Sunday, October 31, 2010
October is a time once a year where we can focus on the importance of the Smithsonian’s vast collections of archival and historical records and to highlight the many individual Smithsonian archival units responsible for maintaining these rich and complex documentary resources. To do so the Smithsonian Institution Archives and Special Collections council set forth with this goal in mind: To unveil our hidden collections and share them with the public, while at the same time teaching the public how to take care of their own archival treasures.
First and foremost (and no news to our blogger readers) the Archives throughout the Smithsonian Institution participated in a 31 day Blogathon, hosted by the Smithsonian Collections Blog in partnership with:
Sister Smithsonian blogs:
Archives of American Art Blog
The Bigger Picture, blog of the Smithsonian Institution Archives
Eye Level, blog of the Smithsonian American Art Museum
The Affiliate, blog of Smithsonian Affiliations
Smithsonian Institution affiliate blogs including:
Ah-Tah-Thi-Ki Museum, an Affiliate in Clewiston, Florida
Telluride Historical Museum, in association with the Pinhead Institute, an Affiliate in Telluride, Colorado
Montana History Revealed Blog, the Montana Historical Society Research Center
October is American Archives Month at the Smithsonian. Additionally, Smithsonian paper conservator and an electronic records conservator were available virtually on the Smithsonian’s Facebook account, http://www.facebook.com/SmithsonianInstitution Thursday, Oct. 21 to answer questions the public had concerning their own paper and electronic archival items. Questions ranged from "How can I stop the pinking of photographs?" to "How can I capture and preserve my Myspace profile?" were asked and answered in the forum.
Result in Numbers: 800 participants, 1,963 visitors to the Archives Month landing page for a total of 2,267 page views thus far, with 308 viewers of our Lecture Series the day of. That puts us over 1,108 visitors both online and in-person for the Archives Fair!
Result in Commentary and Observation: It is my observation that we attracted a seemingly even amount of fellow professionals in addition to the general public. Archivists from fellow institutions like the House of Representatives, Congressional Cemetery, and U of MD attended our fair and sought me out individually to express their profound gratitude for having an event like this. A staff member from the US Department of Commerce spoke to me at the conclusion of the Fair to say that we simply MUST hold this event every year, and in fact she would like to see opportunities to work with us MORE than once a year. Potential workshops, archivist exchange programs, and other collaborative ventures were suggested. Members of the general public seemed unanimously pleased with learning more about archives, libraries, and special collections and could not convey enough their gratitude at having an opportunity to have access to our experts at Ask the Smithsonian.
In general, everyone keeps saying how amazed they are at how well things went for our first try, and I honestly think it is because we (archivists/librarians/museum specialist) are not only exceptionally organized, but we are genuinely invested in working together to get our collections and expertise out there.
Thank you to those who attended (virtually and in-person) our first-ever Archives Fair!
Rachael Cristine Woody
Archives preserve memories, tell stories, and solve mysteries every day. Without them, questions would go unanswered, histories would remain untold, and new discoveries would be difficult to uncover.
The Smithsonian’s archival collections preserve and make available meaningful documentation in the form of original letters, data, research files, diaries, scrapbooks, rare printed materials, business records, photographs, maps, motion picture films, video and audio recordings, and other documents. They form the foundation for research, scholarship, publications, exhibitions, public and educational programs, and outreach.
Saturday, October 30, 2010
Friday, October 29, 2010
May 2010. Deborah Bocken, photographer.
All images from AAG, Garden Club of America Collection.
Thursday, October 28, 2010
The National Portrait Gallery’s CEROS center has assisted professional and private researchers, from scholars, historians, and curators in research and exhibition development; writers, publishers and media representatives in search for image sources; to individuals seeking information about family portraits and genealogy. Our reference staff has provided guidance for a myriad of projects, including the US Department of the Treasury review of presidential portraits for currency design; public television historical documentaries; and educational programs at museums and universities. The CEROS center’s encyclopedia of portraiture allows the researcher to compare and relate portraits of sitters or artists from numerous private and public collections with the online portrait search program or computer reports generated by the museum staff. For example, a comparison can be created with the portraits of artist Mary Cassatt and writer Langston Hughes, which depict the imaginative and creative force of these two subjects.* One can also review a selection of the Thomas Jefferson portraits at the following website link of the Smithsonian Institution Collection Search Center program.
The CEROS center has united relatives through their ancestral research. Descendants of notable figures in history, such as George Catlin, Stephen Collins Foster, Benjamin Rush, and Baron Friedrich Wilhelm von Steuben, have visited the National Portrait Gallery’s research center to review ancestral portrait documentation. In 1995, a researcher came to the CAP archives to view the portraits of his ancestor William Whipple, who was a signer of the Declaration of Independence in 1776. It was remarkable that the researcher’s own profile still closely resembled his ancestor’s portrait features of two centuries ago.
Patricia H. Svoboda, CEROS Research Coordinator
Smithsonian National Portrait Gallery, Center for Electronic Research and Outreach Services
PS - Check out the over 150,000 documents and images when browsing the Collections Search Center for National Portrait Gallery.
Mary Stevenson Cassatt (1844-1926), Mary Cassatt Self-Portrait, watercolor and gouache over graphite on paper, c. 1880, National Portrait Gallery, Smithsonian Institution, NPG.76.33
Langston Hughes (1902-1967), Langston Hughes, by Winold Reiss (1886-1953), pastel on illustration board, 1925, National Portrait Gallery, Smithsonian Institution, NPG.72.82
Wednesday, October 27, 2010
This project fulfills one of the Smithsonian's Grand Challenges by providing access and understanding of world cultures. But perhaps more excitingly I'd like to argue that by preserving these squeezes AND by providing online access, scholars may better be able to unlock ancient mysteries - one squeeze at a time.
For readers in New York City, the Moving Image Archiving & Preservation Program at New York University’s Tisch School of the Arts is hosting Odds and Ends from the Archive: Celebrating UNESCO’s World Day for Audiovisual Heritage. At the event, second-year graduate students will present rare archival gems culled from their recent travels and intern projects. Former HSFA intern Samantha Oddi will be presenting Hal Linker’s television travelogue, Rome in Africa (1972).
Join the celebration of audiovisual heritage and view this nugget that was only recently made available.
Pam Wintle, Human Studies Film Archives
Tuesday, October 26, 2010
Rachael Cristine Woody
Processing a collection that will be digitized is very similar to fully processing other collections, however the archivist has to take the extra step of considering whether documents require special handling, additional imaging instructions, and if there are items in the collection that should not to be digitized. Though we’d like to digitize every single item in a collection, this is not always possible. Types of materials that are typically not scanned include duplicates, items readily available in libraries, certain financial records, items with sensitive content, and fragile or large items which can’t physically be scanned. Having the archivist make these decisions as they work, rather than at a later date, takes advantage of the archival appraisal skill set that they already have.
As the archivist determines what is not to be scanned, they write scanning instructions for the digital imaging technician on slips of paper placed within the collection. The archivist also writes numbers on each box and folder to help the technician keep things in order and save their work in the corresponding computer file directory.
The next step is for the archivist to write an online EAD finding aid for the collection. It was clear from the start of the project that item level metadata was not sustainable, and we also questioned why we as archivists would even want to create descriptions for every item when we have always described our holdings in aggregate, trying to reflect context, relationships, and hierarchy. Instead, we use the descriptive folder headings that we were already putting in our EAD finding aids as links to digitized content online.
Upon completion, the finding aid .xml document gets uploaded to our in-house collections database through an internal web-based workflow site, developed by AAA’s programmer. On this workflow site, a Collections Progress Checklist for the collection is automatically generated. This checklist includes all of the tasks for digitization, and every time a task is clicked on it is crossed off and given a date of completion. The archivist manages this checklist for all of their assigned collections.
When it is time to digitize the collection, the archivist moves the boxes of material to the digital imaging office and briefly meets with the technician to review any special instructions. When scanning is completed, the archivist returns the collection to storage, and waits for the digital asset manager to link the images to the finding aid. The final duty of the archivist is to review the finding aid links to all of the images, before they are deployed to the public website. This review process can be time consuming, but is very necessary. The types of errors found during review include missing images or links, items that need to be rescanned or that were skipped, errors in the EAD finding aid, and website programming issues. Once the errors are fixed the archivist gives her final approval, and the digitized collection goes live on AAA’s website. Then on to the next collection!
Monday, October 25, 2010
National Museum of African Art
Chief Solomon Osagie Alonge (1911-1994) was one of Nigeria's première photographers and the first indigenous photographer of the Royal Court of Benin. His photographic collection consists of over 2,000 glass plate negatives and large format film negatives, over 100 hand-tinted and black-and-white prints and photographic albums. The photographer’s camera equipment and personal memorabilia round out the collection.
The Chief Alonge Collection spans six decades (1926 - 1989) and represents a dynamic, continuous record of the Benin Royal Court, Nigeria. As the Royal photographer to the Oba of Benin, Akenzua II (1933-1978), Alonge documented the pageantry, ritual and regalia of the Obas, their wives and retainers for over a half-century, including the coronation of the king and the Queen Mother, Iyoba. The collection also documents historic visits to Benin by Queen Elizabeth and Prince Philip (1956), Princess Alexandra (1960), foreign dignitaries, traditional rulers, political leaders and celebrities. It preserves an important historical record of Benin art and culture during the periods of British colonial rule and Nigerian independence in the twentieth century. The rarity and historical value of the collection are enhanced by Alonge's privileged access to the Palace as a chief in the Iwebo Palace Society, a position which presents a unique insider's view of Benin royalty. The collection is unique as an indigenously created visual record of life in colonial and post-colonial Nigeria. The quality and sheer survival of the collection is testament to Alonge's technological skills in photography and his professionalism in keeping the collection ordered and well-preserved despite the heat, humidity and tropical climate of West Africa.
Chief S.O. Alonge's significance as one of the earliest indigenous photographers in West Africa has been documented in detail by anthropologist Flora Kaplan. Alonge learned the craft of photography as a youth in Lagos during the 1920s and saw himself and his profession as an honorable and distinguished calling. He clearly demonstrated an inclusive documentary perspective in his efforts to photograph many aspects of the world around him. In 1942, Alonge established the Ideal Photography Studio in Benin City and documented colonial society, the establishment of churches and businesses, and the formation of new civic organizations and social groups in the 1930s and 1940s. As a commercial photographer, Alonge photographed individual and group portraits, preserving a visual record of the everyday lives and peoples of Benin City. Alonge's studio portraits illustrate how the local residents of Benin City presented themselves to the camera and engaged with the practice of photography during the early to mid-twentieth century.
Preservation of the Chief Alonge Collection (2009 - 2010):
In 2009, an award from Smithsonian Collections Care and Preservation Fund (CCPF) allowed the Elisofon Archives to preserve and duplicate 150 glass plate negatives and 1800 large format film negatives in the Alonge collection. The original glass plates were re-housed in non-buffered four-flap envelopes and glass plate negative boxes with proper spacing and support. Over 50 fragile glass plate negatives with flaking emulsion or chipped corners were placed in conservation sink mats. The Alonge conservation project created master interpositives and duplicate negatives for over 2000 images. Preservation, duplication and scanning of the Alonge film negatives has allowed cataloguing to proceed and will make the collection accessible to scholars, researchers and the general public.
With Phase I funding from CCPF, preservation surveys of Alonge's photographic albums, photographs, manuscripts and artifacts in the collection were completed with Phase I funding provided by CCPF. The artifacts include Alonge’s camera equipment, his accordion and vintage pants and boots which he wore as an official photographer of the Royal Court of Benin. With Phase II funding from CCPF in 2010, the Elisofon Archives is able to preserve Alonge’s photographic albums, hand-colored photographs and prints and manuscript materials.
Amy Staples, Senior Archivist, Eliot Elisofon Photographic Archives
Sunday, October 24, 2010
We are proud that donors trust us to house their valuable collections and we are pleased to make the material available to aviation researchers around the world.
Supervisory and Acquisition Archivist
National Air and Space Museum Archives
Saturday, October 23, 2010
|Examples of crumbling carbon paper and newspaper clippings:|
just some of the problematic materials that can slow down the
processing of a collection
In addition to being ecstatic, I was idealistic. I was assigned to process the Moses and Frances Asch Collection, one of the most important in our stacks, and man, I felt AWESOME. This was going to be exciting! The things I would get to touch (with white gloves, of course)! The correspondence I would get to snoop around in! The photos I would discover! Being an archivist was going to be JUST LIKE THE MOVIES!
|Little boxes, all the same: Part of the Moses and |
Frances Asch Collection, now manageable for
our beloved researchers
For more on how archival processing works, see Jennifer O'Neal's earlier post on "The Art of Processing an Archival Collection."
Friday, October 22, 2010
|Willie Mays baseball card, ca. 1955. From the Ronald S.|
Korda Collection of Sports and Trading Cards
The United Shoe Machinery Company was formed in 1899 by the consolidation of the most important shoe machinery firms in the industry—Goodyear Machinery Company (made machinery for sewing the sole to the upper in welt shoes), Consolidated Hand Lasting Machine Company (made machines for lasting a shoe), and McKay Shoe Machinery Company (made machines for attaching soles and heels). On May 1, 1905, the new company became officially known as the United Shoe Machinery Corporation. The merger revolutionized shoe equipment manufacturing and the shoe industry itself. With this merger, conflicting patents were eliminated and patents supplementing each other were brought under United’s control to permit their prompt combination in a single machine or process. To ensure efficiency, the new company also continued the practice previously followed by its constituent firms of renting machinery instead of selling it. After the 1899 merger, United grew rapidly. By 1910, it had an eighty percent share of the shoe machinery market with assets reaching forty million dollars and it had acquired control of branch companies in foreign countries. USMC was headquartered in Boston and its main manufacturing plant was in Beverly, Massachusetts.
USMC applied the company's expertise in machine technology to other areas of development in order to diversify its product line. Under the direction of the Research Division, the company engaged in military, computer, and other automation projects. The EX files or “experimental files” in the collection represent ordinary experimentation related to the development and improvement of shoe manufacturing machinery, and work done in connection with the company's post-World War Two diversification efforts. The files cover all aspects of an experimental project, from conception through the experimental working out of problems, to the final decision to adopt or not adopt the idea for production. They also provide information on the functions of the Research Division, the manner in which it operated, and the way in which production decisions were made. In particular, they illustrate the Division's interaction and cooperation with the company's Patent Department. The files usually contain notes, technical drawings, photographs, and patent information.
Starting as early as 1949, the company undertook three experiments to create a baseball stitching machine: EX#16002, EX#16116 and EX#16279. These three projects document experimental work in the area of baseballs, specifically of automatic controls, component inserting, and stitching. The objective of the experimental projects, according to a July 11, 1950 work request was “to develop a suitable baseball covering equipment for mechanizing to the greatest practical extent both parts of the present discretionary hand lasting-lacing operation.” The full development included an analysis of the hand procedure and how each portion of that work would be handled. The ball starts as a round cushioned cork center called a "pill," then is wrapped tightly in windings of wool and polyester/cotton yarn, and then covered by stitched cowhide. The process of assembling a baseball involves two types of workers: assemblers (who assemble the core parts of the baseball) and sewers (who stitch the cowhide covers onto the baseball by hand). There are 108 stitches in the cowhide leather of each ball and each is done by hand.
Research personnel at USMC recognized that this development would be extremely difficult and expensive. Indeed, from July 1950 to November 1961, the total expense of the project was $343,000. In 1950, the economics of baseball stitching were detailed in a cost chart. The labor rate for lacing was .15 to .20 per ball with a production rate of five to six balls per hour. Clearly mechanizing would increase the production dramatically.
The initial work order EX#16116 was opened to study and model work necessary to illustrate a method for preparing baseballs prior to stitching. In a December 5, 1949 memo from W.L. Abel of the USMC Research Division, it was stated that “very little consideration has been given to the mechanization of conditioning and preparation of baseball covers for machine stitching (this being the case both inside and outside the company). All attempts that we know of have been principally with the mechanization of the stitching.”
Engineers at USMC broke down the problem into five areas: cover assembly (lasting); needle threading; start of stitching (anchoring the first stitch); stitching or lacing; and lastly, final stitching (final thread anchoring). Previous automated machines exhibited two serious problems: they were unable to start or stop the stitching process without manual assistance, and they were unable to vary the tension of the stitches. From 1950 to 1955, the basic model work was conducted, resulting in equipment which demonstrated the operations. In 1955, formal design and detailing was initiated to resolve existing engineering and design problems and to record, in drawing form, several pieces of equipment necessary to accomplish the overall objective.
Schematic mechanism for a baseball cover sewing machine designed by S.J. Finn, March 1949. Drawing by Don Hamm. United Shoe Machinery Company Records, Box 105A, Folder 2.
W.W. Pritchard of the Research Division noted in a January 1949 that one of the problems is “the lasting of the baseball cover and that the matter should be referred to the inventive talent at Beverly to see if they can come forth with any ideas as to how this might be accomplished.” Haas’s earlier work related to baseball sewn covers (US Patent 2,840,024) and an apparatus that sews together the edges of a baseball (US Patent 2,747,529). Joseph Fossa held several patents for baseball sewing apparatus, principally methods for spheriphying baseballs (US Patent 3,178,917) and for methods of assembling by sewing the cover pieces of baseballs (US Patent 3,179,075). The “inventive talent” of Finn, Haas, Fossa, and countless other USMC engineers all assigned their patents to the United Shoe Machinery Corporation under the direction of a robust patenting programming.
Many of the baseball manufacturers, such as A.G. Spaulding, J. de Beer and Son, MacGregor, Wilson, Lannon Manufacturing, George Young, and Tober Baseball Manufacturing Company, were all aware of USMC efforts to create a stitching machine. While the customer base was limited in number, the potential revenue from a stitching machine could have been substantial. Because of insufficient interest on the part of these baseball manufacturers (the baseball industry was not sufficiently well organized at this point to sponsor the development of a machine) and unresolved problems by the company’s engineers, the experimental work orders were closed.
In 1972, Robert H. Bliss, Planning Director of USMC, wrote to R.B. Henderson, Vice President of Research and Development at AMF Voit, “Our development program was curtailed in March 1961 when the Baseball Manufacturers Committee of Athletic Goods Manufacturing Association declined to support further development, and our management made a decision not to further fund the program without industry support.” Bliss further noted that the baseballs stitched on USMC’s model machine “were more uniform in appearance that a hand-laced ball, but there was some speculation that a major league pitcher could tell the difference and would prefer a hand-laced ball.” While the economics of the time were considered good, the company could not justify spending more money on the project. Other than increasing the company’s knowledge in the area of stitching technology, there was little likelihood that a broad application would result.
Baseballs are still hand sewn. Rawlings Sporting Goods, Inc. (now part of Jarden Team Sports), in Costa Rica has an exclusive contract to produce “professional” baseballs for the Major Leagues. The amateur baseballs we throw around in the backyard are manufactured elsewhere. Attempts have been made to automate the process of stitching cowhide covers on baseballs, but none has been successful. C.B. Bateman of USMC said in August 1963, “we have a long, long way to go for a commercial piece of equipment to be presented to the trade.” And we’re still waiting. Play ball!
-Alison Oswald, Archivist, Archives Center, National Museum of American History
Thursday, October 21, 2010
|Dr. Turner recording in Africa. Many times Turner ran the recorder in Africa|
using the battery of his truck as a source of energy.
Anacostia Community Museum
Wednesday, October 20, 2010
I don't have to tell you that it's a tough job market out there. The economy has been rough for everyone and museums, archives, libraries, and many other art and collection based jobs have been put through the wringer when it comes to budget cuts, layoffs, program cuts, etcetera. If you're starting in the curiosity phase of pursuing a job and education in a libraries, archives, or special collections field it is good to be realistic when looking at what the job market looks like now, and in the future. I have high hopes, history, and some factual based projection that the economy will continue to grow back, and the profession will continue to grow as it has been since its inception. In fact, when looking at the Bureau of Labor Statistics 2010-2011 edition for Archivists, Curators and Museum Technicians, you'll see the profession is projected to grow a faster than average 20% by 2018. The statistics for Librarians are also expected to grow at least 8% and job competition to be favorable to potential employees as many librarians retire in the coming years.
This post aims to educate and help provide you vital references no matter what phase of the profession you are in.
Would you like a job at the Smithsonian? All Smithsonian jobs go through the USAjobs.gov website, where you will also find library, archives, and special collection jobs with the National Park Service, the Army, the National Archives, the Library of Congress and many other federal institutions.
usajobs.gov recent Search for Librarian
usajobs.gov recent Search for Archivist
Still in the education phase of the profession? Check out internship opportunities at your local, state or federal repositories. You can find Smithsonian internship opportunities here: http://www.smithsonian.org/interns.
For historians, museum studies, public historians some of the best places to look for employment, networking and continuing education are:
American Association of Museums (AAM): http://www.aam-us.org/
National Council of Public History (NCPH): http://ncph.org/cms/
American Association of State and Local History (AASLH): http://www.aaslh.org/
Most of the sites break the jobs into categories, for example archives or exhibits. The more advanced job searches also provide searches by locations.
Interested in the profession and want to obtain your masters? Check the Society of American Archivists' Directory of Archival Education for a list of accredited schools and programs. In this job market you almost always need a master’s in the museum world and some type of specialized experience through an internship.
Additionally, taking a Digital History class that trains you how to use systems to create websites, blogs, etcetera really boosts a resume. You'll notice more and more of us in the profession are online and working our social media avenues to help create education and outreach opportunities. Archivists, Librarians and Special Collections personnel are no longer in a dark corner of the basement. We have to be able to present ourselves and our collections well in order to serve our public and communicate within our larger business/organization hierarchies. With lack of resources for everyone paired with the forward momentum of the web, any HTML and social media skills you have will be an asset! Pair your outreach and web abilities with a solid base of national standards like MARC, DACS, and EAD you'll be well on your way.
With your education and job search efforts, the last key step is the network! Make sure you are a member with all pertinent professions and take advantage of their continuing education courses, networking opportunities, and job announcements.
Societies, Councils, Consortia
Society of American Archivist: http://careers.archivists.org/jobs
Northwest Archivists: http://northwestarchivistsinc.wildapricot.org/
Midwest Archives Conference (MAC): http://www.midwestarchives.org/
New England Archivists (NEA): http://www.newenglandarchivists.org/
Society of Rocky Mountain Archivists (SRMA): http://www.srmarchivists.org/
A directory of Archival Organizations: local, national and abroad as taken from the Society of American Archivists' Associated Organizations & Associations page.
Directory of Archival Organizations in the United States and Canada. This directory lists national, regional, state, local and provincial archival associations in the United States and Canada.
International Archival Organizations. A listing of archival organizations outside of the United States.
Associated Professional Organizations. A listing of organizations whose members share similar professional interests and job responsibilities to those of archivists.
Official Representatives and Coalitions. The SAA President or Council appoints members to serve as representatives to a number of important committees and bodies outside of the Society of American Archivists.
Repository of Primary Sources (maintained by Terry Abraham). A listing of over 3400 websites describing holdings of manuscripts, archives, rare books, historical photographs, and other primary sources for the research scholar.
United Nations Educational, Scientific, and Cultural Organization (UNESCO) Archives Portal. An international gateway for archivists and archives users.
Find your favorite museums, associations, and professional organizations on social media websites so that you can network with your peers and potential future colleagues and managers. Just google job networking and you'll see a slew of articles on why networking and staying present in your professions' conversations and social media interactions will help keep you a step ahead of your competition and may even help you locate job opportunities as they arise.
I will add to this post as more helpful sites come to me, and feel free to post your own findings in the comments below!
Best of luck and I look forward to working with you in the future,
Rachael Cristine Woody