SERA NEWS
ARTICLES

CONTENTS:
(To read an article click on the title.)

GET OUT AND STAY OUT! CAN WE SAY THAT? AAM May 2002 session review

Old Loans, Found in collections: What's a Museum To Do? AAM May 2002 session review

From Here to There Safely: International Shipping
AAM May 2002 session review

Domestic Courier Transport

Opening Pandora's Box: Thoughts on the 2001 SEMC session "The Mouse that Roars: the Role of the Registrar in the 21st Century"

Registrar for Hire: What to Do When Life Necessitates a Job Change

Common Causes of Damage to Furniture

GET OUT AND STAY OUT! CAN WE SAY THAT?
AAM May 2002 session review
by Wanda Edwards, Curator, Collections and Library/Archives, Orange County Regional History Center, Orlando, FL

This session was presented by George Martin of the National Gallery of Art and Stevan P. Layne of Layne Consultants International. Yes, you can remove a patron from your facility and bar them from returning. But you must have polices and procures in place before the incident happens.

Your institution must have a policy in place prohibiting certain behavior or actions and it must be publicly posted. You must know where you have jurisdiction. Is it just your building or does it include the grounds and parking lot? And you must have a procedure for carrying out the policy. In other words, who decides to call the police? If you don't have security guards, who is designated to approach the offending individual? Does that person know what to do in case the offender becomes violent? Does that person know when he can or can't touch the offender? Your front desk staff should be instructed on how to handle such incidents and have a code to signal to other staff that there is an emergency requiring immediate response.

Staff response can be a powerful tool for preventing a hostile situation from escalating. Both speakers pointed out that there is safety in numbers and that an offender is more likely to run from two or more staff members rather than stay and fight. Of course, staff and public safety should always be your first priority.

You can bar the public, including terminated employees, from non-public spaces. If an employee reports problems with or threats from a spouse or anyone else, the institution is obligated to provide protection while that employee is at work. This may include barring the offending person from the facility.

Institutions should have written incident reports to be filled out by staff. Each aspect of the incident should be documented. If possible, get a photograph or maneuver the person in front of a security camera. Check with legal consul regarding the procedures for barring an individual from the premises.

The speakers concluded with this summary: develop and distribute a policy, have the policy approved by an attorney, assure that all staff are familiar with the proper procures and practice by role playing an actual removal.

For more information, contact George Martin at G-martin@nga.gov and Stevan P. Layne at LayneCnsit@cs.com.

Old Loans, Found in collections: What's a Museum To Do?
AAM May 2002 session review
by Wanda Edwards, Curator, Collections and Library/Archives, Orange County Regional History Center, Orlando, FL

Originally scheduled as a pre-conference workshop, this session was canceled at the last minute due to problems with the speaker's schedule. Undaunted, Julie Thies, Manager of Collections Information at the Speed Art Museum, Louisville, Kentucky, arranged for a meeting room and 14 tenacious museum professionals sat down for a informal roundtable discussion of a universal museum problem.

There was a interesting and informative exchange of horror stories and successes. Everyone agreed that you must have your paperwork in order, have a policy/procedures manual to refer to and consult legal counsel whenever possible.

Suggestions for finding information on old loans included searching old minutes and newsletters of the governing/support organization, as well as reviewing old institutional correspondence.

One member of the group recounted her search for a lender who had left artwork at her museum. Her suggestions for tracking down artists or anyone else included searching:

On the Internet
Social Security Index
AOL White Pages
Genealogy websites
Drivers Licenses search bases
Alumni Associations
Obituaries
Professional Organizations
Artists groups and lists

Someone brought up the problem of what to do when the lender dies before the loan is returned. In that case, the museum needs to contact the executor of the will and follow the terms of the will. If the terms are unclear or there is confusion about ownership, it will be necessary to get legal consul.

If someone claims a loan for which there is no paperwork, the museum must insist on proof of ownership before relinquishing the objects. If a third party is sent to pick up a loan, the institution should require written approval from the actual lender. When in doubt, staff ought to consult legal counsel.

Many states now have abandoned property laws and this is the last resort for dealing with unclaimed loans. State museum organizations have information on individual state laws. Several attendees explained that their states did not currently have such laws but they were supporting the passage of regulations governing abandoned property.

Thank you Julie for gathering us to share our information and experiences.

From Here to There Safely: International Shipping
AAM May 2002 session review
by: Kimberly Terbush, Registrar, Valentine Museum, Richmond, VA

Chair: Gabriella Truly, Dallas Museum of Art
Speakers: Alice Whelihan, Indemnity Administrator, National Endowment for the Arts; Dave Epstein, Masterpiece International; Hans-Ewald Schneider, Hasenkamp in Germany; Anna Maris, London office of MoMart; and Gwenael Rumaud, LP Art in Paris

This session was sponsored by the Registrar's Committee, Security Committee, Curators Committee as well as AAM/ICOM and was chaired by Gabriella Truly from the Dallas Museum of Art. It was standing room only as it was the only session to discuss international packing and shipping during the conference. The panelists represented shippers, packers, and customs brokers from the United States and abroad. Each panelist presented the changes in the shipping world as a result of September 11th. It was surprising to find that the European shipping companies were not aware of new standards for heat-treating crates before they entered Europe. Most European shippers found out about the new policy from the Americans.
Alice Whelihan, Indemnity Administrator, from the National Endowment for the Arts spoke about new changes in the program. There are now two deadlines per year for applying for Federal Indemnification, April 1st and October 1st. We were told that more and more museums are applying for Federal Indemnity, although the amount of money has stayed the same for the program; the number of applicants has doubled over the past year.
Also on the panel were Dave Epstein, from Masterpiece International. Hans-Ewald Schneider from Hasenkamp in Germany, Anna Maris from the London office of MoMart, and Gwenael Rumaud from LP Art in Paris. They discussed their country's changes in policy for art and cargo shipments. There was also discussion relating to the rights of the couriers, which tarmacs were accessible by couriers and which ones are not. They all stressed that it is the courier's responsibility to let everyone know their concerns and requests for their shipment; such as whether or not the courier needs to be on-site for the un-palletizing of the crates, movement of the crate and the loading of trucks.
It was a very interesting and successful session in my opinion. I learned more about international shipping and the new policies that are now in effect.

Domestic Courier Transport
By Alice Newton, Registrar
Haper's Ferry Center
National Park Service

Although a domestic courier trip does not hold the allure and intrigue often associated with an international trip, the transport of artifacts within the United States still is a vitally important undertaking. The planning will require many hours of detailed attention so the trip is executed in the best possible manner. This article will focus on the registrar's needed preparation, various transportation options and the other responsibilities of the courier with a hand delivery or while accompanying a commercial delivery.

Because a domestic trip has many variables, the planning must begin months before the actual trip. A well-planned trip will result in less stress for both the artifacts and the courier. During the loan negotiations, transport and handling requirements are specified. If this has not happened, these discussions should begin immediately. Then the registrar will plan the trip in consultation with the owners. The courier may be consulted. Consideration should be given to the following topics:

Know what you are transporting. Often, the trip can involve the delivery of artifacts owned by your museum, park or historic house. At other times the trip will include items for one or more lenders. A complete list of all items to be transported should be developed. The list should include the artifacts and a complete listing of mounts, exhibit panels or fixtures to be transported.

Each artifact involved needs to be assessed. Either a conservator or curator familiar with similar material types does this. Each artifact should have a condition report with documentation photographs. Either of these specialists will advise which items require special packing or handling procedures. They will indicate those with extreme significance or value, and they will discuss items that are culturally sensitive and define the needed procedures for their transport.

Know where you are going with the artifacts. Establish contact with the appropriate person and determine their authority for scheduled deliveries. This person can help analyze the physical conditions impacting the trip at the receiving end.

Questions to ask:
Where can the vehicle park for unloading?
Are there exterior physical barriers that impact a delivery?
Are there firm surfaces to facilitate the use of wheeled equipment?
Is a covered loading dock available? What is the height?
Do hallways, doors or elevators limit the size of the shipping container? (Ask for the width, ceiling height and opening sizes)
Will personnel and equipment be on hand to help with a delivery? If so how many people and what kind of equipment will be available?

Know when the artifacts have to be at the new location. All parties must agree upon the expected delivery date. A written memorandum should document this. It is important to understand the hours and procedures for delivery.

Determine how the artifacts will be transported and the role of the courier. Once all possible concerns for this type of trip have been defined, determine the best method to use in transporting the artifacts to the destination.

Time limitations, cost, season of the year, weather conditions, delivery location conditions, artifact size and artifact condition will be part of the decision making process. Choices include hand carry by vehicle (car, van or truck), train or airline flight. Other options include the use of art carriers, domestic moving companies with service for fragile items, or a combination of several methods.

When discussing a possible shipment with any of the commercial moving companies, clarify that a courier is to be used. Some commercial transport companies will not allow a courier to ride in the truck cab so they must accompany a shipment in a chase car. Most are willing to work with a courier in an accompanying vehicle. Remember long distances may require multiple couriers to keep pace with a team of drivers in a commercial vehicle. When selecting an art moving company, you will probably want to specify either a last-on-first-off shuttle situation or have exclusive use of the vehicle. Determine an appropriate method for locking and sealing the vehicle during shipment.

If renting a vehicle for artifact transport, take time to set up a commercial account with the rental company. This will provide the best-equipped and maintained trucks available and offer truck rentals based on weekly cost. This may not be the rental company closest to you. The local company is oriented to the weekend mover and their fleet is generally not of the same quality as those designed for commercial use.

Commercial vehicles are usually rented "dry" with fuel costs paid for by the renter. Make sure the truck does not require special licensing. If you have need for an oversized rig, know who in the local museum community has a CDL (commercial drivers license) to accommodate these needs.

Not all artifact transport requires a courier. This decision must be made carefully weighing the best interest of the artifacts and the desires of the owners. With the exclusive use of a commercial company, locking and sealing the vehicle may be a viable alternative. The seal is not broken or the truck is not unlocked without the recipient present. By providing the combination of the lock only to the recipient, another level of security can be added.

Select the courier for the trip. The ideal courier is a museum professional who understands the responsibilities involved with this type of trip. The courier must be familiar with all aspects of packing, unpacking, transport, condition reporting, and photography as well as other aspects of domestic travel. If the courier is to drive the artifacts by car, van or truck, an assistant will provide additional security. This can ensure that artifacts are never left unattended.

Plan the details of the trip. After the delivery date has been confirmed and the method of transport chosen, it is time to begin planning the details of the trip. If using an airline flight with cargo space, book it well in advance. Request a FAX copy of procedures and size limits. With heightened airline security concerns, discuss requirements needed when booking flights with carry on artifacts. Coordinate plans with staff accompanying the courier to or meeting the courier upon arrival at the airport. Arrange to have rental vehicles picked up or delivered to the freight terminal as needed.

When using a rental truck, the courier needs to know what type of fuel is to be used. If the unit is alarmed, know how to operate the system. If the truck has a power lift gate, know where the switches are and make sure the courier can lift the gate into position. Know how long the power can be used without draining the battery.

When using a rental truck (particularly refrigeration units) remember to book it well in advance. If the vehicle has an independent refrigeration unit, know how to operate it. Test the unit for cooling or heating capacity. Know the location of the fuel tank and type of fuel used for the refrigeration unit. Determine the length of time the refrigeration unit can run on fuel independent of the vehicle engine. If the vehicle refrigeration unit can be run by electric power at night, lodging will need to be at ground level with electric hookup capacity. If using data logging equipment during the shipment, define placement and courier's responsibility.

On a road trip a rental vehicle containing artifacts may need additional security at night. The placement of a vehicle at night will certainly determine where the courier is lodged. Make lodging plans for all nights in route. If using a rental vehicle and the material does not easily allow removal from the vehicle at night, begin the search for places to house the truck at night. Bring out the SERA or RC-AAM directory and begin calling peers listed in areas targeted for overnight stays. Sometimes they will be able to provide space to store the vehicle in their facility. If not, they can be a valuable resource for suggested contacts within their community.

Storage sites can range from the local museum, National Park site or moving company with secure warehouse space to a variety of other options. Some less obvious options can include a National Guard facility, federal or state government facilities or well-manned fire or emergency services station with 24-hour staff. Look for areas that can be secured, have a very stable environment and have an alarm system in place. Some of these options may require a fee for services while others do not.

Prepare the required paperwork. The courier's binder should include:
A complete listing of all artifacts and other material to be transported
Condition reports and accompanying photos for each artifact
Couriers' letters of authority from the commissioning institutions
Certificate of insurance and a listing of all insurance restrictions
Copies of all loan agreements for the artifacts
All required permits and authorities for inter-state transport of certain classifications of material
·List of all people at each phase of the trip including home and office addresses, home, office, cell and fax phone numbers, and home and office e-mail addresses
Listing of all boxes with dimensions and weights
Copies of all box inventory sheets
Itinerary with all airline flights, lodging and other details specified
City and state maps with routes and destinations indicated
Cover sheet to include couriers name, cell phone number, e-mail
address and brief trip description.
Copy of the RC-AAM or SERA directory. A complete copy of the binder should remain with the initiating institution.

Finally, the courier and the artifacts are ready. Little last minute details can help smooth the trip. A pre-trip hazard analysis is helpful. It will define actions and responses expected from the courier. Make sure the courier has a cell phone and knows how to use it. They should also have sufficient water and food to prevent them from leaving the shipment unattended. Perhaps the best advice that can be given to anyone prior to the initiation of such a trip is to review the "Code of Practice for Couriering Museum Objects" by the Registrar's Committee of the AAM.

Resources
Buck, Rebecca A. and Jean Allman Gillmore, eds. The New Museum Registration Methods. Washington, DC: American Association of Museums, 1998.

Mecklenburg, Marion F. ed. Art in Transit: Studies in the Transport of Paintings. Washington, DC: National Gallery of Art, 1991.

Rose, Cordelia. Courierspeak: A Phrase Book for Couriers of Museum Objects. Washington, DC: Smithsonian Institution Press, 1993.

Stolow, Nathan. Conservation and Exhibitions: Packing, Transport, Storage, and Environmental Considerations. London: Butterworths, 1987.

Opening Pandora's Box: Thoughts on the 2001 SEMC session "The Mouse that Roars: the Role of the Registrar in the 21st Century"
By Lila Hall, Registrar and Assistant Curator, The Parthenon, Nashville, TN

I am the first person with the official title of Registrar at the small art and history museum where I work. Registrar is only part of my title, I also serve as the Assistant Curator, aiding the museum's curator in the development of art exhibitions. These titles don't fully reflect all the roles I play within the museum, nor do I fit soundly into these titles. I work at the Parthenon in Nashville, Tennessee. I'm sure as you read this you are asking yourself, "a Parthenon in Nashville, home of the Grand Ole Opry, Music City USA?" But yes, the world's only full-scale replica of the ancient Greek Parthenon sits in the middle of Nashville's largest city park, and reflects the city's other nickname, albeit less well-known today, the Athens of the South. The Parthenon in Nashville, originally built in 1892, is a unique structure and has a unique mission. We are devoted to interpreting ancient Greek history, art, and architecture, as well as American art and Tennessee history. We house the city of Nashville's permanent collection of American art; the Cowan Collection is a group of 18th, 19th and early 20th century paintings by the likes of Frederic Church and Winslow Homer. We also have several other small collections of local and regional art and objects and archives devoted to the Nashville Parthenon's rich history. The Parthenon's staff is and always has been very small. All this makes for a special working environment and means that my role as the registrar doesn't fit neatly into the conventional registrar "box." After attending the session entitled "The Mouse that Roars: the Role of the Registrar in the 21st Century" at the 2001 Southeastern Museums Conference annual meeting in Louisville, I realized that there are many of us with the title of Registrar that do not fit neatly into this package. And some of us perform the duties of registrar but do not have the title.

The panelist discussion "The Mouse that Roars: the Role of the Registrar in the 21st Century" sought to begin a dialogue about the current and future role of the registrar within the museum. The session was moderated by Peter S. LaPaglia of LaPaglia and Associates in Mufressboro, Tennessee and the panelists included Stacey Brown, the current Chair of SERA and Registrar/Collections Manager at the Gibbes Museum of Art in Charleston, South Carolina; Rebecca Buck, Registrar at the Newark Museum, New Jersey and current Chair of the RC-AAM; William U. Eiland, Director of the Georgia Museum of Art in Athens; and Dixie Neilson, past Chair of SERA and an independent registrar from Gainesville, Florida. These individuals made the panel a diverse and interesting group with many insights and a great deal of experience. A set of questions regarding the role of the registrar as a professional and vital part of the museum was presented:
1. What is the role of the registrar in the institution?
2. How has this role changed?
3. How does the registrar fit into the hierarchy of the institution?
4. Who influences the registrar most?
5. What should we registrars do to improve our position within the Museum?
6. How do other museum professionals view the registrar?

The first panelist to address these issues was Rebecca Buck, who brings a tremendous amount of experience in and knowledge of the field to the discussion. In the 1998 edition of The New Museum Registration Methods Ms. Buck recognizes the diversity of the individual who is often labeled the Registrar. She says, "the registrar is the staff member who undertakes the task at hand." She recognizes that this person may be a registrar, a collections manager, a curator, and that there are "even greater proliferation of titles." In many cases, particularly in small museums like the one where I work, the person who performs the duties of the registrar wears many other hats as well. For as Ms. Buck says in the foreword to The New Museum Registration Methods, "title and function vary from museum to museum and are determined by size, discipline, and the history of the institution." Ms. Buck is clearly an advocate for the Registrar's role as one that is on equal footing with other museum professionals, particularly the curator. This is not an issue that I had really ever considered. While my title is Registrar and Assistant Curator, I sit evenly with the Curator in my institution's hierarchy. But in conversations with other registrars I understand that this is clearly not the case in most institutions.

The next panelist to speak was William Eiland, who lent to the discussion his perspective as a director who works closely with registrars. He began with a joke:
How many museum professionals does it take to screw in a light bulb?
Three. The registrar has to do the condition report and helps put it in, the curator then screws it in, and the director switches it on and then gets the credit.
Mr. Eiland said that the registrar is the indispensable backbone of the institution and repeated Ms. Buck's point that the registrar often wears more than one hat. I can really identify with this multiplicity of roles. In addition to the traditional tasks of the registrar, I am also responsible for organizing and conducting research for temporary exhibits, serving as the public relations contact for our galleries, designing much of the literature and mailings sent to our gallery patrons, giving tours, and working in the museum shop and admissions desk when needed. Mr. Eiland's repeated idea was that the registrar needs to have a voice, particularly because the registrar is the primary influence for the institution's collections, "we speak for the art because it can not speak for itself." This idea of speaking for the art made me think of a situation that happened to me not long after I became the registrar at the Parthenon. As a museum that is city funded and run and has very little art storage, some of the objects from our small local art collections are dispersed throughout the city's other buildings, sometimes decorating the office walls of bureaucrats. In many ways this arrangement is a good thing, because I believe that a collection is important to be seen and if these works were not displayed in these offices then they would never be viewed. Most of these objects are not of much monetary value, but they do reflect the city's recognition of local art. The one issue that was difficult about this was that these objects had not been kept up with. Their conditions, and in some cases their locations, were not fully known. I made it a priority to locate and examine every piece displayed in such a way. The project is ongoing, but I am glad to say that most of the pieces have been located and are in good shape. I have made it a goal to explain the importance of these pieces to the people whose offices they are in. I feel that in this particular case I am making an effort to give these objects a voice and encouraging their appreciation, thus giving them value. Mr. Eiland went on to say that the registrar is the "central hub" for the objects and has the responsibility to expose other staff to proper museum practices. The registrar is expected to know everything, and sometimes embraces this role, for "if you want it done, ask the registrar." I couldn't have said it any better myself.

Having recently become an independent registrar, Dixie Neilson was the next panelist to speak, offering her knowledge of this new aspect of collections management, as well as her extensive experience as a registrar within an institution. Ms. Neilson's experience really shows the new direction that registration work has taken. She is now involved in helping corporations, artists and small museums catalogue their collections, advising them on appropriate storage and conservation. This is an aspect of collections management that I hadn't really considered, although I do work closely with local conservators to keep our collections in good condition. I can clearly see the benefit of having an independent registrar help small, or even large, institutions take care of their collections. As a person new to the field and with my time divided between so many different responsibilities, I would welcome the advantage of working with an experienced and knowledgeable independent registrar on temporary and long-term projects. Ms. Nielson highly advocates communication with other registrars, so that we don't become isolated. I have found this kind of exchange of ideas extremely helpful, participating and reading discussions on the RC-AAM listserve and meeting others in the field at professional development opportunities has opened up realms into the registration field that I had not considered. Ms. Nielson expressed the idea that as registrars we need to know and maximize on our work habits and ourselves. Regardless of the fact that it sometimes seen as being obstructionist, it can be good to be picky, detail oriented, and have strong views when your responsibility is the care of and, sometimes the only, advocate for collections.

Stacey Brown was the next panelist to speak and she stressed the need for registrars to let others see us as we see ourselves. We should be able to make compromises, while making our voice heard and demand respect from our museum peers. I have very much experienced the angst of having to compromise on a particular issue related to an object, but never on the object itself. And I think my coworkers respect this, and are more apt to think first, or even at all, about the effect of their ideas and wishes upon an object in our collections. Registrars control so much of the information about the collections, but it is important that we share this information wisely and well, and to get credit for this role. We must also help define where we are and where we are headed within the institution. These statements meant a great deal to me, because I am really trying to establish the role of the registrar in our institution.

Pete LaPaglia, as the moderator, summarized the discussion and what the roles are for the registrar today and tomorrow. He said we could use the view of the registrar as the person with the "iron fist and white gloves" to our advantage. We need to understand that we can't and shouldn't do it all alone, we should take help and demand it sometimes. We need to realize that even though we are object centered we need to keep in mind that we are an important part of the visitor's experience and making it worthwhile. This is particularly important to me, because I see how my work affects our audience on a daily basis. Because I am often conducting tours of the museum and its galleries, or working in the museum's shop or admission's desk, I hear the responses of our patrons. This is something I find rewarding, because I can learn from our patron's comments and concerns. I realize that I am not just a "cog in the wheel," but have an important function that is not always understood. The more I learn and understand the role myself, the more I can make others aware of what the registrar's needs are and role is.

After participating in this session I understand a little bit more clearly what my role can be as the registrar and how to answer the questions originally posed for the discussion. I can answer the questions in these ways:
1. What is the role of the registrar in the institution? The role of the registrar varies from museum to museum, but ultimately we are the primary voice for the collection.
2. How has the role of the registrar changed? For my small institution the function of the registrar has changed most dramatically in that there is actually someone with this role.
3. How does the registrar fit into the hierarchy of the institution? This is just beginning to be established at my museum, but I know that I have a place in establishing this role and making it one that is seen as vital to the workings of the institution.
4. Who influences the registrar most? Everyone within my institution and the people who visit our museum influence me. I am an influence on them as well, for as the keeper of the collections they need me, but I can't do it alone.
5. What should we registrars do to improve our position within the Museum? Speak up. Don't be the mouse, be the lion. Or if you're not comfortable being a little more aggressive than the mouse, say it softly, but say it often.
6. How do other museum professionals view the registrar? At my institution we are all still learning what the roles of the registrar are, and it is an important aspect of my job to structure and mold this view.

This discussion opened a "Pandora's Box" of sorts for me, using an analogy from mythology seems appropriate since I work in a replica of a Greek temple. Those of you familiar with this story know that Pandora, the first mythical Greek woman, was given a box by the gods. She was told not to open the box, but curiosity took the best of her, and she opened it. It is said in the myth that all the evils of the world were contained in that box and that when Pandora opened it she released them all. But the story goes on to say that hope had also been placed in the box and when Pandora realized her mistake she quickly shut the lid, trapping hope in the box. As the first registrar at Nashville's Parthenon I often have to address issues that have not been fully addressed before, because there was not any one clear voice for the museum's art collections. The fact that I can now be that voice for the art gives me renewed hope, and this session gave me the confidence and some of the knowledge to pursue this.

Registrar for Hire: What to Do When Life Necessitates a Job Change
By: Zinnia Willits, Assistant Archivist, Jewish Heritage Collection, College of Charleston

Almost one year ago my life changed dramatically. Not only did I get married in July 2001 (I could write a separate article on that big change,) but in August 2001, my husband and I moved from Augusta, GA to Charleston, SC where he had accepted a new teaching job. When we made the decision to relocate (April 2001,) we literally jumped up and down! Charleston! The Holy City! The beach! The history! The jobs! Wait…I had to find a new job. The following is an account of my quest to find museum employment in a new city. I hope that my experiences and "game plan" will be helpful to those who find themselves in a similar situation. Looking for a job when you need one is much different than looking for a new or better job when you already have one, especially in the museum field. It can be tedious and frustrating, but hard work and initiative can pay off!
When my husband was offered the job in Charleston, I was the Registrar at the Augusta Museum of History (AMH), a position I occupied for almost two years. Prior to Augusta I was the Assistant Registrar at the Michael C. Carlos Museum at Emory University and before that, Assistant Registrar at McKissick Museum in Columbia, SC. Although I was excited to begin married life in a new and exciting city, the prospect of leaving a relatively clear career path for the murky "unknown" of unemployment began to unnerve me almost immediately. When I turned in my resignation at AMH I felt as if my career and accomplishments slowly began to fade away. As I passed on professional offices and penned registration instructions for my successor, my professional identity began to disappear. What if I could not find a registration position in Charleston? Who would I be? Ok, that was a bit dramatic, but I worried about how the move would affect my career. Museum work was a huge part of my adult identity and the prospect of losing it was unsettling.
How to begin the search? Charleston is one of the most historic cities in the United States and is home to America's first museum and an abundance of cultural institutions. However, there are not a plethora of available museum-type positions in Charleston. People move to Charleston because it is a wonderful city. Museum professionals take positions in Charleston because they are great positions…and stick with them. There does not appear to be a great deal of job turnover. However I was determined to obtain a registration or collections management position and began my search with a good amount of optimism.
May 2001: To begin the job pursuit I e-mailed everyone I knew in Charleston (all of whom happened to be affiliated with museums or historic sites) to let them know we were moving to town. Although it was comforting to have a few contacts (who were friends as well,) I knew not to count on anyone but myself to find me a job. In late May 2001, I headed to the AAM directory and photocopied contact information for almost all the cultural institutions in Charleston. I sent each institution (museums, house museums, historical societies, etc) a letter to introduce myself and explain what type of work I was looking for. Unfortunately this tactic produced few results. However at this point, my mind was only half focused on finding a job, as my wedding was quickly approaching.
June-July 2001: I accomplished almost nothing on the job search in June. Instead I occupied my time wrapping up loose ends at the Augusta Museum, teaching my husband-to-be (and myself) some dance moves for the wedding, organizing a yard sale to get rid of our junk, etc. Our wedding was July 14th, and as expected, I did zero job-hunting that month. Instead of obsessing over unemployment, I put all my energy into lying on the beach in Mexico during our honeymoon! There was plenty of time to worry when we got back, and I accepted the fact that there was not a job waiting for me in Charleston.
August 2001: We returned from the honeymoon, tanned and relaxed. Thank goodness for the down time though, because we packed and moved one week after returning to Augusta. We arrived in Charleston in early August and my poor husband was at work almost as soon as the truck was unloaded (which added to my growing feeling of guilt that I too did not have a job to go back to.) I allowed myself approximately 5 days to "settle in" (two of which were a weekend) before hitting the job search full steam ahead. Friends told me to "relax," and enjoy the time off. However, I had been out of work for almost two months as our finances were beginning to reflect. It is also somewhat impossible to enjoy a period of unemployment when you really need a job!
During the first weeks in Charleston, I e-mailed my resume to various institutions around town. E-mail is a great way to introduce yourself in a direct, yet non-obtrusive way. As I suspected, this tactic produced a variety of pleasant responses from local professionals who congratulated me on past accomplishments and wished they could help, but had no positions available. Several people suggested I send resumes to institutions I had not even considered…archives, special collections departments, libraries, etc. Libraries….?? Early on I was very picky about the kind of work I wanted. I held tight to the notion that I was a museum registrar, looking for a museum position, and that was it. I continued to plug away and sent several more resumes to smaller institutions not listed in AAM. This also produced a few phone calls from individuals interested in my experience, but unable to offer me employment.
Late August 2001: As the weeks went by, my days fell into a routine. I spent mornings glued to the computer e-mailing people, checking museum employment websites, more e-mailing, hoping the phone would ring with a job offer (waiting for the phone to ring is SUCH a bad idea, I can't even tell you.) I also enjoyed a daily ritual of morning coffee and newspaper classifieds. Although I knew it was not likely there would be an ad that read "Museum Registrar Wanted," I continued to check every day. You never know what might turn up. In fact, I believe looking at the classifieds forces one to consider what else is out there and how your skills might apply. Other strategies included joining the South Carolina Federation of Museums, updating memberships with RC-AAM and SEMC, subscribing to multiple list-serves, etc. Still, nothing was happening.
After several weeks of the "stay at home" job search, I needed to get out. A friend suggested I walk around the gallery district of Charleston and see if anyone was hiring. Now, I am not exactly shy, but walking into a place of business and asking about jobs is not really in my nature…but I did it anyway. I hit the pavement armed with resumes and a determination to be bold (poverty will do that to you.) Shyness cannot be part of an aggressive job search. One of my excursions led me to the Preservation Society of Charleston. I walked into the Society's gift shop intending to take a break and browse through books on Charleston history. Instead, I asked the women working if they needed volunteer help. I was tired of sitting at home waiting for the phone to ring and needed to do something (and was still not ready to look for a job outside the field.) I signed on to volunteer several days a week in the society's shop. I am not quite sure why it took me almost a month to offer my services as a volunteer (probably because I wanted a paying job,) but I realized quickly that volunteering was a great way to get out there and meet people. It also provided a measure of self-esteem and was rewarding in the very fact that I was helping others.
September 2001: I decided to contact Jan Hiester, Registrar and Curator of Textiles at the Charleston Museum, to see if she needed a volunteer in the collections department. As we all know, a volunteer with actual collections experience can be invaluable, and within a few days I found myself back in the familiar and comforting surroundings of a museum storage area. It was a relief. The Museum had recently acquired a large archival collection that needed immediate processing and Jan asked if I would mind helping Sharon Bennett, the museum Archivist with this project. I would have washed windows if they asked me!
I found that volunteering was a great way to introduce myself to a community of professionals. I should have signed up to volunteer as soon as I got to town. As people get to know you and your interests you will find that doors open up, especially when you become more than a resume or a voice on the phone. Making actual human contact is so important when trying to get your foot in the door. For several weeks I divided my time between volunteering at the Charleston Museum and the Preservation Society. I also continued to search local job web sites, send e-mail inquiries and browse the newspaper. I have to admit, I also logged a few hours soul searching at the beach. We had been in Charleston over a month (not really a long time, but it seemed like an eternity) and I had no real job prospects. Although I was enjoying my volunteer work, money was becoming an issue and I began to panic.
Mid September 2001: I was at home on September 11th and watched the terror of the day unfold on television. All of a sudden my job plight seemed trivial in the face of a national tragedy. However, I had to continue to look. I was now perusing the entire classified section of the newspaper. "What kinds of jobs are out there?" I wondered. "What am I qualified for if not a museum position?" Granted, I do have other job experience, but all of my "professional experience" had been in a museum. I decided to create a non-museum resume that boiled down my experience in more general terms (organizational skills, project management, etc.) that could be applied to a variety of professions. With a heavy heart, I sent out resumes for non-museum jobs. At that point I felt completely lost and considered seeing a career counselor. It seemed my quest to find work within the museum field was not in the cards at the time. Now I just needed a job!
In the midst of my melancholy, I finally received an e-mail about a possible job…but it was not quite what I expected. The wonderful Marie Hollings, Director of the Special Collections Department at the College of Charleston, had received my resume from another institution I sent it to months earlier (during the May mailing.) Marie was in search of an Assistant Archivist for an 18 month NEH grant project processing the College's Jewish Heritage Archival Collection, and inquired if I might be interested in applying for the position. Just then I was considering taking a job as a tour guide at one of Charleston's Historic sites, so this opportunity, somewhat related to my former life, seemed like a great option. I will admit, the terms archives and especially "assistant" gave me a moment of pause. A voice in my head said, "you are not an archivist and you haven't been an assistant anything for several years….this is a step back." After indulging the voice for a second, I promptly silenced it. I was being given the opportunity to get my foot in the door in Charleston (a city with a tough, somewhat hidden job market,) not only with a reputable institution but also with a group of highly respected professionals recognized throughout the Southeast for their accomplishments. Who was I to be picky anyhow? I needed work!
I was slightly perplexed as to how to prepare for the interview. Although I had completed archival-type work in previous positions, (especially in my "jack of all trades" position at the Augusta Museum of History,) I had no formal archival training. I am a fast learner and was confident I could be taught archival methods and use my organizational skills in a new setting; however, for an interview, I needed concrete evidence to prove I was familiar with archives. After spending some time analyzing my resume and looking back at the various (and varied) positions I had, I decided to pull out specific archival experiences from past jobs and create a document (that resembled a resume) highlighting only archival work. The document I compiled indicated I had quite a bit of on-the-job archival experience, which gave me confidence before the interview. The list turned out to be quite an asset. My interviewers looked over the synopsis of my archival experience and could easily inquire about specific projects. I had reinvented myself on paper…now could I do it on the job?
Several days after the interview I was offered the position and accepted without hesitation. I realized that although it was not my "ideal" job, an archival project would be highly beneficial in terms of meeting people, learning new skills and ultimately adding more experience to my resume. We are now ten months into the project and I cannot even begin to describe all I have learned and gained from this experience. Not only are the collections of documentary material fascinating, but I have new respect and understanding for the complexities of archival processing. I had to learn a great deal and have at times been frustrated by concepts and methods that were foreign to me as a former caretaker of objects. However, whatever I lost by leaving a registration position, I have gained in the acquisition of new skills and better understanding of a different discipline. Ironically, I have even taken on the role of "registrar" of this collection. When I arrived at the College, I immediately noticed that only a rudimentary system existed for documenting and acknowledging additions to the Jewish Heritage Collection. Due to a lack of staff and time, there was a five year backlog of gift receipts, and only elementary accessioning practices. Although my job description did not specify registration duties, it was natural for a former registrar to identify an area of the project that had been somewhat neglected and take action. I am happy to say I have been able to use my museum experience to create a lasting registration system for the Jewish Heritage Collection.
The grant will end in February 2003. Although it is unclear which way my career will go I am not currently worried about it (which is a new thing for me.) I have made excellent connections and know the skills I am continually acquiring will be to my advantage in the future. Looking back on my experience, I can offer the following advice to those who find themselves in the unenviable position of finding a museum-type position in a new city:

1. Send out "feeler" letters to museums and other cultural institutions to introduce yourself and describe what you are looking for. However, do not undertake a mass mailing to early. I sent letters in May and did not move to Charleston until August. I am sure my letters were lost forever under piles of paper on more than a few desks. It is probably better to let people know you are coming closer to the time you actually move; follow up with a phone call to make sure your resume was received.
2. E-mailing resumes (with an introductory letter) is also a great means of introducing yourself and seems to be a preferred method of communication these days.
3. Contact local museums to volunteer. I think this is the most efficient way to meet people and prove your abilities in a new city. Although money is not involved, it is invaluable to make personal contacts and allow people to know you, not just your resume. Getting your foot in the door is a major achievement!
4. Don't be afraid to cast your net a bit wider within the field. When I moved to Charleston I was only interested in registration or collection management positions. However they just weren't there. I did not consider libraries, special collection departments or archives in my initial quest, which limited my search greatly. Flexibility is a major asset and underscores your dedication to learn new skills in order to stay in the profession as a whole.
5. Check museum and art job websites, the newspaper, and institutional websites, which occasionally list opportunities. You never know what might appear. Also, join the state's organization of museum professionals. I joined the South Carolina Federation of Museums as soon as I moved to Charleston. The newsletter alone can provide great contact information and job listings.
6. Find out if there is a local organization that brings together arts and museum professionals and ask to attend a meeting. Charleston has a group called CALM (Charleston Archives Libraries and Museums Council), which draws a diverse group of local professionals concerned with preservation of historic and contemporary materials, emergency preparedness and disaster recovery. Attending these meetings is a great way to meet people and make connections. Don't be shy! You need a job!

In the end, finding a job, especially a museum job, in a new city is never easy, especially during these difficult economic times. However, with the right mix of communication, flexibility and luck, it is possible. My career is 100% different than it was a year ago, but, the changes and ups and downs have only reinforced my determination to stay in the profession. I miss working as a museum registrar every day. However, I am also appreciative of the opportunity I have been given to broaden my horizons and the assistance and support I have received from the archival community. Perhaps I will return to a museum setting one day…or maybe not. Although the direction of my career is still uncertain, possibilities exist for a bright future! Good luck!

Common Causes of Damage to Furniture
By: Richard Branyan, Professional Associate of the AIC,
Lower Lodge Conservation and Museum Services in Natchez, MS

The issue of damage to furniture is complicated by the fact that furniture was intended for use and even when used for exhibition can hasten its deterioration. We have to study our furniture so we know the limitations and weaknesses of each piece. Repairs if poorly done can do far more damage than neglect.

Pest Damage
There are many pests that cause harm: termites, woodworm, ants, bees, rodents, pets and sadly the largest and most dangerous of them all Man. All pest problems can be solved by various methods of extermination, - although with man (the worst pest) education is considered more acceptable than extermination. The small pests are harder to spot, look for flight or exit holes with small sawdust like deposits known as frass. If you have furniture with signs of insect damage inspect the exit holes, if they have fresh clean holes and frass this is likely a sign of active infestation. Keep the piece isolated until you are sure that it is safe to bring into the rest of your collection. Pieces with a live infestation need to be treated by a licensed pest control operator. Treatment normally requires tenting and fumigation, which is very expensive (around $500.00 for a piece of furniture). If you have small items that will fit in a non frost-free freezer these can be wrapped in cloth placed in a bag and frozen for three days, this will also kill all pests! Termites normally swarm in June or July so watch for new exit holes in the summer! The only time you will notice new pest damage is when the young queens leave. Even after the young queens leave, the original colony continues the infestation. It is important to develop an integrated pest management plan for your site.
Inherent Vice
Sometimes furniture fails because of poor original construction. Inherent vices include poorly seasoned wood, a lack of understanding of wood technology or poor workmanship when built. Furniture with inherent vice when subjected to normal aging and fluctuations in temperature and humidity can virtually self destruct. These pieces often are the most problematic to successfully repair. Effects of inherent vice are numerous but most often result in the tops, sides, or door panels splitting as they were not able to expand and contract. Sometimes this can not be repaired without major rebuilding that will lessen the authenticity and possibly the value of the piece.
Poor Handling
I am always amazed by the lack of thought when furniture needs to be moved. I have seen numerous clients arrive to collect valuable furniture, often after expensive conservation work, in pickup trucks filled with bits of rusty metal and they never think to bring padding, plastic sheets or tie downs. Even when furniture is moved in carpeted vans wrapping in blankets is necessary as the furniture can rub against other items or hard plastic moldings causing considerable damage. When moving furniture in a building always plan the route and clear obstacles out of the way and measure any potential problems like doorways and staircases to make sure the item will fit before it's moved.
Chairs are vulnerable to poor handling as they are often carried from the crest rail, or by the arms that over time weaken and fail. Chairs should always be carried with two hands holding the seat frame. Damage to furniture is often caused by water; potted plants and fresh flowers are the worst culprits. If the water damage to furniture is not noticed quickly the marks will change from an easy to repair white ring to a permanent black ring which can quickly stain to a depth of over a quarter inch. Poor housekeeping will also cause damage; careless dusting can loosen veneer and vacuum cleaners can cause unnecessary damage by being rammed into the feet and bases of furniture.
Climate
Wood is hydroscopic which means it will gain and lose moisture according to its surroundings. Its moisture content will be in equilibrium with its environment, regardless of the age of the wood. Due to the way furniture is constructed this gain and loss of moisture can cause veneers to pop, doors to warp, and panels to split. This can be controlled by careful control of the climate. An ideal climate for furniture is 70 degrees Fahrenheit and 50% Relative Humidity. Many house museums do not have a system that can effectively control the climate. Heating can lower the RH to a dangerous level. If the RH drops below 20%
furniture can suffer major damage. High RH can cause mold growth. Try to keep the RH between 40 - 60%. Humidifiers or dehumidifiers can be purchased and used as needed to control extreme highs or lows. Any adjustments should be made slowly as rapid change can cause serious harm.

Light
Any visible light will cause deterioration. Light damage, until the twentieth century, was minimized by good household practices as rooms were kept shuttered or the curtains closed when the room was not in use. This was complimented by the use of "summer dress" which covered the upholstered furniture with slip covers to protect expensive fabrics. Mirror and picture frames were covered to prevent fly specs. The fine carpets were rolled and replaced with matting --all done to prevent light and insect damage. This century the prohibitive expense of maintaining a large household staff required to undertake this work has resulted in rapid and widespread deterioration of historic interiors. Light causes fading and crazing of finishes. Care should be taken displaying objects on furniture close to windows. The furniture will fade but the surface beneath the objects will not. When the objects are moved unsightly dark "shadow" marks will remain. Light damage can be lessened by the use of blinds, net curtains, or shears. The use of Plexiglass UV filters is very beneficial to reduce the most harmful light.
Improper Repairs
Improper repairs inflict damage that is particularly reprehensible as such damage is totally unnecessary. Correction of improper repairs if possible at all, is always much more time consuming and expensive than if the repair had been done properly the first time. There are two types of improper repairs: improper materials and incorrect techniques. Types of improper materials are irreversible adhesives and finishes that polymerize with age such as linseed oil and polyurethane. Incorrect techniques include; sloppy workmanship, such as refinishing, heavy sanding, improper use of nails, screws, and metal fittings. Attempt to repair should never be made without the proper tools, materials, and of course proper knowledge.

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