A Visit with Dorothy Reister . Stone Quarry Hill Art Park Founder @ 100!

VIDEO :: An Hour with Dorothy Reister . Stone Quarry Hill Art Park Founder . April, 2017 
Students of FA 351 were fortunate in hearing first hand information from the founder of Stone Quarry Hill Art Park, Dorothy Reister.  They posed questions to Ms. Reister about her exquisite conception ideas of developing the Art Park, where it is today and where it is planned to be in the future.

WEB :: Matilda Joslyn Gage House
In addition, students of Museum as Medium were extremely fortunate in traveling to the Joselyn Matilda Gage Foundation in Fayetteville, NY and hearing from the Director Colleen Victoria Pilcher and meeting Sally Roesch Wagner, Ph.D, Executive Director.  At this site, students learned about running a historical museum on a financial shoe-string; accessioning, deaccessioning, the museum's history, daily workings, event planning, etc.

#16 . The "Semester Museum Repository" > Final

The Living 'Class Museum' Repository > your semester's worth of journal entries

Creative artist book

Duchamp - Valise

A Living 'Class Museum' Repository
Is a journal that holds all of your course materials collected and composed of the following: 

Duchamp Valise being installed at MoMA

30% in this area will go towards your final grade

Items that need to be included:

1. Take thorough notes from all our readings assigned
2. Keep a thorough work cited bibliography
3. Keep up with all discussion notes 
4. #1 Collection on your Bureau 
5. Your #2 Bell Jar (jpg) and information including wall text, maps, wall label 
6. Submit hardcopy of all the handouts submitted and/or picked up at the various museum / conservator site visits we do 
7. #3 . Off-the-Beaten-Track Collections Survey:: Complete all 15 off-the beaten track virtual collections of museums. Follow the survey of all the pertinent information needed.   15 is the minimum requirement by end of term.
8. Keep up with all your course notes! This includes, lecture notes, discussion notes, ideas and handouts, original notes from our Practicum gallery activities of installation and deinstallation 
9. #4 . Practicum Site Visits: 2 page minimum of Practicum Site visits to the Cazenovia Public Library and Matilda Joselyn Gage House > Blog page 3
10. #5 Introduction to Wunderkammers notes
11. Thorough notes on videos seen including: Herb and Dorothy, Art of the Steal and all Tedtalks
12. Information gleaned from Dorothy Reister's guest speaker visit and your two questions
13. Plans and research carried out for your final project: your own exhibition architectural and design planning
14. Specific notes on Museum preparators (installation people), exhibition designers, registrars, curators
15. Table of Context organizing your repository guiding your reader to what you have learned throughout the semester
16. Complete bibliography / work cited listings on all your work
17. Additionally, images and ideas that have impacted you because of this course
18. We will look at your on-going efforts of the repository once (possibly twice) during the semester
19. The creative form the 'Museum in a Semester Repository' takes beyond a simple note book.    Be professional -  Think creatively! 
    Submit the Final Semester Repository on our last class meeting Thursday, April 27                                                                                                           

Have all assignment included in your Semester Museum Repository thoroughly completed with appropriate imagery, including: #1 through #14 

1. 
2. 
   
   

#15 . Introduction to Museum Work > G. Ellis Burcaw

• Hand outs from the above text distributed.
• Please read assigned chapters, take notes and answer all exercises.  
• Include extra information from the knowledge learned in this class. 

Chapter 12: Use of Collections

Chapter 13: Permanent Exhibits

Chapter 14:Temporary Exhibits

Chapter 15: Visitors and Interpretation

#14 . Two Documentary Films

Assignment: take thorough notes while watching the award winning documentary films. Submit in your Semester Repository. Make sure you include all bibliographic information.

Art of the Steal 

This film looks at the controversy surrounding the art collection of Dr. Albert C. Barnes, a millionaire who amassed a remarkable selection of significant works during the early 20th century. Barnes sought to keep his priceless pieces together as part of his foundation even after his death, the involvement of numerous parties led to the scattering of his collection. This documentary sheds light on how his wishes were violated by a handful of opportunistic individuals.

Initial release: September 12, 2009

Director: Don Argott

Music composed by: West Dylan Thordson

Initial DVD release: July 27, 2010

Production company: MAJ Productions

Cast: Albert C. Barnes

Herb & Dorothy

Herb & Dorothy . Official Trailer 2:32

A couple (Dorothy Vogel, Herbert Vogel) redefine what it means to be an art collector.

Release date: November 16, 2008 (DC)

Director: Megumi Sasaki

Producer: Megumi Sasaki

Box office: 194,721 USD

Awards: SILVERDOCS Audience Award for a Feature

#13 . Preparing for JCA Deacon Student Gallery Prospectus

O P E N  Call for Cazenovia College student artists and designers

The Deacon Student Gallery on the 2nd floor of Jephson Campus A, is now looking for your creative proposals for the 2017 - 2018 academic / exhibition season!

Submissions under consideration may be for group or solo exhibitions.

How? 

Submit a one page written description including:

1. Theme / Title  of your exhibition

2. Names of individuals in the proposed show & contact emails

3. 5 samples of work to be displayed (maximum) with materials

4. The number of works in the exhibition

Proposals and submissions will be reviewed and selected by the Deacon Galley Exhibition Review Committee, students from class FA351. Museum as Medium

Deadlines for proposal submission is Saturday, April 22nd by 4pm

Send your electronic proposals (PPT, PDF, etc.) to: 

Anne Vaccaro (SA junior) amvaccaro@cazenovia.edu

Amanda Derrick (ID junior)  alderrick@cazenovia.edu

Schematic below includes: 2D wall hung work = 29 3/4’ length x 5 1/2’ high, a shallow glass case with glass shelves for small work display and a number of small 12” x 12” pedestals that can accommodate 3D work 

#12 . Museum Making II . videos

Videos: 
Concepts of the Cultural Collective

1. Weaving Narratives . Thomas P. Campbell 16:37

Published on Oct 5, 2012

As the director of the Metropolitan Museum of Art in New York, Thomas P. Campbell thinks deeply about curating—not just selecting art objects, but placing them in a setting where the public can learn their stories. With glorious images, he shows how his curation philosophy works for displaying medieval tapestries—and for the over-the-top fashion/art of Alexander McQueen. (From The Design Studio session at TED2012, guest-curated by Chee Pearlman and David Rockwell.)

Questions:
1i. What are the concerns of the historical museum? What is their purpose?
1ii. What problems incur in museums ?
1iii. What is said about electronic / digital media as compared to authentic objects?
1iv. What are the possible solutions that the Director suggests? 
1v. Add other pertinent material expressed in the video.

> Complete questions and submit next class.

2. How I learned to stop hating and love Museums . Nick Gray 17:29

Published on May 4, 2015

Tired of the traditional way that museum tours are given, Nick Gray created his own company of renegade tour guides called Museum Hack. In his talk, Nick explains how these interactive, engaging tours will make you fall in love with museums as you experience them in a completely new way.

Nick Gray loves museums but hates how most museum tours are given. He founded Museum Hack, a company of private tour guides offering unconventional museum tours. Nick has lived in New York City for the past seven years, with his favorite place being the Metropolitan Museum of Art. He is interested in self-improvement and loves hosting dinner and cocktail parties for new friends.

Questions: 

2i. Why are museums often hated?
2ii. What would this image do to the education of the community regarding first time visitors?

2iii.Name three ideas that changed the lecturer's mind? 

Go to> MuseumHack link

2iv. What would you do? Offer two of your own suggestions.
2v. Add other pertinent material expressed in the video.
> Complete questions and submit next class.

3. How will Museums of the Future Look? Sarah Kenerdine : 13:24

Same Video via Museum Hack 
(different URL)

Published on Apr 11, 2014

Prof. Dr. Sarah Kenderdine creates powerful interactive experiences for museums—pioneering new possibilities for visitors' engagement using emerging technologies. In widely exhibited installation works, she amalgamates cultural heritage with new media art practice through interactive cinema, augmented reality and embodied narrative. Sarah is Professor at the National Institute for Experimental Arts (NIEA), University of New South Wales and head of Special Projects, Museum Victoria, Australia. She is also the Director of Research at the Applied Laboratory for Interactive Visualization and Embodiment (ALiVE), City University of Hong Kong. In 2013 she received the International Council of Museum Award (Australia) and, the Australian Arts in Asia Innovation Award—for the PLACE-Hampi Museum, at the new cultural precinct at Kaladham, Karnataka. In addition, she was awarded the Tartessos Prize 2013 for contributions to virtual archaeology, worldwide and, 2013 Digital Heritage International Congress & IMéRA Foundation Fellowship. 

Questions:
3i. What role does the museum serve? 
3ii. Explain three new ways that museum directors might think about in their professional futures?
3iii. Making use of your own knowledge, give two examples of what you would do.
3iv. Add other pertinent material expressed in the video.
> Complete questions and submit next class.

#11 . Museum Making I

Writing Effective Museum Text

Writing Effective Wall Text by Helen Hales

TEXT & Slide show: MoMA: Writing Effective Label Text 

Making Accessible Label Design 

Natural History Museum in Paris

da·ta·base

ˈdadəˌbās,ˈdādəˌbās/

noun

1. > a structured set of data held in a computer, especially one that is accessible in various ways.
   
   Examples:
   

   

   
   

   
   

   
   

   A database is a collection of information that is organized so that it can be easily accessed, managed and updated.
   
   Thumbnail images from an art museum 
   with assigned #s:

   
   

   

   
   Data is organized in rows, columns and tables, it is indexed to make it easier to find relevant information. Data gets updated, expanded and deleted as new information is added. 
   
   
   

   

   
   All pertinent information is kept in your Data base and should include the following:
   
   Title of Art work in italics
   Artist (birth - death dates and nationality)
   Date of Art work
   Media
   Dimensions > H x W x D
   Proper name of Collection
   Insurance Value
   Database ID#  2017.001a, etc.
   
   Cultural objects and/or natural history, scientific items should include information in the illustration above and the following:
   Title 
   Date Museum acquired it
   Discovery date, inventor name's etc.
   Location - geographical information, etc.
   materials
   Dimensions / weight
   Proper name of Collection
   Insurance Value
   Database ID#
   
   

TEXT: The Making of Exhibitions . Smithsonian Institution

Smithsonian National Museum of Natural History Database

Source: http://collections.nmnh.si.edu/search/

A total of 7,957,722 specimen records are currently available from this facility. 

Of these, approximately 292,000 represent all of the museum's available extant biological primary type specimen records. Approximately 139,000 are paleobiological type specimen records and 560 are mineral type specimen records. About 1.5 million of these specimen records are georeferenced.

Please note that these electronic data do not represent the museum's full collection or all electronic or currently digitized specimen records. We constantly add new data and correct information in records. If you see an error in these data please contact us with appropriate details.

Collections from National Museum of Natural History

The Smithsonian seeks to provide the widest possible dissemination of collections information consistent with the stewardship responsibilities for its collections, associated documentation, and intellectual property rights.

In keeping with the above statements, the National Museum of Natural History will make data in the following fields freely available on the “Natural History Web” for collections that have been electronically recorded, with certain exceptions (see below):

▪ Catalogue number (USNM number)

▪ Name (for biological and paleontological specimens this includes at least the scientific name (binomial) and author(s) and may also include year published, identifier and year identified; for rocks, minerals, gems, etc. the name(s) and sometimes the chemical composition; for anthropological specimens the object name)

▪ Original collection locality including:

▪ Country and/or Ocean

▪ State or equivalent primary political and/or geographical unit within country

▪ County or equivalent secondary political and/or geographical unit within country, if available

▪ Depth and/or Elevation (if available)

▪ Geographic coordinates (if available, and sometimes rounded to the nearest degree)

▪ Collector(s)

▪ Collector’s number (if available)

▪ Date collected

▪ Numbers of specimens (if appropriate)

▪ Type Status (if appropriate)

▪ Low resolution thumbnail photo (when available)

Collections from National Museum of Natural History. Photo by: Laurie Minor-Penland

Considerations:

In keeping with its stewardship responsibilities, the Smithsonian will control, monitor, and document all access to and use of its collections.

Requests for data from the Natural History Web will be tracked. (More information on how we track, will be coming in soon). Collections and database information not available on the Natural History Web may be available on a specific request and approval basis.

Access to collections and collections information may be restricted due to resource limitations, security, privacy, personal data, confidential proprietary information, object availability, intellectual property rights, applicable restrictions, and preservation constraints.

The provenance of acquired collection items is a matter of public record. Sensitive information involving privacy, collecting localities, intellectual property restrictions, security, privacy, personal data, confidential proprietary information, and restricted use may constrain access to collections information.

For the following reasons, the National Museum of Natural History may not make every record or all of the fields listed above available.

Some records or fields may be restricted for any of the following reasons:

▪ cultural sensitivity;

▪ restrictions agreed to by NMNH as part of accepting a collection (accession agreements), documented restrictions due to intellectual property rights, collecting permits, distribution agreements, or similar restrictions; or

▪ ongoing research (by NMNH staff and associated scientists, either by individuals or projects , may limit availability of some data for a period not to exceed five years, which may be extended in some cases after review by the museum’s director or designate(s)).

Some provenance data may be restricted for the following reasons:

▪ personal privacy of staff, collectors, donors or their families or 

▪ personal safety and security of staff, collectors, donors or their families.

Some collection locality data may restricted for the following types of collections:

▪ collections of high monetary value

▪ commercially traded collections (especially those biological species regulated under CITES or other international conventions to which the U.S. is a party; anthropological, rock or mineral, and paleontological specimens);

▪ endangered or threatened species;

▪ cultural objects or information from archaeological sites and other culturally sensitive properties; or

▪ specimens or objects collected on private property.

For Online collections databases, Terms & Conditions for Use of Online Collections Databases, See: http://www.mnh.si.edu/rc/db/2data_access_policy.html

The British Museum Database . access portal

Source: http://www.britishmuseum.org/research/collection_online/about_the_database.aspx

The British Museum Database records:

The database is an inventory of the Museum’s collection and aims to record what is known about it. It is primarily designed to support curatorial and research work, and much of the text is specialised in nature and terminology.

The database is the result of 35 years work but is still in its early stages. We are continuing every day to improve the information recorded in it and changes are being fed through on a regular basis. In many cases it does not yet represent the best available knowledge about the objects. This is being added as fast as possible, but will take many years.

Information held on it, therefore, needs to be read with care. There may be mistakes and omissions and in some cases British Museum staff may not have checked an entry. In many cases they will have more information that they will add in the future.

Users are invited to use the feedback link on each record to help us improve the information.

Citation Use:

If you wish to cite any of the records in the British Museum database, please use the following format:

<Author>, <“object registration number”>, www.britishmuseum.org/collection. British Museum, <Date last modified>.Online. <Access date>.

Images in the database

• New images are being added to the database and  made available here at the rate of about 2,000 each week.
• Images of some objects have been withheld for copyright reasons.
• Artists’ copyright lasts throughout their lifetimes and for 70 years from the date of death. We have made every effort not to infringe copyright, and only to display works in copyright if we have permission from artists or their estates. If we have made a mistake, please tell us and we will remove the image(s) from the site immediately.
• If you wish to use an image from this site on another website, please see our Terms of Use.
• Most images are available to order free of charge for non-commercial use through the individual object pages. There is also a facility, on the same pages, to commission new photography or order an image for commercial use, or of a larger file size.