CONSCIOUS DESIGN: ALUMNI CHECK-IN WITH BRITT BRAATEN

 Alumni Check-In | Elizabeth Cytko

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Britt Braaten poses wearing a vintage apron.
Photo courtesy of Britt Braaten

Britt Braaten is the Creative Development Specialist at the Canadian War Museum. She graduated from the Museum Studies program in 2009, after switching from a law career to museums. Her museum internship was at the Immigration Museum in Melbourne, Australia where she worked in the Community Engagement/Curatorial department. 

The Canadian War Museum
Photo Courtesy of Britt Braaten

What does a typical day entail at your job?

My job is focused on the development of exhibitions; given the staff size (small!) and pace of work (fast!) at the War Museum, that means on any given day, I can expect to bounce between several different exhibitions and that each project will be at a different stage. For example, today, I reviewed and corrected design elevations for a traveling war art exhibition; reviewed English and French text for our major temporary exhibition about the Second World War, working with the historian, comparative editor, my manager and the project manager to finalize text; reviewed preliminary graphic layouts for that same exhibition and prepared comments for the designer; met with the historian to determine how we were going to fulfill a request from our Directors by adding content to that same exhibition; brainstormed potential visitor experiences for a proposed major temporary exhibition about war games; and corresponded with a colleague at another museum about balancing fun and learning in museum interactives.

What’s the best way to communicate with a team while creating exhibitions?

I think it’s important to be strategic in how you work with people:
I figure out what each person’s preoccupations are, and show that the approach I’m proposing addresses that—or, if it doesn’t, acknowledge that and invite them to help share their expertise.
I pay attention how each person likes to work—in person or on paper? Informal walk-and-talk conversations or extended workshops? —and tailor my work style to meet theirs.

It comes down to respect: respecting each others time, expertise and genuine desire to do good work. The more I’m able to understand my colleagues, the more I’m able to demonstrate my respect for them, and the better our long-term work relationships are. I find this kind of deliberate relationship management to be a critical ingredient in getting the support I need to do my job effectively.

Accessibility Guidelines
Photo courtesy of Britt Braaten

How do you approach creating visitor focused exhibitions?

In this role, my role as “visitor’s advocate” it’s my job to ask the right questions, and push back where needed.

Here is a list of the questions I consider:

Can visitors get to the exhibition?
Will they be comfortable in there?
Can they participate in a full and meaningful way?
Can visitors understand the exhibition?
Are we assuming prior knowledge in a way that will alienate people?
Will visitors care about what we have to say?
Have we totally missed the point?
Are we talking about what the subject-matter expert wants to talk about or what the visitor actually cares about?
How do we know what we know about visitors?
Can we actually talk to visitors to test our ideas before they make it on the floor?
Do we have research from past projects that could inform current decision-making?
Can we learn from our peers at other museums? Or am I relying on my own opinion and/or unreliable anecdotes?

Each of those questions plays out in innumerable ways, from intellectual decisions around the interpretive approach and content selection, to design decisions around fonts and colours, etc.

What’s the best way to include community voices/diversity in museum work?

A lot of it comes down to calling attention to instances where colleagues are treating “white man” as human-neutral (to borrow a phrase from comedian Hannah Gadsby) and see if there are other options that make sense in that case—sometimes it is a white man because that is what is authentic, accurate and appropriate for the topic. Other times, it’s just laziness, or a feeling that using someone other than a (straight, able-bodied) white man is somehow controversial or a “statement” in a way that defaulting to white-man isn’t. This isn’t always (or even often) a conscious decision, and I’ve found that calling attention to it and offering alternatives is an important and effective way to push for more diverse representation in exhibitions.

There are real impediments to representation—including attitudes and weaknesses in the collection—but I believe that this is an area where doing the work can pay off in real ways.

Britt Braaten delivering a talk during construction.
Photo courtesy of Britt Braaten

What is one of your failures that was a great learning experience?

One example that I think legitimately counts as a failure and that has influenced my approach to my job ever since comes from my first temporary exhibition at the War Museum. It was a pretty traditional art exhibition, but I was quite happy with it.

 What was the problem?

We had to reprint all of the labels—an unnecessary cost to the institution—because I had failed to account for two factors: first, in choosing fonts and colours, I worked exclusively in my office space. I didn’t think to print out samples and bring them down somewhere where the lighting matched the exhibition conditions. If I had, I would have increased the font size. But since I didn’t, it meant many visitors had to get in close to read the label. Unfortunately, I also didn’t account for how our decisions on security would impact the visitor experience: while some high-value artworks had individual alarms, for most of the exhibition, we opted for the less-expensive approach of curtain alarms—which were triggered when visitors stepped too close to the artwork. The combination of these two factors meant that many visitors were not able to get close enough to read the labels without also triggering the alarms. So the alarms went off all the time. We were able to correct this by reprinting the labels at a large enough font.

But I learned some important lessons. Now, I ALWAYS look at panels in as-close-to-real conditions as I can, early enough in the design stage that we can make changes. I also have developed a more holistic approach to exhibition development, and more of an awareness of how a decision in one department affects things in another department.

How does someone become the best ambassador for their museum?

Preparing in advance makes a real difference. In my undergraduate program, there was an unstated attitude that we should all be aiming for effortless brilliance at all things. Winging it was the highest ideal, while advanced preparation gave away that your brilliance was maybe not so effortless after all. It took me longer than it should have to move beyond that attitude and understand that what seems like effortless brilliance in others is usually the result of a lot of preparation. So the other part of being a good ambassador for the museum is being willing to do the work behind the scenes so that what you put forward into the world feels spontaneous and compelling, while in fact being very well planned.

Is there anything you wish you had done while you were in the program? 

I’m not a “regrets” sort of person. So while I’m sure there are things I could have done “better” in the sense that I half-assed a few assignments (especially in second semester of second year), I gave it the amount of time and effort that I was able to given the other competing priorities—working two part-time jobs, enjoying hobbies, seeing family and friends, etc. In fact, to answer the opposite of the question you asked, here’s a tip: nobody, not once, has ever asked me what my grades were. So, yes, I could have focused more on schoolwork and dropped one of my jobs—except that one of those jobs turned into a full-time gig after graduation, and the other covered food and rent and resulted in lifelong friendships. Or, yes, I could have stopped doing hobbies or seeing friends and put more time into my schoolwork—but those hobbies and friendships were what kept me happy and sane. So the lesson I really learned was: do what you have to do to get the degree, but not at the expense of your health and your future. Be kind to yourself, and understand that there’s a lot more to life than school.

MY WEEK IN OTTAWA: A LETTER FROM NATALIE HEATON, VICE PRESIDENT

Weekend Edition | Natalie Heaton

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Dear Musers:

Monday, November 4, 2019, thirty-three students from the Faculty of Information departed on a journey to the nation’s capital--Ottawa. After a 6 hour bus ride, we arrived and were ready to see what they city had to offer. Our group will visit 5 museums in 4 days and meet over twenty-five different museum professionals.

Tuesday morning, the adventure began at the National Gallery of Canada (NGC). After taking a group photo under the infamous “Mama” sculpture, we enter the gallery and were welcomed by Gary Goodacre, the chief of Education and Public Programs. Gary spoke about keeping the visitors experience at the centre of everything that Gallery does and making the overall experience of the museum less transactional. The way the NGC aims to do this is by implementing art and an Indigenous library before guests purchase their ticket. Dr. Sasha Suda the Director and CEO of the NGC, spoke to the group next, her ‘why not’ attitude was very inspiring as she talked about her career in museums. Her most notable piece of advice being to tell great stories that are relevant to what is going on and be inclusive. The rest of our time at the NGC was spent going on tours with either David Gillanders (educator) or Jaime Morse (educator, Indigenous outreach & programming). I went on Jamie’s tour and she discussed white privilege engrained within the museum system. She stressed the need to remember the colonial history of Canada and treatment of Indigenous people within these institutions.

National Gallery of Canada. Photo Courtesy of Natalie Heaton. 

Tuesday afternoon was spent at the Canadian War Museum. We met Britt Braaten (creative development specialist), who talked about what inclusion looks like at the War Museum along with some of the drawbacks of working with the museum’s collection. Britt discussed the need to diversify the voice that is heard in exhibitions. Sandra O’Quinn (Learning Specialist) showed us Supply Line Discovery Boxes, boxes that are designed to be circulated to schools in remote locations. Essentially bringing the museum to the students, oppose to bringing the students to the museum. 

Canadian War Museum. Photo courtesy of Natalie Heaton.

The Canadian Science and Technology Museum (CSTM) was our first stop on Wednesday morning. At this stop we met ten museum professionals. In particular, we discussed the relationship between sponsorships and the museum. Raising questions of how an institution works with a donor such as oil companies, when the exhibition is intended to tell both the positives and negatives “facts” of oil production. The main take away from this discussion was it matters to show and talk about both side of the story in a museum context.

Canadian Science and Technology Museum. Photo Courtesy of Natalie Heaton. 

Canadian Science and Technology Museum. Photo Courtesy of Natalie Heaton. 

We had the opportunity at both the CSTM and the Canadian Museum of History (CMH) to visit collection storage. The CSTM have just finished building their new storage space which houses a range of artifacts from steam trains, buses and cars, to smaller objects such as cameras. At the CMH we walked through their collection storage and conservation section and saw variety of objects such as kayaks, canoes, and furniture. Going through both of these collections spaces was a highlight for me because we had the opportunity to see the treasures that the public does not often get to see. 

Canadian Museum of History. Photo courtesy of Natalie Heaton.

 

The last museum that we stopped at was the Diefenbunker: Canada’s Cold War Museum, where we received a very informative tour of the bunker’s history. The 100,000sq foot, four level, underground bunker, was very impressive. While the Deifinbunker is not a national museum, their innovative programming and partnerships have helped to establish themselves as a destination. 

Diefenbunker Museum. Photo Courtesy of Natalie Heaton.

Overall, my week in Ottawa was lovely. I got to visit some amazing museums, meet amazing people, and strengthen my friendships with my classmates.

Thanks for reading,

Natalie Heaton

Ottawa Sign in ByWord Market. Photo Courtesy of Jaime Meier. 

P.S. We didn't lose anyone! 

RESEARCH, NETWORKING, AND SNACKS: INTERNSHIP CHECK-IN 2019

Internship Check-In | Joanna Wreakes

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Welcome to the first edition of Internship Check-In for 2019. This summer we've got MMSt students working all over Canada (and beyond) and I am so excited to be able to share what they're up to with all of you!

Our brave interns who have agreed to be interviewed will be asked five questions:

1. Please introduce yourself & tell us about your internship role
2. What is a typical day like at your institution?
3. Is there anything that’s surprised you about your internship?
4. What are you excited about accomplishing throughout your internship?
5. Do you have any words of wisdom for someone entering a similar position?

This post features:

Savannah Sewell: Aga Khan Museum, Toronto, ON

Emma Puddicombe: The Canadian War Musuem, Ottawa, ON

Jordan Fee: Art Gallery of Ontario, Toronto, ON

Erin Stodola: Art Gallery of Ontario, Toronto, ON

Toronto's AGO - where two of this edition's interns are working! Source.

Please introduce yourself & tell us about your internship role.

Savannah: Hi there, my name is Savannah Sewell and I am completing my summer internship in the marketing department at the Aga Khan Museum. My role here is a little bit of everything. The marketing department is made up of seven individuals, including myself who range from designer to social media coordinator. The role I play, specifically, usually incorporates a bit of all of the marketing and communications jobs together. For example, my project for this internship is to prepare the social media campaign for the fifth anniversary of the Aga Khan Museum. This project will narrate the impact of the museum and hopefully engage new visitors.

Emma: My name is Emma Puddicombe, and I’m currently completing my internship at the Canadian War Museum in the Education, Creative Development and Learning Department (ECDL) and I love it! This department is responsible for creating public and educational programming for the institutions as well as exhibition development for the whole institution. The programs the staff work on include tours of the museum, theatrical orientations (mini skits presented to schools by staff in character), and the Supply Line Discovery Boxes. My role in this internship is to help out with various projects, such as developing condition tracking tools for the Supply Line Discovery Boxes (the staff simply call them ‘kits’), helping with planning and operations for the Historical Thinking Summer Institute, and also helping with planning for the family-targeted series, “Awesome Sundays”.

Jordan: My name is Jordan Fee, and I am currently working as an Exhibition and Publishing Intern at the Art Gallery of Toronto. The department that I work in is under the umbrella of Curatorial Affairs, and my supervisor is Jim Shedden.

Erin: I’m Erin! I am the Curatorial Intern of Indigenous + Canadian Art at the Art Gallery of Ontario. Which means: I help the Assistant Curator of Indigenous + Canadian Art, Renée van der Avoird (an MMSt Alumni!), with research tasks and projects, among other things. These vague-sounding tasks and projects are things like researching a work of art that the AGO wants to acquire, preparing reports for Cultural Property Export Permits, writing text briefs that will turn into didactics, cross-referencing sources to prove a contested date on an artwork and anything else Renée needs a hand with. Donald the librarian and I are good friends! While these are the main things I have been working on, Renée has been so generous to include me in departmental meetings, conservation demonstrations, installation supervision, trips to the vault, acquisition committee meetings, watching a Renoir being packed for travel... and the list truly goes on.

Emma & colleagues at the Canadian War Museum recreated this photo from the Second World War for #MuseumsWeek. Photo courtesy of Emma Puddicombe.

What is a typical day like at your institution?

Savannah: A typical day at the Aga Khan Museum begins with logging in and answering any emails that have come up. Most of the staff here works later than I do (I rather coming in earlier), so sometimes there are a few things to catch up on. After that is finished, I check up on our Monday.com checklist and begin one of the tasks that have been assigned to me. These tasks range from packaging donation requests, archiving collateral, and writing copy for events on our website. As the day continues, I am usually a part of one or two meetings, the staff here is very welcoming and often invite me to sit in, in order to expose me to as much of the institution as possible. The tasks continue through the day, sometimes new ones getting assigned as we go. The great thing about this department is that the constant collaboration between people allows me to challenge myself and learn new skills every day.

Emma: A typical day for me begins with arriving at my little cubicle (which I did not think I was going to have) and turning on my computer. Almost everything at the institution is done online, such as scheduling, planning meetings, sending files, etc. First thing in the morning I always look to see what new emails I have (regarding meetings, readings about projects, etc.) and what my schedule for the day is. From there, my day usually involves shadowing meetings and working on various projects. I always love attending the meetings because they give me a better insight into what projects the department is working on. Sometime, I’m even asked my own opinion on how to move forward with certain decisions (minor ones, like “Do you think this is a good photo to include in the Supply Line kits?”). The projects I’m working on include my own Big Project (more info below), and also smaller tasks that permanent staff just need taken off their own plates (eg. data entry and organization). This part of the day is always so great because I actually feel like I am contributing in the department. The last notable thing about my ‘typical day at my institution,’ is lunch. The majority of the staff take lunch at the same time each day, so there’s always a large group to eat with and talk to about non-work related things (Eg. Cheese and what your favourite cheese is….which turned into create Cheese Club, who meet every Tuesday at lunch to try new cheeses!). At the end of my day, I clean up my desk to make it look clear and fresh for the next morning and my day is done.

Jordan: My day typically begins around 9am, although I sometimes arrive a little early to spend time in Grange park prior to entering the building. I take the elevator to the third floor, step into our collective office, and begin work on my computer. So far, I’ve been predominately working on the first draft of a publication in Adobe InDesign, although there have also been a number of days when we’ve spent time planning the layout of an exhibition. I generally try to take a break around 1pm to have some lunch with Erin (in the park whenever possible). After this, I will either return to what I was doing in the morning or go to a meeting with Jim. The day ends sometime around 5pm, when I leave to go make dinner.

Erin: May 31, 2019: I spent the morning finishing a report for an Export Permit review, gathering any relevant information to help Renée make a decision as to whether or not the piece was of “outstanding National significance”. Later, Renée and I met with Karl Beveridge of Carole Condé and Karl Beveridge, Toronto’s social activist artist duo, to talk about a few of their pieces that will soon go on temporary display. It was such a pleasure hearing an artist speak about his own art in person. As I will be writing the text briefs for the labels, it was an amazing opportunity. Meeting artists doesn’t happen for me everyday, so on a more typical one, I would attend a small departmental meeting for a project, which are fascinating in a different way! After having lunch in Grange Park with fellow AGO intern and desk neighbour, Jordan Fee, I went over several Export Permit reports with Renée and we decided that they were all ready to find new homes outside Canada. For the rest of the day, I researched a number of specific facts about David Milne for the upcoming revamp of the David Milne Centre. Also there were surprise donuts. All in all, a very good day!

Jordan enjoying the Henry Moore Sculpture Centre during some downtime at the AGO. Photo courtesy of Jordan Fee.

Is there anything that’s surprised you about your internship?


Savannah: I was surprised by how much they trust me! When anyone hands me a new task they are so confident in my ability to succeed at it. The support from the whole institution has been incredible and continues to allow me to push myself and learn. I really feel like they like me! Wasn’t expecting that.

Emma: What surprised me most about my internship, besides getting my own desk and cubicle, was how much my supervisor wanted to help me network. During my first week at the institution she told me to take some time and think about what museums I wanted to visit and who I wanted to talk to at those institutions. From there she would help me set up informational interviews with them so I could get a better idea of where my career could take me. This was something I would never have expected to happen at my internship, and I am so grateful that I have been given this opportunity.

Jordan: The thing that surprises me most is the amount of creative freedom that I have been given so far. Of course, it’s not like I’m making any final decisions, but Jim is quite open to new ideas and generally lets me try them out. Other than that, I would say that the amount of people working at the AGO is quite astounding. I’m still meeting someone new every day, and I don’t think that will stop anytime soon.

Erin: I had a fairly good idea that the AGO was a large, well-oiled machine but I did not know just how large! It is its own little city and everyone has their job to do to make the city function and flourish.

Savannah at her placement at the Aga Khan Museum. Photo courtesy of Savannah Sewell.

What are you excited about accomplishing throughout your internship?
Savannah: I am really excited about accomplishing this social media campaign, it is a new type of project for me and the challenges of a large institution’s narrative is exciting. This would also have a lasting impact on the museum itself and be an excellent addition to my resume. I have also begun to archive and organize all of their collateral which is exciting! Right now it resides in piles that have collected for five years and have been driving me BONKERS!



Emma: What I am most excited about accomplishing throughout my internship is my Big Project. Even before my internship started, my supervisor kept telling me, “We’re going to give you your own project that you can call yours from start to finish. Something you can leave this internship with and say ‘I did that.’” This Big Project is to create a Condition Tracking Report for the objects included in the Supply Line kits. It’s no quite condition reporting, but it is supposed to help the staff track the condition of the objects within the box so they can monitor object lifespans and budget accordingly for replacements and repairs. At first I thought I was going to be quick and fairly easy, but it was only once I started working on it that I realized how much work is going to be put into this. I have loved every step of this process so far. I cannot wait until I have the final product completed!



Jordan: I am excited about the fact that I will be able to walk away from this internship with some sort of portfolio, showing the work that I have done in InDesign and Illustrator. I have learned that the person who was in my position last year got to leave their internship with a bound book of all of the work they had accomplished in terms of research and writing, so I am hoping that I might be able to walk away with a similar document.

Erin: I am excited to soak up as much knowledge as I can handle in 12 weeks! From learning the ways that departments work together and the systems they use, to conservation theories, to political structures that can dictate the decisions of the gallery, to all the AGO’s works by Arthur Lismer, to how to send meeting requests in Microsoft Outlook. 12 weeks is time enough just to get my feet wet, which is to say: not enough time. A specific project that I very happy to be working on is researching a collection of Mary Wrinch’s miniature watercolour portraits on ivory. There is a lot to be said about this trailblazing woman, her fascinating career, the implications of ivory and discussion of femininity and gender roles in Victorian-era Toronto. The works won’t appear in the gallery until 2020, but my research will inform the accompanying didactics.

Erin in the beautiful Galleria Italia at the AGO. Photo courtesy of Erin Stodola.

Do you have any words of wisdom for someone entering a similar position?

Savannah: My words of wisdom would be to remain positive. The space is accepting, exciting and supportive. Ask questions and enjoy yourself while challenging your skills. Its sometimes difficult to recognize when you’re pushing yourself too hard vs. just the right amount. Ask questions! No one is going to laugh at you or get angry if you need help, everyone knows you’re new! Also, office jobs always have lots of snacks!! Be prepared for that, I wasn’t!

Emma: Keep a little notebook and a pen with you at all times and write down all the advice you hear. Just being in the office environment you hear so much advice that will be so useful in the future. No one will just sit and tell you everything you need to know, but sitting in on meetings you can easily catch on to what best practice is, and what has been most successful in projects. Always make sure to listen to what people say and take from it any advice you can.

Jordan: Well I don’t think that I can offer too much concrete advice, but I would say that it’s best to learn by doing. I had very little experience with the kind of work that I am doing now, but I just tried to jump in head first. If you get the chance to try something new, then take it!

Erin: Remember that everyone wants to help you learn! Ask questions. Of anybody. Take notes for when you forget everything all of the time. Show your enthusiasm, gratitude and willingness to take on tasks. Bring treats to share.

The interviews have been edited for length and clarity. 

That's all for this edition of Internship Check-In! And I have to agree with the advice above, office treats are plentiful and everyone appreciates when you bring things to share! Check back in a few weeks for another update about what some of the wonderful MMSt students are up to this summer.

FEATHERED DINOSAURS, DYNAMIC TEAMS, AND MUSEUMS TEACHING MUSEUMS

INTERNSHIP CHECK-IN

BY: KATHLEEN LEW

As summer is flying by, I present to you the FINAL installment of Internship Check-In. It was an absolute pleasure hearing from my classmates about their internship experiences. Hopefully Internship Check-In shed light on all the wonderful work MMSt students are completing in institutions across Canada and internationally. But not to worry, it’s not over yet! Musings has FOUR more interviews to share.*

This post features:

Shauna Edgar: Royal Ontario Museum, Toronto, ON

Anna England: Canadian War Museum, Ottawa, ON

Evelyn Feldman: Markham Museum, Markham,ON

Amy Intrator: Sarah and Chaim Neuberger Holocaust Education Centre, UJA Federation, North York, ON

Tell us a bit about yourself and your museum-related interests.

Shauna: For the past five years I have been a volunteer, a student, an employee or a mixture of roles at the Vertebrate Palaeobiology lab at the ROM. During my undergraduate degree I studied evolutionary biology and completed a senior year thesis at the ROM on a new species of softshell turtle from the Late Cretaceous. During this time, I’ve also been lucky enough to participate in two field seasons with the Southern Alberta Dinosaur Project. I’m fascinated by all things evolutionary and prehistoric and was thrilled to be hired as the Collections Assistant in the Vert Palaeo lab for the summer. I hope to devote my career to the preservation and management of natural history collections which are invaluable resources for education and research.

Anna: After completing my Bachelor of Arts in History and French at the University of King’s College in Halifax, I went on to complete a Master of Arts in History at Lakehead University. I always knew I wanted to work with history and, as time went on, I became increasingly drawn to the concept of working with the material culture associated with the time periods I am most interested in. Throughout my first master’s degree, I began really involving myself with museums and historical associations. As I entered the Master of Museum Studies program at the University of Toronto, it became clear to me that I would like to work primarily with tangible history, likely in the capacity of collections management or exhibition design.

Evelyn: I am entering my third year in the iSchool’s Concurrent Registration Option, pursuing both a Master of Information and a Master of Museum Studies. On the Information side, I am concentrating in Libraries, rather than Archives (the more common choice in the program). At first, even I didn’t quite understand the reason for this dual interest, but I’ve come to realize that it’s because I love the front-end side of both libraries and museums. I love the way both types of institutions engage patrons/visitors in learning, help them discover new things, offer exciting or useful programs, and overall encourage people to think about and learn about the world around them.

Amy: Hello, my name is Amy! I recently finished my first year of a collaborative degree in Museum Studies and Jewish Studies at the University of Toronto. Before entering the Museum Studies program, I earned my Honours Bachelor of Arts, also at the University of Toronto, with a major in History and a double minor in English and Jewish Studies. Over the course of my Undergraduate degree, I realized my passion for history, culture, art, and working with the public, and I realized that the Museum Studies program offered a rare opportunity to blend my love for academia with my interest in public-facing institutions. The collaborative program has allowed me to study the intersection of cultural organizations and institutions with a focus on Jewish heritage. 

Shauna sitting with the holotype specimen of Champsosaurus albertensis. Photo courtesy of Shauna Edgar. 

What is a typical day at your institution? What are your responsibilities?

Shauna: A typical day for me primarily involves rehousing our holotype collection of vertebrate fossils. This requires various judgement calls regarding each specimen’s individual storage based on its conservation needs. For most of the larger fossils I create customized foam cradles for structural support. Additionally, my job involves research into each specimen and its species to update our catalogue records. I can also be found puzzling over small fragments of bone to sort and identify, and cleaning/repairing fossils.

Anna: As a research assistant for Dr. Tim Cook, a day for me at the War Museum is never the same as the last. Dr. Cook has been phenomenal at ensuring I get a chance to experience as much as I can during my time here, so he will often have me sit in on exhibition development meetings, attend collections workshops, catalogue, or conduct primary/secondary research. Some of the tasks I have had include cataloguing postcards from a soldier during the First World War, categorizing and researching art from the Second World War, compiling contextual research about war artist Alfred Munnings, and helping plan artifact displays and visitor interactives for an upcoming Hundred Days exhibition. I thoroughly enjoy the level of variety in the work I do.

Evelyn: Some days, I am helping with our variety of programs: shadowing programs, helping to run programs, helping to prepare programs, or working at the front desk as our tour guide. When there aren’t programs going on, I’m working on my big project for the internship, which is updating the museum’s walk-in tour. The museum has 25 acres, with numerous heritage buildings from around Markham. I am researching all of these buildings (who lived there? Where are the buildings from? What are their architectural features?) and related topics (blacksmithing! beekeeping! baptists! bricklaying techniques! Just to name some “B”’s), using the files and documents in the curatorial department, to develop a new-and-improved package of information for tour guides.

Amy: You’ve been reading this column for a couple months now, so you can probably guess, there is no typical day at my institution! My position is the Museum and Programs Intern, which captures the two different roles that I alternate between here at the Neuberger Centre. Some days are more dedicated to museum-related tasks, like helping review the collection and determine best practice for cataloguing and storing various artifacts. Other days, I spend more time on the program-related tasks, mainly helping to plan the upcoming Holocaust Education Week, which will take place in the first week of November. My program-related tasks can include anything from corresponding with community partners, to looking for venues, to planning for an exhibition to be included in the program!

Evelyn working hard on Markham Museum's programming. Photo courtesy of Evelyn Feldman. 

What is something you have learned so far at your internship?

Shauna: I’ve learned a lot about collection management within a large institution like the ROM and have been able to see how our collection is stored and managed from the gallery to behind the scenes. There are so many important decisions to be made regarding how to organize and store a collection, and even more that must be made when displaying specimens in the gallery. Although much of my work is technical and collections-focused, I’ve seen how returning a specimen to its display case can be an opportunity to informally engage with visitors, answer questions, and have fun talking about feathered dinosaurs.

Anna: During my time at the War Museum, I have had the chance to meet with and learn from many amazing museum staff members in a wide range of different fields. From researchers, to curators, to collections management and exhibition designers, I have been able to sit in and explore what each of these jobs entail. This experience has allowed me to further understand the inner workings of a national museum while also giving me an opportunity to delve into potential future career paths. My internship has also taught me how exhibitions are developed, from the beginning brainstorming phase through to the compilation of research and artifacts and on to the finalized review and advertising.

Evelyn: There are the obvious things like classroom management techniques, program development, and research skills. But one of my favourite things to learn has been just how easily museum and library skills can intersect. In working on the tour, I’m really drawing a lot from the Master of Information side of my degrees, and my work in libraries. I’m researching such a variety of topics, and trying to organize the information about them in a way that will be easiest for tour guides to assimilate and reference back to.

Amy: I have learned how collaborative public programming can be! Since Holocaust Education Week is such a large program, every member of the Neuberger team is involved in the planning process. I expected that I would work closely with my supervisor, since she manages the public programs, but all of the Neuberger staff contribute to the process. My role has meant working with staff members in various departments from education to management. I know this is a reality for most institutions with a small number of staff, but I didn't realize how exciting it would be to work with a dynamic team. The programming is also built around community collaborations, so I have learned about the process of co-organizing events with various community members and institutions.

Amy Intrator in front of the Frank and Anita Ekstein Holocaust Resource Collection at the Neuberger Centre.
Photo courtesy of Amy Intrator. 

 What are you excited about accomplishing throughout your internship?

Shauna: I am very excited to be upgrading the storage of the holotype collection. It is a largescale project that has a lasting impact for research and the curation of our collection. Once complete, we will have an updated catalogue, specimens will be stored safely and securely in customized foam cradles, and fossils that were broken due to less than ideal storage or historical preparation practices will be repaired.

Anna: Looking at the work I have already done makes me feel exceptionally proud and I am thrilled to have been given this opportunity by Dr. Cook. Proceeding forward, I am very excited to continue my work on categorizing and helping to select the art work that will be featured in the future 2020 exhibition to commemorate the 75th anniversary of the end of the Second World War. I am honoured to have been given this role and am excited to see the final product along with the art work I have suggested be included. I am also looking forward to co-authoring an article with Dr. Cook on the work we have done regarding Alfred Munnings, who was a war artist during the First World War.

Evelyn: Obviously, I’m excited to see the tour actually be put into action! I think that’s the winner, hands down.

Amy: I am excited to help make Holocaust Education Week 2018 a reality! The program won't launch until November, but already I have seen the program develop so much over the two months I've been at the Neuberger. It will be hard to leave the Neuberger at the end of August, right when planning goes into overdrive, but I already feel a great sense of pride that I have been able to contribute to the early program planning phase. From exhibits, to lectures, to panels, I have been able to lend a hand with a full roster of programming!

 

Anna at the Canadian War Museum. Photo courtesy of Anna England. 

If you could create any museum (no matter how ridiculous) what kind of museum would it be? 

Shauna: I would love to see a museum all about Earth’s geologic history and geomorphology. At an early age, one of the key concepts that initially drew me to science was learning about plate tectonics and how mountains formed. It blew my mind. I began looking at the landscape where I lived completely differently. The ground beneath my feet was far from static, and had its own dramatic history. In addition to capturing the imagination, I think these foundational topics in geology help significantly in our understanding and acceptance of other scientific concepts such as evolution and climate change while also providing a foothold to ask further questions about the natural world.

Anna: It is difficult for me to think of a specific idea for a museum that I would like to create, but I often think about events in history that go unrecognised or underexplored. There are many historically significant events that have occurred but may not have been examined to their full potential in the world of museums. Museums that are dedicated to more eclectic subject matters are also of interest to me, such as the travelling Museum of Failure, so perhaps I would like to create a museum along a similar theme.

Evelyn: One of my favourite things is when museums teach about museums. A lot of museums do this in little ways; the Nova Scotia Museum of Natural History has a small display about how they transported artifacts off of Sable Island, for example. Museums can teach us about the different ways they preserve objects, or how they think about visitors, or how interpretation in museums can never be neutral, simply through what we choose to leave in and take out. I’d love to see a museum of museums: A museum that teaches us about the world around us—science, sociology, current events—through the lens of museums’ operations themselves.

Amy: I am fascinated by the concept of a museum focused on Jewish heritage. A few years ago, a plan for the Jewish Museum of Canada was proposed, but the plan has been put on hold indefinitely. I would love to be a part of the process of making that museum a reality, as I think museums that focus on Jewish heritage have so much potential as spaces for education and cross-cultural dialogue.

Want more of Internship Check-In? Check out previous interviews here!

*These interviews have been edited for length and clarity.

A PAINT-STAKING PORTRAYAL: PAINTINGS AS HISTORICAL ARTIFACTS

THROWBACK THURSDAY

BY: SERENA YPELAAR

Recently, I’ve been thinking a lot about historical paintings and the question of accuracy. Whether I’m looking at famous portraits to picture what prominent figures looked like, or trying to imagine historical battles that took place before the advent of photography, historical paintings play a prominent role in visualizing history. 

As sources, paintings can certainly tell us a lot about a historical event or figure, but they also do a lot more than that: they communicate the values and ideals of any given time period in which a work was created.

Because the topic of historical paintings is unwieldly at best, I’ve decided to confine my examples to some early colonial paintings in Canada. Given that my undergraduate research focused on British and French colonialism from 1600 to 1830, I will explore the topic through the lens of early Canada. One of my favourite paintings of all time is The Death of General Wolfe (1770) by Benjamin West; not because I think it’s particularly accurate, but because it raises so many fascinating issues. 

The Death of General Wolfe by Benjamin West is a spectacular example of a sensationalized battle scene that raises more questions than it answers. Source. 

West’s 1770 painting depicts Major General James Wolfe dying at the Battle of the Plains of Abraham in 1759. Even without being an art history expert, I can recognize that West presents an idealized aesthetic of the scene, one that sensationalizes the battle and its outcome. The cost of a hard-won victory against a vastly larger French army (led by Louis-Joseph de Montcalm), Wolfe’s tragic death has been mythologized throughout the centuries.

The dramatic depiction of Wolfe as a fallen Christ-like figure, surrounded by onlookers, conveys the grandeur of the Neoclassical movement. West declared his own process in depicting the historical scene: “It must exhibit the event in a way to excite awe & veneration … all should be proportioned to the highest idea conceived of the Hero … A mere matter of fact will never produce this effect.”

West’s painting is laid out similarly to the Lamentation over the Dead Christ, painted by Anthony van Dyck c. 1630s. Since art is a form of interpretation and is constructed according to artistic conventions, additional context is relevant to visitors when situating the work in a history museum. Source.

Since artistic depictions of historical events take some license when constructing the scene, observing The Death of General Wolfe as a historical artifact prompts so many questions: What is happening here? Who are all these people? Who is the indigenous warrior at the bottom of the frame, and why is he depicted that way?

Asking these questions suggests missing context that could supplement the artwork with written interpretation in a history museum. At present, the Benjamin West painting hangs in the National Gallery of Canada, but if it were on display in the Canadian War Museum, for example, how would its significance differ? Arguably, the purpose of the artwork as a source changes when the object is placed in its new setting.

In a history museum, visitors are more likely to look for accurate depictions of historical events to gain a sound understanding of what happened in the past. This is where interpretation gets trickier, and museum professionals must make decisions on how best to exhibit artwork. Should the museum display related artifacts alongside the painting? Should there be a didactic panel specifically identifying differences between the historical event and its artistic depiction?

This painting by C.W. Jefferys, Champlain Trading with the Indians, does not reveal details on the quality of relationships between Champlain and Indigenous groups such as the Huron or Iroquois (neither of whom are explicitly identified in this artistic rendition). Source.

Especially when paintings deal with a contentious narrative, such as colonialism in Canada, explicit analysis is crucial. Factors such as the creator of the work, his or her purpose, and relevant biases can alter viewers’ understanding of a painting. C.W. Jefferys’ 1911 artwork, Champlain Trading with the Indians, lacks detail in the way of concrete information: the general term “Indian” is used in the title, overlooking the nuances of interaction in post-contact colonial New France. In this way, paintings can't stand alone as historical artifacts because they are missing the subtleties of cultural and historical significance.

The issue of accuracy is paramount in a setting where visitors have no photographs of a historical event, and constructed imagery is their main source of visual insight. More than an aesthetic experience, historical paintings have the power to convey not only emotion, but information that may be taken at face value. As such, clarity of interpretation provides an additional layer of context to ensure that these artifacts contribute to an accurate and informed view of the past.   

3 EXHIBITIONS IN 1 DAY, BROUGHT TO YOU BY CANADA’S NATIONAL MUSEUMS

EXHIBITION REVIEWS

BY: MADELINE SMOLARZ

I completed a 4-year undergraduate degree and a 2015 summer internship in Ottawa; some of my favourite memories were made in the capital and I’ve developed a strong attachment for it. Therefore, when contributing editor Leah Moncada said she wanted to head north for a couple days to visit an exhibition she worked on during her own internship, I jumped at the chance. Little did we know at the time that “a couple days” would really mean “26 hours.” We ended up arriving in Ottawa on a Thursday around 4:30pm and were on a train again the following day at 6:30pm.

It was a quick trip, but to no one’s surprise (at least, those folks who know us well), we managed to fit in 3 national museums. Granted, we did not go through every gallery and exhibition in these institutions. We travelled with a specific set of exhibitions in mind. I will be rating these exhibitions on a series of characteristics that they all share on a 5-star scale, so please join me in reliving our ambitious museum tour of the capital!

A view of Parliament on the misty night we walked to the Canadian Museum of History. Photo Credit: Madeline Smolarz.

Canadian Museum of History – “Vikings” December 3, 2015 – April 17, 2016

Layout: ★★★ - The layout of “Vikings” was determined by a set of colour-coded themes, which seemed great in theory and started off strong. However, they were not executed well overall and seemed to disintegrate as one moved through the exhibition.

Ambiance: ★★★★★ - Whoever came up with the lighting, sound, and colour palette for “Vikings” deserves a raise. It was dimly lit in the exhibition space with various sounds of Viking life blending together and pinpricks of light, bringing to mind a longhouse with sun shining in through various spots. I’m all in favour of this kind of immersive experience.

Interpretive Text: ★★ - Too. Much. Text. Between the doubling of French and English and the fact that the English was too long to begin with, you would be in there for hours if you wanted to read all of the text. Repetition in text also occurred frequently, which was slightly frustrating.

Objects / Artworks: ★★★★ - The artefacts chosen for the exhibition were quite excellent and represented the huge variety in the Viking experience well. The most breathtaking display was that of a longboat’s rivets suspended in mid-air to give the shape of the ship they once held together.

Interactive Elements: ★★★★★ - There was animal skins to touch, at least three games to play, a Viking table to sit at, rope to feel, a reproduction sword to lift, and more. Fantastic.

Accessibility: ★★ - Some of the text panels were very low to the ground. Coupled with somewhat small text, this made reading sometimes difficult. Certain areas also created bottlenecks that made it tricky for those with mobility devices to move freely.

Overall Execution of Core Theme: ★★★ - As a half-Scandinavian person, I appreciated the exhibition’s strong efforts to demystify Vikings. However, I did not enjoy the overload of information and the questionable layout.

Nearly all of the rivets from 1 longship were strung together to form its shape. Photo Credit: Madeline Smolarz.

Canadian War Museum – “World War Women” October 23, 2015 – April 3, 2016

Layout: ★★★★ This exhibition also used a layout driven by colour-coded themes, but “World War Women” (“WWW”) actually used these colours for the paint and text panels, which clearly delineated different areas. I did get a little lost at one point as to where to go next due to the twisting paths.

Ambiance: ★★★★ - The main sound track was a series of wistful songs played on a record, but inside various areas, there were pockets of sounds suited to the themes. In this bright exhibition, you saw women’s faces, heard their voices, and noticed their memorabilia everywhere.

Interpretive Text: ★★★★★ - In stark contrast to “Vikings,” “WWW” had the most perfect length of text I’ve ever encountered. So much was said with very few words. Shorter paragraphs and sentences did not take away from the visitor’s learning experience, but rather enhanced it.

Objects / Artworks: ★★★★★ - A round of applause for the exhibition developers who gathered all of the objects and stories attached to every single one for “WWW!” There was at least 1 artefact for every role women had during the World Wars, and I was incredibly impressed.

Interactive Elements: ★★ - Here’s where “WWW” fell short. There were three interactives, and two were response-wall based that required writing. The third was a knitting table with an interpreter present, but for those of us who can’t knit, it was intimidating.

Accessibility: ★★★★ - The size of text was great in most areas, cases were at a good height, and seating was scattered throughout the space. However, some corners might have been tough for wheelchairs, and certain panels had an annoying sheen that made them hard to read.

Overall Execution of Core Theme: ★★★★ - I was really pleased by the wide representation of the roles women had and the powerful weight of the personal stories the exhibition tells.

One area of WWW demonstrated the impact of propaganda during the World Wars. Photo Credit: Madeline Smolarz.

National Gallery of Canada – “Human Scale” March 11 – April 10, 2016

Layout: ★★★★ - The temporary exhibition space on the first floor used for “Human Scale” sports cavernous rooms and alcoves, perfect for to-scale and larger-than life depictions of the human body. I was startled by what I saw as I turned a corner twice, which I actually liked!

Ambiance: ★★★★★ - Overall, the sparse backdrop of pale walls and wood floors allowed the complex and sometimes uncomfortable feelings the works produce to take center stage.

Interpretive Text: ★★ - I am not a contemporary art expert, but I know enough to recognize when there is a disconnection between interpretive text and the works at hand. It didn’t happen for every piece, but I was shaking my head at half of what was written on the walls.

Objects / Artworks: ★★★★ - “Human Scale” contains just 8 sculptures spread out across a large floor plan, but they are each so jarring and thought-provoking that any more and the exhibition would be overwhelming.

Interactive Elements: ★ - Other than the ability to walk 360 degrees around the majority of the pieces, there was no other way to engage with the artwork, unless you count a video in one room depicting one of the artists at work.

Accessibility: ★★★ - There was lots of room to move around in the exhibition, and space to park mobility devices in the video room. However, the understated style and small size of the text panels made it hard for a number of people to read them at once.

Overall Execution of Core Theme: ★★★★★ - Although this is by no means a perfect show, the way in which it forces viewers to confront and renegotiate their ideas about the human body by presenting it on various scales was unexpectedly brilliant and will stick with me for a long time.

One of the massive representations of an infant in "Human Scale", with Leah for scale. Photo Credit: Madeline Smolarz.

Have you seen any of these exhibitions yet? If so, do you agree / disagree with my ratings? Please share your thoughts and comments below!

END OF TERM CELEBRATIONS!

WHAT'S HAPPENING WEDNESDAY

BY: NATANIA SHERMAN

Welcome to Wednesday! I know everyone is gearing up for their holidays, but that’s no reason not to take in the excellent museum related events happening this week and celebrate the end of a successful semester with your peers. Without further ado:

1.) For those of you who took MSL 2240, The Photographic Record this semester, check out Taryn Simon’s artist talk which is part of the Canadian Art Encounter Series, hosted by Canadian Art Magazine. Simon’s work tackles the circulation and production of information. Tickets to this event are a little pricey at $20 but so worth it. The talk itself takes place at 7:30 on December 11th at Innis Town Hall.

Come see Taryn Simon discuss her work at Innis Town Hall (source)

2.) Also happening December 11th, is MUSSA's MMSt Christmas Party and visit to Spadina Museum for a Roaring Twenties Christmas with MUSSA. The visit to Spadina Museum starts at 2 pm and includes a tour, cider and cookies! The Spadina Museum tour costs $8.85 - have a look at the Facebook event here. After the tour, sidle up to the bar at Victory Cafe for the MMSt Christmas party. Victory Cafe is located at 581 Markham Street, Toronto. The party starts at 8pm, and you can check out the Facebook event here.

Come for a tour and treats at the Spadina Museum! (source)

3.) From 630pm to 930pm on Wednesday December 9 (TODAY!), the MMSt Curating Science course, taught by Professor Hooley McLaughlin, will be holding their end of term poster session in BL 728 at the iSchool. Students will be sharing their final research projects with each other, other MMSt students, and the broader iSchool community. Friends and family are more than welcome. The room will be set up in a series of unique displays created by each student, and the wide array of chosen topics range from the science of nostalgia to the destruction of archaeological sites. Wander around and ask questions or participate in some of the interactive components of the projects. We promise you will learn something new and come away with a greater understanding of what it means to curate science!

One of last year's Curating Science Posters (photo source: Faculty of Information)

4.) Visit the 12 Trees exhibition going on at the Gardiner Museum! Each year, 12 Trees of Christmas asks 12 contemporary artists to re-imagine Christmas trees using a variety of media. This festive installation will be on display during the holiday season until January 3rd, 2016.

Check out 12 exciting trees at the Gardiner this holiday season! (source)

5.)  I know a lot of Musings readers are knitters, and The Canadian War Museum has a project called Awesome Yarn that combines museum practice with knitting! For their exhibition titled World War Women, The Canadian War Museum is requesting the public send in knitted items to be donated to organizations that need them. During the 2 world wars, Canadians supported the troops by knitting clothing items that were desperately needed on the war front. Everyone can participate and send in knit things from across Canada.  The museum's goal is to to fill a WWI supply wagon, and the deadline has been extended to January 31, 2016!

Any knitters not located in Ottawa can send their knit items to:

Sandra O’Quinn / Awesome Yarn
c/o Canadian War Museum
1 Vimy Place
Ottawa, ON
K1A 0M8

Please see the program description here on the museum's website.

Knitting for museums: the perfect pastime (source)

6.)  Lastly, come to the End of Term Celebration iTea (also TODAY!). The final iTea of this semester takes place today at 4:30-6:30 pm in room 728, 140 St. George Street. This iTea is hosted by Mike McCaffrey and will be a celebration of the end of this term! Let’s all recognize a successful term of papers, fun with friends, and studying hard for results. Tea and hors d’oeuvres. Everyone welcome.

Hope to see you there!