... decades by a wide range of contributors, from professionals to amateur enthusiasts (e.g., citizen scientists). The growing volume of complex data and the diversity of sources require new tools and approaches to support the work of human curators if the collections are to continue to provide high-quality...

... by patriarchs. Both seek to create a particular image of community and belonging, and so are significant for the popular perception of a coherent, shared culture in the context of nineteenth-century German nationalism. Via a metaphorical reading of the family in Theodor Storm’s novella Carsten Curator...

...This chapter provides an overview of film programming, as well as the terminology to be employed throughout the rest of this book. The central activity in the domain of film exhibition is known as ‘programming films’, or ‘curating films’. In light of this, all of the various film programmers...

... are to be seen where, by whom, and under what circumstances. Film distribution companies are also the main suppliers for a curator. With regards to issues of copyright, a film curator has to acquire the formal permission to show a film in a public screening. Film curating, as well as professional film criticism...

...This chapter presents a biographical sketch of James L. Patton, who served as Professor of Integrative Biology at the University of California in Berkeley and as Curator of Mammals in the Museum of Vertebrate Zoology (MVZ) from 1969 until his retirement in 2001. It summarizes Patton's numerous...

... in the history of herpetology in the MVZ during its first 93 years, and lists all type specimens of recent amphibians and nonavian reptiles in the collection. Although the MVZ has existed since 1908, until 1945 there was no formal curator for the collection of amphibians and nonavian reptiles. Since that time...

...This book combines a series of research papers with more informal recollections of James L. Patton, who served as Curator of Mammals in the Museum of Vertebrate Zoology and as Professor of Integrative Biology at the University of California, Berkeley, from 1969 until 2001. As a curator and a member...

...Tisha Brooks writes about a digital anthology assignment in her 200-level African American literature survey in which students act as “knowledge curators.” Brooks’s assignments use literary and visual texts to “bridge multiple literacies and historical gaps,” and to encourage students to think...

...Curator of the Prints and Drawings Department at the Smithsonian's National Portrait Gallery, Robyn Asleson grounds her interview on the exhibition Portraits of the World: Switzerland. She reflects on the very definition of national art andthusshows how politically constructed...

...The role of the curator has gradually shifted from someone concerned with conservation and care of objects, to a creative force behind thematic exhibitions. The curator thus becomes an auteur in his/her own right. The surge in archival references at the turn of the twenty-first century coincided...

...This chapter includes a 2008 article briefly describing popular women cartoonists by feminist herstorian, author, and curator Trina Robbins. This article was the text of her presentations on women cartoonists in Los Angeles and New York during the all-male Masters of American Comics...

...The introductory chapter is a personal review of the basic concepts of archaeometry and conservation science, as seen by the different players in the field: artists, archaeologists, curators, and scientists. Though partial and undoubtedly biased, it attempts to show the multifaceted aspects...

...This chapter explores some miscellaneous issues not covered in previous chapters such as remuneration of Curator ad Litems and recovery of their charges; expenses in relation to cases where a driver and their insurance company are sued and how to avoid the pitfall of failing...

...Curator at the Neubauer Collegium for Culture and Society at the University of Chicago, Dieter Roelstraete reflects on the notions of bordering and borderlessness. He highlights the ineffectiveness of politically constructed borders, sometimes even set in incongruous places. This is perfectly...

...Associate curator of photographs at the Smithsonian's National Portrait Gallery, Leslie Ureña describes the interdisciplinary manner with which she approaches the theme of migration in the collection. Although the collection focuses on the United States, any resident who has effectively contributed...

.... In late 1934, Malcolm resigned as head of Wellcome’s Museum (he later became curator at the Horniman Museum). Johnston-Saint took his place and tried valiantly to invest the project with the sense of purpose it had lost along the way (Figure 27). So much for the ‘zealous cooperation and efficiency...

...This chapter discusses the many gains and losses that Thomas Sandler Roberts experienced during the post-Great War years as a museum curator and a professor. His ornithology course matured over the years and now ran for two terms. Every April, classes headed outside to the field. They visited Lakes...

...A key – some might even say _the _key – curatorial role is to decide what to collect. What, that is, should be preserved for the future? In this essay, we present ethnographic research with curators of contemporary everyday life. As we show, these curators struggle with a profusion of things...

... of Indigenous museology are emerging and reshaping the conventions of curatorial practice? In addressing this question, the current chapter draws on research by the authors, including interviews with Māori curators, museum professionals, academics, and community leaders throughout Aotearoa New Zealand...

...This chapter considers social history in a post-colonial contest. It specifically examines how the history of the majority culture in a post-settler society has and might be curated. Using Aotearoa New Zealand as its case study, it considers the figure of the Pakeha (non-indigenous) curator...