How to Keep a Visitor's Attention

      This week I dabbled at creating labels for the display cases. Display labels are designed to be informative and easy to read. The first two sentences should catch the attention of readers and entice visitors to continuing reading about the artifacts. It is harder than it sounds, and I have experienced some creative difficulties. I guess I am so accustomed to academics that I find writing for a diverse age group a bit challenging. Display labels are cleverly written in a manner in which middle grade school students can understand the information just as much as scholars. The information should not be convoluted or intellectually cumbersome. Moreover, labels should complement the overall theme of an exhibit. Indeed, they enlighten visitors of the art historical, social and culture relevance of artifacts. In addition, labels facilitate the direction or flow of information of an exhibition. The pieces and their educational significance ought to take people on a type of social and cultural journey. Hopefully I can create a couple of interesting and stirring labels for the Cyprus pottery.

Erik   

How Many Ceramics Can Fit in a Display Case?

       This week I finally had the opportunity to examine the four pottery pieces. I had to measure the base, width and diameter for each to determine which display cases will be suitable. The Collections Manager, Chris Helms, had to open the shipping carton and hold the antiquities since museum policy prohibits volunteers and interns to handle ancient pottery. Chris admitted that it was his first time viewing the pieces as well. Each is in great condition; from what I can tell they were preserved very well since I did not see signs of extensive repairs. The majority of the pottery was smaller than I thought save for one amphora. Unfortunately I do not know the measurements off the top of my head, but most are no higher than 12”. The large amphora is about 24” in height.

       In addition to measuring the dimensions of the pottery, I also had to find out the measurements of the display cases. The few cases the museum has in storage are perfect in size, but not in condition. Bethany said I can either sand them and paint them black or she would be willing to buy a large one, approx. 38 x 44 x 22”. I suppose it depends how many cases I want to use. Two of the pieces are White Painted ware (the large amphora and the oinochoe) and the other two are Bichrome Ware (the smaller amphora and a jug). I think it would be nice to display the pottery by the typology of wares, thus the large amphora and oinchoe in case and the other amphora and jug in another. There is one display case that is in good condition and I think it would be great for the Bichrome Wares. All the cases are blue, so if I want to use anyone of them I need to sand them and paint them black. There is case that appears to be large enough for both White Painted Wares but I am not sure about the vitrine’s height. I am also undecided if I want to display the White Painted IV Ware amphora by itself. One of the display cases would be perfect for it. That means Bethany would have to purchase a case for the oinchoe. There are two large cases (32 W x 36 D) that would fit all four pieces; both, however, have a few deep notches. If I decide to use one case for all the pottery I would have to figure out what to do with the nicks and gashes. I still am searching around for affordable display cases. Gaylord.com seems to offer a good variety and prices. Below are a couple cases with vitrines I think would be fine.

Erik

Mounts for the Pottery

          The next few stages in my project involve creating mounts for the pottery and selecting proper display cases. For this week I searched the web for easy and inexpensive methods to mount ceramic pottery. When displaying ceramics, especially antiquities, it is important to mount them properly. Vibrations caused by outdoor and indoor movement can cause pottery to ‘walk’ or ‘creep’ causing them to bump into other pieces or fall from the shelf. I found numerous websites that offered various mounting techniques. Mounts that damage artifacts (that scratch, chip, leave residue or alter the current form of the pottery) should always be avoided. The most common materials used in mounts are chamois leather and felt. For instance, sheet of chamois leather can be place under ceramics to prevent movement. Gaylord.com sales self-adhesive felt pieces, which are great for padding mounts wherever they touch artifacts to prevent marking and damage. The site also has self-adhesive suede polyethylene (polysuede), which is thinner than felt but offers more padding and grip. Finally, the National Park Service offers easy instructions on how to construct bottom ring supports for pottery and other round based objects.

           

For next week I need to measure the width of the four pieces to find out how much space is required in the display case(s). Bethany told me that it is my discretion of how many cases I would like to use. Therefore, I also need to evaluate the cases the museum has, and if needed, Bethany will need to purchase one or two.

Ancient Cyprus: Its History & Artisitc Periods Cont...

I think I have finally completed the research on the Cyprus antiquities. In the past week I proof read the four page overview: I wanted to make sure I covered in detail the social and political highlights, as well as pottery production and commercial trade during the Cypriot Bronze and Iron Age. I decided to omit the periods post Cypro-Archaic (750-475 B.C.) since the pottery only dates to up to the point. The following periods are the Hellenistic (325-58 B.C), Roman (58 B.C.-A.D. 330) and Byzantine (A.D. 330-700). I was also I was supposed to find out from the Collections Manager how and why the National Hellenic Museum had the pieces on loan. I will try to take care of that on Wednesday. Hopefully next week my primary focus will be working on display labels for the exhibit.

Regards,

Erik