Oxygen Free Museum Cases

One of the challenges in protecting and displaying environmentally sensitive objects is preventing deterioration caused by the presence of oxygen. This volume describes the design and construction of an oxygen-free, hermetically sealed, display and storage case developed by the Getty Conservation Institute for the long-term protection of such objects. The case was originally designed as a collaborative project between the Egyptian Antiquities Organization and the GCI to conserve the Royal Mummy Collection at the Egyptian Museum in Cairo. Seven chapters cover the protection of cultural objects from environmental deterioration by reducing exposure to oxygen and by using inert gases for biodeterioration control. Also included are details on how the design and construction of the oxygen-free case has been adapted for other applications, specifically for the original documents of the Constitution of India in New Dehli and for the mummy collections at the Egyptian Museum and at the Museu Victor Balaguer in Vilanova i la Geltru, Spain. The Research in Conservation reference series presents the findings of research conducted by the Getty Conservation Institute and its individual and institutional research partners, as well as state-of-the-art reviews of conservation literature. Each volume covers a topic of current interest to conservators and conservation scientists.

Museums throughout the world face the challenge of finding nontoxic methods to control insect pests. This book focuses on practical rather than theoretical issues in the use of oxygen-free environments, presenting a detailed, hands-on guide to the use of oxygen-free environments in the eradication of museum insect pests.

Drawing on years of experience, Maria Piacente details the exhibition process in a straightforward way that can be easily adapted by institutions of any size. She and her contributing authors explore the exhibition development process in greater detail, providing the technical and practical methodologies museum professionals need today.

The Oxford Handbook of Egyptology offers a comprehensive survey of the entire study of ancient Egypt from prehistory through to the end of the Roman period. It seeks to place Egyptology within its theoretical, methodological, and historical contexts, indicating how the subject has evolved and discussing its distinctive contemporary problems, issues, and potential. Transcending conventional boundaries between archaeological and ancient textual analysis, the volume brings together 63 chapters that range widely across archaeological, philological, and cultural sub-disciplines, highlighting the extent to which Egyptology as a subject has diversified and stressing the need for it to seek multidisciplinary methods and broader collaborations if it is to remain contemporary and relevant. Organized into ten parts, it offers a comprehensive synthesis of the various sub-topics and specializations that make up the field as a whole, from the historical and geographical perspectives that have influenced its development and current characteristics, to aspects of museology and conservation, and from materials and technology - as evidenced in domestic architecture and religious and funerary items - to textual and iconographic approaches to Egyptian culture. Authoritative yet accessible, it serves not only as an invaluable reference work for scholars and students working within the discipline, but also as a gateway into Egyptology for classicists, archaeologists, anthropologists, sociologists, and linguists.

Museums and Archaeology brings together a wide, but carefully chosen, selection of literature from around the world that connects museums and archaeology. Part of the successful Leicester Readers in Museum Studies series, it provides a combination of issue- and practice-based perspectives. As such, it is a volume not only for students and researchers from a range of disciplines interested in museum, gallery and heritage studies, including public archaeology and cultural resource management (CRM), but also the wide range of professionals and volunteers in the museum and heritage sector who work with archaeological collections. The volume’s balance of theory and practice and its thematic and geographical breadth is explored and explained in an extended introduction, which situates the readings in the context of the extensive literature on museum archaeology, highlighting the many tensions that exist between idealistic ‘principles’ and real-life ‘practice’ and the debates that surround these. In addition to this, section introductions and the seminal pieces themselves provide a comprehensive and contextualised resource on the interplay of museums and archaeology.

All museum activities converge in the public forum of the exhibition – regardless of whether the exhibit is held in the physical museum or is on the Web. Since the first edition of this book in 2002, there has been a world-wide explosion of new galleries and exhibition halls, and new ideas about how exhibitions should look and communicate. The definition of what an exhibition is has changed as exhibitions can now be virtual; non-traditional migratory and pop-up spaces play host to temporary displays; social media has created amazing opportunities for participatory engagement and shifted authority away from experts to the public; and as time-constrained audiences demand more dynamic, interactive, and mobile applications, museum leadership, managers, staff, and designers are rising to these challenges in innovative ways. Drawing on years of experience and top-flight expertise, Barry Lord and Maria Piacente detail the exhibition process in a straightforward way that can be easily adapted by institutions of any size. They explore the exhibition development process in greater detail, providing the technical and practical methodologies museum professionals need today. They’ve added new features and expanded chapters on project management, financial planning and interactive multimedia while retaining the essential content related to interpretive planning, curatorship, and roles and responsibilities. This second edition of the standby Manual of Museum Exhibitions is arranged in four parts: Why – Covering the purpose of exhibits, where exhibit ideas come from, and how to measure success Where – Covering facilities and spaces, going into details including security, and interactive spaces What – A look at both permanent collection displays, and non-collection displays, as well as virtual, participatory, temporary, travelling displays, and retail sales How – Who is involved, planning, curatorship, and content development, design, multimedia, fabrication and installation, financial planning, and project management Over 130 figures and photographs illustrate every step of the exhibit process. No museum can be without this critical, detailed guide to an essential function.

"The Grove Encyclopedia of Materials and Techniques deals with all aspects of materials, techniques, conservation, and restoration in both traditional and nontraditional media, including ceramics, sculpture, metalwork, painting, works on paper, textiles, video, digital art, and more. Drawing upon the expansive scholarship in The Dictionary of Art and adding new entries, this work is a comprehensive reference resource for artists, art dealers, collectors, curators, conservators, students, researchers, and scholars." "Similar in design to The Grove Encyclopedia of Decorative Arts, this one-volume reference work contains articles of various lengths in alphabetical order. The shorter, more factual articles are combined with larger, multi-section articles tracing the development of materials and techniques in various geographical locations. The Encyclopedia provides unparalleled scope and depth, and it offers fully updated articles and bibliography as well as over 150 illustrations and color plates." "The Grove Encyclopedia of Materials and Techniques offers scholarly information on materials and techniques in art for anyone who studies, creates, collects, or deals in works of art. The entries are written to be accessible to a wide range of readers, and the work is designed as a reliable and convenient resource covering this essential area in the visual arts."