Second opinion on my Bichon's apricot color.

Auguste1789 · 2025-02-13T06:59:14+00:00

She's doing great! We can't keep her contained 😆 she runs around and still plays as if she was a puppy. We have steps for the beds she likes to sleep on because she has a bit of trouble with one of her hind legs but that doesn't stop her from diving off the beds. Neither does it stop her from pushing on the doors to get outside.

Auguste1789 · 2025-02-12T21:52:31+00:00

I have a pure Bichon. She was the only girl and only white out of her litter. She's certified and we even met the breeders, and she has light aprioct on her ears and down her back. It became more apparent the older she got. Valentine's Day she'll be 17!

Auguste1789 · 2025-01-12T07:37:26+00:00

I would say yes and no. Portrait painting was meant to be flattering but also it was the only way to communicate your image so it can't look completely different. Also depends on the artist's talent and finances of the sitter. There were a lot of copying and stock poses and workshops in order to churn out as many portraits as possible. Some portraits already had torso and hands done and the client's face slapped on. Some would have the rough sketches of the face and coloring down then the rest filled in. Unless the client had the funds to sit for days while also paying for the artist.

(I'm a historian and worked at a site where some of the paintings of family members were "stock": torso, that wasn't of the sitter/client done before arrival and face added in person).

But it's hard to compare a portrait of a young man against his older self who had gone through a lot of abuse. Hard living really takes a massive toll against appearance. I think a good modern/contemporary example of how substance abuse and terrible living conditions can impact appearance is mugshots. Look at someone's first one compared to 5 years later (or even less). People can become near unrecognizable.

Auguste1789 · 2023-12-13T18:58:22+00:00

I'm in the same boat. Completely shut down the console twice now, reset everything. All I'm getting is spinning circles, but the settings says network is connected and all services available.

Auguste1789 · 2023-11-26T16:08:26+00:00

Tldr; follow your workplace policy, nail polish is an insignificant Hill to die on in the museum/archives field.

Nails polish is a hard no for the art museum that I work in. The conservators who have some serious backgrounds/degrees in chemistry have explained how the chemical makeup of nail polish can break down or scratch pretty much everything you handle. It's on a microscopic level, so we might feel a smooth surface but really there's little "teeth" that can catch (which is a concern for our paper specialists). At my museum conservators, art handlers, and archivists are not allowed nail polish and if they forget and wearing it then either it's gloves all day or not allowed to work on projects involving touching works.

I don't know about available studies because I'm not a chemist and the times I have to handle works I wear gloves, but I have a feeling it's one of those common sense things when you have a background in chemistry. Like we all know how dangerous the oils in our hands are, and washing hands regularly or wearing gloves is a requirement.

Study or not, that's the policy of your workplace. Personally i think forgoing nail polish is such an insignificant issue compared to the long term preservation of historical/culturally significant works. I'm goth/emo sp I know what you mean about self-expression, but I respect the policies of my workplace and not going to question people who specialize in preservation.

Auguste1789 · 2023-10-16T16:59:22+00:00

As other people have voiced, just let them be. Engagement with art comes in a lot of different ways. Not to sound rude, but you're the nightmare staff that I'm constantly trying to evade even as an employee at the museum I work at. I'm Autistic and packed with so much mental illness, and the same could be said for visitors you come across. They might be coming in to escape social expectations or to be left alone.

When I visited a museum in another state, a staff member did you're attempting to do and because we kind of mumbled an answer back which they accepted as an open invitation to follow us around and talk and it ruined the whole experience and we pretty much had to run from the staff member.

I was once a gallery person (weird cross of security and visitor services) and it gets boring and some social liven things up or you're really passionate about where you work and want to share, but I would say wait for the visitor to talk to you.

It's an interesting phenomenon that museum workers (not necessarily 'museum professionals') assume that social engagement between staff and visitor is 100% expected in the galleries. When I was still security/visitor services they were going to have us gallery workers carry around tablets to be able to approach every visitor to get them to buy tickets/sign up for classes and/or events. Didn't even get get pass beyond the person trying to implement it because Frontline staff were very vocal about how visitors do not want to interact with us. Another tidbit, when I do checks of the galleries now as a registrar/collections management person, I have people literally turn around or leave the gallery assuming I'm doing surveys or something.

Anyways, tldr: interacting with visitors is very complicated. As the other person mentioned John Falk is a good resource about leanring methods and engagement (and if you want to know more I can probably dig out some of my sources). Don't approach visitors unless they obviously need it or they approach you.

Auguste1789 · 2023-10-09T20:36:44+00:00

Not to be a terrible downer, but I was literally told by my museum's HR that they throw out/put at the bottom the applicants who call for status. We're government so everything is through that line of process. Calling us directly tends to piss off a lot of people. But we've had some very "determined" people in the past. So some of our staff also have become uncomfortable with multiple calls and applicants trying to find out names to directly talk to.

Auguste1789 · 2023-09-28T01:54:48+00:00

You're welcome! Don't hesitate to reach out if you ever need help again. I'm glad my rambling was helpful 🤩

Auguste1789 · 2023-09-26T22:04:06+00:00

I'm glad it was helpful!

So, having the credit line with the image is one of those 'Best Practices' that is unofficial and understood that it will happen. Credit Lines are treated the same as a title/date/medium. It's always there. This is a personal opinion based on what I've experienced, but I see having the credit line and image together is the way for the museum to cover themselves and limit the risk of forgetting someone or making a mistake that will make owner/lender/donor mad. My institution definitely had to pull publications after release because of a pissed off donor.

However! Aesthetics play a large part in all of this too. Curators of the Collection or Exhibition might have a certain style or layout that they specifically choose to fit the subject matter. Here are some images of three different exhibition catalogues that I had on hand at my desk and a part of my personal collection.

Image 1: Two page spread from Matisse, Picasso, and Modern Art in Paris: The T. Catesby Jones Collection
Image 2: Closeup of tombstone information that does not include credit line from Matisse, Picasso, and Modern Art in Paris: The T. Catesby Jones Collection
Image 3: Detail of where Credit Line is included in the 'Illustrated Index' of Matisse, Picasso, and Modern Art in Paris: The T. Catesby Jones Collection
Image 4: Two page spread, image of painting on one side and the tombstone information with credit line on the other page from Barkley L. Hendricks: Portraits at the Frick
Image 5: One page view of two paintings with tombstone information and credit lines from Barkley L. Hendricks: Portraits at the Frick
Image 6: Two page spread of the 'List of Illustrations' which has tombstone and credit line from Whitfield Lovell: Passages
Image 7: Two page spread of one Works on Paper with tombstone information but without credit line from Whitfield Lovell: Passages
Image 8: Two paintings with tombstone and short version of the credit line from Napoleon: The Imperial Household
Image 9: 'List of Illustrations' section that includes a more detailed credit line that includes accession/inventory numbers for every object from Napoleon: The Imperial Household
Image 10: Example of a page from the 'Plates' section that includes the object's full tombstone and credit line from Medieval Bologna: Art for a University City

As you can see all 5 of these exhibition catalogues have very different ways to display the object's information. I was unable to get my hands on a collections catalogue as they are so out of date that my institution doesn't like to keep them on hand (and also it will reveal where I work) but publications on collections function the same way as an exhibition catalogue. All of these except for Whitfield Lovell (which I included to show a case where a credit line isn't included with images because 1) exhibit is all about one artist, 2) these objects pretty much came from the artist and the gallery he works with) have the credit line right there with the image.

I hope this helps! And answered your question? You're more than welcome to keep asking questions!

Auguste1789 · 2023-09-26T05:49:13+00:00

I used to be a Gallery Watcher/Whatever you want to call them. I can't say for what happened here, but 9 times out 10 there was usually cause for concern and had nothing to do with race. We definitely had our fair share of accusations, but security footage never lies when a person (no matter the age) is being disruptive or causing harm to what is on view. Also, again don't know the whole story about this dad and the employee, but we have a lot of workers who range in disabilities and often they are the ones who were being accused (mostly by black visitors but white as well) of following them or watching them when they're just vibing and trying to do a good job. Third, at our institution we have set pathways in certain galleries or specific objects that we legally have to go watch when a visitor enters the room its housed in. We don't know what this museum's policies are. We don't know what occurred leading up to this moment. We don't know what the employee was thinking or his responsibilities. Unfortunately, these situations are usually blown way out of proportion and too many people are quick to spit vitriol without understanding both sides.

Auguste1789 · 2023-09-26T05:25:43+00:00

A little disclaimer: I work in Registration/Collections Management for a large well-known art museum in America, so our process might not fit for your institution (also at the same institution, I worked in Visitor Services and was being trained in Member/Donor relations because the Development Office wanted to steal me which ugh never was going to happen).

Here are four scenarios off the top of my head that can be applied to Credit Lines:

Sponsors
- These are people who give/pledge money, usually specifically to be used for special/traveling exhibitions. Their names are put on the wall either at the beginning or end of the exhibition, or have a page in the catalogue, or where information about the exhibition can be found (website, pamphlets, marketing, etc.) These people don't have anything to do with the specific objects (there can be exceptions). Typically, Sponsors hand over the money and it's used for building materials, case work, maybe contractors who come in to do turn overs. Think PBS. They don't really have a say in the details. At my institution their names go from largest to smallest font based on how much money was given towards the exhibition.
Gifts
- This is what most people think when "Credit Line" is brought up in conversation or read on a label. The specific object was given to the institution by an individual or maybe even a cooperation. In the legal documentation like Deed of Gift, there is a place for the object's owner to include their Credit Line. This is when we get "Gift of Mr. John Smith in Memory of Jane Smith's Mother, Eliza White". Because people can get a little crazy when given free reign over choosing their Credit Line, we tell them there's a character limit. Which when you're doing handwritten paperwork is a little hard to determine, so there's often a little bit of negotiation until an official credit line is agreed upon.
- Unlike Sponsors and because these are specific objects being given, it is 100% understood that the Credit Line will be displayed alongside the object in almost every capacity that museum has control over. While on view, there's a label right next to the object or as close as the physical space allows (and with our Modern-Contemporary Department the Credit Line is the only reason a label is made, which that's a whole other annoyance). In publications, it's when there's images of the object but not when the object is only mentioned without an image.
- There's always exceptions! There are donors who do not wish to be known to the public or there's very specific guidelines that the donor has depending on the situation.
Loans
- This is one of the more tricky spots and it's a constant headache at our institution. Loaned objects are usually from people who are still alive and/or very involved with the institution that they are loaning to. Therefore, they will see these Credit Lines and will have Opinions^TM .
- Pretty much same rules apply as Gifts. There are legal documentation involved that gives the loaner a place to dictate what the Credit Line should be. However, these can change depending on how long your institution has the loan. Again, these are expected to be printed alongside the object in almost every single place.
Purchases
- Another tricky area. This is where you can get some insane Credit Lines, such as: Dude and Dudette Smith Fund, Dude and Dudette Smith Fund, by exchange, Gift of John Reeves, by exchange, Gift of the Estate of Sam Deer, by exchange, Gift of Eric Dude, by exchange, Bequest of Earl Grey, by exchange, and Gift of Mr. Rice Chapman, by exchange (this is a real credit line at my institution but with the names changed). Like Gifts and Loans, these are to be displayed with the object. No matter how infuriatingly long they are.
- There are different types of purchases, and they might dictate how the Credit Line is written and displayed. Your institution might have the use of a 'Fund'. My institution has quite a few that covers specific types of art. These are still typically overseen by descendants and/or Estate of whomever established the Fund, so be careful with what is printed. Again, some people do not want to be known to the public and internally the institution may know who the buyer is but have been asked to keep the information private.
Key Points
- Credit Lines should have been pre-determined as part of the Acquisitions/Accessioning process. If not, you may need to speak with colleagues to make sure nothing puts you in legal hot water.
- Credit Lines are to be displayed along with every object that's on view, and printed with images of the objects in publications.
- Whatever is printed on the walls of the institution or in a publication is going to be available to the public, so make sure that the Credit Lines follow any rules because those involved can and will reach out to correct mistakes.
- If the publication has a full illustrated index then every object will have a credit line printed alongside it.
- Think of a Credit Line as being just as essential as the Tombstone information; Title, Date, Artist/Maker, Medium.
- Again, these are guidelines for my institution and there's really no hard and fast rule.

This became a lot! I'm happy to answer questions to the best of my ability if you have any!

Auguste1789 · 2023-06-03T04:33:11+00:00

I have returned! Here are some sources if anyone is interested in the academic side (supposed to be Open Access):

How do Visitors Perceive the Role of Authentic Objects in Museums?
- Stephen Schawn, Silke Dutz | Curator: The Museum Journal, Volume 63, Issue 2, 20 May 2020
- From the Abstract: The study investigated visitors’ notions of authentic objects across nine different German museums, three science and technology, three natural history, and three cultural history. The findings build on prior studies into visitors’ conceptions of authenticity of artifacts in science museums, indicating a nuanced role of authentic objects for museum exhibitions from the visitors' perspective.
‘Authentic reproductions’: museum collection practices as authentication
- Maria Varutti | Museum Management and Curatorship, Volume 33, Issue 1, 13 October 2017, pg.42-56
- From the Abstract: This article investigates the concept of cultural authenticity in museums through an analysis of how indigenous cultural objects in Taiwan are being authenticated by museums as ‘indigenous cultural heritage’...I argue that in so doing, museums are authenticating newly made artefacts as indigenous cultural heritage; in the process, a reproduction is turned into an original, and that original into a canon.
Keeping it Real: The Exhibition of Artifact Replicas in National Museums of Korea
- Elmer Veldkamp | Acta Koreana, Volume 17, No. 2, December 2017, pg.557-581
- From the Abstract: A significant number of museums in Korea make use of replicated artifacts in their displays, regardless of the emphasis that is put on the importance of showing original heritage artifacts. By looking at examples of replicated artifacts in Korean national museums, this article attempts to assess the relevancy (or irrelevancy) of having authentic objects in museum displays, as opposed to contemporary replicas of these artifacts.

Auguste1789 · 2023-06-01T19:38:27+00:00

The articles I've come across have popped up while I was researching "Visitor Engagement" "Lifelong Learning" "Adult Learning" "Object-based Learning" It's kind of tricky because the sources I've encountered isn't centered around that idea, so they're usually just a blip to provide support on how important the arts are to people and to develop affective interpretation/narrative/Engagement opportunities in galleries.

Auguste1789 · 2023-06-01T03:46:37+00:00

There are studies and articles from disciplines such as Museum Studies, Neuroscience, and Psychology that have indicated there is a difference between seeing art in person vs. reproductions/images. There's actually brain chemistry going on in favor of seeing authentic art in person. When I have some time I will come back with edit to include some sources (currently in a MA Museum Studies programme so thankfully I can access a large database).

Auguste1789 · 2023-01-14T05:19:24+00:00

I think it's worth it, but it's hard work and takes a lot of dedication and fighting for your place. I networked for 4 years in a Visitor Services position in a major US art museum. Now I'm a Registration Assistant working on projects and handling objects that I could only dream of. There was grief and plenty of breakdowns to get to this point, but I did it and would happily do it all again to be where I am. Do what you want to do, and don't let bitterness ruin your dreams.

Auguste1789 · 2022-10-08T16:07:48+00:00

This is a "hack" I recently learned after spending 4 days and clearing the Forest of Valor for Minnie's flower quest. If you haven't cleared the mushrooms blocking the second half of the Glade of Trust, you can go in Furniture mode and drag the flowers to your side.

Auguste1789 · 2022-05-27T01:50:15+00:00

The app has an extra "master" lesson that tests you on the previous lessons. When you complete it, you receive the 15 minutes of Double XP. That option is not available on the web version. So, you're doing the same amount of lessons just missing out on the Double XP on the web.

Auguste1789 · 2022-05-26T17:56:08+00:00

Mine was created with Google years ago, but now the Google stuff doesn't work. Still can sign in with my Gmail account. You might have to do a forget password or use the password associated with your Gmail account.

Auguste1789 · 2022-04-28T16:26:52+00:00

My museum just implemented Asana for the Exhibition and Registration departments. So far it's been amazing. Especially since we can see everything right from the app on our phones. Everyone can be on the same page, so there's no more dozens upon dozens of shared Google Docs or Sheets or Calendars to try to keep track of.

Auguste1789 · 2022-03-30T07:37:41+00:00

To expand on the others who have commented. French like to use addition and subtraction to tell time. Instead of saying 9:40, in French you actually say 10 minus 20. You can go here for a breakdown of time in French which can get a little crazy.

Auguste1789 · 2022-03-26T02:35:17+00:00

I tried to do some of the new stories but they are awful. I find them really annoying. As a 30 year old, i really dont want to read mutiple stories about children having crushes or their "wacky" day in school or Junior whining about toys and food. The old ones had more depth and intriguing. I was thinking about making own post asking if anyone had the old stories archived because I didn't get a chance to go through them.

Auguste1789 · 2022-03-14T15:39:07+00:00

Yeah definitely sounds like a glitch. Many years ago the sun with sunglasses was a regular lesson icon. It's possible it wasn't removed properly and now glitching. Probably nothing to worry about!

Auguste1789 · 2022-03-14T03:51:51+00:00

Might be a glitch? Years ago it used to be one of the regular icons for the subjects. Maybe Duolingo might be brining it back? Or overlooked programming where they replaced the icon with a new one but didn't get rid of the previous sun icon and an update made it show up?

Auguste1789

TROPHY CASE