Category: Praxis Seminars

Maya Hofstetter, BMC ’25

The East Coast Well Core Inventory Project

Semester: Spring 2024

Praxis Course: HART B420 Museum Studies Fieldwork Seminar

Faculty Advisor: Matthew Feliz

Field Site: The Academy of Natural Sciences of Drexel University

Field Supervisor: Alejandra Martinez-Melo

Praxis Poster: 

Maya Hofstetter_Poster_S24

 

Further Context:

This spring, I interned in the Invertebrate Paleontology collection at the Academy of Natural Sciences of Drexel University (ANSP) as the fieldwork component of the Museum Studies Praxis Seminar. I worked on the East Coast Well Core Inventory project, which involved sorting, rehousing, and logging a collection of artesian well cores. Most of the cores were collected by ANSP member Lewis Woolman from 1889 to 1903, but the collection includes samples from as late as the 1970s. It came to the Invertebrate Paleontology collection through former Curator Horace G. Richards, but the samples were never accessioned by the ANSP. They are not technically ANSP samples, and no information about the numbering and organizational conventions given to them by Gordon has been found. My day-to-day activities included data input using Excel, rehousing bags of dried silt, sand, and gravel, and consulting logs and maps to decipher locality information. I only came to the collection one day a week and would spend most of my time working with the cores alongside Owen Goodchild, the full-time Collection Assistant working on the project.

The well cores are housed in tall metal specimen cabinets that overflow into the halls outside of the official collection space. Most of the cores do not have enough location or collection data associated with them to be viable in research, or enough fossils. The samples, especially those housed in fabric pouches, release fine clay dust into the air whenever they are moved. Fly ash, a coal manufacturing by-product, coats most of the boxes (and whoever touches them) in a black, powdery residue. Oftentimes, we would have to check each box, envelope, or pouch for a core to figure out the depth range, which got messy quickly. Having another set of hands to input data into the spreadsheet, even for just one day a week, sped up the project. As of late April, inventory has officially been completed and efforts had shifted to contacting organizations (i.e., state geological surveys) or institutions (i.e. universities) who can accept sections of the collection. A total of 777 cores were inventoried, and 65% of cores described in a set of inventory notecards have been located (355/510 cores). The most popular locality was New Jersey, at 55% (433 cores), followed by North Carolina at 27% (215 cores). If all goes well, portions of the cores will be transferred to new, better-equipped homes soon!

Grace Sawyer, BMC ’26

Teen and Adult Education and Documentation at Fleisher Art Memorial

Semester: Spring 2024

Praxis Course: HART B420 Museum Studies Fieldwork Seminar

Faculty Advisor: Matthew Feliz

Field Site: Fleisher Art Memorial

Field Supervisor: Suzanne Seesman

Praxis Poster: 

Grace_Sawyer_Poster_Final_SP24

 

Further Context:

This semester, I worked at Fleisher Art Memorial, a community art school in south Philadelphia. Fleisher is a nonprofit that aims to make arts education accessible through both free and affordable classes and workshops for children, teens, and adults. I greatly enjoyed my time there with the education department. I started my internship working solely under the manager of adult education, but one of the best parts of working in a small institution like Fleisher is that I was given flexibility to work with other members of the department on different projects. My typical day at Fleisher could involve sitting in on an education department meeting, proofing adult class listings, and finishing the day assisting in Teen Lounge, a free after-school art and community program for Philly teens. It gave me a very well-rounded sense of how arts education and nonprofits function: I worked both behind-the-scenes and hands-on.

Working with the teens was always one of the highlights of my day. Teen Lounge is unique in the autonomy it allows the teen members: they choose their own teachers and workshops, vend their work at craft festivals across the city, organize events, and use the space however they want. My work with them was very hands-off, but I was able to help facilitate small, lower-sensory environments on busier days.

I chose to focus my presentation on documentation: I did not take photos every day at Fleisher, but the times that I did were incredibly memorable and fun. I spent a few nights photographing adult evening classes. My main objective was to take photos of classes that were dynamic and showed the fun, community-building aspects of Fleisher’s classes. I never wanted my photos to look boring or overly academic, as that is not the environment I observed. This was a very fun way of both practicing my photography skills, which I haven’t used for most of college, and getting to know the students and faculty of the adult programs. I also spent a few days in Teen Lounge both taking pictures and conducting interviews for a grant application.

I am so grateful for my experience at Fleisher, and it has gotten me interested in the world of arts in communities outside of museums.

Annalise Ashman, BMC ’24

Connecting the Past to the Present: African Collections at The Penn Museum

Semester: Spring 2024

Praxis Course: HART B420 Museum Studies Fieldwork Seminar

Faculty Advisor: Matthew Feliz

Field Site: The Penn Museum

Field Supervisors: Dwaune Latimer with the support of Larry McClenney, Sister Anne McCloskey, and Monique Scott

Praxis Poster: 

AnnaliseAshman_Poster_FinalS24

 

Further Context:

Reflecting on my recent collections management internship at the Penn Museum, I immersed myself in a world of artifacts, databases, and exhibition research within the African Collections. Under the supervision of Dwaune Latimer, the keeper of the African Collections, I embarked on several research projects to delve deeper into the museum’s behind-the-scenes operations.

At the beginning of the internship, my primary goal was to gain insight into how museums process, catalog, and organize information within their databases, mainly when the collections are often used for research purposes to support academic and curatorial projects. I was eager to expand my knowledge and skillset in object handling, database management, and archival research. From day one, I learned the ins and outs of inventory, data entry, and archival research, focusing on artworks and objects from Ghana. I compiled a list of over one hundred objects, including the use of Adinkra symbols, a visual language rich in cultural significance and symbolism in West Africa. Throughout this process, I gained a deeper understanding of how these symbols communicate ideas about culture and identity through objects like gold weights, stools, knives, and curtains. Among my other projects, I also researched Moroccan jewelry-making done by the Amazigh or Berber people to provide an updated illustration of how one of the original necklaces in the collection may have looked.

Beyond the technical aspects of collections management, the internship also afforded me invaluable experience working with objects. The knowledge and skills I have gained will undoubtedly serve me well in future endeavors. As I bid farewell to the Penn Museum, I carry a new experience of dedicated research and hands-on learning.

Anna Keneally, HC ’26

Loom Weights and the Humanity within Objects not on Display

Semester: Spring 2024

Praxis Course: HART B420 Museum Studies Fieldwork Seminar

Faculty Advisor: Matthew Feliz

Field Site: The Penn Museum

Field Supervisor: Katherine Blanchard

Praxis Poster: 

Anna Keneally_Poster_Final S24

 

Further Context:

During my time at the Penn Museum’s Near Eastern collection, under the supervision of Keeper Katherine Blanchard, my main tasks involved rehousing various artifacts from the Beth She’an site, located in modern-day Israel, and photographing them for inclusion in the digital database accessible to researchers. As we removed the objects from their original packaging, we ensured that each piece was accounted for before photographing them and placing them in new, clean bags. Each shelf and drawer presented a new array of materials representing different troves of material culture, stratified by excavation level and object type.

The Beth She’an site, which was my primary focus, was excavated in 1921. Over several excavation seasons, the museum acquired over 8,000 artifacts for its permanent collection, despite half of the finds being retained by the host country and now housed in the Rockefeller Museum in Jerusalem. For photography, we employed “shot-on” and “shot-down” techniques depending on the orientation of the objects. “Shot-on” photography emphasized the third dimension, ideal for objects like bowls and amphoras, while smaller items without a prominent third dimension, such as sherds, didn’t require this approach. By photographing and arranging the objects, I gained insights into their original use, enhancing my understanding and appreciation of their cultural significance.

Throughout this experience, I frequently photographed and rehoused loom weights, totaling over 100. Loom weights, typically made of clay or stone with a hole for securing strings on a loom, may appear visually similar at first glance. However, handling a large number of them allowed me to appreciate their diverse shapes and sizes, revealing the human aspect of material culture. Unlike artistic objects, loom weights prioritize function, serving as practical tools used in daily life. This aspect resonates with my love for material culture, as these artifacts provide glimpses into the lives of past peoples through seemingly mundane objects.

This experience afforded me the freedom to indulge my curiosity, challenging my interpretations of the past and deepening my interest in cultural heritage preservation. Not every day in a museum’s collections yields a significant find or groundbreaking discovery, but my passion lies in safeguarding objects for future generations, interpreting complex histories through visual culture, and connecting with past civilizations through the artifacts they left behind, even if it’s something as humble as a loom weight.

Keyla Benitez ’24

Bringing Fleisher’s Past to the Future: Digitizing their Artistic Archives!

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: Fleisher Art Memorial

Field Supervisors: Bailey Dodds & Catherine Lee

Praxis Poster:

NEW_KeylaBenitez_FinalPraxis Poster_rez

 

Further Context:

The Samuel S. Fleisher Art Memorial, located in South Philadelphia, has provided art education and cultural programming accessible to all since 1898. As part of their commitment to accessibility and inclusion, they have initiated a project to digitize their creative archives and bring Flesher’s past to the future. The project’s primary goal is to identify historically significant documents and methods for digitization. I worked with Bryn Mawr’s Archivist and Digital Collections and Metadata Librarian to develop digitization and outreach strategies that are effective and sustainable.

The project’s social justice lens means that the digitized archives will be accessible to everyone, regardless of their abilities or background. The project also created a preservation plan for a 116-year-old scrapbook created by Samuel S. Flesher himself. The scrapbook provides unique insight into the founder’s vision for the institution, its early days, and the founder’s life. However, the scrapbook is deteriorating due to its age and delicate nature. I worked to develop a plan to protect and preserve the scrapbook for future generations.

The project serves as a reminder of the vital role that institutions like the Flesher Art Memorial play in promoting community engagement. By digitizing historical documents and making them more accessible and inclusive, Flesher is preserving its history and making it available to a broader audience. This highlights the importance of accessibility and inclusion in safeguarding cultural heritage and fostering creative spaces welcoming to everyone.

In conclusion, an important initiative is for Flesher to digitize its artistic archives and bring Flesher’s past to the future. The project’s commitment to accessibility and inclusion is crucial in preserving cultural heritage and making it available to everyone. The project also demonstrates the Flesher Art Memorial’s ongoing commitment to its mission and the people of
Philadelphia.

Nyla McNeil, BMC ’26

Ancient Artifacts and Contemporary Connections

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: The Penn Museum

Field Supervisor: Katherine Blanchard

Praxis Poster:

Nyla McNeil PRAXIS Poster - Final

 

Further Context:

Participating in the PRAXIS: Museum Studies course gave me the incredible opportunity to work at the Penn Museum on a rehousing project in the Near East Department. Before beginning the project, I established multiple overarching goals to give me insight into my potential career possibilities and explored my ethical questions about museum work. My time at the Penn Museum satisfied these goals, gave me a stronger sense of purpose in the museum sector, and cemented my profound appreciation for the behind-the-scenes collections management in Museums.

Our rehousing project was relatively simple, but it became a space for constant hands-on learning and complicated my understanding of preservation practices within museum collections. At the Penn Museum, several large shelving units housed artifacts in rows of wooden boxes. Our jobs were to complete an inventory of each box’s artifacts, photograph them based on proper orientation sanctions, re-bag each item, and return it to a more compact plastic bin. This work was seemingly simple but posed several challenges throughout. Photography was particularly challenging as my coworker, Samantha, and I had to learn dynamic practices for two different photo orientations (shot down and shot on).

Moreover, we frequently handled delicate materials, some of which needed to be photographed as a collection of several sherds or broken pieces. This tedious procedure taught me to pay greater attention to detail and to view object photography through the lens of a researcher. For example, when taking a photo, I had to ask myself questions such as: What unique grooves or curvature do I need to capture, or How would this item be oriented upright if it were still fully intact?

Despite the significant takeaways from the project itself, much of my newfound insight came from the questions and conversations brought up with my supervisor and coworker regularly. My supervisor, Katy, was incredibly willing to answer our questions and share her expertise from many years of experience in archaeological excavations and at the Penn Museum. Furthermore, Katy gave my coworker and I uniquely insightful opportunities such as:

  • Letting us sit in on a meeting that discussed a new exhibit’s cultivation (from the ground up).
  • Setting us up with meetings with department faculty that met our interests.
  • Taking us on a private tour at another local Philadelphia Museum, Pennsylvania Academy of the Fine Arts.

Throughout the experience, Katy’s openness to questions, her relaying of archaeological insight, and her genuine appreciation for her profession made it memorable and valuable.

Spencer Auerbach, BMC ’24

Representation Matters

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: Bryn Mawr College Special Collections

Field Supervisors: Carrie Robbins & Marianne Weldon

Praxis Poster:

Final_SpencerOPraxis Poster Session

 

Further Context:

For this semester, I worked in the Bryn Mawr Special Collections. Specifically, I worked on creating new cataloging guidelines around artists’ demographic information. This includes such information as race, ethnicity, and gender. Before this semester, there were no consistent guidelines for how to put this information in the collection database. My final product for the semester is in fact a proposal for these new guidelines. I created these guidelines in collaboration with another intern, Graziella. The two of us spent a lot of time considering language. What language should be used to talk about race? Where should this language be used? These are difficult questions that do not have a good answer.

To start the semester off, we began by looking at how other institutions catalogue this data. We collected the information in order to try and understand the industry standard. Once we had finished this process, we began looking inward. This included looking at the efforts around cataloging diversity in the collections. We also did work to understand what was possible with Embarke, the college collection management software. Once this process was done, we could begin work on drafting our recommendations. Our recommendations include suggestions such as where to display the information about an artist’s demographics, how to determine the appropriate language for describing artist demographics, and how to determine an artist’s demographic information. When the recommendations were done, we began testing them on some of the artists in the collection. Based on that, we refined our suggestions.

 

Samantha Jean Kopkowski, BMC ’25

The Power of a Collection: What Bringing Beth Shean To Life Taught Me

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: The Penn Museum

Field Supervisor: Katherine Blanchard

Praxis Poster:

Final_SamanthaKPraxisPoster

 

Further Context:

In the spirit of honesty, I’ll confess that I came into the museum studies praxis seminar by accident. Last fall, I was looking to expand my knowledge of museum studies, and the praxis seminar was the only available class. In a whirlwind of interviews, emails and assists from my faculty advisors, I connected with my field advisor, Katy Blanchard, about an internship in the
Penn Museum’s Near Eastern collections. I went into the experience without much knowledge of near eastern archeological material and a keen desire to observe museum operations from the inside. Ultimately the internship offered me a chance both to learn about the Near East and
explore the inner workings of the Museum as much as I wanted. However, most importantly, the opportunity showed me how much work goes into even the smallest, most easily taken-for-granted aspects of Museum operations, and how even this largely invisible work, can change a museum for the better.

My work at Penn primarily contributed to a single project, the continuing effort to re-inventory, photograph, and rehouse material from the site of Beth Shean in Northern Israel. The Beth Shean material is a cornerstone of the Penn’s Near Eastern collection. As I learned through digital and on-site research, Beth Shean was continuously occupied from the late Neolithic period through the middle ages. Thus, the archeological material I worked with records a progression of visual culture through man’s earliest discoveries, the Egyptian colonial period in Israel, the rise of Judaism, Greek colonization of the eastern Mediterranean, Roman colonization, and the rise of the Byzantine Empire. This makes these objects critical subjects of research, useful educational tools, and beautiful, enlightening features in museum exhibitions.

This, I came to realize, was the importance of my work. The photographs I was taking with my colleague, Nyla Mcneil, opened these valuable objects up to new attention from researchers, curators, and professors. Moreover, through shadowing my field advisor in meetings, doing an informational interview with the brain behind the Penn’s community outreach initiatives, and reading about the museum throughout the semester, I observed a will to revitalize the Penn and reinvent the institution as an asset to the community at large. I realized that my work, though it may seem small, was a crucial element of this. Photographing objects brought them to life and gave the world outside of the Penn’s archives a chance to understand these
pieces of history.

I also learned a lot of useful, practical information about the inner workings of the Penn and museums like it. I will certainly use this newfound knowledge of things like exhibition design, archival techniques, object handling, and industry standards in future positions with material closer to my area of study. However, I’m most proud to take away the knowledge that
every bit of work done in a museum can contribute to the desperately necessary democratization of these institutions. In my future, I hope to apply this principle in every area of museum work I can.

Graziella Pierangeli, BMC ’24

Representation Matters

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: Bryn Mawr College Special Collections

Field Supervisors: Carrie Robbins & Marianne Weldon

Praxis Poster:

Final_REVISEDGraziellaPierangeli Representation Matters (24 36 in)

 

Further Context:

Olivia Harkins-Finn, BMC ‘23

Teacher Institute Intern at the Toledo Museum of Art

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: The Toledo Museum of Art

Field Supervisor: Grace Toth

Praxis Poster:

Final_Olivia H-F Poster

 

Further Context:

For my praxis this semester, I got to work remotely for the Toledo Museum of Art where I interned in person over the summer. My position this semester has been particularly fulfilling because I am helping support the planning of a nation-wide Teacher Institute funded by the National Endowment for the Humanities. Institutes like this one are supported by the NEH a lot, but this year is the first time an art museum will be hosting one.

The Teacher Institute at the Toledo Museum of Art is described on their website as follows: “Exploring a work of art’s story, symbolism, and context can shape our perceptions of the world. The Toledo Museum of Art’s week-long summer institute will help K-12 teachers develop skills and teaching strategies to facilitate their students’ investigations into Native American and African American perspectives and contributions to American History through visual culture.” You can read more about the Teacher Institute on their website here.

My specific role has been to primarily create pre and post institute resources for the participating teachers. This includes lesson plans surrounding artists we will focus on during the week of the institute. I have also been working on workshop guides surrounding specific exhibits that will be up at the museum over the summer. Additionally, I helped compile resources for teachers surrounding their stay in Toledo. Teachers have also come to me for help coordinating accommodations and other things for their stay. Overall, I have really enjoyed my internship this semester!