How To Get A Job In A Museum Or Art Gallery Part 10

Did they ask you if you had any questions and what did you come up with? Did they give answers that satisfied you?

How did the interview conclude?

How much eye contact did you have from them during the interview; did their facial expressions (or those of any particular individual) give anything away about what was going on? Did you give them enough eye contact?

Overall, how do you think you came across to them? Try to see yourself from their their point of view, based on your responses to these questions. Would you perhaps have seemed over-keen; point of view, based on your responses to these questions. Would you perhaps have seemed over-keen; extremely extremely detail orientated and so lacking an overall understanding of the sector or the requirements of this specific job; insufficiently informed about them? detail orientated and so lacking an overall understanding of the sector or the requirements of this specific job; insufficiently informed about them?

Ask yourself too if the inst.i.tution matched up to what you thought of it before you got there, from the image you gained from its reputation, publications and Web presence. Could you see yourself fitting in there? Did you really want to relocate there? Was the job what you really wanted to do, given that once you had accepted employment with them it would have been on your CV for ever and having accepted it you were probably bound to give them at least two to three years (or there would be questions about that at the interview for the next job). Try to do this in a spirit of genuine enquiry rather than thinking that, as they did not want you, you certainly don't want them.

Once you have thought through these questions, the second thing you can do is to ask the organisation for some feedback. If this is a public organisation they may already have offered you someone to talk to, as part of best practice; but even if you do not get offered feedback you can still ring and ask for some. Don't ring them five minutes after receiving your letter when you feel raw and crushed but do take the opportunity to do so once you have thought through your answers to the above questions. You can gain some really interesting information in the process, information that will help you with your job search in future and if you did not particularly want this job (and so are not emotionally vulnerable), feedback on how you came across can be particularly revealing. So, were you let down by your skill-set and understanding or was it what you said on the day? Are there gaps in your experience or were you just outshone by a particularly outstanding candidate? Remember, you are ringing to hear what they have to tell you, not for you to tell them where you went wrong or to re-interview for the same post, so listen carefully. Have a pen and paper to hand before you make the call so you can note down the important points. This is really important and useful, because most of us have little idea of how we really come across to others.

The third thing you can do, if you still want to work there if you still want to work there, is to write and express your disappointment and remind them that you remain someone who would like to work for them. And if this is carefully expressed, without sounding needy, stalking or over-argumentative (because they made the wrong decision in your opinion), it can end up being a letter they hang on to and keep. First appointments do not always work out; vacancies may occur in other departments, and if they feel a certain sense of obligation to you, because you got so near and were disappointed that you did not get the final position, you may be well placed for the future.

How to accept a job offer Well done. You will have received a satisfyingly thick package through the post and need to make a quick decision about what to do. A few questions to ask yourself first: Is this a job you really want? It's not uncommon for people to apply for jobs that are on the edges of what they want to do rather than centre stage. So if you are waiting to hear back about another job you know you want more, then a call to that organisation, to ask when they can let you know, is appropriate. You could say that you have received a job offer from another organisation and need to know if they would like to employ you, because they are your first choice. Even if they cannot make a quick decision this should sharpen their awareness of your value.

There isn't usually a difficulty in asking the organisation offering you a job for 2448 hours to think it over. Again, this may sharpen their awareness of your value, as other people are clearly interested in you too.

Is the salary what you were expecting? Most jobs with public organisations are accompanied by a sliding scale of options (between X and Y), so if you have measurable experience and can justify being further along the scale, it may be worth pus.h.i.+ng a little. A response along the lines of 'I very much want this job but was hoping that the salary would be towards the higher end of the range specified' might go down well. It certainly shows you take yourself seriously, and now is the time to do it. If it is agreed, it becomes part of your annual salary on which percentage increases are calculated and based. Once you are established in a position it can be very difficult to renegotiate a salary, which is why in the early stages of their careers many museum and gallery staff move jobs relatively quickly, in order to improve their remuneration. Such conversations are better handled face to face, so if this is not possible be very very careful about how you prepare for a phone call or draft an e-mail. careful about how you prepare for a phone call or draft an e-mail.

'I have never heard of anyone querying the salary, certainly not new graduates. I think we are so pleased and overwhelmed to actually have a job that we take whatever we get offered.'

RECENT APPOINTEE Read all the small print they send. Look at the hours of work (do these fit with your commute and would an earlier start be possible?), how long is the probationary period (does this match the professional standard?), what holidays are you ent.i.tled to and what start date do they suggest? Think now and query before you start, as once you have signed and returned that piece of paper it will be difficult to renegotiate and by coming back to them again you will have made it clear you did not read all the paperwork the first time around. Are all of these acceptable? Is there anything you need to do or finish before you start (move house, buy a car, complete your dissertation, see your parents, visit Venice?) Do try to take at least a week off between one job and the next, just to clear your head.

Return the required forms, within the dates specified, and with a polite note saying how much you are looking forward to joining them. Respond in the same format in which they made the job offer, matching the formality of the language they used and the style too (and even the typeface if you can work out what it is).

If you do decide to accept, then stop job hunting now. It's not fair on others, and it is extremely mentally draining to carry on looking for a job when you have already agreed to take one. The world of galleries and museums is a small one and people talk, and so being caught out in duplicitous dealings could be extremely harmful to your long-term prospects. The current job offer could be removed.

Let those who provided your references know that you have been successful and thank them for their support. If you have just emerged from a Master's degree in museum studies, again a note of thanks and information on what you are about to embark upon is a good thing to do, ditto to those who have given you work experience. Not only are you thereby building the network of people who like you and see you as 'one of theirs', you are generously confirming that you did not do this all on your own.

Chapter 17

Your first job and your future

This final chapter looks at how you might develop your career in future. Firstly we'll look at employment patterns and then move on to some useful hints for building a career. Given that this book may be read by many, with different talents, inclinations and objectives, the advice offered can only be generalised.

Employment patterns A career in museums and galleries tends to offer a greater degree of freedom than in some other professions; it seems you are not locked into your initial role for ever. My own background is in publis.h.i.+ng and in this profession it can be hard for someone with previous employment history in scientific or professional publis.h.i.+ng to change to another subject area, or for an editor to become a marketer. In the world of museums and galleries, however, I found repeated instances of those who had moved around between academia, art publis.h.i.+ng and the museum world with relative ease or, within individual inst.i.tutions, between interpretation, curators.h.i.+p, programme planning and education some of them were interviewed for this book. Such moves are by no means automatic and in each instance an effective case would have to be made, but there is seemingly a wider acceptance of the value of diverse skills and experience and how they contribute to this world as a whole. Given the reduction in core funding, and the inst.i.tutions' need to raise some of their own income in future, this trend has been boosted by trying to widen partic.i.p.ation and involve more people in what our public inst.i.tutions seek to offer: 'According to sculptor Sokari Douglas Camp, he (Neil MacGregor, Director of The British Museum) holds 8am meetings at the museum where you're likely to find yourself sitting next to an MP, a trustee or a TV presenter, all debating a series of objects that he has selected from the collection. "You come out feeling totally energised."'1 The level of pay has been covered already and it is not advantageous. Often the only way to progress a career is to move from one inst.i.tution to another, gaining financial increments along the way. But in doing so the individual a.s.sumes the risk of not ending up where they want to be, and many will decide to stay put because of the congeniality of the working environment or the kudos of the collection and therefore find their salaries increase only at the rate of annual increments.

In general the directorate is predominantly male, with other employment patterns you might expect (more men than women working as curators, more women than men in education) but there are pockets of change, for example female directors of four important London inst.i.tutions the Whitechapel Gallery (Iwona Blaszczyk), the Camden Arts Centre (Julie Lomax), the Serpentine Gallery (Julia Peyton-Jones) and the Imperial War Museum (Di Lees).

In terms of career planning and working out where you will be in five or ten years' time, it's largely up to you. You will find there is little in the way of formal career a.n.a.lysis or guidance and, although there is an appraisal system and CPD2 is held as a good idea, it will be up to you to ensure it happens and, given that the advantage is yours, perhaps on occasion to fund it yourself. is held as a good idea, it will be up to you to ensure it happens and, given that the advantage is yours, perhaps on occasion to fund it yourself.

'My last job funded CPD, or rather if you came up with something you wanted to do, they would consider paying for it, and as part of this I got to the Venice Biennale. I am going again later on this year, but this time I am paying. It is more important to be there and maintain my currency within this world than fight over who will pick up the bill. In the long run the beneficiary is me, as I build my career.

EDUCATOR WORKING FOR A GALLERY Most organisations have a training department and, although there may be regular general staff training to make best use of the limited budget available, it can be hard to access the funds for training the individual.

What is essential for career progression in this world is networking, and there are many formal and informal means of getting to talk to colleagues in other inst.i.tutions. For example, the directors of London galleries and museums meet at regular intervals and there is a similar grouping of the heads of learning. Relatively recently a forum of those running young people's programmes was established by three people and the last meeting attracted over 20 attendees. This world is used to sharing information and being fairly open about plans, and so opportunities to meet are enjoyed.

My other generalisation is that this is a world where most people are employed rather than self-employed. Museums and galleries are, in general, willing to work with personal decisions to increase or reduce working hours. In part, this is perhaps not surprising, given that the opening hours usually extend further than the working day juggling staffing cover means there is experience of flexibility. Many staff cut back on their hours to fit with personal circ.u.mstances such as planning a family and the desire to utilise their skills in a professional capacity (the 'portfolio career'). There is experience of both maternity and paternity leave.

There have been attempts by some to do their job on a freelance or consultancy basis, but they tend to stand out because they are unusual. For employees who want to cut down their hours, maybe to fit in with family commitments or a change in lifestyle, it can be easier to do this within the structure of an organisation, and to build up their hours at a later date, rather than to leave altogether and try to make a freelance employment path on their own: 'In logistic terms, a career in this world does require you to be mobile, and to fit your friends.h.i.+p and family patterns to that mobility and I mean internationally, not just within the UK. Jobs are rare and need to be moved to, whether in the UK or overseas.

'Some people manage a career as a freelance maybe offering short-term administrative a.s.sistance or a role as a temporary curator, but my sense is that first you perhaps have to have made a reputation within a series of fixed positions before others would hire you to work for them on a project basis. As freelances obviously only earn when they are working (not during holidays or fallow periods), this is difficult within our low-pay sector.'

DAVID FALKNER, DIRECTOR, STANLEY PICKER GALLERY, KINGSTON But self-employment is possible, as the following two case studies ill.u.s.trate.

Case Studies: Self-employment Interview with Jeremy Theophilus, self-employed museum consultant 'Whereas ten years ago there were relatively few opportunities for freelance work within the museums and galleries sector, today the number has increased. This may be due in part to the increasing professionalisation of the sector, with many would-be entrants taking a course in museum or gallery studies which leaves them equipped with a variety of transferable skills. These they can use within a variety of host organisations so if they do not get a job in a museum or gallery (whether by inclination, because the right opportunity has not come up, or they were unsuccessful at interview), some move into arts marketing, arts administration or publis.h.i.+ng, often on a freelance basis. And, of course, once a freelance path is established, others may choose this option too, either due to life circ.u.mstances (e.g. the decision to start a family or work for oneself, or take a part-time role instead of a full-time corporate career).

Why would an organisation choose to use a freelance rather than an in-house member of staff?

'The main reason is usually the ability to park a particular project with someone who has specific responsibility for its execution. In-house members of staff may have a variety of different priorities and perhaps conflicting line management expectations, and so being able to allocate a specific job to an external member of staff, with an a.s.sociated budget and timeline, may be an effective way of managing resources. The budget for a freelance member of staff can also be written into the project specification when funding is sought, and so itemised separately from the organisational overhead.

'The downside can be that the wider dissemination of what is learnt in the process of managing the project, and the sense of involvement for the organisation as a whole needs to be carefully managed.

What particular skills does the freelance need?

Sensitivity to the host organisation. The opportunity to work on a single project with an allocated budget and timeline may be one that in-house staff would appreciate too.

Good communication skills. To establish at the outset what is required, how much involvement and over how long.

Self-organisation. In particular an ability to relate time spent to funding sought. The freelance needs to be particularly sensitive to the allocation of their time and what they are earning and be able to make the case for further negotiation either of budget or allocation of responsibility in return.

Self-motivation it can be lonely, and the client seldom wants to know if you are having trouble meeting the brief.

Good at juggling. One of the client's main reasons for putting a job out of house may be that they want someone's undivided attention on it but of course the freelance usually has to manage a portfolio of work, while keeping a weather eye out for the next project.

An apt.i.tude and appreciation for the fluidity (or insecurity) of temporary work arrangements. Some people would like the security of a permanent position; others find that having once been brushed with the freelance paint it can be hard to find a full- or part-time position again, because they are seen as a little too independent or not understanding of corporate communications or politics.

The confidence to network and explain your skills to others. In general, museums and galleries may be willing to pa.s.s on the names of those they have found useful in a freelance capacity, but be much less willing to give details of those who have helped with long-term vision for their organisation, thus the more senior you become the more discreet and indispensable you will have to be.

'My career has flipped back and forwards from being employed (running galleries and art centres) to working as an independent curator, writer and project manager, but I now feel I have found the right balance. I set up a partners.h.i.+p with a colleague and, although we are based in different places (he in Manchester, me in Suffolk), we meet regularly, at least once a week, and communicate online. We offer each other mutual support and encouragement and as we have complementary skills and competencies, the work tends to be challenging and diverse.'

Further information: www.afineline.co.uk www.hat.mmu.ac.uk Interview with Jo Graham, former full-time museum professional; now an independent consultant working across the cultural and heritage sectors Jo runs Learning Unlimited, an independent consultancy working across the cultural and heritage sectors. Her experience includes strategic planning, exhibition development, audience development, community engagement and learning. She is probably best known for her work on family and Early Years audiences in museums (www.learning-unlimited.co.uk).

'Being a self-employed museum consultant was never something that I dreamed of. It was never the answer to that tiresome question you get asked from time to time: "Where would you like to be in five years' time?" Having been a consultant for nine years now, however, I find it difficult to think about doing anything else.

'So, if being a consultant wasn't my career destiny, how did I come to start my own business? I started out as a teacher, but I could never settle in any one school for very long. There always seemed to be something new I should try: a different year group or a different kind of school. Having taught for around six years, I began to think I was interested in learning but not so much in teaching, so I started to think about other jobs.

'I applied for a job as Learning Manager at the Science Museum in London and, to my surprise, got the job. Working at a large national museum was a fantastic development opportunity. I was able to get such varied experience from education management, to becoming Head of Interactives, then moved on to exhibition development and finally audience advocacy. So why leave that and take a risk in being self-employed?'

What are the advantages and disadvantages of working for yourself?

'Although undoubtedly there are benefits to being self-employed, there are plenty of disadvantages. Taking the step away from employment was largely a practical decision for me, because it offered me a way to balance my work and family commitments. I had two pre-school children and a partner with a stressful job. Self-employment gave me a measure of control over how much, when and where I worked.

'On the positive side, my work seems to be infinitely varied. I am always trying new things and working with new people, so it never gets dull. The income is potentially good, although of course never guaranteed and not as good as it first appears when you factor in holidays, sick leave and having no pension. For me, the autonomy has been fantastic. On a training course long ago I did a team a.s.sessment and found that I like to be a "joiner": someone in the middle of the wheel, making connections and helping others achieve what they need to. Being a consultant has meant I can work right where my strengths are. The final advantage is the feedback. You only get work if you're good. It's as simple as that. So you don't need annual appraisals. You get instant feedback from every project you work on.

'On the minus side, the job turns out not to be totally flexible, unless you aren't relying on the income. I am the main breadwinner in my family, so I need to work full time and therefore have less choice about which projects I engage with. Of course I can give myself days off, but then if a project really needs you that day, you tend to feel you should work. The financial insecurity should be a downside, but I have been fortunate in the projects I've secured and the number of teams that have come back to me for more work. Tendering for new work is my least favourite part of the job. There was a time when it felt like I was going for interviews every month. As you gain experience, however, it seems that you do a lot less tendering. You are able to go for longer contracts and clients can invite you to tender, which is a little less scary. For some people working mostly on your own and having to rely completely on your own expertise might not appeal. You can feel very exposed. It is worrying when you look in the diary and there is nothing booked in when the project you're on is completed.

Top tips for maintaining a freelance career in museums and galleries 1. Get connected Starting out, it was really useful to already have lots of contacts because it gives you a compet.i.tive edge and boosts your confidence.

2. Get a good-sized contract My first contract was to write a set of activity books for teachers. It gave me enough guaranteed income for the first two months of self-employment and left me enough time to bid for other work.

3. Have a wide skills base When I was first self-employed I did a lot of writing and evaluation work as well as strategic and exhibition work. It's good to have something in your "offer" that will always be in demand. For me that's probably evaluation.

4. Try to vary your work I try to get a balance of face-to-face work with teams and work at home. I also mix writing, delivering training, advising and mentoring, with interpretation work, evaluation projects, exhibition development and strategic planning. It's surprising how often the skills and understanding developed in one project are useful for another.

5. Be disciplined with yourself When you're working from home it is easy to be distracted. It feels odd to begin with, but being strict with yourself about having 'work hours' and keeping some kind of time sheet to track time spent on each project means you get more done.'

Eight sound pieces of advice for career planning (whether or not you intend to stay in the world of museums and galleries) 1. Collect (appropriate) qualifications Collect (appropriate) qualifications You may be weighing up the options about whether or not to do an MA or a PhD. If you have the inclination and the chance is there, take it. It is surprising how often having an extra few initials after your name makes a difference, particularly when a field is crowded. As a newly appointed medical consultant said to me recently: 'After finis.h.i.+ng my three-year medical degree, I stayed on for an extra year, ending up with an honours rather than an ordinary BSc in medical sciences. Most people did the three-year degree and then moved straight on to the clinical part of their training. I only did the extra year because I wanted to stay at university until my girlfriend graduated, and I quite fancied being president of the union, but, ever since, that additional qualification has made a huge difference, giving me the edge in job applications, interviews and appointments. A decision that was taken relatively unthinkingly, and that involved only one extra year of study, has turned out to be very significant simply because most people don't have an honours degree.'

2. Find a mentor Find a mentor Find someone who wants to help you in future. This could be someone you work with or someone you admire; they don't have to offer you advice (indeed a mentor who just reels off solutions may be not particularly useful). Rather seek a wise listening board, who helps you come up with your own solutions. As to what is in it for them, most people like to be helpful, and helping others makes you realise the extent of your own seniority and grasp of your profession. A mentor may well enjoy encouraging someone younger than they are, and feel good in the process (the next time the opportunity arises, go along and give blood and see how walking away having done something selfless makes you you feel positive). feel positive).

If you do find a mentor, don't keep ringing up for advice try to consolidate your thoughts and questions for discussion at an occasional opportunity to meet limit sudden calls for genuine emergencies. Send the odd postcard or e-mail that fills them in briefly on what you have been doing, and don't worry if you don't hear back. When you do meet, do ensure that you listen find out about their career and absorb all the anecdotes which can be very revealing, such as networking opportunities that led to hearing about a job opportunity or a specific project that turned out to be significant; guidance on the politics of how the profession works can be particularly instructive. And for whatever help or support you receive, even if it's just the chance to listen and meet, bear in mind that your mentor probably has endless other ways they could use their time, so remember to say thank you. And don't a.s.sume a mentor is only useful in the early stages of your career; objective and wise counsel is always valuable.

3. Build a network Build a network Build a collection of colleagues, friends and other people you may be in touch with. Talk to them and be interested in what they have to say. Find out via this grapevine what is going on and acknowledge their input, particularly if you find out things you would not otherwise have known.

4. Make a plan Make a plan Prepare a plan based on where you want to be and what kind of person you think you are. Make it logical, taking into account your known strengths and weaknesses. Revisit it at regular intervals most lives are not linear.

Along the same lines, consider your priorities and what you want from your job and your life. I remember being particularly struck by hearing journalist Katharine Whitehorn talking on Radio 4's Desert Island Discs Desert Island Discs about how much she hated boarding school, but how in the process it gave her a very clear idea of what happiness was, and that thenceforth she could always tell if she was happy or not. I regularly run workshops for people who want to write, and often the audience consists of those who are well paid and highly valued by their organisations (as evinced through their job t.i.tles and salaries) but feel deeply unfulfilled. about how much she hated boarding school, but how in the process it gave her a very clear idea of what happiness was, and that thenceforth she could always tell if she was happy or not. I regularly run workshops for people who want to write, and often the audience consists of those who are well paid and highly valued by their organisations (as evinced through their job t.i.tles and salaries) but feel deeply unfulfilled.

So as you progress, keep a sharp eye out for what motivates you, where and when you are happy. Do you thrive best in a large or a small organisation? Do you like working in a team? What gives you job satisfaction? Does belonging to the organisation matter to you? How much does your job matter to you is your job what allows you to live your life, or perhaps it IS your life? You don't have to change your job or circ.u.mstances to fit this dawning awareness all at once, but a feeling of moving towards what motivates you is a healthy direction.

5. Lead an interesting life Lead an interesting life Do different things. Trying out new things always gives you a fresh perspective. Without going out on a limb and being seen as awkwardly different, become known as someone who has interesting ideas and is not bound by convention to dismiss or sneer at something that is not a natural part of their cultural inheritance. Be aware of popular trends, as these impact on the public's willingness (or not) to spend time in your inst.i.tution and the values they place on leisure: by understanding trends, you can influence them. So visit new places and as well as spending time on the main attraction, visit the shop, the tea room or restaurant and even the bathrooms.

Be willing to get involved with any experiments that are run within your organisation: new initiatives; working parties on issues that interest you, the management or both. Volunteer.

6. Think positively Think positively When things don't work out as planned and you find yourself in a difficult place, it is tempting just to keep going, all the while comforting yourself with the fact that the workplace, or life in general, is unfair. Rather than just keep going, try stepping off the hamster wheel and thinking about what you are doing and what is to be gained by simply carrying on. People who work with addicts often concentrate on how to change behaviour: predicting a different outcome without changing any of the parameters that put you in that position in the first place, is unlikely to bring success. So rather than taking refuge in whinging, examine whether a difficult situation you face now has happened before (are you becoming a natural victim?) or if this is a new and tricky problem that you need to think about.

Try to develop a genuinely self-reflective att.i.tude. The most perceptive people tend to be those who know what they don't know or are aware of their limitations. This enables them to be both realistic about their own aspirations and genuinely appreciative of the skills and expertise of others.

7. Manage detail Manage detail Read the small print. Become known as someone who is careful with detail, and then people you deal with will take more care in what they send to you and everyone's game will improve. Try to 'walk through' all plans before sharing them; think about the practicalities and how they might feel to outsiders. Consider too the 'what ifs?' would what you have suggested still work? Try to spot pressure points in a plan are there convergences of funding, responsibility or staffing that could result in crisis?

Consider the likely reactions to proposed plans and how you would respond to the most obvious criticisms (without sounding overly defensive). Try to do this by widening your game, quoting instances from the press, society's current leisure patterns (e.g. the rising number of restaurants offering breakfast; the growing number of bicycle sales) or visitor attendance patterns at other types of inst.i.tution that confirm a trend you have spotted. Keep an eye out for surveys (and not just the ones related to your area of professional expertise) which isolate trends that are important to you too; consider surveying your own visitors and finding out what they think this may throw up a completely new way of presenting value to your market. Look at a situation from different points of view other than your own.

Think what people might complain about (society is becoming increasingly litigious) and also what might attract them, and try to see a situation from a variety of viewpoints, taking into account other people's priorities, rather than just your own. As John Ruskin said in 1858: 'Perhaps some of my hearers may occasionally have heard it stated of me that I am rather apt to contradict myself. I hope that I am exceedingly apt to do so. I have never met with a question yet, of any importance, which did not need, for the right solution of it, at least one positive and one negative answer.'

For example, a new exhibition of objects from a 19th century house might make an important new collection available to the public, but remind your visitors of their grandparents' house. I asked a child who had been to the National Portrait Gallery in London what had impressed her most, and she said the fact that all the pictures in the gallery actually belonged to her (staff had discussed the meaning of a 'public collection' with the children). Things you take for granted may be news to others.

Bear in mind too that in terms of getting people to attend an event or a cultural inst.i.tution, the easiest option for them is always no and there may be many different sorts of no to each yes, so for example: the transport was difficult, I did not know how to get there; the opening times were not convenient (when is it open anyway?); Granny was staying and it would be too far for her to walk from the car park, and once inside there would be too many steps for her to manage; the children wouldn't like it; it's too cold at this time of year.

The more information you provide, catering for a variety of possible difficulties that the potential visitor might think of, the greater the chance of your sounding welcoming and inclusive and those potential visitors may decide to come along.

8. Be proud of what you do Be proud of what you do 'Pride is like a perfume. When it is worn, it radiates a sense of self the world reacts to.'

STEVIE WONDER, ESSENCE ESSENCE, 1975 Do your job to the best of your ability and if you find you don't like it, try to find the positive something that you have learnt in the process that you can take on to further equip you for your next role.

Understand what you have to offer the organisations you work for and where your value lies. Don't keep reminding your employers of this (tedious) but do have an appreciation of what you offer right now, which parts of you are not being used to the full and where you might go in future.

Postscript

'Everything that can be invented has been invented.'

CHARLES H. DUELL, US COMMISSIONER OF PATENTS, IN 1899

To the prospective employee seeking a job in museums and galleries it may seem that Duell's maxim is true they may wonder how they can add value within this ma.s.s of complexities, or make their own application to be part of it stand out.

Here are 10 ideas worth taking forward most are under consideration already and each is certainly worth vastly longer deliberation than the single paragraph allocated, but they may be useful fodder when preparing for interviews.

What's still left to do in museums and galleries?

1. Widen the demographic basis of those who are encouraged to visit. 'Museums cater for children up until the age of 12 and for adults from the age of 16, but for no one in between' (Joanna Moorhead). 'Museums cater for children up until the age of 12 and for adults from the age of 16, but for no one in between' (Joanna Moorhead).1 'Teenagers test the boundaries of socially acceptable behaviour and, as such, groups of youths can arouse the suspicions of museum staff through boisterous behaviour.' 'Teenagers test the boundaries of socially acceptable behaviour and, as such, groups of youths can arouse the suspicions of museum staff through boisterous behaviour.'2 Discuss. Discuss.

2. Use museum and gallery expertise internationally, e.g. on conservation and consultancy projects that spread international understanding. Examples include Neil MacGregor, Director of the British Museum, getting involved in the safeguarding of the contents of Iraqi museums, or putting on an exhibition at the British Museum featuring the 16th/17th century flowering of Iranian art which paralleled the Elizabethan renaissance in England of the same period. MacGregor firmly believes the museum should be a global resource: 'A collection that embraces the whole world allows you to consider the whole world,' he argues. 'The non-European world isn't "other" any more; it's part of us.' e.g. on conservation and consultancy projects that spread international understanding. Examples include Neil MacGregor, Director of the British Museum, getting involved in the safeguarding of the contents of Iraqi museums, or putting on an exhibition at the British Museum featuring the 16th/17th century flowering of Iranian art which paralleled the Elizabethan renaissance in England of the same period. MacGregor firmly believes the museum should be a global resource: 'A collection that embraces the whole world allows you to consider the whole world,' he argues. 'The non-European world isn't "other" any more; it's part of us.'3 3. Make the expertise housed within museums and galleries more available through ma.s.s communication channels. Perhaps curators could talk about the fascinating objects they look after on daytime television, or teachers might talk about why they organise school visits and what the children get out of it. Perhaps curators could talk about the fascinating objects they look after on daytime television, or teachers might talk about why they organise school visits and what the children get out of it.

4. Reinterpret existing understanding of your collection rather than just accept it. All research is influenced by the culture and time within which it was written. Challenging previous understandings may lead to interesting new ideas. All research is influenced by the culture and time within which it was written. Challenging previous understandings may lead to interesting new ideas.

5. Provide full access to collections online so that visitors can access these virtually, whenever they need a summary of what you hold or want to check a specific detail. Visitor numbers through the door will not necessarily fall because access online often prompts a visit to see the collection 'in the flesh' and in the process the collection's influence may increase. so that visitors can access these virtually, whenever they need a summary of what you hold or want to check a specific detail. Visitor numbers through the door will not necessarily fall because access online often prompts a visit to see the collection 'in the flesh' and in the process the collection's influence may increase.

6. Make museums and galleries places that people want to visit by installing new attractions that are sympathetic to the organisation's functions and premises or ones that are not sympathetic, but that draw in new audiences. by installing new attractions that are sympathetic to the organisation's functions and premises or ones that are not sympathetic, but that draw in new audiences.

7. Increase the role, voice and a.s.sociated credit of the pract.i.tioner/ maker/artist by involving them in what is displayed; for example through examination of the working practices of those who created what is stored and on display and their modern-day counterparts. by involving them in what is displayed; for example through examination of the working practices of those who created what is stored and on display and their modern-day counterparts.

8. Appeal to the audience's senses. For example, the Jorvik Viking Centre in York drew our sense of smell. What else could be harnessed? The same goes for different learning styles (written, auditory, practical). Now that we understand them, how could they be harnessed within museums and galleries? For example, the Jorvik Viking Centre in York drew our sense of smell. What else could be harnessed? The same goes for different learning styles (written, auditory, practical). Now that we understand them, how could they be harnessed within museums and galleries?

9. What is it worth? The most common misunderstanding among the public is that museums and galleries will try to establish the value of items owned by individuals. So rather than simply aiming to put the public right, should inst.i.tutions consider adopting this role, perhaps on a 'drop-in clinic' basis? Along the same lines, how about some public lectures or tours on what individual items in a collection, or the value of the collection as a whole, are worth? Both ideas would be very newsworthy and could attract useful publicity. The most common misunderstanding among the public is that museums and galleries will try to establish the value of items owned by individuals. So rather than simply aiming to put the public right, should inst.i.tutions consider adopting this role, perhaps on a 'drop-in clinic' basis? Along the same lines, how about some public lectures or tours on what individual items in a collection, or the value of the collection as a whole, are worth? Both ideas would be very newsworthy and could attract useful publicity.

10. 'Museums belong to everybody. They exist to serve the public and should enhance the quality of life for everyone, both today and in the future. They receive funding because of their positive social, cultural, educational and economic impact.' They exist to serve the public and should enhance the quality of life for everyone, both today and in the future. They receive funding because of their positive social, cultural, educational and economic impact.'4 We should work towards the widening understanding that museums and galleries are of use to all and so should receive stable and unquestioned funding. We should work towards the widening understanding that museums and galleries are of use to all and so should receive stable and unquestioned funding.