team environment.
Thoroughness and flexibility are important.
Qualifications: Prefer some experience in handling museum objects, computer
skills, and good organizational skills. Must be able to work days or
evenings, some Saturdays, and possible overtime.
Salary: $10.00 per hour. Regular work week consists of 37.5 hours. Any work
done over 40 hours a week will be paid at an overtime rate of time and a
half.
Send letter and resume to:
Christina M. Phillips, Move Coordinator
Room 3021, New York State Museum
Cultural Education Center
Empire State Plaza
Albany, New York 12230
Phone: (518) 473-4559
Fax: (518) 473-8496
E-mail: [log in to unmask]
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Date: Tue, 14 Aug 2001 13:05:32 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Lisa Mort-Putland <[log in to unmask]>
Subject: Please share with members and colleagues
MIME-Version: 1.0
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Cultural Resource Management, University of Victoria is pleased to offer the
following immersion and distance education courses:
Making Museums Matter
September 13 - 15
Immersion Session
Stephen E. Weil, one of the museum community's pre-eminent thinks, provides
the framework for a facilitated three-day discussion in which you work with
directors, trustees and colleagues who shape change in museums.
Fee: $340 (non credit)
Please register by: August 17
Memory and Narrative in the Museum
September 24 - 29
Immersion Session
Oral histories can provide a powerful and evocative means of capturing and
reflecting community memories and perspectives within the museum context.
This new course focuses on the complex, often sensitive process of
documenting historical and cultural memories through personal accounts and
incorporating these narratives in curatorial and educational practice.
Roberta Kremer, Ph.D. is the Executive Director of the Vancouver Holocaust
Education Centre
Fee: $560
Please register by: August 31
Heritage Conservation Project Management
October 22 - 27
Immersion Session
This course focuses on principles, techniques, experiences and resources in
the management of heritage conservation projects. Project management theory
and practice are addressed, with a pragmatic bias, through the discussion of
case studies that emphasize conservation projects at the municipal level in
Canada and abroad. Harold Kalman, Ph.D. is Principal, Commonwealth Historic
Resource Management Limited.
Fee: $560
Please register by: October 1
Managing Cultural Organizations
November 5 -10
Immersion Session
In times of significant change museums, galleries and other cultural
institutions need a clear sense of mission, achievable goals, effective
leadership, and thoughtful management. This course explores the complex
forces that are re-shaping the cultural sector and considers the value of
'performance measures' as a framework for applying principles and practices
that foster relevant and successful cultural institutions.
Fee: $560
Please register by: October 9
Museum Principles and Practices
September 17, 2001 - April 26, 2002
Distance Education
This print and web based course explores the traditions of the museum
profession along with the evolving roles and functions of museums in
contemporary society. Course materials address the relationship of museums
and communities, curatorship, collections and information management,
preventative conservation, public programming, exhibition planning, and
governance and management.
Fee $630, includes tuition of $430 and a program fee of $200. Other charges
may include: shipping fees to locations outside Canada or the US. $100; and
texts, $63.94 plus tax.
Please register by: August 29
Principles and Practices on Heritage Conservation
September 17, 2001 - April 26, 2002
Distance Education
This survey of the dynamic field of heritage conservation provides you with
an understanding of the evolution of the conservation movement, the ethical
and legal contexts for conservation, and the technical and organizational
foundations of professional practice.
Fee $630, includes tuition of $430 and a program fee of $200. Other charges
may include: shipping fees to locations outside Canada or the US. $100; and
texts, $70.90 plus tax.
Please register by: August 29
Curatorship and Community
October 9, 2001 - January 25, 2002
Distance Education
This new distance education course examines the history, attitudes,
knowledge and skills that underlie this shift in curatorial role and
practice. Instructors: Carol Mayer, Ph.D., is Senior Curator of the
University of British Columbia Museum of Anthropology, and Elizabeth Kidd,
M.A./ is Arts Programmer at the Roundhouse Community Centre in Vancouver.
Fee $560; shipping fee of $60 outside Canada and the US.
Please register by: September 7
Conserving Historic Structures
October 15, 2001 - February 1, 2002
Distance Education
This innovative distance course enhances an understanding of the complex
characteristics of heritage structures, systems and materials, and provides
frameworks for planning appropriate conservation processes. To participate
you must have completed senior level course-work in heritage conservation or
have two years practical experience in conservation or preservation.
Fee $560 plus $50 text fee=$610; shipping fee of $60 outside Canada and the
US.
Please register by: September 21
Please contact us if you require further information or visit the web site
for course outlines, information about instructors, and admission and
registration forms at www.uvcs.uvic.ca/crmp <http://www.uvcs.uvic.ca/crmp>.
Cultural Resource Management,
Division of Continuing Studies, University of Victoria
Tel: (250) 721-8462
Fax: (250) 721-8774
e-mail: [log in to unmask]
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=========================================================================
Date: Tue, 14 Aug 2001 14:38:25 -0700
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: Roy Hemmat <[log in to unmask]>
Subject: Re: Marketing Websites
In-Reply-To: <[log in to unmask]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Visitor Studies Association:
http://museum.cl.msu.edu/vsa/
This is a wonderful resource:
http://www.museummarketingtips.com
Also, my own site http://www.museumstuff.com is certainly worth a look.
(winner, Best E-Services solution for Museums at the Museums and the Web
conference this year, I shamelessly add.)
For more resources, check out the "professional" area of museumstuff. Try
searching for words like "visitor", "research", and other likely topics.
I've collected quite a number of links over the past 2 years, and even I'm
surprised by what I have packed in the database .. Also, I have a directory
page dealing with websites that specifically promote/list museums .. which
can be found at
http://www.museumstuff.com/professional/resources/museums_online.html
I also have a page "somewhere" .. devoted to trends in museums (collected
as research for a recent article I consulted on). I'll try to dig that up
as well ..
Roy Hemmat
[log in to unmask]
http://www.museumstuff.com
>Can anyone recommend any websites that deal with marketing your
>museum--audience research, industry data, visitation trends? Thank you
>for sharing your thoughts.
>
>Thanks.
>
>Bobbie Athon
>Kansas State Historical Society
>[log in to unmask]
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Date: Tue, 14 Aug 2001 20:05:09 -0500
Reply-To: Museum discussion list <[log in to unmask]>
Sender: Museum discussion list <[log in to unmask]>
From: zahava doering <[log in to unmask]>
Subject: Monitoring the Comment Book
MIME-Version: 1.0
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Another idea ...
Comment books serve several functions, among them is the opportunity for different visitors to ëtalkí to the institution, another is to ëtalkí to each other. To capitalize on letting visitors talk to the institution, consider an alternative to comment books: Comment Pages. In
several instances, we have suggested the use of old-fashioned notepads (8.5"x11") and a nearby ëmailboxí as a way of letting visitors communicate with the museum. Visitors are asked to write comments on a page, tear it off and insert it in the box. This gives you reactions from
a visitor, uninfluenced by other comments, and eliminates the ëoffensive languageí problem. Some museums have taken this a step further and printed comment pages with a request for comments at the top and asking a couple of simple question on the bottom. We find that knowing the
residence of the visitor, if they are making a first or repeat visit, gender and age can add a dimension to the commentís interpretation. Iíve also seen a version of this where the pad was on a small desk with a mail drop in the top.
Finally, for a discussion of what to do with comments ? and their advantages and disadvantages, you might want to checkout Pekarik, A. J. (1997). Understanding visitor comments: The case of Flight Time Barbie. Curator, 40(1), 56-68.
Zahava D. Doering
Smithsonian Institution
[log in to unmask]
>
>
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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Another idea ...
<p>Comment books serve several functions, among them is the opportunity
for different visitors to ‘talk’ to the institution, another is to ‘talk’
to each other. To capitalize on letting visitors talk to the institution,
consider an alternative to comment books: Comment Pages. In several
instances, we have suggested the use of old-fashioned notepads (8.5"x11")
and a nearby ‘mailbox’ as a way of letting visitors communicate with the
museum. Visitors are asked to write comments on a page, tear
it off and insert it in the box. This gives you reactions from a
visitor, uninfluenced by other comments, and eliminates the ‘offensive
language’ problem. Some museums have taken this a step further and
printed comment pages with a request for comments at the top and asking
a couple of simple question on the bottom. We find that knowing the
residence of the visitor, if they are making a first or repeat visit, gender
and age can add a dimension to the comment’s interpretation. I’ve
also seen a version of this where the pad was on a small desk with a mail
drop in the top.
<p>Finally, for a discussion of what to do with comments ­ and their
advantages and disadvantages, you might want to checkout Pekarik, A. J.
(1997). Understanding visitor comments: The case of Flight Time Barbie.
Curator, 40(1), 56-68.
<br>
<p>Zahava D. Doering
<br>Smithsonian Institution
<br>[log in to unmask]
<br>
<blockquote TYPE=CITE><a href="http://www.joslyn.org"></a>
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