Museum Functions

“A good museum attracts, entertains, arouses curiosity, leads to questioning and thus promotes learning. It is an educational institution that is set up and kept in motion—that it may help the members of the community to become happier, wiser, and more effective human beings.”

Museum Functions

Collection

Preservation/Conservation

Research

Exhibition

Education/Interpretation

The Collection Most important aspect of a museum. All other functions are tied to the collection.

Usually follows a general theme (defined by a mandate).

Everything that enters the collection stops being an everyday object and is treated according to the COLLECTIONS MANAGEMENT POLICY.

Collections Management Policy

...refers to the continual responsibility of an institution to care for, monitor, and manage its collection…. And the information that accompanies it. It should cover:

Acquisitions Themes/sections of your museum.

Staff responsibilities Preservation

Research use/access

Preservation/Conservation

Realistically, you can't preserve an artifact forever.

It is still up to the museum to ensure that it lasts for as long as possible—i.e., past your own lifetime, for future generations.

Every action taken must be considered for the long term.

Preservation/Conservation

Important aspects of preservation:

Monitor movement and condition carefully

Security: protection, risk assessment, etc.

Understand your specific museum environment

Treat well in storage

Principle of reversibility

Research

The research function refers to both research within the museum about artifacts, and also making that information accessible to researchers outside the museum. Important that info is not lost with those who hold it. Starts with: Asking the donor questions Doesn't really ever end. Keep building on research from many other sources. Also important that good records are kept for outside researchers.

Acquisitions

An acquisitions policy controls what you do or do not accept, and how. Re-read your policy once in awhile for a refresher.

It also deals with how information is documented, who will do the collecting, how loans will be handled, and what will happen to objects that are determined unsuitable.

Acquisitions

A good policy defines what qualities an object must have to be accepted, in categories such as these:

Historical significance Geographic region

Time period Condition of objects Use of duplicates

Historical Significance

“A historically significant object contributes to a clearer understanding or interpretation of some former custom, activity, episode, or personality. The extent of this contribution depends upon 1) its documented individual history; 2) its physical character and condition; 3) the nature of the historic period or episode with which it is associated.”

Note: You can assess #2 by looking at the object, but #3 and most importantly #1 involves asking as many questions as possible of the donor.

Other Qualities

Relevance to the time period and geographic region. Good Condition; objects in very poor condition can take too much time, money, and effort. Not a duplicate.

Note: Duplicates may be acceptable if one is in better condition, or for part of a “study collection.”

Be Selective: You can’t (and don’t have to) take care of everything.

It can be hard to refuse donations in small communities. Having a policy as an explanation can make it easier.

You can still accept an object without knowing everything about it. More research can be done at a later date.

Who Accepts?

The policy defines WHO ultimately accepts artifacts, and the procedures for doing so. EXAMPLE:

Donor drops off artifact to whomever is working. They sign transfer of ownership form; tell them they will be contacted about their donation when a decision is made. Object is brought to the attention of the collections committee (or the director, curator, etc).

Deaccessioning

Acquisitions policies also deal with deaccessioning. Artifacts that have been found to not meet the criteria of your policy can be deaccessioned. The policy notes what should happen to these objects. Example, in order of preference:

Exchange for another artifact at another museum Donate to another museum or public institution Sell it

Keeping it in the public sphere is important, but some institutions will also give the donor’s family the option to get it back.

Transfer of Ownership

Legal document that ensures you have full rights to a donation. Without this, and a valid signature, the museum can run into problems in the future. These forms include space for:

Donor’s name Address/phone number Description of property Provenance/history questions* Terms and Conditions A place to sign

When a donor comes in…

Paperwork and legalities must be taken care of. Get a signed transfer of ownership form.

All documentation makes clear that the donation becomes museum property,

and gets all rights.

Make sure the object is being DONATED, not LOANED.

Let the donor know the object may not be accepted.

Make sure everything is properly filled in on forms. Get up to date contact

information.

Give donor a copy. This acts as a receipt.

Loans

Acquisition policy should clearly define your position on loans. Cannot use the transfer of ownership form for a loan.

Long term loans are discouraged—you are spending time and money on objects that are not the museum’s and may never be.

A donor cannot insist on special terms for his/her donation. A transfer of ownership form gives the museum ALL rights, not some.

Try to make the donor reconsider in the case of special terms or loans.

Loans

However,

Short term loans are good. They can enhance exhibits and displays.

Short term loans from community members can also be beneficial.

Loans like these can be kept track of in PastPerfect.

Documenting Provenance

- Along with transfer of ownership, you must record the history of the artifact—the provenance.

- If the donor cannot tell you everything immediately, get their contact info (and give them yours).

Write everything down.

Use the transfer of ownership form or another attached sheet.

Ask for proper spelling if needed.

Keep all info with the collection record (enter into PastPerfect in the right fields.)

Questions to Ask

What is the object? What was it traditionally used for? What did the person who owned it actually use it for? Is the object homemade? If so, what is it made from? Who owned it previously? Where did they live? What did they do? When did they get the object? How did you come to acquire it? Was it passed down through the family? How much would it have cost at the time of its purchase? Was it involved in any significant event? Are there any stories that involve the object? If there are any noticeable markings or wear on the object that don’t seem to be original, how did they get there? From day-to-day use? From something else? How is it tied to the community? Why is it being donated?

Evaluating New Donations

Donations must be evaluated to determine their suitability for inclusion into the collectionBring to the attention of the director/curator Collections committee determines whether to

accept or reject

Collections Committee

Appointed by the governing body of the museumMembership may includeCurator or directorOther relevant staff, such as a collections

manager/registrarOne or more board membersKnowledgeable members of the public

Evaluates donations in reference to the museum’s mandate and collections management/acquisition policy

Questions to Ask

Does the donation fit the museum’s mandate?Has all relevant provenance information been provided with the donation?Is the donor legally entitled to give the item to the museum, and if so has the donor signed over all legal and copyrights to the museum? Are there restrictions attached to the donation? Does the donation duplicate items already owned by the museum? Can the museum properly care for and preserve the donation? Will the museum be able to pay for any necessary conservation treatment?

Donation Accepted

Collections Committee signs off on a donation and accepts it into the museum’s permanent collection.

Donor is sent a letter acknowledging receipt of the donation into the museum’s collection.

Accession donation.

Donation Rejected

Collections Committee signs off on a donation and declines it for inclusion into the museum’s permanent collection.Follow rejection process as

outlined in the museum’s

collections and acquisition

policies.

Typical Rejection ProcessInform donor by letter of the committee’s decisionOffer donation back to donor, to be picked up at donor’s expenseIf the donor does not want the donation back, and has clearly signed over legal title to the museum, the next step should be to offer it to another institution, one whose mandate better suits the donation in questionIn a case where there is no other museum or institution interested in the item, it may be offered up for saleWhen all these steps have failed, the item may be discreetly destroyedUnder no circumstance may museum employees take or purchase the rejected donation for themselves

Accession Register

The accession register is a sequential record that lists every object in the museum’s collection.

Entries are made in chronological order, as each object is entered at the time is was accepted by the museum.

The register is one of the most important documents as it establishes the museums legal rights to its collection.

Each Entry Should Include:

The accession numberThe number of objects associated with that

accession numberThe name of each of the objects (with a

brief description)The mode of acquisition (donation,

purchase)The name and address of the source

The Accession Number

Using the accession number 1998.05.17 as an example, it is broken down as follows:

1998 Refers to the year the object was accessioned

.05 Indicates the object was part of the fifth accession accepted in 1998

.17 Indicates the object was the seventeenth one in that accession

Accession numbers can also accommodate pairs, sets, and parts of objects by using additional numbers and capital letters.

Example: A pair of shoes can be assigned 1997.04.01A-B A series of 8 prints in a portfolio can be assigned 1978.02.01 through to 1978.02.08 A teapot with lid can be assigned 1985.09.1A-B

Note: Pairs and component pieces of an object use letters; sets are done using additional numbers

Marking the NumbersUse Materials and techniques that are long-

lasting but removable.When using ink, make sure it contrasts with the

object for visibility.Write the number legibly.Put numbers in inconspicuous locations.Do not place number in location where it

receives wear or friction.Write numbers separately on all detachable parts

of an object.

What not to use

Do not use permanent, unstable, or toxic

materials such asTypewriter correction fluid (white out)Self-adhesive labelsScotch tape, or masking tapeStraight pins, or safety pinsPaper clips (metal or plastic)Staples

The Master File

A master file is established for every accession. It contains curatorial and collections management information relating to the object. Files are organized by numerical order by accession number.

Collections Management Data

All information relating to the objects registration including

the temporary deposit receiptgift arrangement or bill of sale correspondenceappraisalsother documentation.

Curatorial Data

Records obtained from the source, photographs, letters, newspaper clippings, price lists, or other published information relating to the object.

Curatorial data can continue to be added to the file once the object is accessioned (research notes, condition reports, conservation treatments, and exhibit catalogues).

Cataloguing

Catalogue Record: Catalogue records are the primary source for documenting and retrieving information about objects in the collection.

Museums should ensure it had catalogue records for every object in its collection. Information that relates to the object’s context (its historical, cultural or natural environment is essential for interpretation.

The Catalogue record includes:

Descriptive Data: Descriptions can include information on the objects materials, measurements, condition, manufacturer or creator, fabrication techniques and cultural context.

Origin/ Use Data: Information on the country or cultural origin, as well as history on how the object was used or modified over time.

Dating Data: Specific years can be assigned when fabrication was known to have occurred, or within probable or actual time frame (e.g.. 1920-1940).

Research

Research is one of the principle areas of museum work. Research activities focused on the collections can provide a thorough knowledge of the museum’s holdings, and provide additional opportunities for collection care.

Questions to aid in the Research

ProcessHow has it been acquired? If a natural specimen, where was it found?Can the history or provenance be traced?What is its physical composition?What do documentary literature sources reveal

about it?Can living authorities comment on it?

Classification System

One of the purposes of cataloguing is to provide a basis for grouping similar or related objects together.

“The Revised Nomenclature for Museum Cataloguing” classifies objects according to their original function. The system consists of a hierarchical series of categories, subcategories and controlled vocabularies of classification terms.

Photography

The goal when photographing an artifact is to get as accurate a representation of the object as possible. Things to keep in mind are:

BackdropLightingExposure and depth of fieldSubject placement

Preservation ManagementHuman error and accident is

one of the primary causes ofdamage to artifacts

Preventive conservation must start with proper care and handling techniquesGood handling techniques should not necessarily be equated with common sense. Many proper techniques require specialized knowledge of how materials interact with each other and the surrounding environment

Basic Rules for Handling Objects

Handle only when absolutely necessaryHandle only one object at a time, or multiple small objects in a properly padded carrying trayNever hurryNever eat, drink or smoke in the vicinity of objectsAvoid wearing jewellery or other objects that may damage artifacts being handled (rings, belt buckles, and watches, for example)Use pencils, not pens, when writing in the vicinity of objectsKeep hands clean, even while wearing glovesWear appropriate gloves

White cotton gloves for most objectsNitrile or latex gloves when handling objects with slick or slippery surfaces, such

as glazed pottery and glass, or objects with surfaces that may catch or attract cotton fibres

Rules for Handling Objects (continued)

Examine the condition of an object before handling it Lift objects by their most stable and supportive areas; do not lift by handles, rims or other protrusionsLift multiple components of an object separately (e.g. a pot and lid)

Use a support tray if necessaryNever layer or stack multiple objectsIf damage occurs, immediately and accurately record itAvoid folding or creasing textiles and paper artifactsReview catalogue records and information about the object to determine whether there are any health and safety concerns. Many old conservation treatments used toxic chemicals to preserve and stabilize artifacts. Taxidermy specimens commonly contain arsenic, mercury and other hazardous materials. Ensure all health and safety measures are being followed before handling toxic artifacts

Moving Objects

Know your route – open doors, remove obstacles, and inform others that you will be moving through the space with artifactsExamine the item and determine the safest method of lifting and carrying the object. It may be necessary to consult the catalogue record and review past treatments or repairs and determine whether there are any special considerationsEnsure that the space for the object’s new location is clear and ready to receive the objectEnsure heavy or awkward objects are carried by a sufficient number of people, and recruit helpers to open doors and clear the route if necessaryIf moving multiple small objects, ensure they are placed in a tote and separated with suitable paddingKeep furniture upright. Tie the doors shut with string and remove any drawers. Do not drag it but lift it by its most solid parts

Moving Objects (continued)

Follow proper lifting techniques when moving heavy objectsBend at the kneesUse leg and stomach muscles when lifting from a

stooped positionGet close to the object and keep it near your bodyAvoid twisting; pivot using your feetKeep your back straight

Packing and Storing ObjectsGeneral Guidelines

Choose an appropriate storage containerThe container should be large enough to hold the object or objects

without being so large that they will shiftChoose only acid-free cardboard, polyethylene, or polypropylene

containersCushion and separate all objects in a container with an appropriate material (see equipment/materials list)Avoid layering or stacking multiple objectsEnsure fragile objects are provided support in weak or delicate areas. This can be achieved with cut and shaped pieces of ethafoam, cotton wadding, bubble wrap and acid-free tissueStore in a dark place with stable temperature and humidity (baseline RH for collections of a variety of objects is 50%) and good air circulation

Costumes and ClothingPack flat in an acid-free cardboard, polyethylene, or polypropylene textile box suitable to the size of the object.Line container with unbleached muslin.Loosely pad out the piece with acid-free tissue and/or microfoam to avoid creases and folds, including arms, legs, body, fingers and so on, without straining the fabric or seams.Construct form shapes out of ethafoam to.help collars and shoes to keep their shape.Cover with unbleached muslin or acid-free.tissue and place cover on box.Never layer multiple costumes in a single.container.

Flat Textiles, Rugs and FlagsPack flat in an acid-free cardboard, polyethylene, or polypropylene textile box suitable to the size of the objectLine container with unbleached muslinLarge flat textiles may be rolled on rigid cardboard tubing, isolated and protected from the tube and environment with mylar, unbleached muslin and acid-free tissue interleavingIf the textile must be folded for storage,

pad out the folds with acid-free tissueand/or microfoam to avoid creasing andundue stress on the fabric

Cover with unbleached muslin or acid-freetissue and place cover on box

Avoid layering multiple flat textiles. If they must be layered, place heavier items on the bottom and interleave with acid-free tissue

Paper Documents and Newspapers

Do not fold or creaseStore fragile items horizontally in acid-free or polyethylene containersInterleave multiple items with acid-free tissue; do not layer too many itemsPaper documents in good condition can be stored vertically in acid-free folders or mylar envelopes placed in a larger acid-free cardboard, polyethylene or polypropylene clam-shell box

Photographic Prints and Negatives

Store negatives in inert, uncoated polyethylene or polyester sleeves, or acid-free paper envelopesStore prints in mylar sleeves or acid-free paper envelopes. Prints may be stored in photo albums as long as the sleeves are mylar or another inert plastic like polyethylene

Materials and Equipment

Acid-free tissue paperBoxes and containers – acid-free and lignin-free cardboard, polyethylene, and polystyreneCoroplast is a well-known brand of

conservation-quality corrugated plastic (90% polypropylene, 10% polyethylene)

Polyester film (mylar)Polyethylene, polypropylene and/or polyester (mylar) sleeves, envelopes and negative sleevesAcid-free corrugated cardboardAcid-free foamcore

Materials and Equipment (continued)

Rigid polyethylene sheet (ethafoam) and polystyrene foamFlexible polyethylene and polypropylene (microfoam) foamUnbleached muslin/cottonWoven cotton tape (twill tape)Bubble wrapClear acrylic nail polishWhite acrylic nail polishArchival-quality pensPencils

Vacuuming and Dusting Artifacts

Use a vacuum that is equipped with a HEPA filter to avoid exhausting dust back into the displayUse a vacuum that has an adjustable suction power or is equipped with a rheostat to decrease the suction as necessaryCover the end of the vacuum hose with a nylon screen (window screen) to ensure that no loose components are inadvertently vacuumed from the artifactsUsing a soft-bristle brush, gently brush the dust particles in the direction of the vacuum hoseDo not directly scrape the nozzle of the vacuum over the surface of an artifactObjects with smooth surfaces (glazed ceramics, glass, finished wood and so on) may be wiped with untreated synthetic microfiber cloths. If the cloth fibers snag, cease wiping and use the vacuum-brush method

Vacuuming and Dusting Artifacts (continued)

Tools must be kept clean – wash brushes and microfiber cloths regularly – preferably in a mild solution of Orvus paste and distilled water – rinse thoroughly and let dry completely before reusing. Do not use fabric softeners when washing dust clothsLabel dusting tools and do not use them for any other purpose than artifact cleaningSpecial considerations when vacuuming textiles

Suction power is very important here and should be kept to a minimum, depending on the durability of the fabric. Very delicate fabrics should not be vacuumed at all

Ensure there is a nylon screen between the vacuum nozzle and textileInitially brush loose debris from the textile with a soft bristle brush into

the vacuumVacuum the textile with an up-and-down motion, rather than dragging

the nozzle across the fabric

Environmental Monitoring

Fluctuations in temperature and relative humidity (RH) can damage artifacts in a museum’s collection, and maintaining stable levels in these values is very desirableLight can damage an artifact by exciting its molecular structure, causing irreversible effects including discolouration and fading to complete degredationTools to measure temperature, RH, and light levels include:Data loggersHygrothermographsPsychrometersLux Meter