Museum Functions A good museum attracts entertains arouses

Museum Functions “A good museum attracts, entertains, arouses curiosity, leads to questioning and thus promotes learning. It is an educational institution that is set up and kept in motion—that it may help the members of the community to become happier, wiser, and more effective human beings. ”

Museum Functions v Collection v Preservation/Conservation v Research v Exhibition v Education/Interpretation

The Collection v Most important aspect of a museum. All other functions are tied to the collection. v Usually follows a general theme (defined by a mandate). v Everything that enters the collection stops being an everyday object and is treated according to the COLLECTIONS MANAGEMENT POLICY.

Collections Management Policy. . . refers to the continual responsibility of an institution to care for, monitor, and manage its collection…. And the information that accompanies it. It should cover: v Acquisitions v Themes/sections of your museum. v Staff responsibilities v Preservation v Research use/access

Preservation/Conservation v Realistically, you can't preserve an artifact forever. v It is still up to the museum to ensure that it lasts for as long as possible—i. e. , past your own lifetime, for future generations. v Every action taken must be considered for the long term.

Preservation/Conservation Important aspects of preservation: v Monitor movement and condition carefully v Security: protection, risk assessment, etc. v Understand your specific museum environment v Treat well in storage v Principle of reversibility

Research The research function refers to both research within the museum about artifacts, and also making that information accessible to researchers outside the museum. v Important that info is not lost with those who hold it. v Starts with: Asking the donor questions v Doesn't really ever end. Keep building on research from many other sources. v Also important that good records are kept for outside researchers.

Acquisitions An acquisitions policy controls what you do or do not accept, and how. Re-read your policy once in awhile for a refresher. It also deals with how information is documented, who will do the collecting, how loans will be handled, and what will happen to objects that are determined unsuitable.

Acquisitions A good policy defines what qualities an object must have to be accepted, in categories such as these: v Historical significance v Geographic region v. Time period v Condition of objects v Use of duplicates

Historical Significance “A historically significant object contributes to a clearer understanding or interpretation of some former custom, activity, episode, or personality. The extent of this contribution depends upon 1) its documented individual history; 2) its physical character and condition; 3) the nature of the historic period or episode with which it is associated. ” Note: You can assess #2 by looking at the object, but #3 and most importantly #1 involves asking as many questions as possible of the donor.

Other Qualities v Relevance to the time period and geographic region. v Good Condition; objects in very poor condition can take too much time, money, and effort. v Not a duplicate. Note: Duplicates may be acceptable if one is in better condition, or for part of a “study collection. ”

v. Be Selective: You can’t (and don’t have to) take care of everything. v It can be hard to refuse donations in small communities. Having a policy as an explanation can make it easier. v. You can still accept an object without knowing everything about it. More research can be done at a later date.

Who Accepts? The policy defines WHO ultimately accepts artifacts, and the procedures for doing so. EXAMPLE: v Donor drops off artifact to whomever is working. v They sign transfer of ownership form; tell them they will be contacted about their donation when a decision is made. v Object is brought to the attention of the collections committee (or the director, curator, etc).

Deaccessioning v Acquisitions policies also deal with deaccessioning. v Artifacts that have been found to not meet the criteria of your policy can be deaccessioned. v The policy notes what should happen to these objects. Example, in order of preference: v Exchange for another artifact at another museum v Donate to another museum or public institution v Sell it v Keeping it in the public sphere is important, but some institutions will also give the donor’s family the option to get it back.

Transfer of Ownership v Legal document that ensures you have full rights to a donation. v Without this, and a valid signature, the museum can run into problems in the future. v These forms include space for: v Donor’s name v Address/phone number v Description of property v Provenance/history questions* v Terms and Conditions v A place to sign

When a donor comes in… Paperwork and legalities must be taken care of. v Get a signed transfer of ownership form. v All documentation makes clear that the donation becomes museum property, and gets all rights. v Make sure the object is being DONATED, not LOANED. v Let the donor know the object may not be accepted. v Make sure everything is properly filled in on forms. Get up to date contact information. v Give donor a copy. This acts as a receipt.

Loans Acquisition policy should clearly define your position on loans. v Cannot use the transfer of ownership form for a loan. v Long term loans are discouraged—you are spending time and money on objects that are not the museum’s and may never be. v A donor cannot insist on special terms for his/her donation. A transfer of ownership form gives the museum ALL rights, not some. v Try to make the donor reconsider in the case of special terms or loans.

Loans However, Short term loans are good. They can enhance exhibits and displays. Short term loans from community members can also be beneficial. Loans like these can be kept track of in Past. Perfect.

Documenting Provenance - Along with transfer of ownership, you must record the history of the artifact —the provenance. - If the donor cannot tell you everything immediately, get their contact info (and give them yours). v Write everything down. v Use the transfer of ownership form or another attached sheet. v Ask for proper spelling if needed. v Keep all info with the collection record (enter into Past. Perfect in the right fields. )

Questions to Ask v. What is the object? v What was it traditionally used for? What did the person who owned it actually use it for? v. Is the object homemade? If so, what is it made from? v. Who owned it previously? Where did they live? What did they do? v. When did they get the object? v. How did you come to acquire it? Was it passed down through the family? v. How much would it have cost at the time of its purchase? v. Was it involved in any significant event? Are there any stories that involve the object? v. If there any noticeable markings or wear on the object that don’t seem to be original, how did they get there? From day-to-day use? From something else? v. How is it tied to the community? v. Why is it being donated?

Evaluating New Donations v. Donations must be evaluated to determine their suitability for inclusion into the collection v Bring to the attention of the director/curator v Collections committee determines whether to accept or reject

Collections Committee 1. Appointed by the governing body of the museum 2. Membership may include 1. 2. 3. 4. Curator or director Other relevant staff, such as a collections manager/registrar One or more board members Knowledgeable members of the public 3. Evaluates donations in reference to the museum’s mandate and collections management/acquisition policy

Questions to Ask 1. Does the donation fit the museum’s mandate? 2. Has all relevant provenance information been provided with the donation? 3. Is the donor legally entitled to give the item to the museum, and if so has the donor signed over all legal and copyrights to the museum? 4. Are there restrictions attached to the donation? 5. Does the donation duplicate items already owned by the museum? 6. Can the museum properly care for and preserve the donation? Will the museum be able to pay for any necessary conservation treatment?

Donation Accepted v. Collections Committee signs off on a donation and accepts it into the museum’s permanent collection. v. Donor is sent a letter acknowledging receipt of the donation into the museum’s collection. v. Accession donation.

Donation Rejected v. Collections Committee signs off on a donation and declines it for inclusion into the museum’s permanent collection. v. Follow rejection process as outlined in the museum’s collections and acquisition policies.

Typical Rejection Process v. Inform donor by letter of the committee’s decision v. Offer donation back to donor, to be picked up at donor’s expense v. If the donor does not want the donation back, and has clearly signed over legal title to the museum, the next step should be to offer it to another institution, one whose mandate better suits the donation in question v. In a case where there is no other museum or institution interested in the item, it may be offered up for sale v. When all these steps have failed, the item may be discreetly destroyed v. Under no circumstance may museum employees take or purchase the rejected donation for themselves

Accession Register v. The accession register is a sequential record that lists every object in the museum’s collection. v. Entries are made in chronological order, as each object is entered at the time is was accepted by the museum. v. The register is one of the most important documents as it establishes the museums legal rights to its collection.

Each Entry Should Include: v. The accession number v. The number of objects associated with that accession number v. The name of each of the objects (with a brief description) v. The mode of acquisition (donation, purchase) v. The name and address of the source

The Accession Number Using the accession number 1998. 05. 17 as an example, it is broken down as follows: 1998 Refers to the year the object was accessioned. 05 Indicates the object was part of the fifth accession accepted in 1998. 17 Indicates the object was the seventeenth one in that accession

Accession numbers can also accommodate pairs, sets, and parts of objects by using additional numbers and capital letters. Example: v A pair of shoes can be assigned 1997. 04. 01 A-B v A series of 8 prints in a portfolio can be assigned v 1978. 02. 01 through to 1978. 02. 08 v A teapot with lid can be assigned 1985. 09. 1 A-B Note: Pairs and component pieces of an object use letters; sets are done using additional numbers

Marking the Numbers v. Use Materials and techniques that are longlasting but removable. v. When using ink, make sure it contrasts with the object for visibility. v. Write the number legibly. v. Put numbers in inconspicuous locations. v. Do not place number in location where it receives wear or friction. v. Write numbers separately on all detachable parts of an object.

What not to use Do not use permanent, unstable, or toxic materials such as Typewriter correction fluid (white out) Self-adhesive labels Scotch tape, or masking tape Straight pins, or safety pins Paper clips (metal or plastic) Staples

The Master File A master file is established for every accession. It contains curatorial and collections management information relating to the object. Files are organized by numerical order by accession number.

Collections Management Data All information relating to the objects registration including the temporary deposit receipt gift arrangement or bill of sale correspondence appraisals other documentation.

Curatorial Data v. Records obtained from the source, photographs, letters, newspaper clippings, price lists, or other published information relating to the object. v. Curatorial data can continue to be added to the file once the object is accessioned (research notes, condition reports, conservation treatments, and exhibit catalogues).

Cataloguing v. Catalogue Record: Catalogue records are the primary source for documenting and retrieving information about objects in the collection. v. Museums should ensure it had catalogue records for every object in its collection. Information that relates to the object’s context (its historical, cultural or natural environment is essential for interpretation.

The Catalogue record includes: v Descriptive Data: Descriptions can include information on the objects materials, measurements, condition, manufacturer or creator, fabrication techniques and cultural context. v Origin/ Use Data: Information on the country or cultural origin, as well as history on how the object was used or modified over time. v Dating Data: Specific years can be assigned when fabrication was known to have occurred, or within probable or actual time frame (e. g. . 1920 -1940).

Research is one of the principle areas of museum work. Research activities focused on the collections can provide a thorough knowledge of the museum’s holdings, and provide additional opportunities for collection care.

Questions to aid in the Research Process v How has it been acquired? v If a natural specimen, where was it found? v Can the history or provenance be traced? v What is its physical composition? v What do documentary literature sources reveal about it? v Can living authorities comment on it?

Classification System v. One of the purposes of cataloguing is to provide a basis for grouping similar or related objects together. v“The Revised Nomenclature for Museum Cataloguing” classifies objects according to their original function. The system consists of a hierarchical series of categories, subcategories and controlled vocabularies of classification terms.

Photography v. The goal when photographing an artifact is to get as accurate a representation of the object as possible. Things to keep in mind are: v v Backdrop Lighting Exposure and depth of field Subject placement

Preservation Management v. Human error and accident is one of the primary causes of damage to artifacts v. Preventive conservation must start with proper care and handling techniques v. Good handling techniques should not necessarily be equated with common sense. Many proper techniques require specialized knowledge of how materials interact with each other and the surrounding environment

Basic Rules for Handling Objects v. Handle only when absolutely necessary v. Handle only one object at a time, or multiple small objects in a properly padded carrying tray v. Never hurry v. Never eat, drink or smoke in the vicinity of objects v. Avoid wearing jewellery or other objects that may damage artifacts being handled (rings, belt buckles, and watches, for example) v. Use pencils, not pens, when writing in the vicinity of objects v. Keep hands clean, even while wearing gloves v. Wear appropriate gloves v v White cotton gloves for most objects Nitrile or latex gloves when handling objects with slick or slippery surfaces, such as glazed pottery and glass, or objects with surfaces that may catch or attract cotton fibres

Rules for Handling Objects (continued) v. Examine the condition of an object before handling it Lift objects by their most stable and supportive areas; v do not lift by handles, rims or other protrusions v Lift multiple components of an object separately v (e. g. a pot and lid) v v. Use a support tray if necessary v. Never layer or stack multiple objects v. If damage occurs, immediately and accurately record it v. Avoid folding or creasing textiles and paper artifacts v. Review catalogue records and information about the object to determine whethere any health and safety concerns. Many old conservation treatments used toxic chemicals to preserve and stabilize artifacts. Taxidermy specimens commonly contain arsenic, mercury and other hazardous materials. Ensure all health and safety measures are being followed before handling toxic artifacts

Moving Objects v. Know your route – open doors, remove obstacles, and inform others that you will be moving through the space with artifacts v. Examine the item and determine the safest method of lifting and carrying the object. It may be necessary to consult the catalogue record and review past treatments or repairs and determine whethere any special considerations v. Ensure that the space for the object’s new location is clear and ready to receive the object v. Ensure heavy or awkward objects are carried by a sufficient number of people, and recruit helpers to open doors and clear the route if necessary v. If moving multiple small objects, ensure they are placed in a tote and separated with suitable padding v. Keep furniture upright. Tie the doors shut with string and remove any drawers. Do not drag it but lift it by its most solid parts

Moving Objects (continued) v. Follow proper lifting techniques when moving heavy objects v. Bend at the knees v. Use leg and stomach muscles when lifting from a stooped position v. Get close to the object and keep it near your body v. Avoid twisting; pivot using your feet v. Keep your back straight

Packing and Storing Objects General Guidelines v. Choose an appropriate storage container v v The container should be large enough to hold the object or objects without being so large that they will shift Choose only acid-free cardboard, polyethylene, or polypropylene containers v. Cushion and separate all objects in a container with an appropriate material (see equipment/materials list) v. Avoid layering or stacking multiple objects v. Ensure fragile objects are provided support in weak or delicate areas. This can be achieved with cut and shaped pieces of ethafoam, cotton wadding, bubble wrap and acid-free tissue v. Store in a dark place with stable temperature and humidity (baseline RH for collections of a variety of objects is 50%) and good air circulation

Costumes and Clothing v. Pack flat in an acid-free cardboard, polyethylene, or polypropylene textile box suitable to the size of the object. v. Line container with unbleached muslin. v. Loosely pad out the piece with acid-free tissue and/or microfoam to avoid creases and folds, including arms, legs, body, fingers and so on, without straining the fabric or seams. v. Construct form shapes out of ethafoam to. help collars and shoes to keep their shape. v. Cover with unbleached muslin or acid-free. tissue and place cover on box. v. Never layer multiple costumes in a single. container.

Flat Textiles, Rugs and Flags v. Pack flat in an acid-free cardboard, polyethylene, or polypropylene textile box suitable to the size of the object v. Line container with unbleached muslin v. Large flat textiles may be rolled on rigid cardboard tubing, isolated and protected from the tube and environment with mylar, unbleached muslin and acid-free tissue interleaving v. If the textile must be folded for storage, pad out the folds with acid-free tissue and/or microfoam to avoid creasing and undue stress on the fabric v. Cover with unbleached muslin or acid-free tissue and place cover on box v. Avoid layering multiple flat textiles. If they must be layered, place heavier items on the bottom and interleave with acid-free tissue

Paper Documents and Newspapers v. Do not fold or crease v. Store fragile items horizontally in acid-free or polyethylene containers v. Interleave multiple items with acid-free tissue; do not layer too many items v. Paper documents in good condition can be stored vertically in acid-free folders or mylar envelopes placed in a larger acid-free cardboard, polyethylene or polypropylene clam-shell box

Photographic Prints and Negatives v. Store negatives in inert, uncoated polyethylene or polyester sleeves, or acid-free paper envelopes v. Store prints in mylar sleeves or acid-free paper envelopes. Prints may be stored in photo albums as long as the sleeves are mylar or another inert plastic like polyethylene

Materials and Equipment v. Acid-free tissue paper v. Boxes and containers – acid-free and lignin-free cardboard, polyethylene, and polystyrene v Coroplast is a well-known brand of conservation-quality corrugated plastic (90% polypropylene, 10% polyethylene) v. Polyester film (mylar) v. Polyethylene, polypropylene and/or polyester (mylar) sleeves, envelopes and negative sleeves v. Acid-free corrugated cardboard v. Acid-free foamcore

Materials and Equipment (continued) v. Rigid polyethylene sheet (ethafoam) and polystyrene foam v. Flexible polyethylene and polypropylene (microfoam) foam v. Unbleached muslin/cotton v. Woven cotton tape (twill tape) v. Bubble wrap v. Clear acrylic nail polish v. White acrylic nail polish v. Archival-quality pens v. Pencils

Vacuuming and Dusting Artifacts v. Use a vacuum that is equipped with a HEPA filter to avoid exhausting dust back into the display v. Use a vacuum that has an adjustable suction power or is equipped with a rheostat to decrease the suction as necessary v. Cover the end of the vacuum hose with a nylon screen (window screen) to ensure that no loose components are inadvertently vacuumed from the artifacts v. Using a soft-bristle brush, gently brush the dust particles in the direction of the vacuum hose v. Do not directly scrape the nozzle of the vacuum over the surface of an artifact v. Objects with smooth surfaces (glazed ceramics, glass, finished wood and so on) may be wiped with untreated synthetic microfiber cloths. If the cloth fibers snag, cease wiping and use the vacuumbrush method

Vacuuming and Dusting Artifacts (continued) v. Tools must be kept clean – wash brushes and microfiber cloths regularly – preferably in a mild solution of Orvus paste and distilled water – rinse thoroughly and let dry completely before reusing. Do not use fabric softeners when washing dust cloths v. Label dusting tools and do not use them for any other purpose than artifact cleaning v. Special considerations when vacuuming textiles v v Suction power is very important here and should be kept to a minimum, depending on the durability of the fabric. Very delicate fabrics should not be vacuumed at all Ensure there is a nylon screen between the vacuum nozzle and textile Initially brush loose debris from the textile with a soft bristle brush into the vacuum Vacuum the textile with an up-and-down motion, rather than dragging the nozzle across the fabric

Environmental Monitoring v. Fluctuations in temperature and relative humidity (RH) can damage artifacts in a museum’s collection, and maintaining stable levels in these values is very desirable v. Light can damage an artifact by exciting its molecular structure, causing irreversible effects including discolouration and fading to complete degredation v. Tools to measure temperature, RH, and light levels include: v Data loggers v Hygrothermographs v Psychrometers v Lux Meter