Letters

Despite the cuts to their funding by the Scottish Funding Council (SFC), university museums in Scotland continue to be optimistic.
 
The announcement followed a thorough review of funding in 2010, in which University Museums in Scotland (UMIS) was fully involved.

The review concluded that “funding should continue to be provided in support of museums, galleries and collections and that the SFC was the appropriate organisation to allocate this.”

The SFC award letter also notes that, although it could not offer a guarantee, it is its intention to continue to provide this level of grant in future years.

Recipient museums have also been heartened by the response of their host institutions, none of which have passed on the full impact of the cut to the museums, but continue to provide significant funding above the level of the SFC grants.

The headline of the Museums Journal article: “University Museums in Scotland Face 25% Cuts” is therefore far from the truth. Rather, Scottish universities are increasingly recognising the value of museums to their core aims of supporting research, teaching and public engagement.

Neil Curtis, convenor, University Museums in Scotland, senior curator, Marischal Museum, Aberdeen

Museums Journal June 2011, p13


I was very pleased that Oliver Green enjoyed our new Living Worlds gallery at Manchester Museum, but I was sorry he missed the accompanying smartphone app.
 
This gives a virtual version of the gallery with very detailed information about the objects on display, along with suggestions for things people can do after their visit; it can be used as a gallery guide or separately.

This was an important development for us as it meant that we could provide people with lots of detail without the information cluttering up the gallery.

Photographs of the living animals and plants come from a fantastic digital library called ARKive, connecting our specimens with the world beyond the museum.

The app draws information from our collections management system and we can readily change the text. The beauty of it is that we can continue to develop the content of the gallery without any additional costs.

We will be adding short films to the app over the coming year, developed with a generous grant from the Heritage Lottery Fund.

Visitor services assistants have smartphone tablets in the gallery to show to visitors; those with their own smartphones can download the Living Worlds app for free from the Apple app store and Android app store.

Henry McGhie, head of collections and curator of zoology, honorary scientific associate in the faculty of life sciences, Manchester Museum

Museums Journal June 2011, p40


I find it extraordinary that yet again the organisers of the Art Fund Prize have chosen to oppose the public vote. Museums are for the public and not for the benefit of those operating these establishments from a managerial, purchasing or even an academic viewpoint.

The two instances that I would highlight are the People’s History Museum and the Robert Burns Birthplace Museum.

In the first, although great public recognition was given to the People’s History Museum, it was not shortlisted. The second is the Robert Burns Birthplace Museum in Alloway, which despite an overwhelming public vote in its favour still lost out to the British Museum. They are all excellent facilities but they are all here for the people and their vote should be paramount.

I would suggest that there is a parallel award, one based on the public vote and another for the appointed judges panel.

Reginald Tait, London


A confidential online survey launched by the Museums Association has revealed the extent of funding cuts in the sector. Here are some responses from the Museums Association website.

I’ve been aware of the fact that the true picture of cuts to the museum sector has been hidden from the public for some time. My Save our Museums (UK) Facebook and Twitter page is posting, on average, a new story of sites at risk every day.

The public seem very aware of the threats to libraries, but due to the fact that museums at risk usually receive no more than local media coverage, the true picture remains hidden.

Paul

The cuts are not only curtailing direct operations, services and opening hours they are also dealing a deep and longlasting blow to the specialist supply chain. It is important to recognise that exhibitions draw together designers, writers, animators, model makers, illustrators, programmers, actors and others.

In turn, these commissions from the creative sector are often used to sustain an independent fine art practice. Do not underestimate the fall-out from the cuts – they extend way beyond the confines of the museum.

Katy

Join the debate: www.museumsassociation.org/cuts


- The challenges of interpreting religious sites. By Simon Stephens
- Writers galleries are moving away from manuscripts and words on the wall, says Deborah Mulhearn
- Reviews of: Riverside Museum, Glasgow; Pablo Bronstein: Sketches for Regency Living, Institute of Contemporary Arts, London; Court on Canvas: Tennis in Art, Barber Institute of Fine Arts, Birmingham
- Plus news, comment, letters, jobs and much more


The July issue of Museum Practice will explore the latest developments in ticketing systems, including online ticketing and new technology. It will also look at the role