This ambiguous position has been partially created by the lack of a definition for collection-based research that is commonly understood. Understanding of what is, and what is not, research has become a grey area. Once this grey area is understood, and then structured, it is much easier to make it visible. The institutions have only had teams of professional staff in their recent history. Before this, lack of clearly understood structure meant research at the case-study institutions was often minimal, found in disparate locations and has been misplaced or separated from its relevant parts. Current staff members continue to negotiate this legacy. However, improvements are still necessary to make the most of the material culture resources these institutions care for.
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Use of digital databases is one way this could occur. If digital database object files are structured in such a way that research can be quickly and easily added to them as and when it becomes available, this will make the most of the opportunistic model of collection-based research. A helpful image of this process was explained by one of the interview participants and quoted in chapter one:
It is like you are saving money. You save it and you save it and you never spend it. Exhibitions are like spending heaps of cash and being really glamorous and drawing lots of attention to your activities (AMW).
Digital object files should also include methods for quickly attaching exhibition research. Project-based research allows a greater concentration of time and resources and the outcomes of this should be harnessed to achieve the primary objective as well as be utilised in the longer term.
This is especially important as traditional research methods producing refereed articles and periodicals are no longer as common an outcome. More often collection-based research is project based. This has the effect, in many cases, of approaching research with tunnel vision. The project is treated as an entity in itself. Time and resources are tightly constrained and everything is concentrated towards the final outcome. Once the project is over the research files may, or may not, be linked to relevant object files or stored away in case they are of later use. Because the research files are created for a specific purpose, unfortunately they are not easily referred to for later research on different themes. There is potential for a lot of basic research to be repeated numerous times over years without being recorded in detail in an easily accessible form.
Improving digital object file formats help past research to stay more accessible, useful and therefore visible. It will also allow institutions to better record research with thought to research outcomes and long term scope. This will contribute to more streamlined and visible collection-based research in the future.
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Improved Visibility Benefits Practitioners
Making all research outputs clear to other staff, stakeholders and the public raises the profile of research and encourages it to be better appreciated. This includes both short and long term collection-based, as well as the inherently more visible, project/exhibition research. More appreciation and awareness of research has benefits for practitioners. When other staff members are aware that the research has been done, they can make use of it in their own work and even add to it. When the public can see all the different research taking place, research becomes more accessible and accountable. They are able to access the parts they find interesting or relevant. Trusting relationships are built with the recognition that the collections are being cared for and used effectively. This accountability is also important at a stakeholder level. All different levels of visibility are important and benefit practitioners in different ways.
Visible research also brings respect within the museum sector. Both traditional and less recognised forms of research are capable of achieving this. Recently Anna-Marie White travelled to New York to take part in a Smithsonian Institute symposium on native arts. Her paper was called "Good Māori, Bad Māori: Connoisseurship and Contemporary Māori Art". This more traditional research output not only contributes to her individual professional development, but also contributes to the reputation of The Suter Art Gallery where she is curator. Traditionally less recognised research outputs such as exhibitions also enhance institutional reputation. In 2011, The Nelson Provincial Museum was the finalist for exhibition excellence – social history at the Museum Aotearoa awards for the well-researched exhibition Haven Ahoy! This continues a tradition of excellence in exhibitions after The Museum won this section in 2008 with Unpicking the Past.
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Figure 50: Colonial era dresses from Unpicking thePast, 2008. Image courtesy of Nelson Provincial Museum, 2008.
Figure 51: Items from The Nelson Provincial Museum dress collection on display in Unpicking the Past, 2008. Image courtesy of Nelson Provincial Museum, 2008.
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