scholarly journals Let’s Imagine a New Museum Staff Structure

2021 ◽  
Vol 19 (1) ◽  
Author(s):  
Martina Tanga
Keyword(s):  
Museum Staff

The museum's mummies: an inside view

1970 ◽  
Vol 80 (1) ◽  
Author(s):  
David T Miniberg
Keyword(s):  
New York ◽  
Cause Of Death ◽  
Metropolitan Museum ◽  
Noninvasive Technique ◽  
Metropolitan Museum Of Art ◽  
Cat Scan ◽  
Museum Staff ◽  
Inside View

We have performed CAT scan imaging of the thirteen mummies in the New York The Metropolitan Museum of Art. This noninvasive technique allowed us to ascertain the age (+/- 5 years), the height and the sex of these individuals. In two cases we were able to establish the cause of death – one man dying as the result of trauma and one woman dying of sepsis secondary to an abscess in the mandible. We discovered two necklaces of amulets on one of the mummies and integrating the CAT scan images, we were able to identify the amulets. These two necklaces had previously been unknown to the museum staff. In one instance, the museum has the encaustic portrait mask in place on the mummy itself, so we were able to compare the portrait with the CAT scan image of the mummy and establish that in this particular case the image was a true portrait rather than an idealized portrayal of the person.

scholarly journals Repatriation in Practice: A Critical Analysis of the Repatriation of Human Remains in New Zealand Museums

2021 ◽  
Author(s):  
◽  
Coralie O’Hara
Keyword(s):  
New Zealand ◽  
British Museum ◽  
Museum Studies ◽  
Human Remains ◽  
Negotiation Process ◽  
History Museum ◽  
The Subject ◽  
Museum Staff ◽  
Museum Practice

<p>The repatriation of human remains from museum collections is becoming increasingly common in museums around the world and particularly in New Zealand. Even the most amicable repatriation cases are complex, requiring a substantial commitment of time, energy and resources from museum staff involved in the negotiation process, to successfully overcome any issues that arise. Although it is known that the repatriation process can be challenging, the literature on the subject in museum studies and related fields focuses on the beneficial outcomes of successful negotiations, rather than explaining what difficulties can be encountered and how they can be solved. This research asks how problems in the repatriation process can be overcome to create mutually rewarding relationships between museums and others involved in the repatriation of human remains. This problem was addressed through a case study of the Karanga Aotearoa Repatriation Programme at Te Papa and three examples of their work: the Natural History Museum in Rouen, France; the British Museum in London; and the Rangitāne o Wairau iwi in New Zealand. Documentary evidence relating to these three repatriation examples was reviewed and the insights of museum staff have been captured through interviews with professionals from Karanga Aotearoa, Auckland Museum and Tairāwhiti Museum in Gisborne. Together these methods provided data that presented a more detailed and rounded picture of the current New Zealand situation regarding the repatriation of human remains. The dissertation concludes by assessing the difficulties in the practical repatriation process and how they have been overcome in New Zealand museums. I argue that repatriation practice, as an important area of museum practice in its own right, requires a flexible approach based on the principle of open-minded engagement with the perspectives of others involved in repatriation negotiations. This approach, focusing on relationships rather than transactions, is a marked departure from more traditional museum practice.</p>

The South African Cultural History Museum Library

1995 ◽  
Vol 20 (4) ◽  
pp. 25-26
Author(s):  
Annemarie Greyling
Keyword(s):  
Cultural History ◽  
South African ◽  
The South ◽  
History Museum ◽  
The Public ◽  
Museum Staff ◽  
Independent Existence

The South African Museum (cultural history) opened in 1966 as part of the South African Museum; in 1969 it began an independent existence as the South African Cultural History Museum, with a mission to enable the ‘entire community… to enjoy and to learn about our Cape and international heritage’. The library dates back to the opening of the museum, and now comprises some 12,000 books, 900 pamphlets, and 190 current journals on art related topics. Although the library exists primarily to serve the museum staff, it is open to the public and is well used by students.

Contemporary publishing by national museums and art galleries in the UK and its future

2014 ◽  
Vol 39 (3) ◽  
pp. 34-41 ◽  
Author(s):  
Sarah Anne Hughes
Keyword(s):  
Art Gallery ◽  
Art Galleries ◽  
Museum Visitors ◽  
Book Sales ◽  
Contextual Understanding ◽  
National Museums ◽  
Museum Staff ◽  
Academic Register ◽  
The Uk ◽  
Diverse Audience

Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.

Working with traumatic material: Effects on Holocaust Memorial Museum staff.

1995 ◽  
Vol 65 (1) ◽  
pp. 66-75 ◽  
Author(s):  
James E. McCarroll ◽  
Arthur S. Blank ◽  
Kathryn Hill
Keyword(s):  
Holocaust Memorial ◽  
Memorial Museum ◽  
Holocaust Memorial Museum ◽  
Museum Staff

Survivance Stories, Co-Creation, and a Participatory Model at the Mashantucket Pequot Museum and Research Center

2015 ◽  
Vol 3 (3) ◽  
pp. 198-207 ◽  
Author(s):  
Kimberly Kasper ◽  
Russell G. Handsman
Keyword(s):  
Social Interaction ◽  
New England ◽  
Research Center ◽  
Modern World ◽  
Tribal Community ◽  
Mashantucket Pequot ◽  
Visitor Experiences ◽  
Museum Staff ◽  
Participatory Model ◽  
Pushing And Pulling

AbstractSince opening its doors in 1998, the Mashantucket Pequot Museum and Research Center (MPMRC) has had an identity as both a tribal center and a museum committed to challenging the public’s conventional understandings of Native history in New England. Over a 15-year period, museum staff and the tribal community learned to work more collaboratively in an effort to document and illuminate Pequot survivance—the histories of Mashantucket families living and working in and against the modern world. A review of recent museum projects clarifies the benefits of collaboration while revealing how new exhibits and programs are impacting visitor experiences and understandings. Another kind of museum space is envisioned in which visitors, staff, and tribal members actively co-create exhibits and programs centered on Pequot survivance, using content informed by ongoing archaeological studies. In that space, co-creation practices would encourage social interaction—a collaborative pushing-and-pulling of ideas and stories in a shared search for new understandings of survivance at Mashantucket and beyond.

Curating Digital Surrogates in a Museum Archives: The Historic Boards Collection at the Peabody Museum of Archaeology and Ethnology at Harvard University

2020 ◽  
Vol 83 (1) ◽  
pp. 128-143
Author(s):  
Peter Botticelli
Keyword(s):  
Resource Constraints ◽  
Geographic Location ◽  
Harvard University ◽  
Digital Curation ◽  
Online Portal ◽  
Peabody Museum ◽  
Museum Archives ◽  
Museum Staff ◽  
Made In

This work uses a case study to examine the practice of digital curation in a museum archives, with a focus on convergence between museum and archival methods for providing online access to individual items as well as to collections. The case study focuses on the recently digitized Historic Boards (or “H boards”) collection at the Peabody Museum of Archaeology and Ethnology at Harvard University. This collection includes approximately 25,000 photographs depicting Harvard-led research expeditions beginning in the mid-1800s. By the early 1900s, museum staff had organized the photographs into groups and pasted them onto mat boards, with each board showing multiple views of a particular geographic location. As the H boards were created as a resource for educators and students, they provide a valuable source of documentation for both the museum's curatorial history and the pioneering work of Harvard ethnographers. With digital surrogates now accessible through the museum's Collections Online portal, the H boards project offers detailed examples of how the evidence contained in archival photographs and accompanying text-based records can be more sharply focused or, alternately, obscured, by the decisions made in constructing and displaying digital surrogates online. More generally, the H board project offers insights on how archives and museums may benefit from treating digital curation as an iterative practice shaped by an ever-shifting technology landscape, by the resource constraints faced by many repositories, and, ultimately, by the historic opportunities afforded by making archives visible in digital form.

The Interior of Newly Renovated St. John’s Museum in Nepomuk as Seen through the Eyes of its Employees

2016 ◽  
Vol 54 (2) ◽  
pp. 38-44
Author(s):  
Kateřina Dobrovolná
Keyword(s):  
20Th Century ◽  
Present Status ◽  
Point Of View ◽  
Critical Study ◽  
Semistructured Interviews ◽  
History Of ◽  
Museum Staff ◽  
The Creation

Saint John’s Museum in Nepomuk, which is dedicated to the Saint of the same name (who was a local native), was reopened in March 2015. It’s original name was the Museum of St. John’s and other religious monuments and the museum was founded in 1930 by Father Jan Strnad. The institution was subsequently closed in the mid-20th Century. The study cursorily reveals the history of the Museum and the overall history and architecture of the building, where the Museum is located and its present status and particularly the reconstruction and the equipment of the Museum’s interior from the point of view of the Museum’s employees, specifically in regard to any problematical display cases. Three semistructured interviews were conducted with people who had contributed to the Museum in varying degrees, focused on the reconstruction of the Museum. This critical study can be of service not only to the Museum staff but also for other professionals from this area during the reconstruction of exhibitions or the creation of new ones.

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