Museum Studies at Tufts University

Exploring ideas and engaging in conversation

Boston events for museum professionals this week

Hello friends and happy Monday! We have details of two events happening this week for museum professionals to share with you. One is happening tomorrow, Tuesday, October 1, and the other on Wednesday, October 2. Both events are FREE but do require advance registration.

Using Visual Thinking Strategies to Jumpstart Audience-Centered Learning

by the Greater Boston Museum Educators Roundtable

About:
Join us for a half-day workshop to consider VTS in a new light! Visitors today suffer from staccato looking: scrolling through Instagram, Facebook, and Snapchat, making instantaneous assumptions about what they see. In order to be responsible citizens in an increasingly global society (with more and more focus on visual culture), visitors of all types need to develop their visual literacy. Doing so increases their ability to assess images and information of all types, including artwork, maps, and primary vs. secondary sources. This level of deep thought and critical thinking informs understanding of our shared human history and fosters a respectful curiosity.

After participating in this workshop, educators will understand Visual Thinking Strategies as a methodology of facilitating conversations about artwork and its broad applications in museum and historic site settings. Participants will learn how to build observation and communication skills in their audiences, how to encourage the consideration of multiple perspectives, how to use images/objects thoughtfully in program planning, and how to improve facilitation skills when teaching. Through small group work and VTS discussions, teachers will walk away prepared to employ an exciting technique that will strengthen audience engagement and foster critical and creative thinking in your museum or historic site.

When:
Tuesday, October 1, 2019
1:00 PM – 5:00 PM EDT

Where:
Otis House Museum
141 Cambridge Street
Boston, MA 02114

Museum Careers Panel Discussion

by the Museum of Fine Arts, Boston

About:
Interested in learning about diverse professions in museums? Hear from a panel of MFA staff members in curatorial, education, exhibitions, conservation, marketing, public relations, and other departments as they discuss working in the museum world. Learn about their career paths, the challenges they encounter in their fields, and the opportunities they envision for the future of museum work. This event is free with Museum admission and open to all undergraduate and graduate students. Students attending institutions participating in the University Membership Program receive free Museum admission.

When:
Wednesday, October 2, 2019
6:00 p.m. – 8:00 p.m. EDT

Where:
Museum of Fine Arts, Boston
Barbara and Theodore Alfond Auditorium (Auditorium G36)
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts 02115

Thinking about museum workplace communities

When we think about the people that comprise a museum’s community, sometimes we overlook the very core of that group: the staff. Like all non-profits and cultural organizations, museums often have a small but dedicated crew of people giving 110% toward accomplishing the museum’s mission. And they wouldn’t have it any other way, right? But besides the devoted staff, museums can also often rely on tight budgets, small headcount, and, for small museums, no formal HR department to handle the needs of the people. This can all lead to the feeling that museums are (or should be) a stressful place to work. This can be dangerous for a mission-driven workplace, leading to employee burnout.

Burnout is a bit of a buzzword these days, but with good reason: If an institution’s culture makes people feel exhausted, frustrated, and alienated from their work, people will and do leave. If an industry’s culture does it, they will leave the industry. And we know that has been happening, because people have been writing about it. And as a member of EMP groups online, I can testify that the agonizing conversation  over whether or not to leave the field is taking place all the time, all over the country. That turnover can mean that institutional knowledge is walking out the door faster than it can be replaced, making a museum even more difficult to work for because people are constantly having to reinvent the wheel to keep moving. Museums, like many non-profits and places that depend on inspiration to motivate labor, are places where a number of workplace issues can come together to drain staff of their energy, enthusiasm, and ability to build a great institution. As emerging museum professionals, we should know the signs of burnout and of work cultures that will hasten it. This way, we can try to avoid toxic workplaces and build or grow non-toxic ones as we go. The best way to do that is to think about how we like to be treated in our other communities and implement those processes in our workplaces.

In our other relationships and communities, communication and dialogue in which everyone gets to share their opinions and needs are valued. It may be useful then for museums to create venues for feedback from staff, just like they do for visitors! This can include anonymous surveys, “listening sessions,” where someone in management hosts a group of people to get their feedback, or “postmortems,” meetings after issues or events where problems are assessed and betterments for the next time are decided. Implementation and followup is key: when people share their concerns, institutions must try to figure out how to make progress toward common requests. Do people want more vacation? Can your institution create a flex time policy so people can work around school pickups, appointments, etc? Do people want more money? Can your institution arrange a salary review, comparing salaries to like institutions and see if they are at par? Take in information and communicate plans to address issues.

Let’s not underestimate how important it is to show gratitude and encourage development, either. Thank people for their work. Thank teams for their work. Recognize work publicly. Celebrate finishing a project or hitting a fundraising goal. Encourage professional development, even if it means that a staffer might eventually outgrow their position and leave. Think creatively about low or no cost ways to help your staff develop. And remember that feedback goes both ways! Does your institution do performance reviews? It is difficult to know if you are doing well or to set goals without data.

There are a number of resources and action groups people can get involved with if they want to work more directly on these issues. Joyful Museums is a blog that conducts an annual survey of museum workers and, as the title suggests, thinks about how to create better museums. Gender Equity in Museums Movement (GEMM), is an advocacy group working for equity and transparency in museums on a number of workplace issues and they offer a tipsheet about combating burnout.  The Western Museum Conference recently held a panel on workplace culture, and the thoughtful handouts are available online. Do you have more ideas for fighting burnout or creating a happy and productive museum workplace? Share them in the comments!

 

The Problem with Plastics

two plastic flamingos with a plastic bag caught on them

We’ve all heard the dire news. We’ve seen the straw drawn out of the turtle’s nose. We carry our reusable bags, whether or not our town has outlawed them. We know about the Great Pacific Garbage Patch. In ways large and small, the people of the world are grappling with the looming environmental disaster of plastics. But we know that the issue is complex. Plastic straws are a necessity for many members of the disabled community. Plastic treasures, from the earliest celluloid jewelry to the first artificial heart to myriad acrylic paintings and fiberglass sculptures, fill our museums. For museums, the problem with plastics threatens to destroy a century of treasures.

The New York Times recently detailed the issue facing the conservators of many institutions, including those at the Smithsonian, struggling to save Neil Armstrong’s spacesuit from the moon landing. The suit includes twenty-one different types of plastics, all deteriorating at different paces. The suit has been taken off display to arrest its decomposition, but the damage has already been done to other historic suits. In those, the neoprene found within internal layers of the suit has turned brittle and shattered. At the Smithsonian and many other art, science, and history museums around the world, conservationists and scientists are racing to figure out the best ways to preserve and repair artifacts that, despite having a half-life of a thousand years, seem to have a useful life span of less than a hundred years.

The first sign that a plastic object is deteriorating is usually yellowing or microfracturing of the object. While unsightly and inconvenient, this is essentially a warning sign that worse conditions are coming. Offgassing, shrinking, and other kinds of visible degradation are soon to follow. In creating plastics, molecules are arranged and frozen in an inefficient manner. Over time they regroup, separating the object itself into brittle structures with white powdery materials or sticky substances emerging. Some earlier types of film create acetic acid in the course of deterioration, causing what archivists call “vinegar syndrome”. As with film, this short shelf life of plastics is also affecting archivists who are rushing to save information stored on physical media. As the space and time needed to store content shrank, the amount of information saved exploded, resulting in a surfeit of information that needs to be evaluated and conserved in a relatively short amount of time. Whether cassette tape, CD, flash drive, or physical server, plastics are integral to the modern world’s ability to save itself for posterity and renewing the lifespan of plastic objects with information stored on them requires money and time that many institutions unfortunately do not have.

In the short and medium term, trainings on how to deal with plastic should become more widespread and additional funds will need to be allocated to deal with issues of plastics conservation and preservation of information and objects currently stored via plastics. However, the long-term state of preservation is going to require new thinking about how to display and discuss a culture who so thoroughly relied on an object with such a limited lifespan. Future historians will also need to explain why such reliance on a temporary material with harmful environmental effects was considered a desirable solution for twentieth century humans. The sooner those conversations commence, the more useful they may be in mitigating culture loss and environmental damage.

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