may i also add that you should, while it is not the most ideal situation, be willing to work part time and temporary. i worked part time for three years at a university museum and gained invaluable experience. and, you will be surprised at the networking that can be accomplished, even in a temporary position. also, be willing to go through the "back door". currently, i am temping at a university library. but every day i come in contact museum folks. they notice my work, and when a position is available, i feel confident enough to apply for it even though i am not currently working specifically for a museum. hope this helps, and good luck! --sarah poteete >From: Jay Heuman <[log in to unmask]> >Reply-To: Museum discussion list <[log in to unmask]> >To: [log in to unmask] >Subject: Re: General Career Query >Date: Thu, 26 Aug 2004 11:02:36 -0600 > >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. > >========================================================= >Important Subscriber Information: > >The Museum-L FAQ file is located at >http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed >information about the listserv commands by sending a one line e-mail >message to [log in to unmask] . The body of the message should >read "help" (without the quotes). > >If you decide to leave Museum-L, please send a one line e-mail message to >[log in to unmask] . The body of the message should read "Signoff >Museum-L" (without the quotes). _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! hthttp://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). 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