847
10
9858
-
https://caspercollege.cvlcollections.org/files/original/eb8a214927381181a3e8ac8aacec9e86.jpeg
7de0e909db0078797a058714f424bdef
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_12
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/d94d75535ddefed19facf207df2d23a5.jpeg
7ac1d86d6b47a720df0a633329c3e4b9
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_13
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/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/70063bf564d1c25182c32fd8b1d34a32.tif
c4f08c55f5b1362bdd903afaacd8e69c
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
Sea and Sand
Rights
Information about rights held in and over the resource
<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 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>
Date Created
Date of creation of the resource.
2024
Type
The nature or genre of the resource
Image
Creator
An entity primarily responsible for making the resource
Sophia Zettl
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_2024_Art_16
Format
The file format, physical medium, or dimensions of the resource
Casper College
-
https://caspercollege.cvlcollections.org/files/original/40e18f8069e720a11378169a84a340bf.pdf
078c2b91cd6ddb3556303a386fad21b8
PDF Text
Text
SearcRingforXiflRt
WitRin the Dark
Audrea Cooper
Ihe floor is cold, my eyes are damp from crying
Darkness everywhere
I feel like I’ve been here an eternity
I want to end this pain and silence my thoughts
Something stops me
I see a hint of light is peaking in from under the door
I must make a choice; I can’t keep living like this
It would be so easy to end it, to just make it stop
True strength is when you pull yourself up and fight
I pull myself up and feel through the darkness
Reaching for the handle to open the door
I take a deep breath, knowing I have survived another breakdown
My soul tells me to survive; to find the light within me
As I search for light I wonder, will it reach me in time?
Is my heart capable of forgiving myself for things that were not my fault?
I want to mend the pieces together that are shattered
I must show myself I am enough, that I am worthy
It's time to let the light break the darkness that binds me, so that I can finally shine
195
�
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
Searching for Light Within the Dark
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">
<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>
<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">
<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>
</div>
</div>
Date Created
Date of creation of the resource.
2023
Type
The nature or genre of the resource
Text
Creator
An entity primarily responsible for making the resource
Audrea Cooper
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_Poetry_13
Format
The file format, physical medium, or dimensions of the resource
Searchable PDF
Publisher
An entity responsible for making the resource available
Casper College
-
https://caspercollege.cvlcollections.org/files/original/8045a572ce3ce56d1095a56a9d1bb723.jpg
8abd06a4a9dd36d77f8abd8f328c7caa
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.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Photographic print
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
Second Ave, Casper, Wyoming
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/NKC/1.0/">http://rightsstatements.org/vocab/NKC/1.0/</a>
Subject
The topic of the resource
Casper (inhabited place)
Description
An account of the resource
Photograph showing shops and businesses taken on Second Ave in Casper, Wyoming.
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.
Bruce H. Thompson and Connie F. Bryant Collection, NCA 01.v.2003.01 WyCaC US. Casper College Archives and Special Collections.
Identifier
An unambiguous reference to the resource within a given context
NCA 01.v.2003.01_SecondAve
Format
The file format, physical medium, or dimensions of the resource
JPG
-
https://caspercollege.cvlcollections.org/files/original/6e76fddba816899c9486622b20cdcaa0.jpg
dc3fbb5801f41d6297a1be53010bb129
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
My Mom's Casper
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/NKC/1.0/">http://rightsstatements.org/vocab/NKC/1.0/</a>
Date Created
Date of creation of the resource.
1908
Description
An account of the resource
Collection of photographs and postcards of Casper during the quite early twentieth century.
Type
The nature or genre of the resource
Image; text
Is Part Of
A related resource in which the described resource is physically or logically included.
Sheffner-McFadden Collection, NCA 01.v.2024.12 WyCaC US. Casper College Archives and Special Collections.
Identifier
An unambiguous reference to the resource within a given context
NCA 01.v.2024.12_MyMomsCasper
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.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Photographic Print
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
Second Street
Rights
Information about rights held in and over the resource
<a href="http://rightsstatements.org/vocab/NKC/1.0/">http://rightsstatements.org/vocab/NKC/1.0/</a>
Date Created
Date of creation of the resource.
1900
Subject
The topic of the resource
2nd street
Description
An account of the resource
2nd street , Townsend Hotel, Rialto Creeks Market Webel's Dept. Store , and a Long String Team
Type
The nature or genre of the resource
Image
Language
A language of the resource
ENG
Is Part Of
A related resource in which the described resource is physically or logically included.
Sheffner-McFadden Collection, NCA 01.v.2024.12 WyCaC US. Casper College Archives and Special Collections.
Identifier
An unambiguous reference to the resource within a given context
NCA 01.v.2024.12_MyMomsCasper_23a
Format
The file format, physical medium, or dimensions of the resource
JPG