The uses of photographic resources
The two articles in the March issue of the journal (Museums Journal March 2005, p24 and p38) championing photographs as artefacts in their own right are a most welcome reappraisal of the use of images in gallery interpretation. Matt Shinn's thoughtful review of current practice and debate was particularly stimulating and opened up a range of display possibilities.
However, the physical display of original photographs remains problematic for reasons not fully discussed in either article. Few museums can achieve the very low light levels necessary, while the laudable call for the retention of original mounts and frames may cause additional conservation headaches.
There are solutions to these problems (such as mounting photographs in interactive draws), but these tend to be expensive and can result in the photograph becoming additional to the main narrative sequence of a gallery. Also, a broadly 'art history' approach to the interpretation of images is not always possible or appropriate in exhibitions where the focus is on a defined story. Even so, the inclusion of the 'real thing' in gallery displays is definitely to be encouraged.
David Bownes, senior curator, London's Transport Museum
Dodging the budget cutters
I found Tony Baker's letter (Museums Journal March 2005, p13) interesting but I disagree that museums would be better as part of the education, rather than the leisure, department of local authorities. It is not necessarily the local authority responsible for education that controls the museums. For example, in West Sussex, district and parish councils control the local authority museums.
The real issue is not that museums come under leisure, rather that they are discretionary services. When a council needs to save money, they suffer first. If museums were in the education department, they would be at even greater risk as most other elements of the department would be statutory.
The solution is to change the status of museums. Only then will they be able to defend themselves against the financial whims of the politicians.
Jason Finch, Haywards Heath
No birthing pains in the South East
I regret that Ian Edelman perceives a lack of Renaissance investment in work to develop and support museum services across the country (Museums Journal March 2005, p12). Here in the South East, more than £1m of Renaissance money has already been channelled into initiatives benefiting non-hub museums during this first phase, up to March 2006.
Working as partners and pooling resources, Semlac, the Museum Development Services, and the South East hub are building an infrastructure that combines on the ground support from museum development officers; grants streams; practical help with marketing and preventive conservation; free training; disaster response services; access auditing; funding advice; and more.
As Ian hoped, all of this work is aimed at raising museum standards and impacting on users for the long term. We look forward to the opportunity to evolve and expand this work with Renaissance funds after 2006.
Laura Williams, regional museum development manager
Semlac/Specialisms Fund coordinator
More support for small museums, please
I never suggested that 'small museums in phase one hub regions are at greater risk' (Museums Journal March 2005, p12). I merely observed that some good small museums are still suffering to the point where some have gone under, despite unprecedented levels of government funding.
I believe there may be a link between the problems of small museums and the current view that public funding for museums can only be justified in terms of social benefits. I happen to think that museums, and small museums in particular, do bring social benefits. But I have yet to see the 'empirical' evidence that demonstrates this.
The academic study undertaken by Newcastle University showed how difficult it is to provide quantitative evidence in this field.
If public funding is to be justified only in terms of empirically demonstrated social benefits, as opposed to cultural benefits for this and future generations, what hope have cathedrals, opera and archives?
Cameron Hawke-Smith, curator, Cambridge and County Folk Museum
Put your money where your mouth is
Now that these important and long overdue guideline proposals for pay in museums have been published, it is with rather inevitable chagrin that I read that Mark Taylor, the director of the Museums Association, acknowledges that this journal will 'still carry advertisements that may not match the salary scales' (Museums Journal May 2005, p5).
If your universally read journal can't be a clear leader in establishing the norm for a traditionally underpaid sector, then what good has all this work been?
While I fully understand the position of many independent museums, the very least that should happen is that every potential advertiser is sent the pay scales as a clear indication of what museum staff should expect.
Its professional body has spoken and the small but vital guidelines should be blown up to A3 size and pinned on every museum staff noticeboard in the country.
Michael Butler, arts manager, Canterbury Christ Church University College
The posthumous life of elephant Roger
I enjoyed the Animal Magic article by Catherine Halcrow (Museums Journal April 2005, p28) as I also worked in a zoo before moving to Glasgow Museums and feel that both institutions can learn from each other.
However, I feel that her assertion that museums fail 'to capitalise on their collections' individual stars' is untrue, at least in the case of the Kelvingrove Museum. We have long had a star attraction - Sir Roger the Elephant.
This adult Indian elephant has been with the museum for more than 100 years and is always referred to by his name. He is the source of many local stories, especially those surrounding his death. When alive, he lived at the Scottish Zoo in Glasgow, but after injuring several keepers, it was decided to put him down.
Some will tell you he was shot by a large gang of Glaswegians using any guns they could lay their hands on. The truth is a bit less scary in that he was shot by a local gunsmith backed up by a few soldiers. The point is that he is a major attraction at the museum and will hopefully continue to be so when Kelvingrove reopens next year.
On another note, I was most impressed by the choice of pictures used in the article. Three species of invertebrate in five photos, and not a cuddly mammal in sight. It does an invertebrate curator's heart good to see a fairer representation of the
animal kingdom.
Mike Rutherford, curator of invertebrates, Glasgow Museums Resource Centre
Interpretation piece spoke my language
Maurice Davies's focus on interpretation as a key area for museums' professional development is welcome, if overdue (Museums Journal February, March and April 2005).
Six years ago, I took an MA course in interpretation, only to find that roles for specialists in communicating with a general audience (as distinct from more formal learning) simply don't exist in most of our museums and heritage bodies.
But, as Davies found, good interpretation can make a huge difference to the way people experience objects. My own research (available at www.corvidae. co.uk/research) showed how imaginative interpretation can stimulate and engage visitors, without taking the focus away from the core collection.
Davies says that 'perhaps we need a new breed of museum professional who is dedicated to leading the exhibition and display process'. These professionals do exist, but almost exclusively in external agencies who can only be called on when big budgets are available.
It's a route I've taken, putting my skills to use for corporate clients, with only minor forays into the museum world. I hope museums will take heed of Davies's findings, and that future graduates will find more outlets for their communication skills in the heritage sector.
Richard Crowest, Ashford
The two articles in the March issue of the journal (Museums Journal March 2005, p24 and p38) championing photographs as artefacts in their own right are a most welcome reappraisal of the use of images in gallery interpretation. Matt Shinn's thoughtful review of current practice and debate was particularly stimulating and opened up a range of display possibilities.
However, the physical display of original photographs remains problematic for reasons not fully discussed in either article. Few museums can achieve the very low light levels necessary, while the laudable call for the retention of original mounts and frames may cause additional conservation headaches.
There are solutions to these problems (such as mounting photographs in interactive draws), but these tend to be expensive and can result in the photograph becoming additional to the main narrative sequence of a gallery. Also, a broadly 'art history' approach to the interpretation of images is not always possible or appropriate in exhibitions where the focus is on a defined story. Even so, the inclusion of the 'real thing' in gallery displays is definitely to be encouraged.
David Bownes, senior curator, London's Transport Museum
Dodging the budget cutters
I found Tony Baker's letter (Museums Journal March 2005, p13) interesting but I disagree that museums would be better as part of the education, rather than the leisure, department of local authorities. It is not necessarily the local authority responsible for education that controls the museums. For example, in West Sussex, district and parish councils control the local authority museums.
The real issue is not that museums come under leisure, rather that they are discretionary services. When a council needs to save money, they suffer first. If museums were in the education department, they would be at even greater risk as most other elements of the department would be statutory.
The solution is to change the status of museums. Only then will they be able to defend themselves against the financial whims of the politicians.
Jason Finch, Haywards Heath
No birthing pains in the South East
I regret that Ian Edelman perceives a lack of Renaissance investment in work to develop and support museum services across the country (Museums Journal March 2005, p12). Here in the South East, more than £1m of Renaissance money has already been channelled into initiatives benefiting non-hub museums during this first phase, up to March 2006.
Working as partners and pooling resources, Semlac, the Museum Development Services, and the South East hub are building an infrastructure that combines on the ground support from museum development officers; grants streams; practical help with marketing and preventive conservation; free training; disaster response services; access auditing; funding advice; and more.
As Ian hoped, all of this work is aimed at raising museum standards and impacting on users for the long term. We look forward to the opportunity to evolve and expand this work with Renaissance funds after 2006.
Laura Williams, regional museum development manager
Semlac/Specialisms Fund coordinator
More support for small museums, please
I never suggested that 'small museums in phase one hub regions are at greater risk' (Museums Journal March 2005, p12). I merely observed that some good small museums are still suffering to the point where some have gone under, despite unprecedented levels of government funding.
I believe there may be a link between the problems of small museums and the current view that public funding for museums can only be justified in terms of social benefits. I happen to think that museums, and small museums in particular, do bring social benefits. But I have yet to see the 'empirical' evidence that demonstrates this.
The academic study undertaken by Newcastle University showed how difficult it is to provide quantitative evidence in this field.
If public funding is to be justified only in terms of empirically demonstrated social benefits, as opposed to cultural benefits for this and future generations, what hope have cathedrals, opera and archives?
Cameron Hawke-Smith, curator, Cambridge and County Folk Museum
Put your money where your mouth is
Now that these important and long overdue guideline proposals for pay in museums have been published, it is with rather inevitable chagrin that I read that Mark Taylor, the director of the Museums Association, acknowledges that this journal will 'still carry advertisements that may not match the salary scales' (Museums Journal May 2005, p5).
If your universally read journal can't be a clear leader in establishing the norm for a traditionally underpaid sector, then what good has all this work been?
While I fully understand the position of many independent museums, the very least that should happen is that every potential advertiser is sent the pay scales as a clear indication of what museum staff should expect.
Its professional body has spoken and the small but vital guidelines should be blown up to A3 size and pinned on every museum staff noticeboard in the country.
Michael Butler, arts manager, Canterbury Christ Church University College
The posthumous life of elephant Roger
I enjoyed the Animal Magic article by Catherine Halcrow (Museums Journal April 2005, p28) as I also worked in a zoo before moving to Glasgow Museums and feel that both institutions can learn from each other.
However, I feel that her assertion that museums fail 'to capitalise on their collections' individual stars' is untrue, at least in the case of the Kelvingrove Museum. We have long had a star attraction - Sir Roger the Elephant.
This adult Indian elephant has been with the museum for more than 100 years and is always referred to by his name. He is the source of many local stories, especially those surrounding his death. When alive, he lived at the Scottish Zoo in Glasgow, but after injuring several keepers, it was decided to put him down.
Some will tell you he was shot by a large gang of Glaswegians using any guns they could lay their hands on. The truth is a bit less scary in that he was shot by a local gunsmith backed up by a few soldiers. The point is that he is a major attraction at the museum and will hopefully continue to be so when Kelvingrove reopens next year.
On another note, I was most impressed by the choice of pictures used in the article. Three species of invertebrate in five photos, and not a cuddly mammal in sight. It does an invertebrate curator's heart good to see a fairer representation of the
animal kingdom.
Mike Rutherford, curator of invertebrates, Glasgow Museums Resource Centre
Interpretation piece spoke my language
Maurice Davies's focus on interpretation as a key area for museums' professional development is welcome, if overdue (Museums Journal February, March and April 2005).
Six years ago, I took an MA course in interpretation, only to find that roles for specialists in communicating with a general audience (as distinct from more formal learning) simply don't exist in most of our museums and heritage bodies.
But, as Davies found, good interpretation can make a huge difference to the way people experience objects. My own research (available at www.corvidae. co.uk/research) showed how imaginative interpretation can stimulate and engage visitors, without taking the focus away from the core collection.
Davies says that 'perhaps we need a new breed of museum professional who is dedicated to leading the exhibition and display process'. These professionals do exist, but almost exclusively in external agencies who can only be called on when big budgets are available.
It's a route I've taken, putting my skills to use for corporate clients, with only minor forays into the museum world. I hope museums will take heed of Davies's findings, and that future graduates will find more outlets for their communication skills in the heritage sector.
Richard Crowest, Ashford
