SAD, SICK, AND SENSATIONAL STORIES: A REFLECTION ON THE ROLE OF HORROR MUSEUMS

Museum Mysteries | Jefimija Vujcic

---

  
What do haunted places, clowns, microbes, breakups, cursed objects, and supernatural creatures all have in common? Besides the obvious creepy factor, they have also all had exhibits or entire museums dedicated to them at one time or another. Horror museums are a phenomenon widely discussed in movies, television, YouTube videos, news articles, and tourist websites. While they are perhaps little understood, beyond the sensational aspect, they do help us grasp the reflective role of museums in our societies.

A model of the bloodsucking creature Yara-ma-yha-who (originating among indigenous Australians). / Bloodsuckers: Legends to Leeches (ROM feature exhibit, November 2019–March 2020). / Photo courtesy of the editor.  

The idea for this blog post actually came about a few months ago, when I was watching an episode of The Good Place. In order to stay spoiler free, let’s just say some characters end up on the run in hell (yes, literally!). In disguise, they find themselves stuck in a hall of the “Museum of Human Misery” where animated human dioramas depicting low-level torture form the vast majority of exhibits. Their charade is up when one brand new diorama is unveiled — featuring our heroes torturing one another. Although certainly strange without context, this scene highlights a trait of many museums — the ability to confront the best and worst of ourselves (usually referring to the loftily imagined ‘humankind,’ rather than the very literal direction the show takes!). 

The museum in “Black Museum” (the finale of the fourth season of Black Mirror) similarly serves as a mirror for the worst parts of a society set in the horrifyingly not-so-far-off future. Without giving too much away, many objects in this museum don’t just represent human stories — but actual elements of human consciousness. As the enthusiastic curator/docent says, there is a “sad, sick story behind almost everything” in the museum. A show like this, much like horror museums or other controversial sites of dark tourism, can “tell us a lot about what it is to be human.” Further, also according to a professor researching the phenomenon, tourists of these places have the opportunity to “reflect on and try to better understand the evil that we’re capable of.”

A framed explanation of the linguistic origin of the word "vampire." / Bloodsuckers: Legends to Leeches (ROM feature exhibit, November 2019–March 2020). / Photo courtesy of the editor.  

If you search for horror museums, you’d find tourist-oriented top-10 or top-20 lists with museums right around the world. One in particular, the Warren Occult Museum formerly located in Monroe, Connecticut (but recently closed due to zoning violations) is closely linked to well-known horror films. Reportedly filled with cursed objects that formed the basis of movies such as Annabelle (a doll that is perhaps the most famous of the collection) or the Conjuring series, it was a popular destination for various YouTubers as well (with about 3 million views on a segment of Buzzfeed Unsolved).

Further, according to such lists, museums focusing on one particular scary or gross object are quite popular. Themes include ventriloquism (Fort Mitchell, Kentucky), disgusting food (Malmo, Sweden) and clowns (Leipzig, Germany). One noteworthy variant of these object-themed horror museums focuses on the medical sciences. These gore-filled exhibits include those located on the sites of hospitals (a former operating theatre, in London, England) and those dedicated to dentists (also located in London, England), pharmacies (New Orleans, Louisiana), microbes (Amsterdam, Netherlands), locks of hair (Cappadocia, Turkey), parasites (Tokyo, Japan), brains (Bengaluru, India), devastating breakups (Zagreb, Croatia and LA, California), and death (as one medical museum is known colloquially, located in Bangkok, Thailand). This idea of body-based horror also conjures images of wax museums, which reportedly “would not be complete” without a chamber of horrors. Perhaps the most horrific type of all are the ones linked to historically grim places or practices. These include museums dedicated to medieval crime (Rothenburg, Germany), magic and witchcraft (Cornwall, England), and torture (Amsterdam, Netherlands), among others. 

A movie poster of Dracula from the early 1930s. The ROM exhibit It's Alive! Classic Horror and Sci-Fi Art from the Kirk Hammett Collection (July 2019–January 2020) did a good job discussing the xenophobia and racism inherent in many classic early horror films. / Photo courtesy of the editor. 

Finally, museums or exhibits dedicated to the dead can also be quite commonly found – from Sicilian catacombs to shrunken heads in Oxford, England. Notably, the Pitt Rivers Museum actually very recently (in September 2020) permanently closed their gallery of shrunken heads, as part of their efforts to decolonize their institution. Due to this connection to colonization and to othering, this deserves an entirely separate conversation – one which I will explore in an upcoming blog. What is worth noting at the present is how, by looking at the sordid histories of some of these earliest collecting practices, it is clear that horror has always had a place in the museum. 

STRONGER TOGETHER: ALUMNI CHECK-IN WITH LYNNE KURYLO

 Alumni Check-In | Elizabeth Cytko

---

Lynne Kurylo
Photo courtesy of Lynne Kurylo

Lynne Kurylo is the Chair for Liberal Studies in Continuing Education at George Brown College. Lynne’s focus is on adult education and is continually improving how it is delivered. Lynne remains in the museum community by volunteering at the Enoch Turner Schoolhouse Foundation.

What is your favourite memory from your time in the Museum program?

It was my internship. The internship back then was very broad on what we could do; there weren't many precedents or guidelines. I organized a tour of museum education departments in England for six months, after the program ended. I wrote to the museum studies program in Leicester and asked which places they recommended for adult educational programming and they sent me back a list. I got permission to visit five or six places. It was a huge insight, a huge learning experience and I got many ideas I was able to apply when I started working.

What has changed in museums from the time you graduated to now?

I'm looking at it from a museum educator’s point of view. When I started it was very much ‘how do you do educational programming in a glass case museum?’ With the influence of the Leicester Museum, as well as from influences from the United States, we started using interpretation methods that were lots more experiential (hands on) than what visitors were used to encountering at the ROM for example. That came through interrelationships that we developed going to different museum associations conferences. You were exposed to museum education methods and techniques from all these other places, and it became much more of a blend.

What does a typical day entail at your job?

I'm an academic administrator. That means I'm responsible for planning the development and delivery and evaluation of over 130 courses in a wide range of subject areas. I have to make sure on a day to day basis that those courses are running smoothly, that they have instructors, and that the instructors have all the support that they need in order to deliver their courses. I have to coach my staff and my instructors. Teaching at a post-secondary institution is different from what they're used to, many of my instructors come from the financial sector. They are either trainers or working in in some kind of job that has a direct connection to our courses.

Do you have any advice on how to become an effective leader?

I think it's really important to know your own strengths and knowledge. What is it that you know about? What is it that you can do? What are your skills? How can you be useful and relevant to the job? You need to be really clear on who you are and what you've got to offer, because that's your foundation. That's your strength, that's where you're coming from. You also need a vision or a goal. I used to have written on a little yellow sticky on my desk, "What am I here for?" and every day, I had to answer that question. You also have to recruit other people to your vision. Let them be part of it. How can they contribute? How can they help make it happen? And why should they? You need to respect them and value them so that you can achieve a set of goals that you all believe in. And you want to make it fun. If it's not fun, what are you here for?

When managing major projects, what does one need to be aware of?

You need to have a really clear, realistic understanding of your resources. If you’re going to do something, you've got to have the resources to do it. How much money is in your budget? How many employees? How many staff members do you have? How many external sources might you be able to rely on for materials or programming or whatever, right? You can't do more than you have resources for. If you get the institution into financial problems because you overspend, nobody will thank you.

What are some of the greatest risks you have taken in your career?

It was doing the programming for Into the Heart of Africa at the Royal Ontario Museum. We didn't know how risky it was at the time, but it was.

From the perspective of the Education team we made really strong, wide ranging connections with the African Canadian community in Toronto. We had a great team effort with representatives of those communities, and we put together a really good series of concert performances, activity days, and so on. For the first three or four months, everything went well. We did our best to do outreach, but on the board or at the more senior levels there were no black voices. We had done that exhibition in the context of multiculturalism. I don't know if you are aware that in the 1980s, the federal government’s National Museum Program promoted multicultural awareness, to celebrate all the different cultures that made up Canadian society. And they made money available to museums and other cultural institutions to do public programming. A guest curator of ethnology, Dr. Jeanne Cannizzo, saw that using the African collection would be a way of meeting the goals of the multicultural program and a source of funding to carry out a National Cultural policy.

Four months into the exhibition is another story altogether. But once the activism started, certain groups in the city who felt that they had messages to give the public about blackness and structural racism saw an opportunity. It became a kind of a vehicle to carry that message, but it got ugly. It ruined at least one career. You know, maybe more. I don't think the team ever recovered from that, the curator certainly.

You have to work with the collections and this African collection was brought to the ROM in a particular way by a missionary. It was part of what was going on in the late 19th, early 20th century with Britain and its colonies. It was in hindsight imperialistic, culturally arrogant and wrongheaded. And the curator was influenced by her colleagues in the ethnology field to pull the curtain back and show that collection and how it got here. She was just saying here it is, judge for yourself.

A really valuable insight was offered by a history professor from the State University of New York who came up to see the exhibition. I was the one who took him through. I asked if he had any insight into why this happened? And he said,

 “Well, no, not really. But I'll tell you what I think about this collection and what you did with it. If you're going to start a conversation, or a relationship with a group of people that you have never had a relationship with before, you don't start by airing the dirty linens. That was your mistake. You told a very sad, unhappy story as your first gesture in trying to make the African collection available to the community. It was the wrong thing to do. You had to find a positive, happy, constructive topic. And then once everybody has built some trust you can ask, well now do you want to see what we've got in the closet?”

If you could travel back in time what would you advise your younger self?

Don't put all your eggs in one basket. In other words, don't let yourself be defined totally by your job. When you lose that job, and inevitably you will, then you're in trouble. Diversify your interests and hobbies, and make yourself a whole person, not just a job. I think that was one of the big things I learned. I would also say don't be willful, don't be arrogant. You also have to listen and respect other people's views and needs. You're not flying the plane alone, you know? You’ve got a crew there with you and you need to work together.

What are some of the long term trends that you think young museum professionals need to be aware of?

It’s important to understand your own values and find a place where you can make your values actual. If you believe in sustainability, put yourself in an institution that also cares about sustainability. You’ve got to find a match for what you're about.

WINNIE THE POOH: EXPLORING A CLASSIC

Weekend Edition | Elizabeth Cytko

---

This post for sure contains spoilers! Continue at your own risk. 

The Victoria and Albert Museum is capping off their world tour of "Winnie the Pooh: Exploring a Classic" at the Royal Ontario Museum. The exhibition explores the process behind the storytelling and art which created this beloved series.

I absolutely love the layout of this exhibition, it's fun, whimsical, and whisks you away to a different world. When you enter you are greeted  with large appealing words which immediately draw you in.

I literally feel as if I am in a story book! What is not shown in this photo are the large balloons hanging overhead, giving the room a sense of whimsy.
Photo courtesy of Elizabeth Cytko

On the right is the story of who Winnie the bear originally was and how they ended up in London to begin with - the Canadian connection is the ROM's contribution to the exhibition.  This then leads into the main parts of the exhibition that explores the life of Christopher Robin, the toys, and A.A. Milne (author) and  E. H. Shepard (illustrator).

How Winnie became Winnie the Pooh. The Canadian Connection.
Photo Courtesy of Elizabeth Cytko

The main text panels are books - books! Unfortunately due to the strange architectural layout of the building, we also get a preview of the ending of the exhibition.
Photo courtesy of Elizabeth Cytko

What I appreciated is that this exhibition has you physically inhabit the world of the books. You start in Christopher Robin's bedroom, move into E.H. Shepards shed where he did his illustrations, and pass through a portal into the Hundred Acre Wood itself.

Christopher Robin's Room.
Through the window you get a sneak peek of the Hundred Acre Wood.
Can you spot the books just waiting to be read?
Photo courtesy of Elizabeth Cytko

One of the main goals of the exhibition is to get people reading the books again. There are plenty of opportunities within the exhibition to sit down with the books - such as upon the very squishy and comfortable bed.

Shed of E.H. Shepard. This discusses the process he went through to illustrate the world.
Photo courtesy of Elizabeth Cytko.

What is not seen is the cozy seating area for children, and the books.
Another opportunity to read, and an inviting portal into the world of Pooh.
Photo courtesy of Elizabeth Cytko

Transported into the wood itself! I hear bees!
Photo courtesy of Elizabeth Cytko

Probably were wise not to provide Pooh Sticks... but the bridge and the river are very relaxing.
Photo courtesy of Elizabeth Cytko

Please note how throughout there are areas to sit and take things in (or possibly continue reading your book!)

Potential spoilers? Literally opening the cupboard as if we too are needing hunny!
Photo courtesy of Elizabeth Cytko

Technique and Composition.
Photo courtesy of Elizabeth Cytko

Another aspect that I loved about this exhibition is that it is geared to all ages. Instead of the adult awkwardly standing off to the side wistfully staring at the activity, a table is provided so that everybody can draw! If only more exhibitions incorporated this inclusive mentality - I too want to dress up as Boudicca/Ancient Egyptian Pharaoh/A Dinosaur/Winnie the Pooh!

Throughout are original planning sketches.
Photo courtesy of Elizabeth Cytko

A relatable mood.
Photo courtesy of Elizabeth Cytko

What I really appreciated about this exhibition is how it had me rethink this childhood classic. As a visual artist myself, I had never really "clicked" that Winnie the Pooh could fall into the comic book/graphic novel category of literature. How the images and text interplay with one another come to light here. I also appreciated how the process of E.H. Shepard is shown, the messy sketches, the trial of expressions, the scribbled out ideas.

Even if you do not care a jot or tittle about Winnie the Pooh, if you are an artist this is an absolute feast of inspiration. I definitely recommend you go, and take your time! Read a book or two! Perhaps allot at least two hours for exploration... or maybe go more than once!

The exhibition runs March 7, 2020 to August 3, 2020. 

HIDDEN IN THE BACK: OPENING AND RE-INTERPRETING COLLECTION SPACES FOR THE PUBLIC

Collections Corner | Jaime Meier 

---

One of the reasons I decided to write for the "Collections Corner" column was because I knew very little about collections and wanted the opportunity to expand my knowledge by exploring current practices. A popular career choice by students in my program is collections work and a sentiment I have heard illustrating why is, "I like working alone and being surrounded by interesting objects." As an extrovert, the thought of going a full day without human interaction is harrowing. Collections rooms and warehouses act as private places for museum staff, but I am left wondering what role does the public play in collections, if any.

I was fortunate enough to tour the Western Development Museum collection over Christmas. (Source)

I believe that in order to stay relevant and serve their audiences, museums must be willing to share not only their exhibition spaces, but also their collection storage rooms. Museums belong to everyone, regardless of education, race, and gender, and therefore people have the right to see more than the exterior, a small part of the story. I was shocked the first time I saw a collections room, with a huge variety of items stacked high and low. By seeing the collection, I was reminded that these things were made by humans, for humans, and are still being cared for by humans to serve other humans. A variety of museums have begun to allow the public to access their spaces or bring the collection to the people via digitization projects.


The McCord Museum in Montreal has reconsidered how to incorporate the public into their collection through collaborating with Inuit Elders. In the early 2010s, eleven workshops were planned and included over 85 participants. While the elders were asked to be careful with the fragile objects, they were encourage to handle the objects freely and based on personal discretion. The unique aspect of touch allowed for unparalleled understandings of remembrance, narratives, demonstration, and communication between Inuit peoples, cultural objects, and the museum. The idea of having people go into a collection and touch objects without gloves may terrify some, but the very objects we collect, especially cultural significant ones, only unveil their true meaning once grounded in the hands of a person.

Quitsaq Tarriasuk and the late Simon Makimmak discussing a fishing rod at the McCord Museum. (Source)

Physical, social, and economic barriers can prevent people from attending the collection location and many museums have turned to digitizing their collections for a wider audience. The Royal Ontario Museum (ROM) in Toronto has over 13 million artworks, cultural objects, and natural history specimens and approximately 43,004 have been published online. While not a complete reflection of the collection, it offers a unique glimpse into the collecting habits and considerations of a major institution. It has become a necessity to understand what objects are being held within museums, especially cultural significant or sacred ones. This aids in rectifying possible prior unethical collecting practices by re-opening spaces and conversation for communities to (re)connect and claim sovereignty over their items.

Opening collection spaces allows for the demystification of museum spaces and will only strengthen the public's connection to their past, present, and future. Since a vast majority of museums are colonial institutions, they have a special duty to share their collections with the communities involved and increase physical or technological access. Objects are not and should not be preserved just for people to look at, but experience on their own terms.

A GIFT GUIDE FOR MUSEUM PEOPLE

Beyond Tradition | Erika Serodio

---

As our first semester comes to a close, many of the first year Museum Studies students have remarked on the joy of being surrounded by so many like-minded people in our program. There are obvious characteristics that draw people to this field. If you’re reading this blog, you probably have Museum People in your life. And if you need a gift for that special someone, you should keep in mind that we like cultural experiences, we have an affinity for the tactile, and we are drawn to aesthetics. Read on for a few gift ideas for your new (or old) museum friends.

EXPERIENCES

Museum people love to take part in cultural activities. We enjoy watching eclectic films (note the use of the word films, not movies) and we like to do so in old elegant theatres like the newly opened Paradise on Bloor. A gift card for a night out at the theatre would be a real treat this winter. Or better yet – just buy tickets and drag your museum friend to the show you want to see!

Paradise Theatre on Bloor | Source 

An annual pass to a museum like the AGO would be a great gift for the museum people in your life. But the museum people in your life might already have a pass… in which case you should get tickets for one of the many talks and events put on by some of the great institutions in your city. Who wouldn’t want to spend an evening at the ROM learning about The Human History of the Mosquito?

TACTILE

Museum people prefer flipping pages to scrolling. Encourage this tactile habit with a subscription to an arts and culture magazine like Canadian Art or Frieze!

Photograph courtesy of Erika Serodio.

Should we keep our agendas on our phones and laptops like the rest of our technologically advanced society? Maybe. But museum people tend be old school and impractical. We write down our plans on paper. And the crowd favourite in museum studies classrooms seems to be the Moleskine.

After we manually check off every item on this week's to-do list, museum people return to flipping pages for pleasure. An artsy coffee table book would be much appreciated! I recently gifted one from this gift guide in a Museum Studies gift exchange. Each book on this list is recommended by an artist, collector, gallerist, or curator.

ART 

And last, but not least, museum people do not have blank walls. Add to their personal collection with something aesthetically pleasing.

The Champs by Stephanie Cheng | Source 

Stephanie Cheng is a Toronto-based designer with designs that are infused with local landmarks and people. You can buy from her online store or from one of several shops who stock her work.

Mass by Annie Axtell | Source

Annie Axtell is a printmaker and artist who works out of Vancouver. She makes some seriously sublime art. You can buy her prints online or pick up one of her infamous lunar calendars at this shop in Toronto.

One last thing to remember about museum people is that they value the intangible just as much as the tangible. The gift of your time is never wasted on them. You could take your museum people to free events like this gallery party at the Power Plant or go an adventure in mental spelunking at the new Architecture and Design Gallery. Whether you're shopping or not this season, be sure to spend some time with your museum people. 

(FUN)DRAISING RETROSPECTIVE: 1.5 YEARS OF INTERVIEWS

(Fun)draising | Samantha Summers

---

This is my penultimate column of 2019, and thus it marks 1.5 years of me writing the (Fun)draising column. Rather than feature another interview this month, I decided to sit back and reflect a bit on what I have learned about fundraising over the past 16 months. (Don’t worry, I have some amazing interviews lined up for later this month and for 2020.)

A quote adorns the wall of the Textile Museum's collection space. "Who is worthy of memory?" -Desmond Miller.
Photo courtesy of Samantha Summers.

I started (Fun)draising knowing nothing at all about the art of fundraising. In fact, I didn’t even realize I was interested in this field as a career. I went to my first Musings meeting, was told it was essentially the only column available, and so I took it. Knowing nothing about fundraising, I decided the best way to tackle this would be to feature the words of those who do know something about fundraising. Surely that would be a better use of readers’ time than the ramblings of someone who knew nothing about the field.


Armed with all of the confidence of someone who did not understand this field very well, I set out to meet with anyone and everyone who was involved in the financial side of museums. I sent emails with abandon. I have met with Executive Directors, COOs, Directors, curators, and even high-profile donors. I have met with people who, now that I understand the field better, I am shocked ever took the time to meet with me. Which brings me to the first thing I have learned about fundraising through writing this column: this is a field of incredibly friendly people. You cannot be successful in fundraising (or I think a more accurate term, development) unless you are excellent at meeting with people and building and maintaining relationships with them.

The Art Gallery of Hamilton in downtown Hamilton. (Source.)

I would characterize the average development professional as passionate, driven, and incredibly warm. They are all deeply invested in the educational and social programming at their institutions, and work hard to ensure that other departments have the support they need to achieve their goals. My favourite question to ask my interviewees is what they think is the most exciting thing achieved through fundraising since they joined their institutions. Almost every single person I have spoken to has discussed providing the support for educational programming, supporting marginalized communities, and supporting their institution’s involvement in the local community.

I have learned that the root of development work is education; teaching potential donors about the importance of the work your institution does and showing them how they can support that mission. This can take many forms, from throwing major events like galas to meeting with people for coffee and a chat. As an aside, if you hate coffee, this might not be the field for you.

Friday Night Live, an event hosted at the ROM in which the museum becomes a club. Drink and dance with your favourite dinos! Source.

I have learned a lot of practical things writing this column, like the ideal ratio of funding from various sources to which major corporations tend to support what kind of philanthropy (any literacy initiatives coming up? Talk to TD). I have learned tips for how to make “The Ask” (for money) to major donors and smaller donors alike. I have learned that the financial side of museums requires just as much passion and heart as the more artistic side.


I get the impression at the Faculty of Information that we prefer to avoid talking about the financial side of museums, or to think of them as less our business than what might be more cultural concerns. It isn’t easy to marry ambitions of social justice and curating conversations with the capitalist reality in which museums exist, so we tend to sweep those realities under the rug. While there is a half-year course offered about fundraising and project management, and the Ethics, Management, and Leadership course usually includes an assignment involving a spreadsheet, we really don’t talk about money in a practical way during our museum studies courses here. The overwhelming impression this gives is that we are museum professionals, interested in tough conversations and changing the world, and the money side of things will be sorted out by the cold capitalists working in accounting and development.

A gift of custom Caxton Cicero stationary given to donors who helped the Fisher purchase the Caxton. Photo courtesy of Samantha Summers.

I think that this is a grave injustice to the field of development. This is not only an important field and one that everybody working in museums should have some understanding of, but also one that engages with some of museology’s biggest questions today in a very unique way. I hope that my column has introduced readers to this fascinating field, challenged our understandings of development, and provided some insight into this extremely important aspect of running a museum.


Here’s to another 16 months!

DATA DRIVEN VISITORS: ALUMNI CHECK-IN WITH CAITLIN TRACEY-MILLER

Alumni Check-In | Elizabeth Cytko

---

 

Caitlin Tracey-Miller and her daughter Edie at the Cincinnati Art Museum.
Photo courtesy of Caitlin Tracey-Miller

Caitlin Tracey-Miller is the Visitor Research Coordinator at the Cincinnati Art Museum. She graduated from the Museum Studies program in 2013. Caitlin transforms visitor information collection techniques with an eye for inclusion and long term outcomes.

What is your favourite memory from your time in the Museum program?

I had many wonderful experiences during my time in the program, including trips to Montreal and Ottawa, engaging conversations, and great projects, including a fun one about the Dodo bird I worked on for Curating Science. I also made lasting friendships that continue to be important to me both personally and professionally. I connect with my MMSt buddies at least once a week!

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

I wish I had managed to fit in an internship or other hands-on opportunity that worked directly with collections. My experiences focused on forward facing museum work, such as programs, volunteers, visitor research, and digital learning. I do not work directly with objects in my job, and I would have enjoyed a chance to do more of that.

What has changed in museums from the time you graduated to now?
I graduated in 2013, so I do not think things have dramatically changed  in terms of practice as a whole, but I think a lot about museums as a place for empathy, conversation, and connection during a divisive and difficult time here in the United States. I also make an effort to think about inclusion and diversity when I create research tools, analyze data, and think about outcomes.

Front view of the Cincinnati Art  Museum
Photo courtesy of Caitlin Tracey-Miller

Can you tell me a little about the Cincinnati Art Museum?

The Cincinnati Art Museum has been around since the late 19th century and our collection spans more than 6,000 years. Visitors see art from around the world as well as work that connects intimately with the Cincinnati region. We offer a rotating calendar of dynamic exhibitions, a diverse set of programs, and have a hands-on space for children and their families to engage in art-making. Last summer we had an exhibition featuring the Terracotta Army and this summer we have No Spectators: the Art of Burning Man. We recently hosted Iris van Herpen: Transforming Fashion, which I believe the ROM welcomed as well. The museum aims to contribute to the vibrancy of our city and the region through connecting and inspiring people with art.

What does a Visitor Research Coordinator do?

My position lives under the umbrella of Visitor Experience, but I work with departments across the museum. I'll complete front-end studies for upcoming exhibitions, summative evaluations at the conclusion of projects, coordinate participation in citywide studies, maintain monthly experience and demographic reports, and even design and execute fun interactive visitor research tools.
 
What does a typical day entail at your job?

My day to day work varies dramatically. Some days I work directly with volunteers or interns on training or I might work with team members in meetings. On other days, I am at my desk sifting through data and creating reports or presenting my findings to others. I work hard to make reports visual and easy to digest, so that they are as useful as possible.

What do you find most fulfilling about your work?

I value the opportunity to listen to and share visitor voices. I love thinking about the outcomes and value of museum work, and finding ways to measure what we do so we can share that information with stakeholders, funders, colleagues, volunteers, etc.

Interactive ball chart.
Photo courtesy of Caitlin Tracey-Miller

What was one of your favourite / most illuminating research projects that you have done to date?

I successfully applied for our department to serve as an AmeriCorps host site, which has been a rewarding and fun project. This project takes us out into nearby neighborhoods to ask visitors about their experiences with and impressions of the Art Museum and helps us break down barriers to visitation. As a part of this project, we designed some fun research interactives, such as a ping pong ball charts.

What is the best way to prepare to present your research results to stakeholders?

Less is more! I have found that visual and concise reports are important. I always include an email memo with my reports pulling out a few highlights. I'll point stakeholders in the direction of more in-depth information, but I want them to know what the big takeaways are up front. People are busy. If it isn't easy to tell what they're supposed to see, the report will sit unused.

Is there something you wish you had more time to do but which your current position prevents you from?

I wish I had more time to travel and visit other museums for inspiration in my free time. The Art Museum generously grants professional development grants, so I have been able to attend the Visitor Studies Association conference and develop great relationships with my counterparts in other Art Museums. I contact them regularly to bounce ideas around.

What is the best way to connect with volunteers?

Personally, I have done large-format trainings for our iPad surveys, but nothing beats one-on-one conversations. Some volunteers have truly become survey champions, and I could not collect all of the data I do without them. Emails and other written communications are important, but they can get lost.

IPad survey
Photo courtesy of Caitlin Tracey-Miller

How has technology made your job easier/harder?

Easier! I use iPad survey kiosks in all of our special exhibitions, and they have dramatically increased the number of responses we receive to our special exhibitions. Technology helps me store, sort, analyze and present research in a visual way.

What technology skills do you suggest Museum Studies students develop while in the program?

For my job, comfort with Excel and tablets have been important. I utilize Infogram to create infographics and our museum's metrics dashboard and QuickTap Survey for iPad research. We also use Survey Monkey and Microsoft Teams.

What are some of the greatest risks you have taken in your career?

I moved to Toronto and took a chance on the MMSt!

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

I created an interactive to accompany a front-end study that I thought was a lot of fun. It involved drawing what came to mind when presented with a set of terms. Unfortunately, it was confusing for visitors and volunteers hated facilitating it. It was difficult to describe in written directions and it was a flop. I think it was a great example of the importance of prototyping before you roll out a tool that you hope will yield results.

What is your best networking advice?

Seek relationships first. I've made great connections networking that have led to great opportunities, but I don't think you should go into networking looking for instant results. Museum friends have been hugely important to my work and I always enjoy talking about a field I'm passionate about.

What advice would you give to museum professionals entering the sector today?

Patience. Sometimes it takes some work to build a resume or land the perfect position. When I look around at my colleagues from the program, many of them are doing really amazing work in the field they chose. There were doubts and frustrations along the way, but it's neat to see where people have landed.

If you could travel back in time, what would you advise your younger self?

I think I would advise my younger self to take a deep breath and relax a bit. I often over-committed myself in a desperate attempt to build my resume and never let an opportunity float away. A couple of years out of the program, I experience some feelings of burnout and had to cut back on some of the extra unpaid museum opportunities I had taken on.

What is your advice to young museum professionals in creating a solid financial base for their future?

If possible, avoid huge student loans. I'll be paying mine for a long time! Also, be realistic about the salaries in museums. Do some research and see what people are making in the positions you are interested in. I am happy I am in this field, but it is important to be aware.

ALL THAT GLITTERS

Exhibition Reviews | Maddy Howard

---

Who wants to see some glittering gems and jewels?

The Royal Ontario Museum's newest exhibition, Treasures of a Desert Kingdom: The Royal Arts of Jodhpur, India showcases the treasures and wonders of India's greatest former kingdom. 

Anklets (or necklace when put together). Photo Courtesy of Maddy Howard.

Treasures of a Desert Kingdom invites visitors to delight in the wonderful, incredible, and rich history of the Rathores. Many of the objects that are on display in the exhibition come directly from the fort-palace of Mehrangarh. The exhibition, located in the Garfield Weston Exhibition Hall, tours visitors through this rich history and culture. 

The exhibition highlights everything from art, to warfare, to court, religion and more, travelling through time to experience these treasures first hand.

Grand Palanquin (Mahado). Photo Courtesy of Maddy Howard.

Portrait of Maharaja Ajit Singh. Photo Courtesy of Maddy Howard.

The exhibition has something for everyone. It highlights all kinds of different treasures, including art, religion, clothing, as well as the gems and jewels I know you're all dying to see. Even the kids will have something to enjoy. Treasures of a Desert Kingdom uses interactives that will entice and engage adults and children alike. 

Move the iPad around and tap on the figures in the tent to learn more about court life.
Photo Courtesy of Maddy Howard.

Play a (simplified) game of Chaupar. Photo Courtesy of Maddy Howard.

The exhibition, while filling an enormous space, is never overbearing. It was light and colourful and felt more personal than the average museum space. The exhibition never felt rushed and instead encouraged visitors to take their time, read the text, and give each object a chance to speak for itself. There was also music and sounds playing at different points throughout the exhibition, which I found to be enjoyable and heightened the experience. 

I also enjoyed the content. There were plenty of objects to ohh and ahh over, but it was fascinating to learn about the history of the Rathore dynasty. One aspect that stood out to me, was a small timeline that highlighted what was happening concurrently in the 15th century, when Jodhpur was being established. I'm always a sucker for timeline. 

Woman's ensemble (Poshak). Photo Courtesy of Maddy Howard.

Treasures of a Desert Kingdom features incredible masterpieces from the royal family, and takes visitors on an amazing journey through one of the longest continuous royal lineages in the world. The exhibition has something for everyone to enjoy, and even has some inventive ways to keep the kids (and adults) entertained. The glittering gems are sure to dazzle and delight any visitor.

This intoxicatingly beautiful exhibition has also captured the hearts of other Musings writers. Musings contributing editor, Samantha Summers, was able to attend the media preview for Treasures of a Desert Kingdom and has written a beautiful account of the exhibition opening. She also mentions an interesting run-in with a stranger. Who could this stranger be? Read her article to hear all about it!

Treasures of a Desert Kingdom: The Royal Arts of Jodhpur, India opened March 9, 2019 and runs until September 2, 2019, so be sure to head over to the ROM to gaze at all these royal wonders.

Source.

MUSEUMS OR NOT? PART 2: THE SHOPPING MALL

Beyond Tradition | Joanna Wreakes

---

One of the many views inside Edmonton's West Edmonton Mall. Source.

When you visit a new city, what’s usually on the top of your “must-see” list? As museum people, we’re more than a little biased towards museums and galleries. But, I’ve been heartened when hosting guests from out of Toronto on their eagerness to visit both the ROM and AGO. I recently spoke with a colleague who is going on a work trip to Edmonton. What was one of the top sights on his list? The mall.


via GIPHY (source)

As a born and raised Edmontonian, I’ve got mall culture deeply ingrained. Edmonton is home to West Edmonton Mall (WEM), the largest shopping mall in North America, and the location of my part-time gig during undergrad. It’s a huge space filled mostly with the same stores we’ve got here in Toronto at the Eaton Centre, with a few hidden gems of locally owned places spread throughout the endless hallways.

It’s important to note that I’m far from the first person to consider the similarities between shopping malls and museums. Anna Zhelnina’s article “‘It’s Like a Museum Here’: The Shopping Mall as Public Space” talks about research carried out at malls in urban Russia. This relates to museum and museum-like spaces as places to see and be seen, where “visitors […] carry out informal monitoring based on their own ideas of what constitutes “right” and “wrong” behaviours for this place.” (source) This is similar to the observation I made in my last article about the symphony, another flashback to well-known museum academic Tony Bennett!

Looking at the example of WEM, the mall is full of intriguing attractions that we might not expect to see on a shopping trip. Kitschy theme streets are vaguely reminiscent of the themed galleries in museums - Europa Boulevard, Chinatown, and BRBN Street all can be found. Europa Boulevard is especially interesting. It plays on a lot of cliches Canadians might have about Europe. The walls are made to look (somewhat cheesily) as if you are in an outdoor shopping street, surrounded by ornate and colourful old buildings. This street also holds a lot of the higher end and more expensive stores in West Ed.

Europe Boulevard. Notice the beautiful building facades. Source.

Another thing that you might expect to see in a museum over a mall is an aquarium. The Marine Life part of WEM has a variety of educational programming, a lot of which is designed to tie into the Alberta education curriculum. Teachers can apply to have educators visit their classrooms, similar to many museum outreach programs. Here in Toronto, it can be compared to the ROM’s travelling education kits.

View this post on Instagram

Looks like our African Penguins Dayo and Skadu are TV show stars! Find them in @cbcgem's new #FamilyDrama series @northernrescuetv or visit them at Sea Life Caverns. . . . #northernrescueoncbcgem #northernrescue #cbcgem #cbctelevision #wested #wem #westedmontonmall #marinelife #sealifecaverns #africanpenguins

A post shared by West Edmonton Mall (@official_wem) on Mar 4, 2019 at 2:37pm PST

While I definitely wouldn’t advocate for replacing museums with malls, it’s intriguing to think about how the two function similarly as public spaces, places to provide entertainment and enjoyment, and even in some cases, act as educators.