In a museum, the curator is the head of personnel and researches, collects, documents, and displays artifacts. When deciding what artifacts to buy and use, the curator has to keep a balanced list to decide. They must consider the cost in proportion to the market value of the business, the historical and modern relevance of an artifact, and the ethical value of said artifact. 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 …show more content…
Why was this artifact so famous, influential, hated, etc.? Why is this artifact still relevant in today’s time? What connection is there between times gaps? “…the National Museum of the American Indian acknowledges the diversity of cultures and the continuity of cultural knowledge…” (source C). This continual line reflects on past and present knowledge on the Indian culture. The significance should also be weighed to a corresponding exhibit. There may have two items that cost about the same, but one is more significant for a certain exhibit. If you’re hungry and you have 20 dollars, you’re going to go to McDonald’s and get food instead of getting a new shirt. Historical and modern relevance should be balanced by the curator in order to obtain the more appropriate
The Royal Alberta Museum holds a sacred object of the First Nations groups of Alberta and Saskatchewan, the Manitou Stone. This sacred object has a vast history to the Aboriginals but also has much controversy that surrounds it. Hundreds of years ago the object was removed from its original spot and was moved back and forth across the Canada, eventually ending up in Edmonton at the Royal Alberta Museum. This sacred object was said to have many powers for the First Nations people and when it was taken it brought great hardship to the First Nations groups that believed in the power of the Manitou Stone. This is only the beginning of the issues that surround this sacred object. Many different Aboriginal groups claim to own the piece but no decision has been made as to where the object should be placed. With the Manitou Stone now in the Royal Alberta Museum issues arise about the proper housing of the item and whether or not it should be retained in a museum or if it should be on First Nations land. Where the Manitou Stone is placed brings many complications and struggles for the Aboriginal people that claim ownership of the sacred object. When researching this object I was initially unaware of the significance that a museum could have to groups of people and the struggles that this could bring to these groups. This paper will explore the significance of the stone, the various viewpoints on why the object was moved originally from Iron Creek, who claims ownership to the object, and whether or not a museum is the proper place for sacred objects like the Manitou Stone to be kept.
I recently visited the American History museum and came upon the most interesting artifact in the Lighting a Revolution section within the Transportation and Technology wing of the museum. This artifact is an advertisement from Charleston, South Carolina in 1769 about the selling of “a choice cargo” of two hundred and fifty slaves.
The Chattahoochee Legacy Hall provides a timeline of history from the first civilizations to the modern day. When first entering I encountered a 15 foot alligator that was illegally killed and preserved and enclosed in a glass case, Oscar the Alligator is a fitting name. Down the hall I encountered an old slave house, where I met Cicero, a young slave who claimed the house was his. He spoke about Horace King and his great building skills. Across from the house, I noticed a beautiful red ceremonial beaded sash. According to the information next to the display I learned it was carried by a Yuchi chief named Sakasemyer, who snuck it through the Trail of Tears. Next to that was a school house, this exhibit was a favorite when I would visit the museum as a child. It is a one-room school complete with a large chalkboard in front behind the teacher’s desk and a smaller one on each of the sixteen desks. The detail is decent, upon walking in I heard an echo from the wooden floors and I noticed a bucket of coal for warming the room in the winter months. On the chalkboard assignments were listed for each particular grade level. The next era i...
...due to the external forces such as other settlers e.g. the Navajos, new settlers along with the Spanish conquerors entered their world. As a result the Pueblo Indians were imposed by these external forces especially through military power that changed their ways completely; having minimal cultural practices of their ancestors before them. The museum may seem like it’s very limited to what’s on exhibit mostly because not all of the building is in use. However the few exhibits they have is substantial in sparking an interest or even beginning to understand the cultures of Native Americans.
What is an artifact? According to the dictionary, an artifact is “something made or given shape by man, such as a tool or a work of art, especially an object of archaeological interest” ("The Definition of Artifact"). In archaeology, the word “artifact” defines an object recovered by archaeological attempt, which might have a cultural attention. In the same way, the article “The Life of An Artifact” written by Michael Shanks mainly discusses some of the key points of interpretive archaeology and the relations between social sciences and material culture. The author believes that material culture plays an active role in society, and that the society is built upon the presence of artifacts. He emphasizes that “artifacts
Duncan’s (1991) analysis of western museums is defined through the theme of “durable objects” as a criterion to judge the heritage of American and European art as a ritual of the modern state. In this manner western art museums are built like “temples” as a symbolic and figurative representation of greatness of western culture throughout the world: “[They] are more like the traditional ceremonial monuments that museum buildings often emulate—classical temples” (Duncan 90). This interpretation of American/European museums defines a dominant source of cultural heritage that ritualizes
...an picking the artifacts. Although I did learn about William Morris and his designs in my history classes I learnt about the concept behind his design decisions and in depth analysis of Morris’s evolution as a designer only when I started working on this exhibit. It is imperative that you do research before arriving on any decision in regard to putting up any exhibit. Furthermore after analyzing the different options, it is imperative that you have facts to back up your decisions of the artifacts chosen. Every artifact that you pick for your case should have direct relation to your concept and it should be consistent among all artifacts. Overall a lot of thought should be put into the exhibit and the concept must reflect the ideas distinctly.
People go to see artifacts in museums for experience. What could be a better experience than going to the place they are from? Yes, the trip could cost a little more, but you cannot replicate the historical value an object holds in its origin country. The price is nothing compared to the true understanding of the history we gain from going out and visiting the place they should be. The place they should be is their home, where they were found and formed, their origin country.
Pottery is something that will always be treasured by Native Americans. I will always find it fascinating the culture and history behind such a beautiful work of art. Next time you look at an authentic work of art, remember that it was created with meaning and inspiration. The meaning of pottery will never be taken for granted, and it will always be recognized as a symbol of the culture that stands for Native Americans of the past, present and future.
In Stephen Weil’s essay, he argues “the museum’s role has transformed from one of mastery to one of service” (Weil, 196). According to him, museums have changed their mission from one that cultures the public to one that serves
Items displayed in museums hold historical significance and are representative of society’s culture. Preserving valuable collections for education and enjoyment is a primary role of museums. While fulfilling this role, the architecture of the museum is also an important factor. Historical buildings are converted into museums and architects must consider the use of the space and the museum’s purpose during their initial design. Other museums are built with a clear purpose in mind. As museums are designed, many characteristics are determined. Display and storage spaces as well as visitor services impacts museum’s functionality. Based on the function of a museum, architectural requirements are different.
Imagine that one piece of history that is taken from a town. This piece of history tells l people how this town was built and all the important people that were apart of the community. “Returning Antiquities to Their Countries of Origin” by Joyce Mortimer can many people about how objects are getting taken from Museums. They should be returned immediately. There are so many artifacts out there that could be so important to people, and if someone can just imagine what it would feel to have one of the most important object taken from a museum and to be never returned again. Many people enjoy seeing these objects so why are they being taken?
The Crazy Horse monument is important to the United States not only for continuing the Native American Culture, sharing their beliefs, building pride within their Nations, but in supporting their communities. The Crazy Horse Memorial is not only a fascinating monument but an essential NDN (Native term for “Indian”) institution, in a time when it is needed most. The Crazy Horse Monument is privately funded by donations and revenue that the Monument has raised over the last 64 years, through the gift shops and included Museum. It gives NDN’s pride again in NDN’s socially, culturally, ethnically, as strong people, it educates and empowers. Sharing what it means to be NDN, not just in the Indian Nation communities, but with Anglo-Americans and the world.
A very important factor in the market is the price mechanism: affects both demand (people will want to take advantage of the merit goods – the museums), and supply (depending on the entrance fee or free admission, some museums could last longer or not at all on the market.) The public is easily attracted by incentives such as discounts for students and children and free admission for elders and the disabled. Incentives generate more visitor numbers. However, current demand for tickets is low compared to the optimum quantity, although the museums’ heritage and their tradition are considered to be of great value. The shortage in demand is mainly due to lower-class citizens’ incomes.
A curator needs to be able to negotiate and be willing to compromise, as it is often the task at hand to borrow from museums or other locations. Teamwork and flexibility are also valued, as the job isn’t completely independent. Museums are designed for public enjoyment, so good communication a...