This landmark publication is the first to draw together all aspects of museum collections management in one handbook. It is designed for anyone with responsibility for a cultural collection and covers everything a collections manager needs to know. It describes professional practice in managing cultural objects and works of art, whatever the size and nature of the collection. The book includes essential information on: Legal aspects of collections Ethical issues such as due diligence and immunity from seizure Up to date concerns such as sustainability, crossing borders and financial constraints Loans, acquisitions, inventory and movement. The book describes all collections management procedures in a simple step-by-step process and is clear and easy to use with all procedures based on international museum practice. Examples of real forms, policies and documents drawn from major museums are included throughout the text and act as guides for any transaction. Readership: Packed full of practical information, advice and good practice, this will be essential reading for all museum professionals, curators of private collections and museum studies students.

There is a common misconception that collections management in museums is a set of rote procedures or technical practices that follow universal standards of best practice. This volume recognises collections management as a political, critical and social project, involving considerable intellectual labour that often goes unacknowledged within institutions and in the fields of museum and heritage studies. Collections Management as Critical Museum Practice brings into focus the knowledges, value systems, ethics and workplace pragmatics that are foundational for this work. Rather than engaging solely with cultural modifications, such as Indigenous care practices, the book presents local knowledge of place and material which is relevant to how collections are managed and cared for worldwide. Through discussion of varied collection types, management activities and professional roles, contributors develop a contextualised reflexive practice for how core collections management standards are conceptualised, negotiated and enacted. Chapters span national museums in Brazil and Uganda to community-led heritage work in Malaysia and Canada; they explore complexities of numbering, digitisation and description alongside the realities of climate change, global pandemics and natural disasters. The book offers a new definition of collections management, travelling from what is done to care for collections, to what is done to care for collections and their users. Rather than ‘use’ being an end goal, it emerges as a starting point to rethink collections work.

Collections Management brings together leading papers exploring some of the major issues affecting collections management. Providing information about initiatives and issues for anyone involved in collections management, Fahy identifies the main issues relating to collecting and disposal of collections and discusses why museums should develop appropriate documentation systems. Examining the status of research within museums, the various sources of advice relating to security and addresses the basics of insurance and indemnity, Collections Management is an invaluable and very practical introduction to this topic for students of museum studies and museum professionals.

The National Museums and Galleries of Northern Ireland (MAGNI), created in 1998, brought together the Ulster Museum, the Ulster Folk and Transport Museum, and the Ulster-American Folk Park (and it is also responsible for the operation of W5, the first Science Discovery Centre in Ireland, opened in 2001). The collection comprises some 1.45 million artefacts and works of art. The NIAO examined the structure of MAGNI, and the documentation and storage of the collection. Since 1994 all acquisitions have been documented to SPECTRUM (Standard ProcEdures for CollecTions Recording Used in Museums) standards, an internationally recognised standard for museum documentation. Although considerable progress has been made in computerisation, less than ten per cent of records are currently computerised. NIAO recommends: (i) a key performance indicator covering the percentage of the collection documented to international standards, reported annually; (ii) more photographing of important items (for records and internet use); (iii) regular physical inspection of a sample of records. At present only ten percent of the collection is on display. Storage of the remainder in some 50 separate locations was found to be poor or unacceptable in 30 locations, although the main stores holding the bulk of the collection are classed as good to excellent. NIAO welcomes the storage development plan being created, and recommends consideration of a centralized store, and performance indicators on storage conditions and internet accessibility to improve public access to the collections.

MUSEUM PR ACTICE Edited by CONAL MCCARTHY Museum Practice covers the professional work carried out in museums and art galleries of all types, including the core functions of management, collections, exhibitions, and programs. Some forms of museum practice are familiar to visitors, yet within these diverse and complex institutions many practices are hidden from view, such as creating marketing campaigns, curating and designing exhibitions, developing fundraising and sponsorship plans, crafting mission statements, handling repatriation claims, dealing with digital media, and more. Focused on what actually occurs in everyday museum work, this volume offers contributions from experienced professionals and academics that cover a wide range of subjects including policy frameworks, ethical guidelines, approaches to conservation, collection care and management, exhibition development and public programs. From internal processes such as leadership, governance and strategic planning, to public facing roles in interpretation, visitor research and community engagement and learning, each essential component of contemporary museum practice is thoroughly discussed.

Museums throughout the world have common needs and face common challenges. Keeping up-to-date with new ideas and changing practice is challenging for small and medium-sized museums where time for reading and training is often restricted. This new edition of Museum Basics has therefore been produced for the many museums worldwide that operate with limited resources and few professional staff. The comprehensive training course provided within the book is also suitable for museum studies students who wish to gain a full understanding of work within a museum. Drawing from a wide range of practical experience, the authors provide a basic guide to all aspects of museum work, from audience development and education, through collections management and conservation, to museum organisation and forward planning. Organised on a modular basis with over 110 Units, Museum Basics can be used as a reference work to assist day-to-day museum management and as the key textbook in pre-service and in-service training programmes. It is designed to be supplemented by case studies, project work and group discussion. This third edition has been fully updated and extended to take account of the many changes that have occurred in the world of museums in the last five years. It includes over 100 new diagrams supporting the text, a glossary, sources of information and support as well as a select bibliography. Museum Basics is also now supported by its own companion website providing a wide range of additional resources for the reader.