I was also a student in art history during the late 70' early 80'

I didn't planned to work in the museum field.  But as a summer job I
worked in a military museum to catalog a part of it's collection.
It was pure chance because, as I was visiting this museum with
my class (the only museology course available at the Universit=E9
de Montr=E9al at that time), we found out that a summer project
for students was due to begin soon.=20

6 of us gave their name (I was of course, one of them) and,
miracle, we were all recruited for the job !

It was interesting, very far from what I was studying, but
interesting nonetheless...

The following year, as I was writing my resume and looking for
jobs, I received a phone call from the curator of that museum, asking
me to come back and to act as a project manager for another summer.
(is'n it a coincidence ?)

I accepted, and did the same the next summer, and the next until, at the
end they asked me to work permanently for them.

I did it for 10 consecutive years, becoming a registrar and=20
a teacher (museology) at both the Universit=E9 de Montr=E9al, the Universit=
=E9
du Qu=E9bec =E0 Montr=E9al and the Coll=E8ge Montmorency in Laval.

And know I am the curator of a railway museum, on the south shore of=
 Montreal...

Very far from what I was especting in 1978, when I begun my bac. in art
history...

Lessons 1.=20

A summer job (or an internship) is the key.  It makes you known to museum
professionals
and gives you the opportunity to prove what's you're worth.

Lessons 2.

Never refuse a job in a museum which is not in your field.  It may be a=
 change,
but often also an excellent opportunity

Lessons 3.

It takes time... Be patient and, as we said in french, pers=E9v=E9rant...

Lessons 4.

Look also for places outside the museum field.

Eventually, not only museums and auctionners are hiring people.  Look also
for big corporation which have large private collections (here in Qu=E9bec
every corporation is obliged by law to spent 1 % of their budget to acquire=
=20
art pieces, as a way to sustain artistic production, and so, some of=20
them have already acquired a LOT of works of art) =20

Secondly, several big companies have an "heritage" department which
manage everything they think should be preserved to illustrate their=
 activities.

An example: Hydro-Qu=E9bec, big state owned power company, not only acquire
works of art under the 1% law, but also has many industrial artifacts they
wish to=20
preserve.  For that they have a standardized database, very much like a=
 museum,
an curatorial staff (even if it's not called as such).

Two weeks ago I received a phone call from Hydro-Qu=E9bec, because,=
 precisely
for their management of heritage pieces, they wanted to know if the Canadian
Railway Museum could be interested in acquiring one ot them.  The discussion
soon became more professional and they asked me if I know someone they could=
=20
hired to write their conservation and collection policies. =20

I'm sure there is several companies in your city which own collections and
may be
looking for people (or consultants). =20

Jean-Paul Viaud, curator


   p_n__n__----- _______          Musee Ferroviaire Canadi<n Railway Museum
 d ___--__| HH||       `---               120, St-Pierre, Saint-Constant=
 (QC)
  _T-------'___-|___________    J5A 2G9 Canada =20
'o=3Do ()()()--'  o=3Do`---'o=3Do             Tel. (514)638-1522/Fax.(514)=
 638-1563  =20
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=20