758
10
9868
-
https://caspercollege.cvlcollections.org/files/original/904965689bc57b17013ec08c61efff2c.jpeg
c1c7fe27ee20c0cc803b432562201e7c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley Fall 2024 Museum Training Internship ePortfolio
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
The following describes an internship at the Casper College Library and the Western History Center. The internship focused on advancing the GLAM exhibit by planning and preparing for the Chaos, Patterns, and Order exhibit, with a focus on the role of Curator in the museum.
At the beginning of the internship, we started by looking at the continuation of the GLAM exhibit, with an emphasis on Bryon H. Clapp's WWII Letters Home and his “Recollections of the War.” including the Jean Gallatin Ogolbee photo album and the newspaper clippings of Elizabeth “Neal” Forsling. These records were cataloged, they included an accurate description, including the name of the collection and the item's type, e.g., photograph, letter, or newspaper, and a catalog accession number. We looked at selecting the appropriate items, placing them in the exhibit, and adding and subtracting where appropriate.
We had several conversations about ownership, how it pertains to collections, and exhibitiions, and the time frame allowed by copyright laws, and family wishes. Ownership in the context of a collection is of paramount concern. The ability to exhibit a collection should never be an issue if the Curator and Archivist have done their due diligence before and during the accession process. However, as I have seen in the three museums where I have interned, there seems to be some grey area. Does the museum have full ownership and the supporting paperwork? Is there a stipulation regarding limiting what might be exhibited within that time frame? And many more questions.
The role of the curator has been of significant focus this semester. While researching the role of the curator I became aware of the importance that role is to the life of the collection and the individual item. The Curator tracks the life of the collection. With the increasing number of exhibits planned by Casper College Museum Studies interns through the Library’s Western History Center, this archives and special collections unit has been researching ongoing conversations on how the two often quite different organizations are adopting principles and practices from one another to increase engagement with and use of materials while also building relationships. As part of an ongoing process that started in the spring of 2024, we have been exploring how the definition of what it means to be a curator and an understanding of how the responsibilities of a curator operating in multiple settings can be used to create a role delineation statement to expand the scope of the critical work of interns. To manage this, one of the approaches we’ve discussed has been to map the responsibilities of a Curator within a semester-long internship to the 5 Cs of digital curation as outlined by Deschaine and Sharma (2015). The repository is doing the same thing for Collections Management Interns with the aim of increasing collaboration on different projects between students in each internship.
Collection Management: Among the many tasks in collections management is ensuring the institution's "Mission Statement" and "Collecting Policy" are used to guide decision-making. This provides a foundation for suitable collection management, training, education, and curation (physical and digital).
Categorization: Management of artefactual and non-artefactual materials from acquisition through further processing, storage, and usage. Categorization for many materials in the repository relies on standards for archival arrangement and description but also museum-based Nomenclature.
Critiquing: Arrangement and description of both artefacts, records and materials of varying formats up to and including in-depth collection research. Critiquing aids in the interpretation of materials within wider external or internal programming and events but also facilitates drawing connections between related materials.
Conceptualization: Selecting materials for use in wider exhibit programming following critiquing. As an iterative process that relies on critiquing materials, conceptualization is invaluable for drawing connections between related materials.
Circulation: Exhibits (physical and digital), research usage, and application of materials for specific projects/publications. Circulation is tracked via an exhibit-based registrar that also functions as a finding aid that lends itself to the interpretation of materials.
<a href="https://caspercollege.cvlcollections.org/exhibits/show/2024-glam-exhibit-soft-launch/glam_archives">GLAM 2024: Chaos, Pattern, Order Exhibit Page</a>
<a href="https://caspercollegearchives.libraryhost.com/repositories/2/archival_objects/32896">Western History Center Archives-Museum Exhibit Registrar: GLAM 2024</a>
References<br /><br /><span>American Association of Museums. 2000. </span><em>Code of Ethics for Museums</em><span>. Washington, DC: American Association of Museums.<br /><br />Butler, Shelley, 1964- and Erica T, Lehrer. 2016. Curatorial Dreams: Critics Imagine Exhibitions. McGill-Queen's University Press.<br /><br />Lubar, Steven D.. 2017. <em>Inside the Lost Museum: Curating, Past and Present</em>. Harvard University Press.<br /><br />Mason, Rhiannon, Alistair (Art museum director), Robinson and Emma Coffield. 2018. <em>Museum and Gallery Studies: The Basics</em>. Routledge, Taylor & Francis Group.<br /><br /><em>Society of American Archivists</em>. "Copyright and Unpublished Material: An Introduction for Users of Archives and Manuscript Collections." <br /><br />Walhimer, Mark. 1964-. Museums 101 Rowman & Littlefield, 2015.</span>
Creator
An entity primarily responsible for making the resource
Scott Shipley, Fall 2024
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley 2024 GLAM Exhibit Photograph
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
Photograph of a shelf Museums Training Intern Scott Shipley contributed to making for the first launch of what will be Galleries Library Archives and Musumes (GLAM): Chaos, Pattern, Order in 2025.
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Scott Shipley
Identifier
An unambiguous reference to the resource within a given context
Fall2024_ScottShipley_Exhibit_IMG_14
Format
The file format, physical medium, or dimensions of the resource
JPG
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
-
https://caspercollege.cvlcollections.org/files/original/dd5d13dfb6dbd670f36d286342f765de.jpeg
69a55d54e685d128bc40618d1e485657
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley Fall 2024 Museum Training Internship ePortfolio
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
The following describes an internship at the Casper College Library and the Western History Center. The internship focused on advancing the GLAM exhibit by planning and preparing for the Chaos, Patterns, and Order exhibit, with a focus on the role of Curator in the museum.
At the beginning of the internship, we started by looking at the continuation of the GLAM exhibit, with an emphasis on Bryon H. Clapp's WWII Letters Home and his “Recollections of the War.” including the Jean Gallatin Ogolbee photo album and the newspaper clippings of Elizabeth “Neal” Forsling. These records were cataloged, they included an accurate description, including the name of the collection and the item's type, e.g., photograph, letter, or newspaper, and a catalog accession number. We looked at selecting the appropriate items, placing them in the exhibit, and adding and subtracting where appropriate.
We had several conversations about ownership, how it pertains to collections, and exhibitiions, and the time frame allowed by copyright laws, and family wishes. Ownership in the context of a collection is of paramount concern. The ability to exhibit a collection should never be an issue if the Curator and Archivist have done their due diligence before and during the accession process. However, as I have seen in the three museums where I have interned, there seems to be some grey area. Does the museum have full ownership and the supporting paperwork? Is there a stipulation regarding limiting what might be exhibited within that time frame? And many more questions.
The role of the curator has been of significant focus this semester. While researching the role of the curator I became aware of the importance that role is to the life of the collection and the individual item. The Curator tracks the life of the collection. With the increasing number of exhibits planned by Casper College Museum Studies interns through the Library’s Western History Center, this archives and special collections unit has been researching ongoing conversations on how the two often quite different organizations are adopting principles and practices from one another to increase engagement with and use of materials while also building relationships. As part of an ongoing process that started in the spring of 2024, we have been exploring how the definition of what it means to be a curator and an understanding of how the responsibilities of a curator operating in multiple settings can be used to create a role delineation statement to expand the scope of the critical work of interns. To manage this, one of the approaches we’ve discussed has been to map the responsibilities of a Curator within a semester-long internship to the 5 Cs of digital curation as outlined by Deschaine and Sharma (2015). The repository is doing the same thing for Collections Management Interns with the aim of increasing collaboration on different projects between students in each internship.
Collection Management: Among the many tasks in collections management is ensuring the institution's "Mission Statement" and "Collecting Policy" are used to guide decision-making. This provides a foundation for suitable collection management, training, education, and curation (physical and digital).
Categorization: Management of artefactual and non-artefactual materials from acquisition through further processing, storage, and usage. Categorization for many materials in the repository relies on standards for archival arrangement and description but also museum-based Nomenclature.
Critiquing: Arrangement and description of both artefacts, records and materials of varying formats up to and including in-depth collection research. Critiquing aids in the interpretation of materials within wider external or internal programming and events but also facilitates drawing connections between related materials.
Conceptualization: Selecting materials for use in wider exhibit programming following critiquing. As an iterative process that relies on critiquing materials, conceptualization is invaluable for drawing connections between related materials.
Circulation: Exhibits (physical and digital), research usage, and application of materials for specific projects/publications. Circulation is tracked via an exhibit-based registrar that also functions as a finding aid that lends itself to the interpretation of materials.
<a href="https://caspercollege.cvlcollections.org/exhibits/show/2024-glam-exhibit-soft-launch/glam_archives">GLAM 2024: Chaos, Pattern, Order Exhibit Page</a>
<a href="https://caspercollegearchives.libraryhost.com/repositories/2/archival_objects/32896">Western History Center Archives-Museum Exhibit Registrar: GLAM 2024</a>
References<br /><br /><span>American Association of Museums. 2000. </span><em>Code of Ethics for Museums</em><span>. Washington, DC: American Association of Museums.<br /><br />Butler, Shelley, 1964- and Erica T, Lehrer. 2016. Curatorial Dreams: Critics Imagine Exhibitions. McGill-Queen's University Press.<br /><br />Lubar, Steven D.. 2017. <em>Inside the Lost Museum: Curating, Past and Present</em>. Harvard University Press.<br /><br />Mason, Rhiannon, Alistair (Art museum director), Robinson and Emma Coffield. 2018. <em>Museum and Gallery Studies: The Basics</em>. Routledge, Taylor & Francis Group.<br /><br /><em>Society of American Archivists</em>. "Copyright and Unpublished Material: An Introduction for Users of Archives and Manuscript Collections." <br /><br />Walhimer, Mark. 1964-. Museums 101 Rowman & Littlefield, 2015.</span>
Creator
An entity primarily responsible for making the resource
Scott Shipley, Fall 2024
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley 2024 GLAM Exhibit Photograph
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
Photograph of a shelf Museums Training Intern Scott Shipley contributed to making for the first launch of what will be Galleries Library Archives and Musumes (GLAM): Chaos, Pattern, Order in 2025.
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Scott Shipley
Identifier
An unambiguous reference to the resource within a given context
Fall2024_ScottShipley_Exhibit_IMG_15
Format
The file format, physical medium, or dimensions of the resource
JPG
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
-
https://caspercollege.cvlcollections.org/files/original/aab07baef7458440a33fd1f410468af9.jpeg
7a3a5560f59ef7dad40007cc5c313b2e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley Fall 2024 Museum Training Internship ePortfolio
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
The following describes an internship at the Casper College Library and the Western History Center. The internship focused on advancing the GLAM exhibit by planning and preparing for the Chaos, Patterns, and Order exhibit, with a focus on the role of Curator in the museum.
At the beginning of the internship, we started by looking at the continuation of the GLAM exhibit, with an emphasis on Bryon H. Clapp's WWII Letters Home and his “Recollections of the War.” including the Jean Gallatin Ogolbee photo album and the newspaper clippings of Elizabeth “Neal” Forsling. These records were cataloged, they included an accurate description, including the name of the collection and the item's type, e.g., photograph, letter, or newspaper, and a catalog accession number. We looked at selecting the appropriate items, placing them in the exhibit, and adding and subtracting where appropriate.
We had several conversations about ownership, how it pertains to collections, and exhibitiions, and the time frame allowed by copyright laws, and family wishes. Ownership in the context of a collection is of paramount concern. The ability to exhibit a collection should never be an issue if the Curator and Archivist have done their due diligence before and during the accession process. However, as I have seen in the three museums where I have interned, there seems to be some grey area. Does the museum have full ownership and the supporting paperwork? Is there a stipulation regarding limiting what might be exhibited within that time frame? And many more questions.
The role of the curator has been of significant focus this semester. While researching the role of the curator I became aware of the importance that role is to the life of the collection and the individual item. The Curator tracks the life of the collection. With the increasing number of exhibits planned by Casper College Museum Studies interns through the Library’s Western History Center, this archives and special collections unit has been researching ongoing conversations on how the two often quite different organizations are adopting principles and practices from one another to increase engagement with and use of materials while also building relationships. As part of an ongoing process that started in the spring of 2024, we have been exploring how the definition of what it means to be a curator and an understanding of how the responsibilities of a curator operating in multiple settings can be used to create a role delineation statement to expand the scope of the critical work of interns. To manage this, one of the approaches we’ve discussed has been to map the responsibilities of a Curator within a semester-long internship to the 5 Cs of digital curation as outlined by Deschaine and Sharma (2015). The repository is doing the same thing for Collections Management Interns with the aim of increasing collaboration on different projects between students in each internship.
Collection Management: Among the many tasks in collections management is ensuring the institution's "Mission Statement" and "Collecting Policy" are used to guide decision-making. This provides a foundation for suitable collection management, training, education, and curation (physical and digital).
Categorization: Management of artefactual and non-artefactual materials from acquisition through further processing, storage, and usage. Categorization for many materials in the repository relies on standards for archival arrangement and description but also museum-based Nomenclature.
Critiquing: Arrangement and description of both artefacts, records and materials of varying formats up to and including in-depth collection research. Critiquing aids in the interpretation of materials within wider external or internal programming and events but also facilitates drawing connections between related materials.
Conceptualization: Selecting materials for use in wider exhibit programming following critiquing. As an iterative process that relies on critiquing materials, conceptualization is invaluable for drawing connections between related materials.
Circulation: Exhibits (physical and digital), research usage, and application of materials for specific projects/publications. Circulation is tracked via an exhibit-based registrar that also functions as a finding aid that lends itself to the interpretation of materials.
<a href="https://caspercollege.cvlcollections.org/exhibits/show/2024-glam-exhibit-soft-launch/glam_archives">GLAM 2024: Chaos, Pattern, Order Exhibit Page</a>
<a href="https://caspercollegearchives.libraryhost.com/repositories/2/archival_objects/32896">Western History Center Archives-Museum Exhibit Registrar: GLAM 2024</a>
References<br /><br /><span>American Association of Museums. 2000. </span><em>Code of Ethics for Museums</em><span>. Washington, DC: American Association of Museums.<br /><br />Butler, Shelley, 1964- and Erica T, Lehrer. 2016. Curatorial Dreams: Critics Imagine Exhibitions. McGill-Queen's University Press.<br /><br />Lubar, Steven D.. 2017. <em>Inside the Lost Museum: Curating, Past and Present</em>. Harvard University Press.<br /><br />Mason, Rhiannon, Alistair (Art museum director), Robinson and Emma Coffield. 2018. <em>Museum and Gallery Studies: The Basics</em>. Routledge, Taylor & Francis Group.<br /><br /><em>Society of American Archivists</em>. "Copyright and Unpublished Material: An Introduction for Users of Archives and Manuscript Collections." <br /><br />Walhimer, Mark. 1964-. Museums 101 Rowman & Littlefield, 2015.</span>
Creator
An entity primarily responsible for making the resource
Scott Shipley, Fall 2024
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley 2024 GLAM Exhibit Photograph
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
Photograph of a shelf Museums Training Intern Scott Shipley contributed to making for the first launch of what will be Galleries Library Archives and Musumes (GLAM): Chaos, Pattern, Order in 2025.
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Scott Shipley
Identifier
An unambiguous reference to the resource within a given context
Fall2024_ScottShipley_Exhibit_IMG_16
Format
The file format, physical medium, or dimensions of the resource
JPG
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
-
https://caspercollege.cvlcollections.org/files/original/87b43164b2c1061aa437d26bc628eeeb.jpeg
0443db9a8f226ef61448f0d36e815a20
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley Fall 2024 Museum Training Internship ePortfolio
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
The following describes an internship at the Casper College Library and the Western History Center. The internship focused on advancing the GLAM exhibit by planning and preparing for the Chaos, Patterns, and Order exhibit, with a focus on the role of Curator in the museum.
At the beginning of the internship, we started by looking at the continuation of the GLAM exhibit, with an emphasis on Bryon H. Clapp's WWII Letters Home and his “Recollections of the War.” including the Jean Gallatin Ogolbee photo album and the newspaper clippings of Elizabeth “Neal” Forsling. These records were cataloged, they included an accurate description, including the name of the collection and the item's type, e.g., photograph, letter, or newspaper, and a catalog accession number. We looked at selecting the appropriate items, placing them in the exhibit, and adding and subtracting where appropriate.
We had several conversations about ownership, how it pertains to collections, and exhibitiions, and the time frame allowed by copyright laws, and family wishes. Ownership in the context of a collection is of paramount concern. The ability to exhibit a collection should never be an issue if the Curator and Archivist have done their due diligence before and during the accession process. However, as I have seen in the three museums where I have interned, there seems to be some grey area. Does the museum have full ownership and the supporting paperwork? Is there a stipulation regarding limiting what might be exhibited within that time frame? And many more questions.
The role of the curator has been of significant focus this semester. While researching the role of the curator I became aware of the importance that role is to the life of the collection and the individual item. The Curator tracks the life of the collection. With the increasing number of exhibits planned by Casper College Museum Studies interns through the Library’s Western History Center, this archives and special collections unit has been researching ongoing conversations on how the two often quite different organizations are adopting principles and practices from one another to increase engagement with and use of materials while also building relationships. As part of an ongoing process that started in the spring of 2024, we have been exploring how the definition of what it means to be a curator and an understanding of how the responsibilities of a curator operating in multiple settings can be used to create a role delineation statement to expand the scope of the critical work of interns. To manage this, one of the approaches we’ve discussed has been to map the responsibilities of a Curator within a semester-long internship to the 5 Cs of digital curation as outlined by Deschaine and Sharma (2015). The repository is doing the same thing for Collections Management Interns with the aim of increasing collaboration on different projects between students in each internship.
Collection Management: Among the many tasks in collections management is ensuring the institution's "Mission Statement" and "Collecting Policy" are used to guide decision-making. This provides a foundation for suitable collection management, training, education, and curation (physical and digital).
Categorization: Management of artefactual and non-artefactual materials from acquisition through further processing, storage, and usage. Categorization for many materials in the repository relies on standards for archival arrangement and description but also museum-based Nomenclature.
Critiquing: Arrangement and description of both artefacts, records and materials of varying formats up to and including in-depth collection research. Critiquing aids in the interpretation of materials within wider external or internal programming and events but also facilitates drawing connections between related materials.
Conceptualization: Selecting materials for use in wider exhibit programming following critiquing. As an iterative process that relies on critiquing materials, conceptualization is invaluable for drawing connections between related materials.
Circulation: Exhibits (physical and digital), research usage, and application of materials for specific projects/publications. Circulation is tracked via an exhibit-based registrar that also functions as a finding aid that lends itself to the interpretation of materials.
<a href="https://caspercollege.cvlcollections.org/exhibits/show/2024-glam-exhibit-soft-launch/glam_archives">GLAM 2024: Chaos, Pattern, Order Exhibit Page</a>
<a href="https://caspercollegearchives.libraryhost.com/repositories/2/archival_objects/32896">Western History Center Archives-Museum Exhibit Registrar: GLAM 2024</a>
References<br /><br /><span>American Association of Museums. 2000. </span><em>Code of Ethics for Museums</em><span>. Washington, DC: American Association of Museums.<br /><br />Butler, Shelley, 1964- and Erica T, Lehrer. 2016. Curatorial Dreams: Critics Imagine Exhibitions. McGill-Queen's University Press.<br /><br />Lubar, Steven D.. 2017. <em>Inside the Lost Museum: Curating, Past and Present</em>. Harvard University Press.<br /><br />Mason, Rhiannon, Alistair (Art museum director), Robinson and Emma Coffield. 2018. <em>Museum and Gallery Studies: The Basics</em>. Routledge, Taylor & Francis Group.<br /><br /><em>Society of American Archivists</em>. "Copyright and Unpublished Material: An Introduction for Users of Archives and Manuscript Collections." <br /><br />Walhimer, Mark. 1964-. Museums 101 Rowman & Littlefield, 2015.</span>
Creator
An entity primarily responsible for making the resource
Scott Shipley, Fall 2024
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley 2024 GLAM Exhibit Photograph
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
Photograph of a shelf Museums Training Intern Scott Shipley contributed to making for the first launch of what will be Galleries Library Archives and Musumes (GLAM): Chaos, Pattern, Order in 2025.
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Scott Shipley
Identifier
An unambiguous reference to the resource within a given context
Fall2024_ScottShipley_Exhibit_IMG_17
Format
The file format, physical medium, or dimensions of the resource
JPG
Subject
The topic of the resource
Museums -- Curatorship.
-
https://caspercollege.cvlcollections.org/files/original/f8643b73b7900143be59b3f293f5bd6a.jpeg
47a6a895a8dcda087c8d392464213196
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley Fall 2024 Museum Training Internship ePortfolio
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
The following describes an internship at the Casper College Library and the Western History Center. The internship focused on advancing the GLAM exhibit by planning and preparing for the Chaos, Patterns, and Order exhibit, with a focus on the role of Curator in the museum.
At the beginning of the internship, we started by looking at the continuation of the GLAM exhibit, with an emphasis on Bryon H. Clapp's WWII Letters Home and his “Recollections of the War.” including the Jean Gallatin Ogolbee photo album and the newspaper clippings of Elizabeth “Neal” Forsling. These records were cataloged, they included an accurate description, including the name of the collection and the item's type, e.g., photograph, letter, or newspaper, and a catalog accession number. We looked at selecting the appropriate items, placing them in the exhibit, and adding and subtracting where appropriate.
We had several conversations about ownership, how it pertains to collections, and exhibitiions, and the time frame allowed by copyright laws, and family wishes. Ownership in the context of a collection is of paramount concern. The ability to exhibit a collection should never be an issue if the Curator and Archivist have done their due diligence before and during the accession process. However, as I have seen in the three museums where I have interned, there seems to be some grey area. Does the museum have full ownership and the supporting paperwork? Is there a stipulation regarding limiting what might be exhibited within that time frame? And many more questions.
The role of the curator has been of significant focus this semester. While researching the role of the curator I became aware of the importance that role is to the life of the collection and the individual item. The Curator tracks the life of the collection. With the increasing number of exhibits planned by Casper College Museum Studies interns through the Library’s Western History Center, this archives and special collections unit has been researching ongoing conversations on how the two often quite different organizations are adopting principles and practices from one another to increase engagement with and use of materials while also building relationships. As part of an ongoing process that started in the spring of 2024, we have been exploring how the definition of what it means to be a curator and an understanding of how the responsibilities of a curator operating in multiple settings can be used to create a role delineation statement to expand the scope of the critical work of interns. To manage this, one of the approaches we’ve discussed has been to map the responsibilities of a Curator within a semester-long internship to the 5 Cs of digital curation as outlined by Deschaine and Sharma (2015). The repository is doing the same thing for Collections Management Interns with the aim of increasing collaboration on different projects between students in each internship.
Collection Management: Among the many tasks in collections management is ensuring the institution's "Mission Statement" and "Collecting Policy" are used to guide decision-making. This provides a foundation for suitable collection management, training, education, and curation (physical and digital).
Categorization: Management of artefactual and non-artefactual materials from acquisition through further processing, storage, and usage. Categorization for many materials in the repository relies on standards for archival arrangement and description but also museum-based Nomenclature.
Critiquing: Arrangement and description of both artefacts, records and materials of varying formats up to and including in-depth collection research. Critiquing aids in the interpretation of materials within wider external or internal programming and events but also facilitates drawing connections between related materials.
Conceptualization: Selecting materials for use in wider exhibit programming following critiquing. As an iterative process that relies on critiquing materials, conceptualization is invaluable for drawing connections between related materials.
Circulation: Exhibits (physical and digital), research usage, and application of materials for specific projects/publications. Circulation is tracked via an exhibit-based registrar that also functions as a finding aid that lends itself to the interpretation of materials.
<a href="https://caspercollege.cvlcollections.org/exhibits/show/2024-glam-exhibit-soft-launch/glam_archives">GLAM 2024: Chaos, Pattern, Order Exhibit Page</a>
<a href="https://caspercollegearchives.libraryhost.com/repositories/2/archival_objects/32896">Western History Center Archives-Museum Exhibit Registrar: GLAM 2024</a>
References<br /><br /><span>American Association of Museums. 2000. </span><em>Code of Ethics for Museums</em><span>. Washington, DC: American Association of Museums.<br /><br />Butler, Shelley, 1964- and Erica T, Lehrer. 2016. Curatorial Dreams: Critics Imagine Exhibitions. McGill-Queen's University Press.<br /><br />Lubar, Steven D.. 2017. <em>Inside the Lost Museum: Curating, Past and Present</em>. Harvard University Press.<br /><br />Mason, Rhiannon, Alistair (Art museum director), Robinson and Emma Coffield. 2018. <em>Museum and Gallery Studies: The Basics</em>. Routledge, Taylor & Francis Group.<br /><br /><em>Society of American Archivists</em>. "Copyright and Unpublished Material: An Introduction for Users of Archives and Manuscript Collections." <br /><br />Walhimer, Mark. 1964-. Museums 101 Rowman & Littlefield, 2015.</span>
Creator
An entity primarily responsible for making the resource
Scott Shipley, Fall 2024
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scott Shipley 2024 GLAM Exhibit Photograph
Date Created
Date of creation of the resource.
2024
Description
An account of the resource
Photograph of a shelf Museums Training Intern Scott Shipley contributed to making for the first launch of what will be Galleries Library Archives and Musumes (GLAM): Chaos, Pattern, Order in 2025.
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
ScottShipley
Identifier
An unambiguous reference to the resource within a given context
Fall2024_ScottShipley_Exhibit_IMG_03
Format
The file format, physical medium, or dimensions of the resource
JPG
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a>
Subject
The topic of the resource
Museums -- Curatorship.
-
https://caspercollege.cvlcollections.org/files/original/3f41174d900271f8af4549a2fb96b8e4.tif
7df7a8ff77b0b48f22b7b074ef513283
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Print Magazine
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Coming Out of Her Shell
Rights
Information about rights held in and over the resource
<div class="element-text">
<div class="element-text">
<div class="element-text">
<div class="element-text five columns omega">
<div class="element-text five columns omega">
<div class="element-text five columns omega">
<div class="element-text"><a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a></div>
</div>
</div>
</div>
</div>
</div>
</div>
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text"><em>Expression</em><span> </span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
Date Created
Date of creation of the resource.
2023
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Shawn Condelario
Is Part Of
A related resource in which the described resource is physically or logically included.
Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
Identifier
An unambiguous reference to the resource within a given context
CCA 04.ii.c.2022.01_Exp_2023_Art_52
Format
The file format, physical medium, or dimensions of the resource
TIF
Publisher
An entity responsible for making the resource available
Casper College
-
https://caspercollege.cvlcollections.org/files/original/21720a5e9fb3e8f23dbe725de9728346.tif
03900f53cab48f13c1383e5f36311d88
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Print Magazine
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Fremont Canyon Gooseneck
Rights
Information about rights held in and over the resource
<div class="element-text">
<div class="element-text">
<div class="element-text">
<div class="element-text five columns omega">
<div class="element-text five columns omega">
<div class="element-text five columns omega">
<div class="element-text"><a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a></div>
</div>
</div>
</div>
</div>
</div>
</div>
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text"><em>Expression</em><span> </span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
Date Created
Date of creation of the resource.
2023
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Shawn Condelario
Is Part Of
A related resource in which the described resource is physically or logically included.
Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
Identifier
An unambiguous reference to the resource within a given context
CCA 04.ii.c.2022.01_Exp_2023_Art_56
Format
The file format, physical medium, or dimensions of the resource
TIF
Publisher
An entity responsible for making the resource available
Casper College
-
https://caspercollege.cvlcollections.org/files/original/570233620d04508b7ce6d23825ae354f.tif
f89321e5188cb850a425f1d8a290aebf
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Print Magazine
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hip
Rights
Information about rights held in and over the resource
<div class="element-text">
<div class="element-text">
<div class="element-text">
<div class="element-text five columns omega">
<div class="element-text five columns omega">
<div class="element-text five columns omega">
<div class="element-text"><a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a></div>
</div>
</div>
</div>
</div>
</div>
</div>
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text"><em>Expression</em><span> </span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
Date Created
Date of creation of the resource.
2023
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Shawn Condelario
Is Part Of
A related resource in which the described resource is physically or logically included.
Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
Identifier
An unambiguous reference to the resource within a given context
CCA 04.ii.c.2022.01_Exp_2023_Art_58
Format
The file format, physical medium, or dimensions of the resource
TIF
Publisher
An entity responsible for making the resource available
Casper College
-
https://caspercollege.cvlcollections.org/files/original/f97253665ca2af371f548afd35c83323.tif
e9156c0a6afb5e4d973abdfab508f431
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Print Magazine
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Those Boots
Rights
Information about rights held in and over the resource
<div class="element-text">
<div class="element-text">
<div class="element-text">
<div class="element-text five columns omega">
<div class="element-text five columns omega">
<div class="element-text five columns omega">
<div class="element-text"><a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a></div>
</div>
</div>
</div>
</div>
</div>
</div>
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text five columns offset-by-two">
<div id="dublin-core-rights" class="element">
<div class="element-text"><em>Expression</em><span> </span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
Date Created
Date of creation of the resource.
2023
Type
The nature or genre of the resource
Image
Is Part Of
A related resource in which the described resource is physically or logically included.
Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
Identifier
An unambiguous reference to the resource within a given context
CCA 04.ii.c.2022.01_Exp_2023_Art_67
Creator
An entity primarily responsible for making the resource
Shawn Condelario
-
https://caspercollege.cvlcollections.org/files/original/34921d34bbc51ba1a404572b1fb0fabf.pdf
0f0fc0a67a9968598f2bb2701bf7c696
PDF Text
Text
search turned up a red, 1964 convertible about 100 yards below
the point of entry. The swift current had badly damaged the ve
hicle. No sign has been found of the occupants of the car, who
must have been swept away by the swift current.
The next day’s paper contained this terse notice.
Hunnesville, Colo. (UPl)—The occupants of the car found two
days ago in the Rio Peligro have been identified as Mr. and Mrs.
Stanford M. Wright of Mankin, Missouri. They were identified
through vehicle registration and the testimony of a motel owner
here, who recalled that they had stayed at his place the night be
fore the accident. Their bodies have not yet been found.
Now Stanford settled down to step four of O. P. C.—this time without
Eunice’s knowledge or consent. He spent two afternoons in the thick timber
a quarter of a mile from the cabin, digging a hole. It measured six feet
long, two feet wide, and five feet deep.
On the second afternoon Stanford was working in the hole. It was
nearly finished. His spade made a chunking sound on the hard earth, then
there was a “splat” as he carefully piled the earth on a large canvas. Sud
denly he heard a noise. He turned, straightened, and looked out of the hole.
He found himself staring straight at a pair of woman’s ankles.
“You left the pick at the cabin, Stanford,” Eunice said as she brought
the pointed instrument down onto his skull.
BURDEN
Sheala Dunn
It was a cold day, a dark day for doing many things, but certainly not
the kind of a day to spend taking care of a two year old. The girl sat star
ing out the window as these, and other thoughts, mesmerized her mind.
Children were such a waste of time, always wanting something and jabbering
to no useful end. There were so many other things more important and in
teresting. Her self-inflicted depression was interrupted.
“Sissy!” called a sleepy voice from the other end of the house. He
was awake. Another day of dressing and undressing, cleaning up messes,
reading stupid stories and answering endless nonsense questions.
“Hi! Get up?” asked the cheerful, cherub-like mouth of the flaxen
haired child. His dark eyes glowed with life as the girl stood expressionless
before him. “Get-up?” he said again, patiently waiting for a sign of approval
from his part-time mother.
“Well, get up!” she said impatiently, wishing that there were some
way to keep him in bed the rest of the afternoon. Mom would be home
—31—
�at five o’clock; she had the right idea about kids, they were nothing but a
nuisance. Especially this one.
Slowly he started to get out of bed, pushing back his blankets and
stuffed toys on the way. His chubby, pink legs swung themselves to the
floor, and a second later a rag doll tumbled down after them.
“Oh! Poor Suzy!” he cried. “Honey, me love!” he consoled as he kiss
ed her. “Hurt?” he questioned.
“No, how can she get hurt? She’s not a person, she’s just a doll,” re
plied the girl sarcastically. “Boy, how stupid!” she thought. “Doesn’t even
know the difference between a doll and a person. And they say kids are
smarter than you give them credit for! What a laugh!”
“Potty!” he squeeled with delight. It was a new experience and ap
peared to him to be a fine game. But to the girl it was just another time
consuming chore. What difference did it make if he wet his pants or not? He
couldn’t finish either one alone, someone had to help him either way.
He was in the bathroom in a matter of seconds, but evidently not
quite soon enough. As she pulled his pants down, a small, wet pool ap
peared.
“John Jay!” she screamed. “What did you do?” a sharp smack landed
across his exposed bottom.
“Sorry, sorry!” he blubbered through his tears. “Not my fault!”
“Not your fault? Well, it sure wasn’t mine! Sit down in that corner!”
“More work,” she thought. “Always dressing and undressing. What a waste
of time.” She fumbled through his drawers until she found a pair of pants.
Carrying them back into the bathroom, she threw them in his lap. “Put
these on and go in the kitchen and eat your lunch!”
Smiling weakly, he muttered, “OK, Sissy.”
It was only one o’clock-four hours! There were so many other things
to do, and here she was, at home with him. How could anyone enjoy little
kids? They didn’t know how to do anything.
“Sissy! Come here!” rang a voice from the kitchen.
She walked in to see his face lit up with an expectant smile as he said
to her: “Watch. Johnny eat.”
He tried so hard to please her, to impress her. He carefully steered his
spoon from the bowl to his mouth and back again several times. Fighting
all the v'hile his childish impulse to pour it from his spoon and see it splat
ter. He ate it all; even the mushy pieces of celery. His eyes sparkled with
anticipation. His little body was tense. He picked up his glass with two
short, chubby hands, and drank it without a spill. Turning his milk-rimmed
face toward his sister, he smiled triumphantly over his accomplishment.
“That’s nice,” was her cold reply. “Now you’re going to put on your
coat and go outside to play.”
�“Why, cuz?” questioned the boy, slowly lowering himself from his high
chair until his tiny toes touched the floor, and then immediately turning
loose and dropping to a solid rest.
“Cuz I say so, that’s why,” she called over his shoulder. She returned
with his coat and cap. Willingly he thrust his arms into the sleeves; she zip
ped it up. His coat was a vivid blue with small navy emblems on each side
at the breast line. His hat, red with blue stripes, snuggled close to his
head, leaving only a small portion of his mouth, a button nose and two big,
brown eyes exposed.
Suddenly, a thought raced through his mind. “Read?” he blurted.
“No! I’m not going to read any more of those silly books. Goodbye. Go
play,” she said, opening the door.
“Bye,” he quipped cheerfully.
He was gone. She could again escape from his world of constant de
mands to hers of repressed desires and wishes. Needs of a sixteen year old
are almost as acute as those of a child. Unfulfillment-searching for some
one and for herself. But escape could not last for long. Reality was ever
present, intruding into her more perfect world. Intruding with the child.
Why must he always be there? Why couldn’t he leave? She didn’t need him,
he was only a bother.
Her thoughts were interruped by the opening of the front door. There
was no sound except that of the squeaking hinge. After a few minutes had
elapsed, a small figure, clad in a bright blue coat, appeared and walked
toward her. He climbed up into her lap, his little body still cold from the
brisk winter air. He didn’t look at her; his face was expressionless.
“What do you want?” she asked, half irritated and half inquisitive.
With a sudden surge of affection he threw his arms around her neck, and
with child-like simplicity said, “Love. Johnny, Sissy.”
The flaxen hair mingled with the darker blond. There were eyes,
brown and blue, filled with tears; but they were smiling, both of them, the
child and the girl.
It was still a cold day, dark day. But the light was beginning to break
through, and there was a promise of warmth. A warmth that would in
crease with the onset of each new season.
HELP III
To my money problem, there’s ‘ '''
No answer I’m afraid.
All my bills are overdue
And I am underpaid.
�
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Text
Any textual data included in the document
Print magazine story
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Burden" and "Help ! ! !"
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/InC-EDU/1.0/">http://rightsstatements.org/vocab/InC-EDU/1.0/</a>
The Casper College Archives has archived this story and poem to encourage the use of its Expression Literary Arts Magazines for digital humanities and other related educational uses.
Date Created
Date of creation of the resource.
1964
Description
An account of the resource
Story and poem published by Sheala Dunn in the fall 1964 Casper College Expression magazine.
Type
The nature or genre of the resource
Text
Creator
An entity primarily responsible for making the resource
Sheala Dunn
Language
A language of the resource
ENG
Identifier
An unambiguous reference to the resource within a given context
CCA_04.ii.c.01_Expression1964_Fall_Dunn
Format
The file format, physical medium, or dimensions of the resource
PDF
Extent
The size or duration of the resource.
3 pages