Janice Klein’s Post

This week we'll be exploring "other duties as assigned" and I want to hear about your experiences with 🧼CLEANING🧼 In addition to their main tasks, it is common for museum workers (especially at smaller museums) who have to take on duties like cleaning the toilets, the museum, vacuuming spaces, etc. What I want to know is: 1. How long do these tasks usually take? (Daily/Weekly/Monthly) 2. What you are expected to do If you don't want to comment, you can feel free to submit your own experience privately here: https://lnkd.in/egqbK_z8 𝗔 𝗾𝘂𝗶𝗰𝗸 𝗱𝗶𝘀𝗰𝗹𝗮𝗶𝗺𝗲𝗿: Getting assigned "other duties" outside of your scope of work can, in select environments, serve as a way of professional development. However, what is often the case in museums, is underpaid and overworked individuals are being taken advantage of and/or a place is understaffed to be able to sustainably fill roles and tasks.

You know the joke that art historians often end up working at Starbucks? 😅 It's sad, but often true. Many of my colleagues have indeed wound up working all kinds of jobs outside of their vocation. The same can be said of many of my artist friends. Sadly, it's hard to make a living off of art. The people that are lucky enough to be recognized on the arts scene or to get jobs in museums, galleries and the like (not that there isn't lots of hard work and knowledge behind that - there is) end up being overworked and underpaid. Why? My take on it is that it's because the arts and culture are undervalued in our society. Because they "don't make money"? I'd beg to differ. (According to the Arts Global Market Report for 2023, the global arts market grew from $441.02 billion in 2022 to $579.52 billion in 2023.) Besides, the value of art and culture are multifaceted. It's not just about money. Still, I keep seeing artists struggling to make a living from their art. Museums and galleries have issues getting permission from the government (at least here in Croatia) to employ new staff. So, a handful of them take on enough work for 10+ people taking on all kinds of roles that are not necessarily in their job description. All of this preamble is to say that this is one of the main reasons why I opened up my business back in 2021. One part of me wanted to make life (and work) easier on artist and art institutions. The other simply wanted to promote the arts and culture in the most friendly, accessible way possible. My team and I do that in a unique way because we're not "just" art historians. Our young team has developed all kinds of skills and gained knowledge in various fields precisely *because* it was a struggle for us to find work in our primary vocations. So we worked all kinds of jobs, learning all kinds of things along the way. If you're interested in finding out what kind of knowledge we've combined and how we combine it to make artists' and museum workers' lives easier, I'd suggest you have a look at the newest page on my website. It took a while to update but we got there in the end. 😊 https://lnkd.in/dgV5afFs #artists #arthistory #gallery #museum #museums #graphicdesign #artcurator #artconsultant #artconsulting #artmarket #artmatters #culturematters #artmarketing

It would be interesting to reflect on the differences between museums with entry tickets and those that are free with regard to charging for schools - looking at different funding models of museums and what is subsidised. I think most would agree that we don’t ever want cost to be a barrier to engaging with schools, but that some organisational financial models aren’t set up to be able to offer visits for free. At a higher level it also makes me reflect on how we see museums positioned: we’d expect schools to pay for other kinds of experiences, like a trip to the theatre. Is the desire to offer free visits because we see ourselves as educational extensions rather than days out? https://lnkd.in/eQ-9JUdu

At the risk of stating the obvious, most museum practitioners working today are not trained to invite and empower community members to be part of exhibition development processes. In fact, I see little recognition at administrative levels in museums that employee success in this area requires a specific set of skills that takes a lot of time, intention, and professional development to gain and that's in addition to whatever subject matter knowledge a position may require (a topic for another day). But I know from personal experience that good intentions coupled with poor training can cause harm. I love that Isabel Singer describes the inclusion of community voices as a continuum. The level at which a museum engages community voices ought to depend on the capacity they currently have to do the work as well as an honest conversation with community members about where they are on that continuum. But that should not be the end of the story. More training, more practice, more authentic relationship building over the long haul allows museums to grow, and the value and meaning it adds to our institutions is worth it.

I’ve thought carefully that good men should think of themselves like good museums: - Well constructed, good grounds, nice looking outside but better inside. - Built in corcondance with their surroundings, but open to new and abroad ideas. - Well curated and selected with what they keep inside. - They have thought carefully what to have in storage and take extra care of that and what to expose. - They explain everything in a good way and are very clear about what you’re going to find, not in a patronising way but in a comprenhesive and gender equal manner. - They compromise. - They know carefully what are they into and what to select for them. - Good museum have a team and it’s valuable for them. - They know their finances and what can and can’t do with their money and assets. - They do take care of themselves as their artists, appreciated collections and staff. - They are very awareness about long term investments, not just in stocks (art and assets) but in relationships and networks.

Art of Stoytelling. Art is a powerful way to engage an individual. Our stories, our interpretations are viewed through the lens of our personalities, biases and experiences. What is one thing that excites you about art?

Museums and libraries often feature rotating exhibits alongside their permanent collections. These temporary showcases offer a dynamic platform to highlight artifacts, stories, and themes that might not fit within the scope of permanent displays. From exploring niche topics to spotlighting emerging trends, temporary exhibits provide museums with the flexibility to stay current and experiment with new ideas. One of the most exciting aspects of temporary exhibits is their ability to address timely and relevant subjects. Whether it's a seasonal display at a nature center or an exhibit tackling pressing social issues, these installations offer visitors a fresh perspective on the world around them. Whether it's to spark dialogue, explore new narratives, or simply offer visitors something fresh and exciting, temporary exhibits can add vibrancy and depth to many museum experiences. If you're interested in exploring a new temporary exhibit idea, or thinking about converting a space into a rotating exhibit gallery, reach out to info@riggsward.com! 📷 "Two Hundred Years, Two Hundred Stories" at the Library of Virginia Silver MUSE Awards winner, 2023 #TemporaryExhibits #Temporaryexhibit #exhibitdesign #exhibitiondesign #exhibitdesigners #exhibitiondesigners 

New Post: Museum Technicians and Conservators - https://lnkd.in/eDw8m6jU Technicians and Conservators are professionals who play a vital role in the preservation, restoration, and exhibition of cultural and artistic artifacts. They are responsible for ensuring the longevity and integrity of objects in museums, galleries, and cultural institutions. In this comprehensive guide, we will explore various aspects of the Museum Technicians and Conservators profession,…

As visitor expectations continue to evolve, so too must museum spaces. Gone are the days when museums were simply places to view artifacts behind glass. Today’s audiences seek interactive, personalized experiences that resonate on a deeper level. Adapting to these changing demands is essential for museums to remain relevant and engaging. This evolution involves rethinking traditional layouts and incorporating flexible spaces that can accommodate a variety of experiences, from hands-on activities to multimedia presentations. Creating adaptive museum spaces requires a balance between preserving the integrity of the collection and introducing new, engaging elements. It’s about understanding that visitors are not just passive observers but active participants in their learning journey. Whether it’s through modular exhibit designs that can be easily updated or creating communal areas that encourage social interaction, the goal is to create environments that are both inviting and intellectually stimulating. By staying attuned to the needs and desires of modern audiences, Riggs Ward Design helps museums transform their spaces into dynamic environments that inspire curiosity and foster lifelong learning. 📷 MUSE Winston-Salem #exhibitdesign #exhibitiondesign #exhibitdesigners #exhibitiondesigners #evolvingmuseums #museums #museumculture #museumprofessionals #communitydesign 

🌱How can we build artist residencies as sites for community care? At The LP, we open our doors to a variety of needs, experiences, and perspectives shared by artists, residents, community leaders, and peers. ✨ As we dive into this year’s residency, our flagship Create Change, we’re taking a moment to pause and uplift a reader published by Rethinking Residencies, a network of NY-based artist and curator residency programs. This reader offers a refreshed take on the power of convening and truly caring for local artists: “Because residencies have a specific purpose, distinct from museums, galleries, and other structures in the art world, with care for individuals at its core, we are well-positioned to advocate for care as a model across the art world, in opposition to the exploitation of artists that so often occurs.” (pg. 46) By nurturing creative pursuits that build community power, we can bridge the gap that often exists between institutions and real communities – a gap that is fueled by structural racism and the harsh realities of capitalism. Pouring into socially engaged art practices is how we can support community transformation while fostering a culture of care and recognition that artists and their communities deserve. Reflect: What local resources, relationships, and organizations support and inspire your creative practice?