You can fund the conservation of the C&O Canal by staying in a restored lockhouse! [via WAMU]

Historians name fifteen moments from American history that haven’t gotten enough attention. [via Keisha N. Blain] 

Smithsonian features the Indiana Medical History Museum’s “Rehumanizing the Specimens” project.  [via Smithsonian]

Thanks to Boaty McBoatface, we now know more about the causes of climate change. [via Science History Institute]

Jessie Kratz, National Archives Historian, discusses the “secret map” on the back of the Declaration of Independence. [via National Archives]

Decades of records kept by Chicago city clerk John Marcin were (discovered (yes...discovered!) in his long-unoccupied office. [via Block Club Chicago]

Maureen Wanjiku Kamau of the Smithsonian Conservation Biology Institute explains how poop is used to help save the rhinos. [via National Zoo]

The Smithsonian Institution Archives continually strives to add more collection information to its website. This is a periodic post highlighting new acquisitions and individual collection items.

Over Fifty New Finding Aids Online, including:

• Accession 18-100 - National Museum of Natural History, Division of Mammals, Correspondence, 1934-1939, 1956-2017. This collection documents the career of Richard W. Thorington (1937-2017), who specialized in systematics, evolution, anatomy, and functional morphology in mammals, especially of primates and squirrels.
• Accession 18-136 - Freer Gallery of Art and Arthur M. Sackler Gallery, Curatorial - Ceramics, Exhibition Records, 1898, 1916-1917, 1954, 1966, 1978-2015. This collection documents the planning and production of exhibitions created and maintained by Louise Allison Cort, Museum Specialist, 1985-1989; Assistant Curator, 1989-1994; Associate Curator, 1994-1995; and Curator, 1995-present.
• Accession 18-142 - National Zoological Park, Office of the Director, Subject Files, 1972, 1979-2015. The bulk of these materials were created and maintained by Lucy H. Spelman, Director, 2000-2004; Morrell John Berry, Director, 2005-2009; and Dennis W. Kelly, Director, 2010-2017, with a smaller amount of material created by acting, deputy, and former directors.

Thirty-Two Finding Aids with New Links to Digitized Material, including:

• Record Unit 311 - National Collection of Fine Arts, Office of the Director, Records 1892-1960 (highlights are images of the catalog for the American Negro Artists Exhibition, May 16-May 27, 1929; and other exhibition images)
• Additional National Collection of Fine Arts (NCFA) exhibition images found in Record Unit 312 - NCFA, Office of the Director, Records, 1912-1965; Record Unit 313 - NCFA, Central Administrative File, Records, 1908-1974; and Record Unit 314 - NCFA, Office of Exhibition and Design, Exhibition Records, 1963-1973

Four Hundred Forty-Eight New Images Online:

• One hundred eighteen images from Record Unit 371 - Office of Public Affairs, The Torch, 1955-1960, 1965-1988
• One hundred ninety-eight images from Accession 11-009 - Smithsonian Photographic Services, Photographic Collection, 1971-2006
• Two hundred fifty images from Accession 90-105 - Science Service, Records, 1920s-1970s (images of scientists)

Related Resources

• Collection Highlights, April 2019, by Tammy Peters, The Bigger Picture, Smithsonian Institution Archives
• Collection Highlights, January 2019, by Tammy Peters, The Bigger Picture, Smithsonian Institution Archives
• Collection Highlights, October 2018, by Tammy Peters,The Bigger Picture, Smithsonian Institution Archives
• Collection Highlights, July 2018, by Tammy Peters,  The Bigger Picture, Smithsonian Institution Archives
• Collection Highlights, April 2018, by Tammy Peters,  The Bigger Picture, Smithsonian Institution Archives

This is the latest post in our series on career advice for the aspiring archives professionals. Each edition features information and career advice from a different member of the Archives team, regarding what they do, how they got here, and how you can too. Check out our previous posts, and don’t be afraid to let us know who you would like to hear from next!

What does a conservator do?

A conservator cares for cultural heritage, and often for a specific subset of the items you might find in a museum, library, gallery, or archive. I am a book and paper conservator, and so my specialty is in caring for those materials to ensure that they can continue to be preserved, used, or consulted. Preserving these items might include making sure they are stored in appropriate conditions and housings, ensuring they are handled safely by researchers who come to consult them, and intervening when items become damaged. These interventions or treatments are the most visible aspect of my work. Treatments might involve mending a torn page or re-inserting a detached one, putting a disbound book back together into a functional volume, or relaxing and flattening a crumpled or rolled document with gentle humidity. Conservators investigate the materials these items are made from to help ensure that the treatments they carefully choose are appropriate; conservators also conform to professional guidelines, such as those in the United States which are established by the American Institute for Conservation. Another important aspect of conservation is documenting the conditions of items we treat before, during, and after any interventions with images and text. You can see some of the work I have done here at the Archives in posts I have written previously for this blog.

How did you choose a career in conservation?

I first became aware of and interested in the field of conservation by chance. As I finished up my undergraduate degree, I realized that I didn’t know what I wanted to do with my life. As a kid, I entertained ideas of writing fantasy novels for a living and then majored in English, but didn’t have a clear path forward. I knew I didn’t want to teach (but a big shout-out to all those teachers out there, especially in elementary schools) or go to law school (both archetypal pursuits for English majors) and wanted to do something that would engage my hands and my mind. A quirk of circumstances led me to two simultaneous experiences: working as an assistant in the university library’s special collections and taking the art department’s bookbinding course. As I learned to make books and became comfortable handling rare collections items, I discovered that the instructors for my bookbinding course were the library’s book conservators. They saw my interest in their work and encouraged me to investigate the field of conservation.

What do you enjoy most about your job?

If I had to choose, I would say first that the satisfaction of returning a book or document to its intended or whole state is a big factor. I love that sense of accomplishment that comes from mending something damaged or unusable. Another aspect of my job that I enjoy is the opportunity to work with collections that cover a vast swath of Smithsonian history—field notes from collecting scientists in places like the Philippines and the American Southwest, architectural plans for our iconic museum buildings, documents like James Smithson’s will or the Elizabeth Macie deed that underpin our institution—all of which are meaningful and significant in different but equally relevant ways. 

What degree do you need to have?

Nowadays, a master’s degree is, generally speaking, an entry-level requirement for a conservator position. This degree demonstrates a baseline of knowledge, ability, and experience acquired by a recognized conservation educational establishment. Many conservation students come from art or art history backgrounds at the undergraduate level, but others might come from humanities or museum studies. I was an English major, and my interest in medieval and Renaissance literature helped guide me toward conservation.

There are several programs that train conservators; many of them require advanced chemistry courses and significant pre-program experience in internship or volunteer settings in order to create a successful application portfolio. In the United States and Canada, seven degree-granting programs are members of the Association of North American Graduate Programs (ANAGPIC): the University of Delaware at Winterthur, Buffalo State College, NYU’s Institute of Fine Arts, and Queen’s University in Ontario all provide training in art conservation; UCLA and the Getty offer a program in archaeological conservation; and Columbia and the University of Pennsylvania focus on architectural conservation and heritage planning (a list of all these programs, curated by AIC with links, can be found here). There are also many opportunities abroad, including courses in the Netherlands, Germany, Italy, and the United Kingdom, which is where I did my studies, at a small arts- and conservation-focused school called West Dean College. Regardless of the program, all offer instruction in conservation theory, practice, and materials science, and above all, practical experience conserving collection items.

What qualities are employers looking for in a conservator?

As I’ve stated above, a graduate qualification is usually the first prerequisite for conservation employment; this is where the necessary skills and knowledge to be a successful conservation professional are acquired. Some of these competencies include the knowledge of and ability to apply a wide range of appropriate conservation treatments, an understanding of applicable materials science considerations, and the high level of manual skills and dexterity that are essential to conservation work. In addition, a conservator should be detail-oriented and observant, have excellent communication skills (curators, librarians and archivists, registrars, and other associated colleagues all have a stake in conservation treatment and need to be informed and consulted), and committed to professional engagement, especially in the areas of continuing education and advocacy.

What recommendations do you have for a future conservator?

If you think you might be interested, start investigating and learn all that you can about the field. Local institutions sometimes offer visits to their conservation spaces, and others perform treatments in view of the public (the Museum of Fine Arts, Boston is an excellent example of this, with a dedicated gallery where visitors can observe and ask questions). If you feel confident you would like to enter the field, as soon as you can, begin seeking out opportunities to gain experience. As an undergraduate, see if your university museum or library has conservators and whether they offer internships or work study opportunities.

Related Resources

• "Some Web Developer Career Advice," by Andrew Whitesell, The Bigger Picture, Smithsonian Institution Archives
• "Some Archives Technologist Career Advice," by Effie Kapsalis, The Bigger Picture, Smithsonian Institution Archives
• "Career Advice from Our Preservation Coordinator," by Alison Reppert Gerber, The Bigger Picture, Smithsonian Institution Archives
• "Some Digital Archivist Career Advice," by Lynda Schmitz Fuhrig, The Bigger Picture, Smithsonian Institution Archives
• "Some Archival Career Advice," by Jennifer Wright, The Bigger Picture, Smithsonian Institution Archives

CityLab published an obituary for Phil Freelon, architect of the National Museum of African American History and Culture. [via CityLab] 

A new exhibit at the National Portrait Gallery sheds light on prominent American women of the nineteenth century. [via Smithsonian]

To commemorate the fiftieth anniversary of the moon landing, the National Air and Space Museum will project the Saturn V rocket on the Washington Monument. [via DCist]

Also in celebration of the moon landing anniversary, WAMU highlights the Space Window at the National Cathedral. [via WAMU]

The New York Times describes pilot projects underway in Newport, RI to preserve historic structures threatened by climate change. [via New York Times]

This week's heavy rain destroyed a “segregation wall” in Arlington that has been used to illustrate the legacy of Jim Crow. [via Greater Greater Washington] 

A visit to the Rockville Memorial Library is part of the “D.C. Dream Day” of one of the stars of the U.S. women's national soccer team! [via Washington Post]

As space travel becomes more commercial, fifty years after the successful Apollo 11 landing, you might just decide to take a trip to the moon for your next vacation.  But how will you decide where to park your lunar lander?  The moon has a surface area of 14,658,000 miles, and, unlike your local shopping mall on the day after Thanksgiving, the moon is unoccupied, so you can take your pick.  What will your criteria be? At the mall, you might pick near the entrance of your favorite store, but what about the moon?  Well, in 1967, a young geologist, who later spent many years at the Smithsonian, had to answer that question – where should astronauts park the first lunar lander?

Dr. Farouk El-Baz studied geology in his native Egypt, and then earned a PhD from the Missouri School of Mines and Metallurgy in the U.S. Like many new graduates, his intial job search was unsuccessful. But when he saw an unusual job ad in Physics Today for a geologist to work for Bellcomm, a research lab collaborating on the NASA Apollo program, his luck changed. 

Apollo managers had reasoned that a desert surface on the earth was the planetary surface most similar to the moon. Therefore, El-Baz’s specialty in desert geology made him the ideal fit. Belcomm quickly hired him and he became involved in pinpointing where the first lunar lander should touch down.

El-Baz studied thousands of lunar photographs that NASA had taken, sorting the images by the type of rock that was visible. He also looked for safe sites where the astronauts could land and travel around a bit.

In addition, NASA wanted to sample as many lunar rocks as possible, and El-Baz quickly became the expert on lunar rock types and locations, narrowing the field to sixteen types. Ultimately the choice was the Sea of Tranquitity or Mare Tranquillitatis. Not only did El-Baz suggest landing sites, but he also taught the astronauts  geology, so they could better describe what they were seeing on their flights.

When the Apollo program ended, El-Baz came to the Smithsonian as the founding director of the Center for Earth and Planetary Studies (CEPS) at the National Air and Space Museum. It became a world-class research center that focuses on geologic processes that have shaped the surfaces of rocky bodies in the solar system, including the Earth. CEPS staff are actively involved in most of NASA’s current planetary missions. As a NASA Regional Planetary Image Facility, CEPS also houses an extensive collection of images of the planets and their satellites.

El-Baz took an unusual path, from Egyptian deserts to the planetary geology expert at NASA, and helped atronauts park on the moon.

Related Resources

• Farouk El-Baz, oral history interview, transcript, NASA Johnson Space Center Oral History Project,  
• Dr. Farouk El-Baz, Director, Boston University Center for Remote Sensing

Between 1981 and 2006, we all screamed for ice cream at the Smithsonian! In the not-too-distant past, visitors and staff could enjoy a treat at the old-fashioned ice cream parlor at Smithsonian’s National Museum of American History.

When Roger Kennedy became director of the Museum of History and Technology, now the National Museum of American History, in 1979, he set out to transform the space. In that first year, he called on staff to brainstorm ideas for concessions in the museum. One concept that gained some early traction was for a “Carousel Café,” where coffee, tea, beer, wine, pastries, and cheese would be sold. 

Fortunately, by spring 1981, leadership’s sweet tooth won out, and plans for an ice cream parlor and a small exhibit on the history of ice cream were underway.

People around the Smithsonian were excited about the opening of the spot. Secretary S. Dillon Ripley, wrote an essay about making ice cream as a child, describing a fresh raspberry and dark chocolate mix as his favorite flavor. And employees were ready to form a line. In a letter from June 1981, one employee wrote to another about the need to “squelch a rumor that free ice cream will be served to the staff July 2 or 3.” Side note: If you started that rumor and still work at the Smithsonian, we should definitely be friends.

When the parlor opened that summer, across from the fondly-remembered Foucault Pendulum, visitors indulged in “The Peanut Malted,” “The Waldorf Parfait,” “The 1906 Banana Split,” and various other mouth-watering shakes, floats, and soft drinks.

Parlor planners also ensured that the space would be historically accurate. In fact, there was even a bit of a showdown among the museum’s staff and consultants about the costumes the soda jerks would wear. Some thought the cut was historically inaccurate, and it seems that none of the stakeholders were satisfied by the opening of the parlor. The group resigned to assign a researcher to the task after the opening, “even if the timing appears to be sacrificed to accuracy.”   

But this iteration of the parlor was short-lived, and after a period of construction, it was redesigned in a “far more elaborate” way and named “Palm Court.” The museum’s leadership recognized that folks needed more than just ice cream, so they soon expanded their menu to sandwiches and light snacks.  On the way to their afternoon treats, visitors could also examine the Stohlman's Confectionery Shop and a section of a Horn and Hardart Automat from Philadelphia on display.

About the shop in 1984, one newspaper wrote, “It offers visitors a vintage setting in which to kick their shoes off and have a few sips of nostalgia along with a strawberry soda.” Oh, do we wish we could still have a sip of that soda, and, oh, do we hope everyone kept on their shoes.

Related Resources

• “Light in the Attic,” by Michael Kernan, 20 July 1982, Washington Post
• “Roger Kennedy, 85; brought pop culture to Smithsonian,” obituary, Boston Globe
• “Smithsonian’s Palm Court: A Taste of History,” by Arnold Sawislak, 10 May 1984, UPI Archives

Four African American artists are leading efforts to preserve activist and musician Nina Simone’s home. But in the meantime, take a virtual tour! [via Saving Places]

A new exhibit at the New-York Historical Society takes visitors behind the camera with six women photographers at LIFE magazine between the 1930s and 1970s. [via Frieze]

For #WorldEmojiDay, Apple previewed a selection of new emojis coming this fall. Users will be able to customize the skin tone and gender of their hand-holding partners and communicate with disability-themed characters. [via Emojipedia]

Last month, the Association of Art Museum Directors approved a resolution calling on art museums to pay their interns. [via Hyperallergic]

As part of its initiative to preserve modern architecture, the Getty Foundation offered new grants to stewards of ten twentieth-century buildings. [via Getty Museum]

Astronomers have spotted a dusty disc surrounding a planet, which they believe might be a growing moon. [via National Geographic]

After thirteen years, Neil Armstrong’s spacesuit is finally back on display at the National Air and Space Museum, where conservators hope it will remain in good condition for another fifty years. [via National Air and Space Museum]

The Archives is excited to announce the completion of our pan-institutional Audiovisual Preservation Readiness Assessment! Over the past eighteen months, the Archives has been working with ten other units around the Smithsonian and the Association of Moving Image Archivists' (AMIA) Community Archiving Collective (CAC) to gather data about our collections in terms of quantity and condition, our current preservation practices and digitization rates, and our risk of collections loss. This will ultimately help the Institution in future preservation planning.

The assessment was designed with three components—inventory, prioritization, and evaluation. The first component was a continuation and an update to the 2016 Pan-Institutional Audiovisual Collections Survey and included three additional unit collections to create a more accurate snapshot of our audiovisual collections at an institutional level. The second component focused on developing and implementing a method for prioritizing our analog audiovisual collections for preservation that considered both physical risk and content value. This system was designed by CAC and can be continually modified by the participating units as their collections grow and change. Lastly, the third component was designed to evaluate the Institution's current audiovisual preservation practices, determine the risk for permanent collections loss at current preservation rates, and provide two preservation scenarios intended to mitigate that loss.

The Final Report for the project has just been made publicly available through the Archives’ website to act as an advocacy tool for the Smithsonian and to promote knowledge-sharing among other cultural institutions. Please visit our Strategic Projects page to learn more, and happy reading!

Related Resources

• "What a Groovy Idea! A Pan-Institutional Survey of Audiovisual Collections," by Alison Reppert Gerber, The Bigger Picture, Smithsonian Institution Archives
• "One Lens for Multiple Archives: A Pan-Institutional Survey of Born Digital Holdings." by Ricc Ferrante, The Bigger Picture, Smithsonian Institution Archives
• "The Media Preservation Initiative at Indiana University Bloomington," by Mike Casey, UNESCO, 2012

Thirty-five years ago today, eight golden lion tamarins were reintroduced to the wild at the Reserva Biológica de Poço das Antas in Brazil. They had been born in zoos in the United States and learned to forage in “free-range” habitats before making the long journey back to their ancestral homeland.

In 1972, golden lion tamarins were facing extinction. It was estimated that there were only about 200 individuals left in the wild, and captive birth rates were low. Research zoologist Dr. Devra Kleiman, a recent hire at the National Zoological Park, established the Golden Lion Tamarin Conservation Program, which ultimately became a partnership of many conservation organizations and zoos.

The first goal was to increase the captive birth rate. Through research and experimentation, the researchers found that changes in diet, specifically additional protein, greatly increased the number of births. By the early 1980s, there were more golden lion tamarins in captivity than necessary to support the breeding population. Reintroduction to the wild was the second goal.

Captive animals cannot simply be let loose in the wild. They need to learn to forage and protect themselves. Many golden lion tamarins were moved from indoor enclosures to “free-range” habitats—larger outdoor areas with natural vegetation, insects, birds, and other animals. They were still provided with food, but it was often hidden in order to teach them to forage. Shelter would often be a nest box designed to mimic a hole in a tree.

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Crates containing golden lion tamarins are weighed before being flown to Brazil, 1983, by Jessie Cohen, Smithsonian Institution Archives, Image no. SIA-SIA16-065_B31_F04_S03_06.

Golden lion tamarin shipping crate, 1983, by Jessie Cohen Smithsonian Institution Archives,Image no. SIA-SIA16-065_B31_F04_S06_16.

In November 1983, fifteen golden lion tamarins were carefully crated and shipped to Brazil. Upon arrival, they were quarantined, where one tamarin gave birth to twins. On May 2, 1984, nine of the golden lion tamarins were moved to a large temporary enclosure that had been erected within the forest itself. A wild golden lion tamarin, found in a patch of forest too small to sustain the animal, was also introduced to this enclosure. Twelve weeks later, on July 25, eight of the golden lion tamarins were released from the area.

After reintroduction, the animals were closely monitored by both American scientists and trained locals. The free-range habitats had not prepared them to survive in the wild. Several died and food and other essentials had to be provided to many others. The effort was not a total loss though. Two females gave birth in the wild and the young adapted quite well, quickly becoming self-sufficient. 

Reintroduction efforts continued with the release of a new group of captive-born golden lion tamarins each year. Survival rates increased and each successive generation gave birth to their own young. Efforts have also been made to protect and expand their habitats. Today, there are approximately 3,200 golden lion tamarins living in the wild, about one-third of which are descendants of captive-born animals. 

Related Collections

• Collections related to the reintroduction of golden lion tamarins, Smithsonian Institution Archives
• Devra Kleiman's notebooks from Brazil, Smithsonian Transcription Center

Related Resources

• How the Archives Gets its Records (or, Golden Lion Tamarins Galore), The Bigger Picture, Smithsonian Institution Archives
• Going Wild: Golden Lion Tamarins released from zoo breeding efforts don’t fare well - but their offspring do better, Scientific American, April 20, 1998
• Devra G. Kleiman, Scientist Who Helped Change Zoos, Is Dead at 67, The New York Times, May 8, 2010

Columbia University has launched the Stonewall 50 Commemoration Web Archive, which includes oral history interviews conducted with some of the 1969 uprising participants. [via infoDOCKET]

Archaeologists have solved the mystery of a shard of ancient Roman glass! [via the Guardian] 

A new digital exhibit from the United States Senate commemorates the centennial of women’s suffrage. [via National Council on Public History]

A New York Times interactive feature guides lunar landing observers back to Earth. [via NYT Science]

According to new research, small monkeys are reforestation heroes! [via AAAS]

Astronomer Kelsey Johnson discusses UFOs and the statistical likelihood of alien life... [via Scientific American]

...And if there is indeed life on Mars, it might resemble pasta! [via Phys.org]

When the series finale of M*A*S*H premiered on February 28, 1983, it became the most watched television broadcast in American history. It should have been of no surprise, then, that a M*A*S*H exhibit at the Smithsonian National Museum of American History would attract a flood of enthusiastic visitors.

Plans for the exhibit began with a few great minds thinking alike. Museum specialist Michael Harris had the idea to approach Twentieth Century Fox about donating objects from the hit show while on his upcoming vacation to California in 1982, and the curator in the Division of Community Life, Carl Sheele, was on board. The two hoped that the company might donate Hawkeye’s Hawaiian shirt or a few stethoscopes. Just as they were plotting their approach, Twentieth Century Fox beat them to the punch and reached out to the Smithsonian.

But what the company planned to donate was even better than expected.

Twentieth Century Fox offered props, costumes, scripts, and two complete sets, the Operating Room and the “Swamp.” This donation became the first of two occasions in which the museum accepted an entire set from a television production.

Harris made his final collecting trip just after filming wrapped in January 1983, and the artifacts arrived at the museum by May. M*A*S*H: Binding Up the Wounds, initially titled M*A*S*H: The Two Wars, was set to open to the general public on July 30, 1983 after a donation ceremony and panel the day before.

In attendance at the event were stars Alan Alda, Mike Farrell, and William Christopher, producer Gene Reynolds, and head of Twentieth Century Fox Worldwide syndication Robert Morin. Watch the group answer questions from the audience below.

During the program, museum director Roger Kennedy made a speech about the importance of the donation, the group shared what it meant for the show to be included at the Smithsonian, and Morin, Harris, and Scheele signed the formal deed of gift.

In one answer to an audience question during the Q&A portion of the event, Alda articulated what the donation to the Smithsonian meant to him in closing this chapter in his career. “It’s one of the things I was looking forward to today…in a way, it kind of emotionally puts a cap on it. It’s a terrific honor.”

Visitors flocked to the exhibit, and the museum soon implemented a timed pass system. Before the ticketing, however, some complained about the crowds. One disconcerted guest wrote directly to Secretary Ripley about how she would not renew her membership to the Smithsonian Resident Associate Program because her group waited in line for two hours, were only allowed ten minutes in the exhibit, and felt rushed by guards.

The pass system was evidently necessary, considering that by the time the exhibit closed in February 1985, after two extensions, 1,073,849 visits had taken place. In the month of July 1984, alone, the museum counted 84,113 visitors.

And the responses were overwhelmingly positive. One visitor from Virginia commented, “I’ve had about twenty visitors since your exhibit has been here-all of them say, ‘first we want to see the M*A*S*H exhibit.'” Other museums across the country, too, recognized the success of the show and lined up to be considered as locations for a potential traveling exhibit.

Anticipating the huge reception that the exhibit would receive, Washington Post journalist Roger Piantados predicted, "’M*A*S*H: Binding Up the Wounds' will make the Smithsonian Museum of American History so popular a tourist stop this summer that someone may be moved to create a TV sitcom about the place.”

We’d definitely watch that.

Related Resources

• “Looking Back on ‘M*A*S*H,’ the show and the exhibition,” by Lucy Harvey, O Say Can You See?, National Museum of American History
• “M*A*S*H ended, but is not gone or forgotten,” by Lucy Harvey, O Say Can You See?, National Museum of American History
• “Its TV series ended, M.A.S.H. draws crowds at the Smithsonian,” by Maggie Jackson, 13 August 1983, United Press International
• “MASH Lives, At the Smithsonian,” by Roger Piantados, 29 July 1983, Washington Post