For the type of museums discussed in this paper, the nonprofit organization type, the board of directors is the governing body. The board approves the policies that guide the staff in administering the museum. The relationship between the board and the staff should be one of respect and cooperation; but often the relationship is fraught with controversy and antagonism. The purpose of this study is to examine the duties and the relationships between the staffs and the boards of small history museums in Oregon. A comparison will be made between the ideal duties and responsibilities of boards of directors of a museum as set forth in the professional literature and how those duties and responsibilities are perceived and performed in actual practice as revealed by information gathered from a questionnaire distributed to selected small history museums in Oregon with a staff of six or less. The hypothesis that the board of trustees is a deterrent to the smooth operation of a museum was not entirely borne out by the study. A more democratic view, as discovered in conducting the research for this study, is that boards and staff may be insufficiently trained to understand their respective roles in the organization. To that end, guidelines to sue in development of an orientation meeting and manual are included in Appendix B. / Graduation date: 1991

Museums and tourism have had a long and interrelated history. In this paper this relationship is reviewed in general, and the contemporary issues common to them both in the 1990's are discussed. This relationship is also explored in the context of the Oregon Coastal Zone. Two projects set on the Oregon Coast, involving museums, tourism and other organizations, the Bandon Community Archaeology project and the Lincoln County Interpretation project, are presented as alternatives to existing tourism opportunities. Both projects provide an alternative type of tourist experience where education and interpretation are the primary vehicles for creating benefits not only to tourists, but to the host community as well. These benefits may reduce possible negative impacts from tourism. / Graduation date: 1991

In this project, Heidi Overhill explores her own home as a case study of the roles played by objects in the expression of self; as a microcosm of meaning in material culture. By examining her different kinds of collections through contemporary methodologies of museum collections management, she seeks to better understand herself, the collections, and the methodology of museum collecting in general. The exhibition focuses on the accessioning of the permanent collections, and provides a gift shop where visitors may purchase postcards and other souvenirs.

In this project, Heidi Overhill explores her own home as a case study of the roles played by objects in the expression of self; as a microcosm of meaning in material culture. By examining her different kinds of collections through contemporary methodologies of museum collections management, she seeks to better understand herself, the collections, and the methodology of museum collecting in general. The exhibition focuses on the accessioning of the permanent collections, and provides a gift shop where visitors may purchase postcards and other souvenirs.

Das Beispiel der Dresdner Staatlichen Kunstsammlungen zeigt, welche tiefgreifenden Veränderungen sich in den Museen Deutschlands seit Mitte der 1930er Jahre vollzogen, wie die Bestände skrupellos durch Stücke fragwürdiger Provenienz ergänzt wurden und welche Verluste andererseits zu beklagen waren. Dabei werden neben manchen Gemeinsamkeiten gravierende Unterschiede in der Entwicklung der Museen im Osten und Westen erkennbar. Zu den Zugängen gehörte seit 1933 enteignetes oder geraubtes jüdisches Eigentum. Dazu kam im Osten seit 1945 adliger Kunstbesitz aus der Bodenreform. Auf der anderen Seite haben die Ost-Museen nach 1945 durch die Beutekunst- Beschaffung der Roten Armee ihre Bestände zunächst verloren. Die überraschende Rückkehr Hunderttausender von Objekten aus der UdSSR (1955 bis 1958) war ein großer Schritt, hat aber das Problem der Beutekunst noch nicht vollständig gelöst. So sind die heutigen Museen im Westen und Osten als Institutionen wie in ihren Beständen komplexe Resultate und Spiegel der Verwerfungen der jüngeren deutschen Geschichte mit all ihren Ungleichheiten. / The example of the Dresden State Art Collections demonstrates the profound changes which have affected German public museums since the mid-1930s. On the one hand, the museums acquired works of doubtful provenance, especially Jewish property, during the Nazi years. After 1945, albeit on a quite different scale, the property of expropriated aristocrats in Eastern Germany also found its way into the depots of the museums. On the other hand, museums in Eastern Germany lost the greatest part of their works of art when they were removed by the Red Army at the end of war. The sudden and surprising return of most works of art between 1955 and 1958 still did not finally solve the problem of this so-called “looted art”. Today's museums in Eastern and Western Germany reflect the enormous upheavals of German history

Thesis (B.A.)--Bryn Mawr College, Dept. of Anthropology, 2004. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Architecture / Master / Master of Architecture

This paper presents results from twenty-one semi-structured interviews with museum information professionals who were asked about their experiences working with information resources, tools, and technologies in the museum environment. These interviews were analyzed to determine common elements in the participantsâ career paths, educational backgrounds, and on-the-job experiences. Based on this analysis, we identified five factors that we believe will influence the ability of Library and Information Science (LIS) students to succeed as information professionals in museums. This paper will provide guidance for LIS students who wish to pursue museum careers, answering the question, â How do I become an information professional in a museum?â