Archival exhibits-Archival Exhibitions | Society of American Archivists

Refworks Account Login. UBC Theses and Dissertations. Featured Collection. Heather Marie Gordon, In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives.

Archival exhibits

Archival exhibits

Archival exhibits

Finally, the exhibition was expected to incorporate details of the life and habits of the specimen, which represented the conditions under which it existed. Dubbed a foyer display by the Archives, the exhibition consisted of three 72" x 25" display cases and wall mounted images, and examined the history of rail companies in Northern Alberta. The exhibition explored ways of looking at the CN Tower over a period of time, rather than demonstrating how the Archives and the archival material fit into the anniversary, if indeed Archival exhibits did. For example, Albert H. Wurl's methods for making such connections are numerous and reflect some of the usual types of outreach Archival exhibits which archivists become involved. If this educational effect is directed toward the body to which an archives is accountable, these exhibitions may assist in justifying the archives' existence to its parent institution. According to T j riley peoria il accompanying brochure, [i]n the course of its brief existence [], the Empire Marketing Board produced approximately poster designs, and although thousands of copies were printed, few have survived. They can be used to demonstrate that books relate to all aspects of life, to encourage public goodwill, or to publicize the library's interest in community activities. Casterline touches on the crux of the issue when she notes that, in the creation of thematic exhibitions, [t]he question arises: Do Archival exhibits start with a subject and then locate examples, or do you begin with objects and use them to develop the story. The exhibition was divided in three sections which categorised all the works presented in the show.

Moose lick. UBC Theses and Dissertations

Running for Office: Candidates, Campaigns, and the Archival exhibits of Clifford Berryman Political cartoons from the first half of the 20th Arvhival provide relevant commentary Archival exhibits fascinating insight into the campaigns and elections of today. American Originals: Traveling Exhibit Records of famous, pivotal, ground-breaking, and even odd moments in our history. Ford and the U. Picturing the Century 20th century photographs and photographers. Expand the general concept of the archival exhibition to include tie-ins with lectures, readings, campus or community eshibits, holidays, etc. What's Cooking, Uncle Sam? Nixon and the N c nude beach. Exhibit Systems. View these changes through photographs. Discovering the Civil War For years, researchers have been finding new insights in the records of the Civil War. Roosevelt Library and Museum. For years, researchers have been finding new insights in the records of the Civil War. The Government's Effect on the American Diet Explore the records that trace the ways that Archival exhibits has occupied the hearts and minds of Americans and their Government. Use tools to build an exhibit with minimal effort and cost.

This workshop presents an opportunity to explore the planning, development, and implementation of exhibitions in an archival setting.

  • This workshop presents an opportunity to explore the planning, development, and implementation of exhibitions in an archival setting.
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  • Achieve your creative vision down to the smallest detail with Gaylord's complete line of exhibit cases, display cases, supplies and accessories can help you show off your collections in their best light, while keeping them safe, preserved and protected.

This workshop presents an opportunity to explore the planning, development, and implementation of exhibitions in an archival setting. Get practical training and theoretical knowledge about developing an exhibit in a special collections setting, from the initial idea through planning, exhibiting, and beyond.

Be part of a discussion on collaboration beyond the archives: learn about advertising and marketing the exhibit, outreach and education, adding impact through the development of related events, working with the media to publicize your event, reaching a broader audience, and developing a digital component to the exhibit. Also included are practical tips on the use of readily available materials to create a professional, informative, and attractive exhibit without compromising the materials.

Archives professionals who are interested in developing exhibitions within a repository, students in archival studies, and other information professionals who are considering expanding public service and outreach skills through exhibition development. Interested in hosting a course? Visit our Host a Course page for information on what is required and how to apply! About Archives What Are Archives? Certificate Eligibility:. Max Attendees:. Outreach, Advocacy, and Promotion.

Learning Outcomes:. Understand the fundamentals of developing an archival exhibit. Develop potential exhibition ideas and initial plans to bring back to your home institution. Expand the general concept of the archival exhibition to include tie-ins with lectures, readings, campus or community events, holidays, etc. Use tools to build an exhibit with minimal effort and cost. Who Should Attend:. Instructor s :. Jessica Lacher-Feldman. It really made me think about how I can relate it to my own work and collections.

We were lucky to have such an experienced instructor. The group exercises were very beneficial in the application of workshop lecture. I will keep and refer to it when working on exhibits. I love the sample materials in the back of the workbook.

Also the PowerPoint was colorful and concise. Host a Course:. All rights reserved.

The Declaration of Independence The Declaration of Independence set forth a list of grievances against the King in order to justify before the world the breaking of ties between the colonies and the mother country. Remembering Vietnam This exhibition presents both iconic and recently discovered National Archives records related to 12 critical episodes in the Vietnam War. Nixon and the U. Records of Rights Explore records of the National Archives documenting the ongoing struggle of Americans to define, attain, and protect their rights. President's Daily Diary Fifty historically significant entries chronicling presidential activities from November 22, - January 20, President's Daily Diary Fifty historically significant entries chronicling presidential activities from November 22, - January 20, Images of the Truman's Lincoln Cosmopolitan limousine and their Chrysler.

Archival exhibits

Archival exhibits

Archival exhibits

Archival exhibits. Archives.gov

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Library and Archival Exhibitions on the Web - Wikipedia

To browse Academia. Skip to main content. You're using an out-of-date version of Internet Explorer. By using our site, you agree to our collection of information through the use of cookies. Log In Sign Up. Jack Parrott. Each archive exhibition documents an exhibition held previously at its respective gallery. This research project will also investigate the nature of these types of archival exhibitions, and why these two particular shows were significant enough that the ICA and Whitechapel Gallery felt it necessary to present their documentation as exhibitions in their own right.

I have examined documentation within the ICA archive, which is housed within the Tate Britain archives, and the Whitechapel Gallery archive. Some of this documentation was present in each of the archive exhibitions and some was not.

This physical research was a significant factor in understanding the importance of why this documentation needed to be shown outside of the archive and be presented to the public.

The disposition of an archive is something that is both accessible and inaccessible. On one hand it presents the opportunity to examine every detail documenting an event or subject, and for the purposes of research it gives you a huge breadth of information to choose from.

On the other hand, archives can prove somewhat intimidating things. While this large amount of documented information can be very useful, finding the useful amongst the useless can seem a daunting task. Large amounts of exhibition documentation you will find in an archive are administrative and seemingly menial, unless you are researching a very specific area or topic. Even simply accessing an archive may put off the wary or unsure.

This will usually have to be done at least a week in advance and you must provide the archivist with codes for the documents you require so they can be prepared for your visit. You must not bring any bags or coats in with you into the reading room, only pencil is allowed to be used and all photography is heavily regulated. To an experienced researcher, all these things are relatively standard practice.

However, to an average member of the public this process would not warrant their time. This process is for those who have a particular interest in a select subject, and know exactly what they want to know about that subject. An archive exhibition offers a solution to this problem of accessibility. They are organised and presented by archive curators along with archivists, so that members of the public simply have to visit a gallery to view all they need to know about the chosen event or subject.

You cannot pick and choose which event or subject is exhibited, but if you are determined to find out about something then the archive is still there. Archive exhibitions present documentation that can come in many forms. Typically these forms are photographs, films, sound recordings and texts.

Photographs could be used as way to present the documentation of an ephemeral performance, or a temporary installation which only existed in one location for a short period of time. Films offer a performance piece the chance to come to life, and video or sound recorded interviews can provide insights into the personal mannerisms of artists or any other relevant figures relating to a chosen topic.

Both exhibitions present documentation of previous exhibitions that were held at the ICA and the Whitechapel Gallery. Cybernetic Serendipity was first exhibited in from the 2nd of August to the 20th of October at the Institute of Contemporary Arts. The ICA had only that year moved from Dover Street to The Mall, making Cybernetic Serendipity one of the first noteworthy exhibitions to be presented in the new premises.

Curated by Jasia Reichardt, the exhibition was the first of its kind. Over participants were brought together to represent the growing relationship between technology and the arts.

These participants included engineers, artists, composers, mathematicians and poets Institute of Contemporary Arts, When the initial idea was formed, Reichardt approached the big names in British Industry that were beginning to develop computer technology. IBM offered six computer display machines, films, research and an exhibit which explained a history of cybernetics Reichardt, The exhibition was divided in three sections which categorised all the works presented in the show.

The first of these sections encompassed works produced with computers, such as computer generated graphics and computer composed music. The second section contained cybernetic devices as works of art along with their productions, and the final section presented a history of cybernetics together with machines that showed the new uses for computers Reichardt, The press release for Cybernetic Serendipity outlined precisely what the definitions of a cybernetic device were, and how all the work presented in the show related to this definition.

Therefore what was on show for the audience to view was either an artwork that has been created by a device of this type, or the actual device that created or was in the act of creating artwork during the exhibition. These machines are kinetic sculptures that would continuously produce pictures systematically throughout the time of the exhibition. An unofficial archive was created in tandem with the exhibition by Yuri Pattison whose previous work, among other mediums, explores the internet as a physical space for creating virtual-based artworks.

This was a compilation album originally produced for the exhibition to present the work of composers at the time using computers to make music such as John Cage, Iannis Xenakis, Gerald Strang and Haruki Tsuchiya. Original copies of the album were rare to find, so the album was re-pressed by The Vinyl Factory for the ICA with the original sleeve artwork Institute of Contemporary Arts, However, at the time of its unveiling this influential appreciation was largely unrecognised.

Cybernetic Serendipity had nearly 60, visitors during its time at the ICA, but for many this number was not due to its artistic merit. In this programme, they discuss extensively what they felt is wrong with the exhibition.

The main thing they all agree on is that the exhibition is neither art nor a presentation of advanced science, but in the middle acting as something that is amusing for children. Rhode, again like Hobson, tries to find a positive to the exhibition by explaining that the attitude at the time was a fear of the technological age. Despite this criticism at the time, Reichardt believed fervently in the notions that drove the exhibition. This interpretation was very true to the definition of popular as when selecting objects, the judgement of what to display was greatly aided by consumer research.

This lead to the range of objects collected together by Jones to be wide spread in terms of aesthetic standards. Three suggestions are made by the Society for Education in Art to give greater coherence to the exhibition. The right standard is — is it popular and is it art? Each sub-section was then given a small introductory explanation and a list of the objects displayed in the show in that certain section. The archive exhibition displayed at the Whitechapel Gallery in that presented documentation from the original exhibition expanded on the original exhibition in a number of ways.

Collaborations with the Museum of British Folklore and the University of Brighton Design Archives also broadened the concerns of the archival exhibition to issues relevant to personal and institutional archives Yiakoumaki, In a sense, it seems Jones was ahead of her time in how she approached arrangement and this documentation exhibition signifies her recognition as a forward-thinking and unique exhibition organiser. Both exhibitions appear to have been beyond their own time, and both seem to have been presented to a public which was not ready for them.

It is because of these points that the shows were significant enough that the ICA and Whitechapel Gallery felt it necessary to present their documentation as exhibitions in their own right. The ambition of the original exhibitions produced knee-jerk reactions from the peers of Reichardt and Jones and, through these archival exhibitions, their determination to stay true to their original ideas and intentions is presented to a new audience.

Cybernetic Serendipty: A Documentation. Retrieved April 26, , from ICA. Black Eyes and Lemonade. London : Whitechapel Gallery. Jones, B. Jones, Black Eyes and Lemonade pp. London: Whitechapel Gallery. Macgregor, B. Cybernetic Serendipity Revisted. Edinburgh: Edinburgh College of Art. Moriarty, C. Drawing, writing and curating: Babara Jones and the art of arrangement. Pattinson, Y. Cybernetic Serendipity.

London: BBC. Reichardt, J. Cybernetic Serendipity: The Computer and the Arts, Society for Education in Art. Points for the Agenda. Whitechapel Gallery. Retrieved April 20, , from Whitechapelgallery. Moriarty, Drawing, writing and curating: Barbara Jones and the art of arrangement pp.

Page 8 of 8. Related Papers. By Miriam La Rosa. By Tim Stott. By Lucy Steeds. BWContemporary Becomes Digital By Bruce Wands. Download pdf.

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Archival exhibits