This document provides an overview of exhibit standards and best practices for libraries and archives. It discusses the importance of proper environmental conditions like temperature, humidity and light levels to preserve collection items on display. Specific guidelines are presented for housing artifacts in cases and displaying sensitive materials like photographs, books and works on paper. The use of technology in virtual and digital exhibits is also reviewed. The document concludes with references for further information on exhibition preservation and conservation standards.
This document provides an overview of best practices for exhibiting archival materials. It discusses exhibit standards related to preservation and conservation, including guidelines for environmental conditions, lighting levels, and display materials. Specific topics covered include acceptable temperature and humidity levels, the concept of lux for lighting artifacts, using barrier materials in exhibits, and digital exhibition options. The document also gives examples of specialized equipment used in major museums to securely display famous works, such as the cases housing the Mona Lisa and the Declaration of Independence.
Managing Small Archives provides an overview of establishing and running an archives service for a small institution. It discusses establishing authority and a mission statement, as well as developing policies for acquisitions, physical control of collections, and intellectual control through inventories, appraisal, accessioning, arrangement and description. The document outlines best practices for storage conditions, disaster planning and handling of archival materials. Intellectual control ensures that collections are organized and described to provide access and understand the context in which they were created.
Charting the museum's adoption of media in the gallery and beyond. Slides for paper given at the Museum Ethnographers Conference in Brighton, April 2013
The Natural History of Unicorns: Museums, Libraries, and Technology Collabora...Martin Kalfatovic
Presentation for American Society of Information Science and Technology /The Catholic University of America, School of Library and Information Science Student Chapter. April 25, 2003. Washington, DC.
The document discusses stakeholder interviews around the strengths, weaknesses, opportunities, and threats of special collections in libraries, museums, and archives. It proposes that special collections can make sense of open data and aggregation by connecting users to difficult to understand language and concepts in resource discovery. Examples provided of how special collections in local heroes, national events, anniversaries, and areas of staff personal interest could be better utilized and accessed through collaborative aggregation and integration rather than existing as isolated resources.
Archival resources in libraries: significance, sources and set-upsFe Angela Verzosa
lecture presented at the Seminar-Workshop on the theme “Organizing and Digitizing Library Archival Materials: ISAD (G) and Technology” organized by the Philippine Librarians Association, Inc. – Western Visayas Region Librarians Council (PLAI-WVRLC) in coordination with the National Committee for Libraries and Information Services – National Commission for Culture and The Arts (NCLIS-NCCA) held at the Colegio de San Agustin—Bacolod, Bacolod City, 27 September 2012.
Partnering with business faculty for information literacy instruction revrodbustos
This document summarizes a presentation on information literacy instruction at a university. It discusses academics, faculty, enrollment numbers, programs offered, and collaboration between librarians and a management professor to develop information literacy assessments and instruction sessions for undergraduate and graduate business courses. Pre and post-tests show that students' comfort with library resources and ability to find information improved after the instruction.
Panel presentation for the Distance Library Services Conference, Denver 2014
http://libguides.cmich.edu/dls2014/ataglance/panels
Erin Davis, Becky Thoms | Utah State University
Jennifer Hill | Johns Hopkins University
Beth Filar Williams | University of North Carolina Greensboro
Embedded librarianship has been a buzzword for many years now, but librarians have struggled with how to make this process scalable. How do you effectively reach the most students, while still providing meaningful information and interactions? Join us in this panel discussion as we explore three different libraries’ approaches to making embedding in online courses scalable by partnering with faculty early on in the course development process. Through interactive polling, audience members will also share their own experiences and questions for a lively discussion!
This document provides an overview of best practices for exhibiting archival materials. It discusses exhibit standards related to preservation and conservation, including guidelines for environmental conditions, lighting levels, and display materials. Specific topics covered include acceptable temperature and humidity levels, the concept of lux for lighting artifacts, using barrier materials in exhibits, and digital exhibition options. The document also gives examples of specialized equipment used in major museums to securely display famous works, such as the cases housing the Mona Lisa and the Declaration of Independence.
Managing Small Archives provides an overview of establishing and running an archives service for a small institution. It discusses establishing authority and a mission statement, as well as developing policies for acquisitions, physical control of collections, and intellectual control through inventories, appraisal, accessioning, arrangement and description. The document outlines best practices for storage conditions, disaster planning and handling of archival materials. Intellectual control ensures that collections are organized and described to provide access and understand the context in which they were created.
Charting the museum's adoption of media in the gallery and beyond. Slides for paper given at the Museum Ethnographers Conference in Brighton, April 2013
The Natural History of Unicorns: Museums, Libraries, and Technology Collabora...Martin Kalfatovic
Presentation for American Society of Information Science and Technology /The Catholic University of America, School of Library and Information Science Student Chapter. April 25, 2003. Washington, DC.
The document discusses stakeholder interviews around the strengths, weaknesses, opportunities, and threats of special collections in libraries, museums, and archives. It proposes that special collections can make sense of open data and aggregation by connecting users to difficult to understand language and concepts in resource discovery. Examples provided of how special collections in local heroes, national events, anniversaries, and areas of staff personal interest could be better utilized and accessed through collaborative aggregation and integration rather than existing as isolated resources.
Archival resources in libraries: significance, sources and set-upsFe Angela Verzosa
lecture presented at the Seminar-Workshop on the theme “Organizing and Digitizing Library Archival Materials: ISAD (G) and Technology” organized by the Philippine Librarians Association, Inc. – Western Visayas Region Librarians Council (PLAI-WVRLC) in coordination with the National Committee for Libraries and Information Services – National Commission for Culture and The Arts (NCLIS-NCCA) held at the Colegio de San Agustin—Bacolod, Bacolod City, 27 September 2012.
Partnering with business faculty for information literacy instruction revrodbustos
This document summarizes a presentation on information literacy instruction at a university. It discusses academics, faculty, enrollment numbers, programs offered, and collaboration between librarians and a management professor to develop information literacy assessments and instruction sessions for undergraduate and graduate business courses. Pre and post-tests show that students' comfort with library resources and ability to find information improved after the instruction.
Panel presentation for the Distance Library Services Conference, Denver 2014
http://libguides.cmich.edu/dls2014/ataglance/panels
Erin Davis, Becky Thoms | Utah State University
Jennifer Hill | Johns Hopkins University
Beth Filar Williams | University of North Carolina Greensboro
Embedded librarianship has been a buzzword for many years now, but librarians have struggled with how to make this process scalable. How do you effectively reach the most students, while still providing meaningful information and interactions? Join us in this panel discussion as we explore three different libraries’ approaches to making embedding in online courses scalable by partnering with faculty early on in the course development process. Through interactive polling, audience members will also share their own experiences and questions for a lively discussion!
CollectiveAccess is an open source collections management software that can be used to manage physical, digital, or intellectual collections. It has been deployed in over 300 institutions worldwide, including archives, museums, and libraries. The software project began in 2003 and the first public release was in 2007 under the name "OpenCollection". Idéesculture is one of the main developers of CollectiveAccess and has translated parts of the documentation into French. The presentation demonstrated CollectiveAccess by reviewing some public institution websites built with the software and accessing a test database to show CollectiveAccess' functionality. Resources for learning more about CollectiveAccess and Idéesculture were provided at the end.
This unit is part of an accredited postgraduate interdisciplinary module designed for PhD and research masters students. It is delivered twice a year: in February to the Colleges of Sciences, Engineering and Medicine and in November to the College of Arts, Celtic Studies & Social Sciences, and the College of Business & Law. The module provides an introduction to the principles and practice of information literacy as applied to postgraduate research. This version is designed for Sciences, Engineering, Medicine & Health.
Art discovery view to future content and interface ifla lyon 20140820Janifer Gatenby
Outlines the content of Art Discovery Group Catalogue (a view of WorldCat) and outlines features of the new user interface. It also outlines other investigations
Tanya Szrajber, The British Museum Collection DatabaseAndrew Prescott
Jane Doe (JDoe@thebritishmuseum.ac.uk)
Thank you for your interest in the British Museum collection database. Please get in touch if you have any other questions.
The CinBA project studies creativity and craft production in Bronze Age Europe through collaboration between academic and non-academic partners. The project has partners from several European countries who bring expertise in archaeology, heritage, and crafts. It examines motifs, skills, and trends in pottery, textiles, metalworking, and how prehistoric crafts inspire contemporary artists. Knowledge transfer activities include publications, exhibitions, workshops, and engagement with academics, heritage institutions, craftspeople, and the public. Project meetings, research team meetings, and workshops facilitate collaboration and management. The research has had wider impacts than initially predicted.
CollectionSpace is a free, open-source collections management system used by many museums and other cultural institutions. It was created in 2008 as an affordable alternative to expensive proprietary systems. While libraries, archives, and museums all collect cultural materials, their specific missions and practices differ. CollectionSpace's data model is based on a common standard but allows customization for different domains through extensions, including for natural history, art, and new media collections. This provides common data elements across institutions while accommodating their unique needs.
The document summarizes the findings of a survey on hidden collections in UK libraries. It found that over 13 million volumes across 77 responding institutions remain uncataloged, with some collections over 100 years old. Specific formats like maps, photographs, and foreign language materials made up a large portion of the backlogs. There was support for creating a national registry of collection-level descriptions to help prioritize retroactive cataloging efforts and make these hidden collections more accessible. However, others were skeptical that a new report would lead to real changes without a coordinated national strategy.
Cultural heritage: Tradition, Museums and WikisThomas Tunsch
The document discusses knowledge management in museums and their use of wikis. It describes how museums collect objects and documentation, create knowledge, and present information to the public. Wikis also collect data and document discussions to generate articles and build categories. Museums and wikis both involve collaborative communities that research, document, and publish information. The document examines how scholars can be involved in these collaborative activities and how museum documentation and research can benefit wiki communities.
The document defines a museum as an institution that collects, preserves, and displays objects of cultural, historical, or scientific importance for public education. Museums have the purpose of enabling learning and access to collections in order to inspire and educate visitors. The document discusses different types of museum exhibits like panel shows, period rooms, and dioramas. It also explains that museums choose specific themes to tell focused stories about broad historical topics or events. Students are then instructed to work in groups to plan exhibits for a hypothetical class museum on African history by choosing a theme and related exhibit topics.
How does UCC Library use exhibitions? How to create an exhibition? Use the LibGuide: http://libguides.ucc.ie/exhibitions/home as a starting point. Presentation as part of CPPD schedule in UCC Library (2017).
The document discusses various ways to teach archaeology to students, including hands-on activities in the classroom, museum visits, and participating in archaeological digs. It provides examples of resources available for integrating archaeological methods and evidence into the classroom, such as visiting heritage sites and museums, conducting classroom activities using artifacts and photographs, and exploring online publications and programs. The document emphasizes giving students tangible experiences to develop critical thinking and foster interest in history through archaeology.
This document discusses the purpose and value of digitizing cultural heritage materials like manuscripts and artifacts. It provides examples of how digitization has allowed new ways of exploring objects through different lighting and imaging techniques. However, it also notes critiques that digitization can reinforce the prominence of only certain culturally significant works, and that access to digital surrogates is often too restricted. The document argues that for digitization to achieve its potential, digital images and data need to be shared openly across platforms in order to be analyzed and engaged with in new ways. Restricting access and only providing single, controlled views of objects limits this.
Andrew Greg on "Crowd-sourcing and public engagement around the UK's painting...Maria Economou
Andrew Greg (University of Glasgow and Director of the National Inventory Research Project) on the Your Paintings Tagger initiative and Art Detective and the successful collaboration with the BBC. Talk give at Workshop 2 on "Crowdsourcing, Co-curation, Co-creation in the Cultural Heritage Sector" of the Scottish Network on Digital Cultural Resources Evaluation, Glasgow, The Lighthouse, 1 December 2015
Digitalisation at Royal Pavilion & Museumsfauxtoegrafik
Royal Pavilion & Museums has over 500,000 visitors annually across five sites. It digitizes its collections and sites to make them accessible online through its website, open assets portal, 3D models, Story Drop app, blogs, and virtual tours. The document discusses best practices for developing digital ideas and content, including starting with the "stuff" like objects and stories rather than the technology, defining the target audience, choosing appropriate digital platforms, and creating content that audiences can find and use easily.
CollectiveAccess is an open source collections management software that can be used to manage physical, digital, or intellectual collections. It has been deployed in over 300 institutions worldwide, including archives, museums, and libraries. The software project began in 2003 and the first public release was in 2007 under the name "OpenCollection". Idéesculture is one of the main developers of CollectiveAccess and has translated parts of the documentation into French. The presentation demonstrated CollectiveAccess by reviewing some public institution websites built with the software and accessing a test database to show CollectiveAccess' functionality. Resources for learning more about CollectiveAccess and Idéesculture were provided at the end.
This unit is part of an accredited postgraduate interdisciplinary module designed for PhD and research masters students. It is delivered twice a year: in February to the Colleges of Sciences, Engineering and Medicine and in November to the College of Arts, Celtic Studies & Social Sciences, and the College of Business & Law. The module provides an introduction to the principles and practice of information literacy as applied to postgraduate research. This version is designed for Sciences, Engineering, Medicine & Health.
Art discovery view to future content and interface ifla lyon 20140820Janifer Gatenby
Outlines the content of Art Discovery Group Catalogue (a view of WorldCat) and outlines features of the new user interface. It also outlines other investigations
Tanya Szrajber, The British Museum Collection DatabaseAndrew Prescott
Jane Doe (JDoe@thebritishmuseum.ac.uk)
Thank you for your interest in the British Museum collection database. Please get in touch if you have any other questions.
The CinBA project studies creativity and craft production in Bronze Age Europe through collaboration between academic and non-academic partners. The project has partners from several European countries who bring expertise in archaeology, heritage, and crafts. It examines motifs, skills, and trends in pottery, textiles, metalworking, and how prehistoric crafts inspire contemporary artists. Knowledge transfer activities include publications, exhibitions, workshops, and engagement with academics, heritage institutions, craftspeople, and the public. Project meetings, research team meetings, and workshops facilitate collaboration and management. The research has had wider impacts than initially predicted.
CollectionSpace is a free, open-source collections management system used by many museums and other cultural institutions. It was created in 2008 as an affordable alternative to expensive proprietary systems. While libraries, archives, and museums all collect cultural materials, their specific missions and practices differ. CollectionSpace's data model is based on a common standard but allows customization for different domains through extensions, including for natural history, art, and new media collections. This provides common data elements across institutions while accommodating their unique needs.
The document summarizes the findings of a survey on hidden collections in UK libraries. It found that over 13 million volumes across 77 responding institutions remain uncataloged, with some collections over 100 years old. Specific formats like maps, photographs, and foreign language materials made up a large portion of the backlogs. There was support for creating a national registry of collection-level descriptions to help prioritize retroactive cataloging efforts and make these hidden collections more accessible. However, others were skeptical that a new report would lead to real changes without a coordinated national strategy.
Cultural heritage: Tradition, Museums and WikisThomas Tunsch
The document discusses knowledge management in museums and their use of wikis. It describes how museums collect objects and documentation, create knowledge, and present information to the public. Wikis also collect data and document discussions to generate articles and build categories. Museums and wikis both involve collaborative communities that research, document, and publish information. The document examines how scholars can be involved in these collaborative activities and how museum documentation and research can benefit wiki communities.
The document defines a museum as an institution that collects, preserves, and displays objects of cultural, historical, or scientific importance for public education. Museums have the purpose of enabling learning and access to collections in order to inspire and educate visitors. The document discusses different types of museum exhibits like panel shows, period rooms, and dioramas. It also explains that museums choose specific themes to tell focused stories about broad historical topics or events. Students are then instructed to work in groups to plan exhibits for a hypothetical class museum on African history by choosing a theme and related exhibit topics.
How does UCC Library use exhibitions? How to create an exhibition? Use the LibGuide: http://libguides.ucc.ie/exhibitions/home as a starting point. Presentation as part of CPPD schedule in UCC Library (2017).
The document discusses various ways to teach archaeology to students, including hands-on activities in the classroom, museum visits, and participating in archaeological digs. It provides examples of resources available for integrating archaeological methods and evidence into the classroom, such as visiting heritage sites and museums, conducting classroom activities using artifacts and photographs, and exploring online publications and programs. The document emphasizes giving students tangible experiences to develop critical thinking and foster interest in history through archaeology.
This document discusses the purpose and value of digitizing cultural heritage materials like manuscripts and artifacts. It provides examples of how digitization has allowed new ways of exploring objects through different lighting and imaging techniques. However, it also notes critiques that digitization can reinforce the prominence of only certain culturally significant works, and that access to digital surrogates is often too restricted. The document argues that for digitization to achieve its potential, digital images and data need to be shared openly across platforms in order to be analyzed and engaged with in new ways. Restricting access and only providing single, controlled views of objects limits this.
Andrew Greg on "Crowd-sourcing and public engagement around the UK's painting...Maria Economou
Andrew Greg (University of Glasgow and Director of the National Inventory Research Project) on the Your Paintings Tagger initiative and Art Detective and the successful collaboration with the BBC. Talk give at Workshop 2 on "Crowdsourcing, Co-curation, Co-creation in the Cultural Heritage Sector" of the Scottish Network on Digital Cultural Resources Evaluation, Glasgow, The Lighthouse, 1 December 2015
Digitalisation at Royal Pavilion & Museumsfauxtoegrafik
Royal Pavilion & Museums has over 500,000 visitors annually across five sites. It digitizes its collections and sites to make them accessible online through its website, open assets portal, 3D models, Story Drop app, blogs, and virtual tours. The document discusses best practices for developing digital ideas and content, including starting with the "stuff" like objects and stories rather than the technology, defining the target audience, choosing appropriate digital platforms, and creating content that audiences can find and use easily.
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1. Exhibiting Collections
LIS 619
Team 4
Nicki Garces
Valancy Rasmussen
Sarah Vornholt
October 25, 2011
2. Agenda
• Introduction to exhibits
• The standards in exhibit preservation &
conservation
• The use of technology
• Short "field trip" to Curator's Choice Exhibition
3. Introduction to Exhibits
Exhibit:
"A physical object placed on display in a museum, gallery or
other public place, usually because of its historical, cultural, or
scientific importance or its aesthetic qualities, extraordinary
characteristics or monetary value. Libraries typically exhibit
rare and valuable books, manuscripts, personal papers and
memorabilia associated with authorship, publishing, book
history, and reading. Exhibits may be permanent or rotate
periodically, depending on the availability of materials suitable
for display and the policy of the library."
-ABC-CLIO Online Dictionary for Library
and Information Science
4. Definition (con't)
"An exhibit is a physical environment designed for the
experience of embedded knowledge."
-Eugene Dillenburg, 2011
• Information of the items are imbedded based on how the
items are displayed
• An exhibit is a medium of media (utilization of sound, written
word, image, moving image, performance, etc.) in which
someone can immerse him/herself in
• An experience
https://www.msu.edu/~dillenbu/
5. Reasons for Exhibits and Exhibitions
Museums Libraries & Archives
-To foster discussion, -To show off their
-Challenge the visitor, collections to the public
-Make connections to including newly acquired
issues that interest the acquisitions,
visitor, and -Traveling exhibits, and
-Provide guidance for -As community/public
applications to the world spaces, local artists and
organizations can
showcase their work or
"collections"
6. U.S. National Park Service
• Published Exhibit Conservation
Guidelines: Incorporating Conservation
into Exhibit Planning, Design and
Fabrication (1999)
• Guidelines and standards created due to
past conflicts between exhibit specialists http://www.nps.gov/index.htm
and conservators
-Lack of training and preparation for museum staff on
preservation
-Lack of cross-training between exhibit specialists
and conservators
-"Evolution of a flawed exhibit development process"
-Tradition of poor communication
7. Exhibit Preservation & Conservation
Goal:
"to design and produce preservation-friendly
exhibits that attract and inform the public."
-Toby J. Rafael (2005)
8. The Importance of Standards
• Sets guidelines and regulations for basic responsible
preservation that can be followed
• Allows compliance and acceptability in the field for
preserving artifacts
• To protect the items
• Allows for collaborative team work
(many museum exhibition and conservation
guidelines and standards can be directly transferred
to libraries and archives)
9. First Steps to Exhibiting the Materials
– Select items that are fit to display.
– A record of all items exhibited should be kept.
o Assessment of their condition before going on display
o Call numbers of books
o Exact pages displayed
o Length of exhibit
o Environmental conditions
3. For items on loan, both the lending institution and
borrowing institution should make adequate
provisions for safekeeping.
10. The Environment
Temperature & Humidity
• Same temperature and humidity requirements as
special collections storage area
• RH (relative humidity) should be constant and
moderate for length of the show
• Make sure all windows are sealed for air quality
control
• For libraries and archives: when considering
exhibition space, monitor the space a year in
advance
11. LUX Concept
• Lux = lumens per square meter
• Lumens = amount of light omitted from a source
• 50 lux essential for exhibitions on paper, drawings and
water colors, feathers and other light-sensitive organic
materials
• 150-200 lux for oil and acrylic paintings and other
moderately light sensitive objects
• 300 lux for ceramics, glass, stone and most metals (not
light sensitive)
• 120,000-50,000 lux-hours per annum propose for highly
sensitive 50-lux items (i.e., paper, textiles)
• 10,000 lux on a clear day
12. Example of the Affects of Light
• 5 mlux hours = 20 years on display at standards.
Picasso's Woman with a Flower (watercolor on paper)
• (a) 0 Mlux-hrs (b) 1.8 Mlux-hrs (c) 8.4 Mlux-hrs (d) 229 Mlux-hrs
13. Blue Wool Cards
Al= aluminum foil UV= UV filter
Difference is shown after 8 months facing a window
(sunlight).
14. Lighting in Exhibits
Albert Einstein's Original Theory of Relativity Manuscript Goes on Display
19. Dangers of Cases
• Off-Gasing: evaporation of volatile chemicals in non-metallic
materials at normal atmospheric pressure.
o Dangerous Case Materials
polyurethanes
green woods
wood paneling
plywood
particle board
newsprint, construction paper, kraft paper, wrapping
paper
20. Barrier Materials
• Safe barrier materials
o some plastics including polyethylene, polypropylene
o glass
o ArtCor or FoamCor (laminated panel board)
o fishing line
o velcro
o acid free archival papers
• Safe fabrics
o unbleached linens washed in hot with no
detergent
• Unsafe fabrics
o wool
o carpets
o fabrics treated with fire-retardants
21. Silica Gel
Silica Gel Pack
Gaylord: Indicating Silica Gel
22. How to Display Books
• Sensitive paper should not be displayed longer than 3
months in a period of two years
Yale Law Rare Library: Medieval Exhibit
23. Photographs
• Possible and recommended to display reproductions of
photographs
Wisconsin Library Heritage Museum Advertising Envelope
28. Specialty Equipment and Security for
Exhibitions
• Louvre-- the Mona Lisa
• National Archives-- the Declaration of Independence
• Specialty products
• Protection from human damage
29. Louvre--the Mona Lisa
-Moved in 2005 into specially designed case.
-Fitted with new devices to protect from cracking and to
monitor relative humidity and temperature.
http://www.cyf-kr.edu.pl/~ncbratas/oslo/UzielliOslo2010.pdf
30. National Archives--the Declaration of
Independence
-Case design and properties
-Previous light damage
http://www.archives.gov/exhibits/charters/declaration.html
33. Protection from Human Damage
• Attacks on the Mona Lisa
• Attacks at the National Gallery
34. References
"About the Louvre". http://www.louvre.fr/llv/musee/liste_metiers.jsp?bmLocale=en
"The Declaration of Independence: A History".
http://www.archives.gov/exhibits/charters/declaration_history.html
“Matting and Framing” American Institute for Conservation of Historic and Artistic Works,
accessed October 21, 2011,
http://www.conservation-us.org/_data/n_0001/resources/live/mattingandframing.pdf
"Mona Lisa Gains a New Louvre Home", BBC News, (April 6, 2005).
http://news.bbc.co.uk/2/hi/entertainment/4413303.stm
Balloffet, Nelly and Hille, Jenny. Preservation and Conservation for Libraries and Archives.
Chicago, IL: American Library Association, 2005.
Dillenburg, Eugene. “What, if Anyting, Is a Museum?” Exhibitionist 30, no. 1 (Spring 2011), pp.
9-13.
Falk, John H., Lynn D. Dierking and Susan Foutz (eds.) In Principle, In Practice: Museums as
Learning Institutions. New York, NY: Altamira Press, 2007.
Glaser, Mary Todd. "Protecting Paper and Book Collections During Exhibition" Northeast
Document Conservation Center (2007), accessed October 21, 2011,
http://www.nedcc.org/resources/leaflets/2The_Environment/05ProtectingCollections.php
35. Gorman, G.E. and Sydney J. Shep, Preservation Management for Libraries, Archives and
Museums, (London: Facet Publishing, 2006), 223.
Laboratorio Museotecnicio Goppion. Projects- Musée du Louvre, Salle des Etats (Mona Lisa
room). http://www.goppion.com/en/progetti_show.asp?ID=30
Jordon, Anne. “Exhibit Mounting Variations For Objects On Paper” Conserv-O-Gram, 13-04
National Park Service (1993), accessed October 21, 2011,
http://www.cr.nps.gov/museum/publications/conserveogram/13-04.pdf
Lord, Gail D. and Lord, Barry. The Manual of Museum Management, 2nd edition. New York,
NY: Altamira Press, 2009.
Martin, Susan B. “Polyester Film Book Supports” Conserv-O-Gram Vol. 18-01, National Park
Service, accessed October 21, 2011,
http://www.cr.nps.gov/museum/publications/conserveogram/18-01.pdf
Maverick, Vance. "The Declaration of Independence and the Constitution in Storage", 2003.
http://edgeofthewest.wordpress.com/2009/12/23/the-declaration-of-independence-and-the-cons
Merriam-Webster Dictionary, s.v. "Relative Humidity,"
http://www.merriam-webster.com/dictionary/relative%20humidity
Morris, Hannah R. “‘Virtual Fading’ of Art Objects: Simulating the Future Fading of Artifacts by
Visualizing Micro-Fading Test Results” Journal of the American Institute for Conservation Vol.
46, No. 3 (Fall - Winter, 2007) : 215-228, http://www.jstor.org/stable/40024996
Munro, Susan Nash. “Window Mats For Paper Objects” Conserv-O-Gram Vol. 13-01, National
36. Munro, Susan Nash. “Window Mats For Paper Objects” Conserv-O-Gram Vol. 13-01,
National Park Service, accessed October 21, 2011,
http://www.cr.nps.gov/museum/publications/conserveogram/13-01.pdf
Ritzenthaler, Mary Lynn and Catherine Nicholson, "A New Era Begins for the Charters of
Freedom", 2003. http://www.archives.gov/exhibits/charters/charters_preservation_01.html
Samuel, Henry. "Woman Attacks Mona Lisa", The Telegraph, (August 11, 2009).
http://www.telegraph.co.uk/news/worldnews/europe/france/6009693/Woman-attacks-Mona-Lis
Trescott, Jacqueline and Timothy R. Smith. "Gauguin Masterpiece Unharmed After Attack
at National Gallery", The Washington Post, (April 4, 2011).
http://www.telegraph.co.uk/news/worldnews/europe/france/6009693/Woman-attacks-Mona-Lis
Raphael, Toby J. "Preventative Conservation and the Exhibition Process: Development of
Exhibit Guildlines and Standards for Conservation." Journal of American Institute for
Conservation 44 (2005): 245-257,
http://cool.conservation-us.org/jaic/articles/jaic44-03-008_indx.html
Reitz, Joan M. Online Dictionary for Library and Information Science. ABC-CLIO, accessed
October 20, 2011, http://www.abc-clio.com/ODLIS/searchODLIS.aspx
Visser, Michelle. “Considerations in the Preparation of Library Exhibits Featuring Rare
Books and Manuscripts.” College and Undergraduate Libraries, Vol. 11, Issue 2
(December, 2004) : 51-62, accessed October 21, 2011,
http://www.cr.nps.gov/museum/publications/conserveogram/13-01.pdf
Editor's Notes
Collections of exhibits are combined to form exhibition (Falk et al, 2007)
Eugene Dillenburg is a professor of Museum Studies at Michigan State University
Other organizations have exhibition preservation standards, also, such as the ALA and the American Institute for Conservation of Historic and Artistic Works
goal fuses both the concerns/duties of the exhibit specialists and conservators to make sure documents, books, prints and artifacts are not not damaged in course of mounting or as result of environmental conditions over the duration of the show -Balloffet & Hill (2005)
items displayed in exhibits are exposed to more dangers than in storage such as light, environment, etc.
Loans to other institutions for consultation or for exhibition may involve risk or damage. The librarian has a duty to see that such requests, if granted, involve the borrower’s making adequate provisions for safekeeping.
storage: below 70 degrees F and RH between 30-50% one reccomendation: 60 degrees F and RH of 50% When considering exhibition space, monitor the space a year in advance to see what you can realistically achieve at different times of the year times with low humidity not good for parchment-covered books, parchment documents, photographs, leather-covered books, books with wooden boards
-lux hours are determined by multiplying the level of light by hours the object is exposed to light - lux = lumens per square meter -set light levels at 50 lux (5 footcandles [fc]) essential for exhibitions on paper, drawings and water colors, feathers and other light-sensitive organic materials (Lord and Lord, 2009) -150-200 lux (15-20 fc) for oil and acrylic paintings and other moderately light sensitive objects -300 lux (30 fc) for ceramics, glass, stone and most metals (not light sensitive) -120,000-50,000 lux-hours per annum propose for highly sensitive 50-lux items (paper, textiles) -on an average clear day, there is about 10,000 lux
blue wool cards -also called blue scales or textile cards -cut one card in half and place on card in the exhibit and one in a protected envelope in a dark location -it will help determine the amount of fading that has occurred in the exhibit
-paper is very light sensitive -light can darken paper -damage can go beyond visible, and can seriously damage in structure of the paper -damage from light is irreversible
Florescent lighting -negatives: can not be dimmed, emit UV rays -negatives: can not be dimmed, emit UV rays -there are some that give off low UV ranging from .5%-12% -lights can be covered with UV protective sleeves Incandescent lamps (tungsten) -positives: can have dimmers, little to no UV rays -normal house bulb is an incandescent light Halogen lights -positives: can be dimmed, filters can be used -negatives: give off UV rays
Fiber Optic -Fibre optics feature very low UV and no heat emission from the fittings at the end of the fibre optic cables. LED -total absence of damaging UltraViolet (UV) light emissions. -energy saving -potential to increase lighting levels in light-sensitive areas or to safely keep fragile exhibits open for longer periods of time - which means a better experience for visitors and less time and expense in changing exhibits.
-natural light has intense UV contents -light damage is cumulative -exposure to low light for a long period of time can be as damaging as exposure to intense light for a short period of time -UV filters on windows, cases, and/or frames -can be cut with scissors and applied directly to the windows -negatives: film can be unattractive and difficult to remove at a later date, short life span -positives: inexpensive -a more expensive option is ridged panels
-anodized aluminum or coated steel are good to use but expensive wood: -used because it is easy, available, and nice looking -oak is the most harmful of woods -wood to use if needed: African mahogany -wood can be used for the outside and not lining the case -wood case is over $2000 -aluminum case is over $5000
-paper materials should always be displayed in a case or in frames -cases and frames protect against airborne hazards as well as the public (who need protecting from!) -it is not possible to prevent moisture and humidity in cases -off-gassing is not an obvious problem, but is damaging to materials on display -off-gassing can come from display cases that are newer and do not comply with exhibition standards -some conservators recommend holes in the cases for the items to breath, dust pollutants can get into the case -there is not way to cost-effective way to measure off-gassing
oak bookshelves can be lined with polyester (Mylar)
-crystalline (Being, relating to, or composed of crystal or crystals) material that sustains a state of dryness -helps stabilize the RH (relative humidity) if well sealed -it comes in gels, beads, sheets, and cassettes -the gel will absorb moisture when the humidity is too high and release moisture when it is too dry -most absorb up to 40% of their own weight of moisture -instructions in manual will tell you how to condition the gel prior to application -regular silica gel is white -indicating silica gel can be blue or orange -when saturated it becomes a different color -much more expensive -indicating on Gaylord archival supplies: $27 for a pound -non-indicating: $16 a pound
-volumes must be displayed horizontally -Books should be strapped with polythene to tailor-made card or acrylic cradles which accurately follow the profile of the opened or closed book. Books generally should not be displayed at an angle greater than 20° from horizontal, nor opened wider than 120°, and should be provided with a text-block support when appropriate. (180° is preferred or whatever angle the book is most comfortable, with no pressure on the spine) -custom made cradles to fit each volume are recommended -should be large enough to support the entire book -if the book will not stay open, polyester slips should be made to place around each side of the book -turn the pages every few days to prevent the text from becoming exposed to long durations of light
Not necessary or possible to exhibit original prints, documents and photographs always can make good quality copies --sometimes copy easier to read than original --some docs and photographs have inscriptions on the back copies can show these (show side by side with the front) --brief exposure to the light during copying process is far less damaging to the original than being on exhibit for several weeks or months store copy separate from original (especially for future use in another exhibit)
-Window matting is generally reserved for works of art on paper, such as drawings, paintings, watercolors, and prints; and for photographs and documents, such as birth or marriage certificates, old land deeds, and diplomas, especially if they are decorated . -Many matboards in the stores are poor quality. -in poor quality boards the board darkens with age -wood frames can “burn” the document or image as can mats -if the item is 1” away from the frame it seems to be safe