This is a powerpoint slide show that documents my professional experience as a Registration Intern with the John and Mable Ringling Museum of Art in Sarasota, FL.

1. Living the Life of a Registrar: A Ten Week Look into The Practical Application of Registration Methods at The John and Mable Ringling Museum of Art. Amanda A. Robinson 8.8.2011 Càd’Zan Mansion

2. Areal view of the courtyard at the John and Mable Ringling Museum of Artin Sarasota, FL

3. Materials used in the handling and cataloguing of objects. From the top, starting on the left: cotton gloves, gray scale and color cards, bamboo brush, nitrile disposable gloves, HyFlex gloves, and measuring tape.

4. Archival, acid-free materials used in the re-housing and storage of objects: From the top, starting on the left: acid-free tags, Teflon, Polyethylene foam rod, and acid-free tissue paper.

5. Report sheet print-outs from TMS database providing basic information on objects and a photographic reference from their digital record.

6. Close-up of report sheets from TMS with the additional information retrieved by the re-documentation project of these Cypriote artifacts.

7. Rolling carts used to move objects between locations.

8. Industrial blankets used to line carts in the transportation of Cypriote objects to new home location.

9. Taking measurements of Edward Steichen’s Photogravure prints from his portfolio Edward Steichen: The Early Years 1920-1927 .

10. Creating supportive and acid-free bedding for the re-housing of ceramic jugs from the Ringling’s Cypriote collection.

11. Cataloguing Cypriote ceramics, taking measurements, and completing an updated condition report.

12. Larger view of photo lab used to photographically document objects within collection for digital TMS records.

13. Up-close view of object display in photo booth with number tag and color card.

14. Photographic example of object’s reference picture in TMS file showing color card and quarter for scale.

15. Example of the TMS data entry page prior to updating.

16. Highlighted areas of TMS data entry record that need updating and new research.

17. Highlighted areas that reveal newly updated information and research in TMS data entry record.

18. Example TMS data entry record, showing specifically the process of uploading new images.

19. Adding a new media entry in TMS data entry record.

20. Uploading the JPEG file into TMS data entry record.

21. Final product with new media image in TMS data entry record.

22. An A-Frame used for transporting paintings or large framed images.

23. Solander boxes used for housing prints, photographs, or other small works on paper.

24. The interior of a solander box with an acid-free mat.

25. A Rubens’ print framed and stored on a painting screen. This is the ideal storage practice for works that are framed.

26. Crates used to ship framed works.

27. Flat filing cabinets used to house larger works on paper, scrolls, or unframed paintings.

28. Interior view of flat files with acid-free folders.

29. Cardboard boxes that housed Cypriote objects in the Museum’s Main Vault. This is an example of the least ideal means for storing objects due in part to the high acidity levels of cardboard materials, which can cause irreversible damage to works of art.

30. One of the ideal means of storage for 3D objects with appropriate acid-free materials and secure bedding. This image shows the Cypriote objects that were previously housed in cardboard boxes.

31. A detail image of Cypriote objects in their custom acid-free bedding.

32. Materials used in the numbering of Fine China at the Càd’Zan Mansion. From top to bottom: Bamboo brush to dust surface of plates, and tweezers used to hold numbers for placement on the China.

33. B-72 solution used on ceramics to apply catalog numbers for documentation. B-72 is an acrylic polymer that is safe to use on objects and can be deluded or dissolved with acetone.

34. A sampling of the numbers used to catalog the Fine China in the Càd’Zan Mansion. They were printed using regular computer ink on Japanese tissue paper, and applied to the back of the objects with the B-72 solution.

35. View of the backside of the China plate prior to numbering with the B-72 solution and Japanese tissue paper.

36. The final product of the numbering process with the B-72 solution and Japanese tissue paper.

37. Image showing the act of burnishing silver-gilded canvas. This project seeks to show the environmental effects on similar metals within the Museum’s gallery space as a test sample for other gilded pieces of art within the Museum’s collection. This was a separate project being conducted by the Collections team at The Ringling Museum.

38. Living the Life of a Registrar: A Ten Week Look into The Practical Application of Registration Methods at The John and Mable Ringling Museum of Art. The Ringling Registration Team. From left to right: Amanda Robinson, Ashley Burke, Gabriella Gil, Caroline Trotman, Heidi Taylor, Francoise Hack, and Renee Corbino. Amanda A. Robinson 8.8.2011