Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956759
Kanupriya Sharma
Abstract The birth of museums in India has its origins in colonial rule. While the country today counts over 800 museums, proper collections management and its treatment as a pivotal museum function have not taken hold widely. Several challenges remain, including a lack of space, the scarcity and misallocation of funds, and, critically, an absence of national standards and guidelines for collections storage and management. While the Indian government created a digital repository in 2014 through an initiative called JATAN, the sector still trails behind in the fundamentals of collection storage and documentation, and in digitising collections. This article, drawing on responses from anonymous respondents to a specially designed questionnaire, examines inadequate storage practices in India, while also assessing the attitudes of Indian museum professionals towards collection storage over the last decade. Further, it sheds important light on the sharp divide between those who manage collections and those who curate in the subcontinent. The article additionally offers a template for the development of a national policy for collection storage and usage: one that covers multiple concerns, from weather conditions and disasters to objects of sacred relevance (especially in palaces that exemplify living heritage). Taken together, these suggestions can serve to standardise practices across museums in India. This article also highlights a requirement for documentation guidelines and accessibility of collections for myriad uses—research, teaching and curation—across India and the world. Lastly, it explores the need for greater capacity building, given insufficient educational frameworks and a lack of formally taught museology courses. For this purpose, it discusses crucial national and international reports published over a decade and qualitative data gathered through primary interactions with professionals.
{"title":"Museum Collection Storage in India: A Decade in Review","authors":"Kanupriya Sharma","doi":"10.1080/13500775.2021.1956759","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956759","url":null,"abstract":"Abstract The birth of museums in India has its origins in colonial rule. While the country today counts over 800 museums, proper collections management and its treatment as a pivotal museum function have not taken hold widely. Several challenges remain, including a lack of space, the scarcity and misallocation of funds, and, critically, an absence of national standards and guidelines for collections storage and management. While the Indian government created a digital repository in 2014 through an initiative called JATAN, the sector still trails behind in the fundamentals of collection storage and documentation, and in digitising collections. This article, drawing on responses from anonymous respondents to a specially designed questionnaire, examines inadequate storage practices in India, while also assessing the attitudes of Indian museum professionals towards collection storage over the last decade. Further, it sheds important light on the sharp divide between those who manage collections and those who curate in the subcontinent. The article additionally offers a template for the development of a national policy for collection storage and usage: one that covers multiple concerns, from weather conditions and disasters to objects of sacred relevance (especially in palaces that exemplify living heritage). Taken together, these suggestions can serve to standardise practices across museums in India. This article also highlights a requirement for documentation guidelines and accessibility of collections for myriad uses—research, teaching and curation—across India and the world. Lastly, it explores the need for greater capacity building, given insufficient educational frameworks and a lack of formally taught museology courses. For this purpose, it discusses crucial national and international reports published over a decade and qualitative data gathered through primary interactions with professionals.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956759","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46390369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956757
B. Ankersmit, M. Loddo, M. Stappers, C. Zalm
Abstract Despite the fact that the Netherlands is a small, centralised country, its storage facilities are surprisingly diverse. What has led to the development of such different storage solutions? In order to address this question, we followed three lines of investigation. Firstly, a survey was conducted to evaluate stored collections in the Netherlands. Secondly, a selection of facilities were visited to investigate the evolution of storage buildings, systems and collection management. Thirdly, to inform future decision-makers, a quantitative benchmark was created by evaluating key data on floor areas, objects and costs. This article discusses the evolution of storage in the Netherlands in terms of sustainability, access, climate control and location. Each facility was developed with objectives specific to its time and relevant for the stakeholders of that project. Over time, project stakeholders, objectives and ambitions changed. Political and economic drivers formed the basis for shared storage facilities in which different functionalities to work with or study the collection are available. When budgets were cut and sustainability became a global issue, a shift towards low-energy buildings occurred. Over time, Dutch museums became aware of their societal roles and their accountability as treasurers of the nation’s heritage. Collection centres were created to foster connections with the public and to legitimise the vast numbers of stored collections. This study shows that in order to develop new storage facilities that are economically, socially and financially sustainable, attention must be paid to longer term objectives for such buildings.
{"title":"Museum Storage Facilities in the Netherlands: The Good, the Best and the Beautiful","authors":"B. Ankersmit, M. Loddo, M. Stappers, C. Zalm","doi":"10.1080/13500775.2021.1956757","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956757","url":null,"abstract":"Abstract Despite the fact that the Netherlands is a small, centralised country, its storage facilities are surprisingly diverse. What has led to the development of such different storage solutions? In order to address this question, we followed three lines of investigation. Firstly, a survey was conducted to evaluate stored collections in the Netherlands. Secondly, a selection of facilities were visited to investigate the evolution of storage buildings, systems and collection management. Thirdly, to inform future decision-makers, a quantitative benchmark was created by evaluating key data on floor areas, objects and costs. This article discusses the evolution of storage in the Netherlands in terms of sustainability, access, climate control and location. Each facility was developed with objectives specific to its time and relevant for the stakeholders of that project. Over time, project stakeholders, objectives and ambitions changed. Political and economic drivers formed the basis for shared storage facilities in which different functionalities to work with or study the collection are available. When budgets were cut and sustainability became a global issue, a shift towards low-energy buildings occurred. Over time, Dutch museums became aware of their societal roles and their accountability as treasurers of the nation’s heritage. Collection centres were created to foster connections with the public and to legitimise the vast numbers of stored collections. This study shows that in order to develop new storage facilities that are economically, socially and financially sustainable, attention must be paid to longer term objectives for such buildings.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956757","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42529826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956743
Gaëlle Crenn
Abstract 'Storage exhibitions' refer to staged storage areas displayed within a museum's permanent collection. What is the purpose of displaying these storage spaces within a museum's collection? I hypothesise that they are above all interpretive spaces intended to extend the dialogue between the museum and the public. A study of three cases (the National Museum of Australia in Canberra, Pinacoteca di Brera in Milan and Kunsthalle Mannheim) reveals the different functions performed by these exhibitions. They can show how museums work to preserve the heritage of their communities or they can give view on the work carried out by the museum’s professionals itself. The study also illustrates how such exhibitions offer a lens through which to understand and explore a given institution’s exhibitions and collections. Ultimately, each case is led by a sense of critical reflexivity that extends the display of museum objects to the display of the work carried out in the museum itself, hence opening up the nature of the museum’s work to the general public.
摘要“存储展览”是指博物馆永久藏品中展示的分阶段存储区域。在博物馆藏品中展示这些储藏空间的目的是什么？我假设它们是最重要的解释空间，旨在扩大博物馆和公众之间的对话。对三个案例的研究（堪培拉的澳大利亚国家博物馆、米兰的Pinacoteca di Brera和曼海姆美术馆）揭示了这些展览所发挥的不同功能。他们可以展示博物馆如何保护其社区的遗产，也可以对博物馆专业人员自己所做的工作发表看法。该研究还说明了此类展览如何提供一个镜头，通过它来了解和探索特定机构的展览和藏品。最终，每一个案例都是由一种批判性的自反性引导的，这种自反性将博物馆物品的展示扩展到博物馆本身的作品展示，从而向公众开放博物馆作品的性质。
{"title":"‘Storage Exhibitions’ in Permanent Museum Collections","authors":"Gaëlle Crenn","doi":"10.1080/13500775.2021.1956743","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956743","url":null,"abstract":"Abstract 'Storage exhibitions' refer to staged storage areas displayed within a museum's permanent collection. What is the purpose of displaying these storage spaces within a museum's collection? I hypothesise that they are above all interpretive spaces intended to extend the dialogue between the museum and the public. A study of three cases (the National Museum of Australia in Canberra, Pinacoteca di Brera in Milan and Kunsthalle Mannheim) reveals the different functions performed by these exhibitions. They can show how museums work to preserve the heritage of their communities or they can give view on the work carried out by the museum’s professionals itself. The study also illustrates how such exhibitions offer a lens through which to understand and explore a given institution’s exhibitions and collections. Ultimately, each case is led by a sense of critical reflexivity that extends the display of museum objects to the display of the work carried out in the museum itself, hence opening up the nature of the museum’s work to the general public.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956743","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44709290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956762
Gamaliel Njoya Ntieche
Abstract Community-museum storage spaces in west Cameroon are generally characterised by neglected collections, dust, and woodworm infestations. This situation is the result of abandoning indigenous conservation methods in favour of so-called conventional Western conservation techniques, which professionals consider to be superior, but whose implementation has been a failure in west Cameroon’s community museums. The consequence is a paradoxical situation in which collections in west Cameroon no longer benefit from traditional care, but, because of a lack of resources, do not benefit from contemporary conservation standards either. Based on qualitative research, this study provides an overview of the situation and argues for the reappropriation of indigenous conservation techniques in order to improve the physical well-being of collection storage.
{"title":"Traditional versus Contemporary Conservation Methods in West Cameroon’s Community Museums","authors":"Gamaliel Njoya Ntieche","doi":"10.1080/13500775.2021.1956762","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956762","url":null,"abstract":"Abstract Community-museum storage spaces in west Cameroon are generally characterised by neglected collections, dust, and woodworm infestations. This situation is the result of abandoning indigenous conservation methods in favour of so-called conventional Western conservation techniques, which professionals consider to be superior, but whose implementation has been a failure in west Cameroon’s community museums. The consequence is a paradoxical situation in which collections in west Cameroon no longer benefit from traditional care, but, because of a lack of resources, do not benefit from contemporary conservation standards either. Based on qualitative research, this study provides an overview of the situation and argues for the reappropriation of indigenous conservation techniques in order to improve the physical well-being of collection storage.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956762","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44889104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956724
Yael Kreplak, François Mairesse
{"title":"The Submerged Part of the Iceberg","authors":"Yael Kreplak, François Mairesse","doi":"10.1080/13500775.2021.1956724","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956724","url":null,"abstract":"","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956724","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43625178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956767
C. Gómez, C. Becker, Leslie Azócar
Abstract As a result of almost 200 years of scientific activity and the enactment of different legal mandates, including specific requirements stipulated by the National Monuments Act of 1970, the collections of the Chilean National Museum of Natural History (MNHN, founded in 1830) have grown considerably since the museum's creation. However, it has been impossible to fulfill optimal preventive conservation requirements in the current building, which dates to 1875. After the problem was identified, a collection management project was implemented: one that included setting up off-site storage to house the existing collections at MNHN and include room for growth. The challenge was to secure funding for an off-site building that would fit the purpose; meanwhile, the collections needed to be prepared for the move. The project was carried out over 10 years, between 2009 and 2019, and succeeded in improving a significant percentage of the total collection. This article discusses this unique national project as a case study, describing the processes carried out to complete it, its challenges, and the main lessons learned.
{"title":"The Offsite Collection Storage Project for the Museo Nacional de Historia Natural (Santiago, Chile) 2009-2019","authors":"C. Gómez, C. Becker, Leslie Azócar","doi":"10.1080/13500775.2021.1956767","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956767","url":null,"abstract":"Abstract As a result of almost 200 years of scientific activity and the enactment of different legal mandates, including specific requirements stipulated by the National Monuments Act of 1970, the collections of the Chilean National Museum of Natural History (MNHN, founded in 1830) have grown considerably since the museum's creation. However, it has been impossible to fulfill optimal preventive conservation requirements in the current building, which dates to 1875. After the problem was identified, a collection management project was implemented: one that included setting up off-site storage to house the existing collections at MNHN and include room for growth. The challenge was to secure funding for an off-site building that would fit the purpose; meanwhile, the collections needed to be prepared for the move. The project was carried out over 10 years, between 2009 and 2019, and succeeded in improving a significant percentage of the total collection. This article discusses this unique national project as a case study, describing the processes carried out to complete it, its challenges, and the main lessons learned.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956767","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48642817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956731
Geert Bauwens, E. De Bruyn.
Abstract Heritage institutions find themselves increasingly compelled to lower costs related to energy use, without disowning their primary task of optimally preserving the collections they are entrusted with. Now, more than ever, resilience, autonomy and cost-effectiveness are key to managing heritage sustainably. With over 1,000 museums in Belgium, the energy savings that its institutions may obtain by optimising their indoor climate management represents an important opportunity to alleviate strain on institutional budgets, and to help reach the ambitious energy-saving goals Belgium and the EU have set for themselves. Heritage institutions must be proactive in implementing such strategies, choosing from among a long list of measures to optimise their climate systems and indoor environments. This can be an overwhelming task. Indeed, museums and heritage institutions often lack in-house expertise to tackle these issues, which is why clear, practical and intuitive protocols, tools and concrete examples are required. As a case study and presentation of research-in-progress, this article describes Resilient Storage, a Belgian project that aims to validate a protocol to optimise the functioning of climate systems in museum storage areas. Developed by the Royal Institute for Cultural Heritage (KIK-IRPA) and KU Leuven, Resilient Storage assembles an interdisciplinary team of public representatives, museum staff and experts in energy performance and conservation. It aims to help stakeholders optimise storage area management, simultaneously reducing its carbon footprint and optimising its preservation conditions. Resilient Storage aims to unearth synergies among these stakeholders, promote collaboration, develop a common language and transmit expertise to Belgian's small and medium-sized museums.
{"title":"Resilient Storage: Enabling Heritage Institutions to Effectively Manage High-performance Storage Areas","authors":"Geert Bauwens, E. De Bruyn.","doi":"10.1080/13500775.2021.1956731","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956731","url":null,"abstract":"Abstract Heritage institutions find themselves increasingly compelled to lower costs related to energy use, without disowning their primary task of optimally preserving the collections they are entrusted with. Now, more than ever, resilience, autonomy and cost-effectiveness are key to managing heritage sustainably. With over 1,000 museums in Belgium, the energy savings that its institutions may obtain by optimising their indoor climate management represents an important opportunity to alleviate strain on institutional budgets, and to help reach the ambitious energy-saving goals Belgium and the EU have set for themselves. Heritage institutions must be proactive in implementing such strategies, choosing from among a long list of measures to optimise their climate systems and indoor environments. This can be an overwhelming task. Indeed, museums and heritage institutions often lack in-house expertise to tackle these issues, which is why clear, practical and intuitive protocols, tools and concrete examples are required. As a case study and presentation of research-in-progress, this article describes Resilient Storage, a Belgian project that aims to validate a protocol to optimise the functioning of climate systems in museum storage areas. Developed by the Royal Institute for Cultural Heritage (KIK-IRPA) and KU Leuven, Resilient Storage assembles an interdisciplinary team of public representatives, museum staff and experts in energy performance and conservation. It aims to help stakeholders optimise storage area management, simultaneously reducing its carbon footprint and optimising its preservation conditions. Resilient Storage aims to unearth synergies among these stakeholders, promote collaboration, develop a common language and transmit expertise to Belgian's small and medium-sized museums.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956731","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49322628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956736
B. Tompkins, Walt Ennaco, Amelia Kile, Elizabeth Sullivan
Abstract To address storage challenges, the Smithsonian undertook a multi-year, highly collaborative, and Institution-wide planning initiative in 2010 to document, analyse, and plan for addressing current and projected collections space needs in a pragmatic, strategic and integrated manner. This case study provides an overview of the planning process, illustrates the innovative methodologies utilised in the initiative, and highlight outcomes which have made collections space an Institutional and budgetary priority—ensuring the long-term preservation and accessibility of Smithsonian collections. The immense scale of Smithsonian collections and collections spaces, the diversity of space types, and varied museum storage techniques constitute significant challenges for maintaining appropriate environments, security, fire safety, and storage equipment. The planning initiative established collaborative processes that engaged all stakeholders in solving collections space issues, conducted a comprehensive survey of existing Institutional conditions, and developed strategies applicable to other cultural institutions seeking efficient, sustainable collections space. The resulting Collections Space Framework Plan is a flexible roadmap to guide capital projects, provide renovation and new construction strategies that address unacceptable collections space conditions, allow for decompression of overcrowded collections, increase physical accessibility, anticipate future collections growth, and reduce reliance on lease space for collections storage. The Framework Plan has transformed the future of Smithsonian collections space. Existing conditions are documented in a database which is updated annually and analysed to prioritise improvements. It has already had a major impact on programming and securing funding for critical space improvements at Smithsonian museums and two off-site collections centres.
{"title":"Collections Space: The Final Frontier (Smithsonian Institution, US)","authors":"B. Tompkins, Walt Ennaco, Amelia Kile, Elizabeth Sullivan","doi":"10.1080/13500775.2021.1956736","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956736","url":null,"abstract":"Abstract To address storage challenges, the Smithsonian undertook a multi-year, highly collaborative, and Institution-wide planning initiative in 2010 to document, analyse, and plan for addressing current and projected collections space needs in a pragmatic, strategic and integrated manner. This case study provides an overview of the planning process, illustrates the innovative methodologies utilised in the initiative, and highlight outcomes which have made collections space an Institutional and budgetary priority—ensuring the long-term preservation and accessibility of Smithsonian collections. The immense scale of Smithsonian collections and collections spaces, the diversity of space types, and varied museum storage techniques constitute significant challenges for maintaining appropriate environments, security, fire safety, and storage equipment. The planning initiative established collaborative processes that engaged all stakeholders in solving collections space issues, conducted a comprehensive survey of existing Institutional conditions, and developed strategies applicable to other cultural institutions seeking efficient, sustainable collections space. The resulting Collections Space Framework Plan is a flexible roadmap to guide capital projects, provide renovation and new construction strategies that address unacceptable collections space conditions, allow for decompression of overcrowded collections, increase physical accessibility, anticipate future collections growth, and reduce reliance on lease space for collections storage. The Framework Plan has transformed the future of Smithsonian collections space. Existing conditions are documented in a database which is updated annually and analysed to prioritise improvements. It has already had a major impact on programming and securing funding for critical space improvements at Smithsonian museums and two off-site collections centres.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956736","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42316115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956748
Laurie Brewer, Tayana Fincher, Kate Irvin, A. Keefe, Jessica Urick
Abstract Using the Costume and Textiles Department of the Museum of Art at the Rhode Island School of Design (RISD Museum) as a case study, this article examines the history and current practices of collections-based work and care through the lens of Andy Warhol’s seminal museum-artist intervention exhibition, Raid the Icebox I. The study demonstrates the crucial need for museums to introduce empathic and transparent ways of working in storage, as well as engaging audiences with collections not on view in exhibition galleries. Authored by RISD Museum curatorial and conservation staff, the case study hinges on the idea that museum storage facilities are not static places, but rather living, constantly-changing organic spaces that receive and require active care and attention. They are places that are filled with activity and in continual flux—always in a state of becoming, especially as mistakes, flaws, and historical biases are faced and confronted.
{"title":"Museum Storage is Not an Icebox: Re-examining Textile Storage at the RISD Museum","authors":"Laurie Brewer, Tayana Fincher, Kate Irvin, A. Keefe, Jessica Urick","doi":"10.1080/13500775.2021.1956748","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956748","url":null,"abstract":"Abstract Using the Costume and Textiles Department of the Museum of Art at the Rhode Island School of Design (RISD Museum) as a case study, this article examines the history and current practices of collections-based work and care through the lens of Andy Warhol’s seminal museum-artist intervention exhibition, Raid the Icebox I. The study demonstrates the crucial need for museums to introduce empathic and transparent ways of working in storage, as well as engaging audiences with collections not on view in exhibition galleries. Authored by RISD Museum curatorial and conservation staff, the case study hinges on the idea that museum storage facilities are not static places, but rather living, constantly-changing organic spaces that receive and require active care and attention. They are places that are filled with activity and in continual flux—always in a state of becoming, especially as mistakes, flaws, and historical biases are faced and confronted.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956748","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48200619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956768
Janusz Czop
Abstract The safe storage of collections for future generations is the most important statutory activity of every museum worldwide. Although this objective is a long-held one, statistics show that, regrettably, a historical and global problem still exists in this field, including for Polish museums. Fortunately, positive changes have been implemented since the end of the 20th century, resulting not only in new infrastructure projects, but also in new approaches to the longstanding problem. Contemporary museum storage facilities are perceived not only as restricted museum spaces, but also, and primarily, as a combination of places, people and processes. Storage can therefore represent an optimum tool for museum conservation, when understood as a change management process whose purpose is to exercise conscious and real influence on the durability of collections. Importantly, this process should correspond to contemporary environmental protection practices. Then, and only then, will museums be capable of protecting cultural heritage appropriately, without increasing risks to future generations. In Poland, the National Institute for Museums and Public Collections (NIMOZ) is currently implementing an infrastructure project entitled ‘The Central Storage Facility for Museum Collections’ (CMZM), whose concept encompasses the questions and problems referred to above. In effect, a shared storage facility will be built in the suburbs of Warsaw to provide high-quality protection for collections, while employing cost-efficient construction processes and low-energy solutions while in operation. The pilot project and case study represents a model solution: one that can be followed by museum professionals planning new collection storage facilities in other regions of Poland.
{"title":"The Shared Storage Facility in Poland: A Pilot Project of the National Institute for Museums and Public Collections (NIMOZ)","authors":"Janusz Czop","doi":"10.1080/13500775.2021.1956768","DOIUrl":"https://doi.org/10.1080/13500775.2021.1956768","url":null,"abstract":"Abstract The safe storage of collections for future generations is the most important statutory activity of every museum worldwide. Although this objective is a long-held one, statistics show that, regrettably, a historical and global problem still exists in this field, including for Polish museums. Fortunately, positive changes have been implemented since the end of the 20th century, resulting not only in new infrastructure projects, but also in new approaches to the longstanding problem. Contemporary museum storage facilities are perceived not only as restricted museum spaces, but also, and primarily, as a combination of places, people and processes. Storage can therefore represent an optimum tool for museum conservation, when understood as a change management process whose purpose is to exercise conscious and real influence on the durability of collections. Importantly, this process should correspond to contemporary environmental protection practices. Then, and only then, will museums be capable of protecting cultural heritage appropriately, without increasing risks to future generations. In Poland, the National Institute for Museums and Public Collections (NIMOZ) is currently implementing an infrastructure project entitled ‘The Central Storage Facility for Museum Collections’ (CMZM), whose concept encompasses the questions and problems referred to above. In effect, a shared storage facility will be built in the suburbs of Warsaw to provide high-quality protection for collections, while employing cost-efficient construction processes and low-energy solutions while in operation. The pilot project and case study represents a model solution: one that can be followed by museum professionals planning new collection storage facilities in other regions of Poland.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1956768","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47659540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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