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The article focuses on the Ionian University Museum Collections, in Corfu, Greece, established to preserve and showcase diverse cultural and educational artifacts while fostering academic and community engagement.

Finch College was a small women's liberal arts college located on the Upper East Side of Manhattan open from 1900 to 1975. The Contemporary Wing of the Finch College Museum of Art held a number of important exhibitions for conceptual art, experimental media, and film organized by the museum's curator, Elayne Varian, from 1966 to 1975. This article addresses how ideas of process, reproduction, and documentation were being reconfigured at Finch, especially in film and media art of the 1960s. Robert Morris's film installation, Finch College Project (US, 1969), is emblematic of this larger turn toward process in the visual arts; however, Varian's Projected Art exhibitions complicate our understanding of how and why artistic process became a subject of interest. In light of what Boltanski and Esquerre have recently identified as an "enrichment economy" and what feminist thinkers of the time theorized as reproductive labor, works in the Projected Art series shift attention to the reproductive labor of caring for, curating, collecting, and consuming visual art and film. I argue that Varian's exhibitions as a whole complicate our understanding of process‐oriented work during the postwar period, especially film and media that moved into gallery exhibition spaces. These works attacked the existing modes of production by turning toward process, complicating the status of photographic reproduction, and contributing their own surplus value through reproductive labor. [ABSTRACT FROM AUTHOR]

This essay addresses the role of Latin American collections in U.S. museums, with particular attention to the college and university museum, and the accessibility of those collections to students and the public. At the same time, the essay considers the instruction of Latin American subjects, particularly in history and art history, that may or may not interface with the establishment of museum collections. The author argues for the role of technology in the dissemination and promulgation of Latin American visual culture. [ABSTRACT FROM AUTHOR]

The recent history of Italian University Museums starts with the first Network created by 12 Italian Universities, coordinated by the University of Modena and Reggio Emilia, for a project, approved and financed in the year 2013 by the Ministry of the University and Research, The Network realized a bilingual web portal to increase the interest for science through the knowledge of museums collections and to promote a critical, interdisciplinary, and transdisciplinary dialogue (https://of.unimore.it/retemusei/www.retemuseiuniversitari. unimore.it/site/home.html). This Network, increased in 2014 with the inclusion of two Universities, between 2015 and 2018 realized a new project concerning educational paths for lifelong guidance to the scientific method and culture published in the second section of the Network web portal. In 2019 the Network, with other Universities, for a total of 29, created a quarterly web magazine University Heritage. Cultural Heritage on the web (https://universityheritage.eu/). Another relevant initiative for Italian University Museums is the first census promoted and carried out by CRUI - Conference Italian University Rectors - between 2017 and 2019. This census revealed that 40 Universities have museums for a total of 182, number certainly set to increase. Now for the Italian University Museums, like for all Italian museums, there is a challenge: to become part of an articulated network coordinated by the Ministry of Culture, the National Museum System. [ABSTRACT FROM AUTHOR]

The contribution aims at introducing some points to reflect on the new role which university museums of schools and education can play today in the wake of current international processes of revitalisation of university heritage and museums, particularly in the light of the new objectives of the University Third Mission. Starting from the experience of the "Paolo and Ornella Ricca" School Museum in Macerata University, the authors illustrate how university museums can achieve several goals: on the one hand, to foster the opening up of the universities and academic research towards civil society, and the dissemination of the results of the most innovative historical-educational research; on the other hand, to promote the meaning and the value of the educational heritage as a collective cultural asset able to give participation and knowledge; finally, to make the historical-educational disciplines more valuable as a specialised knowledge which, through such heritage, can express a new specificity and a more active role within academic community. [ABSTRACT FROM AUTHOR]

The Pavia University History Museum, which houses historic items mainly connected to the physics and medicine fields, has focused in the past years on new ways to involve its public and to attract new audiences. Among different approaches, digital technologies have proven important to both external and internal communication. Lately, an Augmented Reality application has been made available to visitors, offering in one tool multimedia material of a historical-scientific nature: stories, 3D animations, images and user-generated video storytelling (developed mainly by University students, one of our least present demographics before the App, and younger students, who typically participate in the annual co-creative project). The App was designed to be as non-intrusive and discreet as possible, to preserve the historic ambiance of the museum, to unite social and educational aspects, to register user behaviour and to make the museum experience more vibrant and active and therefore captivating. [ABSTRACT FROM AUTHOR]

Refugees are often mischaracterized as either "threats" to their new nations of resettlement or as remarkably virtuous, resilient "survivors" of harsh expulsions from their home countries and difficult years in refugee camps. Both imageries fall short of forced migrants' actual lives and stories. Museums' display practices and their interpretations of "refugee arts" can easily fall into stereotypes, especially sugary, positive ones. This case study delves into display practices that led well‐intentioned curators and their student collaborators to lodge a small exhibition's vision of refugees and their art production at superficial levels. Many universities now encourage students to conduct community‐based research and display findings in campus museums. This study argues that even well‐motivated shows on forced migrants' art production should be executed with subtlety, so as to avoid inaccurate classification schemes regarding "refugee art." [ABSTRACT FROM AUTHOR]

The article discusses about the works of the author in art history and curating university museum in Manila and directing sixth Singapore Biennale, commemorating the 200 years of arrival of the British in Singapore.

In this article, we discuss a series of artistic interventions in a university museum co-created by young people, researchers, and museum curators. We focus on the co-development of techniques for disrupting and re-imagining museological spaces and times, while exploring young people's shifting sense of inheritance in relation to the "Anthropocene" as a particular figuration of the current epoch. Drawing together an eclectic range of sources at the intersections of schizoanalysis, posthumanism, decolonial studies, and surrealism, we argue that young people's interventions in the museum constitute micropolitical nodes of resistance to the colonial-capitalistic capture of subjectivity that dominates the current epoch. [ABSTRACT FROM AUTHOR]

The author ponders on the lessons that academic museum professionals can learn from the leadership studies created by academic librarians. Topics include leveraging new perspectives and the power of reframing situations to solve problems in new ways, the similarities in organizational structures, digital and physical collection concerns and variety of research approaches employed in academic library leadership studies.

The first three curators at the Otago University Museum, Dunedin, NZ had much in common. They were zoologists, all evolutionists, all part-time curators (they held professorial posts in the University), all Englishmen, and all professed an Anglican faith, qualities that brought them unexpected conflict in the largely Presbyterian Scottish settler town. The men struggled to complete their time-constrained research in more-or-less isolation amongst unfamiliar and peculiar New Zealand fauna. Spanning the years 1873 when the first curator was appointed, to 1936 when the third retired, this paper sets their achievements against their individual evolutionary stances that subtly guided the layout in the museum. [ABSTRACT FROM AUTHOR]

The article reconstructs the history of the Museum of Tropical Medicine of the University of Modena and Reggio Emilia, created by Giuseppe Franchini, professor of Colonial Pathology, who moved from Bologna to Modena in 1930. At the University of Modena, thanks to the financial support of the city authorities, Franchini was able to give adequate accommodation to the Museum, unique in Italy1 and of great international importance, which was expanding and acquiring specimens from various parts of the world.2 The history of the Museum is related to their transfers and rearrangements: the reconstruction of its history is an indispensable first step of a modern and engaging setting up which should mainly valorize the scientific and multidisciplinary context of the collections, with specific reference to the studies and researches on tropical medicine, parasitology and also on the infectious diseases that the Covid pandemic has made very topical all over the world. Secondly, the rearrangement of the Museum should be an opportunity to critically present the historical context that was decisive for the realization and progressive expansion of this museum which, alongside the laboratories, was part of the educational infrastructure available to doctors, veterinarians, nurses, and missionaries active in the Italian colonies during the Fascist regime as well as in the Modena University Clinic. Another aspect that should not be overlooked is that the Museum also served the propaganda of the Fascist colonial policy, supported by the leader Benito Mussolini, in particularly to safeguard the health of the people who worked in the African continent. Lastly, the Museum's reorganization should aid a reinterpretation of the multicultural contexts, by giving a voice to new citizens and to heterogeneous communities by facilitating their social inclusion through direct dialogues and common initiatives. The Museum's redevelopment project could be part of a larger endeavor, Ago Modena Fabbriche Culturali (www.agomodena.it), funded by the Modena Foundation, which envisages the redevelopment for cultural purposes of the entire large area of the complex of buildings called Sant' Agostino and in particular the relocation of some University Museums to the buildings overlooking Berengario street built by the University of Modena between the mid-nineteenth and early twentieth centuries to house University Medical Institutes Clinics. [ABSTRACT FROM AUTHOR]

This paper examines the oldest existing museum in the Philippines, the University of Santo Tomas Museum of Arts and Sciences, as a cabinet of curiosity and a catalyst of conversion. By Spanish royal decree, its early collection acquired through colonial expeditions, complex evangelical networks and commercial expositions formed the classroom materials for the Natural History course taught by Dominican friars. By 1877, the fauna, flora and mineral collections – from the minute to the monumental, from the ordinary to the odd – were inventoried in a three-volume catalogue raisonné. Its collection has since elicited a sense of wonder in nature's perfection and diversity. Within the broader philosophical contexts of natural and revealed theology and the revival of Thomism after Charles Darwin's publication of his theory of evolution through natural selection, the museum's pursuit of scientific knowledge masked its pursuit of sacred truth, engendering an epiphany through the embalmed and serving the divine through the drama of its dioramas. Operating as a mode of signification and translation of the Word, the museum became a biblical exegesis of the origin of species to archive God, preserving faith in formaldehyde as a means of maintaining the authority of the Roman Catholic Church in the Philippines. [ABSTRACT FROM AUTHOR]

The article focuses on the impact of Harvard's Busch-Reisinger Museum on Americans' interest and reception of post-war German art in the 1940s and 1950s. Topics covered include efforts by curator Charles L. Kuhn to promote post-war German art and artists like German figurative painter George Grosz and Kuhn's collection of post-war German art. Information is also presented on loan exhibitions of contemporary Berlin artists.

Provides several short items that may include news, reviews or technical notes that should be of interest to practitioners and researchers. [ABSTRACT FROM AUTHOR]

Although there are several well preserved Viking boat burials from Norway, until recently palaeoecological research on their context has often been limited. Research on fossil insect remains in particular can provide valuable forensic information even in the absence of an actual body. Here we present archaeoentomological information from a boat burial at Øksnes in Vesterålen, northeast Norway, an area where Norse and Sami traditions overlap. Excavated in 1934, organic preservation from the burial was limited to parts of the boat and a clump of bird feathers which were preserved in the Tromsø University Museum, and from which fossil insects were recovered. The insect assemblage from Øksnes includes the blowfly, Protophormia terraenovae (Rob.-Des.), which indicates exposure of the body and the probable timing of the burial. The high numbers of the human flea, Pulex irritans L. from among the feathers, suggests that these, probably from a pillow under the corpse, originated from within a domestic context. Deposition of flowers as part of the burial is discussed on the basis of the insect fauna. The absence of a body and any associated post burial decay fauna implies its exhumation and disposal elsewhere and this is discussed in the context of other exhumed medieval burials and Saga and other sources. [ABSTRACT FROM AUTHOR]

This case study describes a project designed by university museum curators, managers and educators working in collaboration with curriculum designers to elicit new uses for university museum collection objects in the delivery of tertiary, secondary and primary education programs. It involves an object-based learning community of practice experimenting with the inclusion of objects to expand pedagogy and content engagement in established programs. Specific, new cross-disciplinary pedagogic applications for collection items are being established. The paper gives a brief introduction to object-based learning, describes the institutional setting and timing of the project, outlines some initial results and argues that the project methodology, as an example of advocacy for material collections in higher education, is transferable to other tertiary education institutions. [ABSTRACT FROM AUTHOR]

This article addresses the places performance art occupies and how the variable futures of this art form are influenced by different practices of preservation. The temporal inscription of performance artworks has repercussions in the relationship this art form has with the physical and conceptual spaces it occupies, and in the management of art collections that include them. Analysis of performance art's temporalities will lead to a discussion of the spaces this genre has been occupying in artistic institutions. This article explores the values held by these spaces, and proposes new ways of understanding them, especially in the relationship between university, museum, and theatre. This triad discussed by Jan Nederveen Pieterse in 1997 will serve as an analogy to reflect upon issues related to presenting and preserving performance art. In this context, performance art pieces, artistic projects, and curatorial programmes from the Portuguese panorama will be presented as example. [ABSTRACT FROM AUTHOR]

Motivations for visiting educational leisure settings (ELS) are a lasting research focus for academics and museum practitioners alike. Insights into visit motivations have proven valuable in drawing audiences, creating satisfying experiences and for better understanding visitors' learning processes. However, the lack of an instrument offering a reasonable degree of measurement invariance to use across sites has challenged attempts to make valid comparisons across different types of ELS. We therefore developed a short scale to enable quick and valid comparisons of visit motivations across ELS and investigated its dimensionality, reliability and measurement invariance across three sites (science museum, art museum, zoo; N = 605). Our 17-item short scale captures six theoretically important visit motivation categories with sufficient reliability (ρ. 65 < .85). Analysis indicates an approximate scalar invariance of factor loadings and item intercepts, allowing for a comparison of latent factor means across sites. Subsequently, we found plausible mean differences in visit motivation dimensions across ELS, providing preliminary evidence that the scale enables meaningful comparisons across sites. [ABSTRACT FROM AUTHOR]

Stories and artifacts from the history of science are difficult to find in many popular science museums in the United States. This essay makes a case for why such museums should include the history of science in their halls and how they might go about doing so. Using several Boston-area museums as case studies, it explains why the history of science can be so hard to find in contemporary science museums and then offers several examples of instances in which museums have successfully integrated science and history in their halls. Ultimately, the essay suggests, historians of science and popular science museums should cultivate new partnerships; it concludes with a brief sketch of how they might do so. [ABSTRACT FROM AUTHOR]

This paper charts a small collaborative research project involving managers of university museums and collections based in one higher education institution. Data around museum and collection processes were gathered over a one-year period in an attempt to develop and quantify a series of value propositions. These are explored with the framework of value propositions elaborated in the literature for public museums. Some operational data of relevance to the tripartite university mission of teaching, research and engagement are quantifiable, but variability reduces its utility for internal institutional advocacy for resources. While the model of analysis developed here is institution-specific, it is useful as a framework for developing value propositions for universities with diverse and disparate museums and collections not already drawn into a single institutional strategy. [ABSTRACT FROM PUBLISHER]

In the collection of the University Museum of Wroclaw is a spherical faience aryballos of unknown provenance. It belongs to a group of vessels which enjoyed widespread popularity over a vast area of the Mediterranean in the 6th century BC. The analysis clearly shows that the spherical faience aryballos at the University Museum of Wroclaw should be classified within section 3 of V. Webb's classification, that containing the most common and crudest type of faience aryballos. Aryballoi classified within this section were made, judging from their distribution, partly or mainly at Naukratis and they belong in date to the second part of the 6th century. It is likely that the Wroclaw aryballos is the product of an Egyptian workshop, perhaps of that located at Naukratis. An Eastern Greek workshop cannot be ruled out either. [ABSTRACT FROM AUTHOR]

Museums and universities have natural connections. Yet with few exceptions, collaborations between them segregate each partner to its traditional sphere of activity. This article presents a practicum course model that blurs and overlaps the distinctive roles of the museum and university in productive and mutually beneficial ways. In particular, working with undergraduates on an applied project with public relevance invites us to reconsider university and museum spaces as labs or studios. This offers strategies for bringing into the museum content that may be ambiguous, sensitive, polarizing, academic, or run contrary to accepted beliefs. This article shares lessons learned over five years of developing partnerships between the Johns Hopkins University and various sized independent and university museums and other heritage organizations such as the Baltimore Museum of Art, Jewish Museum of Maryland, Baltimore National Heritage Area and the Maryland Zoo. It illustrates these lessons with two case studies, one focused on a project at a national institution, the other on a partnership with a university historic house. [ABSTRACT FROM PUBLISHER]

Nagoya University Project Gallery [clas] is an experimental space for diverse people. In this study, we discuss the significance of university galleries thorough an exhibition and the possibility of student staff as mediators between knowledge and the public. Gallery [clas] was founded in 2007 for the purpose of advancing multidisciplinary thinking through knowledge combined with visual imagery. We also consider the significance of the university gallery as a civic space based on the activities at Gallery [clas]. So far, Gallery [clas] has presented various exhibitions, focusing on visual imagery. However, it hasn't been able to hold as many exhibitions as it would like in order to introduce specialized academic research fields at Nagoya University. We believe our goal is to provide academic knowledge to the general public and consider how to develop a university gallery into a "civic space" where discussions between student staff members and visitors can occur. To this end, we held an experimental exhibition entitled "[clas] experiments" in June 2015, introducing four professors' research fields and four artists' works. In this exhibition, we had two subgoals: 1) to investigate the differences in how visitors are affected by exhibits of scientific research introducing professors' research fields and art exhibits and 2) to consider the future role of student staff. Student staff worked in the gallery as mediators between academic knowledge and the public, and we devised a questionnaire for visitors to explore the significance of university galleries and student staff. [ABSTRACT FROM AUTHOR]

The article presents the author's views on the history of candle and sealing waxes manufacturing by European pharmacists with reference to preservation of its equipments at the Museum of Pharmacy of the Jagiellonian University. Various topics discussed include preservation of candle making tradition till 19th century, formulas of dyeing wax in the museum and coloring of sealing wax. It further presents several photographs of the formulas of red sealing wax, golden sealing wax and green sealing wax.

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A previously unpublished marble fragment from the Cesnola collection at the Turin University Museum of Anthropology and Ethnography bears an incomplete Phoenician inscription, a dedication to Eshmun-Melqart considered lost since 1869 (CIS I 26). The inscription allows to interpret the object bearing the dedication as a votive stone bowl from the late Classical Phoenician sanctuary of Kition-Batsalos in Cyprus, and it provides the opportunity to retrace the history of the Cesnola collection of Cypriote antiquities at the University Museum of Turin. [ABSTRACT FROM AUTHOR]