Greetings Aron,

I'll provide some perspective from a relatively new museum
"professional" (about 5 years).

My opinion: Stable museum employment of any kind to start is good, even
if it's outside your desired area.

BUT keep the following in mind . . .

(1) BRUTAL HONESTY.  Getting a job and making a career in any field is
'marketing and public relations'.  You're selling yourself by using the
most convincing argument -- based on truth.  The first person with whom
you must be honest is you.  What are you actually capable of now?  Be
brutally honest, as potential employers will be .

(2) NEVER STOP LEARNING.
What more can you learn over the years?  Most would-be employers want to
hear during an interview that their would-be employee does not intend to
stop learning.  (You must have a proven track record to convince them
it's the truth.)  Attend seminars and workshops, conferences and
symposia, read about and visit other museums, exhibitions, artists,
styles, etc.  Investigate taking courses, in related fields, at a nearby
university or college.

(3) NEVER STOP LOOKING.
Keeping abreast of the current job market, applying for other jobs, and
going for interviews has a two fold purpose.  First, it leads to
personal growth, as you will gain an greater understanding of the museum
profession.  Second, you might actually find a job you want and might
actually get it.  Naturally, you don't want to bounce from employment to
employment without putting a number of years under your belt at each . .
. perhaps 2 to 5 years as a minimum (unless they are shorter-term
contracts).

(4) BE REALISTIC.
There may be fewer jobs in smaller museums in smaller cities and towns.
But it's probably more realistic to apply for such jobs than applying
for something in a megalopolis.  For example: With suitable
qualifications and some experience (paid or unpaid), one might have a
miniscule change of getting a "Curatorial Assistant" job in New York,
Boston, Philadelphia, Wasshington D.C., etc. or a slightly higher chance
of getting an "Assistant Curator" job in a smaller city.

(5) VOLUNTEER WHERE YOU WORK!
Just because you work 40 hours a week at an art museum doesn't mean you
can't volunteer, say, 5 hours or 10 hours a week in another department.
WOW!  Blows your mind, eh?  But if other working people can volunter at
a museum, why can't one of the museum's employees?  You are likely to be
trusted more than an outsider, as they likely know you and you have more
hinging on a "job well done" as a volunteer.

(6) JOBS CHANGE OVER TIME.  Some jobs change in small ways, and some
change in radical ways!  In my first job, though I started off
supervising admissions desks and coordinating volunteers, I gained two
more responsibilities over the years: liaison with fundraising affiliate
groups and 'web designer'.  Those added responsibilities also added
challenge and interest and new skills.

(7) ANALYZE YOUR SKILLS.  How do skills positively translate from one
area of museum work to another?  In my previous museum job
(Visitor/Volunteer Services), I dealt with a variety of audiences --
visitors, volunteers, affiliate groups, donors, media, etc.  This
enhanced my communication skills as I became even more comfortable than
I was already to speaking in different settings and for different
purposes -- marketing & "PR," education, customer & donor relations,
etc.  These skills are a necessary aspect of my current job, though a
different focus.  Instead of 'general information' about that museum,
I'm now conducting educational talks about a different museum.

(8) LIFE CHANGES OVER TIME.  I, too, was afraid of veering off on a
tangent when I accepted my first museum job in visitor and volunteer
services.  And I agree with Mark that bouncing around from area to area
is not likely a good strategy.  From your first step into the museum
field, you must direct your efforts toward your goal.  Recognize,
however, that goals are unstable critters . . . life twists and turns,
and you might modify your goal.  This happens to professionals in most
fields for a number of reasons . . . new interests or skills develop,
reality versus fantasy of a job, etc.

(9) NEVER RULE ANYTHING OUT.
Solicit opinions from those you trust, weigh the 'pros' and 'cons', and
make a decision.

(10) ENJOY!
Working in the museum field is a privilege.  Never mind we all complain
there's never enough funding, salaries suck, visitors and donors can be
unreasonable at times, parents and teachers really don't like their
children exposed to nudes (or nudes exposed to their children?), etc.
There are few people who get to do what we do.  Never take it for
granted.

I encourage more perspectives.  Everyone who works in a museum started
against the odds, as there are forever more applicants than available
jobs.

j heuman, Education Curator
Nora Eccles Harrison Museum of Art
Utah State University
4020 Old Main Hill
Logan, UT  84322-4020
t 435.797.0165 | f 435.797.3423
 
Education costs money, but then so does ignorance.
Sir Charles Moser, b. 1922



> -----Original Message-----
> From: Museum discussion list 
> [mailto:[log in to unmask]] On Behalf Of Aron Mohr
> Sent: Wednesday, August 25, 2004 1:30 PM
> To: [log in to unmask]
> Subject: General Career Query
> I am a recent graduate from a Museum Studies Program and am 
> now starting to see what's available in the field. I am 
> interested in curatorial work and exhibition development as 
> well as administration and would like to work with art collections.
> My question is as follows: when striking out in the world of 
> museums, is it more important to get experience in the type 
> of work you are interested in (ex. curating) or to get your 
> foot in the door in institutions that focus on your area of 
> interest (ex. 19th and 20th art) regardless of job description?
> I get the impression that the first few positions you obtain, 
> paid or unpaid, establish the framework for your future 
> endeavors and am eager to avoid veering off on a tangent early on.
> Any advice on this subject would be greatly appreciated.
> Thank you.
> Aron.

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