Museum Documentation Research Articles

“Junk” and Priceless China: A Chronology of Cataloguing at the Museum of Anthropology

This paper considers how knowledge has been organized around museum objects at the Museum of Anthropology (MOA), in what is known as British Columbia1. We trace the practice of cataloguing material heritage at this museum, through close examination of catalogue records and interviews with past and present MOA staff, reading from the first attempts at standardizing object nomenclatures in the journals of private collectors, to the contemporary practices associated with object documentation in the digital age. Through a critical cataloguing perspective; this paper plots the creation and use of museum record keeping systems in the particular milieu of Western Canada. This paper is part of a larger research project, “The Work of Repair,” which investigates museum documentation histories across Canada.

Hannah T urner . Cataloguing Culture: Legacies of Colonialism in Museum Documentation Vancouver/Toronto, University of British Columbia Press, 2020, 243 p.

Hannah T urner . Cataloguing Culture: Legacies of Colonialism in Museum Documentation Vancouver/Toronto, University of British Columbia Press, 2020, 243 p.

Book Review: Hannah Turner, Cataloguing Culture: Legacies of Colonialism in Museum Documentation

Book Review: Hannah Turner, Cataloguing Culture: Legacies of Colonialism in Museum Documentation

Documentation of science and technology heritage: a collaboration case between the Federal University of Pará and the Evandro Chagas Institute Museum

It is nearly impossible to consider the management of cultural spaces without contemplating the potential implementation of informational benefits. The feasibility study and implementation of Tainacan is a solution adopted in the museum field by the Brazilian Institute of Museums, and using it allows the interoperability of museum information throughout the national cultural system. The objective is to report the adversities and institutional solutions experienced in order to present museological documentation solutions for scientific collections within the scope of the heritage of science and technology. The methodology used to achieve the objective was the implementation of the extension project Organization and Management of Museological Documentation of the collections present in the Museum of the Instituto Evandro Chagas. This creates a laboratory of museological documental practices based on research to support the organization and representation of information of the Evandro Chagas Institute's museological collection, also allowing semantic conceptual modeling according to international standards for digital collections. This university extension action provides a unique and essential professional experience for students and opportunities for the dissemination of the profession and the Museology Course at the Universidade Federal do Pará through the work carried out. KEYWORDS: Museum Documentation; University Extension; Heritage of Science and Technology

ORGANIZATION OF COLLECTION WORK IN THE VOLYN MUSEUM OF LOCAL LORE (1991 – 2021)

The article is devoted to an overview of the organization of collection work in the Volyn Museum of Local Lore (Lutsk) as one of the main activities of the institution during the historical period of its work from 1991 – 2021. These 30 years saw the formation of Ukrainian statehood and all its spheres, including the museum sector. The article aims to analyze in detail the process of organizing the attribution, acceptance, and storage of museum objects in the Volyn Museum of Local Lore collections to study the accompanying documentation and the peculiarities of its implementation. Based on the study of state-level regulations and internal museum documentation, it was found that, in general, Ukrainian museums have a unified accounting of museum objects. Only some nuances differ due to the museum institution's structure and the museum collection's peculiarities. The article summarizes the information on the process of receiving, describing, attributing, and registering museum objects by the collections department and their classification into storage groups. The peculiarities of accounting for objects in different departments and branches of the Volyn Museum of Local Lore are highlighted. Considerable attention is paid to the museum documentation accompanying the registration of museum objects and the peculiarities of its maintenance and storage of the museum collection. The article analyzes the division of the museum collection into storage groups formed under the peculiarities of the museum collections. The question of the expediency of the existing division into storage groups, which has existed since Soviet times, remains under discussion. Special attention is paid to the group "RA" – religion, atheism, the name and content of which is a Soviet cliche that must be reformed and renamed. It is concluded that, generally, the process of organizing the collection work in the Volyn Museum of Local Lore, although in many respects preserving Soviet traditions, has been somewhat reformed since 1991. The organization of museum accounting is entirely based on the current Ukrainian legislation in the field of culture and internal museum administrative documentation. It is appropriate to analyze the process of organizing collection work in the Volyn region on the example of the Volyn Museum of Local Lore, as it is the leading museum institution in the region that provides methodological support to other museums.

Analysis of Croatian public museums’ digital initiatives amid COVID-19 and recommendations for museum management and governance

The COVID-19 pandemic has presented challenges for public museums in Croatia. This study examines how museum management and professionals have responded to the closure of museums during the pandemic by exploring digital initiatives and online engagement with remote audiences. The authors analysed data from 162 Croatian museums registered in the Museum Documentation Centre in Zagreb to investigate the relationship between socioeconomic and demographic indicators and museums’ digital activities using multiple regression analysis. The findings revealed that half of the museums in the sample were active online, with social media being a commonly used platform. Interestingly, museums with a stronger online presence, lower regional unemployment rates, and a lower tourism development index were more likely to engage in activities during the pandemic. The authors conclude with recommendations for museum management and governance to embrace digital acceleration and adapt to the digital age. The study findings hold significant relevance for museums preparing for future pandemics or crises as they highlight the importance of digital initiatives and online presence in ensuring continued engagement with audiences during periods of closure. By leveraging digital tools and platforms, museums can overcome physical limitations and effectively reach remote audiences, thereby enhancing their resilience and adaptability in times of crisis. This study contributes to the understanding of museums’ digital transformation in response to the COVID-19 pandemic and provides valuable insights for museum practitioners, policy-makers, and researchers to shape future strategies. Further research could explore the long-term impacts of digital initiatives on museums’ sustainability and visitor engagement beyond the pandemic context.

Cataloguing Culture: Legacies of Colonialism in Museum Documentation by Hannah Turner

Cataloguing Culture: Legacies of Colonialism in Museum Documentation by Hannah Turner

Cataloguing Culture: Legacies of Colonialism in Museum Documentation by Hannah Turner

Cataloguing Culture: Legacies of Colonialism in Museum Documentation by Hannah Turner

Изображения вещей из коллекции К. А. Эттера в собрании МАЭ РАН: к проблеме атрибуции предметов «из старых поступлений»

The problem of attributing museum objects “from early acquisitions” is considered on the example of two graphic sheets from the MAE RAS collection — the drawing of the guardian lion shishi MAE No. 7365-1 and the engraving depicting an Indian god MAE No. 719-108/9-7. Both images are studied, the inscriptions and notes are decoded. The history of the acquisition of these items to the museum collection is restored according to published and archival sources, as well as museum documentation. It has been proved that both images are the items from the collection of Karl Etter — the St. Petersburg Academy of Sciences Corresponding Member, mineralogist and collector. Etter presented the images to the Academy of Sciences in 1812, however in the course of time they lost their provenance and ended up in different museum funds. While studying the history of these images, similar pictures donated by Karl Etter to the Royal Society of Antiquaries of London were revealed. Restoring the history of acquisition of these objects fills in the gaps in the history of Kunstkamera and recovers the lost connection between the images as well. Considered together as a complex from the same collector — Karl Etter, these objects acquire a new meaning and a new value, including a memorial one. The appendix provides the list of items donated by Karl Etter to the St. Petersburg Academy of Sciences, mainly to the Library and the Cabinet of Mineralogy of the Kunstkamera.

Shabtis of the XXIst Dynasty in the Collection of the National Museum of the Republic of Tatarstan

This article is a publication of shabtis of the 21 st Dynasty (c. 1070–950 B.C.) kept at the National Museum of the Republic of Tatarstan (NMRT). These objects found in the Bab el-Gasus Cache were received by the Kazan Museum in 1895 after the items of the so-called “Russian lot” had been distributed. Based on the analysis of recently published archival documents, museum documentation and previous publications of the Egyptian collection in Kazan (the description by B.A. Turaev and the catalogue by O.D. Berlev and S.I. Hodjash), the author identified shabtis from the “Russian lot” and in some cases, established their possible correspondence to the owners of the burial sets from the Bab el-Gasus tomb. In previous publications of the Egyptian part of the Kazan collection, descriptions of these items were not as detailed as needed for comprehensive research. All shabtis of the 21 st Dynasty were divided into three categories according to their provenance: ones undoubtedly coming from the Bab el-Gasus Cache; ones originating from the Theban necropolis; ones with their exact provenance not clarified. As a result it was possible to identify 8 out of 9 shabtis coming from Bab el-Gasus. The article contains updated information about each of the shabtis of the 21 st Dynasty , reproduction and translation of hieroglyphic inscriptions, and photographs of each piece. The main achievement of the present study is verification of the information about the NMRT collection’s shabtis, which is necessary for further research both of the history of objects from the “Russian lot” and background of other 21 st Dynasty shabtis kept in various Russian museums.

The Role of Vladimir Tkalčić in the Establishment of the Museum of Arts and Crafts Record-Keeping System

This paper will attempt to provide an insight into the creation and evolution of the foundation system of museum records of the Museum of Arts and Crafts, which was developed during the directorship of Vladimir Tkalčić (1933–1952) and to a certain extent maintained even after the end of said period. A comparative analysis will show what corresponded and what differed in the mentioned system in managing the museum inventory (or with museum documentation) from the foundation of the Museum of Arts and Crafts (1880) until 1933. Also, special emphasis will be placed on the creation of a central or unique inventory book of the Museum of Arts and Crafts, which (albeit in digital form) is still maintained in the Museum of Arts and Crafts today.

Economy or Ethnography?

The text depicts the role of Vladimir Tkalčić in the Ethnographic Museum in Zagreb from 1919 to 1934, a period characterised by the so-called diarchy between him and Salamon Berger. Various museological and expert concepts that they represented and implemented were a reflection of new ideas and inherited concepts in turbulent times after World War I and the establishment of a new state, the Kingdom of Serbs, Croats and Slovenes. Tentatively, we can speak of a “scientific” approach and a “commercial” approach that juxtaposed, intertwined, and complemented each other. The data from the museum documentation show that S. Berger understood the activities of the Museum as a continuation of his previous trade and craft practices, while V. Tkalčić sought to introduce museological and scientific principles in the museum work.

Urban planning in Tomsk districts late in the 19th century (Tomsk Local History Museum documentation)

The history of town planning and architectural objects has been studied long ago through visual art. This is primarily associated with problems of their reconstruction and restoration. Architectural monuments often disappear without, and it is difficult to recreate them. Archival materials and visual aids help us to create an original architecture. At present, restorers actively use photographs of past years. But photography was invented late in the 19th century. Fine arts have been existed since the advent of man and solve the problems that predate that period. Therefore, the study of painting and graphics is important for both historians and architects-restorers.The paper focuses on the graphic works of J.F. Fleck, a painter and graphic artist, who lived in Tomsk in the 1870s. A series of his drawings published in Warsaw, offers an insight into the historical city development and the history of urbanism, that enables us to compare the past and the present. The paper analyzes architectural monuments survived to our days and shows the importance of the graphic artist in the study of contemporary architecture.

An Early Medieval Mirror with an “Inscription” from the Blizhnie Elbany Complex (Forest-Steppe Altai)

Purpose. Important evidence of external contacts of the Altai population in the early Middle Ages is the “imported” items found during excavations of archaeological sites. Most of these products show a different kind of relationship with China. Much more fragmentary is the material evidence of contacts of nomads in other directions. Therefore, it is quite clear that any new information in this regard requires separate consideration and detailed interpretation. This article presents the characteristics of a little-known metal mirror from the collection of the Biysk Museum of Local Lore after V. V. Bianki. Results. The study of the museum documentation made it possible to establish that the mirror was discovered as a result of excavations or collections carried out by M. D. Kopytov in 1924 near the Ust-Bolshaya Rechka village (Blizniye Elbany complex) in the Forest-Steppe Altai. According to the available data, this find, as well as a number of other items, may come from a destroyed burial. The key characteristic of the mirror ornamentation is small circular circles with a dot in the center. The range of analogies to the subject under consideration, which is not characteristic of the material culture of the Altai population, indicates its “western” or Central Asian origin. A kind of “inscription” applied to an object over a circular ornament, probably, is an imitation of an Arabic benevolent inscription. Conclusion. Analysis of the mirror, as well as other objects, presumably originating from the destroyed burial, allows attributing this object to the Srostki archaeological culture and dating within the framework of the end of the 1 st – the beginning of the 2 nd millennium AD with a possible narrowing of the designated chronology by the boundaries of the 10th century AD. A set of items (mirror, two-piece fastener, button, beads, etc.) demonstrates a female burial, built for a representative of the elite of the early medieval society of the Forest-Steppe Altai.

Collecting and Exhibiting Traditional and Popular Alpine Folk Music in Austria—A Case Study

AbstractThis paper presents a case study dedicated to a particular genre of folk music popular in the Alpine countries, and its collection and display in Austria in connection with a project in which the author was involved. The theoretical and practical questions related to this study reflect the needs and challenges posed by this topic in terms of museum documentation and communication. The aim of the paper is to expand the current discourse in the field by discussing the relationships between this genre of music as an intangible social phenomenon and as tangible cultural heritage. The paper presents the case study in an international context of discussion on the display of music culture and the role of sound in exhibitions, and connects theoretical considerations with practical approaches.

Review: Cataloguing Culture: Legacies of Colonialism in Museum Documentation, by Hannah Turner

Review: <i>Cataloguing Culture: Legacies of Colonialism in Museum Documentation</i>, by Hannah Turner

Cataloguing Culture

This work is a book review considering the title Cataloguing Culture: Legacies of Colonialism in Museum Documentation by Hannah Turner.

The Making of Mike Kelley’s The Wages of Sin’s Exhibition Copy: Replication as a Means of Preservation

ABSTRACT With the arrival of the digital age and technology, creation of art and its replication reached a whole new pinnacle. Increasingly, conservators find themselves dealing with editions, copies, and replicas as part of their job. Indeed, the replication of a work of art, be it paper or a 3D printed sculpture, is becoming one of many conservation measures that may serve as a preventive conservation technique, protecting the art from excess levels of light, travel, or handling, or as a tool to better understand the art. Replication of a digitally existing master for each new display may be the artist’s intent, or enable simultaneous multiple displays of the same work as per the artist’s directive. This article describes the making of an Exhibition Copy of the American artist Mike Kelley’s The Wages of Sin, a pile of partly melted wax candles atop a readymade, commercially sourced table. Owned by the Whitney Museum of American Art, New York, the highly complex three-dimensionality and materiality of this iconic work of art posed significant challenges to replicate. The following description illuminates the conceptual aspects considered, why and how the replica was made, and decision-making processes throughout its fabrication, exploring materiality and technical issues. The role of the Whitney’s Replication Committee in this project is discussed, including participation of its curators, archivists, and other museum professionals, along with an explanation of the Committee’s choice of the term ‘Exhibition Copy’ to describe the replica. The account of the collaboration and coordination of the project with the Mike Kelley Foundation and external fabricators is central to this comprehensive project. Ramifications for future use of the Exhibition Copy within the museum management, documentation, loans, and wall labels, and its legal and publication consequences conclude this paper.

The dancing trees: objects, facts and ideas in museums. In From Field to Museum—Studies from Melanesia in Honour of Robin Torrence, ed. Jim Specht, Val Attenbrow, and Jim Allen

In this paper we consider the ways that museum objects have multiple and mutable identities through a focus on three objects from the southeast coast of Papua New Guinea. Our approach is to scrutinise the materiality of these three objects to understand the ways that an object changes physically and symbolically from the point of making, to collection, through to museum acquisition and potential exchange, conservation, exhibition and research. Through this approach we show how small “fact” details about objects from museum documentation systems become entangled in ideas and notions far beyond those of the times in which the objects were created and collected. We conclude that to understand museum objects we need to recognise their roles in the socio-cultural worlds of their makers and those of the collector-museum.

Электронный каталог слобожанских икон конца XVIII ― начала XХ века: предпосылки создания, цели, функции

В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.