Reposted from The New York Times

The British Museum recovered more than 350 ancient artifacts that were looted from its storerooms and is putting some on show.

For six months, a team at the British Museum has been working with police to recover hundreds of engraved gems and other items of jewelry that museum officials say a former curator stole from its store rooms. The team has also been planning an exhibition. “Rediscovering Gems,” occupying a room by the British Museum’s grand entrance through June 2, includes dozens of the tiny artifacts known as cameos and intaglios — 10 of which are recovered items. Art dealers who bought the stolen items — some of which date back to ancient Rome — have so far returned 357 treasures to the museum, said Aurélia Masson-Berghoff, a curator who is leading the recovery team. Although over 1,000 items are still missing, and could take years to locate, Masson-Berghoff said her team was hopeful that those could be recovered, too. The new exhibition was part of the museum’s efforts to be transparent about the thefts and its efforts to retrieve the items, she added. During a recent tour of the show, Claudia Wagner, the museum’s senior research associate for gems, said that the jewels had long been underappreciated. The tiny artifacts — often less than a half-inch tall — are hard to discern in natural light, making them easy to ignore, she added. In the exhibition hall, small torches are provided so that visitors can see them properly. Some of the museum’s previous Greek and Roman curators had preferred to focus on bigger and more renowned artifacts like statues and vases, Wagner said, which could explain why many of the cameos and intaglios were uncatalogued before the thefts. On the tour of the show, Wagner and Masson-Berghoff discussed the origins of these precious gems, their uses in ancient times and how they once entranced Europe’s art connoisseurs.

These are edited extracts of that conversation. WAGNER The first engraved gems were what’s called intaglios — where the design is carved into the gem or glass. They were used as seals, so people would push them into wet clay — the equivalent of writing your signature. They were invented in Mesopotamia, but it’s the ancient Greeks who make them into their own art form, and because the Greeks were so interested in mythology, you immediately have all the gods represented. If you look very, very closely at this tiny little figure, he has an ivy wreath in his hair. That’s because this is Bacchus, the god of wine.

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Reposted from The Art Newspaper

Emergency repairs are being made to several galleries, just over a year after Assyrian reliefs were threatened by serious condensation. The British Museum is suffering an endless series of leaks from roofs that were built decades ago. The sight of buckets to catch drips is now commonplace and extra heaters are needed in some galleries to reduce humidity levels in winter. George Osborne, the chair of the museum’s trustees, admitted in a speech last November that for decades the building “has been patched up in a piecemeal way and by closing galleries when the rain comes in”. Osborne is pushing for an ambitious masterplan to upgrade the whole building, starting with the galleries in what is known as the Western Range—which houses mainly Greek and Assyrian antiquities on the ground floor. This includes the large room with the Parthenon Marbles, which have long been claimed by the Greeks. Although a project to build a new energy center, to be partly funded with a controversial £50m donation from BP, was announced in December, progress on the masterplan for the galleries has slowed down as a result of the scandal over the theft of 2,000 Greek and Roman artefacts. The museum is without a permanent director to lead the project and fundraising will remain difficult until confidence in the institution is properly restored. Meanwhile, The Art Newspaper can report that emergency repairs are being made to roofs above galleries 17 (Greek Nereid monument), 19 (Athenian antiquities), 72 (Ancient Cyprus) and 92-94 (Japan).

In a planning application to Camden Council last year, the museum stated that urgent work is required “to mitigate water ingress which is… putting the integrity of the building and the collection at risk of significant damage” and to tackle risks to “public safety”. A related problem concerns humidity levels. We can reveal that in December 2022 the important Assyrian reliefs were threatened by serious condensation, when unusual meteorological conditions led to moisture forming on the surface of the ninth-century BC sculptures. Emergency measures were required to dry them out and prevent any permanent damage. These reliefs are now particularly precious, because of the loss of similar panels in Iraq that were destroyed by Islamic State extremists in 2015. Dampness has also created problems for the museum’s central archive. This meant these invaluable historic records had to be moved in 2017 from its basement store and were put in temporary storage in the round reading room, which remains closed to visitors. A museum spokesperson points out that the museum is 270 years old “and we have been open about the fact it is in need of full-scale renovation”. The masterplan represents “one of the most significant cultural redevelopment projects undertaken anywhere in the world”. Funding will be a serious challenge in moving ahead. Although no figures or dates have been divulged, the total cost could well exceed £1bn for the entire building and take several decades. An international architectural competition to transform the Western Range, which represents 7,500 square meters, a third of all the galleries, is due to be launched later this spring. Since the Bloomsbury building is listed for its architectural importance, any changes will require planning permission, but the hope is that it may still be possible to introduce some contemporary architecture and innovative gallery displays. Building work is due to start earlier on a new energy center, adjacent to the Western Range. Among the issues that will need to be considered is dealing with any unexploded Second World War bombs. During that conflict the museum was severely damaged by six German bombs and others may have fallen undetected. A preliminary survey has revealed that there is a “medium risk” of unexploded ordnance in a few small specific areas of the museum, so proper procedures will be followed to avoid any risks while building work is underway.

Meanwhile, the hunt goes on for a new director, following the resignation last August of Hartwig Fischer over the Greek and Roman theft. In September Mark Jones, a former director of the Victoria and Albert Museum, stepped in as interim director. The new directorship post was advertised, with a 26 January deadline for applications. Interviews will shortly be underway, and an appointment will hopefully be made by April. The successful candidate is likely to have to give notice to leave their present job, so a successor will probably not be in post before the summer. Their main tasks will be to restore faith in the institution and press ahead with the early stages of the masterplan.

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Reposted from Tim Richardson

“If you could have any job, what would it be?” A past client and good friend asked me this recently. I told him that I was doing it. I love what I do. I love helping organizations and companies get better at the essentials of customer service, leadership, and excellence. Helping so many people and groups succeed. This is my dream job. He told me that he couldn’t answer the question in the same way. While he is very good at his current job, it isn’t a dream. He told me his heart is in education. He just had a conversation with his boss and told him that he was applying for a job as a high school principal. He told his boss: I want to positively impact that disengaged kid wearing the Metallica t-shirt who is addicted to his X-box. I want to encourage the young person who must work an extra job to help her parents make ends meet. I want help change the kid who thinks every day is a crappy day. I want to show those kids that I care about them and their future. That what I was meant to do. Tom reminded me of some important truths worth exploring. Where do your passions and skills meet? What legacy do you want to leave? How are you using your gifts to make a difference? Don’t waste your best years if you aren’t passionate about your work. 

What were you meant to do with your career and life? Hopefully, you have a good friend like Tom to remind you of the importance of bringing passion to your work and everything else do you in life. Take it from Tom, life is short. Do something you love.

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Reposted from The Telegraph

Selfie-takers are damaging valuable art at museums around the world by walking backwards into paintings and objects, according to specialist insurer Hiscox. Robert Read, head of art and private clients at Hiscox, said that venues are being forced to cover mounting costs from selfie-related accidents when objects are damaged or knocked over.  He said that the “pandemic of selfies” was forcing museums and galleries to install protective barriers and hire enforcers responsible for stopping people about to have an accident. Mr. Read said: “pre-mobile phones people had a sense of what was acceptable and what wasn’t. Now when people have a phone in their hand, it’s as though they have no inhibitions. “It sort of neutralizes what their normal brain function would be in terms of stepping away from something or not putting themselves in danger. “But somehow that feeling of getting a picture means whether it’s damaging a painting or damaging yourself, those barriers no longer seem to exist.” Half of the losses incurred by Hiscox’s art underwriting business are caused by accidental damage, which includes from selfie-takers. In 2017, one careless selfie-taker reportedly destroyed $200,000 (£158,000) of artwork after losing her balance at a Los Angeles-based art exhibition displaying the sculptures of UK-born artist Simon Birch.  

Meanwhile, a pumpkin sculpture by Japanese artist Yayoi Kusama in her renowned Infinity Mirror Rooms was damaged when a selfie-snapper lost her balance in 2017. The National Gallery in London and the British Museum for years have banned the use of selfie-sticks amid concerns over safety, individual privacy and the overall visitor experience. Mr. Read also warned increasing art vandalism by climate activists and other protest groups could force galleries to introduce “airport style security” and confiscate liquids from visitors.

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Reposted from CISA

The Cybersecurity and Infrastructure Security Agency is pleased to announce the release of a new resource titled, Violence Prevention through De-escalation Video, to help critical infrastructure and public gathering location stakeholders identify concerning behaviors and mitigate the risk of an incident of targeted violence. This video provides both security and non-security trained professionals with conflict prevention techniques and recommended practices that may augment more traditional security protocols. This approach can help individuals who have observed activities and behaviors that may be considered suspicious or indicative of potentially violent activity.

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Reposted from CISA/DHS

Today, as part of its unwavering commitment to safeguarding the integrity of the nation’s electoral processes, the Cybersecurity and Infrastructure Agency (CISA) proudly announced the launch of the #Protect2024 website.  As part of the #Protect2024 initiative, CISA developed a webpage to serve as a central point for consolidated critical resources, training lists and security service offerings to support the over 8,000 election jurisdictions for the 2024 election cycle. These efforts build upon prior years of working with elections officials to mitigate the cyber, physical, and operational risks to election infrastructure.  CISA encourages stakeholders, government officials, and the public to explore the #Protect2024 website, joining the collective effort to ensure a secure and resilient 2024 election cycle. 

To learn more about #Protect2024, visit Protect 2024

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Reposted from SAA

Last week, a major disaster declaration was approved for the severe storms and flooding that impacted Maine in December. Public assistance is available in 9 counties: Androscoggin, Franklin, Hancock, Oxford, Penobscot, Piscataquis, Somerset, Waldo, and Washington. See this map for further location and assistance details: Designated Areas | FEMA.gov.
 Meanwhile in California, significant rainfall throughout the state this week has resulted in flood warnings and watches. Possible rainfall totals between 3 and 12 inches remain likely across south and southwest facing foothills and mountains.
 For archives and archivists who've been affected, there are resources available. Please review and share with any affected cultural institutions and organizations!

Response and Recovery Resources (HENTF)

Disaster Response and Recovery Guides (FAIC)

Save Your Family Treasures (HENTF)

Members of the public with questions about saving family heirlooms can contact the National Heritage Responders at NHRpublichelpline@culturalhertiage.org.
 Request support from the SAA Foundation National Disaster Recovery Fund for Archives (NDRFA). Grants of up to $5,000 are available for immediate recovery needs. To support institutions and archivists affected by these floods, consider making a donation to the NDRFA fund. Review the Documenting in Times of Crisis: A Resource Kit, which provides templates and documents to assist cultural heritage responders and archivists in collecting materials on tragedies within their communities.  For direct assistance, contact the SAA Crisis Collecting Assistance Team, which offers remote assistance and general guidance on crisis collecting. CCAT volunteers include expert archivists who have all faced similar situations in leading and supporting their staff through processing and documenting tragedies great and small. 

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Reposted from EMR-ISAC

Dr. Sarah McCaffrey, a PhD fire social scientist and 20-year veteran of the U.S. Forest Service will present her research in a webinar on Thursday, Feb. 22, at 5 p.m. EST (3 p.m. MST). The webinar, Reflections from 20 Years Examining the Social Dynamics of Fire Management, will explore her wildfire-related research projects that examined the role of risk perception and risk attitudes, social acceptability of prescribed fire, homeowner mitigation decisions, evacuation decision making, risk communication, and agency-community interactions during fires. This webinar is part of the Partner Webinar Series, a monthly series organized by the International Association of Wildland Fire (IAWF), the Pau Costa Foundation (PCF), and the Association for Fire Ecology (AFE). Visit the Zoom registration page to learn more about the speaker and to register.

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