#deaccession

[conservallama]

Tell us your Frodo at Mount Doom moment.

___ Follow for more memes from the GLAM world 🖼📙🗄🏛

GLAM - 🖼Galleries📙Libraries🗄Archives🏛Museums . . .

#libraries #conservation #artconservation #preservation #heritage #conservators #careofcollections #collectionscare #art #objects #collections #museums #materials #museum #conserve #preserve #ipm #loan #deaccession #registrar #itsover #done #books #moths #meme #museummeme #museummemes #memedaily

[curatorsday]

Monday, April 22, 2024

Back to work! After getting myself reoriented, I picked up some loose ends from my art storage reorganization project. I had identified several pieces to potentially deaccession so today I wrote up justifications for our collections committee meeting later this week.

#curator #museum #art #collections management #deaccession

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[astriiformes]

Today in "Notes I have written at work:"

"All artifacts are accounted for with a reasonable amount of space for them in the drawer; P001032 is marked 'Do not photograph,' probably because it is just an empty Hershey's box that does not appear to have any historical medical significance?"

#i am assuming we just haven't gotten around to deaccessioning this one #nate at the museum

[clonerightsagenda]

Honestly this is the good end for 'book has skulls in it' because thanks to a previous collection development policy that seemed to involve accepting all the books other libraries in our consortium were weeding, we have got a lot of very old books and multiple times this semester alone someone has brought me a book to review, I've cracked it open, and gone 'they're measuring skulls in this'

#into the deaccession pile it goes #before we start weeding discourse on my blog there IS a place for those materials #for historical reference purposes #however we're not a research library. we're a community college #we do not need phrenology how-tos

[godlovesdykes]

so. it turns out three months working nonstop to combat mould in a cultural heritage collection (AND FAILING…) makes you insane about mould. discovered some on the sewing cabinet i’ve had stored at my uncle’s for a year and i had to cry and make my gf remove the offending shelves and wipe the whole thing down with bleach

#it is TENTATIVELY allowed in the house. but it’s on thin fucking ice and i’m buying a HEPA vacuum tomorrow #the artefacts i deaccessioned were BURNED. never to be seen again by anyone in the world. mould is so scary in a collection #screams into the void

[chocolatepot]

mmmm yes nothing like finding a whole bunch of "[expert]'s survey: deaccession" recommendations in the collections database >:) gonna free up some space! (which I will then immediately fill with acquisitions)

#museums #I am the de facto curator of historic objects #particularly textiles #so I do have the collect collect collect drive #as well as the collections manager's deaccession deaccession deaccession drive

[sharkieboi]

idk what the timeline is but i might be getting to take a bird home 😳

#shhh sharkie #there’s a bird at work they’re looking to deaccession (aka remove from the collection and send home w/ someone) #and that someone might be me!!! #she’s a cockatiel and she can’t be on exhibit or be bred with any of our males so she’s just kinda hanging out in backup #but she’s super sweet and social and she loves me a lot #and my big boss was finally like ‘if you’re serious about this send me an email with her details and i’ll see what i can do’ #sent that email yesterday 😳 #gotta work on bird-proofing my house now just in case #omg omg omg i would be so happy!!! #i have like no money rn but i’ll work on that part later idk what the timeline is anyway it might be a while #i think having a little creature to take care of would actually help me a lot with some of this executive dysfunction #might also make me eat better lol if i have to get produce for her anyway

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[curatorsday]

Monday, April 1, 2024

I spent the day working in collections again, this time processing deaccessions.

#curator #museum #collections management #deaccession

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[neil-gaiman]

Hi Neil! I saw your reblogged post about book banning and censorship. One of the points was that the one and only reason a book should be removed is if it’s restricted for intending harm. I am a librarian, and hoping you can promote an addition, which is, weeding in libraries is a necessary thing! Books are going to get removed and recycled, and it’s not censorship, it’s spring cleaning. I am a librarian and have seen colleagues called book burners for deaccessioning books that are falling apart or have outdated information. Libraries need to weed, and we need the support of the public in these terrifying times where people DO want us to remove books for absolutely no justifiable reason. So I hope this message can be seen by the broader public, and I urge them to stand by their local librarians and not panic if they see some old romance novels in the recycling bin out back.

Absolutely.

[gender-trash]

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

#so anyway i love going to art museums-- #the trashcan speaks #long post

[kaijutegu]

Ok at this point the international museum community's response is a breath away from these big legacy institutions calling out the British Museum's position on their Benin holdings and the BMA 1963.

It's also really interesting that the Smithsonian is doing this, because the Smithsonian is excluded from NAGPRA, and America doesn't have international repatriation laws for museums. Technically they don't have to, but there's been a big shift in the public perception of museums, and a lot of them are actively trying to reframe their collections as a place of restorative justice and centering the voices of marginalised communities damaged by colonialism. In the case of the Smithsonian, they recently adopted a new ethical framework for repatriating international artifacts, and I have to wonder how much of it was inspired by the international movement in Europe to return the Benin bronzes. This is exciting! This has the potential for a lot of advances in what museums can do for communities, especially diasporic communities! Keep an eye on this- it has a lot of potential ripples it could create.

#museums #anthropology #museum studies

[marzipanandminutiae]

The Other Nightgown Set, or, The Most Underappreciated Crimson Peak Costume

okay, CPeak fans. when I say Edith's nightgown, what do you picture?

this, right?

RIP to the gorgeous silk dressing-gown we never see after this scene. but I digress.

and yes, that is the more iconic one. but you're forgetting my own dearest-beloved, my #cozygoals, my unsung hero of Victwardian gothic loungewear...The Buffalo Robe/Nightgown Set

finding photos of this is ridiculously difficult, and that strikes me as a travesty. but it's a robe of a goldy-chartreuse silk-velvet, with what appears to be a salmon lining (silk again, I'm guessing), floral appliques, and a black sash. She appears to be wearing a lacy cotton nightgown underneath, although a rather short one- only to mid-calf. Interesting.

because Netflix cannot be screenshotted, I took photos with my phone of some details- pardon the quality, glare, etc.

The collar has piping of the lining fabric. This is done by wrapping a thin cord in the material you want to pipe with, and then stitching that whole affair between two pieces being seamed together. It's a pain in the ass to execute, IMO, but such a nice detail.

Our heroine is furnished with POCKETS! you can see lace on either side of the robe "skirt," either decorative pocket flaps or outlining the openings for normal, flap-less pockets. I can't quite tell which.

A slightly better view of said pockets as Edith regards the door that Eleanor (her mother) just opened using Ghost PowersTM.

I didn't screenshot this specifically, but her sash is a black ribbon- of course -with gold edges.

The Buffalo Robe interests me because it seems much more practical than what she wears at Allerdale. Sure, it's goth-tinged and lovely, but it also looks...cozy. It's not all the way up her neck, it's not silk brocade- it's soft velvet, and with pockets to boot. It's something the audience could see themselves throwing on over their own nightwear to lounge around the house. Plus, those pockets bespeak a need to carry things and do Activities- not just wander around crumbling manors with a candelabra looking appropriately ingenuecore. It kind of plays into an interpretive theory I have about Edith falling into the "world" of the Gothic when she goes to Allerdale- she's no longer in reality, sort of, so she gets this over-the-top fantastical nightgown as her primary outfit.

It also bears, I think, more resemblance to actual dressing-gowns and wrappers of the period than her Allerdale nightwear set:

(Dressing gown, 1880s. Fashion Museum, Bath, England. Earlier than Edith's vague 1895-7 aesthetic, but still similar.)

(Deaccessioned from the Rochester Historical Museum, New York, USA. This is described in the listing as an "1880s day dress" and the bodice does have a hidden button closure, but. Come on. The visual similarities are insane. I'm not convinced that Kate Hawley didn't see this dress somehow. Also earlier; also pretty close regardless.)

Makes you wonder if Lucille's got a more practical option stashed away somewhere, too...

#crimson peak #long post #movie costumes #dress history #edith cushing

[gregdotorg]

When I first found out about the Brooklyn Museum deaccession auction, my mind went immediately—as it inexplicably does—to the andirons [top]. They were similar and different enough from other andirons that have captured my conceptual interest over the last 10 years that I wanted to know more.

Alas, the entire history of the andirons before and during their existence at the Brooklyn Museum was wiped from the net, and not included in the auction listing. And yet someone paid 100x the estimate for them, a premium for Brooklyn Museum quality.

#andirons #brooklyn museum quality