Sessions
October 8, 1999

Setting the Art History Course Within the Museum

Dr. Mark Thistlethwaite described in this session several “museum sited” classes which he has conducted at the museums in the Fort Worth Cultural District. He explained that the idea behind holding his classes directly in the museum is to foster a feeling among students that the museum is the classroom. Through this first-hand exposure, students are given a “feel” for the sorts of real issues that are often only theoretically addressed in the classroom. For instance, they gain familiarity with the specific holdings and overall collection philosophy of a museum and how the museum functions as a physical space, and this in turn engenders a mindset of life-long learning and pleasure. Just as important are the consequent opportunities they have to find out what really goes on "behind the scenes" and to network with curators and other museum staff. They are thus given a rare opportunity to see first-hand the planning and work that goes into an exhibition installation, and to develop and refine skills in critically analyzing and articulating what they see.

Dr. Thistlethwaite outlined the methodology of these \"museum centered" classes as being a combination of short lecture with the majority of time spent in the galleries viewing and discussing the art works. In addition, a major portion of a student’s grade is weighted heavily toward writing. These writing projects are often assigned in conjunction with readings from novelists of the time period relating to the works of art. Other writing assignments may involve taking on the identity of curator or other staff member with the responsibility for planning and installing an exhibition. Taken together, these teaching strategies contribute to a deeper and richer experience for students.

Dr. Mark Thistlethwaite is Professor of Artand holder the Kay Velma Kimbell Chair History at Texas Christian UniversityFort Worth.He has taught TCU since 1977specializing in architecture United States modern Europe. Recently facilitated development a Masters degree program through conducting seminars connoisseurship on nature museums by collaborating with internships for advanced students.

The University of North Texas and the African American Museum: A Partnership to Digitize the Museum’s Folk Art Collection

Samantha Hastings, Assistant Professor, at UNT, and Phillip Collins, Curator of the African American Museum in Dallas, shared their experiences in the cooperative effort between the university and the museum in the Digital Images Management project. The two year project is now halfway through the second year. The Institute of Museum & Library Services sponsors the program, which provides a $7,500 fellowship for each student, funds for purchasing digital lab equipment, and pays staff salaries.

There are ten fellows in the Digital Images Management certificate program. The program of study includes courses through UNT's School of Library and Information Science and School of Fine Arts, as well as the digital imaging lab. The students learn how to create and manage digital information and to understand client markets of libraries, archives information centers, and museums. Two products result from this partnership -- digital image managers and the museum's web site.

The program is based on mutual objectives, and has provided opportunities for research of evaluative methods for image retrieval systems, models of collaboration, measures of success for digital images management, curriculum development, and the impact of the web site. To learn more about the program, visit the web site at: http://courses.unt.edu/shastings/HastingsWW W/IMLS/imls.html

A Project Management Approach to Digital Imaging

Blythe Lee, Preservation Field Services Officer at AMIGOS Imaging and Preservation Services, talked about the phases of a digital imaging project. The most critical step is stating a vision/mission. The next step is gathering information, and then setting goals and objectives, keeping in mind the purpose of the project. The planning stage should include a detailed budget and an evaluation plan. If grant funding will be sought, it is important to develop a business plan. Partnering with other institutions will not only increase the chances of getting grant monies, but will provide higher visibility for the project.

When selecting materials for digital imaging projects, the collection should already be processed, and the copyright should belong to the institution that owns the collection. The condition of the collection is a consideration. Also, since current digital formats are not truly archival, the project should include creating archival negatives to preserve the images.

It is important that those involved in the project have a thorough understanding of the project and are committed. Meeting with the vendors periodically ensures quality control.

The Collaborative Project: School of Visual Arts -- UNT Libraries

Tara Carlisle of the University of North Texas Libraries discussed the Texas Fashion Collection (TFC) catalog. The collection includes work by top designers from 1820 to the present. Creating the catalog was a cooperative effort between the Libraries, the information technology department, and Myra Walker, the curator of the fashion collection. Tara wrote the proposal to digitize 200 garments and establish a database that would open the collection to the public. The Beverly Burke Couture Collection was used as the model.

The program for the database was written by a member of the information technology department in close consultation with Myra and Tara. The database allows searching by designer, garment classification, type of object, date, gender, and label. The catalog indexes approximately 10,000 garments and accessories by 740 designers, 1,620 designer labels, and 160 object types. Currently, there are approximately 250 of the 8,000 records that include images, with plans to created digitized images of a majority of the collection's objects.

Most of the TFC, because of the delicate condition of the garments, lack of exhibition space, and inadequate staffing, was previously unavailable to researchers. The new catalog provides virtual access for those who are studying fashion design, merchandising, history, the arts, and the public at large. Visit the Texas Fashion Collection online at: http://web2.unt.edu/tfc/