The role of management in collections
Everywhere you look in museums at the moment, collections are back on the agenda. This time, however, there is increasing recognition of the idea that management and engagement form two parts of the same continuum (Out of the Darkness, Museums Journal August 2005, p26).
At MDA, we believe that effective management of collections is a central part of organisational growth and development. This is the central theme of our forthcoming advocacy campaign, Collections for All.
Time and again we see museums that are more confident, deliver better public services and are better positioned to engage with external partners because they have made a commitment to sound collections management underpinned by national standards.
While it is certainly true that there is a unique value in the physical experience of museum objects, we also know that all of the activities mentioned in Suzanne Keene's article can only happen if they are supported by systematic processes of knowledge and information management.
While it may be true that the collections themselves do not have economic value, the intellectual capital which they represent most certainly does. It is only when collections are properly documented and cared for that museums can begin to realise this potential.
At the same time, documentation is fundamental to unlocking the 'hidden histories' of objects in store. Even where an object cannot be put on display, the documented information about it can still be used to create services which inform, educate and entertain audiences in new and innovative ways.
We are working with the Museums Association to take forward the recommendations of Collections for the Future in these areas. At the same time we are helping hundreds of museum professionals to unlock the knowledge capital in their collections. Good collections management is the essential precursor to making collections more dynamic.
Nick Poole, director MDA, Cambridge
Libraries are about books: deal with it
I read with interest the review by Dea Birkett of the Hans Christian Andersen exhibition at the British Library (Brought to Book, Museums Journal August 2005, p22). In the review she quotes Lois Keith's comment:
'One of the problems of having books behind glass is that you can't do with them what you're supposed to do - turn their pages.' This is after previously stating: 'Part of the challenge is that old books are difficult to display appealingly to almost any age.'
Museum displays are full of objects that are not used, from dresses that are unworn to teacups that are not used for drinking. In fact, apart from pictures and 'cabinet' objects, almost all museum objects are now non-useable, In truth, no different from a non read book.
The whole tone of the article shows a certain hostility to displaying books with a logic that goes: books don't make interesting displays (because you can't read them); displays of books are therefore uninteresting; therefore don't attempt displays.
Whereas if the museum world accepted books as a fundamental part of our rich culture and that they have a right to be displayed on their own or in context of the material world, then it is up to museum designers and exhibition people to create an environment that makes them interesting.
If anything, the British Library should be congratulated for putting on a display of its collections - where else could the interested visitor see such important works? After all, should we expect the British Library to cater for the uninterested visitor?
Where the library needs guidance is in making things more visitor friendly - though this exhibition was more family friendly than Illuminating the Renaissance held at the Royal Academy a couple of years ago (that consisted of cases with books on show), but in that example the book was treated as art, so notions of family friendly didn't come into it.
Jeremy Knight, curator, Horsham Museum, West Sussex
A nice job if you can get it
I do despair at all the letters from people who are having trouble getting jobs in museums and complain about it. I`m sorry, but it is difficult - working in a museum is a very attractive and stimulating job and lots of people want to do it.
As far as I can see, the situation is much the same as it was when I started 36 years ago - I put together a package of voluntary and low-paid temporary work and ended up getting a job. Colleagues in Edinburgh did the same.
I always agreed to meet people who wrote in asking about working in museums and I always made it clear how difficult it is. You have to have patience and be able to support yourself through that period of short-term contracts and voluntary work, whether you are able to go on a post-graduate course or not.
You have to be prepared to move anywhere, live a student lifestyle for as long as you can bear and think carefully about the jobs you are applying for.
Museums are lucky and can recruit from an extensive field of candidates, so no one is guaranteed a job, even if they follow the formula outlined above.
I wish all potential museum workers well, but please don`t complain about your ill fortune. There are only a limited number of jobs and a great number of hopeful applicants. Some people get jobs, but lots don't. It's not personal.
Derek Janes, culture and leisure department, Edinburgh
Voluntary services
I find it hard to believe that your writer can describe Historic Royal Palaces' new volunteer service as 'potentially lowering standards of professionalism and accountability' (Market Forces, Museums Journal August 2005, p16) when it is almost all at the pilot stage and will do nothing of the sort.
Our plan is to enhance the visitor experience by providing services that we would not normally be able to and establishing closer relationships with local communities. We are running a number of pilot projects where the volunteers work with paid staff to ensure that we are able to offer the best possible visitor experience .
We have a total of about 100 volunteers at the moment and whilst they do indeed perform an important support role for our charity, they are not and will not be doing the work of our paid staff. At Hampton Court Palace for example, ten volunteers have received specialist training to take visually impaired visitors around the new Suffragettes, Soldiers and Servants exhibition.
To encourage local community groups to get more involved at the Tower of London, we will also be developing local language tours with the adjacent Somali and Bengali communities. Across our sites, the visitor-support volunteers will help take some of the pressure off the busy warding staff.
Volunteering in the conservation world has long been a recognised method of getting practical experience, many of our permanent staff have volunteered before getting a paid role. In addition to the pilot schemes, there are a number of other roles which are already carried out by volunteers.
They range from records and library volunteers, to maze and garden volunteers, members' room volunteers and even volunteers in the communications department. Aside from helping our organisation, they gain valuable experience that can often help them gain a foothold in the wonderful world of heritage.
Jacqueline Gazzard, head of communications, Historic Royal Palaces, London
Everywhere you look in museums at the moment, collections are back on the agenda. This time, however, there is increasing recognition of the idea that management and engagement form two parts of the same continuum (Out of the Darkness, Museums Journal August 2005, p26).
At MDA, we believe that effective management of collections is a central part of organisational growth and development. This is the central theme of our forthcoming advocacy campaign, Collections for All.
Time and again we see museums that are more confident, deliver better public services and are better positioned to engage with external partners because they have made a commitment to sound collections management underpinned by national standards.
While it is certainly true that there is a unique value in the physical experience of museum objects, we also know that all of the activities mentioned in Suzanne Keene's article can only happen if they are supported by systematic processes of knowledge and information management.
While it may be true that the collections themselves do not have economic value, the intellectual capital which they represent most certainly does. It is only when collections are properly documented and cared for that museums can begin to realise this potential.
At the same time, documentation is fundamental to unlocking the 'hidden histories' of objects in store. Even where an object cannot be put on display, the documented information about it can still be used to create services which inform, educate and entertain audiences in new and innovative ways.
We are working with the Museums Association to take forward the recommendations of Collections for the Future in these areas. At the same time we are helping hundreds of museum professionals to unlock the knowledge capital in their collections. Good collections management is the essential precursor to making collections more dynamic.
Nick Poole, director MDA, Cambridge
Libraries are about books: deal with it
I read with interest the review by Dea Birkett of the Hans Christian Andersen exhibition at the British Library (Brought to Book, Museums Journal August 2005, p22). In the review she quotes Lois Keith's comment:
'One of the problems of having books behind glass is that you can't do with them what you're supposed to do - turn their pages.' This is after previously stating: 'Part of the challenge is that old books are difficult to display appealingly to almost any age.'
Museum displays are full of objects that are not used, from dresses that are unworn to teacups that are not used for drinking. In fact, apart from pictures and 'cabinet' objects, almost all museum objects are now non-useable, In truth, no different from a non read book.
The whole tone of the article shows a certain hostility to displaying books with a logic that goes: books don't make interesting displays (because you can't read them); displays of books are therefore uninteresting; therefore don't attempt displays.
Whereas if the museum world accepted books as a fundamental part of our rich culture and that they have a right to be displayed on their own or in context of the material world, then it is up to museum designers and exhibition people to create an environment that makes them interesting.
If anything, the British Library should be congratulated for putting on a display of its collections - where else could the interested visitor see such important works? After all, should we expect the British Library to cater for the uninterested visitor?
Where the library needs guidance is in making things more visitor friendly - though this exhibition was more family friendly than Illuminating the Renaissance held at the Royal Academy a couple of years ago (that consisted of cases with books on show), but in that example the book was treated as art, so notions of family friendly didn't come into it.
Jeremy Knight, curator, Horsham Museum, West Sussex
A nice job if you can get it
I do despair at all the letters from people who are having trouble getting jobs in museums and complain about it. I`m sorry, but it is difficult - working in a museum is a very attractive and stimulating job and lots of people want to do it.
As far as I can see, the situation is much the same as it was when I started 36 years ago - I put together a package of voluntary and low-paid temporary work and ended up getting a job. Colleagues in Edinburgh did the same.
I always agreed to meet people who wrote in asking about working in museums and I always made it clear how difficult it is. You have to have patience and be able to support yourself through that period of short-term contracts and voluntary work, whether you are able to go on a post-graduate course or not.
You have to be prepared to move anywhere, live a student lifestyle for as long as you can bear and think carefully about the jobs you are applying for.
Museums are lucky and can recruit from an extensive field of candidates, so no one is guaranteed a job, even if they follow the formula outlined above.
I wish all potential museum workers well, but please don`t complain about your ill fortune. There are only a limited number of jobs and a great number of hopeful applicants. Some people get jobs, but lots don't. It's not personal.
Derek Janes, culture and leisure department, Edinburgh
Voluntary services
I find it hard to believe that your writer can describe Historic Royal Palaces' new volunteer service as 'potentially lowering standards of professionalism and accountability' (Market Forces, Museums Journal August 2005, p16) when it is almost all at the pilot stage and will do nothing of the sort.
Our plan is to enhance the visitor experience by providing services that we would not normally be able to and establishing closer relationships with local communities. We are running a number of pilot projects where the volunteers work with paid staff to ensure that we are able to offer the best possible visitor experience .
We have a total of about 100 volunteers at the moment and whilst they do indeed perform an important support role for our charity, they are not and will not be doing the work of our paid staff. At Hampton Court Palace for example, ten volunteers have received specialist training to take visually impaired visitors around the new Suffragettes, Soldiers and Servants exhibition.
To encourage local community groups to get more involved at the Tower of London, we will also be developing local language tours with the adjacent Somali and Bengali communities. Across our sites, the visitor-support volunteers will help take some of the pressure off the busy warding staff.
Volunteering in the conservation world has long been a recognised method of getting practical experience, many of our permanent staff have volunteered before getting a paid role. In addition to the pilot schemes, there are a number of other roles which are already carried out by volunteers.
They range from records and library volunteers, to maze and garden volunteers, members' room volunteers and even volunteers in the communications department. Aside from helping our organisation, they gain valuable experience that can often help them gain a foothold in the wonderful world of heritage.
Jacqueline Gazzard, head of communications, Historic Royal Palaces, London
