Here is one of the tents with the opening title displayed.
Some years ago, I was taking part in a ROM programme called (I think) My Favourite Object. Members of the curatorial staff brought their favourite object to what was the Chinese sculpture Atrium and placed it on a table for members of the public to look at and inquire as to why it was a favourite...
This is the story of how a new curator, David Evans, found the amazing barosaurus, which we named Gordo (for the curator, Gord Edmund, who had received it in the 60's).
The ROM is fortunate that Sir Edmund Walker believed in a museum for Toronto that would be both academic and public. He was able to gather all the stakeholders together so that the initial funding would be 50:50 government and university. As President of the Canadian Bank of Commerce, as well as...
For two summers, as a university student in Art History, I worked in the Conservation Department as an assistant to Susan Richardson. Essentially my job was typing. I typed treatment reports for each artifact that received expert care in the department. In those days, the reports were typed on card...
In response to the question in ROM Magazine’s Winter 2013/2014 issue (page 14) regarding whether anyone took Peter C. Swann’s advice to preserve their copies of the bulletin: Yes, I did. I have a bound set of Rotunda, with issues from 1968 to 1980. As the artist who designed the magazine, I not...
Brian Musslewhite joined the ROM as a young man. One of his first tasks was to keep the period rooms clean. They were not glassed in as they are today and there was always debris. The Victorian Room featured a beagle- one of our collection of pets donated by Toronto families- and people frequently...
In July 1977, the ROM’s Discovery Room opened and was billed as a “mini-museum for the blind.” It was called the first gallery of its kind in Canada, a learning environment that emphasized hands-on engagement with original objects and specimens. Visitors crossing the threshold of the gallery...
Staff, volunteers, workers, and the architect sign the last steel beam to be put in place.
Hilary Weston leads the fundraising campaign, which will restore the heritage architecture and build "the crystal". She announces a gift of $30 million from Michael Lee Chin, the largest gift to a museum in Canadian history.