Showing posts with label Aurora Museum & Archives. Show all posts
Showing posts with label Aurora Museum & Archives. Show all posts

7 March 2019

CONTEXTUAL TEXTILES

Having worked with museum textile collections quite often over the last year and a half, it has come to my attention that textile collections are consistently inconsistent. Even when preparing for my own exhibition—which is entirely textile-based—I found that I spent more time getting lost amongst the clothes and fabrics than actually finding what I set out to find. This could be due to my own shortcomings, of course, though I doubt anyone could simply ignore splendid gowns and garments when given the chance to freely look at them.


These baby trousers are made of grey wool
and red crochet trim. They close at the front
in a "Y" shape with buttons to make dressing
a baby easier. Photos courtesy of Rachel Dice
Some of the greatest challenges of working with textile collections involve curiosity. For example, if a garment is buttoned, suddenly you want to know what it looks like unbuttoned and laid flat, or the opposite; an unbuttoned, flat garment creates the desire to know what it looks like completely put together. This goes beyond simple things like shirts or coats. If the face of a garment changes because it is fastened or unfastened, wouldn’t it fascinate you to see? While working at the Aurora Museum & Archives, I found a tiny pair of wool trousers, obviously meant for a baby.

They were horribly bug-eaten, and just as clearly home-made. The little trousers are entirely one piece with no seams at all and join in the front with rows of little buttons. They were designed to be buttoned onto a baby without having to force little legs through pants, much like snap-together baby rompers work now. In short, playing around with the teeny trousers to see how they work was irresistible, but how can you know whether or not some textiles can stand up to the abuse of use?

Most of the time, the textiles will tell you themselves.

Wool and thick cottons are usually very sturdy; they retain their strength and functionality even in the face of bug-eaten holes. They rarely become stiff or immovable - we can save that for leather - and usually will not rip without concentrated effort. Sturdy velvets with short pile also fall under this category, as well as thickly woven silks. Many of these fabrics were made to withstand use and wear, so they hold up well even after a century or two of disuse. Wool is my favorite textile to work with. Yes, it is often bug-eaten, but the fabric is sturdy and
This late 19th century black wool vest with butterfly sleeves
in still in amazing condition. If it wasn't part of a museum
collection, you'd hardly believe it wasn't new. Photo
courtesy of Rachel Dice.
colour-fast. It’s resistant to all kinds of use and is even self-extinguishing! Aside from bug-eaten holes or discolouration, wool garments are most likely to suffer from the thread giving away in the stitching rather than the fabric itself tearing apart.

Oftentimes, it’s silk and sheer cottons that suffer the most. Both are made from plant fibre and are much more sensitive to changes in their environment. Additionally, unlike wool, silk or cotton are not self-extinguishing. In fact, they are likely to go up in smoke in very short amounts of time. Silk also tends to dry out faster than any other fabric; it can become so dry and brittle that it begins to flake or tear apart under its own weight or even the most negligible amount of stress. Sometimes it feels like even looking at a brittle piece of old silk too intensely will tear it. It makes conservation work tricky, and, for some reason, it is often some of the most beautiful pieces that are far too delicate to ever be displayed. Such is the burden of textile collections.

This beautiful jacket is lined with cream silk. The silk is extremely fragile and brittle, and has began
ripping apart as if it was attacked by a particularly enthusiastic cat. Now, the garment needs special
supports and a backer board - it can't support its own weight, even lying down. Photo by Rachel Dice.

What makes these collections even more interesting, however, is considering how fashions today will fit into them. Will future generations centuries from now curse me for not saving an old sweater, or for recycling old shoes? At what point do we decide what kinds of fashions are representative of an era? Will schoolchildren one day cluster around a faded pair of mom jeans like we cluster around Victorian gowns and World War uniforms today?

Here we have the classic museum student, wearing mom jeans
and a colour-blocked sweatshirt. Are these the kinds of textiles we can
expect to store in the museums of our future?
Photo courtesy of Rong Zou. 


Nobody can tell the future, but we certainly try our best to create stories of the past. If it ever comes down to it, which of your outfits would you put in a museum?

8 February 2019

HAIR RAISING FASHION

Sew What | Rachel Dice


Have you ever wondered how certain fashions took off?

Hair broach from the Aurora Museum and Archives
collection. It is intricately woven with more hair as a
backing, and has small hair-wrapped wire letters in the
shape of a J and an S. Accession #2001.5.2. Photo
courtesy of Rachel Dice
The clothes we wear and the accessories we choose have always been about self-expression. When we dress with flair or with somber blacks and dark colours, the average person gets a hint about how we’re feeling and what we want to present to the world. Funeral blacks have become the universally acknowledged Western indication of a loss through death. These colours represent the deepest mourning and respect for the dead. In our modern times, we usually only wear black to the funeral and after that colours are free to enter our wardrobes once more. This wasn’t always so.

In the Victorian era, mourning culture dictated that a recently widowed woman should wear full black for an entire year. After this period, she could then switch to half-mourning for another year, which meant she was allowed to wear grey, greyish-purples, and dark brown along with black. Ultimately, it was a dreary colour set and every person who set eyes on her would instantly know that she was in mourning. Mourning etiquette was so strict that it not only dictated the colours of your clothes, but it dictated what kind of jewelry you could wear as well. The standard gold and silver were allowed, but anything with bright bursts of colour like rubies, sapphires, and emeralds, or their shiny glass equivalents were strictly forbidden. Diamonds were permissible, since they are technically colourless, and pearls were favoured since they were often used to represent tears. The best embellishments for mourning jewelry, however, were made from the hair of the deceased.


Hair broach from the Aurora Museum &
Archives. This broach showcases a beautifully
woven oval of dark brown hair.
Accession# 82.7.3. Photo courtesy of Rachel
Dice.
Recently, it has become popular to have a necklace made with a silver ornament that is actually a canister in which people can keep a bit of the ashes of their recently lost loved ones. It’s a modern way to keep them close to your heart even after they’ve passed on. While this trend is meant to preserve memories of the dead and comfort the living, it’s a little bit different from the Victorian concept of mourning jewelry because there’s no etiquette book or similar set of social rules that demands you wear it. The concept of death itself has actually changed vastly over the last century; instead of it being a public event, death has become private and almost taboo to speak about in polite company. In the Victorian era, death and funerals happened at home. “Not only were people used to being around bodies that were dying and had recently died, but the kind of associations that we have today of the dead body being a gruesome thing or a frightening thing was a little different.” (source). 

In the Victorian era, mourning was part of the woman’s sphere. It was her wardrobe that changed, her social life that changed, and her pastimes that changed. Usually, a woman who had lost a loved one would take it upon herself to make mourning ornaments out of their hair and then have it set in gold or silver. Other common ways to use hair were the making of ornamental wreaths that were often framed and hung in the family home. These wreathes were usually added to following the loss of a loved one but could also be added to with living family members’ hair as well. Wreathes made of both living and deceased family members’ hair were often more of a sentimental family tree.

So why hair?
Hair wreath made by
Jean Malloy (b.1796, d. 1857) of Aurora,
from the Aurora Museum & Archives collection.
This wreath is made from several different family
member's hair. Accession# 988.30.
Photo courtesy of Rachel Dice

Well, hair is remarkably decay-resistant. Hair jewelry over 150 years old—while slightly tarnished on its metal bits—still holds the lustre and shine it had when it was first created. Most people believe that hair keeps growing even after you die, and while this is false—the skin around your hair contracts, making it look longer—the idea has persisted. Even Queen Victoria, who famously wore mourning for 40 years following the death of her husband Prince Albert, wore a choker necklace made with a lock of Albert’s hair.

The art and sentiments behind this jewelry is beautiful. At the end of the day, it’s a desire to remember a loved one and to honour family relationships—all while being fashionable. It might seem a little hair-raising to our delicate modern sensibilities, but fashion changes alongside society. My real question is, how would these look if Victorians dyed their hair all sorts of unnatural colours like we do today?





Extra Reading for the curious: A Victorian Guide for making your own hair jewelry published in 1867. Have you got the skills to bring back this trend?


If historic fashions and traditions are your style, the Aurora Museum & Archives is opening a new exhibition - The Wardrobes of Aurora: Dressing for Birth, Death, and Everything in Between. Curated by Rachel Dice, Carolyn Ben, Jessica Ho, and Rong Zou, the exhibition will feature these hair-art pieces and much more.

Intricately woven, braided, and twisted hair art
in the shapes of tubes. From the collections at
the Aurora Museum & Archives, this piece is
incomplete, and made of three different people's
hair. The box this was donated in says Grandma
Lana's hair, aunt Rosie's, and Louise. Photos courtesy
of Rachel Dice.

20 December 2018

WASSAILING WE GO: CAROLLING FASHION FROM AGES LONG PAST

Sew What | Rachel Dice


So what’s your holiday style: trendy, traditional, or drunken viking?

Victorian winter wear for women and children, circa 1850. Source. 
If you’re planning on being ultra-traditional and going out carolling this holiday season, the most important thing to think about is your aesthetic. The popular thing these days is to wear a horrible Christmas sweater—some of which light up or play music. Or maybe, you might want to stick with good old red and green, which isn’t as old as you’d think. Our red and green Christmas colours
This plush blue velvet coat with white fur collar and cuffs
from the Aurora Museum & Archives looks more like 
what Santa would have originally worn. Photo courtesy
of Rachel Dice.
come from depictions of Santa Claus working amongst his merrily-clad elves, but originally, Santa would have worn white and blue during the holiday season. A 1920s era blue velvet coat with its white fur collar and cuffs in the textile collection at the Aurora Museum & Archives is more in line with what he would have worn back in his early days. So how did Santa’s outfits become such a big part of the holidays? And what about carolling?

Well, it’s a pretty well-known fact that the Santa we know and love today got his outfit from Coca-Cola ads introduced during the 1920s. Due to the popularity of the drink, it’s understandable that his cool red outfit would become a popular Christmas icon, leading festive revellers to don a red and white hat in honour of the festive figure. The classic look became part of an old holiday tradition—carolling.

In our modern day and age, carolling has pretty much become something confined to a stage at a
Michael Goodchild in his performing blacks at
the Exultante Winter Concert, the modern
carolling event. Photo courtesy of Annelise
Danielle. 
Christmas market or at special winter concerts. Depending on the venue and the choir, the styles we see either lean towards performing blacks or holiday gear. If you’re lucky, you might even see some Victorian-inspired carollers in top-hats, bonnets, and hoop skirts. Despite our modern influences in colour choices—most Victorian-inspired carollers perform decked out in red and green—actual Victorian carollers would have just worn their winter clothing accessorized with some holly or other seasonal flowers to mark the festive occasion.

If the Victorian era isn’t quite your style, then perhaps the real roots of carolling are for you. Carolling is an extremely old tradition that actually pre-dates Christmas itself. Originally called wassailing, this pagan Yuletide tradition was much more than just singing songs. Wassailers would perform ritual chants, sing, act out small skits, and make a merry havoc in winter months. These activities were usually accompanied by a traditional drink—called wassail. This drink would have been somewhere between a mead, beer, and apple cider. Wassailing would usually happen in an apple orchard on the twelfth night of Yule to awaken the trees, chase away demons, and convince the trees to thrive over the next year. After finishing up in the orchard, wassailers generally pointed themselves in the direction of the nearest village and continued on their drunken way.

Traditional clothing for wassailers was the ever-present tunic worn by most medieval men, or a bliaut and kirtle worn by women. Since it was also winter, wassailers wrapped furs around their leggings and arms to keep themselves warm, and also added in a mid-length cloak that usually went to their
Typical medieval garb for men, rich and poor. Wassailers
would have the addition of furs and capes to keep themselves
warm as they launched into the night to wreak festive havoc.
Source.
elbows. The type of fur was important as well. Most wassailers were peasants, which means that they used weasel or mink fur instead of the softer furs favoured by the rich. If a fur-clad wassailer made their way over to you demanding figgy pudding or the like (since that song didn’t exist yet), then you had better give it to them! People who refused to comply to a wassailer’s requests were pulled into rowdy or racy skits and chants while other wassailers caused havoc around them. Now THAT sounds like a holiday tradition that we all need.

So how about we forget about the traditional and tame group carolling, and go all out this holiday season? A bowl of cider, some furry leggings, and a bit of mischief are all you need to get into the wassailing mood.


The modern version of "traditional" carollers. Source.
Whatever your style, enjoy the holidays and have an excellent new year!

25 March 2018

MMSt 2018: EXHIBITION PROJECTS PART II

RESEARCH COLUMN

BY: SERENA YPELAAR

Happy Sunday, readers! It's your friendly neighbourhood Editor-in-Chief again, with another installment of #MMSt2018 exhibition projects for your curious minds. Last weekend you got to hear about the ones that are opening first; this post will follow the same chronological structure and pick up where we left off.

So sit back, relax, and enjoy hearing more about our students' projects!


Temple of Fame: Staging Women's Roles (April 25-June 10, 2018)
Maeghan Jerry, Kara Isozaki, Sarah Kelly

Location: Aurora Museum & Archives, 22 Church Street, Aurora
Opening Reception: April 25th, 2018 5:30 pm - 8:30 pm

A century ago, the women of Aurora produced the Temple of Fame: A Pageant of Famous Women. The play featured historical and fictional female figures vying to be crowned by the Goddess of Fame. Our exhibition explores how the play illuminates the changing roles of women in 1918. Our project is a portion of larger centennial programming, which celebrates local women through a series of community events, including a remount of the play.

1918 production of Temple of Fame. Photo courtesy of the Aurora Museum & Archives.

Redefining Language in African Art Scholarship (April 30, 2018 –) 
Susan Jama
Working at Clara Thomas Archives & Special Collections! Photo courtesy
of Susan Jama. 

Location: Clara Thomas Archives & Special Collection, York University Libraries, Toronto

My digital exhibition, Redefining Language in African Art Scholarship, explores the history of language used to describe African art from colonial to post-colonial era. Redefining Language in African Art Scholarship reveals the transformative shift in African art literature written from the 1900s to 1980s.



Messages from the Mosaic (May 1, 2018 –)
Ellen (Mairead) Murphy, Zhuohua (Nicole) Yang

Location: Canadian Language Museum; messagesfromthemosaic.ca (digital exhibition)

Promotional image for the exhibition. Photo courtesy of
Ellen (Mairead) Murphy.
Our exhibition project is Messages from the Mosaic, a digital exhibition about the languages of Canada. Using text, infographics, and clickable elements, we want to curate a web exhibition that explores the history, trends, and challenges surrounding Canada’s transforming language mosaic. This is a bilingual exhibition (English and French) and will be launched in May 2018.




A Telepathic Book (May 5-15, 2018)
The Broadbent Sisters' Telepathic Book. Photo courtesy of
Broadbent Sisters and Robynne Redgrave, 2017. 
Aurora Cacioppo, Meagan Fillmore 

Location: Black Cat Art Space, 2186 Dundas St W, Toronto
Opening Reception: May 3, 2018, 6 pm (remarks at 7 pm) at Stephen Bulger Gallery, 1356 Dundas St W, Toronto

We are working with the Broadbent Sisters to translate the components of their sculptural photobook into an exhibition for CONTACT Photography Festival. For fourteen days, the artists used meditation to telepathically send and receive images to one another. Afterward, they revealed their photos to one another and found unbelievable connections! Using each day’s images, the artists produced A Telepathic Book, which displays these parallels while promoting meditative practice through its design.

Partners: The Broadbent Sisters


The History of the John Street Roundhouse: 1929 - Present (May 2, 2018 –)
Hannah Monkman, Abebe Mengesha, Alice Norton-Bell

Location: The Toronto Railway Museum, 255 Bremner Boulevard, Stall 17, Toronto
Opening Reception: TBD

Our project is to create a new entryway exhibit in the Toronto Railway Museum, which will set the tone for an upcoming museum-wide redesign. We’re exploring the rich history of Toronto’s rail lands from 1929 to the present day, looking specifically at the John Street Roundhouse where the exhibition will be located. Come learn the story of an area once dedicated to the railway, that’s now a bustling neighbourhood filled with iconic Toronto attractions!

The John Street Roundhouse in 1930. Photo courtesy of
Toronto Public Library Archives.

Anna taping up the exhibition space for Inner Spaces!
Photo courtesy of Kasey Ball. 
Inner Spaces (May 1-31, 2018)Cassy Kist, Anna Kawecka, Kasey Ball

Location: Ontario Science Centre, 770 Don Mills Rd., Toronto
Opening Reception: May 5th, time TBD

Our exhibit provides a brief glimpse under the microscope of research being done across Canada. Displaying images of cellular pathology captured in the lab, we hope to bring awareness to this amazing scientific work.






Collecting Moments: The Photographs of Dr. John E. Ackerman (May 17-June 13, 2018)
Charlotte Gagnier, Sarah Proulx

John E. Ackerman, Men outside Ackerman's Grocery Store ca.
1940s. Ontario Jewish Archives, Blankenstein Family Heritage
Centre, accession 2013-7-13. 
Location: Black Cat Artspace, 2186 Dundas Street West, Toronto
Exhibition Hours: Wednesday to Sunday, 12-7 pm
Opening Reception: May 17, 8-10 pm

Our exhibition consists of photographs reproduced from archival negatives taken by an accomplished amateur photographer, Dr. John E. Ackerman. We are very excited for the opportunity to work with such a rich collection, held by the Ontario Jewish Archives. The best part of fulfilling our role as curators has been looking through this beautiful collection of moments that portray the personal life of Dr. Ackerman as well as life in Toronto in the mid-20th century.


Lost and Found: Rediscovering Fragments of Old Toronto (May 2018-May 2019)
Hannah Hadfield, Tanya McCullough, Leora Bebko

Promotional image for Lost and Found. Photo courtesy of
Leora Bebko, 2018.
Location: Campbell House Museum, 160 Queen St. W., Toronto  
Opening Reception: May 17, 2018 – Panel Discussion from 6-7 pm, Reception from 7-9 pm

Our exhibition will feature six groupings of handcrafted carved stones salvaged by Rosa and Spencer Clark from iconic Toronto buildings in the postwar era. Positioned throughout the Campbell House Museum gardens and juxtaposed against the modern city landscape, we hope that our exhibition will inspire visitors to contemplate the city’s relationship to its heritage and imagine what the city will look like in another 50 years.


_______ 

Kudos to all these amazing groups and their fascinating exhibition projects - I'm looking forward to visiting them all. Be sure to check the exhibitions out in person at the openings or beyond! 

21 July 2017

MMSt 2017 INTERNSHIPS: PART FIVE

INTERNSHIP CHECK-IN

BY: TABITHA CHAN

Hi everyone! This is the last internship check-in post. Can you believe it? I hope everyone has enjoyed learning about other students' internships. For those of you who are nearing the end of your experiences - make the most of the time you have left!

Today's post features:

Susan Jama: Toronto Ward Museum - Toronto, ON
Maeghan Jerry: Aurora Museum & Archives - Aurora, ON
Cassy Kist: Smithsonian's National Museum of Natural History - Washington, DC
Tanya McCullough: Penn Museum - Philadelphia, PA
Emily Welsh: Ontario Science Centre - Toronto, ON

Describe what a typical day is like for you at your institution. What are some of your main duties and responsibilities?

Susan: 
Part of my daily routine, I begin my day with checking in my workback plan or Ganett chart to check the expected due dates of my assigned tasks. My primary responsibilities and duties include managing TWM’s social media, performing administrative tasks, curatorial research, providing public programming support, organizing the Block by Block Party and leading Programming Committee meeting.

Maeghan: Days at AM&A have been really varied. June was a really busy month for us, with the launch of our website, the opening of our summer exhibit, and the launch of an online exhibit with an associated community event hosted by us, on top of the usual responsibilities of the museum and archives. I am usually one of the first people into the office, so I try to do desk work for the first hour of my day (brainstorming and writing for our weekly column in the local paper, researching for reference requests, etc.). Then depending on what’s a priority that day or week I might be working anywhere: accessioning materials in the office, inventorying and reorganizing in the collections rooms, monitoring the environment in off-site storage locations, installing temporary or seasonal exhibits on and off-site, or working in the archives. I also sometimes attend meetings relating to projects I’m working on or record-keeping and records management at the Town of Aurora (a “bonus” to supplement my learning in the Masters of Information program).

Cassy: Every day can be a little different which keeps me on my toes! The Academic Resource Center Office (ARC), where I am based, handles all the museum’s academic appointments. My main responsibilities are to facilitate a smooth on-boarding and exiting experience for the museum’s interns and fellows, but also to serve as source of support throughout their placement. Specifically, I hold orientation sessions on a weekly basis for new appointees and assist in aspects of their security clearance. Near their appointment end date, I am responsible for holding exit meetings and doing informal program evaluations. As part of the ARC team, I also assist my team members to coordinate and conduct behind the scenes tours of collections and projects within the museum. As a team, through orientation sessions, tours and events, we help create a sense of community for interns and fellows in the museum.

Tanya: The Penn Museum is in the midst of renovating many of its permanent galleries. I am assisting the curatorial team that is redeveloping the museum’s Canaan and Israel Gallery. At this early stage in the project, the curators are interested in knowing what exactly the museum has in its collections and what stories they can tell based on those objects. On any given day, therefore, I am either rummaging through the shelves in storage for relevant artifacts, photographing those objects, updating the museum’s database (EMu), sitting in on curatorial meetings, or doing research about groups of artifacts in the museum’s library. Every summer, the Penn Museum hosts a summer internship program, and I’ve been able to tag along during gallery and storage tours with the Curators and Keepers as well as attend presentations by staff from each sectional department. This has given me a good overview of the workings of the museum.

Emily:  Please forgive the cliché but there is no typical day for me at the OSC, and I am beginning to believe this is true of all museums. The only constancy here seems to be the daily routine of checking your email account to accept meeting requests. My title at the OSC is “Artifacts Intern” and the majority of my responsibilities fall under Collections Management. Yes, you heard that right, the OSC does have a collection. Our main project has been an inventory and reorganization of the collection, increasing the care given to the objects as we go along. I have also been fortunate to participate in content research for the refresh of a permanent gallery. Although I have these main projects, challenges arise and new projects prop up, making no day quite like the others.

Susan at Toronto Ward Museum's "Not Just Numbers" event in Ottawa at the Global Centre for Pluralism.

What is something you have learned (this could be museums related or not) in your internship so far?

Susan: Co-developing public programs with migrant communities is often not discussed in class. So to be able to relate to what I’ve learned in class is difficult. In class, we learn about working with objects, not with people. This is usually with the assumption that we would work in a mid to large sized museum in the future. Although many museums focus on different aspects of human migration using objects as a medium to convey stories of human migration, very few museums focus on working with human storytellers. I enjoy working with the stories of the people because there is so much one can learn and benefit from.

Maeghan: Both my experience with the Zoo strike and my time at AM&A have really emphasized the importance of being flexible and open to changing your plans. With school I like to really immerse myself in one project and focus on finishing that before moving onto something else, but that isn’t possible in a small museum. There are so many things happening at once, and everyone is juggling their own schedules daily to make sure that we can finish what needs to get done. It also pays when we run into challenges, which were especially frequent during the installation of the current exhibit, Aurora Canada’s Birthday Town. Being able to let go of plans when they didn’t work out allowed us to move forward quickly and find solutions.

Cassy: In regards to the larger institutional picture, I have learned how vitally important museums can be in expanding fields of research and science by creating an academic ladder for blossoming scientists and museum professionals. I have also learned through coordinating intern tours and orientation sessions that cross-communication with individuals in different departments is necessary to create excellent academic programs.

Tanya:  This may seem self-evident, but what I have learned so far is how much work goes into creating a new permanent gallery! Developing a permanent gallery is, in some ways, a museum’s way of going back to the drawing board. It is a chance for the museum to revisit its collections, freshen up the gallery themes, incorporate new research, and make the museum relevant for a new generation. Since a gallery may remain the same for twenty years or more, there is a lot of pressure to get it right. This means that every effort is taken to create the right themes, chose the perfect artifacts, argue over the right word on a label, and present it all in a fun and informative way. Before this internship, I don’t think I fully understood the effort that went into re-designing a permanent gallery or the high stakes that were involved.

Emily: How to fold a box! Increasing the care for objects in the collection has required the folding of many boxes. Sometimes they come with instructions, often times they do not. It has taken practice to be able to look at a flat box, figure out how it goes together and do it quickly. We joke this would be one of the tasks we would have if we ever created our own Museum/Art Handling Olympics.

Maeghan installing vinyl wall panels for a summer exhibit at Aurora Museum & Archives.
What is something that has surprised you about museums that you did not know before working in a real one?

Susan: What surprised me is TWM’s earnest willingness to work with migration stories, since not many museums work with migration stories and actively collaborate with the storytellers. At TWM, the ideas presented by the communities are prioritized during the developmental process of public programs. As a community-engaged and migration museum, the exhibitions and programs are developed around migration stories and storytelling. As a result, the Ward Museum provides a public platform to the voices of Canadian newcomers. All of the Ward’s public programs are developed around migration as a premise. The public programs are not just developed by the museum staff but also are co-developed by the communities the Ward serves and works with. I feel that this is something museums do not often do. They create the public programs first and then involve the people, whereas this is a reserve process for TWM. The core principle the Ward Museum emphasizes is inclusion.

Maeghan: I am endlessly impressed by the amount that can be accomplished by a small team. Up until April, my supervisor was the only employee of the museum. Since then, the team has grown to include a second permanent employee, a full-time summer student, a part-time summer student, and me. Even with this growth, we have work coming out of our ears! I have no idea how the curator got so much done on her own.

Cassy:  It has been a pleasant surprise to witness the passion that the Natural History Museum staff and researchers come to work with seemingly everyday. Their dedication and willingness to share is truly inspiring.

Tanya: Although not a surprise, the biggest adjustment for me when dealing with archaeological collections in museums is to remember that these pieces will be put on display. This means that only the “best examples” of any group of objects, such as, for instance, whole ceramic vessels or metal objects with little corrosion, will do for display purposes. What will be put on display and, consequently, what stories will be told, will depend on the vagaries of the state of preservation of any given archaeological context! Rather than thinking about the objects as a collective whole, I need to remind myself to treat the artifacts like individual pieces of art with their own unique histories.

Emily: I feel like I must have known this was true, but I never genuinely realized the extent to which building an exhibition or permanent gallery is a team effort until being part of a project at the OSC. There are so many details and considerations that go into building an exhibition that I had never realized before from my perspective as a visitor or a Museum Studies student. Building a team that has a diverse set of skills to complete all of the tasks required is essential, as well as having a project manager adept at keeping the project on track and ensuring the outputs of the group form a coherent end-product.

Cassy in the rotunda of the Museum of Natural History with Henry the elephant!
What is an obstacle you have faced during your internship and how did you overcome it?

Susan: Emails! Emails! Emails! Putting a professional email draft together was difficult at first. When I put an email together, I always ask myself, does the email contain all of the necessary information? Is it polite? Is it professional? So…..at what point in my email relationships can I use my signature smiley face emoji? The few times I’ve drafted an email, I’ve asked my supervisor to check before I send the email to project partners and team members. But now, I’m pro in emails!

Maeghan: Seeing my internship with the Toronto Zoo fall apart when CUPE Local 1600 went on strike was easily the hardest thing that I have dealt with this summer. I was really excited to spend my summer surrounded by animals. I had also built my summer plans around the timeline and work schedule I had negotiated with the Zoo. Finding a new internship halfway through May was a daunting task, and has created a lot of annoying repercussions in my academic and personal life, but I am ultimately satisfied with the way things worked out. I am learning so much from AM&A, and have had the opportunity to engage with a really broad range of functions in the museum and the archives. If I could go back and make a different decision, I would apply to AM&A from the very beginning!

Cassy: I found it difficult to be away from loved ones during my internship.

Tanya: I was once a student at the University of Pennsylvania and spent many, many days in the Penn Museum library. Some of the Museum staff and curators have only known me as a student. So, one of the things I’ve had to overcome is the perception of me as a student (to myself and others) and to think of myself as a museum professional in training. Some simple ways I overcame this perception was to dress up every day, approach people as equals, ask to participate in meetings, reach out to staff I did not know previously, and to treat my internship as a 9 to 5 job.

Emily: My Microsoft Excel skills were definitely a little rusty at the beginning and still today there are many functions I don’t know about the program! Building spreadsheets is an important part of Collections Management in my opinion, as Excel easily allows you to organize data. Understanding where to turn for help, whether that be Google or your most proficient desk mate in the case of Excel woes, is key to overcoming any obstacle.

Tanya in action at Penn Museum.
What are some suggestions/advice you would give to a future intern who is hypothetically starting their internship in the same role as you?

Susan: Don’t be shy to ask questions! Be assertive! Know your limits before saying yes to everything! And most of all, enjoy the learning process.

Maeghan: Be open to trying anything that’s offered to you! I started my internship hoping to build my experience in collections management, and that has certainly happened. But I’ve taken an “I’ll give it a shot!” attitude to everything AM&A has offered to me, and I’ve learned so much, both in terms of how to do things, but also in terms of what I do and don’t like. Communication in my institution is really open, so it’s not hard for me to try something and then at the end of the task say, “I don’t think this is for me,” and ask to do something else. And of course, along with the “something I learned,” stay flexible!

Cassy: For future interns whose placement is out of the country, I recommend keeping busy, remember why you're doing your internship and understand that now is the best time and place to make friends and connections. Go out for drinks with your co-workers and if there are socials at your museum or institution be sure to attend!

Tanya: Take advantage of every opportunity offered to meet new people, go on behind-the-scenes tours of different parts of the museum, and attend presentations on various topics. You’ll learn so much about the culture and history of the museum. Also, don’t be afraid to ask to participate in meetings or to take on a new task. People are generally happy to teach you – and remember, you’re helping them too!

Emily: Buff up on your artifact handling skills and packaging skills. A large part of my internship has been moving artifacts and packaging them to increase their care. Knowing how best to pick up and move an object is key as well as learning how to give the best care you can to the object with the archival materials at hand or within your means. Additionally, something I hope to do more of and would suggest to anyone else entering this collections management internship, is reading as much of the CCI’s Agents of Deterioration and preservation notes as you can. Knowing how a variety of material types will age & deteriorate and the preventive measures we can take is key to any collections management role.

Emily taking a desk selfie!
What’s your passion?

Susan: My passion is to give a voice to the people who were systemically excluded from museum settings. To work with migration stories and empower the storytellers, by telling them your migration story matters!

Maeghan: So vague! In relation to my program at the iSchool, I’m really interested in convergence of libraries, archives, and museums as information institutions. I also love organizing things, researching, and baking. This summer has also highlighted my tendency to wear black, which shows all the dirt and dust I inevitably come across in the basement corners of the historic building the museum is housed in.

Cassy: I am passionate about the potential museums hold for benefiting the public and academia. I love sharing the knowledge that a collection can hold and the stories they can tell, whether that is with academic appointees or with the public.  

Tanya: My passion is archaeology, history, and working with material culture. Sometimes, in storage, I just touch interesting artifacts, just because I can! I guess it’s a bit cliché, but the reason I love handling artifacts is because, when you do, you are “touching history.” My job as a museum professional, as I see it, is to transmit the awe and excitement I feel about an artifact to the museum-going public so that people can feel the same emotions too.

Emily: Science! I feel like anyone in the program who knows me would hear me saying this exclamation way too often. Although my background is in life and medical sciences, I am especially interested in how objects from all disciplines can be used to communicate scientific concepts to audiences and to build a variety of skills in visitors. Through this internship I have reinforced a belief that I can best aid this mission by providing collections management care to scientific collections and balancing the need for preservation and use of these objects.

Thank you Susan, Maeghan, Cassy, Tanya and Emily for participating in these interviews for our last internship check-in. I've really enjoyed getting to compile these chats and to see how unique each internship experience has been. See everyone in a few weeks when classes begin!