Quality in collections - can it be measured, and how?

Quality in collections can it be measured, and how? Tessa Luger Norwegian Museums Association Annual conference Molde, 16 September 2016 Content 1....
2 downloads 2 Views 2MB Size
Quality in collections can it be measured, and how? Tessa Luger

Norwegian Museums Association Annual conference Molde, 16 September 2016

Content 1. Introduction 2. Quality in collections 3. How to measure quality: a new method 4. A case study from the Netherlands 5. Benefits to you

Cultural Heritage Agency of the Netherlands • Part of Ministry of Education, Culture and Science • Monuments, archeology, movable heritage, cultural landscape • Statutory services, research, advisory services, state art collection • Amersfoort, Amsterdam, Rijswijk, Lelystad 3

Two types of quality in collections: 1. Quality in collections management 2. Quality in collections (the objects themselves)

4

Quality in collections management

5

6

Who assesses the cultural value of collections? The traditional model

7

The new model

A new method for value assessment:

8

Should we keep everything in our collection?

9

‘Assessing Museum Collections’… …describes the valuation process in six steps

…can be applied at different levels …can be applied to different types of collections …covers all relevant aspects of value …is semi-quantitative …can be used to identify development potential …is not just for professional curators!

10

Cultural value in collections

11

Case study: the Limburgs Museum • Regional museum, merger of 3 local collections • Mission statement: history and culture of Limburg • No clear collection profile • Motive for value assement: a new collection policy plan 2015-2020

12

Step 0: Collection profile • What do we show in our museum? • What story do we tell? • What is our desired profile?

13

Assessing museum collections

VALUATION FRAMEWORK

The information on this part of the form is used throughout the valuation and can be copied each time to a new form. Reason for the valuation:

This half of the form should be completed for each item, collection or subcollection that is being valued.

The museum Nusantara in Delft, NL has been closed. The Delft municipality, owner of the collection, asks Erfgoed Delft (Heritage Delft) and the National Museum for World C ultures to propose a fitting relocation for the collection.

Conducted by:

What value(s) are represented by the item/collection within C ollectie Nederland? The goal of the assessment is to justly relocate the Nusantara collection within the given conditions and

Question behind the with fair conduct to the different stake holders. valuation:

Reference framework for the valuation plus arguments: use the reference framework as a guide if necessary

STEP 1&2 Comparative criteria Culture historical Social

Gamelan Kjai Paridjata (Lord Tree of Life)

Particulars of item, collection or subcollection:

Defining the valuation framework

Prompt questions

Low

Medium

High

Valuation*

Arguments for the valuation

Condition (state, intactness, Is the item/collection in good condition, is it Material integrety is low, possibly material authenticity, complete, is it in its original state, is it caused by an incorrect restoration. material integrity) suitable for reuse? The object is unrecognisably damaged. Not suitalbe for exhibition or study.

Material integrety is average. The Material integrety is high. The object object is in tolerable condition for is in suitable condition for exhibition. exhibition or can be made so with Traces of use can be an advantage. invasive treatment. It is suitable for It is very suitable for study. study.

Group (completeness, unity, Is the item/collection made up of parts cohesion, conceptual which together form a whole? How? Is the integrity, conceptual whole complete? authenticity, contextual authenticity)

The objects in the collection carry no internal connections.

The objects in the collection carry little connections. (internally or through collection histpry)

Provenance Is the provenance of the item/collection (documentation, life story, known, documented, reliable? biography, source, pedigree)

There is not yet any information It is known where the object was about provenance: who the object collected, made and used. (in some was made or collected by and where cases further research is stil it was made or collected. (or needed) research has been done but has been unsuccesful)

It is known when, where and by whom the object(collection) was made/collected and what it's later history is: life story cultural biography.

Rarity and representativeness (uniqueness, exemplar value, prototype, type exemplar)

In the international museum collection there are many examples of objects of a similar type, from the same location and with the same or a similar collection history.

In the international museum collection there are some examples of objects of a similar type, from the same location and with the same or a similar collection history.

In the international museum collection there are only a few examples of objects of a similar type, from the same location and with the same or a similar collection history.

Historical (biographical, Is there an association with a particular social history, natural historical person, group, event, place, history, technological history, activity? Is there an association with a scientific history) particular period, process, theme, development, zeitgeist or way of life?

There is no known connection to people, groups, locations, events, activities or social and cultural processes.

There is no direct connection to people, groups, locations, events, activities or social and cultural processes but the object is representative.

There is direct connection to people, groups, locations, events, activities or social and cultural processes.

Artistic (art historical, Is the item/collection special in terms of its architectural history, design, design, conception, execution, style, workmanship, decorative) technique, creativity? Does it represent a particular style, movement, artist?

There is limited craftmanship, easthetics, inventiveness and expressiveness.

There is some craftmanship, easthetics, inventiveness and expressiveness.

There is major craftmanship, easthetics, inventiveness and expressiveness.

Research potential (scholarship, science, research, documentation, reference, testimony, archival)

Is the item/collection kept because of the information that it contains and can this be studied?

The item/collection carries no information relevant for study and research.

The item/collection carries some information relevant for study and research.

The item/collection carries conciderable information relevant for study and research.

Community (social, spiritual, religious, political, symbolic, community, identity)

Does the item/collection fulfil a certain function for a particular group or community today? Are there groups that have a current special attachment to the item? Does it have a current social, religious, political, community meaning? Does the item currently play a decisive role in the identity of a group?

The object/collection has no social, spiritual, political or symbolical significance and is therfore not important in the stakeholders' identity.

The object/collection has some social, spiritual, political or symbolical significance and is therfore less important in the stakeholders' identity.

The object/collection has social, spiritual, political or symbolical significance and is therfore important in the stakeholders' identity.

A gamelan accompanies a wayang performance. The sound is unique and is recognised by all who have been to Indonesia as such. For the Indonesian culture it is very important. In Delft, the performances were well attended on Saturday. For the friends of Nusantara, the donors and the gamelan group Marsudi Raras the gamelen is very important.

Perception (emotions, senses, aesthetic, association)

Does the item/collection evoke a certain collective experience? Does it emanate a particular atmosphere? Does it evoke emotions? Does it play on the senses in a particular way?

The object/collection evokes little or The object/collection evokes no emotions/associatons or emotions/associatons or sensory/aesthetic feelings of sensory/aesthetic feelings of some stakeholders. stakeholders, especially concerning memories and nostalgia.

The object/collection evokes emotions/associatons or sensory/aesthetic feelings of many stakeholders, especially concerning memories and nostalgia.

Gamelan music always evokes a positive vibe and emotions, especially for the people mentioned above.

Is the item/collection currently used for presentation, educational, research purposes? Does it play a special role in an exhibition? Is it the subject of publications?

Unsuited for display, education and/or reserach.

very suited for display, education and/or reserach.

Museum (presentation, education, research)

Use

C ollectie Nederland. [explanation C ollectie Nederland?]

Describe the conditions that an item, collection or subcollection must meet in order to be rated as high, medium or low under the different criteria.

Criteria

Additional

Date:

Economic (working capital, financial, PR, spin-off, tourism, reputation)

STEP 3

Is the item/collection unique, internationally, nationally, within the collection? Is it highly representative of a particular period, place, style, movement, practice, theme, community?

Does the item/collection generate revenue Does not contribute to publicity or for the organisation? Does it attract vistors? museological and scientific Does it play a decisive role in the reputation. organisation's profile and reputation?

Fill in

Describe

Fill in

Describe

Sometimes suited for display, education and/or reserach.

The collection is internally connected. The objects are tied through subject or collection history.

H

A Gamelan is an ensemble of instruments that together is seen as a personality. Placing the individual instruments separately will deprive the gamelans integrity. H

H

H

H

C ontributes to publicity or museological and scientific reputation.

?

The gamelan is well documented and described. Purchased with the support of the Friends of Nusantara and the Prince Bernhard C ulture Fund. The gamelan is through the purchase and is then prepared by an expert involved in the Tropenmuseum. The client for manufacturing it is known and where the gamelan functioned until the acquisition by the museum. The correspondence concerning the purchase has been preserved including the cost of purchase and transport to the Netherlands. There is only one gamelan in the Netherlands with a two-tone system. This dubbel gamelan, called Kjai Pari Djata, consists of a slendro part and a pelog part, which means all instruments are included in two versions, one in slendro and one in pelog tuning. The Javaamse music system knows these two tunes. European classical music system has only one tone system. The gamelan has a (provable) name, which is rare with antique gamelans. It was made on a order and therfore all instruments have the same origin and belong together since around 1850. The style is typical of Sala. Gamelan belongs with wajang. Wajang performances often portray historical events. This gamelan was made around 1850. It went Munchen in 1972 on the occasion of the Olympic Games.

There are always possibilities, but in this case it is a very large group. It can be used in international/music education/events to show there are different types of music keys and scales. Very appropriate for multi cultural music education.

same 3

3

The national museum for world cultures has 6 Javan and 2 Balic gamelans and some isolated instruments. None of them bitonal. Maybe deaccession one of those and aquire this gamelan instead.

The gamelan is not gaudy but in a style suiting Surakarta.

n/a

The gamelan was played every Saturday by the gamelan group Marsudi Raras in Nusantara. The gamelan originates from Mangkubumèn in Surakarta. H

?

n/a

The gamelan has been studied and is interesting because its bitonal. Both tones differ from European custom. How the instrument is used is also different from European use, the music keys are not fixed and are allowed to change. In European use they are gauged and fixed.

H

Use at events with Indonesian or multi-cultural orientation.

3

Now that the museum has closed the gamelan is too big to store/exhibit. The moment it arrived in Delft it was placed in the permanent colection of Museum Nusantara. n/a

The gamelan could generate income when played at wajang or music performances. At the moment this is not possible. n/a

* Valuation The valuation score can be expressed in words, for example 'low', 'medium', 'high'. If a criterion does not apply, enter 'NA' (not applicable). In the following box, give the arguments for the score.

14

Description of the development possibilities The gamelan can be played and used at events and for educational purposes. Special because it is bitonal.

3

L

Limited contribution to publicity or museological and scientific reputation.

Development potential**

On average the condition is good. Some parts are in need of restauration because of use.

** Development potential State whether you think there is considerable, some, little or no potential for increasing the value of the item/collection through, for example, research, restoration or placement in a more appropriate context. Use numbers 0-3 to indicate potential; 0 = no, 1 = little, 2 = some, 3 = considerable. In the following box, describe what can be done to utilise the potential.

3

© Rijksdienst voor het Cultureel Erfgoed – Versie 2013/03

Per subcollection: • • • •

15

Definition of the subcollection Argued value assessement Development potential Acquisition and deaccessioning policy

Experiences • Staff meetings discussing interim results • Form gave structure, uniformity, objectivity • Curators assessing each others collections • Filled out forms served as a base for collection policy plan (saves time)

16

• •

Time-consuming process Size of the form: too big

Results: • Collection policy plan 2015-2020 • Cross-overs between subcollections identified • Clearer acquisition policy: what to collect and what not • Base for preservation plan and deaccessioning plan • New directions for research

17

Assessing Museum Collections helps to… … get to know your collection better ... make informed decisions in collections management … tell a better story about your museum … win support from stakeholders … work together as a team

18

Download: http://www.cultureelerfgoed/en/museums [email protected]

[email protected]

19

Thank you for your attention!

20

Suggest Documents