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Posts Tagged ‘museum’

Inside Tips from Museum Professionals

October 23rd, 2014

One of the most valuable courses that ECU offers is HIST5920 Techniques of Museum and Historic Site Development. The class includes readings and discussions in museum theory, as well as, several field trips to a variety of museums and organizations. The field trips are often the best environment to see how our theoretical discussions are applied…the “real world” of museums.

This year we have been touring the Department of Cultural Resources/ State Historic Preservation Office (Eastern Branch), Greenville Museum of Art, Tryon Palace, Bentonville Battlefield, Tobacco Farm Life Museum, NC Museum of Art, The Mariners’ Museum (VA), Colonial Williamsburg (VA), Jamestown (VA), and Yorktown (VA). Museum professionals have given us a variety of tips so we thought we would share them here!

What are the #1 skills/experiences that museum professionals should have?

  • Project management: The ability to manage multiple projects and budgets at the same time.
  • Ability to communicate with a variety of levels: Everything from school groups to board members to politicians.
  • Writing skills: Grant writing is increasingly more important.

 

Since grant writing has featured so prominently in our discussions with museum professionals, we asked for three tips for those who are starting from scratch. They are:

  1. Read the guidelines carefully and make sure that our project is compatible with the type of projects they fund!
  2. Contact the granting agency early and often!
  3. Keep your project descriptions and goals concise, but general. Don’t restrict your project so much that you can’t be flexible in getting what the project needs (within the limits of the grant).

 

Nothing beats first hand experience and as we are reminded by Dr. Tilley, Director of the ECU Public History program:

“Any experience is better than no experience!”

Museum Studies, Public Outreach , , , , , , , , , , ,

A Fine Balance: Presenting Conservation to the Public

February 6th, 2013

A Fine Balance: Presenting Conservation to the Public

Stephanie Croatt

 

            In the conservation field’s struggle to become more visible and better understood by the general public, there exist some difficulties in how to present the profession to the layperson. It seems that museums may be the key to this dilemma. Museums are often viewed as places for learning and offer the perfect venue for seeing the end results of conservation. Examples of museums that have made attempts to give visitors a glimpse of how conservators stabilize and prepare objects for display and how the museum environment is specially designed and maintained to ensure the objects’ well-being include:

 

 

The discussions of conservation in each of the museums above exhibit a variety of methods of attracting the public’s attention and eliciting thought about conservation. It seems that the three most effective devices by which museums can present conservation to the public are making the information accessible to the viewer, offering concrete and hands-on examples, and cutting romantic stereotypes of the field.

 

            That conservation is a very technical field with its own extensive set of jargon is undeniable, and presenting the key concepts and techniques to the layperson in an intelligible way is a sizeable task. Nonetheless, museums should strive to unpack the language and ideas for the average person. Adding layers of information that go from simple to more complex might be a good way of adding detail and complexity for viewers who want more information or detail about a certain idea or technique. Having trained “facilitators” that can discuss elements of the exhibit in more detail or give out bibliographies for further research might also be an effective way of deepening the subject for those that are interested and not overwhelming those who are not interested in more detail (Podany and Maish 1993, 102).

 

            In addition to making the ideas easy to understand, having concrete examples and hands-on activities may help to reinforce the main message of a certain part of the exhibit, as well as engage visitors who are otherwise not attracted to reading. In their exhibition, entitled Preserving the Past, Jerry Podany and Susan Lansing Maish included interactive opportunities for visitors. One such hands-on activity invited visitors to reassemble broken pottery sherds and then identify the vessel from a chart of Greek vessel shapes (Podany and Maish 1993, 104). Such interactive opportunities allow the public to experience some of the techniques used in conservation, and may excite the interest of more visitors.

 

            Hands-on opportunities that allow the viewer to follow the step by step procedure to conserving artifacts may also work to dispel unrealistic and romantic perceptions of conservation. Indeed, simplifying language for the layperson sometimes leads the exhibit creator to draw analogies between the conservator and the noble doctor, or present before and after photographs that may give the public a false notion about the realities of conservation (Podany and Maish 1993, 105). While sometimes attractive, the romantic view of conservation tends to lead the public to think that the conservator’s job is to swoop in and permanently save objects from certain deterioration. This perception tends to lead discourse away from the sometimes mundane reality of the field and the ideas of reversibility and minimal intervention, which are the main tenets of conservation.  

 

            Although it may seem that any public education about conservation is good, there are certainly pitfalls that can lead the public to misunderstand the field. Pitfalls may be avoided by making information accessible to the visitor, offering hands-on activities, and by dispensing of romantic notions of conservation. While these extra steps may increase the expense of creating and running exhibitions focusing on conservation, it is well worth the cost because a public that is better informed about the importance and realities of conservation is a public that is better prepared and more willing to fund conservation projects in the future.

 

References

 

Podany, J.C. and S.L. Maish. 1993. Can the Complex Be Made Simple? Informing the Public about Conservation through Museum Exhibits. Journal of the American Institute for Conservation 32(2): 101-108.

Ethics and Theory, Museum Studies , , ,

Displaying the Dead: Disrespecting or Honoring the Past?

February 4th, 2013

Displaying the Dead: Disrespecting or Honoring the Past?

Kate Clothier

Going to museums has always brought me happiness. After spending countless hours lost in their different exhibits I would come out feeling more connected to the past cultures and curious to learn about the different societies on display. This interest led me to become an avid history reader and museum patron. When I was older I was shocked to learn that there was one specific controversial issue surrounding museum exhibits internationally. The ethics of displaying human bodies. Should museums be able to put the deceased on display for the public and who has the rights to the bodies once they are discovered?

I was always torn on the answer to these questions. For me, the people on display spurred reverence and curiosity, for others the displays served as symbols of disrespect to our ancestral heritage. This division of thinking persists today and was even the subject of ethical debate at the 2010 conference of the International Council of Museums (ICOM)- Committee for Conservation conference. Large nationally recognized organizations are facing the ethics of displaying the deceased in attempt to find common ground but the debate rages on. There is no ‘cure all’ for the questions at hand.

It has been suggested that the direct descendants should get the finally say on whether the bodies should be on display, but what if there are no direct descendants? Who then has the right to decide? Where is the quest for information on the human past to stop and, would we dig up cemeteries for knowledge? To me, the best solution is to stick to the ethical guidelines created by organizations like the ICOM in reference to past societies and what they left behind (Brajer, I. 2010. “Human Remains in Museums.” International Council of Museums- Theory and History of Conservation Working Group, Accessed: Web. 21 Jan. 2013). These bodies can offer us insight to the past that would otherwise be unknown and can even spark interest the societies themselves, as was the case for me. I believe the bodies should be treated with upmost respect and if a direct link to a current society is found or known of, those people should get the final say in whether the body can be displayed or not. The ethics surrounding human remains being put on display is sure to persist for many years to come and museums will continue to be at the forefront of this debate.

 

 

Ethics and Theory, Museum Studies , , ,