#archival-curation

#archival-curation

"The idea for a dedicated consultancy arm actually predates GCC's launch in 2020. Right from the beginning, it was clear that while shared standards, tools and advocacy are essential, many organisations would require hands-on, tailored support to implement meaningful change."

Art UK has taken it as its mission to digitally unite one million artworks from 3,500 institutions. This free-to-all portal connects everyone with the UK's public art collections.

The growing Aadam Jacobs Collection is an internet treasure trove for music lovers, especially for fans of indie and punk rock during the 1980s through the early 2000s.

"It had its own biography, its own deep history. It seemed like an archaeological site between covers," recalls Stinson, who is now a medievalist at North Carolina State University in Raleigh.

Knowles's performances, such as Make a Salad and Identical Lunch, showcased her unique approach to art through food, engaging audiences in the experience of preparation and consumption.

The V&A often uses Chinese printers because they can produce catalogues at half the cost of British or European companies, but this requires compliance with censorship requests.

The format has ginormous link cards at the bottom of the AI summary, which include a thumbnail of no apparent value, the site name, favicon, description, and title.

The new webpage, entitled 'How have objects come to be in the V&A?', points out that for some objects, their journeys have involved known histories of violence, coercion or injustice, while for others there remains uncertainty over exactly how they came to be here.

Librarians have been actively collaborating and talking about it almost every day, whether it's creating tutorials and digital learning objectives or thinking about the conversations to have with instructors. It can feel like cognitive dissonance to be actively working with AI on a regular basis and also saying we're constantly thinking about the harms and the biases.

The Household and Wardrobe Accounts are English records that document the daily needs of the king and his family. This book serves as a guide to these sources, showing how they can be used and what valuable insights they offer into medieval government.

The significant number of ancestors held in UK museums is extremely distressing and symbolic of the colonial origins of these collections. We hope that the responses gathered by The Guardian will be shared with the relevant communities to support them in bringing their ancestors home.

Bregman claims, 'Today the whole of Europe risks turning into one big Venice, a beautiful open-air museum. A great destination for Chinese and American tourists. A place to admire what was once the centre of the world.' This statement encapsulates the concern that Europe is losing its cultural significance.

The contemporary technology museum has emerged as a performative participant in the systems it seeks to document. The architecture of these institutions has become increasingly fluid and bold, often mirroring the velocity and complexity of the systems it houses. They operate as mediators between the human, the ecological, and the technological realms, transforming from encyclopedic warehouses into active educational engines.

The Arctic World Archive (AWA) is a data storage unit where organisations and individuals can deposit records kept on specialist digitised film called Piql that lasts up to 2,000 years. On 27 February, Nigeria became the first African country to place archives at the facility 300 metres beneath a mountain where the cold, dark, dry conditions are perfect for preservation.

When universities began to emerge in Europe during the eleventh and twelfth centuries, they soon became important centres of knowledge. Their libraries could hold hundreds of books, and many of the most valuable volumes were kept under close control - sometimes even chained to desks. We have few details about how medieval university libraries operated, but a revealing set of rubric headings survives from the University of Angers in western France.

In a white and sterile office that could belong to any one of the warehouses that dot this industrial strip between Brisbane's airport and horse-racing precinct, a young woman is engrossed in a puzzle. Only this puzzle comprises, perhaps, three different sets, each almost (but not quite) identical to the other and none likely to be completed. Emily Totivan wears blue plastic gloves. She is an archaeology student helping to catalogue artefacts.

When Thomas Jefferson wrote about the "inalienable" rights of man in the US Declaration of Independence 250 years ago, it's possible he lifted the term from the French. And long before it was ever used as an adjective to describe human rights, it defined royal property. To this day, "inalienability" remains a cornerstone of public collections in France-and many other countries-impacting museums and their ability to deaccession, including for purposes of restitution.

An analysis of two paintings in museums in the US and Italy by the 15th-century Flemish artist Jan van Eyck has raised a profound question: what if neither were by Van Eyck? Saint Francis of Assisi Receiving the Stigmata, the name given to near-identical unsigned paintings hanging in the Philadelphia Museum of Art and the Royal Museums of Turin, represent two of the small number of surviving works by one of western art's greatest masters, revered for his naturalistic portraits and religious subjects.