k. The Museum is to convene a Disaster Response meeting in three (3) days with representatives from as many of the provincial agencies in attendance as possible.
l. We stored all the display cases, book cases, desks, tables and chairs in the vehicle garages at the 8th Hussars Armouries in Sussex. Artifacts and Archival materials were stored in a rented storage unit in Sussex.
m. With guidance from the Conservators at the New Brunswick Museum, we were able to identify and purchase the appropriate tubs, hardware, acid-free papers and folders, and to obtain pallets on which to store everything up off the floor in the temporary storage site.
n. Seven days after the fire, with assistance from Andree Godin, from Heritage Branch, and two Conservators
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Artifact and Archival Materials Insurance is extremely expensive. To insure specific items requires an appraisal by a certified appraiser. We presently have a limited number of extremely rare and valuable objects and are in the process of ascertaining the cost of insuring them. The Canadian Museum Association has been working on this issue for some time.
g. A major portion of the Artifacts and Archival Materials, owned by the Association and managed by the Museum, are not covered by any insurance policy. The cost of such a policy would be prohibitive.
8. Health and Safety
a. The Sussex Train Station building and the 8th Hussars Museum are both wheel chair accessible. Displays within the museum are arranged in such a manner as to allow wheelchair accessibility. Designated disability parking spaces are also provided adjacent to the building.
b. Basic First Aid supplies are provided in the Train Station by the Town of Sussex and kept in an accessible location.
c. Emergency evacuation procedures, both for staff and patrons must be clearly understood by all staff members in the Train Station, and are to be reviewed periodically. Emergency exits must be well lighted and accessible at all times and fire extinguishers readily available and visible with staff trained in their
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To achieve our stated purpose and to greatly improve our communication with the public and media, we must select a Communications Coordinator.
c. The Coordinator will be expected to initiate, disseminate, and coordinate all aspects of our communications with the general public.
d. For much of our history there have been articles on the numerous activities of the 8th Hussars, 8th PLNB Hussars, and the 8th Yeomanry Cavalry featured in local and provincial media. The 8th Hussars had a high profile with attendance at summer camps and social activities being highly publicized. A more contemporary example is the prevalence of the 8th Hussars in the 26 building murals in Sussex, with many incorporating a Hussar in traditional uniform.
e. With the constant progression of time, the 8th Hussars Museum remains one of the few receptacles of the history of the Hussars, there stories, traditions, and experiences of a bygone era. With an appropriate communication plan, we can inform the public of our activities and thus keep alive the historic profile of the distinguished and brave regiment. The Communication Coordinator will direct all publicity and communication activities using a variety of methods
The Getty was named after J. Paul Getty, who first started the museum in his house in 1954 which is now known as Getty Villa. The second location is the Getty Center that is located in Los Angeles was opened to the public on December 16, 1997. The Getty Villa was then closed for extensive renovations and then reopened to the public on January 28, 2006. The Getty Museum website says “The [permanent] collection of the J. Paul Getty Museum at the Getty center includes pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture and decorative arts; 19th- and 20th-century American, European and Asian photographs; contemporary and modern sculpture; and Robert Irwin’s Central Garden, designed specifically for the Getty Center.
The Getty Museum currently has a Theodore Gericauilt 18th Century art piece known as, “Study of a Model.” Its placed in the location of the West Pavilion Gallery, next to his other piece, “Three Lovers,” and “Justice and Divine Vengeance Pursuing Crime,” by Pierre-Paul Prud’hon. The arts are hung up on a light grey wall background, with artificial and natural light that is covered by blinds approaching from the top. Most of the lighting on the paintings comes from the natural lighting. In addition, all three pieces have a wooden gold frame, leaf coverage texture and the featured last names of Pierre and Theodore.
Begin administering appropriate medical treatment to injured individuals or stabilize if no qualified personnel can provide medical treatment. (If necessary)
In many instances, cultural artifacts are illegally obtained by foreign nations and then are held in their museums even though these precious objects were secured through questionable circumstances. For instance, “The Getty, which had bought [a] statue in 1988 for $18 million, returned it to Italy in 2011 after Italian prosecutors found that it had been looted, illegally exported and sold by dealers who
Heritage is crucial to Grantham as it binds us together by offering a fascinating collective sense of history, which will shape our aspirations for the town's future. The Grantham Museum acts as a guardian to this heritage and a focal point for the community. The Museum reopened in 2012, with the Grantham Community Heritage Association, a charity organisation run by the local community, taking the responsibility of keeping this vital local resource alive. By joining and supporting the Museum project, you can tangibly contribute to the improvement of the Museum. This is our history and our heritage, and your support keeps the Museum running. Belonging to the scheme also offers the unique opportunity to attend exclusive events and previews at
"First World War.com - Feature Articles - Life in the Trenches." First World War.com - A Multimedia History of World War One. N.p., n.d. Web. 3 Mar. 2011. .
The museum carries a blanket fine arts insurance policy to cover its collections. Borrowers will pay a pro-rated amount for each item out on loan, unless there is a reciprocal loan in place. The museum’s insurance policy does not apply to unsolicited items, abandoned items, or staff’s personal collection. Every three years, the museum Board of Directors and the Collections Management team will review the insurance policy to ensure the best coverage is obtained for collections and for borrowed items.
? Communication Coordinator maintains the communication between the employees of different care centers and the officials of the agency
Connoisseurs must seek out documentation or written evidence of past ownership in order to find the logical relationships of the object before it enters the market (85). A solid, well-proven history of ownership can increase the cultural value of an object because this can help confirm the authenticity through supporting data, primary or secondary (85). The history of ownership allows for connoisseurs to not only trace reliable records to prove the contextual evidence of the object’s origins, but also helps in finding the exact materials made to construct the object and reveals the trading practices that provide evidence for its former history with physical documentation. Furthermore, history of ownership is essential in giving valuable, first-hand evidence of the object’s authenticity. It’s hard not to appreciate Lanmon’s straightforward style, however, the book is for beginners and general readers who are curious about the art of collecting, therefore not for serious intermediate or experts whose knowledge of collecting is above basic skills. Nevertheless, the book is well structured and thoughtful in its execution. As antique & collectible books go, Evaluating Your Collection is impactful in its detailing
The cost of the artifact must be balanced with the market value to benefit the business. “The reoccurring operating deficit approached $1 million a year and was worsening.” (source A). Losing money is never good for a business, but with a constant influx of money from customers, exhibits can be expanded for the public to view. The price of an artifact should be cheap so the museum cannot lose from it, but expensive to bring the public to spend money seeing it. “…exhibitions and acquisitions were often approved without regard for overall policy guidelines or the museum’s fragile financial condition…” (source A). Without proper leadership, policies can be broken and artifacts that are worthless will waste money. The curator who buys new artifacts
All across the world there are hundreds of museums filled with history, information, exhibits, and famous documents. A variety of museums display artifacts of a mix of several cultures, historical events, famous people, and art work in the entire museum. Rather than having several different attractions, some museums are dedicated to showcasing exhibits based on a specific topic of history or interest. Therefore, museums with the purpose of educating people of a certain topic should only display artifacts, pictures, documents, and other such attractions germane to the museum’s theme of interest. In order for a museum to achieve it’s purpose and maintain it’s protocol, the museum must take into consideration the many pros and cons of a new display throughout the decision process.
As stated by Walter Kendrick in The Secret Museum, the origin of the word pornography goes back to Ancient Greece. The word pornographoi, meaning “whore-painters” was initially borrowed by German art historian C. O Mueller to describe the multitudes of erotic artworks unearthed in the excavation of Pompeii. Mueller coined the term pornographen (pornographers) to describe the creators of said works, and from there the art was classed as “pornography” (Kendrick, 11). In 1864, Webster’s Dictionary made these works the very definition of pornography, describing the word as “licentious painting employed to decorate the walls of rooms sacred to Bacchanalian orgies, examples of which exist in Pompeii” (Kendrick’s, 13). This was one of many attempts to define the word, and to classify the “obscene” works of art that has so suddenly fallen into the laps of art historians.
This is business memo number three, explaining the changing role of a Chief Communications Officer, or a CCO, as described by Roger Bolton, Mark Bain, and the “Leadership Communication” textbook.
The Royal Ontario Museum is one of Toronto’s most respected institutions of scholarship and history. Since 1914 the ROM has housed and exhibited artefacts from every corner of the globe. Being such a prominent Toronto landmark with a glowing reputation the expectations were high for the Pompeii exhibit, showing from June 2015 to January 2016. The overall atmosphere surrounding the exhibit was the drama of such a cataclysmic event. From the banners on the exterior of the museum, which are filled with the bold colours of the volcano, to the main entrance of the exhibit, which is dark and filled by dramatic orchestra music. Before stepping into the exhibit itself the sense of terror from this catastrophe is already felt by the viewer.