MOVING FORWARD WITH BOLDNESS: RISK, REDEFINITION AND RESERVATION IN THE MUSEUM

Jordan Fee | Weekend Edition

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Risk in a professional setting is often perceived as something unwanted – something to avoid at all costs. We want to be calculated in our decisions, and to be sure of their successes. Rather than seeking risk out, many of us choose to cast doubt upon it.

Such is the mythology of risk.

However, on February 7th, the Museum Studies Students Association (MUSSA) took yet another step towards dispelling such myths. As part of the 50th Anniversary of the Museum Studies Program (MMSt50), MUSSA invited four incredible panelists – Jim Shedden (Manager of Publishing at the Art Gallery of Ontario), Shaniqua Liston (Operations Manager at Kingston Penitentiary Tours), Kathleen Brown (Chief Operating Officer of Lord Cultural Resources), and Karen Carter (Founding Executive Director of Myseum of Toronto) - to speak on their respective approaches to risk in professional settings.

From left to right: Melissa Smith (Moderator), Shaniqua Liston, Jim Shedden, Kathleen Brown and Karen Carter.
Photograph courtesy of Kesang Nanglu. 

Guided by moderator Melissa Smith, the panelists riffed and responded to questions such as: How do you define risk in your own setting? What is the biggest risk that you have taken in your career? and do types of museums tend to take more risks than others?

"At Kingston Penitentiary, we try to do something new everyday." -Shaniqua Liston
Photograph courtesy of Kesang Nanglu.

While we tend to think of risk as something that is intensely consequential, each of the speakers took time to underline - and celebrate - the smaller risks that are taken by a number of institutions on a daily basis. Speaking of the tours provided at the Kingston Penitentary, Shaniqua Liston noted that risk in her institution generally requires a constant negotiation with her visitors, each of whom bring their own unique perspectives to the institution’s history. Kathleen Brown also shed some light on this endeavour, noting how she, as an entrepreneur, takes risks everyday when consulting with her clients. Adding some humour to this discussion, Jim Shedden noted how in the museum business, many risks are in fact taken for us, rather than by us.

A member of the audience asks the panelists a question. Photograph courtesy of Kesang Nanglu.

So, it is clear that there is such as thing as risk-in-practice. However, as we know, taking risks isn’t only about acting, it’s also a question of approach. Many of the panelists spoke about a psychological approach to risk-taking, noting how important it is to prepare both ourselves and others for risk. Karen Carter offered some particularly insightful comments on her mental approach to risk-taking, where convincing others to take risks usually requires “translating a road-map” that she has already planned out in her head.

Ultimately, much of the discussion revolved around negotiating with risk. Some institutions can take bigger risks than others, and some are much more risk averse when it comes to exhibitions and collections. Also, some professionals in the field might have a much different understanding of risk, associating it with failure and loss, rather than excitement and learning.

Following the panel, attendees enjoyed food, drink and conversation. Photograph courtesy of Kesang Nanglu.

While museums may seem like calculated reservoirs of information and knowledge, we should all try to break the mold of purely logical thinking. Yes, we all want to be successful professionals, and rightly so. But being a successful museum professional isn’t just about following past practices; it's also about establishing new practices that help to extend the power of the museum and reach new audiences. Risk is about thinking outside of the box, being bold, and overall, getting outside of your comfort zone. Speaking of her own practice, Karen Carter noted how she is most comfortable when she is uncomfortable. (“I abhor comfort.”) I believe that we should all take a page out of her book, and approach situations that unnerve us and challenge our beliefs.

MUSEFLASH: RISK TAKING AND DIGITAL STRATEGIES WRITING WORKSHOP

Weekend Edition | Samantha Kilpatrick

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In our first ever Musings Writing Workshop, we were joined by Sarah Hill of Lord Cultural Resources to talk about new spaces for museum writing and content delivery in the digital era. "Soon," she notes, "we're not going to be talking about museums that are using digital content and museums that aren't. We're just going to be talking about museums."

Sarah Hill discussing digital projects in museums across the country. Photo courtesy of Amy Intrator.

Writing for a museum's social media accounts is a chance to help a museum develop its voice just as much as internal content like text panels and labels. To stand out in a digital landscape saturated by content requires risk. The Museum of English Rural Life (MERL), for example, has developed a distinct, irreverent and extremely recognizable online voice.

Ladies, if he:

- won Male champion at the 1948 Royal Counties Show, and was owned by P. Prest, Chapel Farm, Malton, Yorkshire

Then that’s not your man, it’s a Berkshire Boar, Male champion at the 1948 Royal Counties Show, owned by P. Prest, Chapel Farm, Malton, Yorkshire pic.twitter.com/t5IEcP6XQY

— The Museum of English Rural Life (@TheMERL) November 25, 2018

Image via the MERL's twitter. The MERL has 75.5 thousand twitter followers.

However, one can imagine how arguing for the twitter voice of the MERL to be witty and light on its feet enough to respond to the meme of the day would have been a risk.

In a digital age, every interaction the visitor has with the museum matters. Interactions on the website, on Twitter, on Instagram, through their app, in person, all affect visitor perceptions of the museum. Omnichannel communication requires that every touch-point is in the spirit of your museum, and that, more than anything else, is what digital content requires-- a unified voice across every medium.

A post shared by Musings - MMSt Student Blog (@musingsmmst) on Nov 28, 2018 at 9:59am PST

Image via the Musing's Instagram. Sarah Hill, running the show.

In the museum industry, we often speak of meeting the visitor 'where they are'. Is where they are now online? Should we assume that every museum visitor is equally interconnected? Of course not, but it's certainly worth remembering that writing content for digital requires flexing different muscles than writing static panel text. Neither is better or worse. We are just meeting the audience in different places. Online, people skim and can tab away from your content at any moment, whereas in person, visitors are spending significant time in your space, but perhaps not stopping at any of your panels. This is a challenge. It's always been a challenge and will continue to be a challenge in perpetuity. These complications make our field more rich and interesting, not less.

Our writing experience is richer for having had her. Thank you again, Sarah Hill.

LORD INTERNS TALK COMMUNITY CONSULTATION, DETECTIVE WORK, AND A WOMEN’S MUSEUM

INTERNSHIP CHECK-IN

BY: KATHLEEN LEW

Welcome to a SPECIAL edition of Internship Check-In! This week, I had the privilege of hearing from three MMSt students who are completing their internships at Lord Cultural Resources. Read on to learn about their experiences!*

Meghan Drascic-Gaudio is working with Lisa Wright, Senior Consultant: Interpretive Planning, Content Development, with a focus on exhibition planning and interpretation.

Hailey Graham is working with Rebecca Frerotte, Librarian & Research Consultant, with a focus on research and content development, communication and marketing, and information management.

Lucy Beale is working with Sarah Hill, Senior Consultant: Heritage and Historic Sites, with a focus on strategic planning and interpretation.

 

[Left to Right] Hailey, Meghan, and Lucy at Lord Cultural Resources!
Photo courtesy of Lucy Beale.

What is Lord Cultural Resources and why is it a fulfilling place to intern?

Meghan, Hailey, & Lucy: Lord Cultural Resources is a consulting firm that carries out exhibition and facilities planning, business development, and strategic planning for cultural institutions all over the world. Clients include museums, galleries, heritage sites, botanical gardens, parks, city departments, sometimes even entire cities, to develop their cultural capital. We can’t actually tell you what projects we’re working on as part of the confidentially clause in client contracts. Some projects are close to home and some are very far away, some are short and small projects whereas others are high profile and multifaceted.

Lord is a fulfilling place to work because it is the premier cultural consulting company in the world. As a result, we get to work with and learn from unbelievably talented consultants from all areas of the firm. With numerous projects on the go at any given time, this experience allows us to work on a diverse range of projects. We are lucky to not have all our efforts concentrated on just one area of museum studies, we are becoming well-rounded and well-versed in all areas of cultural development.

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

Meghan: My museum-related interests are in exhibition development and management. This includes holding brainstorming workshops for exhibitions, writing interpretive plans, designing an exhibition layout, and coordinating all personnel, objects and texts during installation. I love this area of museums because you are responsible for making both the curator’s vision a reality and ensuring that visitors can experience a dynamic exhibition. Many times, I find that there is a disconnect between what the curator envisions as a great exhibition and what actually resonates with audiences. I love the challenge of bridging this gap and ensuring both sides are satisfied.

Hailey: This fall I will be entering the 3rd year of the CRO (now the CDP) program. I’ve always had an interest in culture and history, so after completing my undergraduate degree the MMSt and MI programs seemed like the right choice. I spent my undergrad working at museums in Ottawa and Trenton, and found myself wanting to pursue this path. When I entered the program I had an interest in collections work, but now I find myself more interested in the front end of museum work. I am still trying to find my niche. I’m most interested in the digital transformation of museums, visitor engagement, donor relations, and public programming. Ultimately, I want to make museums more open, accessible spaces for everyone.

Lucy: I was the projects and program manager for a writers’ organization in London, responsible for getting paid work for poets/spoken word artists/novelists/graphic artists. I started managing writing residencies in museums and galleries across London/south east of England; it was an amazing job. Working so closely and creatively with curators, visitors, volunteers and communities was empowering in the way it let people engage with these spaces they either took for granted or never set foot in. I became interested in breaking down pre- and misconceptions about cultural sites, reinterpreting how they can be used by communities and unearthing lost stories to tell them in new ways.

 

Lucy at Lord Cultural Resources. Photo courtesy of Lucy Beale. 

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

Meghan: As the exhibitions intern at Lord, I am responsible for assisting the consultants with the numerous projects that they are juggling. These projects are taking place across Canada, the United States, and South America, and span everything from traditional museum exhibitions to public gardens, historic institutions and conservation spaces. Therefore, this means that there is no typical day. One big project that I have assisted on is the “Content Development” package for an exhibition. This included taking an interpretive plan written by a Lord consultant and conducting the research needed to make the exhibition’s plan a reality. This project is particularly exciting because I have the opportunity to attend meetings with the exhibition’s designers and fabricators. At these meetings, I assist the team in determining how best to convert scholarly research into a physical exhibition space that is both engaging and informative for visitors.

Hailey: Busy. There is always something to work on, whether it is specific project work or internal workflow. As many have said before, there is no typical day. I work with the Research Consultant, so primarily my work involves research support for comparables data, image sourcing for exhibits and presentations, and content research for exhibits, awards, and presentations. These tasks are assigned day-to-day, with some spanning more than a week and others just a few hours, and are for institutions all over the world. I have worked on sourcing data for sites in the UK, the Middle East, Asia, Canada (PEI), and the United States, and compiled research for science centres, cultural districts, museums, libraries, art galleries, and gardens. In addition to this, I help with writing marketing and promotional materials that are distributed digitally, and have an overarching project of creating a knowledgebase for comparables data.

Lucy: It’s very cliché, but there is no typical day. I check in with my supervisor Sarah first thing, and I am given research or responsibilities to complete for whatever project is the priority that day. The projects I mostly work on are heritage-based, and range from interpretation, business or strategic plans, sometimes a combination of two or all three. But, you can get pulled into helping any of the consultants at any time on anything they need a hand with. You quickly become an expert on the most random things – the average age of heritage workers across Canada, the original town limits and street names of 1796 Toronto, institutional governance models from the Pacific North West - on a daily basis.

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

Meghan: The most crucial lesson that I have learned at my internship is to ensure that each exhibition has a set of “deliverables”. Deliverables consist of separate elements of an exhibition’s development, such as interpretive plans, draft text panels, exhibition design layouts, etc. At the start of an exhibition, it is crucial to plan the exact dates when each deliverable must be given to the client. Deliverables are essential for keeping the exhibition team on track, ensuring that all elements of an exhibition are given enough time to fully develop, and making sure that clients have enough time to respond to any changes. With this process, all elements of an exhibition’s development are given individual attention, ensuring that every element of the final product has been well-thought out and meets the highest standard.

Hailey: We talk a lot about community consultation in class, and more specifically about the benefit of it. However, after having worked with data collected from community consultation, I can also now see why institutions choose not to partake in this. I think that this demonstrates that there are certain instances where community consultation can fall short and not be helpful – so, I guess learning about the realities of the field is what I see as having the most benefit in the long run. I’ve also learned that my writing style is too academic, and present tense is the way to go (always listen to Barbara Soren!). Most importantly, I’ve learned that there is a need for cultural preservation all over the world. Lord has a considerable number of projects on the go, demonstrating that people are actively seeking cultural experiences and institutions (and not just museums) are looking to make these experiences more fulfilling to their communities.

Lucy: Lord’s success is built on their ability to work with an institution to quickly identify what it needs, and assist them in instigating a plan to develop practical and innovative solutions. Working with the methodologies and draft templates of how Lord approaches each client, yet tailors it to the demands of each project, has been fascinating to be a part of and pick up. Also, I will never underestimate the importance of colored post-it notes for the strategic planning workshopping process.

 

Hailey at Lord Cultural Resources. Photo courtesy of Lucy Beale. 

What are you excited about accomplishing throughout your internship?
Meghan: One project that I am particularly excited about accomplishing is for a public garden in Canada that Lord is developing. This garden will also contain an exhibition that will feature stories from members of the community. In class, we spend a large amount of time discussing community consultation, but we have not had a real opportunity to put this into practice. For this project, I have created an enormous master list with contact information for over 100 people. In the coming weeks, my supervisor and I will be getting in touch with all of them. From there, the majority of these individuals will be interviewed, and I am responsible for assisting in the recording and transcription of these interviews. As well, I am working with my supervisor to determine which stories are the best fit for the exhibition. I am excited about getting first-hand experience in all aspects of community consultation, and using these new skills to improve future exhibitions that I am involved in.

Hailey: I’m most looking forward to some of my work at Lord becoming something tangible in an exhibition. I’m also really hoping that the knowledgebase I develop will be implemented.

Lucy: It’s very satisfying and surreal to think that what I am doing in the background here has a chance to be a lasting piece of institutional policy or physical design. I have really enjoyed being a detective doing comparable and investigative research and being shown how Lord approaches the business side of the cultural sector has been invaluable. Finally, if we find something in the ROM archives I’ve been researching obsessively to unearth and can use it in an interpretive plan then I’ll be satisfied.

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

Meghan: If I could create any museum it would be about female imprisonment in Ontario, specifically Toronto, from the 1800s to the present day. In my fourth year, I wrote my final paper on female imprisonment at the Andrew Mercer Reformatory for Women, previously located in Toronto. Using census records and archives I attempted to determine what incarcerated life was like in the early twentieth-century and what happened to these women upon release. This museum would address female imprisonment to the modern day, and the ways in which it has both evolved and stagnated. I would want this museum to make people think about our justice system and whether it is a “successful” system or one that needs reform.

Hailey: If I were to create any museum, my true crime loving self would definitely create one about Canada’s criminological past, present, and future.

Lucy: I want there to be a world-renowned museum celebrating extra/ordinary women. The remit would include research into forgotten women of recent and ancient history - scientists, freedom fighters, rulers, journalists, carers, explorers, artists, those using male psydenums – to accurately relate human history and commemorate the achievements of those who may have forgotten or erased.

Meghan at Lord Cultural Resources. Photo courtesy of Lucy Beale. 

*These interviews have been edited for length and clarity

FINDING DIRECTION IN INDIA'S MUSEUMS

MUSINGS ABROAD

BY: KRISTEN MCLAUGHLIN

India is a nation bursting with rich history, archaeology, monuments, and intangible heritage like dance, song, costumes, and more. It is a country bustling with life and vibrancy and fast-paced change. However, many of India's museums do not match the quality of sites and collections. On the cusp of an economic shift, attention has turned to just how India is displaying this heritage and history and the possible benefits of creating more popular, engaging, and organized museums.

There is a need to identify opportunity through museum planning and management in India's museums. Currently there is much lamentation within the country regarding a lack of audience, disorganization, government control, and skilled labour. This article will look at some past discussions about India's museums and possible directions for the future. Despite current obstacles, there is growing movement within India, particularly with youth, to increase the strength and message of India's museums. It is an exciting time!

Brief History

Indian museology dates back to the late 18th and 19th centuries, when the Asiatic Society was formed in Kolkata (Calcutta) in 1784 by British colonizers creating documentation records on the cultural heritage that existed in India. Their first museum, the Imperial Museum, is now the Indian Museum and one of the largest in the country.

The Indian Museum in Kolkata. Source.

Even before this, though, the rulers of India and lesser nobles often collected stone and bronze sculpture, textiles, paintings, and other artifacts, similar to neighboring countries and ancient Southeast Asia.

Because of this history, one may expect India to have some of the most advanced museums in the world. This is not the case. There are many contributing factors to the lack of strong museum presences in the country, but it frequently comes down to a lack of physical and economic resources; museums are not the priority of most countries, particularly when there are larger, more life and death issues to deal with. There is also a perception among citizens that museums are mainly for tourists, so improving museums has not been on the social and economic development calendar. According to Barry Lord of Lord Cultural Resources, most museums in India lack basic requirements for professional operation.

The Numbers

India's government-run museums recorded less than 100,000 visitors for tickets priced at 30 cents, as compared to the Louvre's 8.6 million visitors with full-priced tickets. However, this is not a new occurrence. In 2009 India's Ministry of Culture released an impressive 14-point agenda promising reform for museums, such as more interactive displays, outreach and educational programs, and more. In 2011 however, a UNESCO report revealed that the country's major museums still suffered from a lack of maintenance and sometimes basic lighting and signage. 

"But at the core are deep-rooted issues of archaic policies, lack of autonomy, and no skilled manpower. Our excellent collections are proof of a rich socio-cultural history, but when museums act as mere closed-door guardians of treasures instead of disseminating them, attractively and intelligently, to a wide audience, they lose their purpose."  -- Madhumitha Srinivasan, The Hindu

Much of this is the result of art and culture being consistently marginalized in the country's budgeting, as all museums rely on the government for staffing, day-to-day operations, and basic supplies. However, the government is not willing to pay the fees necessary for training, staff, and preservation that would entice the experienced people needed. In India's 2017-2018 budget, less than 1% (about 0.13%) has been given to the Ministry of Culture, which manages libraries, cultural institutions, archives, as well as museums.

The Big Concerns

According to Vinod Daniel from the Australian conservation network AusHeritage, there are six major problems facing Indian museums today.

1. Director: appointing a permanent director to allow for time to transform a vision into reality.
2. Autonomy: All museums in India report to the government, which can be challenging. Implementing a system such as a board would allow for more freedom.
3. Staffing: Most staff in museums in India do not have any form of training, whether that be collections, curation, interpretation, programming, etc. A proper selection process should become the norm. Organization is a serious problem.
4. Audience Engagement: Currently, citizens of India are not particularly attached to their museums. Last year, a fire burned up 70% of the collection in a national museum in New Delhi, and most people did not know it had happened. A problem is a way to make audiences want to come and to make them feel connected, citizens as well as tourists.
5. Collections: Museums need to rethink how they manage their collections. There are no collection development strategies in Indian museums, which would help with organization, streamlining accessioning processes, and more.
6. Intangible Heritage: India is particularly unique because of its strong intangible culture in song, dance, art, textiles, etc. A way to bring these aspects into the museum fold may help with development strategies, tourism, and more.

Source.

Solutions?

• -Allow for more museum autonomy; implementing boards, trusts, and other operating structures rather than government
• Create a museum that is important and topical to gain attention from civilians: as suggested by Indian MP Shashi Tharoor, a museum on British colonialism in India and the detrimential aftershocks would be a strong starting point in gaining the attention of citizens and the importance of museums in preserving relevant history
• -Consult with museums around the world and create global ties: for example, this year the ICOM (International Council of Museums) International Committee on Museum Management conference is taking place in the Vishakhapatnam and Araku Valley in Andhra Pradesh!
• -Bring in employees and interns from across the globe for different perspectives and experiences
• -Look for unique strategies that use little money and resources (such as looking to small museums in other countries)
• -Pick the strategies that work best for your specific institution. Start small, such as writing policies.
• -Fight to get the community interested and invested in your museum in order to create social capital.

India is a country with a large and diverse history and endless possibilities for the future when it comes to promoting these aspects. When it comes to museums, though, it seems the country is stuck in a rut. India may have to break away from the traditional government-run only museum model and find the policies, practices, and goals that work for their museum's specific needs. However, at present there seems to be no positive shift in museum management in the country. With a growing interest from India's youth in working in museums and the importance of audience engagement, perhaps they will be the ones to create new solutions to old problems.

ENTER THE MMSt CLASS OF 2017 #LET'SGETPROFESSIONAL

INTERNSHIP CHECK-IN

BY: MAYA DONKERS

Hello again, Musing's readers! It has been a minute since my last article, and I am embarrassed to admit I just caught up on all-things-Musing's. From the Grad Guide to What's Happening Wednesdays, I feel caught up on the life and times of MMSt students - but what about the interns? The first instalment of internship check-in is here to catch us up on the amazing opportunities underway for my classmates who are fast approaching the half-way mark of their internship placements.

As for me, I started my internship April 25th, which means I am at the end of my FIFTH week and officially half way through my placement at Canada's National Ballet School.

I'm all about that Sharing Dance get-up. Photo Source: Danielle Rutkowski.

As much as I could talk about my own internship for the entirety of this post, I'm not about to 'check-in' with myself and have instead asked four outstanding interns to share their stories... Enjoy!

Anthony, Collections Management Intern at Black Creek Pioneer Village 

When did you start your placement? May 9th, 2016

Tell us about what you're working on! As a collections management co-op student at Black Creek, I am in charge of cataloguing objects and integrating them into Black Creek's Collection. My main project is to create a discovery station using objects in the collection in order to better inform the public about life in the 19th century.

What do you enjoy the most? I like the fact that I get to see how my work actually directly impacts the institution for the better and improves the public's understanding of the past.

What are you most apprehensive about? I think the thing I was most apprehensive about was the distance. Everyone said how far Black Creek is, but with the express buses from Jane, the commute is manageable and can actually be fun!

What is the most important think you've learned so far? Never underestimate the importance of object research. Sometimes you might think an object is for one thing, when it is really for something totally different.

Spinning the First House at Black Creek. Photo Source: Black Creek Pioneer Village.

Dana, Collections and Registration Intern at the Aga Khan Museum 

When did you start your placement? April 25, 2016

Tell us about what you're working on! I am currently working on an Emergency Preparedness Plan for AKM (conducting risk assessment and identifying assets of the museum; researching best practices for emergency response and recovery procedures and creating the Emergency Preparedness Handbook; sourcing and procuring supplies for the Emergency Preparedness Cart). I am also developing a provenance research policy and a variety of collections management tasks, including: processing acquisitions, incoming loans, condition reporting, collections inventory, and training in the collections management software - The Museum System (TMS). 

What do you enjoy the most? The fact that I'm treated as a member of the team, not simply a student or intern. My opinions and ideas are welcomed and encouraged, and my supervisor has invited me to shape the internship according to my own interests. 

What are you most apprehensive about? I was concerned that I may not receive enough guidance or perhaps be left to my own devices during the internship. I was excited to have my own projects and end with something that I could call my own, but I didn't want to be left unsupported either. I really shouldn't have worried about this, the entire staff at AKM is wonderfully supportive and no question is treated as too small. They understand that, as an intern, you are there to learn and they are there to teach you. 

What is the most important think you've learned so far? My very first week was trial by fire. I came into the museum during the installation of the new exhibition Marvellous Creatures and it was all hands on deck. With couriers, conservators, designers, collections staff, and curators running around and passing out tasks I learned pretty quickly that teamwork is essential. Tensions run high, mistakes happen, but so long as your team continues to support one another you will come out of things with a beautiful exhibition (and no casualties)! 

Some artifacts on display at the AKM. Photo Source: CTV News. 

Emily, Exhibitions and Events Intern at Lord Cultural Resources

Contributor's Note: When I approached Emily about sharing her experience for Musing's she informed me that she isn't allowed to discuss her projects, but would share what she could. As each internship is unique, I thought it was a great opportunity to include a different version of a check-in to this shared experience. 

When did you start your placement? May 2, 2016

Tell us about what you're working on! I am an intern at Lord with the Exhibitions and Events team, where I am working on content development, interpretive strategies, sourcing images for various exhibitions, as well as examining best practices for a variety of different institutions. 

What do you enjoy the most? By working on many different projects at various stages of their development, I'm exposed to multiple types of content and processes. I appreciate my team's support, being treated as an equal, diving right into projects, and always being able to ask questions when needed. 

The MMSt summer must-read. Photo Source: Lord Cultural Resources.

Kate, Research and Exhibition Development Intern at Bytown Museum 

When did you start your placement? April 25, 2016

Tell us about what you're working on! I am writing labels and exhibit text for the Bytown Museum's 100th Anniversary Exhibition (opening Feb 2017) and I am assisting the Exhibitions and Collections Manager as needed (exhibit installation, monitoring galleries, etc.)

What do you enjoy the most? I think what I enjoy the most about my internship is knowing that the objects that I helped choose and the research and content that I produced will be used in an upcoming exhibition. I am very much looking forward to visiting the Bytown Museum in 2017 and visiting an exhibit that I helped build! 

What are you most apprehensive about? Apart from emails for administrative things, I had only spoken to Grant (my supervisor) for 5 to 10 minutes before I started my internship. I was (unnecessarily) worried that I had misunderstood what my duties as an intern would be, or that the project I would be working on wasn't actually as cool as Grant made it sound. 

What is the most important think you've learned so far? It's hard to have someone shadowing you - be sure to let your supervisor know that you want to go to the meetings that they do, and help even with what they think are menial or routine tasks. The beginning of an internship is a learning curve for both the intern and the supervisor, so make sure your expectations and needs are clear from the get go. 

"Helping"install the bust of Lady McDonald. Photo Source: Kate Seally.

Well, it looks like we are all caught up with the first round of interns! I would like to thank Anthony, Dana, Emily, and Kate for sharing such amazing insight and experiences. I wish each of you all the best in the remaining time at your placements. 

I love to hear more stories so feel free to share your internship experiences, favourite tasks, high points, crying in the washroom low points... in the comment section below! 

We feel you Dwight Schrute, we really do. #let'sgetprofessional