Tag: SummerInternship2018

It has been a few weeks since I have had the time to sit down and write another blog post. Since my last post, the pace here at the University of Alberta Museums has picked up immensely. Recently we have opened up a new exhibition, Mountains and Water: Visions of the Land in Canada and China, featuring works from the Mactaggart Art Collection and the University of Alberta Art Collection.

Two hanging scrolls covered with Plexiglass at the "Mountains and Water" exhibition.

Two hanging scrolls covered with Plexiglass at the “Mountains and Water” exhibition.

Mountains and Water is an exhibition which celebrates the opening of the Jonathan KS Choi Cultural Centre of Canada in partnership with the China Institute. For this exhibition, I mostly helped with the installation of the Chinese art from the Mactaggart Art Collection , which mostly consists of hanging scrolls, along with some hand scrolls and albums. The hanging scrolls certainly provided the biggest challenge due to the nature of the art form. Hanging scrolls, as the name suggests, hang. Most of these scrolls are quite large, with many being nearly floor to ceiling in length. The longest of which was done by Wang Shimin in 1657, and is 107 inches long, or 8.9 feet! But, it is not actually the size of the hanging scrolls that provide the largest challenge for installation, but the physical nature of the scrolls themselves. Hanging scrolls are mounted on thin silk, so they are very fragile. This means that they have to be covered with sheets of Plexiglass in order to protect the scrolls. This is to prevent visitors to the exhibit from touching the scrolls as they are viewing them, or from accidentally brushing against them.

Though the Plexi does provide lots of protection to the hanging scrolls behind them, there are several cons to using Plexi as a barrier. Despite the name it’s not a typical kind of glass. Rather, the technical term is acrylic glass which means that a large portion is actually plastic compounds. This produces some issues, the biggest being the tendency to scratch, due to the plastic like qualities it exhibits. A badly placed scratch has the potential to greatly take away from the visitor experience. If I were to go to a museum, view a display and there was a scratch on the Plexiglass right in the middle of the object I was regarding, it would certainly draw my attention away from the item and towards the scratch. That is not what a visitor wants to be focusing on when they are attempting to view the display. This simply requires those installing the exhibition to be careful when handling the Plexi. Luckily, our installation went smoothly and we did not incur any damage!

Plexi does have its drawbacks, but compared to regular glass there are many pros. Plexi is incredibly resilient. It may be easy to scratch, or lightly damage but it is nearly impossible to completely shatter a sheet. It is the material that they use to surround hockey rinks, so if it is able to withstand a frozen puck that is moving at ninety miles per hour, it should be able to protect against an eager museum visitor who may accidentally poke it with their finger. Regular glass in contrast may be more scratch resistant, but there is the unpredictability of a scratch completely shattering the entire sheet. This would likely cause more damage to anything that it was originally intended to protect, which defeats the purpose of a protective covering in the first place.

Adjusting Plexiglass at "Mountains and Water"

Adjusting Plexiglass at “Mountains and Water”

Come check out some of these gorgeous hanging plexiglass sheets, as well as the art that they are protecting in Gallery A of the TELUS Centre. The exhibit features work from Chinese masters, such as Wen Zhengming and Qui Ying, as well as prominent Canadian artists, like Group of Seven members A.J. Casson and A.Y. Jackson. The exhibition is running from now until October 6. Hours are Thursday-Friday 12pm-5pm and Saturdays from 2pm-5pm. Find more information at the University of Alberta Museums website.

On the odd occasion when I do get a bit of a break from my busy schedule at the University of Alberta Museums, I try to not spend my time twiddling my thumbs waiting for the day to end. One suggestion I received from Associate Director Frannie Blondheim was to become more knowledgeable in the field of museum studies, or museolgy. Lucky for me there is a large amount of resources on museum studies that I can access. There is a large variety of topics ranging from theory, collecting, conservation, exhibits, and many more.

What I have been interested with in particular is literature on exhibition design and planning. Within the next month at the University of Alberta Museums we will be opening two new exhibitions. The first is opening on August 20th, Mountains and Water: Visions of the Land in Canada and China. This exhibit features work by prominent Chinese and Canadian artists, from the University of Alberta Art Collection and the Mactaggart Art Collection. This exhibit celebrates the opening of a new center for the China Institute at the University of Alberta. The second is a collaboration with the Wirth Institute for Austrian and Central European Studies. Forgotten Fronts: The Austro-Hungarian Army in the Great War, focuses on Austro-Hungarian artifacts from World War I and is commemorating the twentieth anniversary of the opening of the Wirth Institute, and the 100th anniversary of the end of World War I. This exhibition will be located in the Old Arts Building. 

Through reading various books and articles on the topic I have become more appreciative as to all the work that goes into planning an exhibit. This can include simple decisions such as what type of font to use for the exhibit title, to lighting, to flow patterns of visitors. All of these are important and to be taken into consideration. They will affect the experience of the visitor and the effectiveness of the exhibition.

A red background creates an exciting and stimulating atmosphere in an exhibition.

A red background creates an exciting and stimulating atmosphere in an exhibition. Google Images, Ausstellung Grassi Museum, public domain

One very interesting thing which I learned, is how colours can drastically affect the visitors experience of the exhibition. In rooms where it is encouraged that visitors are excited and active the walls will often be painted a warm colour such as red. This is because warm colours stimulate the brain and will make those viewing the exhibit more energetic and active. Vise versa for cool colours like blue. Cool colour relax the brain and lead to subdued and relaxed atmospheres. Art galleries may often paint their walls dark blue in order to create a peaceful, quiet, and relaxing atmosphere in the room which translates to the guests. Next time you visit a museum I encourage you to take note of the colour scheme of the room and how it makes you feel while in the space.

A cool blue background relaxes people and creates a calming peaceful atmosphere in an exhibition.

A cool blue background relaxes people and creates a calming, peaceful atmosphere in an exhibition. Google Images, public domain.

Being able to have the time to read some of this material while I am getting hands on experience to what I am reading about is very beneficial. I am able to see some of the process and planning steps which are outlined in the literature and which I had to opportunity to take part in, as I drafted a tentative schedule preparing for the Forgotten Fronts exhibit. This will be a great asset to me in the future when one day I head to grad school for museum studies. I will have a jump start on some of the concepts and practices which I will be learning about.

I am sure that I will soon be losing the luxury of having down time to do some of this reading when out exhibition development goes into full swing. We will soon begin to install the exhibits and then after the official opening of the exhibit, I will once again be a gallery docent for Mountains and Water. But, while it lasts I will take every opportunity to become more knowledgeable in the museum studies field to hopefully have some useful input here at the University of Alberta Museums, and to get a jump on my future at grad school.

This week I have decided to take a different approach to my blog. Rather than provide the typical update of what I have been doing over the last week, I have taken the opportunity to gain some more insight into what some of my fellow summer student colleagues are up to. I sat down with University of Alberta Art Collection summer students, Georgia Ashworth and MorningStar Willier, and got to learn a little more about their work here at the University of Alberta Museums and what they think about life as a summer student!

Fellow summer students Georgia Ashworth (left) and MorningStar Willier (right).

Fellow summer students Georgia Ashworth (left) and MorningStar Willier (right)

Q: What are your backgrounds?

Georgia: I have a Bachelors of Arts in History from McGill University in Montreal.

MorningStar: I am in my second year of Native Studies with a minor in Anthropology here at the University of Alberta.


Q: What are your titles here at the University of Alberta Museums, and what do these roles entail?

G: I am a Collections Assistant [with the University of Alberta Art Collection (UAAC)] working on the Public Art Program. I am working on streamlining our copyright procedures and obtaining copyright licences for the artwork in the Art Collection, and will be writing art labels for the works on placement.

MS: I work as a Collections Assistant for the O.C. Edwards Ethnographic Collection, as part of the Art Collection, and I do research on the ethnographic artifacts.


Q: What drew you to these positions with the University of Alberta Museums?

G: I was hoping for an opportunity to gain more direct museum experience to further my career aspirations within the museum and heritage sector. 

MS: My minor is anthropology and I enjoy the sociocultural side of anthropology, so working directly with ethnographic material, particularly Indigenous material, directly pertains to my degree and interests.


Q: Do you believe that it is important for young people to be able to receive summer positions at universities and museums such as the ones you have? If yes, why?

G: Yes, I believe it is very important. It is a great way for young people to gain experience in the museum field, and become more connected to their university.

MS: Yes, because it shows me what I can do with my degree after graduation.


Q: What would you say is the value of having an art and ethnographic collection such as this on a University campus?

G: I believe that as a university, for students studying in areas related to art or ethnography, it can be very important to be able to interact with and view the artifacts first hand instead of just reading about the material.

MS: I agree with Georgia, the chance to study the material in person is invaluable.


Q: What is the value of summer students doing this work, compared to other staff members?

G: The Young Canada Works program, which is the program that both MorningStar and I are part of, provides partial funding for our wages. This can help organizations which may not have a large budget for the type of work we do. Also it allows permanent staff members to focus on the big picture while students do some of the more time consuming work.

MS: We are able to do the work that other staff members are unable to fit into their schedules, due to other pressing matters.


Q: What is your favorite part of your jobs, and what are you looking forward to the most?

G: My favorite thing that I have been able to do so far is redesigning the copyright section for our online database. This should make it a lot more useful to our museum staff. I am also looking forward to writing art labels for the collection.

MS: My favorite part so far has been going into the O.C. Edwards Collection storage room and working directly with the artifacts. I am also looking forward to updating descriptions of the artifacts within our online database, which uses the software program Mimsy.


Q: What are your plans after these positions wrap up? Do you plan to stay in the museums field?

G: This fall I am starting a Masters degree in Archaeological Heritage and Museums at the University of Cambridge in the United Kingdom. Afterwards I am looking forward to continuing to work the the museum field.

MS: I am still unsure at the moment whether or not I will continue in the museum field , but I really enjoy the research and curatorial aspects of museum work so I think I may.


Q: Finally, do you have a favorite artifact or piece of art from the collection?

G: I like the Norman Yates mural, West and North, on the north side of the Education Building, and the Steinhauer, Treaty Bear sculpture in Main Quad.

MS: I love all of my collection, but really love the steer hide painting, from the Blood Reserve in Southern Alberta.

One of Georgia's favorite pieces of the University of Alberta Art Collection, "West and North", 1987, Norman Yates, RCA (B. 1923 – D. 2014), acrylic on crezone plywood, University of Alberta Art Collection (1993.6), University of Alberta Museums, Gift of the artist

One of Georgia’s favorite pieces of the University of Alberta Art Collection, “West and North”, 1987, Norman Yates, RCA (B. 1923 – D. 2014), acrylic on crezone plywood, University of Alberta Art Collection (1993.6), University of Alberta Museums, Gift of the artist

This past week I have I have been working with Jennifer Bowser here at MACS. Jenn is our Collections Management Advisor, with a specialization in registration/preventative conservation.

Preventative conservation in action at the dentistry exhibit located on the second floor of ECHA

Preventative conservation in action at the dentistry exhibit located on the second floor of ECHA

Preventative conservation is a very important aspect of museum practice which needs to be undertaken in order to ensure the long-term preservation of objects in the University’s collections. Essentially, preventative conservation is what the name suggests: in a museum environment once an object is received, measures are taken to ensure that it will stay in the same condition that it was received for as long as possible. This is especially important due to the nature of many collections at the University. Preventative conservation is important to the health of teaching and research collections which are handled and used frequently. These measures can include regular cleaning, condition reporting, protective storage, and of course careful care and handling of museum objects. The main concept of preventative conservation is to catch issues which may lead to deterioration of the object before they become a problem, rather than allow them to progress to a point where there is permanent damage. Of course, this is at times impossible but it is the job of specialized museum professionals to prevent this deterioration as much as they can.

There are other factors rather than just the passing of time that come into play and  affect the stability of a museum object. These other factors are called the agents of deterioration. There are 10 agents of deterioration and they are: fire, water, pollutants, physical forces (such as dropping the object), pests, light damage, incorrect humidity, thieves and vandals, incorrect temperature, and dissociation which is the loss of valuable information pertaining to the object. The agents of deterioration are internationally recognized in museum practise.

Damage from the agents of deterioration can occur over time from factors such as improper storage conditions, or through unexpected events, such as a fire, flood, or theft. It is important to protect against these agents as severe deterioration can even lead to the need to deaccession (remove) an object from a museum collection, a process that all museums try their best to avoid. For example, this is what happened recently to a piece of public art on the University of Alberta campus. Due to damage from vandalism and pests, a work of art that originally consisted of two chairs and a small table located on the north side of the Biological Sciences Building had to be removed from public display. The University will soon begin the process to permanently remove it from the collection as the damage is irreparable.

Some other preventative conservation projects I have worked on this week include:


Removing a piece of public art by BioSci to be deaccessioned

Removing a piece of public art with Emerald Johnstone-Bedell, Assistant Curator of the University of Alberta Art Collection. Formerly located north of BioSci, it is in the process of being deaccessioned.

As an emerging museum professional, it is of course my wish that all museums are able to keep every object in excellent condition and that none are ever damaged. Unfortunately, this is impossible as accidents and unforeseeable events do occur. But through working with Jenn and others at the UofA Museums, I have seen many ways in which to prevent deterioration before it becomes an issue and ensure the care and longevity of museum objects.


Museum Celebration on May 8. Beautiful day for a garden party.

My first few weeks here at the University of Alberta Museums have been a whirlwind. The first few weeks of May has been a very busy time here at the Museums. On May 8th the annual Museums Celebration event took place and then just two days later was the opening of the Light/Matter: Art at the Intersection of Photography and Printmaking exhibition on May 10th.

The Museums Celebration is an annual event that is hosted by the University of Alberta Museums and Collection Services (MACS) team, where we honour and celebrate the contributions of those in our museum community and all the work that they do to support the U of A Museums. At the event we honoured two Volunteer of the Year winners, as well as long time University of Alberta Art Collection (UAAC) curator, the late Jim Corrigan, who was inducted into the Curator Hall of Fame. This event gave me the opportunity to see another side of the museums world. One that is not related to artifacts, or specimens but the people who make the day to day work possible. Some of my jobs were helping to assemble gift bags of loose-leaf tea, set up seating and catering, including the delicious gelato, and pounding horseshoe spikes into the ground. Events like this one show how much the MACS team values those who work with and for them, which was very comforting news to a nervous intern!

The other project that I have been involved with recently was the preparation of the Light/Matter exhibition. This gave me the opportunity to help out with something that I had never done before, the preparation of an art exhibit. This particular exhibit is centred on the art of printmaking. Something which I had never been exposed to before. What surprised me was the huge variety of printmaking techniques, and styles, and the intricacies involved in each. I learned that printmaking is much more than simply stamping a piece of paper onto a stencil, it involves intense work and expertise. The scope of which blew me away.

Helping out with early tasks, Like cleaning carp with toothbrushes!

Helping out with early tasks, Like cleaning carp with toothbrushes!

One surprise for me was the amount of math that was required to ensure that every print was exactly straight and in the perfect position. Hanging art for display, it turns out, is a very precise procedure. At times measuring to the sixteenth of an inch to make sure everything was exactly perfect! This precision and care is something that seems obvious to me now that I have seen the process, but as a museum visitor it is something I had simply never thought of before. Helping out with exhibit preparation and planning was one of my main goals for this summer, so my first few weeks have been very productive! Next step is just helping to plan an exhibit, and rumour has it that that may be possible by the end of the summer!

Light/Matter will be running from May 11 – June 2 Tuesday to Friday 10am – 5pm at the University of Alberta Museums – Gallery A in the TELUS Centre, and Tuesday to Saturday 10 am – 5 pm at FAB Gallery in the Fine Arts Building. Featured in the exhibit are works of art by artists who have pieces in the Print Study Centre of the UAAC. Coming up, I will be a Gallery Docent these next few weeks in Gallery A. Another new experience! I have a feeling there will be a lot of those over the course of the summer! And I am excited to be able to catalogue and share them through this blog.