Chicago History Museum Archives Tour

I recently met with Julie Wroblewski, the senior archivist at the Chicago History Museum (CHM), to discuss the state of the archives program at the museum and future goals for its development. I worked at CHM several years ago, but sadly our time at the institution did not overlap. A colleague, and former archivist from CHM, introduced Julie and I recently, and my current enrollment in the Archives & Manuscripts course in my MLIS program seemed like a perfect opportunity to reconnect and put into context what I am learning.

Julie is a certified archivist with an MLIS from Dominican University. She also recently completed an MA in Digital Humanities from Loyola University, and received her digital archives specialist certification from the Society of American Archivists. Previous work experience includes the role of Archivist and Special Collections Librarian at Benedectine University, Project Archivist at Peggy Notebaert Nature Museum, and Project Archivist at Lake Forest-Lake Bluff Historical Society. Her experience makes her well qualified for her current position, especially given the changes the collections unit is undergoing.

The museum is a stand-alone institution, and there is both a library and an archives within it. Hierarchically, the 3D museum collections, archival collections, and library are all situated under the collections unit, so the staff work closely with one another. The archives program at CHM is extensive - a fact I did not fully grasp when I worked there. The archival collecting scope aligns with the overall policy for the museum. The areas include: living, working, and governing the metropolitan area (including the broader suburbs around Chicago), the built environment, and individuals and ideas (Chicago History Museum, Collecting scope, 2017). Each of these areas is further broken down into topics, all of which are represented in the archives. Examples of these subjects include neighborhoods, class, leisure, business, labor, electoral politics, citizen action movements, and urban planning (Chicago History Museum, Collecting scope, 2017). Needless to say, there are a broad range of ideas represented in the collections, but they are all generally geographically focused in the Chicagoland area.

 Screenshot of an image from one of the museum’s  permanent exhibitions

Screenshot of an image from one of the museum’s permanent exhibitions

Given the wide range of topics covered in the archives, its user base is wide and varied. Requests are primarily fielded through the research center, though she mentioned she assists with queries which prove to be especially challenging. When I worked at CHM, I would walk through the research center on a daily basis, and I was always amazed by how consistently busy it was, and by the range of individuals visiting and materials they were using. Indeed, they information needs of users include genealogical research, architectural drawing requests from homeowners, primary subject material for Chicago History Fair project for students, and both broad and specific subjects in the archival collections driving the development of new work by authors, filmmakers, and academics. The research center was recently able to eliminate the fee to visit and use the archival and library collections, so now even more of the city can use the institution’s resources. Requests from those outside the city is also welcomed through the use of local freelance researchers.

There are several distinct collections areas managed by archivists at the institution: architectural drawings and records, prints and photographs, and archives and manuscripts. Julie is currently focusing her efforts on the first and last, and the museum is currently seeking a new archivist to manage the prints and photographic materials.

The architectural drawings and records highlights the metropolitan area’s scope and variety of buildings. It includes both famous and lesser-known architects and architectural firms, and collecting efforts have prioritized the acquisition of entire archives of the creators (Chicago History Museum, Architectural drawings and records, 2017). The collection is comprised of architectural drawings, documents, photographs, and some 3D material which is managed separately. The Holabird & Roche/Holabird & Root architectural drawings and records, 1885–1980 and Harry Weese Associates architectural drawings and records, 1952–78 are two prominent collections within architectural drawings and records (Chicago History Museum, Architectural drawings and records, 2017). Much of the material in these collections can be challenging to work with, given the scale and relative fragility of many drawings and blueprints. Julie indicated that a good portion of these materials are stored off-site, and that much work needs to be done to improve the discovery of these holdings.

 Screenshot of a sample archival document from the architectural drawings and records collection

Screenshot of a sample archival document from the architectural drawings and records collection

The prints and photographs collecting area is that which I am most familiar, as much of the work I did in the photography department at CHM was digitizing negatives and prints for licensing requests. There is an incredible volume of content at “1.5 million images and more than 4 million feet of moving images” (Chicago History Museum, Prints and photographs, 2017). In addition to the sheer number of items, a wide range of media are represented: “prints, including etchings, engravings, and lithographs; photographs, including cabinet cards, cartes de visite, cased images, stereocards, paper prints, and negatives; broadsides; posters; postcards; greeting cards; and moving image film and video” (Chicago History Museum, Prints and photographs, 2017). My favorite collections I had the opportunity to handle and digitize were the Hedrich-Blessing architectural photographs and the morgue from the Chicago Daily News. The majority of these materials are stored at the museum.

 Screenshot of a sample photograph from the prints and photographs collection

Screenshot of a sample photograph from the prints and photographs collection

I am the least familiar with the archives and manuscript collection, so fortunately this is one of the storage areas we toured. There are over 20,000 linear feet of materials, and this is the one collecting area which does include content related to broader American history, especially as it pertains to the country’s early history. Archives and manuscripts include “unpublished materials including correspondence, diaries, business and financial records, meeting minutes and agendas, membership lists, research notes, scrapbooks, scripts, sermons, and speeches” (Chicago History Museum, Archives and manuscripts, 2017). Collections which see a lot of use are the Red Squad files - which have challenging access restrictions - and the Chicago Division of the Brotherhood of Sleeping Car Porters records, 1925–69 (Chicago History Museum, Archives and manuscripts, 2017). A large storage space is located in the museum to house some of these materials, but given square footage limitations and the need for more efficient shelving, some collections are stored off-site.

 Screenshot of a sample archival manuscript from the archives and manuscript collection

Screenshot of a sample archival manuscript from the archives and manuscript collection

Julie showed me a portion of the storage spaces in the museum, which are not open to the public. We walked past the cool and cold storage - used primarily for still and motion film and color prints. Our next stop was the primary archives and manuscript room. The spaces has several computer stations and large working spaces for processing. Additionally, there is a clearly defined area dedicated to largely unprocessed collections.

 Storage space at CHM

Storage space at CHM

 More storage

More storage

Efficiency and backlogs were a topic that came up repeatedly throughout our conversation. I knew that the museum historically struggled with a substantial backlog, and Julie indicated that the archival collections were not immune to the problem. Fortunately, she has been making substantial progress to reduce unprocessed collections. She employs a variety of strategies to this end, with More Product, Less Process - or MPLP - featuring prominently in the success. Reflecting on previous finding aids, there had historically been a tendency to approach description from a historian’s rather than archivist’s perspective. Rather than focusing on providing a few useful access points, collections were exhaustively described.

Julie also uses processing plans to help go about work strategically. These plans include timelines to provide benchmarks for work, and she uses spreadsheets to document the work she (and volunteers and interns) do while processing collections. She has also taken a note from agile development strategies used by software developers, and she will often organize work into two week chunks. This helps break down complicated and seemingly daunting tasks into more manageable portions, and it helps keep the processing plan on track. Collectively, all these efforts have resulted in the archives backlog shrinking, all while she continues to take in new collections and faces a staffing shortage.

Capacity is an issue, especially given the fact that Julie is the only archivist on staff at the moment. The consequences of this reality are reflected in two ways in regards to growth of the collection: the nature of acquisitions and the material types currently permitted. Currently (and historically) donations have accounted for roughly 80-90% of new acquisitions in the archives. Staffing is the limiting factor in the solicitation of archival collections, especially since it often takes a substantial amount of time and effort to build relationships, and these types of acquisitions can take years before they are completed. Julie mentioned that some exhibitions have helped to kickstart these relationships, especially with communities who were unaware of CHM and who are underrepresented in the collections. Gaps she would like to address include materials created by and that are about the south and west sides of Chicago, as well as communities of color and the Muslim community in the city. Archivists at CHM will likely need to actively solicit materials to more fully round out the archives.

 Potential donors can facilitate the process through the online form

Potential donors can facilitate the process through the online form

Additionally, the museum does not accept born digital content as is outlined in the collecting scope and policy. Julie recognizes that this is problematic, as the majority of archival material being created today is likely digital. As such, there is a chronological gap that has the potential to grow, with material from the 2000s and on simply not being present in the holdings. Limitations in IT, especially as it pertains to infrastructure and the development of a digital preservation plan, are the primary source of this issue. In order to take this on, it will be necessary to have robust staffing and resources to support the substantial amount of work necessary to support born digital material. Julie is actively working on remedying these current limitations, and she hopes that they will begin collecting this type of material in the next few years.

Related to the current technological barriers at CHM, Julie stressed the necessity of emerging archivists to embrace new developments. When I inquired about specific tools or processes, she reflected on the fact that technology changes quickly and that above becoming an expert in one specific application, students should seek to be well-rounded. Competency should be reflected in gaining a range of experiences in order to learn how to use the next new thing, and to develop a foundation and comfort with using technology. She also reassured me that the technical aspects of archival work are not as complicated as they may seem, and that newcomers like me need to approach finding aid encoding and digital preservation with patience and humility.

One especially interesting idea Julie brought up repeatedly, and perhaps many of us do not fully consider when going into this field, is the necessity of relationships. She indicated a variety of ways in which she is actively strengthening ties within the institution - from working with curators to strategize collections building activities to the collaboration with the library and research center to learn what collections are being requested most frequently. Rather than acting as a silo, she understands the need and value in seeking out the experience and knowledge of other staff, and using it to strengthen the archives. This has resulted in the development of a series of brown bag meetings for staff, where Julie presents interesting new acquisitions to raise internal awareness of the collections.

 The research center is an important ally for archival activities at CHM, especially because most external research requests are filtered through this department

The research center is an important ally for archival activities at CHM, especially because most external research requests are filtered through this department

Externally, she has been forging connections between current events and archival collections through programs and events, which often take place off-site. This helps acquaint communities, neighborhoods, and organizations with CHM and its archives, and it demonstrates the relevancy of the collections. Julie has developed a strong intern program, which is helping to train the next generation of archivists. As she is going about her work on a day-to-day basis, she keeps a list of candidate processing projects for emerging professionals. These real-world projects feature concrete aims, realistic deadlines, and the types of challenges we will face as archivists. Finally, she maintains close ties with other professionals in the field, especially those with similar collecting scopes. They work together to determine where materials might be a best fit, and they can serve users better by understanding where to refer individuals to with specific requests.


References:

Chicago History Museum. (2017). Architectural drawings and records. Retrieved from

https://www.chicagohistory.org/collections/collection-contents/architecture/

Chicago History Museum. (2017). Archives and manuscripts. Retrieved from https://www.chicagohistory.org/collections/collection-contents/archives-and-manuscripts/

Chicago History Museum. (2017). Collecting scope. Retrieved from https://www.chicagohistory.org/collections/collecting-scope/

Chicago History Museum. (2017). Prints and photographs. Retrieved from https://www.chicagohistory.org/collections/collection-contents/prints-and-photographs/




IPI Photographic Processes Identification Workshop

Last week, I attended a 3-day workshop in identifying photographic prints at the Chicago History Museum. Developed by the Image Permanence Institute, this was an intensive and incredibly helpful opportunity. Two staff from IPI led the sessions - Jae and Alice - and each day alternated between lectures and hands-on activities. After each lecture, we were able to work with the teaching collection, walking through the methodology we were taught to properly identify the images. This really helped to reinforce the ideas presented, especially by working with a partner to talk through what we were seeing.

Our first day was dedicated to an overview of the development and challenges in creating photographic images. The framework for the rest of the workshop was also established via an introduction to a visual identification guide. This checklist helps establish a methodology to looking with the aim of identification, by inspecting: image content, primary support, image color and tone, image deterioration, surface sheen, image structure (continuous tone or patterned), and layer structure. These visual cues align with the content of Graphics Atlas, an online resource provided by IPI. This way of walking through prints, starting with overall observations and gradually working towards magnification, proved to be very helpful throughout the sessions. They also discussed the earliest processes from the 19th century. We covered photographs on rigid supports - Daguerreotypes, ambrotypes, and tintypes - in addition to silver based printed-out prints on paper - salted paper, albumen, collodion, and gelatin prints.

 19th century processes

19th century processes

The next day was spent reviewing non-silver based printed-out prints on paper - carbon, cyanotype, and platinum prints. The rest of the session was spent moving forward into the 20th century, focusing primarily on the most common black and white print form of the century - the silver gelatin developed-out print. After learning about this highly variable print type, Jae and Alice introduced us to color photographic prints - autochrome, carbro, dye imbibition, chromogenic, silver dye bleach, and diffusion transfer prints. We rounded out the day by reviewing the non-photographic counterpart to all the processes we had learned up to this point - photomechanical prints. These included Woodburytypes, photogravures, rotogravures, collotypes, letterpress halftone prints, and offset lithography prints.

 Comparing bronzing with an overexposed POP print with silver mirroring on a degrading DOP print.

Comparing bronzing with an overexposed POP print with silver mirroring on a degrading DOP print.

 20th century process: silver gelatin DOP

20th century process: silver gelatin DOP

The last day moved us into the 21st century and digital printing technologies - inkjet, electrophotography, and dye diffusion thermal transfer prints. We put all our knew knowledge to work by working through the identification of ten prints, which ranged from the earliest to the most contemporary processes. It could have been overwhelming, but knowing the steps helped guide the process. And it was just as helpful to incorrectly identify prints, as Jae and Alice then provided us with additional help on how to get to the right answer. My partner and I went through several packets of prints, and we felt fairly confident by the end! We also had the opportunity to look at some of the photographic prints in the collection at the Chicago History Museum. It was nice to ground everything we had learned with these samples - these are the types of prints we are likely to encounter in the future, and may have to identify without the assistance of our IPI experts.

 Teaching collection test!

Teaching collection test!

I went into the experience hoping to gain some greater understanding of print images, and I was floored by how much content we covered, and how effective the instruction and format of active learning were. I still have much to learn, but I am so grateful for the opportunity to get this crash-course in photographic (and photomechanical) print identification.

 Print viewing in archival storage at the Chicago History Museum

Print viewing in archival storage at the Chicago History Museum

 Early processes in CHM’s collection

Early processes in CHM’s collection

 A later process in CHM’s collection

A later process in CHM’s collection






Gerber Hart Library & Archives Tour

I was fortunate to recently visit the Gerber Hart Library and Archives here in Chicago, and the director Wil Brant led me on a tour. I am interested in archives with a strong community focus and in histories often underrepresented in typical repositories, and this is in part why I reached out to this library and archives. This institution reflects these ideas, and asserts its ability to be a “conduit for change” through its resources and programming (Gerber Hart, 2015). The library and archives believes “knowledge is the key to dispelling homophobia” (Gerber Hart, 2015).

Gerber Hart is a collecting institution “dedicated to meeting the information needs of its unique community in a safe atmosphere that promotes research, exploration, and discovery” (Gerber Hart, 2015). The holdings of the institution can be broken up into three broad categories: circulating library material, archival collections, and special collections. The focus of my tour were the roughly 150 archival collections, though we also discussed the 3D and material culture objects comprising the special collections. The collecting scope of the archival branch of the institution is the: “records, papers, and other realia of lesbian and gay life, focusing primarily in the Chicago metropolitan area and the Midwest” (Gerber Hart, 2015).

 Main exhibition space and  Gay is Good: Homophile Activism before Stonewall  exhibit

Main exhibition space and Gay is Good: Homophile Activism before Stonewall exhibit

I started getting a better sense for the archival collections after taking in the temporary exhibition Gay is Good: Homophile Activism before Stonewall in the gallery space down the hallway from the library and archives. Featured were documents, photographs, pamphlets, magazines, books, buttons, and a typewriter. My tour officially began in the reading room and circulating stacks, where Wil discussed the historical context of the institution. We then walked through the two closed-stack storage areas, which housed rare library materials as well as archival and special collections. The collections seemed well organized, and they were housed in archival boxes; there was an emphasis on stewardship. It was clear throughout the tour that archival principles of intellectual and physical control were a primary focus for the management of their collections. Gerber Hart moved into the space shortly after it was renovated, and they were able to make requests of the building owners - including the installation of separate HVAC units for each of their storage spaces. Included too are two processing areas, one of which is large enough to fit several large tables.

 Public reading room and circulating library collection

Public reading room and circulating library collection

 Reading room with tables for researchers to look at archival collections, exhibition cases featuring archival and special collections, and circulating library collections

Reading room with tables for researchers to look at archival collections, exhibition cases featuring archival and special collections, and circulating library collections

In its nearly 40 year history, the archives has acquired the majority of its collections through donations. It is a well-known institution given its status as the “Midwest’s largest LGBTQ circulating library” and its drive to develop relevant services and programming. As such, strong ties exist between the LGBTQ community and the library and archives, which results in consistent archival donations. Additionally, the library and archive maintains its own institutional archives, which consists in part of previous presidents’ records. Some acquisitions are solicited, especially instances where organizations may be dissolving, but this requires considerable time and effort.

The content of the archival collections varies, and it includes documents, posters, photographs, and audio-video materials. The institution does not yet have the capacity - from a staffing or infrastructure perspective - to begin collecting born digital material. There is a particular strength in records from individuals and organizations, while fewer visual archival items are represented. Wil explained that this can likely be attributed to the fear of homophobic retribution and retaliation from those processing photographic and film material, and to unaccepting family members destroying or hiding what materials may exist. In short, absences in the archival collection can be attributed to restrictive societal norms and laws previously on the books.

 Closed stacks, archival collections storage

Closed stacks, archival collections storage

 Mixed collections

Mixed collections

This institution fills an important role as a repository of material of LGBTQ life in Chicago, the Midwest, and beyond. Wil helped me to understand that up until fairly recently, mainstream libraries and archives largely were not interested in acquiring material for or about this community. This is especially true with many public libraries. As such, Gerber Hart filled a gap, focusing specifically on circulating, archival, and special collections which were overlooked or rejected by other institutions.

More recently, with other repositories slowly starting to expand their scopes, and with the rise of information being made available on the internet, the focus of Gerber Hart’s users has shifted. Use of the circulating collections has decreased, and research requests for their archival and special collections has increased. As a result, more individuals outside of the LGBTQ community are using the materials, especially professionals developing book and film projects, college students doing research, and public school children working on Chicago Metro History Fair projects. The heart of the user base will likely remain in the community, especially as younger generations seek information about their shared history, but it is heartening to see interest spread and grow. I appreciate how inclusive the space is and how that is reflected in the wide range of users.

 Some of the less common visual resources in the archival collections

Some of the less common visual resources in the archival collections

It is incredible to me how much the library and archives are able to accomplish, especially given its size and resources. There are currently two staff - both work part-time, and only one position is permanent. Wil indicated that there are approximately 30 volunteers and interns contributing to the daily operations. Much of his time is dedicated to managing and coordinating the activities of those donating their time. Graduate students in MLIS programs have interned at Gerber Hart, and a comprehensive collection list has recently been created. This is an important resource for users to discover what is available, especially since it is accessible to researchers remotely via the website. There are currently a few finding aids available, and work is underway to create more. Digitization largely happens on an ad hoc basis, and larger projects with special funding utilize contracted services.

The library and archives is a stand-alone institution, it is not a part of any other library, archive, or museum. It does have a symbiotic relationship with Howard Brown Health, which has one of its satellite offices in the same building as Gerber Hart. Howard Brown Health is a health and social service nonprofit organization focused on the wellbeing of the LGBTQ community in Chicago (Howard Brown Health, n.d.). The nonprofit encourages the development and display of archival and special collection exhibitions in their waiting and program areas.

 Additional exhibition space in the lobby of Howard Brown Health,  Games We Play  exhibit

Additional exhibition space in the lobby of Howard Brown Health, Games We Play exhibit

I learned so much during my trip. Wil taking time out of his busy schedule was such a nice reminder how giving folks are in archives, libraries, and museums.

 

References:

Gerber Hart Library and Archives. (2015). About. Retrieved from http://www.gerberhart.org/about-gerberhart


Howard Brown Health. (n.d.). Mission and overview. Retrieved from https://howardbrown.org/mission-and-overview/

IS&T Conference

During my trip to Washington D.C. this spring, I attended the IS&T Archiving conference in conjunction with visiting two Smithsonian archives. A representative from our department had attended this event in the past, and it’s been on my radar for several years. It was a good opportunity to learn about the trajectory of cultural heritage imaging and archiving on a larger, international scale.

This conference led me to consider my career path and hopes for the future, especially as it pertains to information professions. I originally became interested in the field of cultural heritage imaging as a result of my background in photography. Internships in two museums during college opened my eyes to the world of archival and museum work, especially as it pertained to making historic materials accessible. Digitization has been the focus of my career so far, having worked in three different museums and libraries in this capacity. After taking over some archives duties in my current position, I’ve realized how much I enjoy this related, yet different side of making materials accessible. It’s become clear to me that digital capture is just one aspect of access, archival practice is necessary in order to make data findable, and to preserve this data. I was pleased that the IS&T Archiving conference covered the full gamut of my interests: from digitization to quality control, workflows, metadata, standards, and information management.

While much of the conference focused on the hows of doing the work, the end goal of access and preservation was evident in all the presentations. The keynote was a prime example of this focus on use: the Montreaux Jazz Festival Digital Project in Switzerland was conceived first as a means of preserving unique, culturally important audio recordings, and it evolved into an effort rich in dynamic programming. The collaborative project has resulted pop-up exhibits and experiences utilizing archival footage during the annual jazz festival. The project faces the challenge of complicated rights issues, but staff have found a creative solution in the form of a custom-built cafe for researchers, students, and enthusiasts to interact with the collection.

A presentation by staff at the U.S. Library of Congress was another excellent instance of technology serving end users in making archival material accessible. The National Library Service for the Blind and Physically Handicapped within the Library of Congress has been digitizing its Braille music collection for preservation, given the often fragile and rare nature of the material, to maximize space on circulating shelves, and to better serve patrons. Given the fact that this branch serves citizens across the country, digital access has become the preferred method of disseminating music scores. The presenters reviewed their research in the various hardware and software used to effectively capture and output files which accurately capture the original. There is still much that could be improved in the existing technology, library staff made it clear that the challenges in digitization are worth it given the educational value they provide for the community.

The project manager of the Robert F. Smith Fund at the National Museum of African American History and Culture discussed the incredible collaboration between cultural heritage institution and community via their archival projects. Their community curation, professional curation, professional development, and Explore Your Family History Center all connect individuals with history. Staff have organized community digitization projects, which allows folks to learn about best practices for storing materials and digitally archive their ephemera and family photographs. Through professional curation and fellowship and internship opportunities, agency over representation and narratives can be retained within the community. And the Family History Center allows for information professionals to guide genealogical research. The presenter relayed stories about the unexpected social interaction that happens in this space, as long-lost family members have connected as a result of their findings. The work being done as a result of the Robert F. Smith Fund is a prime example of the multitude of ways in which cultural heritage institutions can create value for their patrons and community.

 Doretha Williams from the National Museum of African American History and Culture

Doretha Williams from the National Museum of African American History and Culture

There were several sessions that focused on 3D capture of historic objects and sites, and the value of documenting our changing world. This is one emerging side of cultural heritage digitization which shows incredible promise in capturing our collective, global cultural patrimony. Historic sites at risk due to political or economic instability, disaster and climate change can now be captured with a high degree of detail and accuracy. While these captures are no replacement for the originals, their use and distribution can help foster a sense of urgency to preserve these sites and it can help individuals across the world learn in a tactile way about these histories. It was heartening to hear a call for a review of file formats, metadata schema, digital preservation and an overall strategy for dealing with 3D capture. There aren’t currently any standards, so this is a crucial concern. After all, long-term access of this data will only be assured if information professionals turn their attention to effectively archiving these materials.

One presentation out of Finland, and another out of South Korea also pointed to searchability of digitized archival material as key as it pertains to access. The Digitalia Research Center has been working to create systems which will accurately and efficiently perform OCR on a variety of typeset and handwritten materials, in a variety of languages. In addition, their solutions are able to analyze the resulting data to determine keywords for processed materials. The research done in the audio archives of the National Archives of Korea reveals the value of speech recognition technology. Though manual intervention is often necessary with automated processes like this one, deep learning is being implemented on an experimental basis in an attempt to improve efficiency and accuracy. Both these automation projects underscore the value of cost-effective technologies that will provide improved access via search, and which will keep up with the incredible volume of archival materials we create.

 Anssi Jääskeläinen from the South-Eastern Finland University of Applied Sciences, Digitalia Research Center

Anssi Jääskeläinen from the South-Eastern Finland University of Applied Sciences, Digitalia Research Center

A poster about the Echoes project, based out of the Netherlands, caught my interest as it pertains to cooperation and collaboration across institutions and countries. This effort is attempting to link data, and thus archival collections, through one unified system. Based on the Europeana portal of digital collections that pulls together cultural heritage material from scores of institutions across the continent, this system goes one step further to connecting collections across the globe. Through careful crosswalking of metadata, museums, archives, and libraries can add to a growing web of information. The data is transformed to LOD/RDF triples, and users can query or use maps as search interfaces (Netiv and Hasselo, 2018). Projects like this one point to the larger trend of linked data, and the necessity of international collaboration. It is easy to become overwhelmed by options when searching for or browsing information as a result of the sheer number of search engines and information portals. Consolidation of data, and enrichment from making connections is key to help cut down on information overload.

I left the conference considering how we might improve our processes and standards within the digitization program at our museum. This has yielded helpful conversations about progress and improvements, that should help to ensure we are producing accurate documentation of our collections for archival purposes. Beyond these implications, I keep reflecting on the presentations in relation to the value of archives. The physical materials and their digital surrogates have value when they are accessed. Access depends on preservation, searchability, and connections. This is where archivists come into play - they help to transform sheets of paper and digital files. Given the scope of impact within each of these projects presented during the conference, it’s crystallized in my mind the role information professionals play in connecting individuals, communities, and societies to unique, historical content.

Netiv, A. and Hasselo, W. (2018). ECHOES: Cooperation across heritage disciplines, institutions, and borders. Retrieved from http://blog.csuc.cat/wp-content/uploads/2018/04/Poster_Echoes_Archiving_2018_final_version.pdf

Smithsonian tours

Last month, I traveled to Washington D.C. for the IS&T Archiving conference. I headed out a few days early in order to meet with a couple of archivists at the Smithsonian. My first stop was the Smithsonian Institutional Archives, and my second stop was the National Anthropological Archives.

I met with the photography archivist, Marguerite Roby, at the Institutional Archives, and it was incredibly helpful meeting with someone managing collections so similar to those I’m overseeing at the Art Institute of Chicago. We discussed issues we’re currently facing, and she provided suggestions based on similar challenges she’s encountered. She stressed finding an approach and sticking to it, for consistency it’s not about the perfect solution, rather one that will work in most situations and will produce repeatable results. She also encouraged our department to work collaboratively with other departments to learn more about our materials, and to foster institutional ownership of the collections.

She also provided the history of the Institutional Archives, whose complicated past mirrors our story. With institutional archives, especially photographic material, it seems as though the distinction between “working” and “archival” material is often hard to make. At AIC, this is reflected in the fact that the Imaging department, that which is currently making new documentation for the museum, is still tasked with managing all historical photographic documentation. At Smithsonian, progress has been made in the form of one centralized repository for all institutional documentation, but there is much work to be done to sort and catalog a legacy of inconsistent management. It was eye-opening hearing her thoughts about the unique challenges embedded within photographic institutional archives, which I’ve felt intuitively, but have never been able to pinpoint exactly.

Additionally, we talked shop about image records, metadata, information management systems and workflow, storage, and digitization. While Marguerite is dealing with a scale of material that far surpasses our collections, learning about the ways in which our day-to-day work is similar and differs gave me ideas on what we can improve. It confirmed areas where we’re on the right track, and areas that need more attention. We also toured the on-site storage in the Smithsonian Institutional Archives building in D.C. The majority of photographic material is located elsewhere, but I was grateful for the opportunity to take a look at some of their archival material. One item in particular, the custom slide cabinet and vertical viewing station, caught my eye.

It was wonderful discussing archives, and institutional archives in particular, with a professional with so much experience and knowledge.

 Storage in the Institutional Archives office building

Storage in the Institutional Archives office building

 Slide storage and viewing cabinet

Slide storage and viewing cabinet

 Custom housing for glass plate negatives

Custom housing for glass plate negatives

 Material to-be-sorted from a departing Smithsonian staff member

Material to-be-sorted from a departing Smithsonian staff member

The next day, I met with photograph archivist Gina Rappaport, who manages the National Anthropological Archives. Her office and storage are located in one of the off-site facilities outside Washington D.C. - one of the warehouse spaces I’ve long wanted to visit.

She told me about the Archives’ long history and how ownership and management as shifted over the decades. Paralleling the Institutional Archives, and our own, it’s interesting to learn how common a reality this is for archives - and it’s a reality which has a huge impact on archivists’ work. Uneven oversight results in piecing together puzzles and backtracking to revise work previously done. This is further complicated with Gina’s material, since there are so many different creators. Institutional archives can be considered mainly in terms of the institution itself as creator and subject, but more traditional collections like the National Anthropological Archives have unique creators and subjects.

We discussed physical and intellectual organization of the archives. She helped answer some of my questions about the utility of creating finding aids for our collection, and how to go about resolving physical reorganization which has resulted in a loss of information about material. These management issues made it clear how important it is to have trained archivists overseeing materials like these. While interpretation of collections is good, it can’t happen without measures in place which allow for the safe storage, retrieval, and care of these materials.

She led me on a tour of some of the photographic archives storage space in the building, as well as some of the general museum collections storage, primarily for the Smithsonian National Museum of Natural History. The building has been custom designed to maximize storage space, with 435,000 square feet dedicated to the collections. This includes rows upon rows of stationary and compact shelving units filled with historic negatives and prints. The photographic archives are beautifully housed, and Gina discussed their good fortune of having volunteers dedicated to making custom housing for unique or unstable materials. This includes floating mylar supports so researchers can look at original negatives without having to touch them. They also have extensive cold and frozen storage both on- and off-site, and a comprehensive digitization program.

These more traditional archives gave me a better sense of context about archives on the whole, and the ways in which our institutional archives fit in the larger field.

 One small section of photographic archives storage for the National Anthropological Archives

One small section of photographic archives storage for the National Anthropological Archives

 Nitrate negatives, soon to be stored in freezers

Nitrate negatives, soon to be stored in freezers

 Custom housing for glass plate negatives: mylar support to allow viewing and reduce handling

Custom housing for glass plate negatives: mylar support to allow viewing and reduce handling

I’m incredibly thankful for the chance to spend so much time talking to these archivists, and for the opportunity to tour their facilities and see their collections. The field of cultural heritage is perpetually overworked and understaffed, so it’s a testament to the generosity of staff like Marguerite and Gina to take time out to meet with me. I learned so much from both of these visits, and I’ve made some valuable professional connections. I hope that I’ll be able to pay it forward in the future, especially once I have more formal archival training under my belt.

Midwest Archives Conference 2018

This was my first year attending the Midwest Archives Conference, and luckily, it was located here in Chicago. I knew it would be a smaller event than the American Institute for Conservation conference that I attended last spring, and I was pleasantly surprised by the content presented. In particular, there was a cohesiveness in the tours and sessions I attended on the first day, all of which related to diversity in archival practice. The day started off with a tour of two southside archival repositories: the Carter G. Woodson Regional branch of the Chicago Public Library (CPL) and the DuSable Museum of African American History, and it ended with conference sessions.

At Woodson, we toured the newly reopened facility and learned more about the history of this regional branch. This included a discussion of and glimpse at some of the materials in the Vivian G. Harsh Research Collection of Afro-American History and Literature. This collection is one of the largest and most comprehensive documenting black life in Chicago and the region as a whole (Chicago Public Library 2018). Part of the history of these materials is the strong support of the surrounding southside community itself: neighbors banned together to raise funds in order to build an expansion of the library to house the collection, and they fought against the relocation of the materials to the hub CPL location downtown Chicago. The Vivan G. Harsh society formed as a non-profit friends organization in 1994 to directly support the archival materials at Woodson (Vivian G. Harsh Society 2018). Our librarian guide recounted the variety of content in the collection, from newspaper clippings to funeral programs to yearbooks. She also spoke to the wide range of users of this material, including genealogists and students working on history fair projects. I enjoyed the chance both the take in the space, especially the beautiful art and revamped exhibit featuring the archival collections, and appreciated the opportunity to see the closed stacks and learn about this amazing collection from staff.

 Exhibit space at Woodson regional branch, featuring several archival collections stored onsite.

Exhibit space at Woodson regional branch, featuring several archival collections stored onsite.

 A few of the many yearbooks stored in the closed stacks.

A few of the many yearbooks stored in the closed stacks.

Our second stop was the DuSable Museum of African American History, which I visited several years ago in order to write a paper for one of my Museum Studies classes at Northwestern. Our visit started in the amazing entrance hall covered in Thomas Miller mosaics, where the museum’s archivist, Ms. Skyla Hearn, told us the story of the institution. The museum exists today because of the efforts of Dr. Margaret Taylor ­Burroughs. She was passionate about African American culture and history and worked tirelessly to create a place where the community’s story could be told. She and her second husband Charles developed the idea for a museum, and with the support of a large network, they transformed their plan into reality. The museum has grown substantially since it first opened its doors to the public in 1961, and it was through Dr. Burroughs’ strategic collecting and deep connections with the local community that has led the institution to its current position as an invaluable and beloved museum dedicated to telling important, often untold or overlooked stories (Feldman 1981).

Ms. Hearn then led us on a tour of their exhibition spaces, and we ended up spending the most time in the more recently developed exhibit Freedom, Resistance, and the Journey Toward Equality. There were a number of impactful archival pieces featured, including ephemera from America’s slave trade through posters and film footage from the civil rights movement. The exhibition is “dedicated to the thousands of unsung lives given in the name of freedom and equality,” and it tells important stories in a limited amount of space (DuSable Museum 2018). The archivist then spoke about upcoming exhibits and the joy of finding new content while organizing and cataloging the museum’s archival collections. We ended our tour in the newly completed reading room for the Hamilton Institute for Research and Civic Involvement. The museum has been working closely with Dr. Charles V. Hamilton, scholar, activist, and political scientist, on the creation of this addition to the museum (Hutcherson 2018). Dr. Hamilton’s papers (an ongoing acquisition), in addition to a wide range of additional archival and rare book collections can be viewed in the new reading room. It was exciting to hear about the substantial progress that has been made acquiring, cataloging, and making accessible collections relating to African American history. These are amazing resources, and they are in good hands.

 Some of the collections on display in the exhibit  Freedom, Resistance, and the Journey Toward Equality

Some of the collections on display in the exhibit Freedom, Resistance, and the Journey Toward Equality

The conference officially kicked off with the plenary session, which featured Natalie Moore, WBEZ Chicago Public Radio investigative reporter and author of The South Side: A Portrait of Chicago and American Segregation. Much of her work looks at entrenched segregation in Chicago, and her book is a deep-dive into the impacts of segregation on the housing market. While much of the content focuses on more contemporary events, looking at her and her family’s experience with property ownership, she does provide historical context for their story. Local archival repositories (Chicago History Museum, Newberry Library, Chicago Public Library, etc) were important resources for her in covering the histories of the Great Migration, Jim Crow, redlining, public housing, and white flight. Primary source materials helped her to gather data about the realities of inequity in neighborhoods and housing. She related how even materials like yearbooks could provide valuable insights: patterns of shifting neighborhood demographics could be traced in photographs of the student body over the course of a few years. It is exciting to see the ways in which archival materials can be used and interpreted, especially linking the past with current realities. I am grateful that there are individuals like Ms. Moore who are making the connections between past and present issues, and telling stories which will hopefully make the city and region as a whole more aware of the ongoing inequity in Chicago and beyond.

Finally, the general sessions at the conference began in earnest. I attended a panel program entitled “Beyond Institutional Boundaries: Community Archives and Representational Belonging,” in which five speakers addressed various institutions and programs that are embracing local communities. Each project reflected the notion of “representational belonging,” which is key to deferring the erasing of communities and instead provides them the agency to collect and tell their own stories (Caswell 2016). Presenters discussed Mukurtu Collections Management System and ArtHyve, in addition to the Chicago Area Archivists (CAA) Day of service at Pullman State Historic Site, the American Library Association’s (ALA) Preservation Outreach project at Stony Island Arts Bank, and the history of Shorefront Legacy Center.

The Pullman project was an interesting case study in the merger of historic sites with archival content and the surrounding community. The representative from CAA proposed that regional archival organizations can fulfill a unique role in how they serve their surrounding communities, as they are comprised of individuals not institutions. As such, some of the power struggles and challenges with agency and ownership may not arise. In this instance, CAA worked with the neighborhood to define common goals for the project and emphasized relationship building throughout the process. The end result was the cataloging of over 180 boxes of archival material relating to the historic site, which included box level inventories and condition assessments. Archivists from CAA assisted in organizing the event, and providing expertise, but it was the community of local volunteers in this southside neighborhood which owned and directed the work.

 Slide from the CAA and Pullman collaboration

Slide from the CAA and Pullman collaboration

The ALA preservation outreach project also helped make common ground between conservation practitioners and another southside Chicago neighborhood via a local cultural center. The Stony Island Arts Bank is a “hybrid gallery, media archive, library and community center – and a home for Rebuild’s archives and collections,” Rebuild being the parent organization (Stony Islands Art Bank 2018). This site was chosen because its location in an area historically underrepresented and under-resourced in terms of archival care and management, and the ALA series is focused on engaging in partnership with these types of organizations. The day-long event started with presentations from ALA members on preservation best practices in regards to a wide range of archival material reflected in the collection, from books to photographs, sheet music, posters, and ephemera. The rest of the day was spent working with Arts Bank staff and community volunteers to rehouse portions of the collection. Access to these materials is a crucial aspect of the mission for the organization, so the goal of this partnership was addressing collections care to help ensure their longevity. The Dorchester Avenue photograph collection was one focal point for the effort. These found images from the neighborhood show snippets everyday black life in Chicago from the 1950s to the 1980s. Their rehousing in binders will allow easier access and will help to keep them organized and protected. The Ed Williams collection was also addressed, and it is through an ALA press release about these materials in particular that led to a newspaper article on the preservation outreach project. This write-up resulted in increased community donations and engagement with the cultural center. The event not only provided the Arts Bank with rehoused archival material, it also provided foundational preservation knowledge to attendees, and it helped further connect the organization with its neighborhood.

The Shorefront Legacy Center’s history is a demonstration of true community archiving in practice. The organization originated with the goal of showing the experiences of black life in the suburbs around Chicago, not just in the urban environment (Shorefront Legacy Center 2018). This community-created organization was developed in order to address a lack of representation in traditional archival spaces, and to reverse narratives of powerlessness that sometimes follow with black history and representation. The center instead focuses on empowerment and agency through collaboration with the community it represents. This is done in part through a partnership with the Black Metropolis Research Consortium. The relationship supports the center’s work through education on best practices and guidelines, as well as increased visibility and the subsequent increase in resources. One recent project the center has undertaken has been an outreach project with one of the Evanston YMCA branches. Community relations with this location were poor due to the lasting legacy of segregation: local African Americans were barred from joining or using this facility in the mid-twentieth century. Archival material in the form of meeting minutes were used to facilitate open forum discussions and the recording of oral histories. This helped the community to more openly discuss and collectively process its history, and it led to an exhibition at the Shorefront Legacy Center, as well as documentary books and films. At the same time, this project helped with YMCA to act to bridge the gap by acknowledging their history (renaming rooms) and welcoming the entire community (creating scholarships). The center strives to collect, provide access to, and foster development of products (exhibitions, art, documentaries) in order to reach more individuals and tell more stories. This nimble organization has accomplished a great deal, and embodies community-led archiving, in spite of limited resources.

 Slide from the Shorefront Legacy Center presentation

Slide from the Shorefront Legacy Center presentation

I learned so much in one day, and the theme of diversity and representational belonging resonated with me. I have worked in traditional museum and library spaces, which have not always focused on or done an adequate job of collecting material from diverse communities or successfully partnering with them. I hope that this will change as time goes on, and institutions realize how valuable these relationships are. Additionally, I hope traditional repositories can take cues from community-organized repositories to learn what equitable collaborations look like. I also hope to be involved in or support in some way community archiving efforts at the National Public Housing Museum. This community has historically been incredibly effective at organizing and advocating, and I am sure that this grassroots-founded museum will do wonderful things.

 

References

Caswell, M., Cifor, M. & Ramirez, M. (2016) “To Suddenly Discover Yourself Existing”: Uncovering the Impact of Community Archives. The American Archivist: Spring/Summer 2016, 79(1), 56-81.https://doi.org/10.17723/0360-9081.79.1.56

Chicago Public Library: Woodson Regional. (2018). Retrieved April 3, 2018 from https://www.chipublib.org/about-woodson-regional-library/

The DuSable Museum: Freedom, resistance, and the journey toward equality. (2018). Retrieved April 3, 2018 from http://www.dusablemuseum.org/exhibits/freedom-resistance-and-the-journey-toward-equality/

Feldman, E. & DuSable Museum of African American History. (1981). The birth and the building of the DuSable Museum. Chicago: DuSable Museum Press.

Hutcherson, L. (2018, January 27). Noted Political Scientist Dr. Charles V. Hamilton Establishes Research Institute at DuSable Museum in Chicago. Good Black News. Retrieved from https://goodblacknews.org/2018/01/27/noted-political-scientist-dr-charles-v-hamilton-establishes-research-institute-at-dusable-museum-in-chicago/

Shorefront Legacy Center. (2018). Retrieved April 3, 2018 from http://www.shorefrontlegacy.org/

Stony Island Arts Bank. (2018). Retrieved April 3, 2018 from https://rebuild-foundation.org/site/stony-island-arts-bank/

Vivian G. Harsh Society. (2017). Retrieved April 3, 2018 from http://harshsociety.org/

MASS Action, meeting 1

Last year, a cross-departmental group of staff from the Art Institute of Chicago attended MASS Action, a national convening of cultural heritage institutions committed to supporting practices of equity and inclusion at their home institutions. The goals of this group are far-reaching and ambitious, but they are necessary. From MASS Action’s website:

“As the museum field begins to shape its identity in the 21st century, MASS Action poses the following questions for practitioners to consider: What is the role and responsibility of the museum in responding to issues affecting our communities locally and globally? How do the museum’s internal practices need to change in order to align with, and better inform, their public practice? How can the museum be used as a site for social action? Through a series of public convenings and the creation of a toolkit of resources, this project's intention is to share the strategies and frameworks needed to address these important topics.”

The first two institution-wide meeting to discuss the toolkit took place this month. MASS Action provided a framework for this discussion to get started, which is invaluable given the challenging nature of the content to be covered. We started by chatting with a neighbor, and posing the question - what does social action mean to you? There were lots of animated conversations taking place throughout the room, and my discussion partner and I talked about the necessity of connecting with people directly. Even though there are many means of interacting, face-to-face communication is necessary to forge strong ties, build momentum, and provide a reminder of the humanity of both peers and the public we’re serving.

A set of ground rules were then laid out by the organizers, to which we all agreed:

  • We are making an honest attempt to address the most pressing issues of equity within our museum. We are building a network of people that are (and have been) developing long-term solutions and effective strategies based on the immediate confrontation of our most pressing issues.

  • In developing these strategies and solution, we emphasize our own power, not our powerlessness.

  • We share the airtime. We listen to understand. We ask questions before assuming. The best way to understand the choices, actions or intentions of one another is by asking.

  • In order to create a space where everyone may speak freely, we recognize the importance of confidentiality. What is said here stays here, what is learned here leaves. We encourage you to ask before quoting, online or in-person,  someone when they are sharing their thoughts in a space of trust.

  • We encourage people to engage with their whole selves, not just with one part of their identity.

  • We deeply value the time and energy participants are contributing to this project, and therefore want to create a safe, productive, healing space. Please ensure you maintain your health, energy and wellbeing throughout these discussions.

These guidelines helped set the tone for the work that we need to do. It is about sharing in a non-judgemental way, working together, and respecting where folks are coming from - basic ideas, but necessary to state in an increasingly hostile world.

We then broke into groups of about 10, to address two prompts: what is our truth, what is our role in the museum. I ended up talking with many peers I’d never met before, who represented a range of departments across the museum and central administration. We discussed in depth our identities and how certain “truths” (place in the family, state we grew up in, etc) inform how we function both in and outside of work. Additionally, we talked about how we exist in this institution, its relation to our identities, and the challenges we personally face. We also addressed the fractured nature of this museum, both in terms of physical space and in terms of work divisions. Given how large the institution is, many staff do not have opportunities to connect with each other.

I have always approached museums and archives from a collections-oriented perspective. I believe in the power for original source material to tell stories, for the benefit, growth, and education of all. As such, my focus in career development has been on the stuff-side of the GLAM (galleries, libraries, archives, and museum) world. I now know that there is no neutrality in the notion that cultural heritage institutions are collectors. The history of our holdings are rife with trauma. Colonial powers have taken materials they had no right to. Museums have continued imperialist tradition by continuing to claim ownership, and presenting in often uninformed or insensitive ways materials from hosts of cultures. Even the ways in which we categorize and catalog materials has been done in a privileged and tone-deaf manner.

Museums cannot be neutral, every choice made betrays priorities and biases - even when we are not aware of them. Fortunately, there are efforts to address these problematic sides of collections and archives. NAGPRA is one very small step in a positive direction, necessary but limited in scope. Mukurtu collections management system is an even more meaningful effort. This open-source platform allows communities to assert sovereignty for their cultural materials - in how these items are cataloged, shared, and keyworded. On the stuff-side of GLAM work, we need to be open to change and we need to move away from institution-as-owner-and-authority. Dr. Kimberly Christen gave a wonderful presentation on all of these ideas, and it is something all museums need to embrace.

Outside of collections as challenges in the context of social structures and uneven power, museums must also address our institutions in the context of our local and global communities. I have been slowly coming around to the idea that without people, without outreach and support to and interest by these people, these materials have little value. The human-side of GLAM institutions is thus crucial. This is likely obvious to most, but it’s dramatically altered the way in which I think about my work and the work of my peers. It was therefore striking and confirming that our group discussion focused on people, not the museum as a collecting entity. The museum is an organization of people, and it is for the benefit of other people. As such, our identities and challenges as staff can help to inform how we might think about the public we serve. Additionally, this groundwork can help us to determine what change can come from within. It is not enough to offer more programs for local public school kids. We need to embrace and reflect the change we want internally before we can hope to expect meaningful change externally. And as a member of our group succinctly pointed out, everyone wants change, but not as many want to change.

At the end of our too-short introductory MASS Action session, each group chose a representative to say once sentence that summed up the discussion in their group. It was interesting to listen to the range of ideas expressed: accessibility, audience selection, donor relations upholding the status quo, institution size as both a pro and con, the need for vulnerability. As the meeting ended, what stuck out in my mind was the notion that our reputation and identity could hold us back.

Art museums have a reputation for being elitist, for catering to and telling the stories of a select few. I think this is even more-so the case of a museum like ours, which does not focus on contemporary practice, but rather attempts to be encyclopedic in scope. It may not seem necessary, then, for our museum to embrace issues our world faces today head-on. Our behemoth size make timely, meaningful internal change difficult. It feels akin to correcting the course of the Titanic - we will need buy-in from hundreds of staff and from all levels of management. Our reputation as one of the top art museums will make external change difficult. We need to find a way of moving beyond this way of defining the institution, so that it can be a more welcoming, inclusive community center.

I do not think these challenges are insurmountable, and I do not think we should use them as excuses to not even bother trying. I hope that we can continue coming together to reflect on who we are and what we can do, so that change can happen internally and externally. This is a good start to larger conversations here at the Art Institute of Chicago, and I sincerely hope we can turn the conversation into action.

 

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AIC Archives & GWU Museum Collections Management & Care Program

Last month I finished up the last class to complete the George Washington University graduate certificate program in Museum Collections Management and Care. Over the course of four semesters, I was able to grow my skill set and gain a solid foundation in basic collections management principles. The first two classes focused on preventive conservation, the third in general management protocol, and the final in legal aspects of the field. I knew about some of the ideas behind these topics from internships and jobs in museums, but these classes provided me with much more in-depth information.

Each class also provided a wealth of resources, so even if I come across challenges in the future and do not know the solution, I feel confident in knowing where to look for answers. I also enjoyed the structure of the classes: all were taken with the same classmates, so we built solid relationships in spite of the courses being offered exclusively online. I know those enrolled with me, along with my professors, will continue to be an amazing network of knowledge, experience, and camaraderie far into the future.

It might seem as though these topics could not effectively be offered without in-person instruction, but the program requires that you have access to museum or archival collections. This is crucial, as much of the coursework is reliant upon the application of principles taught. As a result, I was able to use what I learn to improve the physical and intellectual control over the photographic institutional archives at the Art Institute of Chicago, where I work. Projects included assessing the temperature and humidity levels, monitoring dust, and analyzing and advising on copyright, right to privacy, and right to publicity issues in the archives. You can find out more about work I’ve undertaken here, both class-related and independently.

It’s reassuring to look back on the progress that’s been made in the archives over the last year or so. The resources are perceived to have greater value, awareness of the content represented is growing, resources and manpower is being dedicated to continued work, and the museum has applied for an IMLS grant to further sustain the archive project as a whole. This was my first opportunity being a grant writing project lead (class projects provided a fantastic starting point for this!), and with the help of many talented colleagues, hopefully we will secure funding for additional funding. This award will be used for contract positions for the digitization and rehousing of photographic archival material, as well as image record creation.

I’m grateful for the opportunity to have begun managing the archives. Eighteen months ago, I was curious about the contents and care of the archives but lacking the knowledge and experience to tackle the work. I still have much to learn, but I’m happy that my coursework has helped our department to make progress in the care and management of our resources.

 

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National Public Housing Museum - Housing as a Human Right

I had the opportunity to help out again this year with the National Public Housing Museum’s exhibit for the second Chicago Architecture Biennial. The office space was used as the venue, and Archeworks the host and owner of the space co-curated a portion of the show. Housing as a Human Right: Social Construction was the title, and it reflects both the mission of the museum and key aspects of public housing the show focused on: health, policing, activism, entrepreneurial acts. I assisted with researching and coordinating visuals and writing and organizing interpretive text. The team did a wonderful job, and the opening was packed full of visitors. The exhibit has been extended through February, and it’s worth a visit.

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In conjunction with the exhibit, the museum hosted an event soon after the opening, which addressed the current state of public housing in Chicago. Shaq McDonald, of the film 70 Acres in Chicago, led a walking tour of the nearby Cabrini low-rise apartments and the surrounding neighborhood. He talked about his memories of housing in the years before a majority of it was closed by the CHA, and about the current tension between long-time public housing residents and the new, affluent condo and homeowners in the area. I appreciated his insight and openness in walking us through his home. I was conflicted with the notion of a large group of outsiders acting as tourists, but Shaq was good about setting some ground rules. This will be an ongoing challenge for the museum: avoiding any exoticisation of public housing and “othering” of its residents.

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The tour was followed up by a panel discussion of CHA’s Plan for Transformation and wider issues of the deprioritization of public housing and other support systems in cities across the United States. Shaq was joined by Roberta Feldman and Chuy Garcia, and they addressed a wide range of factors contributing to the unfortunate state of housing today. The audience was active in asking questions and bringing in additional personal experiences. While it was a frustrating topic to learn more about, it was encouraging to be filled by a room of folks who obviously want the status quo to change for the better.

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Architecture Foundation Open House Chicago 2017

This year’s Architecture Foundation Open House Chicago didn’t disappoint. The first day brought constant rain, but that didn’t prevent me from getting out to explore. I visited sites in west town, the loop, river north, the lower west side, bronzeville, and grand boulevard over the course of the weekend. These are just a few of my phone snaps, I’m looking forward to editing my camera photos soon.

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Oregon Historical Society - Oregon My Oregon

During our visit to the Oregon Historical Society, we spent most of our time in the permanent exhibit, Oregon My Oregon. It covered history from the earliest tribal groups to the post-war decades. Topics covered include geography, native languages and culture, exploration, missionaries, the Oregon Trail, 20th century immigration, and the growth of Oregon industries. Having been revamped in the last 15 years, the museum addresses what many would deem to be controversial topics: workers rights, systemic racism, genocide, environmentalism. This treatment of real issues, and the role they play in the state’s history and identity, helped the museum to win some accolades. From the exhibition website:

“The American Association of Museums has awarded the Modern Oregon Issues segment of Oregon My Oregon a Silver 2005 MUSE Award in the History and Culture category. The visitor-controlled display plays video narratives of current events in Oregon. The unique interface is themed on Portland's famous Newberry's lunch counter and its countertop jukeboxes. Selecting a topic from a jukebox initiates a presentation featuring real Oregonians discussing the issue.”

The museum was also recognized by AASLH for its permanent exhibit. It felt refreshing that the institution addressed very real parts of the region’s past, rather than simply retelling or glorifying the same story we’re often told of western expansion and settlement. Hopefully more museums will take a cue and more honestly portray the stories they’ve set out to tell.

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Museum of Contemporary Art - To The Racy Brink

As I’ve visited the MCA in the years that I’ve lived in Chicago, I’ve grown to appreciate more and more the timeliness and relevance of their exhibits and programming. It feels like they accomplish much, and are able to foster meaningful ties with the city as a whole, regardless of their size. The exhibit To The Racy Brink is a culmination of the museum’s work and its ties to the community.

The exhibit kicks of the institutions 50th anniversary, and it highlights the museum’s role in championing contemporary artists and their work. The museum’s archives are the core source of material, which is what immediately drew me to it. Artist interviews, exhibition posters and catalogs, photographic documentation, and visitor feedback cards paint a vivid picture of contemporary art at the museum over the years. Newspaper clippings were also on display, full of puns and often bewilderment at the art itself. The presentation of the archival material doesn’t present a universally rosy picture of how shows and works were received, rather that they had impact, caused reactions, and often pushed visitors to see things differently. As one of the television commercials for the MCA boldly declares: “I don’t get it, but I like it!”

Archives and library staff were kind enough to give staff from our department a tour of their office and storage space, as well as the exhibit itself. It was beneficial comparing and contrasting our institutions, as new perspectives can aid in reflection and change. They were able to provide some really interesting insight about the development of the exhibit, and how it encouraged greater institutional understanding of the importance of the work in their department.

As we move forward with work in our institutional photographic archives, it was invaluable to experience and learn more about a celebration of another museum’s past through its archives. We’ve already begun brainstorming ways of making our materials more accessible, hopefully we can organize a similar experience one day - be it a publication, digital portal, or physical exhibit.

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Oregon Historical Society - Mirror on the Modern Woman

We had the chance to visit the Oregon Historical Society in Portland last month. Though we spent the most time wandering through the permanent exhibit, we also happened upon a smaller photography exhibit that I enjoyed. It was located downstairs in a hallway space, so it felt like a great discovery when we started walking through it. The exhibit, Mirror on the Modern Woman: Selected Images from the Oregon Journal, 1927–1932, features portraits of modern female Oregonians, engaging in a variety of activities from a fairly broad cross-section of local society. What made these images even more engaging was the text that accompanied each - the story of these women, the headline or blurb that would have been published in the newspaper. This descriptive information helped to tell deeper stories behind the beautiful portraits, and it provided an important link back to the original source The Oregon Journal.

I was also excited that this exhibit developed as a result of a digitization project. From the website:

“This exhibit is inspired by ongoing work, funded by a generous grant from the Jackson Foundation, to digitize the research library’s collection of 9,000 nitrate negatives from the Oregon Journal. The Portland newspaper, an afternoon daily published from 1902 to 1982, was one of the largest papers in the state and a competitor to The Oregonian. The stunning original images date from approximately the mid-1920s to the early 1930s and have not previously been made accessible to the public. They provide a vivid look at people, places, and topics that journalists of that era found newsworthy. The vibrant breadth of life preserved in these photographs highlights the value of the state’s newspapers as historical resources: they serve as mirrors that reflect expansive views into Oregon’s past.”

It’s wonderful to see work like this being highlighted, to increase awareness about these types of collections and to increase access through physical exhibitions.

 "These unidentified dancers were probably performing in a May Day celebration in Portland, Oregon. May Day festivities were common during this era, with celebrations put on by towns, businesses, organizations, and schools."

"These unidentified dancers were probably performing in a May Day celebration in Portland, Oregon. May Day festivities were common during this era, with celebrations put on by towns, businesses, organizations, and schools."

 "When the Portland YWCA opened registration for spring sports classes in April 1927, Lillian Blackman and Sophia Wehrly posed for a photograph with field hockey equipment. Field hockey "is not very well known generally," the Journal reported, noting that the YWCA would supply the equipment for the hockey class. "It is a sport which provides vigorous exercise." Blackman and Wehrly are on the roof of what is likely the YWCA building at SW Taylor and Broadway. Visible in the background is the Jackson Tower, where the Oregon Journal offices were located from 1912 to 1948. The YWCA building was demolished in 1959." 

"When the Portland YWCA opened registration for spring sports classes in April 1927, Lillian Blackman and Sophia Wehrly posed for a photograph with field hockey equipment. Field hockey "is not very well known generally," the Journal reported, noting that the YWCA would supply the equipment for the hockey class. "It is a sport which provides vigorous exercise." Blackman and Wehrly are on the roof of what is likely the YWCA building at SW Taylor and Broadway. Visible in the background is the Jackson Tower, where the Oregon Journal offices were located from 1912 to 1948. The YWCA building was demolished in 1959." 

 "Mrs. D.W. Barnes of Portland celebrated her 90th birthday on June 27, 1928 by taking her first ride in an airplane. Her son E.L. Barnes (possibly the man on the left) accompanied her in a Ryan monoplane flown by pilot Gordon Mounce (possibly the man in the background). More than two dozen family members and friends turned out to watch. Mrs. Barnes was an avid follower of aviation news, the Journal reported in a brief article, and had been planning the flight for quite a while. At the end of it, she "landed breathless and pleased," the Journal reported."

"Mrs. D.W. Barnes of Portland celebrated her 90th birthday on June 27, 1928 by taking her first ride in an airplane. Her son E.L. Barnes (possibly the man on the left) accompanied her in a Ryan monoplane flown by pilot Gordon Mounce (possibly the man in the background). More than two dozen family members and friends turned out to watch. Mrs. Barnes was an avid follower of aviation news, the Journal reported in a brief article, and had been planning the flight for quite a while. At the end of it, she "landed breathless and pleased," the Journal reported."

 "An unidentified performer with the Al G. Barnes Circus demonstrates her skills on horseback during one of the circus's stops in Portland. The Barnes circus performed regularly in Portland and throughout the Pacific Northwest."

"An unidentified performer with the Al G. Barnes Circus demonstrates her skills on horseback during one of the circus's stops in Portland. The Barnes circus performed regularly in Portland and throughout the Pacific Northwest."

 "Stunt pilot Dorothy Hester was probably around age nineteen when she posed next to a plan for this photograph. Hester, from Milwaukie, Oregon, learned to fly at the Rankin School of Flying in Portland. She impressed Tex Rankin, and he taught her aerobatics. In June 1930, at age nineteen, she became the first woman to perform a stunt called an outside loop. Hester wowed audiences both in Oregon and at air shows around the nation, set world records for stunt flying, and opened her own flight school. She left her career in aviation after marrying in 1934." 

"Stunt pilot Dorothy Hester was probably around age nineteen when she posed next to a plan for this photograph. Hester, from Milwaukie, Oregon, learned to fly at the Rankin School of Flying in Portland. She impressed Tex Rankin, and he taught her aerobatics. In June 1930, at age nineteen, she became the first woman to perform a stunt called an outside loop. Hester wowed audiences both in Oregon and at air shows around the nation, set world records for stunt flying, and opened her own flight school. She left her career in aviation after marrying in 1934." 

Museum of Contemporary Art Chicago - Takashi Murakami

Since I’ve moved to Chicago and have been working in and learning about museums, I usually don’t visit museums and see special exhibits in a casual way. I really enjoy critically assessing what institutions are doing, and I appreciate having the background knowledge I do when approaching these experiences. Sometimes it’s nice to give myself permission to just enjoy a trip to a museum, though. The Murakami exhibit up at MCA Chicago was a great opportunity to do this. I still read the labels, considered the layout and design choices, and spent a good bit of time talking over the exhibit with my partner. At the end of the day, I approached this visit differently, and it was a nice break and an excellent visit.

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American Institute for Conservation of Historic and Artistic Works Conference

I had the opportunity to go to my first professional conference this spring. The 45th annual American Institute for Conservation of Historic and Artistic Works held its meeting in Chicago this year, so I lucked out and was able to go. I’d taken two courses in preventive conservation from George Washington University in the previous 9 months, so I was excited to see many of the principles we learned about put into practice by professional conservators. Additionally, with our assessment of the institutional film archives at the Art Institute, and our ongoing relationship in providing imaging for our conservation department, I knew I’d gain some knowledge I could put to use at work. The sessions I went to certainly did not disappoint.

There were a variety of tracts attendees could pick depending on their field of speciality, but I decided to pick and choose between a variety of disciplines: electronic media, photographic materials, sustainability, research and technical studies, and beyond treatment. Presentations in these sub-groups ranged from on-the-ground efforts to reduce waste in conservation labs to creative rehousing with limited resources to failure in high-profile projects. The theme of the conference was Innovation in Conservation and Collection Care, and I was pleased that the presentations didn’t revolve exclusively around technology, since innovation and tech are often conflated.

Of course, given the fact that I’m in a technology-dependent field within the museum world, I did attend a number of sessions which dealt directly with the intersection of conservation and tech. A number of presentations directly and indirectly addressed the important role photography plays in conservation. The treatment of the WWII bomber Flak Bait was a prime example of this: experimental techniques to retain the surface of the wing while rebuilding the structure meant pre-treatment photographs were vital for achieving the correct final color and finish to the treatment.

There were several other discussions about the evolving use of new and experimental uses of imaging. A trunk full of locked letters have led a team of researchers to investigate using CT scans to capture the contents of the interior without unfolding them. It is hoped that these images can then be digitally unfolded so they can be transcribed and read. There is also emerging technology in the way images are accessed and displayed. A platform is being created wherein images can be automatically associated with one another. This means that different captures (including drawings, print reproductions, technical imaging, etc) can be seamlessly layered to tell a more full story of an object over time. It also means that stitching can occur by means of one reference image with individual tiles automatically aligning. These possibilities are exciting for the world of cultural heritage imaging.

I was also really interested in the sessions I went to which touched on digital preservation. There is a growing awareness of the importance of assuring the longevity of all our digital stuff, especially given the volume of these materials and the often invisible nature of degradation. There were presentations on the challenges of migration and emulation, and the realities of facing a loss of data as a result of obsolete file types, platforms, and hardware. It was eye-opening learning about how much of this work is trial-and-error.

I think one of my biggest takeaways from this conference was the idea of growth from “failure.” I’d hesitate to even call some of the issues and challenges addressed “failures,” especially since presenters learned much from roadblocks. One such experience included a multi-million dollar, cross-governmental project spanning many years in which varnish removal revealed unexpected and large expanses of more modern in-painting, which then had to be addressed in a new treatment proposal and project. Another included a piece of digitization equipment used by only a handful of individuals with no manual, and expectations that this equipment would open doors for collections accessibility and community needs, all with minimal manpower. It was refreshing seeing how these professionals faced up to difficulties, both anticipated and unanticipated, and were able to speak to how they moved past barriers. Fortunately for us, they shared their experiences so we could learn from them.

Additionally, there were some heartening presentations on what individuals and organizations can do with extremely limited resources. One presenter talked about her national agency which handles the conservation needs of dozens of museums and institutions throughout the country. They face the reality of a varied climate, a lack of funding, and a multitude of projects which need addressing. She talked about getting creative while being realistic, and how important reusing and recycling materials, repurposing tools, and hand-making housing for collections items are. Prioritization is key with the work that they do, so they must think in terms of triage. I think this is the case for many, (perhaps the majority) of museums, archives, and libraries - it’s unlikely there’s dedicated conservators for their collections, and when there are it’s still a challenge to keep up with the workload. As such, it’s good to prioritize preventive conservation efforts, which can go a long way towards minimizing future interventive treatments.

I feel fortunate to have gone to this conference. I learned a lot, I had the chance to see old colleagues and my GWU professor, and I felt a renewed sense of excitement about working in museums. It’s easy to get bogged down by the less enjoyable aspects of work, so this was an excellent chance to step back and see things in greater context.

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Opening sessions 

 

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Words of wisdom about preventive conservation

 

 Imaging and conservation   

Imaging and conservation

 

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Working within limitations