Professional Documents
Culture Documents
International
Campaign
by Dr. Heather Peters UNESCO consultant in co-operation with Hue Monuments Conservation
Centre
UNESCO
PRINCIPAL
INTRODUCTION Heather A.
The workshop will be held three times per week, three hours each session for four weeks. Two times each week the entire class will meet for a lecture. On Friday of each week, the museum group will meet to begin planning on the up-coming exhibition in the recently restored museum. The workshop will begin April 5 and end April 28. The purpose of the workshop is to introduce the staff to the goals and objectives of museums, especially as realized through exhibitions. It will also introduce specific techniques used to produce an exhibition. Finally, in the smaller workshop we will discuss the particular situation of the Long An Palace and what is the best way to create an exhibition inside this palace structure. Other buildings within the Hue Monuments Complex will be mentioned. 5 April 7 April 10 April 12 April 14 April 17 April 1995 1995 1995 1995 1995 Introduction Museums The Organization Over-all Object Labels: Workshop Introduction Selection content for of to Museums and and the History of Museums Planning of
Structure to
Exhibition
and Preparation and production Museum Display: Group only Cases, Choosing a
Techniques Colour. The Museum Installation Handling Lighting Workshop Security Role of for
Display
Environment of Objects
19 April
1995
Museum
Group
only
Education and Interpretation Who is your visitor and what expect? 26 6 28 Workshop for Museum
25,
INTRODUCTION
WHAT IS A MUSEUM? One of what exactly these the is first questions It is we want very to ask ourselves, to to create do it. is the is a just
a museum? and
museum However,
days,
everyone, understand
everywhere what is
do we really of people as
and what
responsibility Many
a museum? have defined or museums, space and within of does these definitions signifiBut tell than a could ICOM permaof culturus can
exhibitions of a museum
describe
collection of Museums)
a museum for of
as any
conserves enjoyment
purposes of
objects is
significance. the-fact
are
permanent include
important
museums
of
objects is
and education. an institution and researches that should the or building which of houses, preIn museums about is
important. and
learn
ourselves
as well
learn
appreciate
things our
that
in
the
past,
or
present,
created.
purposes
define which
a museum as a permanent, cares for further the collections explanation. existence of any the for the
educational
requires
does has
depend of to
own. public,
concept we look
as we
By educational, purpose ment This itself. essential a study Europe, als for of all providing people. that the its
museum
and a non-profit
aesthetic
means
commercial
educational such in
collections,
requires In
intellectu-
of
museum. that the a museum . cares museum provides and permanent the best and it for its collections docu(regisconservathem in a
we say
good provides
cataloguing):
systematic
a building buildings.
this
is
always
For
example,
in
the
there
is
town
where town is
where created
with fitted
furniture
and
a review
will today.
help
us to
understand
why museums
way they
OF MUSEUMS IN THE WEST because please in the the world's people or all over the It
past
became today.
some of
museums
What which (ancient Muses. over history, B.C. Greek Egypt Great. the nine the
is
the from
of Greek it nine
the word
word
museum? In
It
is
a Latin
word
comes
mouseion. to
classical dedicated
times to the
Greek
referred young,
a temple
goddesses poetry,
the
epic, dance
music, and
comedy, kind of
in
was At
I in Africa the
Alexandria of the
Greek
created of
a center of
dedicated an eating
to hall,
a lecture
a court,
an astronomical
observatory,
a library This
and center
of
biological until
lasted
was primarily a kind by the museum and their of state, fields also
poets for
probably
The Greeks The Greeks or religious their gardens, the Greeks kept
Romans objects
of
objects.
in
displayed public sense, However, the their collection request. During the
theatres
as temples. public.
and Romans
made their
collections
of in
aristocracy villas.
beginning show to
might
people
special
times
the
already their
paid
to
conservation they of
collections.
preserve and
votive they
them at the
rust,
reduce
countries,
Thailand
served merit,
precious of 6
temple.
one the
for
example
Wat PO Veal
in
housed
collection in Vientiane
This
temple
now open
as a museum. In the idea and west, basically abbeys after the Age of the Only some objects Greeks in and some being Romans, important collected and the
disappeared. do we find
with that
the
(beginning to the once past. of the for art rich, the again
in
the
patronize the
appreciate
objects private
During and
centuries nature
collections among
curiosities and it is
the locked
late
privilege
rather University.
late.
was a university the doors, the were 18th for Louvre still from century
museum
some,of the
world's
great in
Museum
Palace But
public group of
museums. people. At
the
a small
people
who wanted in
many weeks
museum
to each
30 people
day of and
to only stay to
the
museum, to stay
and two
did for
so in each as 1800,
groups visit
visit office;
the if
Museum they
to
their a
had
weeks
become way
opening the
doors the
and
importance later to
museum.
America. scholarly on educating becoming continue There ple, science history origins art
unlike of the
museums elite,
American American
broader of
museums and
education
enlightenment,
be so today. are many different history Among are two kinds museums, these, of the the oldest of KINDS of museums today, for museums, the natural have their examand
natural art
history
private
collections
THE DIFFERENT Art Museums The collector Usually banker, other Italy, a prince, he purchased beautiful France, objects. England was the nobleman, or force high
OF MUSEUMS
that
museums
clergyman, paintings,
merchant, sculptures,
commissioned These
which 15th
began and
and Germany
the
of center
beauty of
who
supportsculp-
past. in
In
elsewhere
of
antiquities. England Around amassed the an same church the 18th quantities
century collection
Charles of
as well of Russia,
ranking And in
huge
which
she
constructed,
one 17th
great
museums these if
centuries Initially,
into
you
wanted had to
you order
money mission
collections. the Louvre in in museum. to nation the Paris, 1793, Its royal opened to the public as the before Afterward, to the all the the it
Palace French
great
national
Revolution, art
considered
of
the
which
people. The museums. but England 19th Not century only did the is the considered Louvre by continue Gallery 9 in a golden to grow and age for art expand,
and
opened
National
1824
Germany
of
museums is unique
in in
museums with
to
have
grown
began
purchased
major first
also
developed
during
19th
Metropolitan followed In museums Paintings In In to the one size! Today not have the They art
directors works of
curators a logical to
earlier early
display were
always
paintings
according
are
sometimes
do of
main the
purpose beautiful
about
show in
museums offer
criticism programs
for
speof Art
example,
Museum
visiting mornings
trainof lec-
As early lectures
a series These
sponsored
of
the
have trains
evolved students
into in
called They
the
Ecole
de Louvre to hold
continue
lectures.
Natural These (12th-16th that people museums centuries) collected objects that grew out
History of medieval of
Museums and curiosities, parts where had of they the renaissance i.e. world odd things
as well They
lived. or
many of
these
magical
medicinal
the and
of
natural and
science, function
i.e. of
began
samples learn
and modern the world By the subject collections, also were also and places in
science
these into
to
the
public; these
research. us,
museums
around told
us about
natural 1683.
it
doors
at Today
Museum. animals,
fish,
weapons, departments
costumes, at Oxford.
into
11
current founded
Ashmolean in 1894
you
can art
see and
today
in
Oxford
was
great library
a museum.
history objects
expanded
and
America. founded
first
D-C.,
visited for to
the
United
government
the
name of increase
Smithsonian diffusion received how best created housed gallery is labs. which a vast It are of
an establishment among men. 110 bags Smithson's Institution a chemical Today the of of In 1835 a
surprised After in
US congress discussion as to
gold.
request, which
1846
the
US congress
began
laboratory,library, Smithsonian museums objects, History. Other time York All very are in three active natural the 1869 of American and these field the
complex
kinds
contains in the
about
history
museums
in
at
this in New
Museum of Field
Natural
in still
1893. have
natural research
museums
had
and
history formed of
emphasize
research. the
collecsponsored samples
many plants,
parts
the
by these
expeditions. arranged at
and
not
at
the
general
Anthropology This emphasizes Anthropology and fields evolution past tion; and the using and societies study of is
Mus.eum a special history is a Greek kind of of man, natural in the history past the and study is which is the museum which in of divided is the of found study of the present.
the
word
meaning
study
the Cultural
remains
of
Linguistics
language.
information ethnography.
obtained
research
methodology
objects in art
are
often
in
museums which
museums, materials, in
there examThe
these
The Musee
de 1'Homme
Paris;
13
of
Ethnography States,
in
Leiden.
is
my
The University
an anthropo-
museum. anthropological man, the either objects museums contemporary brought back They in is are beauty, alone. objects should the carry man or from are out past either displayed context the art the expeditions man. the in of These to re-
museums or
fieldwork.
museum viewer method objects their displayed some that individual the visitor and object better
cultural from
display the
museum, curators
museum
understands object
belongs
how the
MUSEUMS OF HISTORY History introduce United been the States turned museums history there into about can of are either be traditional place "historical" the battle museum at in our or museums period. houses Gettysburg which In which tells took the have
museums. a particular
Civil
War which
Gettysburg. history museums History people are more in the complex Beijing history - for uses of example, archaeological all of China. the The the
National to educate
Museum about
are
arranged
chronologically.
Although
some of
14
are of
beautiful,
their
main
purpose
is
to
explain
Entire
Scandinavian on a pleasant
outdoor ones
learning
and history. United yet States another Whereas site, century the large complex on this at Colonial Williamsliving and the
burg history objects capital still existed. restore tions century with
buildings in reality,
century
people still
there,
original
buildings worked to
historians existed.
preserve
and
better and to
what other
the
structures. (all In
Now about reflecting the and each life on the and site the
century) in the
addition, clothes
staff
person history.
century are
They
visitors which
different to
continue site
at visitors
the
site, can
museums
archaeology
how to
interpret
archaeologists
15
CONCLUSIONS Today desire part things, pretty that history of many led of of we have people to seen how modern thing. museums Collecting as a child they It the liked, have grown objects remembers pebbles passion collections time, formed for out of the
to
collect
seems
was this great which, the world. people With this art in
formation of great
world of
the
museums
collections collections.
existed,
to
management
means They
that
people them in of
stored
manner
the
advancement
and were
and also
conservation wanted to
about
their
wanting the
have
which
prestige. to
opening of
we can of the
development
of
the
different
and is They
importto have a
museum. and
document to
research to the
collections
Sometimes
available
16
but
in the
exhibition your
is
the
most
about
collections. management,
roles
the
museum exhibition,
collection interpretation.
research,
17
INTRODUCTION
THE ORGANIZATION Before preparation understand important together those we talk of the specifically
AND MANAGEMENT OF MUSEUMS about I want to the organization sure that and you all is
make of
a museum. the
This
in should
understand
parts
museums
cannot
by one people
or
two
people specialists to
who are
contribute only
running
professionals to
collection, good
it whose
oversee is that
museum. a staff
frequentthe
museum needs
museum
What museum?
the
basic
components
and
parts
of
a medium-size
COMPONENTS OF A MUSEUM way a medium This organization and English are the use the to large sized museum in but in
organized.
organization
in and
French positions
I will
frequently in
Museum as an
at
the
Pennsylvania
United
19
example I have
this at
is
the
museum with
which for
members
about
with
The .lIJiffeye-~.$~ Most least tions. sonnel needs relations; The Curation collection tions cal these cations ple. section services; sections and we will three
museums major
a management
components:
and Operaper-
The Administration (the and person affairs): the library; section management; consists and is facility staffed (or
persons)
administrative public
accounting
fund-raising:
publications comprises: conservation; of: exhibitions; management with Using at the people all
department. office;
registrar's
research. public
and with
security. very
Museum of
together and
many museums
States,
-The Chief Officer of.__.the .._ Museum _. _--~~~~.-~.- - .-.- ~_~~~- -_ ..~ -_~ The head and United is of the for in museum all Western is called the of the Director. the museum. He oversees In the is
operat3irons Europe,
museum director
to to
be a recognized the museum, these may not and two have will
scholar is also
in
an area to
of
scholarship
expected conflict to
Sometimes scholar
manage fully
a museum,
a good
understand
functions of has his to put Not United time working spend time
the
museum. responsibilities, activities wish Director This Again doing the to aside do this. should task not
addition, director
administrative his all States raising in a lot the of scholarly scholars the money. museum. his to time
he serves Theoretically,
have
to
spend
should
by other
unforthis, museum
and
energy
managing
carrying
Director
university.
Before
prestigious administrative A job as follows: specialized responsible staffing, ties sional through
archaeological experience. description The director knowledge for directing, the staff. such of
research
institute
gave
is
policy-making and/or
supervising is
responsible
practices
preservation,
research,
21
presentation, All
and
for or in an of
director.
degree evidence is
specialization.
administration in
desirrelat-
experience
a museum or
should
have needs.
at
least
one
to of
two
secretaries. typing,
persons filing,
and and
papers. arrange
answer
the
Director
appointments.
Director medium to large-sized In the museums there is there in Each all usually is an Asso-
The University
Museum Galleries
Washington,
Directors.
oversees the
One manages administration. and and all education research. Director) Director. younger
business of
exhibition
Vice the
experience Director
Associate
usually
experience. 22
CURATION Curators -
EECTIQI'! .are the Their the collections, them, persons directly involved include them articles in taking care of and as
new exhibitions. have at least one curator for each For which managed sections of its
sections in the
and
an assistant there areas. curator Egypt, Other they and the are
curator seven
University different
Museum cultural
Each
section
museums
object, will
ceramics or
a curator
so forth. and is
Museum of of research
of
also
Department is to
primary new
of
the daily of
other of the
collections curator.
is
part
assistant in British
museums system,
curators are
American
keepers
23
not
the
and
their
primary
is They
to
"keep" make
sure
met.
They
The curators, of
on the and
selves both
teaching
research. and
research
collections.
Registrar The Registrar is head for of the Registrar's all and is objects ask tell about you the the in the for Office. information storing this This about informaof you all go into the the the
is in
recording collection
The Registrar's information registrar's should at that on al-l. office be able time. it in the is
central the
museum,
is
in
Sometimes the
sometimes
on display borrowed
sometimes must
it know.
been
need
only
one
more three
professionals
trainee
Description:
The museum
registrar
is
responsible
for
24
and maintaining retrieval accessioning, insurance, organizes, and handling lending and/or systems
orderly associated
legal the
docufollow-
shipping,inventory, museum pects sibility shipping, fact have liberal in able and registrar of borrowing for the
which of
etc.). ideas
organizes
a degree arts.
He or registrar's aspects
should department
experience knowledge-
a museum in all
be already
of
collection
THE ~ONSElJQ4~d4t The conservator department science sible sick completed tory, ration. cially niques. the science for or of is works in people of of These the objects. objects are often training the conservation been department. trained in are the responThe
made up of
conservation taking damaged. a university continue training as well are more theory are care
people
a knowledge
science,
espetechon
restoration do research
than of large
also
and
more afford
than to out
one have to
consereven a conser-
are
small to
cannot their
have
objects
if two for to
objects
require
treatment. Sometimes
people with
conser-
a particular
example,
for is
an exhibition. crucial conservation for museums techniques to treat them to recognize which regularly are the used in importance not order only to of to prolong
but
description
of
a conservator basis,
is examines and
very
complex.
The
deterioration, sees
that and
fumigated, and
pollutants
and wavelengths. knowledge sculpture, and wood refer work, to treat textiles, books that the
a certain
class
such
glass,
know
materials Education:
in
the
museum
conservator
conservation in a specialized to
training
repeat,
very not
important
to the
the need
museum
and museums
underestimate
to
hire
a scientifically
trained
conservator
as soon
as possible,
ADMINISTRATION~~S~~~.I()1J __--___-_-Administrative Staff staff matters on the needs is of needs at important a museum. of the one for This museum. or calls However, an entire secretaries The University six projects people and two taking staff care can of the
An administrative many or administrative depending the his the it with and Director correspondence, museum's affairs
be large
small
least
answer in to
and
as museums administrative to
accountant of its of
the has
an office in
a staff
approximately grants,
specialize istrative
issues,
other
admin-
matters.
should the
maintain in as
of
books primary
related documents
to
museum,
letters,
objects,
materials
are
preserved
about
of
students
The University
Museum
27
concerning are
the
history in
of the
the
Museum,
such
as letters, condi-
photographs, possible.
preserved
best
environmental
SECTION Designer to large function to size is museums to work their organizes At there with ideas the are the into Exhibition curators a visual and Departeduca-
medium sole
whose
department the
translate which
department in the
installation Museum
there
whom are
who have and learn exhibitions express The to of the produce the objects this of to in the some
with
order
closely
new exhibitions is to
renovate the
meaning order to
for
curator
visitor.
curator
on the
designer Inmany
museums A job
description translates
an exhibit and
designer
28
temporary, scale
or
circulating lighting,
exhibitions and
through arrangement
may supervise
exhibitions designer
have design,
design, or in
commercial design,
interior in typography
theatre
with -
and media
heads
the
Department is to
and create
is
the
effectively
an entire Department of
Education large ren group selected trained ment ticular or can At also also
Museum
school
museum
The children
the the
explain provides
guiding in the
tours
galleries be arranged.
museum take
on a scheduled
works provides
closely
events
including given
a by
anthropology
museum's A job
29
is:
the
develops, educational to
and/or of of a
and understand
collections. of media
exhibi-
printed tours,
films.lectures, school,
teachas well
programs, training.
administrative degree in
an advanced museum's
an area
specializa-
activities each It is
accompanied music
by a series
events
as films
Coordinator culture
also days,
special
Public
works stations
together in order
with to
TV and
announce
important
so that ongoing
be conachieve-
museum's people
activities the
will
support
museum after
about
activities.
30
trm-!3erds must
___. have attendants The objects anything. about tasks the is gallery clean, the job in of the of some sort people and also in is to the galler-
museums opening to
hours. the
these gallery
remind make be able sure to They the checking cases so I do not profes-
people no one answer should number to are that need sionally In receive the is see
touch or
damages
questions specific in
collections. as checking and night, the wear museum a uniform them. even more
every each
morning sure
floor is
clean. the to
guards
distinguish security handle the and public. more world, are looked Under do not are rude of This of the
trained
salary the
down these
by the
and
impolite and
a sense
in
position on the It is
being of
important only of
remember as the
and
devices
level has
security of
The Universas an
a large
security at
guards 2:00
security one of
One night
a guard He ignored
alarm-lights
31
it
because
he was
an irresponsible that
the
museum from
director museum!
discovered
the
Staff __is important for responsible The and not cleaned will there all museums. for floors left cleaning must in Every the museum museum the the
who are
basis. museum
corners, week.
must is
and visitors
enjoy care
who work In
and
their
culture, Rags
museum corners
the
could and
over hurt
the
brooms
museum and
themselves.
should
have but
a shop. it should
is
for
items tourist of
postcards as ones
like
museum shops.
on it One for
Museum shirts,
postcards,
reproductions
objects,
jewelry
32
from
other
parts
of and to
the has
world.
The other
is toys
which parts
learn
cultures
RestauraD_t
..-~_r Cafe today have a restaurant or even meals for and or to the rest cafe its which visitors. and taking sells This visi-
a good often
earn the
museum, while
enjoy
to
some refreshment. Conclusion -.-----Many skills tehm, to the each dinate different exhibition are and different needed only then this to kinds run will goal, of people with They different must work kinds together In of as a order among with to coor-
function be good
basis
these a new
play
creating
galleries.
33
INTRODUCTION
INTRODUCTION
of
lies
at
the
core that
of
what
distinAs we
museum's these
existence
is
to
conserve, the
research to
But
about
is
unique
by the is
public. must
Therefore, think
curators on display
Maybe the
simply
to
purpose culture,
educate of
about
technology to
According with
simply
objects
cases
that it,
you arid In
both you
want want
museums a primary
become
way of
attracting
35
museums
compete
with exhibits.
each
other This
for term
begun the
to huge of
call bombs
Second sections
World of
War that
destroyas
a city to
(we refer
in it
a city an
"blocks"). "explosive" visitors. visitors popular. Egyptian crowds museum tion. orderly quite are others of is for ruler
describe exhibition
means
many attract is ancient The forced an exhibicreate an large the many very
exhibit or
contents or
tomb
people
which to
see
exhibitions museum
exhibitions. to others,
created in
countries. criticize too much and this these do not exhibitions provide need of not because enough be true. have they
Scholars entertain tional curator very the the content. and clever visitor. Exhibitions nent want proach show in to
sometimes visitor
educaThe to be
exhibition
a way to
entertain
and educate
can
or
temporary. most
I put
possible, have
collections at least
more
collections
objects display. storage, generally objects after tired start labels constantly might our
can to
suffer higher in
damage light
are when
on in
and to keep
is time. itself
not
good In
fabric
themselves
because
excavate previous
example,
change this
reality,
difficult
consuming. in
shorter or as long
Most
average
after
venue" Because
they spent
exhibit, people
makes see
sense
q aximize
the
amount traveling
other
hand,
also
on the these
objects
because a
constantly exhibit is
being
Despite
drawbacks, to do think
traveling
something
your 37
in from
the
future. foreign
museums help
like to
to find is
borrow the
funds
When an international like a short-term usually there as they States is takes joint three
planned,
museums. and
organize
between its
travel to
United
prepared both
accompa-
ny the and
exhibit
which
often
as part is hard
exhibit's
opportunity
culture.
here: Storaqe" when Approa.cc are put you on exhibit have them. This in the the called in a completely is little is is
This random
objects
manner
because
approach and
States
way to
museum's Aesthetic
collections. Exhibition1
(sometimes as its
objects.
This
frequently focus
38
1. 2. 3. 4. 5. The sometimes
selected in a case
labels in exhibit an attractive manner but enough because: that the are visitor selected should for the it ideas.
intent focuses
of
the too is
aesthetic is
the
beauty
which
on that order to
basis. achieve this aim, and are there other is a minimum of aids discreet, are and
interference'. kept to
interpretive and
subservient
presentation, is compatible
i.e.
the with
ment
and
components, is created.
aesthetic 3.
*ambiance'
The Didactic-_BDproach Exhibitions which 'didactic'. encourage the are intended Their visitor to aim to impart is to information instruct in and are to and While exhibinot left through such as to
generally educate. thinking all tion, the the exhibits the objects use of
engage is in the
a learning
Intellectual be broadly
stimulation educational,
interpretative
materials,
39
labels, cludes a.
photographs, types.
etc.
The didactic
approach
in-
Systemati-c.Approach this of we can approach objects say that also according it is relies to upon objects, it system. used implies In
an accepted
The system
This
by many natural for an exhibit method necessarily the are live is all in could of on the is very system
be used,
example, this it
display is not
Alternatively, example, groups their You would their clothes way you culture approach nor In the general from specialist what in the you who artifacts put
be typological. culture of
group, In
another, compare
this
museum
museum
context,
museum visitor he has who still approach described Approach1 the educational seen.
much of
research in most
below.
Approach comes
approach
40
of
This
approach to
to
began at that
about time.
ago is the
considered
be very
accepted curator
as general begins
practice.
by deciding
be presented. 2. 3. them models; 4. concepts 5. he plans or ideas the with the with much the like ideally approach both the exhibit various exhibit "idea so as to teach, emphasizing the from then he decides needed institutions, how the objects or story from uses can the best be put across; or drawings borrows or
he selects other
collections
photographs,
techniques; as a unit. approach" with reality, used. and the is too that it can and of too the
he installs
The problem sometimes few object the time objects. and curator based 1) 2) the the that In to the upon they this based their use the recent the be too
Hence, idea
Using ideas
this at the
approach, same
objects
objects of your
in museum
the
(what
be put
across). have the begun visitor and more to add in devices. what and interactive the visitor a new dimension This is based is
learning. It they
idea
about
designers
computerto ask
further Other
questions techniques
about involve
the
exhibit,
or
even
to
test
himself.
interactive-videos. OF A GOOD EXHIBIT outline of the like for stages to you you
planning
I would recommended
introduce to keep
mind It
exhibit. It the live not must staff, ordinance fragile people provide for the protecFor museum. like touch
secure. museum,
exhibit would in
display so that
example,
a way
should and
must
inconvenience
You should over tables with case should the (also catch
a flashlight an object.
order
cased
by sunlight
on a
a failure. 4. It should look the the good. visitor. visitor's produce purpose grab attention. emotion, time. An exhibit entertain, means that must To each or An exhibit that is dirty and crudely
made will 5. It
repel hold
should
42
her then 6. It
stop will
for the
a few display
moments
to
read
the with
and visitor.
to
look.
Only
communicate
should his of
be worthwhile. attention, we can with to his the visit. has the visitor
and
gives
exhibit a kind
entered contract,
contract give of
museum.
As part of
something In summary,
value exhibit is
in
a good and
nificant
objects,
an important
purpose,
well
planned.
STEPS YOU MUST GO THROUGH TO CREATE AN EXHIBIT or-Initial what who upon what means is is the your Planning-Stage theme primary or story audience. of the exhibit.
Phase
1. Decide 2. 3. 4. exhibit. visitors 5. so that your Decide Decide Decide This should Meet
a title. you you want your visitors think when talk the about they about visual to the leave your learn from your your exhibit. with him of
should to answer
questions the
be able the
with
designer to think
and about
ideas
he can
begin
interpretation
ideas. 6. 7. Make a preliminary a preliminary to allow This budget. time to of the schedule 24 months time is for for the exhibition organizing especially a lot can of a if consermore own and a
Create We try
work. major
18 months amount if
needed need
produced, has to
be done your
necessary decide to
an object
exhibit,
43
curator these to
does
not
need
to
do a lot of
of six
research. months is
even in
circumstances
a minimum
produce labels.
an attractive,
well-organized
exhibit
meaningful B.
Secondary-~Planning 1. Develop
Phase-_ researched of your your from in outline exhibit story. your your exhibit collections exhibit outline. you which can This may wish be is to and for the the exhibition of ob-
a complete, the to content illustrate objects the list. objects. is not really you ideas
- this jects
kinds
Make
a list
to
illustrate
As your
develops,
second, should
but know
is your at
done
at
the
same
As curator ideas
objects the
and be work-
both In
selection
need,
borrow If you
from to of to
content have
these
collections
Develop This
of
"support" include
needed
for
maps, of to the
and
supplementary such
components
exhibit logue,
produce, a lecture
catathese
a guide,
handouts,
series,
44
items
are
for
a special
exhibit.
C. ___Third
made your
of
will too
also fragile,
decide the
whether decision
or
not
the
piece and
might
be no),
conditions. should a long exist, If begin time. photographs a catalogue be taken should is
after
Conservation it will
2.
as soon
as possible,
because
of
each then
object
to
should
has
and
must into
be able
to
take
scholarly
essays English
and the
them
simpler,
straightforward
which
understand. levels panel maximum the Panel 75-100 or words at the most. They of introduce a of 250 words main theme of the exhibit labels:
These
labels 2.
These specific
should site or
a particular
cluster
artifacts.
45
These
labels
the
sub-themes labels
of
an exhibit
are
for
object can
be very
information
piece:
accession We will
number talk more in specifically greater detail At you the about labels, their content
and
their 5.
and logue
begin to
should
be preparing
accompany
your can
available produce.
funds This of
will
deterthe the
includes essays,
number in
of you
most scholarly
already here of in in
publication
planning North
(and 12
in
have
approximately monograph
a good-quality as well? If
so,
then
46
logW?
must Just
begin
early
on in
the
as a reminder, should
in
the
catalogue and
about to
minute This
object
the
the
Europe with
are
simply
objects,
books research
worksProducing of
because is your
you
version After
translated. have are been selected to with and research the designer of the they are your at laagain exhibi-
conservation, bels, and tion. You should with him. you begin
beginning meet
produce
a more
visual
design
go over for
line"
should kinds
selected,
know
sketches where
of the
objects It is
how the of
responsibility
stability
each
object. of
small place
objects, - either
Round-bottomed by itself
cannot need
a frame sand
or
other All
be weighted
these will
be considered. plan the materials should design you have want in designs I will of the text to use in who
and
plan
office
United
Europe time
which provide
a long
design
and
examples. The Museum forms for objects. in the of Mankind of the in British London is the ethnographic Their to museum staff display market all are
part creating
Museum cultural
complex. environments
complete
memorable
exhibition
food
and
An audio the
played
sounds
of
fabricated household
complete
all In
houses during
and this
on
48
very
important
when
Mexican
people
honor music
their and
deceased a videojust
visitor and
left
as though itself.
he had
Mexico
use the of in
of
feathers ecological
in
South
America in
placed large
mannequins people-sized
people
these wore
they
they that
used gave
cases
along
feathers. playing
A video the
accompanied flute
together by many of
haunting
and .FabrJcat$.o.n the designer and his of the staff Exhibition and the
begin
fabricate
produce
parts
exhibit. later the installing that fabricating labels and the of text the different parts of
panels. in have the been and exhibition. working repaired: charts is in on the and fin-
Mounting the
everything have
cleaned
and exhibit is
diagrams ished
have
been
place. to in-
designer, or in the
begins spaces
stall
the
objects
cases
created
49
At
the
you other
are
hanging
the
text
panels and
on
chartsyou
place We will
discuss E.
a later
For. Speciaa_Exhibits working there are on the other scholarly things which
aspect you
of
have 1,
prepare. example, know called the when about an exhibit it. In kit" and order to the opens to you have to have must in This press a way pre-
to pare
let
do this to
you
send
reporters
TV station.
contain: to to the the museum exhibit. from or to slides the most the the exhibit of objects important curator(s), to in the exhibit who
"highlights" photographs
designer. the
scheduled
exhibit. should have these materials require want time of for the 50 the your the several a press exhibition exhibition the can weeks before
announcement to be
months in
before hold
official
opening
exhibition, They
a special
gathering
press.
in
and
interview
the can
people
publish
day Most
that
museums of the
a party
or
reception
to
celebrate
opening 3.
exhibit. with the opening of activities we opened a new exhibition to an exhibit Museum, in about complement about we had the most the history of Asia mu-
seums exhibit, of
plan
educational when at
example, in Asia
Buddhism
a series parts of
lectures
by specialists
different Buddhism. in
and we showed invited special educational give subject planned lectures of to the members opening
the
tool. for
the
public
write
some articles
Sometimes
an academic of the
conference exhibit.
discuss
and themes
51
INTRODUCTION
CONTENTS OF THE EXHIBITION I. As you tion approach probably is which display one is OBJECT SELECTION have that primarily can the guessed, is based art, AND PREPARATION my preference on themes a more or for ideas. an exhibiEven and inin
an exhibit formative
educational
be used. general they over-all plan planning new exhibitions. approach no matter otherwise and at. How you stages
when and
different differently.
planning your
you
must
still display
for
happening? avoid this, plan, your you selection probably plan" is or she of want which objects to will It want the ask should me? for up to be
upon
a plan.
What
different. they to of
theme comes
What
provide for
with
preliminary process of
plans
exhibitions objects
curated
how I selected
them.
EXHIBITION exhibition
MUSEUM to several
as a response
needs just
and been
ideas.
First,
Asian one
Section section.
in
the
Previously, (mostly separate did enough not to make warrant Thai from
Indian
materials
materials
materials. collection
because curators
keepers.
It
we could
maximize by putting
strengths, of Asia
curator
idea.
be a good unified
mount different
exhibition parts of
a theme
a topic. and early Laos 1980's, many had Chinese Philadelphia arrived in the refubeen and for
Southeast in
resettled Japanese many years, late dhism also about 19th could help the Third, needed ful had hire 19th not
had and
in for
example,
that community. in of
on Budcould more
Philadelphia its
customs we used
this grant
Japanese properly-
wooden
funds and
an outside
conservator
and
her 54
do detailed
work
which regular
we would
not
have
been
able
to
conserve then
circumstances. motivating was early - about began they forces Spring two years. for us to 1983 the after many and
preliminary
on Buddhism. date on the object work. thing the would to I was exhibition, be used first You see, know the to asked of
immediately required
The story objects do this, the did first knew been for in line
to
do was to
write
which I had
familiarize
on this Director
She helped
this At
process. the same time to I was becoming the storyline. to illustrate to wanted Buddhism, along although all show to familiar with the collecwas of
I began historical-
develop
I wanted the
Buddhism differenc-
illustrate Mahayana
branches the
which
they
demonstrate crosscut
Buddhism of Asia,
linked
55
to
illustrate
the as you
of
each
the
local
Buddhism of these
Cambodia. and
areas
Buddhism to
personality museum visitors for in the faith. began how to plan major to people West not
character. that
illustrate
only that
in
Asia
also
and
many
people
As I developed nary ideas visually dhism and meetings into with a visual show have temple collections to for to the the Far the
I also discuss
have
prelimimy to Budfrom a
translate I wanted of
them
- one display
Japanese of the
(we had of
of of
a turn to
East and
collect from
museum),
one
because with
we did which
Buddhist an alter. and our not wanted not want as a have each We
Thailand modern
Buddhist but
paraphernalia in the
approved,
objects
displayed practicing
would
together these
by people ideas,
The designer
agreed
with 56
and because
we
knew
which
space
in
the and
be using,
he
designer
object problem
these objects
area
some objects dhism, country's objects object selection one ple. to of its and
illustrated which
illustrated of
we also as well of
the of
Sometimes there
only
exam-
was make.
consequently, have
have
we had
exhibition with
we were the
together
history relief
the
we selected - for In
example,
showed
Buddha's to the
addition,
attention
carvings. other amulets choices, principles. hand, and in the Tibetan statues section, and tankas of the we had to abundant from. and sta-
On the examples of
small we used
choose
a combination with
aesthetic
Obviously, 57
gilt-bronze
we tried goddesses
to
select
ones
which
both and in
illustrated good condition. which those been contents the kinds than of
and were
beautiful to
amulets,
however,
I wanted those
make
a selection
worn
worn
and visitor
this
I could inside
thege In
rather section,
relying
them.
I also they
as though in
someone's
my planning in the
section nearby
because Newark
I had Museum.
photographs
archives collection
Tibetan a small
extensive other
allow
exhibitions
publications. religious daily lives With from, best and the here objects
I found
illustrated
by Tibetans
before
Japanese the
we almost select
had
too those
objects definitely
would
largest
beautiful would
objects them
be prowe did
accommodate be in vain.
because
as part using we
Japanese from
we physically temple 58
built
pictures
on Japanese
architecture.
Then
items this
of
temple
from those
among pieces of
our which
vast were
stormost
instance,
cleaning
and satisfied
sections
section,
proved
historical
Asia. and
Cambodia to
Vietnam.
borrow
preparing to
I obtained the
example, of
amulet
kinds antiques)
and my selecthe many Buddhist robe, of illustrate the his monk this
was to the
types to one
reflecting of the
amulets. and
Bangkok
purchased All of
items items
and eating in of
bowl.
Theravada living
Buddhism
could
be used
Buddhism.
THE CHINESE The planning flexibility necessity your objects of curators always to see of
JADE AND BRONZE EXHIBITION is a good example of and ideas the the and
forth
agree.
59
In having months. in very begun. together Center tion. passed es, for and
May of been
1989
I returned
to field
doing
ethnographic a slight
The museum had help them out plans woman Director with
crisis
asked
I could been
While
for
jade the
I mentioned of
MASCA (the to
who was
contribute very
woman became her late would some kind by late mount for 70's). not of
circumstancbut to be
exhibition
have exhibition
been
We had exhibition
only
a few not a
- about
storyline say,
preliminary catalogue
not
there
enough
technical the to
was
show but
between However,
so of that enough
idea,
up.
First,
We were
60
and
Zhou
a few to to
items
which
could
attractive, curator ent the to that objects depend already However, museum's Chinese this in and
pieces.
while to upon
idea
trade this
illustrate a lot of
exhibit text.
would This,
photos is not
as we
have
way to and
do an exhibit. I knew that the of early With We would both and jade Chinese illusthe to keep same these
technical contained
a respectable kinds of
number objects. theme. display bronze the early would during we had
systems technical
curator
these
two our
technologies objects,
selecting
of
the
of because of what
the that
itself, there
sometimes was. If
we chose we were
what
lacking we found
was or
item,
then
However, budget
this
exhibit with
had
together only 61 to
a very objects
by necessity,
use
collection. Other hooks tion of (which bronze curator times, from and for example, of in view our choice of Eastern the in daily which silver Zhou belt
de-ritualizalife), the
widespread in
technical with pieces important Thus, belthooks beauty. Other objects. goblet objects servation What illustrates which cannot even curator the reality if ideas this
was
selected technology
plainer aesthetic
distinctive
times, There
conservation was one bronze was too have busy selection necessity play a storyline have the for off used to
concerns ritual fragile required complete process flexibility, of that objects and and with the one
our of
choice wine
of
gu,
which
Other con-
and
objects to not
another.
constantly of his
go back
collections meet
adjust
I will
you for
a plan,
be able
display. discussion of
Now I would
a more
detailed
62
the line
next and to
of
the your
Once
you
have begin
storyre-
should labels.
search
your
and
II. Writing Labels The text drawings, storyline write be able late" al than to them public this. the maps, of your panels
TEXT PANELS,
and
labels etc.)
together and
with
charts,
reason
that
the ideas
simpler, better
Not
scholars
capable is to they
doing
What volunteer
I am writing my labels
guides
read
you They
recall, are in
I described usually
these
an interest specialists.
me
my labels labels
scholarly. education
even
secondary
The curator because plain charts, can you learn need he knows your story
is
always
in It
danger is
of
so muchwith fewer
words,
drawings with
so that
so many words.
so many words
63
ists
say In
than the
you
should
write
a book
or
article. for labels: These and if to are the the major They example, one are in the curators
for 1.
levels text
level panels
divisions the
exhibit of the
introduce
main
exhibit.
exhibition
I had
panels, the
Central
Japan limit
Southeast to
Asia). of
a maximum
250 words much often graph, and are for These to draw
These a map or
panels a photo-
by some kind
be attractive exhibit
in
order the
people and to
exhibit. called the of or sub-text an exhibit. temple if or panel. For These example, panels they cluster objects introduced a
second treat
sub-themes site in
might of
introduce
a specific In the
a particular of was
artifacts. one in
museum
archaeological In
site, the
containing
sub-panel masks.
religious should 64
instruments at the
words
most. 3. The third These object providing object's what where it's it's If its If obviously example, one been needed of the it is date accession a gift, an object the in the jade in I.D. number then should has name the donor. or special to exhibit, of is the very explain the about this. surface cloth rare it it, then For of had and are level the have basic is the identification labels of label. about for (I.D. each They the for object can short) label,
be very
information
piece:
label
wrapped
an explanation.
Production In to
of--Labels producing labels, readable it is also obvious that you want them consider
be as easily
must
design line.
line is of all
do not is also
typeface capital to
letters. read
A typeface which
which are
be difficult
and words 65
spaced
together
will
be illegible. refers to the capacity Three labels: to of the panels the the text in of factors illumination, amount type will of being seen or distingood and which with the the I.D. is kind vis-
Visibility guished ibility contrast. shown of on the It type. the against and
label.
be in and the
The
I am not in the
familiar States
United
primary high
than or if
should Finally,
possible.
between
the
background
should
be as are the a
as possible. although variety text But, The reasons the If not well ease the recently of panels it is for with type lighted,
Black
to
use colour
colours is
their
background. coordinated color. care is can small, will them. obvious. read or not the not
wall
colour.
always all
to a
of
correctread the
be able
comfortably
and
Making
the
Labels professional labels. way to make method the is labels also is the to most silkexpen-
type-set
This
66
sive. phase
It
is
also
becoming
the
and use
computer
There a variety in
Washing-
has are
directly have to
thereby Another
eliminating way to
need labels
them
and
which
on cardboard
text
panels.
67
INTRODUCTION
THE ELEMENTS OF DISPLAY I. Revi~.9~.-_D_e_~~~~ Using designer sketches 1. exhibition 2. like. where the has storyline, now worked objects, up sketches and of
space the
available, exhibition.
the In his
he has: presented will indicated He has the made a general look like. the cases will stand for and what each case they look picture of what the design of the
where
sketches are
and marked
3. their
objects
and dais. where any other to put all text panels, material the video maps, used if charts, in you the are
photographs exhibition. showing 5. tern). II. Ciroulation It visit not is your unusual
of
visitors
(called
circulation
pat-
Ro.u.ues important exhibition. to text place panel to consider At the how you entrance object to draw the want to the your visitor it an the to is
an interesting in order
together visitor
attractive exhibition.
69
has the
been
that,
people
tend and
to less of
beginning through
an exhibition, It is
part
the
to the
modify last
people
research has
kinds
circulation circulation
develfive
arterial:
star
(figure
The __.. _-- .-- is arterial straight, alternative This buster" designer to take The alcoves. off the kind of angular and put or
it
can
be
pattern there to
an object of the
a main
study
without flow of
space each
similar it is
to more
the
arterial
pattern it
it of a
is
complex and
because each is
spaces, This
space frequently
a more by art
pattern
star
or
2-a-a pattern
presents
the
visitor
with
a series
70
of the
a central areas,
This create
pattern a very
has
busy
area, is,
be pleasant. a non-pattern relies upon the because wish it of provides the visi-
a sense, which
free, tor.
random
circulation
of
these
patterns
can
be used
individually
or
combined
other.
III. A.
Components Display Case use of display which or Because they period cases. were precious display reflect during used The display in the found are the past in used furniture they were in case to
has house
its
origins collections
private architectural
which
of
high
quality
glass for
could
be proof
This
display the of
case, strong, of
improved
and
changed
Nonetheless,
museum visitors
I:
often not
of
do
object. and it
really
sometimes difficult
windows trend in
makes
American cases. keep from serve follows: -yunctions 1. able Others several possible a case 2. temperature, protect sects, into is to
primarily touching
hands dust
objects
protect case
other important
pollutants. functions
several
be summarized
Case: from theft and damage. be as invisible you the have case. in cases, will Some cases as possible). to It unscrew is also if are
lock in
should such
in
order
electrical moved in
systems
touched
constant
their
3.
in part
which of
can of
This ment
means of 4. the
To support
which
they
may be viewed
To act
element object,
which such
will
bridge the
the
gap
in
as a coin,
viewer,
as visual serves
and
physical of
within
a galsculpture
furnishing and 7.
within attract
By doing
the
capacity
to
interest
to gallery.
assist
in
establishing
display
cases
in if of
form
be an obstacle. made for them your display to make or purchasthat which from as
When you ing they are well new ones, have been
sure
designed for
features
important as better
made than
Display~a_~~---~~~~~~~~~.-~~a~~~ 1. They vibrate. 2. such They are or are adequately alarms accessible and removed secure as are and incorporate necessary. and permit and safely, is objects subject recommended, are less to to any devices are normally level, completely stable and do not
as locks 3. They
deemed
within
precautions.
this
practice
many museums
construct
which
73
It
is
to
have this,
cases
with of
hidden are It
placed off
on top. the
three
or
plexi-glass
on the at very
Peking
however,
to were
so that designed in
and
close
architect he saw
modeled were
a museum glass
construct-
ed so that and included If accessible your without 4. indirectly This used any from and to case it the will case. 5. They means to gases life the
be pushed panel contain the you the display are able which light
on a runner
could
having They
disturb made of
objects
inside which
materials effect to It
on any
careful be dried if
make or
out, the
given case to is
chemical which
example,
stands have
the
a harmful
reaction
maintain
good
light
levels. 74
6.
They
the viewer
nature (height,
of
the eye
object level),
to to
that
and of
without of
sharp
corners
or the
dangerous normal
protruwear and
sions, tear of
9.
be capable
withstanding
visitors. They or permit clean the basic the maintenance without - i.e. putting about you can the change contents light at risk.
fittings,
case
most
display get
above, by the
often
ability can
problem windows
them.
lighting strike
the
best
way
produce
a reflection. Cases come spheres, of ease in all kinds cylinders of geometric and the pyravast
and
domes, of
construction,
into
standard or
cases.
standard Up-right
a base
usually
be seen
You should
75
mind labels
when
to side or
repeat of the
on at The wall
can
only
view
obviously Most of to
fixed
those
chronological cases to
Choosing Selecting
colours of is the
for
your
is is
an imdone by
portant the
part
design it simply
show.
designer Colour
because is not
part
of
Aspects
such and is
as psychology of
science of our
trends
century,
colours,
even People
paintings. the art. lighter. works that values exhibition of the in art
Today In
does
the around
it W
76
rays.
current
trend
is
to
Museum viewer
still
true
colours
for
other
kinds the
of
ers, of the
if
coordinate
might
tones,
incorporate
themselves. we painted was the intended room. brown and and was pale Zhou ritual greenish patinas again the of each to For chosen
exhibition a different of
(room) the in
object a very
the
reds,
greys,
pottery. contained
other
bronze pale
we chose very
a very,
beautiful
bronzes. of
Galleries, tomb to
un-glazed back
with colour.
colour, Ming
we switched
a tan-buff grey
exhibit,
covered tan
natural completely or
(undyed) safe
(a very
colour). contains
objects colour
chemicals,
neutral
colour use
was the
for
one
of
the
galleries this
convenient, change
sometimes colour of
money, in each
designas
will
fabric
is in
that
colours
contribute
to
the
atwarm
exhibition oranges or
by using tones
(pale
colour)
environment to select a pleasing experiments For louder in a violet room in where audiences, in the
which
provide
been
done
on the
psychological
example: to a listener room. the room. twenty-minute in a blue group that the theater said lecture they lectures and felt was were one bored interesting in a and heat up four degrees than in a white room than the
A noise
a blue sitting
those 3. In
people
people "red"
group
quickly! packing case yellow. are many interesting So far some of 78 things to learn about have from other been seemed to feel heavier than an iden-
colour
and
on people. but
made with
museum
audiences,
could the
be used exhibition
by museums. is another important discuss after this the element topic objects in next are the
because
Environment together to the remember i.e. and the focus different the to parts exhibition protect, while safe of the exhibiand
tion, to
it do your they
safeguard,
on exhibit Here
visitors on the
inside for
we will
environment
know, be dust,
heat
can
to
pollution things,
attacks other
by kinds
example
roaches
on display
be answered mentioned,
conservator. they
We have
go on exhibition
be inspected
Humidity All museums are concerned as well Relative in the air about as their humidity relative the relative humidity rooms. is the a measure amount For half the inside What of air the is if vapor is
storage
areas
exhibition (RH) to
expressed
as a percentage. contains
example, water
temperature
the
79
it The
can
hold
at is: of
that
temperature,
the
relative
humidity
is
50%.
formula
water
in of
of at
air
amount for
a given humidity
reason
relative level of It
environment
a high
RH has can
effect
deteriorate. kinds
fungus
moulds,
of
pests,
flourish In
environments climates
ture 45-558.
of
climates read
humidity
specialist
either to 55%.
tropics 65%.
to
keep
RH around
recommendation? all a more If year humid you itself carving round. climate introduce will of region to Yunnan
hot
and
humid in
"happier" more
containing
them cause
damage. in
the
Xishuangbanna visit in
on one my room
Beijing. 80
Beijing
My poor
elephant
developed in limits
a large a more to
crack. humid
Thus, environthe RH
However, be in tropical in
how high
environments? tropical at the countries least RH at 80% or is almost always and it above is 65 8
being keep is
higher,
than discovered
70%. that
because
be a critical it
RB above and
because is
encourages for
tropical round.
keep the
RH around or to wet
season, the
to it
use at a
methods level.
lower
RH and
Ways to more Another play ing in tive case materials display humidity
do this
include ventilation
fans
and
to
create the
a "micro-climate" vitrine). and textiles will Should act The use in their
the
dis-
called such
as wood
supports,
as these
as buffers control
be necessary,
chemical
dessicants you
as silica
RH is the
exactly Hue is
range
RH for what
81
always addi-
humid,
are
what
are
the
in
in
Hue? or
next signifigradual is
because or
sudden even
shifts
higher at
harmful be better
simply In ity in
and of
relative simple
humidinstru-
museum, are:
dial
museum
purchase We will
monitoring their
these
instruments conservation.
workshop
on preventative
damaging Light does however, surface things painted completely you can
to not
of
museum objects, to stone, especially effected. leather, Although can not you see
but metal
not and
and
have
paper,
pottery
(otherwise damage
your
reduce
three radiation
eliminate
a sleeve is place
fluorescent W, not so it to
Daylight to all.
recommended windows 82 at
You should
place ble.
light
sensitive
objects
as far
away
from
sunlight
as possi-
In
addition, of
are
recommended
light
levels
for
kinds horn,
ivory
there paintings:
is
colour), footcandles
furniture, costumes
specimens: Light level way meter used from "Lux" discuss conservation 3. fluorescent of heat from to In to of
terms
of
duration to use
measure used
by professional United light name of levels seminar. addition lights, lights. fluorescent Although are very hot to the States
photographers. and is one the foot unit detail amount away used during
in
the
of from in
source the in
measuring greater
Europe. preventative
the
rays
emitted the
from
and
consider systems
damaging
in
lights emit
heat rooms,
in
laundry (I
on top do this
I am in I have
humid
countries
On occasion
if happen
I have in They
left
it
too
close cases if
to the in
the
too too
your also
the too
hot.
This
is
someth-
people In the
about. harmful visitor the labels. effects to see of the light exhibit discuss this have to
need to
of read
We will
Wednesday's
lecture.
C. Pollution As our problem ly the of final pollution which topic in for the poses today, exhibition the we will briefly consider Dust to is the general-
gallery. threat
pollutant
commonest
museum ob-
jects. Dust sulfur also your keep has contains and with which atmospheric hydrogen grease is pollutants, sulfide and oils (bad and for form it and substances Dust surface if your you like can on can
museum
doors
However, to resolve.
museum
problems
84
114
The exhibition
environment
(b) Comb
(c) Chain
(d) Star/Fan
(e) Block
Linear
Figure
1974) 9.1
Free
Examples
Corridor
of typical circulation
Alcove
patterns
Composite
(after Lehmbruck
85
INTRODUCTION
OF THE EXHIBITION OBJECTS be useful After the often meet the careful, are useful to forget rules to to your pieces people the review the
RULES FOR HANDLING that handling is time it would objects. to install Very trying installing most These is very then.to always easy
are place
are
a hurry opening
to
deadline is
However, have to
time
be the
review or
have.
follow
objects
objects should
into
the
area, and
it ready they in
that
objects. both
The display inside and with is their case. do this time. you Never time out;
cases any
be ready: used
the be
fabric to bring
should the
your put
correct
place,
in
labels
display As you
should Rush.
remember:
1,
Take
your
87
2.
Begin
with the
clean is
It
is
best like
to
wear
white
can absorbs
stain dirt
unglazed and It
damage can 3,
metals.
can
lines
into
bronze of areas
t&ore
touching
Look other
for parts
damof
object.
When you
up by these
Do not it
until Make
you sure
have the
prepared object is
the stable
space
to
where leaving 5. 6.
before
parts or
before other
moving padded
objects. surfaces as
object
much 7.
as possible, an object, as a support kind Try object equipment to is of always for the use both hands. Never One hand grasp it a handle might
should or
object. object of
have
objects
out
of
into
the Do not
trays, Stand
stable
base
moving, down
a bowl
with
a wide
mouth
be turned
upside
88
when
remember can
to
walk weak
slowly, parts of
do
loosen
cause
an object
sitting II.
on the
floor.
is
essential colour,
to
is
a key
factor. of
shape,
form, It is
space also of
as one
design involves
elements,
complex as
behavioral
technical. be trained
as be able to'achieve it
master de-
the is
complex, engineer.
recom-
in
the
museum
is as just
to YOU a effect
know,
the
techniques Lighting
assignment. as
an aesthetic visitor.
Lighting in
some
lighting the
create of
effect
correct has
for
answers
on different argue
European
painting,
some curators
89
be historically similar Others kind person historical in in a kind a light of to argue light who first the
should when
be seen creating in
light
he was
be seen sat in
today the
same the
home of with
disagree painting to
arguments of light
and which
the
should see it
visitor
which
already also
briefly
on Monday, needs
conservation
on paper, damage
on display. cases, after the the basic objects that sure manner. the each are
Before system present, detailed individual A. Kinds ..-__~_ There rescent 1). light. to buy of
their Then,
should
This
means making
should in the
be done, best
possible
two and
main
types
of
artificial
illumination:
fluo-
lamps
lamps. provide economical a limited lights problems and do not to provide 90 is an even (i.e. shadowless they range of are cold not they parallel illumination. emission inexpensive or warm of
come in
colour in
fluorescent their
might that
be availcannot be
project general
beams
light.
that to
the create
room
or
cases
first
be lit atmosphere.
using
fluoresMany
a general, atmosphere
that lighting
this
bland create
and
lacks
special
concerns
with rays
is
that organic (colour) textiles prevent lights fits sheet around cover These and
they
emit materials,
alot
and to
already your
which of
which plastic
UF-3
be used enough to
be long the to
tubes but
put Let
back
on when the
tubes. points of
us summarize lights: they they its they they they they produce produce unattractive have do not have use
bad
fluorescent 1. 2, 3. 4. 5. 6. 7,
a minor
heat
often
rendering
efficiently
91
2).
Incandescent is a more of of
lights,
produced light
by tungsten-filament They problem this you objects also have emit is that only they a very
source. main
their
problem to
remember the
from
so that create
hurt
them.
You can
ventilation
lights
include reflector
come
in
of
as spotlights, of one light. distance objects higher give lamp will off
highlight
a beam of is
light. so for
required;
example, lamp,
as one further.
200-watt
200-watt the
is Howevthe kind in
these
give
flexibility
create
effects fluorescent
Your exhibition,
should
People but of
will the
objects any
effects
kind
environment
92
hand, dramatic,
should but
only
use
spot will
the
effect
visitors exhibit
enough to read
move through clearly. Often (show gallery. system lights position them tracks space of that
comfortably
and
lights are
of the
a system ceiling
of of
designed that
fixed
position.
can also to
attach
them on one
where
them or clips
can
group in
designed
incandescent trained
be installed
by people
as electricians. To sum up the 1. 2. 3. 4, 5. 6. 7. 8. they they they they produce have have pluses a lot insignificant a controllable a wide and minuses of heat W of incandescent lamps:
- bad - good - good fixtures have - good of the (i.e. object they - good are expensive) - good a short life - bad
beam of truer
show use
colours
energy
inefficiently
If
the
lighting
system
in
your
museum has
no flexibility
93
(and
I think
the then
Long
lack
- but
I may objects
about which
lights
on panels
be placed
where
need
emphasis.
B - Li~h_t_ing If that lighting considers Let University and like light almost modern came how the to point the done
T~c.MWzues carefully, can lighting be seen do his the Sackler example lighting that the of job in can be done at way. are the kind safe levels How does of things so a he
objects specialist
how a lighting
artificial so that principles this the the there of principle museum. In was
because
following
design,
it
and
glazed it light.
which
So,
would
been
unreasonable done.
this with
was not
Conselighting
an elaborate
It and
was
decided
to lights.
use
a system Because of
which the of
combined expense of
as well the
as the
replacing
system.
them This
architect exhibition
a dual
system
means
beautiful
would
be the
one where
both if the
incandescent
and
lamps it
turned just
rescent not
would had
be visible, designed to
as beautiful. fluorescent on a track. a thick not spot see lights layer them.
as well were
as several in each
installed
cases you
shatter-proof was of
so that of set
as well
flood
the
of
the to
Sackler-Freer light the flood He began all of the gallamps his eguipalready of to out He This cut was to out of a of
in the
track
the
fixed
already First, to
installed.
asked
us to
prepare ladder
mechanical stand their also filter, very the in fine in) boxes asked
and
to
their
and us to
each
correct each
prepare
lamp. circle
which mesh
we made ourselves, screen. of each lamps in the lamp. with the their museum. this number The purpose spotlights.
of This
filter filter
soften
was placed
fixtures Each
were room
then
brought
into a certain
the
different number of
rooms lights
was in
assigned each of
and
was placed 95
the
rooms.
Now Richard's atmosphere totally tracks, light. were on the to create dark for the room.
to
create Richard
the
artistic liked to
and begin
dramatic with a
the
on the room in
on the each
panels
which
individual
labels of
general of groups
on the light
he took on the
great glass
creating cases.
display
know,
the
surface are
of
bronze with
ritual
vessels and
from
the
Zhou
dynasties
covered tflece
intricate
When we installed lighting, was only appeared with clear the the
designs able.
and
The effect
notice-
C, Some Gene.ral - _--.-..-. _. 1). If be lighted effectively. strongly highlight ray of light Lighting items are
Principles for to
and
for_ Lighting
they out
must most
so that
their
objects
overdone. environment
on an object
but
at
the seen of
it
can Lighting
details also
of
be used to
exhibition
is
textiles, solidity
dramatic qualities
form,
three-di-
objects. can shape should to general by the diffused and dull or be used and to model of the an object, object. to see this means to reveal the of
texture each
doing
object
characteristics
say
that and
of
to
form,
glaze
ceramics hand,
harsh with
the
lighting
own judgment
decide
direction
flattering.
2).
.CoL_o_r_ s% L&?l_t _-and ..Backs.r~wd to consider of or the cool. the light. color of the light and the intensicolors
We have
mentioned, in
either
The
incandescent reds do in
means more
example they
oranges,
and more
orange
daylight-
97
are
"cool". In of best
will exhibition
colors
both want
objects, lighting
again, specialist
be used. If
However, shown to
provide
costumes lamps
3-dimensional shape.
manner,
incandescent
highlight
will
emphasize
facets Opaque
that glass
are should
often be model-
as a ceramic, a slightly
or
side
light
for
against
rough,
neutral
background.
Las@-Met-sl Qbiect :
plemented objects blue ground. or by spotlights which grey look
These to
well
with
general
lighting
Metal by
sup-
silvery
a pale back-
background-
PECQ.% : t we
displayed W rays for
lighting in small
is
usually
alright
We must
for
furniture with
groupings* in the
be careful
painted
furniture
Long
An Museum.
Sxlpture
Some
looks the
good sculpture
on sculpfrom all
ture-in-the-round
sides) the
will it
Use from
light one
on from
behind.
frontal panels
of high
slightly a combination
incandes-
D. Different -----__ Kinds-of Lighting lights when for 4. the use for should working exhibition should either
Lightii.Syst.emg consist and is cleaning open of the to of three separate display and fail. systems: lights, emergency house for lights
other
Maintenance-of Lighting
5~stems to the in the be designed bulbs when with they maintenance burn to out? change in were in in Do you the your used
Is
it proper
easy
to
museum necessary are is not are using often yet very easily made. readily expensive. as part through each not time do it. of
Are
the
museum which they are, bulbs usually up the you these forget
China,
designed accessible
the
case
itdoor. to
self, If you
the had
a special you
case would
wanted
change
a light I realize
but
very they
often are
people concentrating
on more
complex
99
INTRODUCTION
MUSEUM SECURITY I. Museum Securie. ___---Now let management. would with are States from sionals. When we talk out that the in topic a broader about the topic more of than security, the the problem need for also talking the I wish of to theft. to be that the of point like theft not to and problems and Europe us talk This is about the another problem that are to of important museum with all Recently thefts thefts of were topic security. security, over in the the for collection First, especially world. United paintings of profesThese I
problems problems
Vietnam. been
have
well-known
These
museums
we talk of
objects, both
we must
safeguard
as well,
and visitors.
II.
FIRE Fire is the it which completely from years, of wood most is is terrible always the enemy possible victim of for to objects. find Why is a stolen can seconds, this?
is
because
object,
vandalism in
be repaired, especially
an object or paper.
fires the
increased use
101
in
museums.
This wiring
is in
partially
because
of
electrical
modern
day
life. Safeguard think your that from Museum I have fires. to to tell Prevent you work Fires about in have you how to safecomplex lived with
buildings danger of
so you like
I would entire
your fire
the
fines
as minimal
as fire-proof: insure on all Make that of sure your to the electrical appliances, check the wiring such sockets is safe. What fans, walls as
as lamps, on the
computers, well. 2. This greasy These people items oily This burn.
Remove to
all things
from
around
the oily
museum. and
papers,
half-empty tend go, fire can if to for quickly. begin the rags drops
of
gasoline.
items,
burning become
enough, which
someone
a cigarette 102
things saying,
will that
also
quickly should
catch
fire. in most
there the
especially
qalleries,
area,
laboratories. 3. In general, tidy. and maintain and .to~~ut~~~~ review they start. the maintain _fUs basic Again, can kinds I think tell of equipment you are used familiar to put out all in of fire detection to put equipment, out fires. good fire prevention is to keep the museum
clean
and 4. 5.
Install Install
equipment
fire for
guisher. ferent the carry small, people should still trained present all been 1. extinguisher. paper caused
they it people
good important
all enough
of
can
lift are
other for
hand,
if
too several
useless
a real
important, All
also
be trained at least
how to once
a month
on the
extinguishers? I assume
these night
you out
can fires
use
a water by fires
fire
Water It or
caused fires or
Water
museum objects,
103
so it the
is storage
not
for
used
in
the
exhibition
galleries
and
of
the
water
fire This
is
the
au-
you office
should
and other
Museum,
Library
Committee up guidelines
systems
American museum in
Industria-1
They and
recommended because
galleries
systems
that they
the do not
are
more to
advanced as a fire
does.
Many museum
recommendation. (Co2) in fires, They turn work puts and they do not
they
the They
effective
grease
do not any
leave are
deplete
oxygen,
harmful
many leaves,
specialists however,
favor
fire
with must
a powdery
be cleaned 4.
system
a kind
the
of
fire out
which it
works with
oxygen is
protects
This
system.
other harm
systems
because
it
does
not this
the
objects.
However,
system
if Thus, system In
they it
are is
trapped
in for to
the the
room
when
the
is the in
people in
be used gas is
harmful
atmosphere.
Prevention
and them
I think briefly.
familiar
many of
them.
You
should They
smoke
detectors to If will
in
the
the bursts
first into
stop less
be much
serious 2. Heat
cause
damage. would attached changes but also to be useful a fire in to alarm have
system.
and yet
a fire
which in your
and the
fire
alarms? Centre
come
and
and make
come
Does of
Department
if
the
General Everyone
Guidelines in people the museum should should know what to do in and case they of should in the the
fire. have
Some
more
responsibilities be clearly
museum
should
so that
105
if
is
In
there prac-
is
drills. do if
means a fire.
itself with
against the
am sure
that
completely prevent
recommended
most
and vandalism.
being: collections is belongs at stolen, to this it are all inventoried you have the and docu-
To make
the
I would
like
to for
introduce cultural
the proper-
and what
UNESCO Convention
of
1970 Means of Prohibiting of and Ownership I will need your for introyou to Preof
The UNESCO Convention venting Cultural duce have and this the Illicit Import, was ratified and its
on the Export in
Property convention
relationship photographs
movable
to
explain a convention
first
is in of all
to other. in
the
the rights and duties ' 8.) States believed that wanted to achieve what
states had
past
wanted.
Beginning
around
106
some statesmen this State that not freedom. may legally one State unless
began Gradually
to
that of
there
were
limitadefining it Force is
rules
State. another
In
recent
as the
African
States, because
a state's
assistance. There are two major sources (also recognized (in States. or several contracting States the world) Treaty agreements) (multi-lateral) States who signed most of the (this the for called and as law International Convention) permanently legally (treaties are treaties States. means treaty). and Public Law. applied binding. are also It Law: Customary by the is called
of
made between They they Treaty regulations level are conare are law
important
rules
protecting ventions,
States.
107
1970 Convention ____.on the -___-Means of _-_ -._. . Prohibitinq and Preventing the ---.-.-_--_--Illicit Imort, Export-and Transfer-of Ownership-of Cultur_a_!, -__----_ PrPs~x9 What is illicit trade and traffic of cultural property? Cultural objects, because objects this transfer is objects etc. of can their are such goods beauty of claim of as paintings, which or the the
some
antiquities, want to
These of the
be part
objects. States property the people which State have when the these in right
objects
the
the
state.
decide of the
make
regulations
the
laws or
regulati.ons,
transfer
of
objects
can They
events.
from
very Once
one
country to
one
the
country object.
of of
Thus,
international and
cooperation traffic.
countries
order
prevent
I 08
The UNESCO Convention Import, (hereafter prevent version ratified art-importing not yet signed France, States, legislative domestic law. is after this was Export called traffic. adopted and Transfer the
of of
and of is
Preventing
Convention It was
1962 The
the
on 14 November
convention important
several and
have
hand, and
the
Canada
and
Australia necessary
adopted
measures
implementation
means
that Objects
signed. the
entered month
country
signing,
before
signing,
property. are the -_ most _--.-._--State its has importantprovisions - -~ to take appropriate patrimony of and according These measures the Convention? measures standards to
Every
protect established a. b.
C.
convention.
establishment of inventories supervising trade of cultural adoption of ethical standards collectors and art dealers. ! 09
private
2.
The
State
must
for
the
export
of
cultural
objects, 3.
otherwise
similar in another
property exported
Convention the
by the
Convention, IJnited
addiI am
States in
other
museums
do not of
Convention which
and has
for
property
to
take
measures owner) of
rightful
cultural (Angkor
institution of someone
possession
who acquired
legally. JF THE STOL,EN OBJECT who purchased know that the are the object was to HAS
NOTE: THIS PROVISION TS ONLY APPLICABLE BEEN REGISTERED TN AN INVENTORY. In "in good this faith" is case, (i.e. as well, he or to the she person did not (i-e.
object entitled
stolen), money). 5.
entitled
compensation
they
The Convention
also
if
site
is the to
or
other is
of
Heritage
danger.
States art. If
is
in
the
process
of
doing of
this art
with
regard
to law, then
on the
import
Khmer
becomes by the
be illegal Khmer
museums
who do not
abide
Convention
important attitudes. is
result
of
the
should the
objects. by many
codes
industrialized the
1978 of
Cultural in
Appropriation" It is
General It's or
Conference function
UNESCOto facilitate
restitution
Standard for
procedures
1984
UNIDROTT draft
for
the
another property.
instead
of and
convention
been
presented shortly.
probably
be adopted
by an International
Conference
111
2. of the
the
it his
is
the is
are of
defense sure
have
a secure doors,
building. secure
walls, will
strong deter
windows. thieves. the doors museum interior well-lit 3. the ground are
barrier
defense
includes sure
and making as possible. checking on inside so that protection still to topic, It the have at
locks
you
on your
as sound
go through roof
your and be
doors, of
on outside,
The museum should guards can and see theft in the in clearly.
night against
vandalism
daytime
guards what to feel watch the so if in They objects. their the should questions etc. in they
would galleries
guards of public
an interest
a sense the
responmost
sibilities. closely
are
the they
sure
The guards ties will guides, about can include alert they museum, could
answer are, of
be given each
objects
the
galleries check to
they
protect,
and
morning
evening
should
112
make sure In of tion there visitors and are Guards are. This 4. daytime least per six night
all most
the
objects, it is
and
parts for
of
objects to
are
in
common
guards should
inspect
as well. comply,
This
regulaso that
especially
you
know and
who the
guards
pride
on your shift,
should men in of
The night both inside People guns? that and its if the This the and
museum,
often is
answer. thieves
people carry to
guards
guns,
guards,
or security
others.
are alarms
to
these
museum,
on doors
protected Let 1.
windows. us review some of (closed in these devices: TV system): and 113 In this system video are
cameras
storage
rooms.
They
to
a "closed
circuit"
TV, as the
a television security
is on more
a room watch
designated the TV screen and the parts system moments, Because the kinds
the at guard
channel the
so that
he can
watch
turns if for
notice difficult
gallery. sit
screen of
hours security
back-up
them
are
expensive,
critics
should enters
also one of
to the is
so In
someone
which
to
security been
person opened.
security its
we have
thief the
think guards
that can
then
catch
the
Motion
detectors:
you
can
also
install
motion
detectors
114
which has
lets moved 4.
you
know
that
someone
is
either
in
the
galleries
or
an object. for are opens individual wired with or display electronic even moves cases: Sometimes security it, certain so or
Alarms
cases that if
themselves someone is
security
center. objects.
security
specialists if the
the
115
INTRODUCTION
TO MUSEUMS AND EXHIBITION Lecture 26 April VIII 1995 AND MARKETING COMPLEX of the is has use translate come parties. and of (as from The the
INTERPRETATION
IN THE MUSEUM AND THE HUE CULTURAL previous role of of good lectures education interpretation. closely or to the in I raised the the topic
museum.
Education
meanings
relate to to
explain another).
wterpres two
and means in
a negotiator is
or
mediator between
between the
a sense,
mediating
collections
museum visitor. In tion reveal objects, rather In it a little 1. meanings, 2. animate or in 1957, the an American museum and as "an museum specialist activity through and by the defined which use of interpretaaims original media, to
educational
meanings
we can
expand
on
include
following to teach
Interpretation to impart
understanding. is based or on original man-made; objects, aesthetic, have whether historical, innate
scientific. to 3.
properly
arranged,
powers
Interpretation
supported
by sound
scientific
or
his-
117
torical museum's as to
that and
examines evaluates
each its
analyses presentation
the so
secure 4.
communication. use, smell, where taste, ever possible, and touch. in exhibitions not actually of This London's in this tell exhiand you felt sensory
beautifully I described
by exhibits some of I think the I did time. with through a real sensory
but
about
lack
of
created and
market
complete
wandered through
smells!
use
of
traditional create
methods
an experience
which
learn. done informal It's in the manner of London's the Museum of restrictions something of new a these because
education is It the to is
classroom. enjoyable
purpose
visitor
the tion
collections is done to
a variety
addition one
mentioned
visitor period,
into
a new culture,
natural
environment
a historical
museum specialists
118
today videos,
make use
of
all
sorts
of
technology latest of in
such computer
as
technology. used
by museum
self-guided important Let niques. people for at for and there the
interpretation. expand on a few of these traditional performance For techby example, held
an exhibition The University a potter demonstrate every days day the visit from
Indians
when
people
would The
so-called museum
by They
like at
to their in
because
difficult at the
groups
together
your it
to
the
person
guided as much
loses could
information visit (I
119
not from
as he or
my own ex-
perience
bringing of
to
Asia). Western visitor habit, to text learn our museums own labels, free of Each In have
many
the
usual pamphlet
panels is the
France, you
pamphlets remove
laminated text is
which in
room.
French, offer
Spanish
and German. tour using to to your that the turn linger allow. do not is not
addition, (tape
a self-guided which on a route information. because allows tour tour he 'or the guide and you
attach
similar
go at
visitor might
guided museum
the
taped
(usually the
there is
tour not it In
rushed
and
case,
museum he or in the
provide needs. is
visitor
additional of
information interpretation
knowing your
so you
best For
know a long
how to time
exhibitions.
did role
not of
and
so did their
the visitors,
that
understand 120
serve idea
them of
better. using
Hence, a marketing
during approach
the
past in the
15 to
20 has
museum
MUSEUM MARKETING talk current to about "toi develop what does "marketing" moi" policy to these days -
institutions However,
economy.
"marketing"
Many
that the
marketing attention of
means
their
museum job is is of
more it
museum. believe
a mistake
same things but is is (this marketing does in which your your not really the
Publicity
trying
to your to
understand product or
who
means
as what people
and
want?
business
at
the
To do marketing,
you
research
(to
find
out
what
the
customer
needs
or
wants) 2, then
develop
a service
or
product
to
meet
this
need;
121
3. 4.
then
you
sell you
and
promote
the you or
product: maintain quality does after-sales the or wants first service this two not fail service. items is reversed. control the to needs of
afterwards that
guarantee the
the
service
customer; In
provide of
you if
a product needs of or
do research or service. I
customer
both I will
possibilities. provide you have but an example the idea have and you that very creating to first find using you little
the want
tourist to
tourists, hotels survey. kinds bracket of the plan luxury houses. expect in of (i.e.
be wise
by conthat nationaland and archiwant have are Hotel the is itself service
planners
better with
up only
guest tourists
what
advertises superior
I can situation
I visited
122
As you
all
the has
village produced
is
for are no
wood-block Although
longer from
pictures
Cultural would However, traditional not this these these were not think
be to to
traditional and to
dyes do the
natural alot of
dyes time
way takes it is
profitable is a possible
to
good natural
good
used order
the
way.
to
decide methods,
money would
investor survey they cost. someone restore ods. The should already meeting quests museums
He or
she
among would If
whether if so,
prints, there
suggested money
a "market", village
could the
helping time
expensive
consuming
traditional
second
is i.e.
the
in
general
museum to if
want
needs
public This
not, of
kinds
do the began
people in the
have?" mid-1960's In
marketing when
America surveys
museums asked
do many visitor
surveys.
museums
to
their from to
to
out is
were
general a survey:
want
museum your
attitudes
towards
museum and
its
services. 3 _-. Why people 3. Why people of do.n't do visit the come to your your museum - this (do they know to it exists?) an
museum strengths.
helps
provide
evaluation 4.
An evaluation negative
image
currently factors).
projected
by your
museum
(both 5.
and
A critical lavatories,
appraisal etc.)
existing
visitor
services
(i.e. or
cafe, omis-
shop, sions. 6.
- identifying
any weaknesses
An evaluation of
of
together of the
with text
an appraisal panels, such 7. as labels, lectures the is too While lect like they now, they often data
services
tours. which make up the service. the survey, You will level your they of potential Is cost the of you want cost other will to consumer of your
What
market entry
pay low?
for
about your
carrying
education, what is
where their
whether local
a woman. to know
population,
museum.
However, something to meet In museums were ethnic the the was about
once it
you - to of
your and
data change
is
it
important you do in
to your
do museum
what
people. one elitist white and especially were not tried and of of the stronger complaints whose about services
aimed
The many other black to and Hispanic their lives. image which In addition, museums community than to address will and
groups
museums
time
have
their
programs, more 1970's many were created cultural things For you example,
other
these small,
United like
These centers
more
communities
surveys most
provide law in
access United
special people
and in
have wheelchairs
so that
museum.
well-defined planning,
125
established
taking
analyzing
your
decided the
to
take
a visitor to do so,
survey the
from
Director
following A. Conceptual This useless should 1. survey This (have used? future? on the 2. should and why purpose, ful study. 3. i.e. data not wish
be taken:
planning data in
is
important manner.
so that
you
do not planning
collect you
an incorrect
To do proper
following: organize up the then the team who will be responsible of is your for study. necessary the study for the based be the
parameters determine already information museum really in of general the the if been
really
how will
museum plan to
make changes
gathered purpose in
conducted. to insure
a clear
a well-constructed
the
general and of
and
specific
general kinds
specific
you
wish
questions,
categories
information
need
to
decide
if
you
wish
to upon
do a survey sets of
which
open-ended qualitative
based or
questions
produces upon
closed-ended (quantitative).
interviews
multiple-choice
126
4. different phone
prepare ways
to to
There
are
several tele-
interviews,
For
your
consider
partial that
means to the
selected or in read
person His or
expected is to
ques-
Even about
you
a computer
analysis, Writing In
consult Questions
Standardized order it is to
do an extensive that
results, which tative about useful depth speak difficult useful It ly short is
a questionnaire means (i.e. about it interview the it visitor is very is very might in a quantitoday be *eater to is
able
talk
a small
obtained
you
keep
your This
relativeconven-
- to
15 minutes.
127
of of
the their
visitor time.
him too
or
her
to they
up
long,
to your you
participate. survey to
you
be as many considerable
as 1000 time of
team two
for
analysis, open-ended
There questions
major
questions:
closed
questions. Questions: own words. these They before end questions are allow begin other the visitor the inter-
1. Open-Ended to view - or kinds analyze those number For least three 2. in answer - to in their the
a way to the
relax
beginning
however, methods.
statistical in
by
creating a person
these
surveys, in
an open-ended "What
example,
might part
want of
visitor
satisfactory comments
today ? (you
may write
below)". This is the and question it usually the type most takes person from kind are which of easier the often the form taking they used of the must is the are 1)
Closed
Questions.
standardized
multiple-choice. survey choose easier person uniform. with the for giving There
most the
survey, and
and
survey two
analyze of
because closed
categories
128
questions:
and
2)
scales. offers the of one or person another. responses your visitor about interviewed several op-
that choices
one
more of
beginning
information educational
visitor, what is
level,
The highest
level
of
schooling
you
completed
is:
[ [ [
] College ] Graduate Degree ] Other (please describe) that the question you there offer. what question. includes cannot will If a response describe be several you is do not all called the people provide "other". possibiliwho do not them they
because and
a space probably
their
situation,
answer
Which collections do you believe choose as many responses as you [ ] I do not know [ ] Photography [ ] Drawings [ ] European Paintings [ ] American Art [ ] African Art [ ] Asian Art [ ] Greek and Roman Art b. Scales Scales are used when asking
visitors
to
describe
values
such
129
quantity, of the
quality spectrum
and
intensity. at even
A scale spaces,
extreme. example: of
be designed
as multiple-choice
For
your
opinion
by circling
one
letter
for
D = Disagree
depicted materials
and techniques
artist. Follow vocabulary When Writing using jargon Questions: words and all your visitors will
Guidelines 1.
to
Use simple
using
no more
per do not
responses Know",
"Do Not
"Other", when
"Did
as possible C. Sampling: Select Them? First museum, visitors. then alize sample you it
answers
must
define
up your
With non-
take
a sample entire
this
about
your the
population. population
because
entire
usually
large.
selecting method
of
your
you
must
use
a random at has
mean you person complete plan the tion. There of your for more in
selected a very
devised the
selecting likely
general, of
large(the whole
be representative
the
are
established such
methods as using
for
selecting
a random
sample
population, table.
a Computer-generated
random
numbers D.
Pretesting Once you you have can designed do to you to help your questionnaire, success problems the is or to most importit.
ant
thing
guarantee any
pretest
discover you
ambiguities it.
before
actually
administer
have the
to data.
your of to to data
to
responses to count
numbers the
can
then
analyze each
To code, This
means the
possible
response.
makes
quantifiable. Your you If your Data have to analyze is under the data using statistical then get you probably
Analyzing Finally,
sample
However, have
more
131
100 people
is
very
There you
are can
of
data. at
a computer
analysis
The Data your analysis mean for You will based upon is your also your completed, museum you have to interpret what
and write
a report and
explaining
recommendations
I am recommending to meeting with what cost you are of the Citadel the needs they are
is to of
you out
to
survey
among
whether
given? too
services they
Is
the
for
what
that
decisions suggest
a survey. to your
However, leaders.
could
132
This workshop will be held three times per week, three hours The purpose of the workeach session for nine or ten sessionsshop is to review standard collection management and preventative conservation techniques for the Guardian staff and to encourage Doing so will greatly enthem to practice them at all times. The workshop hance the preservation of the existing collections. will stress the need to use methods which do not rely on expensive technology.
move
Rather than hold a series of lectures, the workshop will Among the from monument site to monument site each session. sites we find similar problems together with problems and topics specific to a particular site. SCHEDULE OF UNESCO WORKSHOP 10 May 1995 - Opening Ceremony The Storeroom: Lecture: Conservation Signage 12 May 1995 Lecture: Environmental Monuments: Humidity, 15 May 1995 17 May 1995 19 May 1995 -- Tomb of - Bao Dai's - Hon Chen - Tomb of - Tomb of - a.m. p.m. Khai The First Step in Preventative
in the Pollution
Museum
and
22 May
1995
133
STORAGE MANAGEMENT b PREVENTATIVE CARE OF COLLECTIONS: Today Antique bition. duce the we begin group. the THE ORGANIZATION 10 May 1995 second In the
Museum
important planning
goal and
workshop needed
programs for is to
attractive
educational of this
exhibition
your review
important to
I want on a daily
begin
principles
are to
Museum workers ignore for of these time. your to to do your for somethin What
principles to
rushed
that everyday,
of
when
objects, have to
be a burden
lives,
and your
be happier.
THE STORAGE-_-ROOM---ANDCOLLECTION Collection essentially be regarded There of Management means as the are your proper three is taking first primary a term good level
MANAGEMENT used care in the to by museum of your specialists collections. of care oband It
ways
management 1.
Keep
135
in
the
temperature,
persons sure
how
and make
rules,
recognize and
Keep not
organized a lot of
and
B . Ir_h_e_~--g.tore.r-oom The Many put storage tend rooms to think pieces form of an important storage are rooms not part of the museum. where However, not think and vital as such. Not the and for of you
as closets
good"
"dead"
be treated
the
be on exhibit. in
be maintained be used
a way and
by curators
research
purposes. a new museum, space be used museum's shop for It is often suggested 30-40% i.e. these for that 30-
When planning 40% of and tories, see the that the total for
exhibits,
rest
of the
occupies
museum. is
storage ized
hodge-podge room.
becomes
unusable
C . FxnsZLws_.-o_f_
-.t_h.e~~Ws3~3e Row
136
of to
the
storage it role
is the
to
lengthen in
life that
of
museum object
preserve in the
future
be used or not
and
Whether very
dependent
provided object
it.
wasted
to to
depends the
manufacture object in to
results craftsmanlife of
of
object
poor can
materials lengthen
museum in
the
by carefully deterioration.
controlling
history
of
the
By
this
information,
curator to store
For best
example, storage
usually
wooden a very
has
spent of
range
lacquers,
example,
require
137
of
relative in recent
than in
is fact to
Conin needs
become each
prescriptions,
object's
individually.
1. area
It
is
important
to
the
climate its
of
your
as closely
you
the
year. and
what the
range
of
humidity, day. In
temperature can
and
humidity manage
on one your
this
way you
make a better
storeroom. Basements storage and and are the more storage 2. and are because and they attics are are closest to considered to any in the the exterior of worst of places the for building humidity locations given it of is to even
consequently
exposed Unfortunately,
extremes most
museums, space is
available. and to
methods
improve in
your
This
storage only
public for
a limited and
staff However,
members, visiting
doing objects
research collec-
be permitted Naturally,
always
be accompanied
by a member
138
of
the
museum
staff
who controls Museum rather that examine the for office the area" leisure.
storage. bringing scholar in does inventory ,to examine office is a little the who is to
advance this
keeper that
but bring
concerns of the
museum
into
New York, D.C., or with into for parts the the which the
or
Washington, area,
example, of
certain
rooms
storeroom
storerooms, brings in
curator, art and and From museums. area not they bring
order
study
pieces experience
galleries. about
students 3. or any
more in They
should in any
not food
use or
pens
drink.
women
remove saying
which is NO
may damage
SMOKING
in
galleries pollution
are can
kept.
hazard
and
do damage
objects.
134
E. Arrang.ement --.-I wish objects fol,lows. a matter fluenced research at all divide regional to further in to your The of
no model within
every
museum rooms is
storage is
choice
The arrangement as well are are first region. and Sometime keeper the put. large thing Then, has to
in-
nature to
Museum,
collections
object
is site,
by
of
no right
possible This
arrangement usually
based reflects
choice
how the
use material
the
collections. the object for is made from overrides they relative than decide they area to are all are
issues
Textiles, to
example, and
because levels of
period, control
so that conditions.
can
be exercised
their
environmental
140
In nam, the
your
museum, to the
because Nguyen
the
mostly to the
come 19th
from
Viet-
Dynasty
century from
Champa probably
material want
will of
and want of
objects, the
arrange
each
category. might choose, cabinets can easily However, arrangement tain change it
and whatever
system
category.
Drawers outside
there which
aspects in in
of
the
layout and
more
general keep
nature while
guidelines
should
mind
arranging
storerooms. 1. Do not storerooms purposes. between also you the forget that have to you or cabinets the people take have objects always people to go in in and plan to to and out out for of the
various space
should for
enough walk.
be enough do not
between these
cabinets suggestions,
open then or
simple
your action
the
porcelains
moment I am aware
storage the
currently is to
arrangement attention
so I am simply
drawing
141
mendation. 2. each the time each objects. each problem stances, bowl and 3, that of the the your other of it If possible, and and behind the each objects other. the risk should This of not be piled is the on top harmful objects of for each on top the inside your circumthe of
practice damaging
increases If
have
to
be stacked
should
protective of
limited is not to
even put
in
the
difficult them.
some padding
between
plates The
storage can
so many easily
keeper storage
objects.
problem problem do is to
only
by your to the
I can more
appropriate
storage
storage so it
area is
of
the
museum,
a space good
up a table to
with
be constantly is potential
there put
damage
purposes, to work
doing,
we want do this
should
be possible not
a table
storeroom.
You should
have F.
to
remove
the
object
from
storage. Do You--Need furniture out to above, the in. you the particular stored in there t.~-~....~t.o~~-~~~-~~~ will need in of and
What -_--. .~ind.~._f_~st~-~ag_ What are the room? a storage the function. the differs large which shapes kinds I estimate kinds of from sculpture. consist and of that deeper more will finish can of then the what better detail need sizes. kinds
Feurnirtu.re of storage
your objects
storage in upon
arrangement museum
on the If
materials specializes
museum
paintings
furniture
and
Many museums, of many types Therefore, furnitureffiY.3) will need and kinds your a variety
objects will
storage you
of
cabinets, In order
flatto and
drawers the in
open and
storeroom,
your
inventory.
is are, and
porcelains, of storage
estimate
how many. let need us talk based because should for not upon you about the the kinds want different of objects light kinds of
meantime, will
you In the
general, cabinets
objects, especially
have which
doors. sensitive
This to
important
objects
143
such
as textiles, In countries it is
paint
on its
surface. a problem as
in
Hue,
be as tightdust. In Hue,
as possible. is probably
more
cabinets recommend
allow items or
air-flow. like muslin. the the object way They Hang textiles
In
with out
undust
cotton, but
allow
in hangars
condition the
as Ms.
by putting could
rollers inside
sleeves. designed
be suspended a door,
Rather cover
can and
opening beneath
The drawers or
which in
be wrapped or linen.
acid-free
tissue
paper
unbleached
cotton,
metal
require
the cabinets
condiyou keep
recommend such
as silica
place the
bronze
placed
tightly
closed
cabinet
acts insulate
zone the
between
the
object
and
the
air
and
helps
to
environment. for shelves is often example, without cheap which the porcelains, doors and can height your prevent (figure glass, 2). wooden This
objects, on open
objects, kind,of recommend the It are off frame might like the
convenient. be moved between shelves objects up or the so that from rule, rows of
shelves adjust
can to
should ideal
would
most
be reached
sides. Another recommendation with for open of shelves to then be attached out. and course, this need to is that the the shelves objects. of front of of
should If there
padding country,
cushion
falling dirty of
shelving doors. and possible protect was the holes from solution,
make in the
another air.
pollution or bags, to
the
protect
and and
no longer it for
I especially
recommend
the
145
at and
Hue. even
The
levels
relative in the
in
too
danger
inside
temperatures, another
and
be to over
unbleached open in
place Small
shelves. drawers rule, place or in if them boxes you in placed have co-tton, small on
objects inside
shelves m objects
or such
drawers.
or
and
often very
cannot
fit to get
into
onto the
important security
and them
reasons, wooden solution in store recommend to keep the recombe too dais for your your the
on a sturdy this
platform. porcelain
large
water and
containers also
agree.
You should
would cloth
with
necessarily it might
because cloth
the
make the
Specialmetal. that
frequently rust or
because
146
enamel and
means will
and purchase
damage
sealed
edges, and\or
attention
could
people less
considered acidic
as a material resins also case blocks less likely it, more of and
it can
is
and exudes
damage damage
subject a fire.
insect
There if or
to
out
light; to it chip is It
dropped and it in
break
metal, since
fire not
more is also
protective less
metal.
many countries. that sealer harming but the not if to wood reduce objects. oak. is used, the it should be also of also the recom-
coated wood's
possibility Specialists
Plywood
can
exterior with
should Many to
be coated
people
objects,
possibility
147
the
layers
of and wood
will
crack
of
the the
wood acidic
by everyone However
be a good paints
wood
latex
other
light
a high
latex It is
expensive
in
I do not
about
Vietnam. At the moment, called professionals most epoxy epoxy is commonly and that recommend using poly-
a moisture-cure is must
recommended in North
available Hue,
purposes on wooden
recommend
a barrier
One more paint the or are know or shelves something very if For recommend thin they the shellac,
alternative or
are in should
padding
on your called
shelves, ethafoam).
specialists In addi-
foamed
polyethylene
148
linen,
nylon
and with
fabrics
are
safe
if
they
contaminated
fabric the
go to unsized
textile
safest.
H. ---Rules In guidelines s.
for our
and make everyone storeroom These or harm are the you the will
working
rules
must way.
so that
pieces
2. Begin with object is the realize people and that sweat, stone (stone and salts can its surface. disease. 3. for
unless clean hands. It is also best to use gloves very slippery, a porcelain bowl for example. Few that our hands our constantly exuding grease and these things can stain unglazed pottery and even is porous and absorbs dirt and grease). The sweat into also harm bronzes and can actually etch lines The sweat from you hands can also accelerate bronze object areas before which touching the may be weak. object. Look
4. Do not move an object until you where it will be moved. This should the edge of a table. Make sure that leaving it. 5. ble. the In
have prepared the space to be a clean space away from the object is stable before and as seldom as possipotentially dangerous for objects as and
general, move artifacts as little Each time you move an object is object. lids or are certain
before moving other movable parts that they are firmly attached. over lifting the table an object, or other always padded use both
surface hands
When grasping
use one as a support for the object. Never grasp a handle or extension on object because it may break off. Always grasp the body of the object. Again, look for existing damaged areas before picking up an object. 9. If the object have trained ture, large and heavy, cial, equipment. is large people then is and heavy, such as a Khmer stone sculpand equipment ready. If object is very best to bring in specialists with spe-
10. When moving objects out of the room, use padded trays, pushcarts, or dollies. Do not overload your vehicle. Objects should from the vehicle. their most never protrude Stand objects on for moving, for example, bowls are often wider at stable base mouth than at base, therefore invert them during moving. Try to objects of one type and one size together. Remove movable keep parts like lids. When pushing your cart, remember to walk slowThe movement of the cart can cause loose do not run. parts lY, of an object to break and fall off. 11. floor. Finally, never leave a piece of art sitting directly on the
conclusion, it is
good
the
most
of
good
is keep
housekeeping.
means dust
that and
room order. in
clean,
free
and
areas any
may
problems. should
150
----__~-__--.A?==-
III
L.------
-4
+ !
\ \.\ .. -\
151
FIG. 8. Systhme de tiroin en bois pcu profonds et ouverts. Fro. 9. SystCme de stockage A tiroirs plats.
FGuf-e
153
MANAGEMENT OF STOREROOMS 61 PREVENTATIVE The Environment Session II: 12 May 1995 I. A. Teemperatur.e-and. What Let it is is Relative Relative Humidity again to just what artifacts. and our is in is relative As you H+i-.l&ty
CONSERVATION
us review
humidity probably
museum everywhere
water. is not
water organic
materials
contain
you
take wooden
textiles It
Too much moisture, swell this, very closed, conditions fungi. Specialists different 1. 2. 3. modes Change Chemical and in doing that the it that it
objects does
can
shape. when
we say humid
For your
is
and
we say is
warped. are
serious the
they
growth
changes
influenced
by RH into
three
shape (chemical
mode)
Biodeterioration
(biological
157
the
amount
of effect
moisture
in
the
air
humidity) impor.tant it
measure
specialists than
agree
is.even also
that than
specific
humidity. of humidity and why we talk This is because of the The 10C air
some principles and not air can the absolute hold more
temperature. hold. air, at hot dry) also as the ones. is measuring holding meaningful the the air At
per
meter
means possibly
that too
damp. out
This of to the
principle air
means cools
moisture it does
nighttime humidity
Thus,
relative air.
Air
at This
half
any the
abso-
moisture temperature.
holding gave it
moment for RR
formula the
during ple.
workshop,
but
again
new peo-
RR = amount
of
water
in of
a given water
of
air can
which
158
is
most
not
as easy
museum
to
answer
as it agree try to
once that
was. the
exhibition
in
the
museum humidity.
maintain keeping
relative and
suggest This
the
RH at
seem
45%-55%.
to
range for
most
be good
in
temperate museum
with
climates. to realize
addition, individual
recently items
may
have
histories requirements.
and
differing which of
organic higher
from organic
the
tropics objects
lacquers of RH.
accepted them to
as needing crack
most
levels
and
I emphasize than shifts a very levels tion treme with of a high (i.e. short in the the
that
agree is to
that have
more
damaging
or
extreme within
relative of
period. is In
museum objects. in
condiex-
climates winter
summer
shifts to
museums
a gradual as high
RH of
40% to
a summertime
159
again, are
I repeat,
that to are
for agree
tropical that to
many RH in museum
spenatu-
so high, at
try
and
low even
not for
expensive,' Nonetheless,
between
65% and
potential tropical
greatly be to
climates, 60-65%.
goal
RH around
a constant
by -_Humidity -.. basic constantly harmful above effects 70%. leather and texwhich occur when the
form mode).
on paper,
parchment,
from
cellulose
(paper, structure.
wood),
protein of
(silk) the
and fibers
bone
internal them to
become
They
might
(chemical 4. There
a movement their
of
salts
within
stone mode).
and
ceramic
objects
which 5.
damages
(chemical is called
Glass
becomes
crizzling).
D.Wgs -___---- MeasureTemperature to During several RH. the last workshop which can should
and Humidity I briefly be used be kept to not mentioned measure only that there are and
temperature in the
storerooms
160
but
also
in
certain
exhibit regularly
cases to They
and
galleries the
as well. climate
They in to RH
be checked temperature
recording must
be adjusted. instrument the you museum. "sling" The it sling bulb called which It is around can also in be used called the air
a small over
spot
because
psychrometer (end the bulb, of dry called fabric yield the bulb. the
consists thermometer) It wet which a lower between determine The used must simply bulb, is
second wick
fitted wet
or
wet-bulb a chart is
considered it takes
reliable practice.
when You
using
clean
and 2.
Whirl the
around 3. (you
room. hands take strong that and breath the temperature light the away wet bulb from away from of the bulbs. not dry out. the thermometer not your bulbs body).
want 4. 5.
room,
does
6. 7, ature If with
Take Read
begins used
correctly
the
sling
is
quite technique
accurate ,takes
However,
have do not
inaccurate. This device over attached This galleries tracks a period to kind and are the of relative one, and seven graph is at than
2 - R_e_cor_dj.w ~Yygrothermograph
humidity or thirty-one
and
a pencil of is more
paper left
which inside
the
storage
(cost
between
$1000). hyqrometetrs: or paper are strips less are Made with impregnated expensive only for around exhibition described general devices $100) hair, polymer, with cobalt (as that cases. above cheap can or coiled paper these - and the
Dial
salts, as $10
be used are
for less
suppleaccuare
and
instruments
for
indicating
limited 40%. is
below
There that
are they
general
162
4.
These These
devices are
include of
such
labeled at the of
an to
from at
end
that is This at
to
59% for is
not
there can
provide
idea
Contrq_l_.~tf?_e_.~-~-idLty _--.-...-.. then are the method, climate the ways to control in have (called System). is it building the dust this to kind out washed, through including and your the better monument money and the environment in
the
building? technology, - means system, then pipes This is Humidity, the air or ducts
centralized Ventilation coming cooled to not keeps the only dirt However, seums, into before rest
heated and
storage.
system but
controls and
relative
humidity,
as well. is not possible because It building system to would it not for costs many mua lot of
The University
Museum
included,
money to install, run and maintain. &r youc ~u-rulkrl~ Not only is it expensive, but the open fore, windows the and spaces lies for in the
itself
be effective. of localized
solution
devising
systems
163
control. Where open ant still humidity tion is (like humidity your is a problem to use good air. the in and the room is too the or large most and importStale, the solu-
monuments) is to create
improvement air is is to
airflow.
humid, lowered
With temperature
ventila-tion
One simple
install method
the
windows. are using cases which air around for inside certain can Silica it too has wet, to or also gel for resist it. the or objects help to can is
you are
Buffers in the
anything the
RH of
material, be placed
be
addition,
chemicals, be used to
as silica a drier
which
can
be used out
be dried
by heatagent.
as a buffering
_Build.ings especially Why is called rays, this to so? textiles, Light rays. lights with also heat is
artifacts, on it.
and
anything
paint
something
ultraviolet Ultraviolet
light,
many organ-
violet nishes;
embrittles discoloration
paper, and
causes
insolubility
164
in
and
oils.
Objects
made of
wood
may either
darken
or
bleach
which
are
sensitive wood,
to paper silk,
are
ones
some texbone,
You can is your objects Stones candles source the unit the lux. the A simple building test do the 1. The using does sensitive buildings. at
use to
meter levels
which inside
sensitive
a light
no more at
20 to
amount away
North amount
footcandle of
the
lux. to
footcandles
damage the
the
light is blue
inside to make
your a You
objects cardboard
pieces
covered
cloth.
following: guardians boards each attach light of each monument should make two or three card-
8 x 30 cm. dark blue cloth. of about some type 1 to 1.5 which cm of will the
board
a covering Expose
penetrate.
Attach
the
boards
to
the
wall
in
different
parts
of
the
room.
165
5.
Every
two
or
three regularly
days
another
1 to
1.5
cm of
the
board. 6. light At
30 days, board,
striking
your pattern.
cloth
be faded
progressive 7. Place one and By doing The your damage building Because control inside natural quite many watch windows concerned temples objects. However, are then at the modern light. dark sensitive for is where
at to
the
of the can
the
in
direct
sunlight
understand where in
second, with
a problem sit in
historic
you
can
not
as carefully they most damaging What you which direct which as well might of the sunlight
who work eliminate monuments not fall all are on too must from
museums
historic does
objects be in
they the
about each
textiles
monument,
painted
the
of
the
is
you
faced to see
how to which
possible the
some of them
to
enable
panels that if
monument. fluorescent
I have lights.
several you
However,
remember,
said rays.
that
fluorescent is bulbs. in the for These very the also easily. future example kinds hot. objects cause
lamps
were
another place
source
of
There
a solution.
You can
UV filters
you
decide
to
use
kinds have
of
lights
in
then do not
harmful keep
them damage. to
so that fires if
do any close
objects
to dust dust to
keep and
the dirt is
interior
of
the
which
kind to
damaging
everything, as to of
objects, of the
paper
made from
by dirt. are is that all open to the outside, perhaps this keeping an imposis
Because them sible tedious This tops B. free task. and means and Pollution Pollution of
task, to
problem everyday.
monuments the
and walls.
the
sides
building,
is
becoming
a growing
problem
for
the
better
care
167
and
of
objects.
industrialization, which For China burning or in expel example, are coal. with "rhese paper, plant to and fumes the exposed
collections daily to These water poisons decay aquatic tion vapor, attack leather, life. problems. Without of pollution across is
Museum fumes
sulfurous of polluting
created gases,
combination rain.
sulfurous metals
acid except
acid
as bleach to greatly
erode Exhaust
buildings, emissions
are
cars
pollu-
proper air of
suspect
amount
bridge a highly
from
the
already of
experience
trucks, Fortunately,
tombs
kind buses,
of
pollution.
as tourism arriving at
cannot is to
close restrict
solution and
around and
Cars,
motorbikes
can
farther
should
any
new and
building, the
cases
other kind
parts of
be careful
with
168
paint And
is
used
for you
the or
inside the
and visitors
of
the
building. to
the wall
the also
monuments a fire
monuments,
leter,
1 0 20% ._ --..a171
COLLECTION Workshop
CONSERVATION Residence
I.
Care
of
The historic A.
happens to conditions.
photographs
and negatives
Because photographs are printed on paper, the kinds of you also find with photographs. damage you find on paper, For example, light will cause chemical changes in paper resulting in fading, darkening, bleaching and breakdown of the cellulose (are from plant fibers in the paper). browning and fading of paper on which Signs of damage: yellowing, photo printed. It might be surprising are much more permanent than are one of the few kinds of ness! With black and white It is the paper on stable. tible to damage. the lower the ASA the Also, to learn that black and white photos Color photographs and slides color, artifacts to fade in complete darkthe image is relatively photos, which image is found that is suscepmore permanent the photograph.
as we already High humidity, which will destroy both the paper (it destroys the emulsion on top negatives in RH less than 50% and tion. Acids in pollution also hydrogen oxides of nitrogen, lignin in wood-pulp papers also tarnish the silver used graphs.
know, can cause growth of mould and the photograph image itself Try to keep of the photograph). prints in place with ventila-
Sulfur dioxide, harm photographs. sulfides and ozone react with the Pollution can make them more acid. in the process of making photo-
and film are on of the kinds of Photographs and negatives, Thus, artifacts which are more severely effected by temperature. recommendations is between 208-508 RH, in storage conditions, have the following temperature recommendations: 1, 2. 3. B. glass film: paper plates: below prints: 15 to 21 C 15-25 Conditions 25 C C
Exhibition
173
(see
levels 1. low light 2. short periods of 3. mount on acid-free photocopy). 4. cover with glass for
(c. 10 footcandles or 100 lux) time - up to a few months, board protected with a mat window" - make sure currently glass does not touch print.
C. Recommendations tive
photos
displayed
then would do a copy of original nega1. if had negative, and make exhibition prints from the copy negative 2. because do not have negatives, it is urgent to store historic photographs in proper conditions to prolong what is left of their life. have professional photographer take photos of the 3. thus, Make prints photos inside a photo studio using proper equipment. for exhibition from the new negative. Then store negatives and historic prints under proper conditions. 4. prints of Queen Mother's funeral gets too much direct Might consider moving to another sunlight at main entrance. Would also recommend remounting. location. C. Storage Conditions for Photographs and Negatives
1. Humidity: 20% - 50% RH 2. Temperature: 15 - 25 C. 3. Clean and dustfree room separated by acid-free 4. Place photos in acid-free folders, paper and placed in acid-free boxes. 5. Place negatives in acid-free paper (in US and Europe we now have special sleeves made from uncoated polyester). For 35 mm film can leave negatives in single roll or cut into strips. Avoid use photographs Keep away of glues, sticky and negatives. areas that tape might with and paper leak photos water. or negatives, wear gloves. clips when storing
from working
directly
on Paper has nature to paper: a number of of works humidity, pollution of foxing and staining - does it have paper a musty on paper - royal decrees(?)
Second A. B.
floor
Introduce Damage
paper
light,
Paper objects in house show evidence evidence of mould growth. Smell the odor? Look loss out for of color traces of in certain insect activity: small areas,
174
C. Recommendations 1. 2. look keep at frames darker - need with remounting? a curtain if possible?) and put copy on
room
3. make good photocopy (color display and store original. III. Wood
Wood objects in house seem to be in relatively good condiAt moment, tion. simply recommend keeping it clean, while watch-ing for evidence of insect or termite infestation, or rot from too much humidity. Cleaning: dust wooden objects regularly with vacuum use it first with brush attachment. Carved areas - use soft brush soft cloth - if have
With beds, tables, might consider applying a thin coat of hard paste wax (beeswax, carnauba or candelilla wax). Do not apply more than once a year. Buff (i.e. rub surface of wood with soft cloth} regularly. Do not want surface of wax to attract dust and dirt. I would test layer of wax on one object and see how it responds to heat and humidity. Does it get sticky? Do dirt and dust cling to surface of the object, making it even more dirty? (Dust in air is also mixed with grease and other kinds of polluttherefore is not considered good for a layer of this to ants, adhere to object). IV. Keep Bat V. Paintings surface problem? Textiles Wall eyes. lofty height "Birthday Poem" - would take down from its would try to keep dust and sunlight away from it - not sure about covering with glass for fear of condensation. At the least, would cover with a dark cloth which could be lifted when guests visit home. Textile behind altar - ripped as well as faded. because it is historically tion in its place. - it is already in quite bad condition Might take down and put in storage - put a modern reproducsignificant hangings are fading and disappearing before our very clean
175
COLLECTION
MANAGEMENT & PREVENTATIVE Workshop at Hon Chen 19 May 1995 group into four Temple
CONSERVATION
we will
divide
the
teams.
team will be assigned to monitor the situation in the Hon They will be given the first 50 minutes to do thistempleduring the second hour each group will present their findand recommend simple solutions to the problems they find.
Each team will be responsible for making a simple sketch of There are two levels to the main building at Hon Chen temple. Each team will use the temperature and humidity this building. instrument and will mark the temperatures and humidities at To do this, you different parts of each building on the drawing. should take a reading in each corner of the upstairs and downstairs space as well as in several places in the central space. Each team will be allowed to use the temperature and humidity instrument for 10 minutes. Each team will be assigned a different kind of object, and they will look for evidence of mould b fungus, insect damage, pollution damage and general dirt on sunlight damage, corrosion, You will practice wearing gloves when you pick up these objects. any object to examine it. Team I Team II Team III Team IV Wooden Textiles Ceramic Metal Objects Objects & Paper Objects Objects
176
COLLECTION
CONSERVATION
people
the
of
five
Team I: Team II: Team III: Team IV: Team V: Assignments Teams Teams
Nhi Huy,
Nam,
(Hon Thiet,
Chen), Quang
Sat
Thuong
Hoei,
Ha,
Tuong
Assigned Assigned to
to to
Palace Palace
Team V:
Nha Bia
and MO Vua
As you did drawing of the you will check tures. You will the structure, these readings
each team will make a simple at Hon Chen Temple, structures to which they are assigned. As before the temperature and humidity inside your strucdo this by taking a reading in several parts of Mark including the corners and central area. on your drawing. Ho-a Khiem Pal-ace and Luong Khiem Pal-ace:
Teams ~assigned.to-m -
1. Provide a general assessment of the condition of the building. In your assessment, tell me where are dampest parts of building, and where are the areas which receive the most sunlight. 2. Then I want each member of your team to I want you to give me the following each. object: 1) 2) 3) 4) 5) 6) In examine you have select two information objects about the
name of object date or period of object what object is made of Does it receive where object is located in building. Is the location dark and damp? a lot of sunlight? Any evidence of pests or insects in area of object? description of what the object looks like description of the condition of the object order to describe the condition of the object you must using light and the magnifying glass. If it carefully, please use gloves and follow the to handle the object,
177
rules
for
handling
3. Based upon the problems you find, each team will recommendations how they would improve the condition building and objects in the building.
of and
the the
attention
1) the condition of the fungus growing on the stone? Use your magnifying glass to Is there evidence of physical ing pieces from the stele or tion of the mosaic decorations? 2) Is there tures or stele? names)? 3) What is
stone. Do you see evidence of Is there evidence of deterioration? look closely at the stone. damage (this means cracks or missWhat is the conditomb structure)? Is there graffiti? of the next-to itself? of structhe
evidence of graffiti on any part Is it new or old (look for dates the condition of the stele pavilion
2. Based upon your findings recommendations on what you the Stele House and tomb of Would House? you make additional
make three or four your team will would do to improve the condition the Emperor. signs for the tomb and Stele
COLLECTION
MANAGEMENT & PREVENTATIVE Workshop at Lang Dong 24 May 1995 the group leader), Anh, Tinh into Trong, Muon, Thanh
CONSERVATION
Khanh
five
Today people
the
teams
of
Nhi Huy,
Sat
(office), Hieu,
Thuong
We will begin our workshop by hearing two reports of the Dien visit to Lang Tu Due: 1) on the condition and 2) the condition of the Nha Bia and the MO Vua. Today's Teams I, Team II: The Dien Assignments IV & V: III, Assigned to N.N.wgBy survey survey and and examine examine objects objects Assigned to the Dien the San Chau and the Nhung Hy Nha Bia
from Luong
our Khiem
This team will Team I: lacquer and bamboo. wood, Team III: This made of textiles. This Team V: and paintings team will
examine
objects
This time, I would like the teams which are inspecting the condition of the objects to assess as many objects as possible Please try to make an informed generalization during the hour. Then I would like about the condition of each kind of object. each team to introduce the most damaged object they have examPlease include the following information about this obined. ject: name of object date or period of object what object is made of Does it receive where object is located in building. Is the location dark and damp? a lot of sunlight? Any evidence of pests or insects in area of object? 5) description of what the object looks like 6) description of the condition of the object 1) 2) 3) 4)
In order to describe the condition of the object examine it carefully, ,using light and the magnifying you have to handle the object, please use gloves and for handling objects. Finally, I would like each mendation about how to preserve Team IV: itself. plan and part team to make a realistic better this object.
This team will assess the condition of the temple This team will make a simple drawing of the temple take the temperature and relative humidity readings. indicate which of the columns roof leaks. You can mark this also indicate where there is which parts the greatest of
floor
Please of the
I know that there Tomb. Please indicate bats and where in the
is a problem with bats at the Dong Khanh how we know that there is a problem with temple the problem is the most serious. realistic problems, such and light
Finally, I would like Team IV to offer three recommendations for solving some of the building as the roof problem, the bat problem, the humidity problems.
This team will survey and assess the condition of and the Nha Dia. I suggest dividing your team into One group should assess the San Chau and the other your condition report pay attention to the following
1) the condition of the fungus growing on the stone? Use your magnifying glass to Is there evidence of physical ing pieces from the stele or tion of the mosaic decorations? 2) Is there tures or stele? names ) ? 3) What tion the Please of the surface is
stone. Do you see evidence of Is there evidence of deterioration? look closely at the stone. damage (this means cracks or misstomb structure)? What is the condiIs there graffiti? of the strucnext to the itself? the condi.-mould on of which
evidence of graffiti on any part Is it new or cld (look for dates the condition of the stele pavilion
try to be specific in your fl%cription of structures. Don't just say that there is of the stone, please indicate the surface
part
of the structure. If might be easier with a drawing. You can also be more if the damage is on the north, south, east structure (use my compass).
lems
your findings your team will make three or four on what you would do to improve the condition Court and Stele House.
of
What do you think about the kinds of signs which currently are found at the site? Would you recommend putting additional signs? What kinds signs could improve the cleanliness, security and general preservation of the structures?
183
COLLECTION
MANAGEMENT & PREVENTATIVE Inside the Imperial 26 May 1995 divide Dinh, Nhi Huy,
Nam,
CONSERVATION City
Workshop
of
Once again we will five people each: Thanh Nghe Binh Sau (Khai (leader), (leader), (leader),
into Ly,
the
teams
Team I: Team II: Team III: Team IV: Team V: Today's Team Team Team Team Team I: II: III: IV: V: We will
Xe, (Hon
Thanh
Sat
Thiet, Thuong
Dy,
Lot,
to to to to to back
Ngo Mon Thai Hoa The Mieu Thai Binh Lau Vu and courtyard Dien Thai
Hoa at 9:OO a.m.
at. the
We have done enough looking at objects and condition of Today I want each team to buildings during the past two weeks. examine each building assigned to them and think about how they. This assignment includes would better present it to the visitor, the way each room is thinking about every part. of the building: what is put in it, the number of containers for garbage arranged, and what these containers look like, the number of and kinds of even thinking about whether or not the signs in the citadel, guardians should cook and play music while visitors are in the What would make the landscape around the buildings monument. Below I give each team some things to look the most attractive? think about for each of your buildings. 1. Ngo Mon Please think about the following: about the Ngo Mon? a. what is the best thing b. why is the room at the top of the Ngo Mon empty? better use he made of this space? signage lighting, inside and outside 2. Dien Thai Hoa Please look at and think left. a. the shop on your b, t.he t.wo shops behind about the following: as you enter the palace the throne
Could
C.
d. 3.
filled
with
objects
inside
the
Dien
Tien
Hoa
The Mieu Please look at and think about the following: a. the restoration work of the altars b. the kinds of textiles used for the parasols the quarters of the guardians C. d. signage Thai Binh Lau Please look at and think about the a. the shop b. the room with the exhibits the front room with photographs C. d. the bonsai area e. signage following:
4.
5.
Huu Vu Please think about the following: shop a. the drinks b. the daily arrangement of furniture in the room C. the objects sitting in the cases d. the courtyard area leading from rear of Dien Thai to space in front of Huu Vu and Ta Vu e. signage I would like everyone to consider the following
Hoa
In addition, questions:
1. Why do the buildings better cared for than 2. When you visit life of the former make the buildings
the
cleaner tombs?
and
the Dai Noi do you get a feeling why not? If not, Nguyen kings? more interesting for the visitor?
1!?4
BOOKS PRESENTED TO THE HUE MONUMENTS CONSERVATION FROM: UNESCO DATE: JUNE 1995 History.-o-f ___-.--Alexander, 1979 Mu.se.w-s...and General Mmuseolcgic.al to for the State
CENTRE
Edward, PMuseums in Motion: An Introduction History and Functions of Museums Nashville, TN: American Association and Local Museums 8th pri.nting, 1993
Burcaw,
G. Ellis Introduction to Museum Work 1983 TN: American Association Nashville, and Local History Second Edition Susan M. 1990 Archaeological Washington, Curatorship Smithsonian D-C.:
for
State
Pearce,
Institution
Press
Dudley,
Irma Bezold Wilkenson Dorothy, 1979 Museum Registration Methods Washington, D-C.. - American Third Revised Edition
and
others of Museums
Association
Conservation
Americr?n
19634
Association of Museums Caring for Collections Washington, D-C.. - American Barbara Guide to Madison,
Association of
of
Museums
Appelbaum, 1991
Collections
Kenworthy, Mary Ann, Eleanor M. King, Mary Elizabeth Ruwell & Trudy Van Houten Archival Techniques for 1985 Preserving Field Records: Archaeologists and Anthropologists PA: The University Museum Philadelphia, MacLeish, 1985 A. Bruce The Care of Antiques and Historical Nashville, TN: American Association Local History Second Edition Collections 'for State
and
Security ASIS Standing Committed on Museum, Library n.d. Suggested Guidelines in Museum and Archive Security Security
Exhibition --Belcher, 1991 Witteborg, 1991 tions Michael Exhibitions Washington, Lothar P. Good Show! in Museums Smithsonian D-C.: A Practical Guide
Press ExhibiPress
Smithsonian
Institution
American Association of Museums Professional Code of Ethics n-d. Museum News Reprint Package Association Washington, D.C .: American
of
Museums
186