Humans have always been interested in unusual, curious, and odd things. For this reason unusual collections, both personal and in museums, exist throughout the world. This interest in collecting the unusual and interesting can be traced back to the cabinets of curiosity popular in 16th …
This week, tragedy struck the museum community and humankind with the burning of the Museo Nacional in Rio de Janeiro, Brazil. The 200 hundred year old museum, housed in the what was once the royal palace, has lost more than 90% of it’s 20 million …
Here’s the weekly jobs roundup for the week of August 20th!
Northeast
Lunder Institute Administrative Coordinator [Colby College Museum of Art, Waterville, ME]
Senior Curator/ Manager, Living Collections [Museum of Science, Boston, MA]
Robyn and John Davis Curator of Exhibitions [Nantucket Historical Association, Nantucket, MA]
Associate Director of Marketing [Harvard Art Museums, Cambridge, MA]
Mid-Atlantic
Educator in Charge, Teaching and Learning [The Metropolitan Museum of Art, NY, NY]
Museum Education and Public Practices Fellowship [The Metropolitan Museum of Art, NY, NY]
Director of Interpretation [Baltimore Museum of Art, Baltimore, MD]
Museum Curator [Pennsylvania Lumber Museum, Galeton, PA]
Senior Museum Instructor/ Guided Gallery Visit Coordinator [Brooklyn Museum, Brooklyn, NY]
Southeast
Director of Exhibits and Operations [The Children’s Museum of Upstate, Greenville, SC]
Midwest
Chief Development Coordinator [Ohio History Connection, Columbus, OH]
Gund Foundation Curatorial Fellowship [MOCA Cleveland, Cleveland, OH]
Museum Educator [Wisconsin Veterans Museum, Madison, WI]
West
Senior Exhibitions Project Manager [Monterey Bay Aquarium, Monterey, CA]
Program Manager, Connections (Pre-K partnership program) [Bay Area Discovery Museum, Sausalito, CA]
Internship Opportunities
Communications and Marketing Intern [Harvard Art Museums]
Press Intern [Harvard Art Museums]
Social Media Intern [Harvard Art Museums]
Following three months of contract negotiations and protests over labor issues at the Museum of Modern Art in New York, the MoMA Local 2110 Union reached an agreement this Friday for their new contract with the management of the institution. The five-year contract sets salary …
The International African American Museum, a museum planned to trace African-American history in America from slavery to today, has hired a rapid response educator to help create exhibits in response to current events. Brenda Tindal had previously done this work at the Levine Museum in …
Like many museum lovers, a visit to an unfamiliar city is a chance to discover new museums. Being in the museum field, those visits are an invaluable chance to find inspiration, see museum trends in action, and gain new ideas for future practice. Never have I found this to be more true than with a recent visit to Indianapolis and the Eiteljorg Museum of American Indians and Western Art. This one-of-a-kind museum exemplifies what it is to be a modern museum focusing on interactive displays, shared authority, and visitor experience. But more importantly, the Eiteljorg is a decolonizing museum, representing indigenous people and cultures not as relics of the past, but as contemporary and still here.
The Eiteljorg Museum was founded by Indianapolis businessman and philanthropist Harrison Eiteljorg in 1989. Originally conceived as an art museum, the institution made an early commitment to a shared authority with indigenous people. As founding curator Mike Leslie wrote, “The museum’s overall programming emphasizes not only the historical importance of Native American art and artifacts, but also their importance in a modern context. We must not forget that Native American cultures are still flourishing artistically.”
By 1991 the museum had formed the American Indian Advisory Board, this board would work directly with the museum’s administrators, curators, and collections staff to provide guidance, assistance and direction in all matters associated with the art, history, and culture of native peoples of North America. One of the main takeaways from the advisory board was the need for the museum to create a distinction between ownership and stewardship in relation to sacred and sensitive objects.
In 2002 the museum continued to indigenize museum spaces with the opening of a new permanent gallery, Mihtoseenioki: The People’s Place, created in collaboration the advisory board and representatives from local tribes. The exhibit was opened to interpret the Miami, Potawatomi, Delaware, and other tribes who were and still are an important part of the state’s history and culture.
It was in this exhibition I felt the most inspired, intrigued, and moved. Mihtoseenioki tells the stories, both past and present, of the original Miami people as well as that of other tribal groups that moved into the current state of Indiana as the result of European conquest and expansion. The written panels were written by members of native communities and curated by Ray Gonyea an Onondaga Iroquois. While many museums have been accused of presenting indigenous people and cultures as historical and ethnographic this exhibition leaves visitors with the knowledge that indigenous people are still here and that tribal cultures are still being practiced. This same theme was carried through the rest of the Eiteljorg’s art galleries. The gallery space was organized not chronologically but geographically with historical and contemporary art side by side.
While I was most affected by the Eiteljorg’s decolonizing efforts, the museum further impressed me with their commitment to improving the visitor experience. This was made clear through the incorporation of different evaluation tools throughout the exhibition, encouragement of visitor feedback, multiple hands-on, participatory, and interactive exhibit elements for visitors of all ages.
As museum practitioners, I encourage us all to keep and eye on the Eiteljorg Museum and any future innovations they may take.