Curator

A curator is a person who manages, administers or organizes a collection for exhibition - at a museum, library, archive or zoo. The term came from Latin (cura) means "care."

Curator of a cultural heritage institution (e.g., archive, gallery, library, museum, garden, zoo) is a content specialist responsible for an institution's collections and, together with a publications specialist, their associated collections catalogs.

Curator responsibilities

In smaller organizations, a curator may have sole responsibility for the acquisition and care of objects. The curator will make decisions regarding what objects to collect, oversee their care and documentation, conduct research based on the collection, provide proper packaging of art for transport, and share that research with the public and scholarly community through exhibitions and publications. In very small volunteer-based museums, such as local historical societies, a curator may be the only paid staff member.

In larger institutions, the curator's primary function is as a subject specialist, with the expectation that he or she will conduct original research on objects and guide the organization in its collecting. Such institutions can have multiple curators, each assigned to a specific collecting area (e.g. Curator of Ancient Art, Curator of Prints and Drawings, etc.) and often operating under the direction of a head curator. In such organizations, the physical care of the collection may be overseen by museum collections managers or museum conservators, and documentation and administrative matters (such as insurance and loans) are handled by a museum registrar.

More recently, advances in new technologies has led to a further widening of the role of curator.

Challenges in the 21st century

Developments of Information Science, Information Technology, and Internet created new challenging contexts for museums and other cultural heritage institutions.

Other definitions

In the United Kingdom, the term curator is also applied to government employees who monitor the quality of contract archaeological work under PPG 16 and are considered to manage the cultural resource of a region. In the museum setting, a curator in the United Kingdom may also be called a "keeper."

In contemporary art, the title curator is given to a person who organizes an exhibition. In this context, to curate means to select works of art and arrange them to achieve a desired effect. This might involve finding a strategy for display. Thematic, conceptual and formal approaches are all prevalent. In addition to selecting works, the curator often is responsible for writing labels, catalog essays, and other supporting content for the exhibition. Such curators may be permanent staff members, be "guest curators" from an affiliated organization or university, or be "freelance curators" working on a consultant basis. The late 20th century saw an explosion of artists organising exhibitions. The artist-curator has a long tradition of influence. Notable among these was Sir Joshua Reynolds, founder of the Royal Academy, London.

In some American organizations, the term curator is also used to designate the head of any given division of a cultural organization. This has led to the proliferation of titles such as "Curator of Education" and "Curator of Exhibitions." This trend has increasingly been mirrored in the United Kingdom in such instituions as Ikon, Birmingham, UK and Baltic, Gateshead, UK.

In Australia and New Zealand, the person who prepares a sports ground for use (especially a cricket ground) is known as a curator. This job is equivalent to that of groundsman in some other cricketing nations.

Education and training

Traditionally, curators have held an advanced academic degree in their subject. For larger organizations, this is typically a Doctor of Philosophy. In smaller institutions, a Master's degree is sometimes acceptable. Along with an advanced degree, curators are expected to have contributed to their academic field by publishing articles and presenting at conferences. In addition, curators need to have knowledge of the current collecting market for their area of expertise, and be aware of current ethical practices and laws that may impact their organization's collecting.

Recently, the increased complexity of many museums and cultural organizations and the corresponding emergence of professional programs in field such as Museum Studies, Arts Administration, and Public History, have encouraged the development of curators with training in non-academic areas such as non-profit administration, fundraising, and public education.

Today, as art institutions face an array of new challenges, the role of the curator is being re-thought. One consequence of this has been the emergence of academic courses in contemporary art and curatorial practice (e.g., at the Kingston University, UK, Goldsmiths College, UK, Royal College of Art, UK, University of Sunderland, UK, California College of the Arts, USA, Bard College, USA, Université de Rennes II, France, etc.).

Museum collections

A museum is distinguished by a collection of often unique objects that forms the core of its activities for exhibitions, education, research, etc. This differentiates it from an archive or library, where the contents may be more paper-based, replaceable and less exhibition oriented. A museum normally has a collecting policy for new acquisitions, so only objects in certain categories and of a certain quality are accepted into the collection. The process by which an object is formally included in the collection is called accessioning and each object is given a unique accession number.

Museum collections, and archives in general, are normally catalogued in a collection catalog, traditionally in a card index, but nowadays in a computerized database. Transferring collection catalogues onto computer-based media is a major undertaking for most museums. All new acquisitions are normally catalogued on a computer in modern museums, but there is typically a backlog of old catalogue entries to be computerized as time and funding allows.

Types of Collections

Museum collections are widely varied. There are collections of art, of scientific specimens, of historic objects, of living zoological specimens, and much more. Because there are so many things to collect, most museums have a specific area of specialization. For example, a history museum may only collect objects relevant to a particular county or even a single person, or focus on a type of object such as automobiles or stamps. Art museums may focus on a period, such as modern art, or a region. Very large museums will often have many subcollections, each with its own criteria for collecting. A natural history museum, for example, will have mammals in a separate collection from insects.

Because museums cannot collect everything, each potential new addition must be carefully considered as to its approriateness for a given museum's defined area of interest.

Accessioning

Accessioning is the formal, legal process of accepting an object into a museum collection. Because accessioning an object carries an obligation to care for that object in perpetuity, it is a serious decision. While in the past many museums accepted objects with little deliberation, today most museums have accepted the need for formal accessioning procedures and practices. These are typically set out as part of a museum's Collections Management Policy or CMP.

While each museum has its own procedures for accessioning, in most cases it begins with either an offer from a donor to give an object to a museum, or a recommendation from a curator to acquire an object through purchase or trade.

Several issues must be considered in the decision to accept an object. Common issues include:

• Is the object relevant to the museum's mission and its scope of collecting, as defined by its governing body?
• Was the object lawfully acquired and if foreign in origin, imported in compliance with international law?
• Does the owner of an object have legal title to the object and therefore the right to transfer it?
• Are there any other parties with an interest in the object (e.g. heirs of a donor, descendant groups for cultural objects, etc.)?
• Is the object encumbered by any legal obligations or constraints (e.g., natural history objects that require special permits)?
• Would the object pose any threats or dangers to other objects or staff?
• Does the museum have the resources to properly care for the object (e.g., appropriate storage space, adequate funding)
• Is the object encumbered by any donor restrictions?

Answering these questions often required investigating an objects provenance, the history of an object from the time it was made.

Many museums will not accession objects that have been acquired illegally or where other parties have an interest in the object. In art museums, special care is given to objects that changed hands in European countries during World War II and archaeological objects unearthed after the 1970 UNESCO Convention covering the transport of cultural property. Other disciplines have different concerns. For example, anthropology museums will pay special attention to Native American objects that may be subject to repatriation, and paleontology museums may look carefully at whether proper permitting procedures were followed when they are offered fossil collections.

While in the past, museums often accepted objects with donor-based restrictions, many museums today ask that gifts be given unrestricted. Common donor restrictions include requiring that an object always be exhibited, or that a collections stay together. However, such restrictions can prevent museums from changing their exhibits as scholarship evolves and may introduce conservation issue for delicate objects not suited to continued display.

Final decision to accept an object generally lies with the museum's board of trustees. In large museums, a special committee may meet regularly to review potential acquisitions. Once the decision has been made to accept an object, it is formally accessioned through a Deed of Gift and entered into the museum's catalog records. Each object is given a unique catalog number to identify it. Objects are then packed for appropriate archival storage, or prepared for exhibition or other educational use.

Caring for Collections

Once accessioned into the collection, museum objects must be appropriately cared for. New objects may be examined by a conservator and treated for any pre-existing damage. The object is then cataloged by a curator or other specialist with knowledge of the object's importance and history. The object will then be given an appropriate storage location.

Museum storage conditions are meant to protect the object and to minimize any deterioration. This often means keeping objects in a stable climate, preventing exposure to pests, minimizing any handling, and using only archival materials that will not deteriorate or harm the objects. Object safety also include providing appropriate security, and planning for disasters and other threats, and making sure that museum staff are trained in proper handliing procedures.

Different types of objects have different requirements, and many museums have specialized storage areas. For example, framed paintings may be stored in racks in one room while unframed paintings are kept in large drawers in another. Some objects have extremely specialized needs. For example, material from underwater archaeological sites may need to be kept wet, and some very rare and badly deteriorated objects require oxygen-free environments.

At any given time, museums display only a portion of their collections. This is often because exhibition requires much more space than storage, and is impractical for the entire collection to be out. Museums may also contain many duplicate or similar objects and find that a few specimens are better suited to display than others. In addition, certain objects, particularly works on paper and textiles, are damaged by light and must only be displayed for short period of time.

Museum collections are often made up of a variety of materials in a single collection including, but not limited to: canvas, oil and/or acrylic paints, wood, ivory, paper, bone, leather, and textiles. The biggest conservation issue for museum collections is the fluctuations in relative humidity and temperature. Relative Humidity (RH) is a measure of the percentage of saturation of the air.

Temperature is not as important to the life of a work of art, but it is true that chemical reactions occur faster at higher temperatures. However, a museum must take into account the comfort of its staff and visitors and it has been widely accepted that 68°F-75°F does not cause a lot of problems for most artifacts and is comfortable for most humans.

It has also been internationally agreed upon that the RH should be set at 50%-55%. This has become widely accepted because the lower limit was set at 45% since damage to organic materials begin to occur below this point. The upper limit is placed at 65% because mold flourishes at 70% RH. It is also cheaper for most institutions to maintain 50% RH rather than 45% or 60%. There is some exception when it comes to tropical climates since the indigenous artifacts are acclimated to RH levels higher than the “museum norm”. Changes can be made to a museum’s RH to accommodate the changing seasons, but they must be made gradually. Humidity should change in 2% per month increments (an increase in 1°F will affect a decrease of about 2% RH).

Deaccessioning

Deaccessioning, the process of disposing, selling or trading objects from a museum collection, is not undertaken lightly in most museums. There are ethical issues to consider since many donors of objects typically expect the museum to care for them in perpetuity. Deaccessioning of an object in a collection may be appropriate if a museum has more than one example of that object and if the object is being transferred to another museum, It may also be appropriate if an object is badly deteriorated or threatening other objects.

The decision to deaccession includes two parts. These are making the decision to deaccession and deciding the method of disposal. Generally, first choice is to transfer an object to another use or division in a museum, such as deaccessioning a duplicate object from a permanent collection into a teaching collection. Second choice is to transfer the object to another institution, generally with local institutions having priority. The American Association of Museums and other regional associations often operate lists or boards to help facilitate such transfers. Last choice is sale on the open market. Open market sales are generally expected to take place at auction rather than through private sale, and are typically most common in art museums due to the high monetary value of art collections.

A controversial example occurred when the last remaining complete Dodo mount in a museum collection at Oxford University was deaccessioned due to its deterioration in 1775. Another case was the sale of a J. M. W. Turner painting in the collection of Royal Holloway, University of London to the Getty Museum to fund the maintenance of the building, despite the fact that the original benefactor had expressly requested that the collection be kept intact.

Many ethical guidelines for deaccessioning require that the funds generated by disposing of collection items be used only to increase or maintain the remaining collection. For example, the International Council of Museums (ICOM) Code of Ethics states that:

"Money or compensation received from the deaccessioning and disposal of objects and specimens from a museum collection should be used solely for the benefit of the collection and usually for acquisitions to that same collection" .

In the United Kingdom, guidelines governing deaccessioning and other ethically difficult issues can be found in the Museums Association's Code of Ethics. In the United States, the guidelines on these matters are issued by the American Association of Museums.

The American Association of Museums Code of Ethics takes the position that "in no event shall they [deaccessioning proceeds] be used for anything other than acquisition or direct care of collections" .

Other museums may have additional restrictions on the use of funds from deaccessioning. For example, at some museums funds from deaccessioning a work of art can only be used to purchase a work of similar style or period (for example, funds from selling a 20th century American print could not be used to buy a 17th century Italian painting) and the name of the donor of the sold work remains associated with the purchased artwork.

See also

• Archivist
• Collection
• Curation
• Curatorial platform
• Docent
• Head gardener
• Librarian

External links

• Bury, Stephen (2004) 21st Century Curatorship. In: 21st Century Curatorship, 22 July 2004, New York Public Library, New York, U.S.A.
• California College of the Arts
• Critical Curatorial Cybermedia - Geneva Switzerland
• CRUMB - Curatorial Resource for Upstart Media Bliss
• The Exhibitionists—geared towards children, an interactive guide to how an exhibition is put together
• International Curators Program / Antwerp
• Museum Studies Program at the University of Toronto
• MA Curating at Sunderland University, UK
• MA Curating Contemporary Design at Kingston University, UK

Additional resources

• Burcaw, G. (1997) Introduction to Museum Work, 3rd edition. Lanham, MD: Altamira Press. ISBN 978-0-761-98926-4
• Glaser, J. and A. Zenetou. (1996) Museums: A Place to Work. Routledge. ISBN 978-0-415-12724-0
• Lord, G. and B. Lord. (1997) The Manual of Museum Management. Lanham, MD: Altamira Press. ISBN 0-7591-0249-X
• Rugg, J. and Segdwick, M (2007) Issues in Curating. Intellect. ISBN 978-1-84150-162-8

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