Museum Studies at Tufts University

Exploring ideas and engaging in conversation

Author: dfoste04 (page 1 of 3)

Weekly Jobs Roundup!

Northeast: 

Head of Visitor Experience and Services (Wadsworth Atheneum Museum of Art, Hartford, CT) 

Education Program Director (Yale University, New Haven, CT) 

Special Assistant to the Director and Chief Curator (Rose Art Museum at Brandeis University, Waltham, MA) 

Senior Preparator (Colby College Museum of Art, Waterville, ME) 

Development Manager (Tower Hill Botanic Garden, Boylston, MA) 

Engineering Education Associate I (Museum of Science, Boston, MA) 

Live Animal Curator (Museum of Science, Boston, MA) 

Associate Director, Donor Relations (Museum of Science, Boston, MA) 

Production Manager/Audio Specialist (The Institute of Contemporary Art, Boston, MA) 

Associate Registrar (The Institute of Contemporary Art, Boston, MA) 

Prospect Research Manager (Isabella Stewart Gardner Museum, Boston, MA) 

Assistant Preparator/Collections Care Specialist (Wellesley College, Wellesley, MA) 

South: 

Executive Director (Museum of Texas Tech University, Lubback, TX) 

Senior Curator (The Chinati Foundation, Marfa, TX) 

Conservator (Vizcaya Museum and Gardens, Miami, FL) 

Chief Curator (Perez Art Museum Miami, FL) 

Corfrin Curator of Asian Art (Harn Museum of Art, Gainesville, FL) 

Curatorial Assistant (Cummer Museum of Art & Gardens, Jacksonville, FL) 

State Museum of History Associate Director (North Carolina Museum of History, Raleigh, NC) 

Curator of Education, Engagement, and Learning (Jule Collins Smith Museum of Fine Art at Auburn University, Auburn, AL) 

Director of Customer Success, Exhibits and Environments (Solomon Group, New Orleans, LA) 

West: 

Curator of Education & Exhibits (Grace Hudson Museum & Sun House, Ukiah, CA) 

Vice President, Education and Engagement (San Diego Natural History Museum, San Diego, CA) 

Departmental Curatorial Assistant (Santa Barbara Museum of Art, Santa Barbara, CA) 

Registrar and Exhibitions Manager (Yerba Buena Center for the Arts, San Francisco, CA) 

Archivist/Research Historian (Lane County Historical Society, Eugene, OR) 

Non-Profit Partner Executive Director (Fort Collins Museum of Discovery, Fort Collins, CO) 

Associate Director (The Getty, Los Angeles, CA) 

Manager of Campus Partnerships (Stanford University, Stanford, CA) 

Manager of Exhibitions and Publications (Frye Art Museum, Seattle, WA) 

Mid-Atlantic: 

Historic Site Manager (The Maryland National Capital Park and Planning Commission, Rockville, MD) 

Education Program Manager (The Maryland National Capital Park and Planning Commission, Rockville, MD) 

Executive Director (Lee-Fendall House Museum & Garden, Alexandria, VA) 

Special Events Manager (Army Historical Foundation, Fort Belvoir, VA) 

Librarian (Baltimore Museum of Art, Baltimore, MD) 

Director, University Galleries (Montclair State University, Montclair, NJ) 

Director of Development (Woodlawn Conservancy, NY) 

Exhibit Developer/Project Manager (The Wild Center, Tupper Lake, NY) 

Collections Associate (Vassar College, Poughkeepsie, NY) 

Associate Registrar and Coordinator for Exhibitions (Vassar College, Poughkeepsie, NY) 

Curator of Jewish Culture/Judaica (The Jewish Museum, New York, NY) 

Relationship Manager (Carnegie Museums of Pittsburgh, Pittsburgh, PA) 

Midwest: 

Curator and Collections Manager (The History Center, Cedar Rapids, IA) 

Executive Director (Rocky Mount Historical Association, Piney Flats, TN) 

Collections Manager (First Division Museum at Cantigny Park, Wheaton, IL) 

Executive Director (Ephraim Historical Foundation, Ephraim, WI) 

Community Arts Program Director (John Michael Kohler Arts Center, Sheboygan, WI) 

Executive Director (Ohr-O’Keefe Museum of Art, Biloxi, MS) 

Curator (Cleveland Clinic Art Program, Cleveland, OH) 

Deputy Director for Curatorial Affairs and Curator of Modern/Contemporary Art (University of Michigan Museum of Art, Ann Arbor, MI) 

Katharine Hepburn Visits the Frick!

This week I traveled home to Pittsburgh, PA for a few days. While in town, I was able to stop by The Frick Pittsburgh to see the exhibition Katharine Hepburn: Dressed for Stage & Screen. The exhibition included clothing, pictures, posters, and original play bills from Hepburn’s productions and films. The clothing collection came from the Kent State University Museum, and it included a mix of clothes that she wore in movies, on the stage, and pieces that she commissioned for her personal wardrobe that matched styles she had previously worn during performances.  

Katharine Hepburn posing for LIFE magazine, 1968.

As a fan of Katharine Hepburn and her iconic style, I was excited to see the clothing up close to examine the details of the pieces. The clothing was beautiful, and most galleries showed a comparison for the clothing on mannequins and pictures of Hepburn on set.  However, I was pleasantly surprised by how much this exhibition embodied her personality. Quotes from Hepburn and personal stories were interspersed in the labels, and they truly enhanced the exhibition. In the space where her wardrobe makes the transition from mostly dresses that tightened at her 18-inch waist to a much less form fitting and comfortable wardrobe (which included pants!), there was a story about a movie studio that wanted Hepburn to return to wearing dresses and skirts because they were more feminine. So, someone snuck into her dressing room and stole her pants. In a display of her bold personality, Hepburn proceeded to walk around the movie set without her pants to show that returning her trousers was the better option for the studio. Rather quickly, they were returned to her, and she proceeded to continue to wear them because they allowed her to have more mobility. 

Her pants were such an iconic part of her wardrobe because she pioneered comfort in women’s clothing and made pants a common fashion staple for women. A display of pants from her personal clothing collection was actually my favorite part of the exhibition. Hepburn seemed to be a creature of habit, and therefore, she owned many pairs of the same type of pants, which were usually beige or brown. From the museum and exhibition design perspective, I can see how these pants would have been a challenge. While immensely important to Hepburn’s style and a testament to her fierce personality, these pants are not very interesting to look at. The colors alone (beige and brown) don’t draw in the visitor’s eye.  

Credit: Joanne Klimovich Harrop | Tribune-Review

So, what did the exhibition designers do? They about 6 pairs of pants and put them on mannequin legs. Then, they set them in a variety of positions that mimicked the way that Hepburn moved. One pair was upside down to imitate a pose that she did during a photoshoot with LIFE magazine in 1968. The unique placement of these pants not only drew the visitors into the room and immediately to these objects, but it also simulated Hepburn’s personality through its movement.  

Overall, the exhibition was wonderfully done. Only three galleries were filled for it, but they were packed with information and anecdotes about Hepburn. They were set up in mostly a chronological order, so even people who were not fans of her productions would be able to see the evolution of her style.  

This exhibition is up at the Frick Pittsburgh until January 12, 2020, so if any readers find themselves in the area, I recommend checking it out! If you are not in the area and would like some more information on the exhibition the website is: https://www.thefrickpittsburgh.org/Exhibition-Katharine-Hepburn-Dressed-for-Stage-and-Screen 

Archaeology Lecture at Tufts

Weekly Job Roundup

Best of luck! Here are the jobs for the week of 9/22/19: 

Northeast: 

Executive Director (North Andover Historical Society, North Andover, MA) 

Director of Collections (The Mark Twain House & Museum, Hartford, CT) 

Public Programs Manager (Fuller Craft Museum, Brockton, MA) 

Director of Development (Plimoth Plantation, Inc., Plymouth, MA) 

Manager of Exhibition and Events (Tower Hill Botanic Garden, Boylston, MA) 

Group Sales Coordinator (Boston Tea Party Ships & Museum, Boston, MA) 

Archivist/Librarian (Dedham Historical Society & Museum, Dedham, MA) 

Assistant Curator/Curator (Saint Anselm College –Alva de Mars Chapel Art Center, Manchester, NH) 

Director of Development (Currier Museum of Art, Manchester, NH) 

Teaching Artist/Museum Educator (Sugar Hill Children’s Museum of Art & Storytelling, New York, NY) 

Studio Lab Teaching Artist/Storyteller/Performer (Sugar Hill Children’s Museum of Art & Storytelling, New York, NY) 

Midwest: 

Chief Curator (Wisconsin Historical Society, Madison, WI) 

Executive Director (Anderson Museum of Art, Anderson, IN) 

Senior Curator (Missouri Historical Society, St. Louis, MO) 

Manager of Volunteer and Intern Services (Missouri Historical Society, St. Louis, MO) 

West: 

Exhibits Curator (Chandler Museum, Chandler, AZ) 

Assistant Director of Marketing – Campaign Management (San Francisco Museum of Modern Art, San Francisco, CA) 

Mid-Atlantic:  

Curator of Education (Delaware Division of Historical and Cultural Affairs, Dover, DE) 

Executive Director (Historic Crab Orchard Museum, Tazewell, VA) 

There’s No Quick Fix to the Gender Inequity in the Art World

The past few weeks, our blog has focused on what is a museum, and hopefully, you have a few ideas about it yourself now. However, this week I’m shifting my focus to discuss a new survey from ArtNet and the podcast “In Other Words” produced by Art Agency Partners. This survey recently revealed that despite the growing awareness of gender inequity in the art world over the last decade, the top twenty-six museums in the United States acquire artwork from female artists at the basically the same rate that they did ten years ago. So, what can museums do to change this? 

  1. Actually, purchase their pieces – don’t just showcase them. While highlighting works of art through special exhibitions has increased exposure for a lot of female artists, it is not a Band-Aid solution that can be slapped onto the greater inequities in the field. This study specifically looked at the numbers of works of art that were acquired into the permanent collections of these museums. Solo or group female artists exhibitions are helpful in many ways, like name recognition and visitor exposure to the artists’ work, but these shows certainly do not solve the inequities between male and female artists in the field.
  2. Prioritizing female artwork, particularly female artists of color, even when works of art are donations. Museums get some of their pieces through direct purchases, they also often receive them through donations. In this case, donors have a lot of control over because they are the ones purchasing and offering the artwork. If museums truly want to correct the gender inequity in the art world, then they need to prioritize work by female artists in their collection by setting stricter guidelines, or possibly creating a vision statement for the evolution of the collection to guide the acquisitions committee. 
  3. Changing who is on the acquisitions committee. By having new voices and perspectives represented within the actual committee that controls the new additions to the collection, the museum will likely expand the perspectives within its collection as well.  
  4. Deaccessioning pieces by white, male artists and using that money to purchase new pieces by female artists or artists of color.  One example of this comes from the Baltimore Museum of Art (pictured below) in 2018: in an attempt to “[diversify] its collection to enhance visitor experience,” the BMA deaccessioned seven pieces of art that it found to be redundant in its collection. With the money from these deaccessioned pieces, the institution set a goal to purchase works from both female artists and artists of color.  
Image from artbma.org

The gender inequity can be improved in the art field, but there may be some backlash or discomfort along the way. Both large and small changes can aid the process, but this new study has made it clear that new mindsets are needed to improve this problem in the decade that’s to come.  

To read more about the survey mentioned here, please see the ArtNet News article: “Museums Claim They’re Paying More Attention to Female Artists. That’s an Illusion” and the New York Times article: “Female Artists Made Little Progress in Museums Since 2008, Survey Finds.” 

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