Monday, March 11, 2024

The Great Kirsten Wright

 Interview of an Archivist

The Great Kirsten Wright

The archivist I chose to interview is Kirsten Wright. Currently, Kirsten is the Program Manager with Find and Connect which is an archival project that provides history and information about Australian orphanages, children’s homes, and other institutions. Find and Connect was developed by historians, archivists, and social workers with the University of Melbourne and Australian Catholic University. They also receive the most funding from the Australian Government. Find and Connect employs an archivist because it links together different institutions’ records. Kirsten describes Find and Connect as a “giant finding aide.” Stating that “We don’t take custody of them (records), but we point to where they are and how to get access.” Find and Connect is more of a post custodial archive, rather than a collection archive since they do not house the collections. While she is not currently in a designated archivist role, Kirsten has previously worked in archival roles for the Victoria Public Records office and Victoria University archives. I asked Kirsten to speak a bit about her experiences with archival work outside of Find and Connect and if she could compare her experience working for government archives to the university archive.  She stated that in the government role, she was one cog in a much bigger machine. She did her ‘part’ and the project moved to the next person in the line. At the university she was the only staff member and while she was isolated in a leaky basement, she had free reign and was able to create her own schedule. Kirsten preferred the freedom that the university archives offered. At Find and Connect, she really likes her current role and getting to work in archives without being in an archive. It lends itself to more fluid work life.

Kirsten started her career as an archivist by receiving a BA in history and politics but soon realized that she needed to add more to her resume for potential employers. During her undergrad, she had worked as a page in the school library and decided that the path of librarianship suited her well. Kirsten joined Monash University, which offered archives courses and completed her Master’s in Information Management and Systems. During her master’s program, Kirsten found archives to be far more interesting than librarianship and focused on building a career outside of book stacks.

When asked how she would describe what an Archivist does she laughed a little and said that she tells people it’s “like being a librarian but you are dealing with original material that’s not held anywhere else and making it available.” Kirsten mentioned that really defining an Archivist isn’t easy! They do so many things! In her current role, she spends most of her time on managing the team, budget, and communications between their organization and the government. Right now, her team is working on redeveloping the website. So, a lot of her time is spent developing content for the developers who are completing the website. Another aspect of her role is going through emails with feedback on records. This helps to keep everything updated and accurate. Kirsten shared with me that one of the more important things she is working on right now is bringing trauma informed care into archival practice. I could tell that this was something she felt strongly about, and it meant a lot to her. So much of what Find and Connect does deals with personal information and experiences, making it important to think about how these encounters are handled. Kirsten states that “people can be traumatized by going back and getting their records.” She has found that records are often incorrect or can even have a judgmental air to them. Their job is to make the site information as accessible as possible but also a safe experience. Building a repour with the public is a big part of Kirsten’s role. Having strong communication between the institution and the people it serves helps to foster a positive connection. She stated that “relationships are so important, building up that trust and demonstrating you are a trustworthy organization.” Good communication makes sense when Find and Connect’s primary source for information are people. Kirsten thought it sounded funny to just say, “people” but they really do rely on people getting in touch with them. Find and Connect is working to add the “voices of the children” to records. Since Find and Connect are not keeping the physical records, they are one step removed from ‘issues’ that can arise is archives of not questioning the dominant narratives. The work they do provides more commentary or description around the records they keep. Kirsten likes that what she is doing incorporates the voices of the children, something she feels is lacking in a lot of older records like these. To combat any ethical hurdles, when adding personal experiences to records, Find and Connect has specific parameters for experiences and do not include abuse allegations. They also do not hold any personal information on their website, which helps to create a clear boundary. Find and Connect staff want to make sure information is available and delivered in the most ethical way for those in the community.

I asked Kirsten to speak about any other issues or challenges she has come across in archival work. She stated that “funding!” is a constant battle for any institution. Fortunately, Find and Connect was just approved for funding for the next five years. However, to combat financing issues she noted that archivists must advocate for their institution and show the value of their work. Find and Connect is working hard to make sure information is up-to-date and accessible. Community members can now count on being able to find their own records. When I asked Kirsten to think about the future of the archival profession, she quickly and frankly stated, “it’s too white and too female, at least in Australia.” Adding that the industry needs diversity, but “we need the profession to be safe for people to come in.” She couldn’t necessarily speak to America, but in Australia, there is a big problem with aboriginal peoples being discriminated against and traumatized in their profession. Aboriginal archivists and/or institutions are often shut down from doing things or required to be the expert in everything indigenous. Kirsten stated that, “so much is put onto them.” While these issues are coming to light, there is still a long way to go and structurally it is hard to see how we can make changes happen. Kirsten added that to work in a library or archive, you need a master’s degree and that can be a big barrier for most people. On a positive note, a good challenge that she sees happening is the notion that “archivists have feelings too.” She is “inspired by the work of affect, emotions and person-centered archives.” She added that while there are a lot of new technologies, she is more interested in the people.

The last question I had for Kirsten, was what her favorite thing about her job is? She smiled and explained that archives have the ability to let her do, “a bit of research and investigations.” She liked that there is a practical outcome. Kirsten added that, at least in her current role, the atmosphere is forward-thinking and progressive. She enjoys being on the side of advocacy and recognizing issues and trying to rectify them. After giving me this formal answer, Kirsten laughed and said, “and yah know, archivists are weirdos,” and that “everyone is quite interesting to work with.” I would have to agree that this profession seems to draw in creative types, myself included. Archives need people interested in histories, cultures, and expanding knowledge and resources. But they also need studious people who are patient and detail-oriented.

Kirsten was a delight to talk with and I loved being able to connect with her. Her long history of working in the archival field makes her an excellent advocate and resource!

kirsten.wright@unimelb.edu.au

https://www.findandconnect.gov.au/

INFO 256: ARCHIVES AND MANUSCRIPTS Reflection

Archives and Manuscripts Final Thoughts-Personal Reflection

Archives and Manuscripts has been an eye-opening and fun class. I have really enjoyed the discussions, class sections, and coursework. This course was eye-opening because it pains me to admit, that I had a narrow view of what archivists do. My impression of them was simple and really only surface-level. I would often think about wanting to be an archivist and assuming that they just handled special collections. Now I know that there is so much more lurking below the title of Archivist. They are complex gatekeepers that facilitate the safety and security of knowledge. I did not know that they do not deal with collections on an item level and instead examine collections as a whole. On top of caring for collections, they must be discerning as to what is archived. They handle records after they have fulfilled their main purpose and make sure they would bring value to the institute collecting them. I also did not know the great deal at which they interact with researchers. That surprised me quite a bit. I did not think that they dealt with each other at all. I thought that once an item was archived, that was it. It was locked away. A part of me knew that researchers need collections to study but I just hadn’t thought about them in this way. But of course, there is a whole process for accessing records. The interactions between archivists and researchers, led me to reflect on a favorite series of mine, A Discovery of Witches. In the books (and TV Show) A Discovery of Witches, the main character Diana studies ancient texts and spends a lot of time in the Bodleian library. I found myself thinking about this a lot and realizing that there would have been a lot more safeguards up at the real Bodleian Library. The archivist on staff would have spent a lot of time talking with Diana about the books she wants to see. There would have been interviews and exit interviews. There is no way a book would have been misplaced as well. In the show, it looks as if almost anyone can come and go in the library. When in reality these collections would have been much more securely guarded. I do appreciate how the character Diana does handle the books with a cradle and seemingly wants to keep them safe as well. I watched a YouTube about the TV show set design and the set creators had to meticulously recreate the Bodleian library room, as the real library would not allow numerous guests, not to mention a television crew.

A Discovery of Witches Set Design

Something else I learned was how to really look at a record and how to understand what constitutes a collection. I am not talking about physically looking at a record, but instead really understanding the meaning behind it. Records are our life. They are pieces of the puzzle that make up our collective history. These records are not a group of rare books, but a collection of moments that make up something bigger. These moments contain information about real life. This sounds a bit ‘out there’ but records keep track of events and those events will end up being part of our history. Archivists are needed to keep these records in order, so we may look back at them. I didn’t really understand how important archivists were to keeping records accurate and authentic. This made me think a lot about my scrapbooks. I have about two scrapbooks per year since 2003. Together they are a detailed photographic record of my life. Anyone could look at them and see events that happened and how I have grown. It is debatable if they are a true collection, however within the pictures are show tickets, cards, receipts, and other miscellaneous items. They showcase a big section of history and could be considered a personal record. I can see now that if there was a museum dedicated to me, they would be valuable, but right now they are only relevant to me. If CSUCI, the college I attended, wanted examples of life on campus, there are a few scrapbooks that would be of value to them. Their archivist would want those scrapbooks but not the rest of them.

I previously stated that I always thought about being an archivist, but now I am not so sure. I think I like looking at the details of each record and would like to know more about preservation and conservation. I may want to be more involved than organizing a collection and overseeing its archival. I think I would enjoy figuring out if a collection item needs help. Making repairs and being able to save a damaged record would be satisfying. Archival work is still very appealing to me, so I will need to further my professional knowledge to really figure out what avenue suits me. However, now that I know what archivists do, I will be able to weed through job openings with more confidence. I can say that I know what is expected out of an archival role and could spot job openings that may be spreading the position too thin. Truly understanding what archivists do will only give me the upper hand when looking for jobs. On the other hand, if I chose another career path, say a librarian, I could use knowledge from this course to help me interact with archivists on staff. I would know how I can help them with incoming collections or deal with researchers who come in with questions. I will know if someone will need to talk to the archivist or if I could help them out instead.

This course really taught me a lot! I love that we got to take a dive into the world of an archivist and I feel that I understand them a lot better. It’s a complex role that I look forward to learning even more about down the road. Something I would have liked to talk more about in class is possibly the history of archives. The first section covered a bit about early archives however, I have always enjoyed history. I would have also enjoyed going over specifics with manuscripts, but that might fall more into a preservation or conservation course. In truth, this course could have been much longer and still had plenty to go over. There are so many different aspects of archives!

PS. If you like archives and cats, this is for you.

The main cat photo is from a fun article I found from the New York Historical Society. HERE

Historical Timeline-MBA

 

Historical Timeline-MBA

Timeline Link-Monterey Bay Aquarium

For my historical timeline, I chose to cover the Monterey Bay Aquarium, in Monterey Bay California. The Monterey Bay Aquarium recently had its 35-year anniversary, so I thought it would be fun to highlight some of its early accomplishments. They also have a strong community voice and are well known in the Bay Area. The aquarium has many timeline-worthy moments, however, for this assignment, I wanted to narrow down my selections. I chose to focus on a few main issues up until 2014. Some of the key moments I included range from their conception in 1978 to their innovative exhibition featuring the lives of seahorses.

For information on the aquarium, I chose to visit the Monterey Bay Aquarium website. The aquarium has a vast digital presence with an expansive website documenting each animal, exhibit and conservation effort. Every page offers new information and a plethora of links. I went to the About Us section first to find information that would benefit the timeline. This section led me to a page on the History of the aquarium. I also did a brief google search for both the MBARI and AZA websites. I wanted visuals to go along with my mentions of them in the aquarium. Once on the MBARI and AZA websites, I looked for any additional information that could be useful. The AZA website had a link to YouTube that led me to some great videos. These sites proved to have more than enough information to construct a timeline and collect photographs and videos. One challenge I had was figuring out when temporary exhibits closed. The dates were not immediately visible, and I had to do some digging. Fortunately, the aquarium gives website visitors access to news and press releases. The aquarium has saved everything and keeps it all organized, which is perfect for research moments like this. Another issue was getting links to work in the timeline. Fortunately, I read the prompt and saw that others had similar issues. To clear the problem up I had to open pictures and videos in separate windows. That seemed to clear up the problem. I also thought I could add the AZA and MBARI websites but had an issue with that. Instead, I found visual aids that worked for the slides, put them in new tabs, and made sure that they would be viewable in the final timeline. I also appreciated that the timeline creator website has examples and a video to help, so I took advantage.

References:

Association of Zoos and Aquariums. 2022. https://www.aza.org/

Monterey Bay Aquarium. 2022. About Us. https://www.montereybayaquarium.org/ 

Monterey Bay Aquarium Research Institute. 2022. https://www.mbari.org/

Seafood Watch. 2022. https://www.seafoodwatch.org/stories/twenty-years-of-seafood-watch

INFO 256: ARCHIVES AND MANUSCRIPTS

 INFO 256: ARCHIVES AND MANUSCRIPTS

The Dilemma

Let’s imagine for a second, that we are an archivist at a public university and have just acquired a historically valuable yet unknown collection. This collection could have a major impact on the history field, and you would like to use the collection to write a book. While it would be amazing to be the first to examine and reveal this new information, we know that other researchers would like to do the same. What should we do? What steps do we take? What kind of issues would this create? Before taking in this new collection, I would want to make sure it would add value to our institution, and I would want to make sure that the collection falls under the mission of our institution. Before sharing this collection, I would want to verify its authenticity. I would ask who the creator is and what their relationship to the material is. I would want to make sure that the collection is credible, meaning we would need to do some fact-checking. Since this collection deals with history, I would want to examine the effects it may have in the real world. What type of historical figures or events does this collection include? What would be the impact? Who will want to have access to this collection? What type of research would this collection be used for? Can this collection be studied under fair use? Once we have confirmed our sources and answered our questions, we can examine the impact of either keeping this new historical collection to ourselves or not.

In this situation, there are two scenarios. One scenario in which we keep this collection to ourselves in order to write a book and one scenario, in which we do not and lose out on being the first to act on the collection’s history-altering information. In keeping this historical collection to ourselves and writing about it, we would not be following the SAA Core Values Statement and Code of Ethics for Archivists in their entirety. In both scenarios, our job as archivists would follow the first three directives of the SAA Core Values of “identifying and preserving essential records that document the cultural heritage of society;” “organizing and maintaining the documentary record of institutions, groups, communities, and individuals;” and “assisting in the process of interpreting documentation of past events through the use of primary source materials” (2020). However, by keeping the collection private we would not be “serving a broad range of people who seek to locate and use the information found in evidentiary records” (2020). Even by waiting to make the collection public, we go against archival core values. We are working at a public university and should make all records and collections accessible as soon as they are acquired. It wouldn’t be right to keep something to ourselves. Use and access are big parts of an archivist’s role, as they are the facilitator between collections and researchers. Having access to records is essential and SAA notes that “while access may be justifiably limited in some instances, archivists still seek to foster open access and unrestricted use as broadly as possible when appropriate” (2020). This collection is of a historical nature and should be shared in order to keep the historical integrity and accountability of leaders and historical figures. As archivists, we have a social responsibility to make new and valuable information accessible right away.

Hiding a collection for our own benefit brings about ethical issues and would not be following the Code of Ethics for Archivists. Under the Code of Ethics, archivists should always uphold a professional relationship and use proper judgment. It would not be proper nor professional to stray from the usual way that collections are acquired and not follow institutional policies. The Code of Ethics also notes that archivists must keep record authenticity and security during archival and establish trust through access.  Archivists must always do their due diligence to make sure collections are genuine and authentic. They do this by checking sources and the relationship of the collection to its creator. Keeping a collection authentic and safe helps to foster trust between institutions and their patrons. They need to know that they can rely upon archivists to give them the most accurate and timely information for their research purposes.

If an archivist contemplates holding onto information for their own benefit that is a huge problem and means that there is a conflict of interest regarding this newly acquired collection.  The SAA notes that “archivists should demonstrate professional integrity and avoid potential conflicts of interest,” keeping in mind that they, “seek to balance the rights, interests, needs, and suggestions of all people and groups affected by archival decisions” (2020). To better follow SAA guidelines, it may be beneficial for another archivist to handle processing the collection. Establishing these ground rules will develop trust between archivists, institutions, and researchers. The consequences of withholding a collection could break down the relationships between coworkers as well. There may also be some legal issues around developing a book from the collection. The collection is at a public institution and may be used for research purposes however it could get a bit sticky if the collection was withheld by a member of the institution’s staff. Using a collection secretly for personal gain is not only sneaky but ethically wrong.

In the second scenario where we don’t keep the collection to ourselves, SAA core values would be upheld in their entirety. We would be providing access to the collection and use to those that request it. This way any new historical information that may be gleaned from the collection can be shared and hopefully add to history. As archivists, we want the most accurate telling of the past and if new information comes to light, it is our duty to expose it. We would also be avoiding any conflicts of interest or ethical issues by processing the collection and being straightforward about its contents. If I came across this dilemma, I would choose to process the collection and share its findings straightaway. Then I would avoid any issues. While the collection holds great historical value, there is a chance that I would still be one of the first people to use the collection for research. There may still be some issues around fair use and what I would be able to do with my research on the collection. I would really need to have answers to what is exactly in the collection. Overall, it would benefit me as the archivist to uphold my own integrity as well as the integrity of the public university.

 

Reference:

Lawrimore, E. (2022.) Unit 4-A: Archival Use and Users. https://sjsu.instructure.com/courses/1483142/pages/unit-4-a-archival-use-and-users?module_item_id=13170487

Society of American Archivists. 2020. SAA Core Values Statement and Code of Ethics. https://www2.archivists.org/statements/saa-core-values-statement-and-code-of-ethics#code_of_ethics

Tuesday, February 20, 2024

Exhibition Title: Out of the Dark

 Shelley Murray  Info 284-11

Assignment 2: Curatorial Project

Exhibition Title: Out of the Dark: A collection of early gravestones and markers from Salem Massachusetts, early 1600s to late 1700s.

Exhibition Concept: Gravestones and markers have long been used to give significance to burial sites. We use them to mark a space but the gravestone is most often crafted with purpose and thought. They are used as a way to show adoration, and remembrance and to let others know that the individual lost is still loved. Visitors will enter this exhibition believing that graveyards are spooky and leave knowing that they are filled with meaning, compassion, and beautiful artwork. Perhaps they will learn the meaning behind certain markers and now appreciate their detail and craftsmanship.


Exhibition Layout and Design: The exhibit space is rectangular with a front entrance. The title will be above the entrance. On the front wall to the side of the entrance will be the introductory text and pamphlets about exhibit content. All fonts will be in Georgia font and as typed below.

Inside, the wall will be painted a dark green 3 feet up with the remaining wall staying white. The curved wall and pillars will be displaying replica grave markers/gravestone carvings. The circular pedestal will be the postcard. All photos will be hung starting from the entrance, moving left to right. Tombstone cards will be placed to the side of each photograph. Lighting will be comfortable and not too bright with placement focused on each exhibit item.

 

Introductory Text: NEXT TO A VINYL GRAPHIC OF A GRAVESTONE FOR PICTURES AT THE FRONT OF THE EXHIBIT SPACE

“Shrouded in darkness, gravesites are filled with meaning, compassion, and beautiful artwork.”

                                                S. Murray, 2023

Deep in the heart of Salem Massachusetts lies one of the oldest colonial Graveyards, known as Burying Point Cemetery. First established in 1637, this site has had a few names over the years, including Charter Street Cemetery, Old Point Cemetery, and Salem Burying Point. Burying Point Cemetery holds many intricate grave markers belonging to beloved family members and distinguished Salem notables with ties to the Mayflower. The stories and history of those who once walked Salem's streets lie within the slate markers and their intricate carvings.

These slate gravestone markers have long been used to give significance to burial sites. They are used to mark a space, yet the gravestone is often crafted with purpose and thought. Carvings show adoration, and remembrance and let others know that the individual lost is still loved. With so much time and energy being put into gravestones and markers, the topic should be more popular. Rather in most cases, they are rarely spoken of at all. Gravesites are considered morbid and spooky. They are shrouded in darkness, sometimes even physically as well as spiritually. This exhibition shines a light on the world of the graveyard and showcases early gravestones and markers from Salem Massachusetts from the early 1600s to late 1700s.

City of Salem Land Acknowledgement

This land is Naumkeag, or fishing place, where generations of Indigenous peoples lived and passed through for centuries. From the village upon the Naumkeag River (now known as the North River) to Sachem Nanepashemet’s fortification (now known as Castle Hill), the people of Naumkeag farmed, fished, traded, raised families, discovered and invented, created art, and, above all else, honored the lands upon which you stand today. We acknowledge that this is Indigenous land and acknowledge the Massachusetts Tribe, who continue to honor and hold this land into the present.

Exhibition Checklist:

POSTCARD: DISPLAYED IN STAND-ALONE CASE WITH BOTH SIDES VISIBLE FOR VIEWING, ON CIRCULAR PEDESTAL




Salem Massachusetts Cemetery Scene
Charter Street Burying Ground, 1907
Paper, Post Card
Farber Gravestone Collection

This postcard shows the Cemetery gravestones of the Lindall family, which is known as the oldest colonial graveyard in Salem, Massachusetts.

 

 

 

 

NEXT TO LINDALL GRAVESTONES:

Carvings of skeletons represent the personification of death, while an hourglass, and Father Time holding a scythe signify times passage and mortality.


Burying Point Cemetery, Salem Massachusetts
Lindall, Rachell; Lindall, Veren; Lindall, Son, 1712-1714
17” Slate, Carver John Holliman
Farber Gravestone Collection

 

 

 

 





Burying Point Cemetery, Salem Massachusetts
Lindall, Timothy; 1698/9
20” Slate, Multiple Carvers 1680-1699
Farber Gravestone Collection

 

 

 

 

NEXT TO GRAVESTONE PICTURES OF THOMAS AND HOLLIMAN CHILDREN

Within the Burying Point Cemetery lie three unassuming gravestones, weather-worn and hard to read. These are the grave markers of Thoman Holliman, Susannah Holliman, and Susanna Holliman. What makes these slate carvings fascinating is that they were completed by their father John Holliman. Here we can see the time and thought taken to carve each gravestone and witness the 'small-town' nature that was Salem in the 1700s.

John Holliman (1704-c.1750) was a Salem resident who worked on many of the Burying Point Cemetery gravestones during his lifetime.


Burying Point Cemetery, Salem Massachusetts
Holliman, Thomas; 1725
15” Slate, Carver John Holliman
Farber Gravestone Collection

 

 

 

 

 




Burying Point Cemetery, Salem Massachusetts
The Holliman Children; 1729; 1731
Slate, Carver John Holliman
Farber Gravestone Collection

This gravestone is about 16” and is a dual gravestone located close to Thomas Holliman’s grave, both Susanna and Susannah died at the age of 2.

 

 

 

NEXT TO RUTH HUNT AND GLOVER GRAVESTONES

The half sun or setting and rising sun signify both the beginning and end of life. The sun may also be translated as a symbol of heaven and the journey to heaven.


 

Burying Point Cemetery, Salem Massachusetts
Hunt, Ruth; 1792
Slate, Possible Carver Gabriel Allen
Farber Gravestone Collection

 

 

 

 



Burying Point Cemetery, Salem Massachusetts
Glover, Mary; Glover, Mary; Glover, Susannah, 1784; 1786; 1786
Slate, Carver Levi Maxcy
Farber Gravestone Collection

 

 

 

 

 

CENTERED GRAPHIC ON WALL BEFORE NEXT TOMBSTONES

Why winged skulls? The Burying Point Cemetery holds an overwhelming number of winged skulls carved into its headstones. While these carvings were a common practice for Puritan graves, their meaning runs much deeper. The attitude towards mortality in the 17th century was very matter of fact, as death was ever-present. The death’s head or winged skull symbolized a comfortableness with death and the flight of the soul from mortal man.


Burying Point Cemetery, Salem Massachusetts
Marston Sr., John; 1681
Slate, Multiple Carvers, 1680-1699
Farber Gravestone Collection

 


 




Burying Point Cemetery, Salem Massachusetts
Cromwell, John; 1700
Slate, 1700-1719 (Multiple Carvers)
Farber Gravestone Collection

 

 

 

 

 




Burying Point Cemetery, Salem Massachusetts
Cromwell, Doraty; 1673
Slate, 1679 and Before (Multiple Carvers), Probably the work of The Old Stone Cutter
Farber Gravestone Collection

This gravestone is the earliest surviving death date at Burying Point Cemetery.

 

 




Burying Point Cemetery, Salem Massachusetts
Barnard, Rachel; 1743
Slate, 1740-1759 (Multiple Carvers)
Farber Gravestone Collection

 

 

 

 

 



Burying Point Cemetery, Salem Massachusetts
Sanders, John; Sanders, Hannah; 1694; 1706/7
Slate, 1680-1699 (Multiple Carvers); 1700-1719 (Multiple Carvers)
Farber Gravestone Collection

 

 

 



Burying Point Cemetery, Salem Massachusetts
Hill, Bethia; 1689
Slate, Multiple Carvers, 1680-1699
Farber Gravestone Collection

 

 

 







Burying Point Cemetery, Salem Massachusetts
Gardner, Sarah; 1791
Slate, Carver Lamson, after 1789 (Joseph, Caleb, David)
Farber Gravestone Collection

 

 

 

 

 



Burying Point Cemetery, Salem Massachusetts

Gardner, Jonathan; 1795
Slate, Carver Levi Maxcy
Farber Gravestone Collection









Burying Point Cemetery, Salem Massachusetts
Felt, Benjamin; 1769
Slate, Carver James Ford
Farber Gravestone Collection

This gravestone is 25” and includes a carving of a large winged face and a distinguishing crack in the stone.

 

 

 

 


NEXT TO PEELE AND VERY GRAVESTONES

Carvings of angels or winged faces are often seen on gravestones, but depictions of the deceased are rare. Here we can see carvings of a young boy presumed to be Josiah Peele and a young girl, presumed to be Abigail Very. This personalization gives greater meaning to their grave markers and invites visitors to understand their youth and importance.

 


Burying Point Cemetery, Salem Massachusetts
Peele, Josiah B.; 1784
Slate, Levi Maxcy
Farber Gravestone Collection

 

 

 



 


Burying Point Cemetery, Salem Massachusetts
Very, Abigail; 1792
29” Slate, Levi Maxcy
Farber Gravestone Collection

 

 

 

 

 

 

NEXT TO PURCHAS AND BARTON GRAVESTONES

Hearts may mean more than just love or a love of God, they can also signify mortality, courage, and intelligence. Here the deceased information is encapsulated by the heart showing that they are the keepers of that love and courage. The filigreed wind surrounding the hearts signifies an evoking of the spirit.


Burying Point Cemetery, Salem Massachusetts
Purchas, John; 1712
Slate, Skulls/Skeletons, 1700-1719 (Multiple Carvers); Faces with Wings, 1700-1719 (Multiple Carvers)
Farber Gravestone Collection

 

 

 


 


Burying Point Cemetery, Salem Massachusetts
Barton, Lydia; 1713
Slate, 1700-1719 (Multiple Carvers); Perhaps the work of "WC," or James Gilchrist
Farber Gravestone Collection

 

 




 


Burying Point Cemetery, Salem Massachusetts
Cromwell, Phillip; 1693
Slate, Carver Unidentified
Farber Gravestone Collection

 

 


 



NEXT TO SHATTOCK GRAVESTONE PHOTOS:

Let’s get witchy!

The Shattock’s played an important role in the Salem Witch Trials with Samuel Shattock Jr’s father, Samuel Shattock, being one of the individuals that gave testimony against Bridget Bishop. Samuel Shattock was a dyer and shopkeeper who believed Bishop was creating a witch’s doll when she brought him small pieces of lace to dye. Not soon after, Samuel Shattock Jr. became ill and suffered physical and mental agonies, because of this Shattock and his wife blamed these ailments on visits from Bridget Bishop that began when the boy was four. Shattock testified to this effect at Bishop’s trial, and ultimately Bridget Bishop was the first to be executed as a witch in 1692.


Burying Point Cemetery, Salem Massachusetts
Shattock (Jr), Samuel; 1695
Slate, 1680-1699 (Multiple Carvers)
Farber Gravestone Collection

 


 


 


Burying Point Cemetery, Salem Massachusetts
(Shattock) Smith, Patience; 1690
Slate, 1680-1699 (Multiple Carvers)
Farber Gravestone Collection

 

 

 

 

 



Burying Point Cemetery, Salem Massachusetts
Mather, Nathanael; 1688

Slate, 1680-1699 (Multiple Carvers); Compare to the work of Joseph Lamson, William Mumford.
Farber Gravestone Collection

 

Nathanael Mather is a son of Reverend Increase Mather and the brother of famous witch accuser Cotton Mather.

 

 

 

Burying Point Cemetery, Salem Massachusetts
Hollingworth, William; Hollingworth, Elianor, 1688 and 1689
Slate, Unknown Carver
Farber Gravestone Collection

 

Elianor was the mother of Mary English, the wife of one of Salem’s richest merchants, Philip English. Philip and Mary were both accused of witchcraft, investigated, and jailed in Boston to await trial. Due to their wealth, they were able to escape to New York.

Elianor herself was an independent woman who ran Blue Anchor Tavern in Salem, after her husband’s passing. Historian Frances Hill believes Elianor may be the inspiration for Nathaniel Hawthorne’s Hester Prynne in The Scarlet Letter.

Narrative:

For my exhibit, I chose a topic that I am interested in and that I felt would be captivating and endearing to the public. I also wanted to pick something that might challenge visitor’s viewpoints. The Farber Gravestone Collection was a perfect choice as they hold some great photographs from all over the East Coast. I chose to focus on Burying Point Cemetery in Salem Massachusetts because it is fitting for spooky season and because it contains some elaborate and special gravestones. Among these graves is Samael Shattock Jr. who was a big part of setting off the Salem Witch Trials. Along with the important figures buried here, the stone carvings themselves hold important meaning and symbology. A simple stone may have an hourglass shape carved into it. While that might seem kind of cheeky, it means the passing of time and the shortness of life. Other graves have cherub-like heads with wings that usually indicate the loss of a young child or infant. With these small carvings so much meaning is conveyed, and viewers of the graves can get a glimpse of living with mortality every day.

 Gravestones and grave markers can be a touchy subject. They could even make people feel sad. So, I wanted to open their eyes to the beauty they can find in a graveyard. Visitors first look at the exhibit will be large welcoming text and graphics. Meant to convey a relaxed and fun or open-minded feeling. The large gravestone graphic works as an icebreaker to lighten the atmosphere. The exhibit space will be set up in a way that focuses on the photographs and invites visitors to take a closer look. Photographs will be poster size, mounted on the wall and some will have large texts next to them. My goal is for the exhibit to be lit in a way that is not spooky, but not clinical. Just a comfortable area for visitors to walk around. For some of the photographs, I have added text that explains a bit more about what might be on the stones. Some of them are hard to see and may need more explanation.  The main cost of the exhibit will be the paint, graphics, printing of photographs and replicas of gravestones. We will also have pamphlets available to take and a small table with worksheets for coloring.

I had a wonderful experience putting together this exhibition and really wish it was real. I would love to see something like this at a museum or library.

 

Farber Gravestone Collection. 2023. http://farber.davidrumsey.com/luna/servlet/view/all/where/Massachusetts/Salem?showAll=who&sort=name%2Cdates%2Ccity%2Cstateorprovince&os=0

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