What does an archaeological collections assistant do? And (even more importantly) why? Here is a whirl-wind review of some of the things I am involved in and why!

I do a lot of cataloging, photographing, and labeling of archaeological artifacts. North Dakota has an estimated 12 million objects in its state archaeology collection! Unless we record these objects, have a way to identify them, and can find where they are stored, it is very difficult for anyone to study, learn from, look at, or enjoy our collections. This is my favorite part of my job. You never know what you might find next.

I also catalog paperwork relating the collections to the archaeological surveys and excavations from which they were recovered. This is important because the paperwork connects the artifacts to their provenience (where the objects were found). Knowing exactly where objects were found means we can learn things about people living in certain areas of North Dakota at particular times. And knowing exactly where objects were found in relation to other artifacts and features within a site means we can form a clearer picture of how people lived and interacted with the world around them. It makes the stories that the artifacts can tell us much more detailed.

Older collections are sometimes stored in less-than-ideal boxes and materials. In the past, objects were often stored in whatever was available at the time (including window flower boxes, cigar boxes, and old newspapers). We have learned over time that older acidic materials like these (even if they look nice) affect the objects stored in them--the writing on the boxes and bags fade away and the objects stored inside these materials start to crumble or fall apart. We don’t want to lose the collection information on the boxes and bags, and we don’t want to lose the objects themselves! So re-bagging and re-boxing artifacts in archivally stable (acid-free) materials is another big part of my job.

Left - Before: wooden post fragments stored in an unlabeled wooden flower box stuffed with newspaper (Photo by Wendi Murray)
Right - After: wooden post fragments stored in an archival box (complete with label!) and wrapped in acid free tissue for padding and support

I get to work with the archaeology volunteers too, and volunteering involves a fun variety of people and projects. The current main project is sorting objects excavated from the Larson Village site into material types so we can send them to specialists who can tell us more about them. I usually sort some of the smaller sized material, but there are amazing things to be found even there.

Left - A tray of small-sized unsorted materials from the Larson Village site
Right - Fun objects can come in small sizes!
Top Row: a piece of copper, 2 biface or projectile point tips
Bottom Row: part of a bone fish hook, (top) the tip of a stone drilling tool, (bottom) the base of a projectile point (“arrow head”), (top) a bone tube bead, (bottom) 2 glass beads

There is a lot of variety in this job. The recent expansion project meant that a lot of time has been devoted to planning the layout, labeling the new shelves, and moving collections to the new storage spaces. One of the most exciting parts of the expansion process was being included in some of the new exhibits planning– there was a lot of proof-reading of labels and texts, documenting conditions of objects coming off and going on display, searching for new or different display objects in our collections, tracking the locations of objects, and carting objects to and from the old and new galleries. I love this because it means bringing collections out where people can see and learn about the North Dakota’s extensive past.

In summary, being an archaeological collections assistant involves a lot of documenting, sorting, and re-housing of artifacts. All this is done to help preserve North Dakota’s state archaeology collections and make them available for present and future use.

Moving priceless objects can be daunting. Depending on the object, simply moving a rare or priceless object from one table to another or even shifting it a few inches or feet can be stressful. Moving thousands of priceless objects over 300 feet is even more daunting; moving priceless objects under a time schedule, even more so; moving priceless objects under a time schedule, through a construction zone, even more yet. However, with proper planning it can be done.

In the early days of planning the Heritage Center expansion it was quickly discovered that the State Fossil Collection was potentially in harm’s way with all the construction going on in and around the building. Not necessarily from a large piece of machinery or debris, but instead from possible exposure to the elements of nature (water and steeply fluctuating temperatures and humidity levels). Both of these elements can wreak havoc on fossils if not properly prepared for. After all the pros and cons of keeping the collection where it was versus moving the collection to an offsite storage facility were weighed and debated, the decision was made to keep the collection in place and protect the collection from any foreseen hazards to the best of our ability.

In this case water was our main concern. A minor concern was vibration from nearby heavy machinery. To protect the fossils from vibration, foam was placed in drawers and between fossils, cradling each fossil (figs. 1 & 2). To protect it from dripping water, the collection was completely covered in plastic sheeting (fig. 3 & 4). Fossils were also removed from the first 12 inches above the floor in case the storage room should flood. The storage room was heavily monitored for any sign of problems over the next few months. Meanwhile a new storage room was being completed and filled with new, state of the art cabinets and storage compactors to house the important collection (fig. 5).

Finally moving day arrived. Due to all the things needing to be done our window to move the collection was small. A team of paleontologists and skilled volunteers moved thousands of fossils over the course of a few days, reorganizing the collection as we moved it.

The project has been completed and the collection receives routine and ongoing maintenance and organization.

Fig. 1 – Paleontologist Amanda Person (left) and paleo intern Samantha Pounds (right) placing foam padding between fossils.

Fig. 2 – Paleontologists Becky Barnes (left) and Amanda Person (right) placing foam padding between fossils.

Fig. 3 – Paleontologist Becky Barnes securing plastic sheeting on top of metal cases containing the ND State Fossil Collection.

Fig. 4 (left) – Metal cabinets containing ND State Fossil Collection covered in plastic to protect from possible water damage.
Fig. 5 (right) – The new cabinets holding the important ND State Fossil Collection.

Objects connect us to our communities, our culture, and our history through the stories they help us tell. There are a lot of great techniques to spark fresh thinking about these objects and stories, and to help us become fully engaged in this process. In order to demonstrate a few of these ideas, I picked a random object from a colleague’s desk. It’s a tiny ceramic dinosaur, hand painted in shades of brown, green, and yellow.

First we can try out a standard description: Hand-painted ceramic dinosaur. It’s factual, but maybe a little dry. This is a good starting point, but we can take it further. Next, let’s think about writing an exhibit label for this little guy. The type of museum, and their mission, helps determine how an object is interpreted. A label in a children’s museum might look something like this: How did a Stegosaurus protect itself from other dinosaurs? A label in a science museum might look a bit more like this: Stegosaurus is a genus of armored stegosaurid dinosaur. A history museum might produce a label more like this: This ceramic dinosaur was made by the Whiteclay Pottery Company from 1904 to 1922. Not only does the museum type and mission matter, but we also need to know who our primary audience is going to be. First graders, college students, and paleontologists are each going to have different expectations of a label. Understanding our mission and audience make a big difference for what kind of text we create. We’ll have to work hard to make sure we are engaging as diverse a group as we can.

Other methods of writing about an object might seem a little silly, but they still serve an important purpose. Most importantly, we can push ourselves to go in new directions. Writing a short story about an object or in first person from the object’s perspective is a great activity to use with kids. Working individually or in groups, have them create a story for the dinosaur. We can also use this to incorporate several topics into a project including history, science, math, and art. We could use these techniques to focus on Stegosaurus anatomy, learn about the artist who created the dinosaur; or even to learn about how pottery was created in a particular community.

Now we can try some other creative writing techniques. Write a diary entry, a song, a play, a haiku, a limerick, or other poem either about the dinosaur, or from its perspective. Let visual learners paint a picture of the dinosaur. Have kids get up out of their chairs and move around like dinosaurs. Try tweeting as your object:

Stegosaurus @realspikes - 5m
Check out my show at the Met this weekend: Disarticulate This!
#meteoric

Museum professionals and teachers incorporate seemingly odd techniques like these with great results. These methods can be used with virtually any object in a museum collection, in a classroom setting, or from amongst family heirlooms. Even serious stories can be related through more creative thinking and engaging methods. Think about the endless stories a typewriter could tell—about people from your community (who used it); about businesses in your community (how was it used); and even about changing technologies (what came before it, what came after it). The only limits here are the ones we set for ourselves.

The Museum registration department is responsible for new acquisitions to the state’s museum collection, incoming and outgoing artifact loans, creating and upholding museum collections policies and procedures, and keeping track of the collections with regular inventories and database updates.

Does the Museum Division accept donations for the collection from the public? We receive about two hundred offers of various objects to the state’s museum collection every year. These collections may be one object or a hundred objects, and the items range from tractors to paintings to taxidermy. The Museum Collections Committee (MCC) meets twice a month and consists of staff from various fields including the museum collections care, exhibits, education, and historic sites, along with input from geologists, archaeologists, and others when deemed necessary. The MCC proposes to the Museum director what we should or should not accept for the state’s museum collection, with the Museum director making the final decision.

How does the MCC decide what to accept and what to decline? We ask potential donors to fill out a Potential Acquisition Questionnaire, found on our website at http://history.nd.gov/donate.html. We want a detailed description of the objects, what is known about them, and how the items are related to North Dakota. The stories that come with the objects are just as important as the objects themselves. We ask our donors to provide as much information as possible about their donations and, if they exist, provide related photographs and documents in order to provide context. The objects being offered are then compared to the current museum collections. If we do not already have similar objects with similar stories, and we are sure we can properly care for the objects, we most likely will accept the offer.

If a donation is accepted for the museum collection, the donor signs a gift agreement that transfers legal ownership of the objects to the State Historical Society of North Dakota. Once we have a signed gift agreement, we arrange for transportation of the donation. We prefer not to have possession of any objects before the state actually owns them.

Although we cannot guarantee donated objects will go on exhibit, we do guarantee that your donation will be cared for to the best of our abilities. In addition, all objects are available to researchers and sometimes to other museums as a temporary loan. When museum studies interns are available, one of their projects is to create an exhibit case in the State Museum called “Recent Acquisitions” that showcases a few acquisitions from the previous year. The case currently on display includes a mailbox, a 1970s Milton Bradley board game called Sub Search, a cell phone, and a Boy Scout uniform. In the future, we will use this blog as a way to show additional recent acquisitions to the collection.

Below are three examples of recent acquisitions:

Any request to use the images should be requested by completing a “REQUEST FOR ONE-TIME USE OF PHOTOGRAPHIC IMAGE” that can be found at: http://history.nd.gov/pdf/request_for_one_time_use.pdf

In the previous Corridor of Time exhibit, there was a 6 foot long skull that for the most part went unnoticed. How is that possible? I’m glad you asked! It shared a platform with two Dromaeosaurus, and sat about 4 feet off the ground. The jacket (the plaster & burlap surrounding the fossil) was placed flat into the surface. It was a view most people were unused to seeing such a large skull in, and so it was overlooked.

In the new Adaptation Gallery: Geologic Time, that problem has been solved. The skull now sits propped up, surrounded by rock, and extremely visible next to our full-size Triceratops skeleton cast. This is the story of how it got there.

When the original display was dismantled, we had two main goals. First we needed to do additional restoration of the skull. Second, we had to figure out how to better display it. In the time between the original skull restoration many years ago, and preparing for the new exhibit, our paleontology lab had acquired new tools for cleaning, one is called a microblaster. Think sandblaster, only using baking soda instead. Why baking soda? Well, if you look at the particles under a microscope, you will see they’re actually pointed and jagged – but not so abrasive as actual sand. Generally fossils we clean with the microblaster are placed in a blasting box with a filter hooked up to collect all the dust. The Triceratops skull was much too large, and too heavy, to fit inside even our largest blasting box. We had to create a makeshift shield that would collect the wayward dust, and not spread it everywhere… We succeeded, and removed the last bits of dirt (which we call matrix) from around the bone, exposing the beautiful natural chocolate color of the fossil.

The skull is so fragile and heavy, there isn’t a good way to remove it from its plaster jacket cradle. So, to display the fossil, we would have to include all the plaster and wood frame that supported it. Some of our display bases and forms were created by an exhibits company, including the metal frame that now hides below the skull, propping it up. We couldn’t just leave it like that however. Wanting to draw attention to the fossil, away from the support materials, we decided to build a fake rock wall around it. It needed to be light, yet durable, and still look like rock. This took a many-step process of measuring, creating a pattern, cutting the pieces out of foam, making sure they fit, then covering the whole thing with a sculpting epoxy. Adding difficulty to this process is the fact that the skull, now in its permanent home, was upstairs in the new gallery, and our fabrication area for building the wall was downstairs!

With the rock wall now painted and in place, the Triceratops skull looks like it is nestled in the rock outcrop it was originally excavated from.

Moving the "Triceratops" skull with a forklift – people at the ready to help hold it in place.

The skull is in place! This is why it needed a little faux-rock makeover.

The guts of the rock wall – insulation foam, sculpting epoxy, sand, and paint.

Nearly complete – just needs a dab of paint.

Fossil skull and rock wall (right) next to "Triceratops" skeleton cast (left).

When I started working at the State Historical Society (as an intern in the summer of 2006; two years later, I became fulltime staff), I had been in the building before, but not behind the scenes. I received a whirlwind tour just a few weeks prior to being hired. It seemed like a huge maze. So the night before I started, I had this dream in which I wandered the underbelly of the Historical Society for days, coming across various “camps” (I can only assume this referred to our different divisions, like Archaeology and Historic Preservation, the Museum, and of course the Archives, where I was headed), where people were dressed in late 1800-style period clothing, living off the land, lighting camp fires, singing old songs to the stars above….

Needless to say, it’s not really like that here, although I have no problem donning vintage costumes (and at various times, I have). For a facility dealing with the historic, we stay relatively modern. In fact, the Archives gained its portion of our present expansion in 2007. (FYI—the term “Archives” can be both singular and plural. This post relates to the Archives as a location, and as it is one location, I will be using it in the singular form). We mainly received more elbow room, gaining a meeting area, office spaces and doubling the storage capacity…though we also increased the size of our public research area, the Orin G. Libby Memorial Reading Room, by the amount of one cozy nook.

This is the size of our cozy nook. It is named after Gerald Newborg, who was the State Archivist at the time. We planned to put some displays in here; right now, we have images from the Myron H. Bright Manuscript Collection (MSS 11075) up on the walls. This collection includes political ephemera and photographs. You can read more about the collection here on our website.

Two of my coworkers and I work in the Reading Room in shifts, assisting patrons with their research in person and through email, phone and regular mail. I also work with our audio collections, conduct oral history interviews, and do other tasks as assigned—such as giving tours of the Archives.

Whenever groups visit, I like to ask if anyone knows what an Archives is. Typically, very few hands go up in the air. A hesitant answer is given—“I think you have books?”

Yes, we have books. And journals, periodicals…

Head of Technical Services Rachel White reported the Archives recently accessioned its 100,000th book into the collections. We also have approximately 1800 different titles of periodicals. A selection of these books can be found in our Reading Room, but most of them are stored in the temperature-controlled stacks area.

Photographs, maps, audio and video footage…

Archives Specialist Lindsay Schott is cleaning some film that she is working with in her office. The audio and video collections are selectively digitized as staff time permits. They, plus the photo collections and microfilm masters, are stored in a temperature-controlled area. The freezer located in this space does not hold ice cream, unfortunately, but does a good job of stopping deterioration of film that is in pretty bad shape. We keep acetate and nitrate films and photo negatives in the freezer.

Not to mention the loads upon loads of manuscript collections, local government records, state government records…

Our collections are stored in the stacks area. We have over 100 rows of compact shelves which roll back and forth, allowing us to store more collections in a smaller space. Collections that are stored on the higher shelves have to be retrieved through use of a ladder if you are of average size or shorter, such as I am. You can see different sizes of boxes here; we fit the box to the collection. If we need to add to it, we are always able to do so.

Did I forget newspapers?

We receive daily and weekly newspapers from each county around the state. We store them until we have enough to put on a roll of microfilm. Newspapers are essentially acidic, so we microfilm them to preserve them. You can learn more about that here.

You get the drift.

Here in the Archives, we strive to collect and protect these types of “flat” materials. We’re sort of like a paper museum. Not a museum made out of paper—that could get messy. Especially during a spring thaw! But just like a museum, we collect, store, and provide access to items that document the past. We try to give our objects the longest, happiest life possible. We keep them cool and dry, in a darkened environment. We house them in boxes, folders and sleeves. And then we try to make them as accessible as possible.

Of course, everything at the State Historical Society of North Dakota relates directly to North Dakota, Dakota Territory, and the Northern Great Plains, so you probably won’t see your cousin’s step-father’s friend-from-Oklahoma’s family pedigree chart here. However, you can listen to Francis Densmore’s recordings of Arikara, Hidatsa, and Mandan; you can view a newspaper from Grafton, North Dakota, from 1882 (on microfilm); you can search through scanned images of North Dakota’s past.

Once you overcome the maze, you start to learn how much there is to discover. You will see the “secrets” each division holds—the keys to our past, present, and future.