The Art of Schmoozing Workshop Review

Last week, a number of current and former Museum Studies students took part in a workshop put on by the Museum Studies Department and led by Cinnamon Catlin-Legutko, President and CEO of the Abbe Museum. “The Art of Schmoozing” discussed networking beyond trying to get a job or making a conference more bearable. Networking helps you talk to potential (and current) donors, volunteers, and community members. Knowing how to speak intelligently and politely is important both professionally and personally (picture sitting at a dinner party and not knowing how to talk to the people around you).

Museum Studies Alum Jennifer Clifford practicing her networking with Cinnamon Catlin-Legutko. (Photo Courtesy of Cynthia Robinson)

Museum Studies Alum Jennifer Clifford (middle) practicing her networking with Cinnamon Catlin-Legutko (right). (Photo Courtesy of Cynthia Robinson)

While many of us panic at the sight of a crowded conference happy hour, and the prospect of talking to billionaires (should we be so lucky) can evoke anxiety, there are several small tricks that can help ease the nerves. Cinnamon imparted some of her own first-hand experiences with some of the following tips:

  • Always introduce someone new to the whole group. It seems straightforward, but often someone joins a group conversation in the middle of a conversation. Rarely do people stop in the middle to say, “Oh by the way, this is my friend Colleen…” before continuing on. It’s awkward to halt the conversation, but it’s also awkward to be chatting with an unknown, unnamed stranger.
  • To get out of a conversation, either make something up (“Oh you’ll have to excuse me, I need to check on the caterer”) or be straightforward but put the onus on you (“I’m sure there are lots of people you’d like to talk to tonight. I’m sorry for monopolizing your time. It was great to meet you. Thank you!”)
  • To break into a group conversation, you can watch body language and wait for an opening (as long as you’re not lurking!), or you can interrupt very briefly and say, “I’m so sorry for interrupting, I just wanted to introduce myself and tell you that I loved your talk at NEMA. Would it be alright if I follow up with you later? I have some questions I’d like to ask you.” With any luck, you’ll get that person’s card and you can email them later.

Cinnamon’s presentation was frank and funny, and included tips on knowing how to work with people with different personality types (check out DiSC if you’re interested). Afterwards, participants were able to practice their new skills over wine and snacks.

Keep your eye out here and in the Museum Studies newsletter for further fun workshops!

Tour Review: The Art of Europe Wing at the Museum of Fine Arts

Today we bring you an article by Christina Errico, currently a Tufts student in the Museum Education Master’s program. Here, Christina analyzes a tour at the MFA for the Tufts course Teaching and Learning in the Museum.

In November, I took a docent-led tour of the Art of Europe wing at the Museum of Fine Arts, Boston. The tour was aimed at providing the participants with a broad range of examples of European art, from medieval to early 20th century. While the experience was not wholly unsuccessful, there were two major issues with the tour. There was a clear lack of engagement between the tour guide and the visitors and, because of that, the tour did not necessarily live up to the MFA’s “ultimate aim” of their mission statement: to “encourage inquiry and to heighten public understanding and appreciation of the visual world.”

The first thing I noticed about my tour was that, because we were never asked about ourselves, we were (presumably unintentionally) being told that although we were not important, what was important was our guide asserting her authority by telling us how long she had worked there and how much she knew about the art. By the way our guide described the works of art and the fact that she never welcomed questions, the tour felt as if it was made for people who already knew about European art or at least had a very strong interest in it. This may have felt exclusionary for some people, and in fact one visitor dropped off the tour a few stops in. Our tour guide also walked quickly between works of art that sometimes spanned long and confusing stretches of the museum without once looking back to make sure that her tour was keeping up with her or even that we were all with her when she began speaking about the next piece. Because our guide did not take into consideration all the different aspects of our experiences and because we as learners were not finding new ideas or constructing knowledge on our own, I would argue that making any meaning at all out of this experience would have been very difficult. And while the MFA’s mission statement states that “the Museum’s ultimate aim is to encourage inquiry and to heighten public understanding and appreciation of the visual world,” I believe that because she never checked in with us to see how her efforts were paying off, it would be hard to tell whether she was successful.

While reflecting on my tour experience at the MFA, I thought of the Visitor’s Bill of Rights written by Judy Rand, director of Rand and Associates. There appeared to me to be a few rights that could have been addressed more clearly to yield an improved experience. The first was the right to feel welcomed. Our tour guide could have made us feel more welcome asking us at the very least who we were, but more importantly by engaging in dialogue with us along the way and also making sure that we were keeping up with her physically and intellectually as well. The second right was the right to communication. Communication is a key part of learning and meaning making in museums, so our guide could have made us more comfortable by making sure that we understood what she was saying and why it was relevant, as well as welcoming questions from the start of the tour. The third right the right to choice and control. A certain amount of control could have been ceded to us by our tour guide engaging us with more open-ended questions to facilitate an organic discussion between us.

Although I do not think I learned as much as I could have through the didactic model of teaching, it does work for some learners and I did not walk away having learned nothing from the Art of Europe tour at the MFA. If I was to summarize all of my thoughts, I would do so by quoting Rika Burnham, who at one time was in a very similar situation as our tour guide while conducting one of her run-of-the-mill tours at the Met. Burnham realized that, because visitors were not able to engage with the art through the didactic style of teaching she had employed, she needed to “stop lecturing and begin listening” to her visitors while at the same creating a safe space for them to “question, search, challenge, be moved by, and ultimately bring the work into the context of their own lives without being intimidated or made to feel inadequate.”

Serving as Collections Intern at Old North — guest post by Jessica Nelson

Jessica Nelson wrote this piece for the Old North Foundation’s website, and Old North’s Director of Education Erin Wederbrook Yuskaitis, also from the Tufts program, suggested we share it here. Thanks, Jessica (and Erin)!

 

After almost 300 years of existence, an institution is bound to accumulate an interesting collection of objects. And having interned over the summer with the Old North Foundation, I can certainly confirm that this is a fact. I was brought in to be the first Collections Intern to work with the site, and as such had the opportunity to scour the site’s attic, basement, and many rooms. My responsibility was to document the works of art found within Old North’s campus. Although Old North is not what one would call a collecting institution, it is an historical site that has over time accumulated, often through generous donations from parishioners, a number of interesting and some valuable art pieces. One of the best ways to honor these donations and other acquisitions is through careful preservation.

Even though Old North’s art is not currently shown to the public in a crafted exhibition, it is visible throughout the Foundation and Church offices as well as in parts of the church itself. So as a student learning about the museum field, I was able to apply some of the museum world’s techniques when documenting the artworks at Old North. What exactly does that entail though? Well, I began by numbering the objects and creating condition reports for each one. These reports allowed me to describe the art piece detailing its materials and what it looks like as well as identifying if there is any damage to the piece. Creating these reports helps an institution keep track of the object and monitor how it holds up over time. After making condition reports for every object, I then took pictures of the objects as well. Attaching pictures to the condition reports is another means of recording an object’s condition and can help people who may work with these objects in the future more easily identify them.

 

The Foundation then ordered special archival papers and pens so that I could physically attach the identifying number I had given each object to the object in question. It is important to use archival quality goods as this helps ensure the marking materials won’t damage the art piece over time. I also had the opportunity to conduct some early research on the objects and how they came to Old North. Although many of the art pieces’ stories have been somewhat lost over time, there were a few active members of the church who were quite helpful in recovering their histories. All in all, the project went quite well, and hopefully the work I completed with the help of the Old North Foundation staff will serve as a good base for any future artwork they receive and help insure that all of their art is well preserved for future generations.

The JFK Presidential Library and Museum’s Exhibit, “To the Brink: JFK and the Cuban Missile Crisis” Lends A Voice To The Past

The John F. Kennedy Presidential Library and Museum, located along the waterfront just south of Boston, serves as the nation’s official memorial to John F. Kennedy. The institution boasts an incredible research collection consisting of over 8.4 million pages of paper, approximately 400,000 photographs, thousands of audio recordings, and 8 million feet of film. The museum also features a permanent exhibit that offers a highly immersible experience about JFK’s running for presidency in 1960 and the Kennedy White House years that followed.

I went to the JFK Library and Museum over this past weekend to see their current special exhibition, “To the Brink: JFK and the Cuban Missile Crisis.” The exhibit chronicles the daily events and conversations between the President and White House personnel as the Cuban Missile Crisis unfolded. As you travel through the crisis day by day, you get a sense of the gripping intensity faced under the threat of nuclear war, as well as the furious work that went in to preventing it.

Audio recordings throughout the exhibit not only magnify the event but they create a more powerful experience for the exhibit goer in that they add a human element to what otherwise would be an exhibit consisting of text and objects. As you wind through “To the Brink,” you have the opportunity of listening to various conversations between JFK and his advisors, from the initial debriefing on photographic evidence of Soviet missiles present in Cuba, to the President eerily grappling with, and saying, “You’re talking about the destruction of a country.” The recordings give a literal voice to the event and to history from those most close to it.

From jfklibrary.org

Along these lines, the exhibit examines the Cuban Missile Crisis from the perspectives of Nikita Krushchev and Fidel Castro through their own written words as well. This is helpful in that it lends a better look at what is considered to be perhaps the closest call to thermonuclear war in history.

For a total of thirteen days in October of 1962, the Cuban Missile Crisis gripped the world. Fifty-two years later, this dramatic exhibition brings you back to those harrowing days as if you were in the midst of the White House deliberations yourself.

 

The John F. Kennedy Presidential Library and Museum is open every day from 9am to 5pm except major holidays.

Perspectives on NEMA 2013

by guest columnist James Stanton

This year NEMA asked conference attendees to question why museums are needed now more than ever. In an increasingly diverse society, museums offer a space for people to reflect, learn, and honor their different histories while bringing communities together to share, learn, and grow from each other. The recurring themes of the sessions I attended echoed this sentiment by stressing increased community outreach and examination of accessibility issues.

As this year’s Diversity Fellow, I came to Newport ready to engage in the difficult and sometimes awkward conversations that arise when race, class, gender, and socio economic status are discussed in relation to the ever broadening missions of museums.
I was excited to find that many of my colleagues, both students and professionals, were also ready to tackle these issues and that the atmosphere encouraged honest, open, and supportive conversation. I am sure it is never easy to admit in front of your peers that up until a year ago you didn’t fully understand the community your museum was located in, yet in one session many museum staff said just that and then together brainstormed ideas on how to break down the imposing walls of museums. My little heart grew three sizes that day.

Moving forward with my studies at Tufts, I am pleased to know that the discussions we often have in the classroom about the difficulties of welcoming diverse audiences into our museums are also happening out “in the real world.” NEMA is committed to the belief that each town in New England has unique history and culture around every corner that can connect to all walks of life. I look forward to these continued conversations both through NEMA events and in classes on the Hill.