Collections Management Research Papers - Academia.edu (original) (raw)

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- Criminology, Criminal Justice, Police Science, Forensic Science
- by Charlotte Smith
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- Historical Archaeology, Collections Management, Collections

Artikel omhandler udgraving og konservering af et depotfund fra Yngre Bronzealder fundet på Østfyn i Danmark.

The ‘Wifredo Lam’ Contemporary Art Center, in Havana, Cuba, is the stakeholder of a valuable cultural heritage produced during the Havana Biennials, since 1984. Although the study and care of the collection is a priority of the institution, the staff in charge does not have specialized training in conservation and has not been able to maintain an adequate storage space or a complete registration system. All of which has caused the loss of information and, in many cases, of the artworks’ physical integrity. The characterization of the collection, in particular of twenty-two art installations, allowed defining this as the most vulnerable section, due to the works’ conceptual and material complexity and the difficulties for their storage and display.
This presentation included some results from exploring documentation models for contemporary artworks, including methods for communicating with artists. Gathering the views and experiences of museum professionals, curators, and artists, was essential to reconstruct the “biography” of the artworks examined. Most of the artists in the collection reside outside the country and given the current limitations in Cuba, including access high-speed internet connections that would allow conducting virtual interviews, it was necessary to establish the communication through online email questionnaires. These allowed obtaining information on some of the artists’ creative processes and approaches towards the conservation of their work, becoming a starting point towards establishing the communication between the institution and the artists in its collection, with the participation of a conservator, as a crucial practice in the process of making decisions about the care and display of the artworks to preserve their authenticity.

- by Salomé García Bacallao and +1
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- Installation Art, Contemporary Art, Collections Management, Collecting and Collections
- by Melanie R . Korn
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- Archaeology, Ornithology, Collections Management, Heritage Conservation
- by Melanie R . Korn
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- Ornithology, Collections Management, Art Conservation, Preventive conservation
- by Stefan W Michalski
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- Museum, Collections Management, Art Conservation, Objects Conservation

Hallel. Carmel. Bezalel The Exhibitions: Halel. Carmel Winery 'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School These two exhibitions: "Halel. Carmel Winery" and "'Judaica Now!': Goblets and Kiddush Cups of the Bezalel... more

- by Shirat-Miriam Shamir and +1
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- Business, Art History, Jewish Studies, Design
- by Dianne Fitzpatrick
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- Near Eastern Archaeology, Collections Management

CCI is developing a computer model of collection value, in order to clarify risk based decision making. A fundamental design issue is the accrual of value over time, and the weighting of the future by the “social discount curve.” In the process of exploring this problem, the history of ideas in utilitarian moral philosophy over the last 200 years was found to provide useful clarity and terminology. An Analytica™ model of collection value over time is presented, with a preliminary study of the role of discount rate and multiple values on preservation decisions.

- by Stefan W Michalski
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- Collections Management, Art Conservation, Objects Conservation, Museums

The results presented here are from a pilot project using QR labels, apparently for the first time in museum collection management. This new method for labelling significantly enhances collection management, enabling more information to be recorded than any other method on very small labels (from 1.5 cm) that can be read by a mobile smartphone.
QR labels have already been used in museums for displayed specimens, but it is shown here that they also have value in the management of reference collections, research, and loans.

- by María Consuelo Sendino Lara
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- Digital Museum, Collections Management
- by Christine Lorre
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- Museum Studies, Collections Management, History of Museums, Museology

The Future of Digital Data, Heritage and Curation critiques digital cultural heritage concepts and their application to data, developing new theories, curatorial practices and a more-than-human museology for a contemporary and future world. Presenting a diverse range of case examples from around the globe, Cameron offers a critical and philosophical reflection on the ways in which digital cultural heritage is currently framed as societal data worth passing on to future generations in two distinct forms: digitally born and digitizations. Demonstrating that most perceptions of digital cultural heritage are distinctly western in nature, the book also examines the complicity of such heritage in climate change, and environmental destruction and injustice. Going further still, the book theorizes the future of digital data, heritage, curation and the notion of the human in the context of the profusion of new types of societal data and production processes driven by the intensification of data economies and through the emergence of new technologies. In so doing, the book makes a case for the development of new types of heritage that comprise AI, automated systems, biological entities, infrastructures, minerals and chemicalsall of which have their own forms of agency, intelligence and cognition. The Future of Digital Data, Heritage and Curation is essential reading for academics and students engaged in the study of museums, archives, libraries, galleries, archaeology, cultural heritage management, information management, curatorial studies and digital humanities.

- by Fiona Cameron
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- Digital Humanities, Museum Studies, Cultural Heritage, Digital Media

Graeme Scott, Margrit Reuss, Retno Sulistianingsih
The National Museum of Indonesia in Jakarta (MNI) and the National Museum of Ethnology in Leiden, The Netherlands (MV) have completed two three-year projects to transfer skills and knowledge between the staff of the two museums and to study their joint collection history. Two exhibitions were created and the institutions cooperated on the reinstallation of the permanent exhibitions at the MNI. The conservation departments worked together, packing loans, preparing and mounting objects and reviewing preventive conservation strategies. Approaches to preventive conservation, treatment and storage were adapted to local circumstances.

- by Farideh Fekrsanati
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- Conservation, Collections Management

Lorente Algora, M. y J. Fabre Murillo (Coords.) 2009

- by Jose Fabre Murillo and +2
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- Cultural Heritage, Documentation, Collections Management, Museology

Over the past 25 years, preventive conservation has increasingly employed risk management techniques to guide decisions on resource allocation within collection management. Risk management focuses on reducing loss of value to collections. This paper introduces the concept of developing value as an equal choice in collection management, thus allowing collection management decisions to be made amongst a broader set of stakeholders bearing the potential for better buy-in for resource allocation. The concept of value assessment has been used to develop a framework for increasing such values. Within the framework, a number of 'development types' typically found in heritage collections are described. Once identified, options for developing value can be considered, weighed up against options for reducing value loss, and decided upon. Thus turning collection management into value management. This approach allows informed decision making and thus effective use of resources in an institution wide context.

- by Agnes W Brokerhof and +1
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- Cultural Heritage, Collection Development, Collections Management, Heritage Conservation

this article introduces the reader to the considerations that had to be taken when cleaning and refreshing two of its large display cases at the Jewish Museum of Greece. The staff of the museum planned in advance, ensuring the safety of the objects and staff. eventually it is natural for unpredicted problems to occur in the real time process. The Museum acknowledged the convenience of the visitor pathway and, moreover, granted visual access to the treatment actions by encouraging communication with the working staff, enriching the visitor experience. The process was beneficial for evaluating the staff's teamwork and the production of a record, and a methodology to be followed for other display cases of the museum and potentially by other institutions.

Storage space is a major concern for most museums all over the world, yet practical guidance to assess current space usage or future space needs may not be entirely adapted to the needs of non-specialized users. Six published storage space estimation methods are reviewed, compared and tested on a sample storage area, revealing that further guidance to elucidate key concepts and reduce uncertainty is needed.

This is the 2019 English translation by Louise Sire-Nieman of the Dutch guidelines for museum lighting that were published by ICN in 2005. These guidelines obviously lean heavily on the work by Stefan Michalski from CCI and follow the Canadian and CIE line of thought. They served well in the Netherlands to push the shift from number-standards ('50 lux') to process-standards and risk-based thinking (how much change do you accept in how much time that will give you a light dose and the possibility to play with intensity and duration of exposure).
This brochure was never published in English because Stefan Michalski and colleagues have said it all in their own language (see the CCI website's 'Ten Agents of Deterioration'). However, during her internship in the Netherlands Louise came across the brochure and used it to develop a lighting policy for objects at Teylers Museum (Haarlem). She found it very useful and undertook the task of translating the brochure so that fellow students can use it as well.
Although developments in museum lighting have continued since the date of the original publication, the information and procedure to design a lighting policy in the brochure are still valid.
I am grateful to Louise for the great work she did and I hope that the Light Lines can help you develop responsible museum lighting. As an addition to the good publications that are out there already.

- by Agnes W Brokerhof
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- Collections Management, Preventive conservation, Museum Lighting

Resumo: A pesquisa objetiva apurar como os processos constituintes da gestão de acervos são apresentados por uma política de gestão de acervos brasileira. Para isso foi selecionado o primeiro resultado referente ao assunto recuperado em um buscador na web, sendo este analisado de forma qualitativa. Observou-se que o documento estabelece relações entre os processos de gestão de acervos listados em seu conteúdo direta e indiretamente. Também que é uma fonte de informação para o público e para a equipe contendo informações técnicas e culturais. Conclui-se que o documento apresenta uma preocupação da instituição com a preservação do acervo sob sua custódia, condição do processo de musealização de objetos. Palavras-chave: Musealização. Política de gestão de acervos. Resumen: La investigación tiene como objetivo determinar cómo los procesos constitutivos de la gestión de las colecciones se presentan en una política de colección brasileña. Para esto se realizó un estudio en un buscador web. El primer resultado relevante recuperado se analizó cualitativamente. Se observó que el documento establece las relaciones entre los procesos de gestión de colecciones enumeradas en su contenido. También que es una fuente de información para el público y para el equipo conteniendo información técnica y cultural. En conclusión, el documento presenta una preocupación de la institución para preservar la colección en su custodia, condición del proceso de musealización de los objetos. Palabras-clave: Musealización. Política de gestión de colecciones.

- by Raquel Augustin
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- Museum Studies, Collections Management, Museus, Gestão De Acervos

Apresentação do dossiê "Acervos Museológicos em Ambiente Digital" da Revista "Museologia & Interdisciplinaridade" da Universidade de Brasília.

In the past decade the museum sector has had to adapt to financial and political changes, lack of resources, demand for more professional practice from the sector, and increasing expectations from visitors and funders. The Museums Association has encouraged discussion and debate on the use of museum collections, and disposal was deemed one method by which museums could make collections more effective. The increasing use of disposal as an aspect of responsible collections management is an acknowledgement of these sector changes, and the Museums Association Code of Ethics, the Disposal toolkit, and the UK Accreditation Scheme all promote transparency and openness throughout the disposal process. Three case study museums were chosen according to their use of transparency and disposal, the size of the institution and their form of governance, and location. The three case study museums represent different approaches to transparent disposal in UK museums, and all at different points in the disposal process: The National Maritime Museum in London, York Museums Trust in Yorkshire, and Rutland County Museum in Rutland. For museums, being transparent may mean being open with the media, or consulting stakeholders’ opinions; this is done in order to help the museum manage public relations and maintain public confidence in museums, which is vital since museums are considered stewards of the collections they hold in trust for public benefit. Transparency is also a method of creating awareness and building support among members of the public and stakeholders. In order to make efforts at transparency most effective, it must be part of a larger culture of transparency within the museum, and characterized by a commitment and willingness to be transparent and open in discourse.

- by Rachel Smith
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- Collections Management, United Kingdom, Deaccessioning, Public Policy

When the October 21, 1898, the letter bearing the n°534 of
registration of the Service des Antiquités, signed by the
Director General Victor Loret during his term as from 1897 to
1899, left the Palace of Giza to be delivered, six days later at
the Museum of Samos, a new link came strengthen the
already intimate relationships between Egypt and Greece

While reanalyzing collections rather than conducting new excavations is generally considered “unsexy” in archaeology, the collections crisis the discipline is facing dictates that older collections be used more frequently for new research. Difficulties in reestablishing collections’ contexts can be formidable obstacles, but the results can be incredibly rewarding. New studies can reinvigorate old research and produce insightful information for different historical contexts that were not previously examined. For instance terrestrial archaeology in Pensacola, Florida has almost exclusively focused on the city’s rich colonial past, while the city’s more recent American history remains largely unstudied by archaeologists. This paper will focus on the on-going reanalysis of collections of Pensacola’s red light district, and the titillating insights that are emerging from part of the city’s overlooked past.

- by Jackie Rodgers
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- Archaeology, Historical Archaeology, Collections Management, Gender and Sexuality

Which measures are most effective to reduce the likelihood of water damage in the museum? Does the lighting of the print collection need adjusting? Does the museum really need complete climate control? Every day collection managers have to decide how to best let the public enjoy our cultural heritage. They weigh the benefits of collection use against the risks for preservation. When resources are limited it is essential to allocate them such that threats of degradation can be minimalized as effectively as possible. Risk management offers a practical and useful approach for comparing the options and setting priorities. With this publication the Cultural Heritage Agency of the Netherlands hopes to provide the knowledge that is required to analyse and manage risks to collections.

SAUDI ARAMCO, THE LARGEST oil production company in the world, aimed high by breaking ground on the King Abdulaziz Center for World Culture (the Center) in 2008. In its iconic building in the Eastern Province of the Kingdom of Saudi Arabia (KSA), the Center embraces a museum with four galleries: contemporary Arab art, Saudi culture, heritage and generations, Islamic civilization, and Saudi natural history. Its aim is to become the cultural messenger communicating KSA to the rest of the world and vice versa.
In his current position as head of collections and conservation at the Center, the author aims to create a high-level cultural database from all regions of KSA. The aim is to document KSA’s regional variety of materials, designs and techniques related to textiles, embroideries and costumes.1 Ethically documented tangible and intangible heritage, materials, designs and techniques as well as oral traditions – including culturally sensitive terminology – are all fundamental parts of the ideas to be materialized during the execution of the project. Furthermore, the aim of the project is to assist the Center’s selective collection of representative objects of Saudi culture with clear provenance and their display in the museum galleries. This chapter will start by outlining this project, and then discuss some of the aspects in more depth, including available literature, cultural issues of language and community involvement, and practical aspects of documentation of collections.

- by Konstantinos Chatziantoniou
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- Textiles, Educational Research, Collections Management, Saudi Arabia

Se presenta las técnicas que existen actualmente para los estudios de biodiversidad y conservación de mariposas,
se explica como se deben recolectar y preservar, qué tipo de trampas se pueden utilizar, metodologías de
muestreo, cómo se pueden observar, qué técnica se utiliza para el estudio de los órganos genitales y la venación
de las alas; así mismo cómo es el procedimiento para el extendido de sus alas. Se indican los tipos de muebles y
cajas en que se deben guardar las mariposas en una colección biológica, las etiquetas que deben llevar una vez
son incluidas en una colección, así como el color de las etiquetas que identifican los tipos y se finaliza indicando
el método y la forma de hacer fotografías de ejemplares debidamente preservados.

- by Efrain Henao Bañol
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- Collections Management, Collecting and Collections

The session will cover archival methods for labeling and tracking objects within a collection. Attendees will learn about materials and methods used to apply labels to artifacts made of inorganic (ceramics, stone, bone) and organic (basketry, textiles, plastics) materials. The program will also cover methods used to track objects in a collection using bar codes and radio frequency identification (RFID).

- by Vanessa Muros
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- Collections Management, Heritage Conservation, Art Conservation

Penyiangan merupakan bentuk pengembangan koleksi perpustakaan terhadap koleksi yang dianggap sudah tidak layak dilayankan baik secara isi maupun fisiknya. Tujuan utama dari penyiangan ialah menemukan dan menganalisis ketersediaan serta... more

- by Stefan W Michalski
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- Collections Management, Art Conservation, Painting Conservation
- by Ian Witten
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- Digital Libraries, Collections Management, User Interface, Digital Library

In this article, chipped stone raw materials from the Garrett Allen site are discussed, with emphasis on the stone tools. As indicated by Eckles (2013), who discussed the history of investigations and chronology, this is one of several articles to be presented on various aspects of the site’s artifacts. One of the remarkable aspects of the site is the variety of chipped stone raw materials. There are varieties of flint, chert, agate, jasper, chalcedony, petrified wood, orthoquartzite, metaquartzite, quartz, silicified shale, clinker, non-volcanic glass, obsidian, and basalt from many parts of Wyoming and surrounding states. The diversity of raw material types is present throughout the cultural deposits. There is no knappable tool stone on site; the only rocks are small fragments of drab, buff-gray sandstone. All culturally manipulated lithic materials were therefore brought into the site, many from considerable distances. The site is located on private land in southeastern Carbon County, Wyoming at the northern end of the Medicine Bow Mountains and southern edge of the Hanna-Carbon Basin. It is within a homoclinal valley near the perennial Quealy Spring. Deposits are primarily alluvial, derived from the surrounding geological formations (Hayter 1981:31).

- by Adam Guinard
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- Archaeology, Prehistoric Archaeology, Geology, Collections Management