How To Get A Job In A Museum Or Art Gallery Part 6

'As shop staff we are a good team. We are fairly separate from the rest of the organisation sometimes we only realise we are serving other museum staff when they show us their ID in order to claim a discount. Occasionally we will ask which department they work in, but there is not time for much more conversation than that. We have never heard of someone leaving the shop in order to work for a different department within the museum this is a special form of retail, not an opportunity to work in the wider gallery world. It's funny that in my country (Spain) working in a gallery or museum shop is seen as something of really high prestige, but in the UK it is less so people are always interested to hear that I work in the V&A, but it's up to me to tell them that the shop is a really special place too. If they come and visit, they can see what I mean.'

Publis.h.i.+ng: Andrew Hansen, Managing Director, Prestel Publis.h.i.+ng Ltd '...what immediately springs to my mind is that, far from being a delightful and wonderful career within the museum world, publications can be considered the dishonourable, tainted end of an otherwise holy, high-minded world of pure art. Publications usually come under business development and the same people who must ensure the commercial success of the exhibition catalogues are often in charge of retail outlets, picture libraries and all that mucky end of the stick. These business or, heaven forbid, sales people, are often looked down on by the academics in their ivory towers, who don't like to dirty their hands with the sordid goal of having to make a profit.

'The publisher in such a situation is out on their own, whereas the exhibition curators, board of directors, trustees and especially the artists themselves may simply want to have an enormous book packed with text, expensive bought-in pictures from other inst.i.tutions, outrageously expensive designers and production extras, huge print-runs to ensure maximum availability and then to sell this package at an unrealistic list price tantamount to giving it away. One priority to think about, therefore, might be to measure the print-run to run out on the very last day of the show. Some inst.i.tutions even hold back trade orders in order to ensure continued supply to their own outlet. Travelling exhibitions can help immensely with the sale of foreign editions or even physical stock to partic.i.p.ating inst.i.tutions or commercial publis.h.i.+ng partners overseas. Sometimes a museum may seek publis.h.i.+ng partners like Prestel, in order to maximise revenue from the trade sales, or go it alone and just use the various publishers' distribution services to maintain margins. To weigh up the pros and cons of each approach, the publications manager needs to have a sound financial background.

'Publishers in the museum and gallery world need to keep a level head in order to balance the potentially conflicting requirements of the inst.i.tution and its curators, who may have an academic or proselytising agenda and the cold reality of trying to make ends meet. Curators may present completely unfeasible ideas (I have been presented with some quite risible and ludicrous ones in my time, but could not possibly name them here), which make no commercial sense or have no sales potential in the real world. Some first-hand experience with an independent publisher beforehand, therefore, can be of immense benefit to the aspiring museum publisher.

'So, it is by no means all wonderful in art book publis.h.i.+ng, nor does it necessarily behove the publications manager to be yet another art historian there are probably enough of those already in the mix. However, if you love art and love books and love the challenge of turning a possibly dry, dusty old tome on a recondite subject matter into a gloriously attractive and bestselling book that will appear to your great glory in bookshop windows and on front-of-house tables up and down the country at the height of the buzz, which you have created, surrounding your exhibition, then there can be no finer nor more rewarding profession.'

Catering: Helen Ruthven, former owner of the company which ran the cafes in three Edinburgh galleries 19842007 'I opened the first cafe at the Gallery of Modern Art in Edinburgh in 1984. This was a quite revolutionary innovation and the members of the management team at the gallery who wanted us (by no means all of them) really had to fight to get the idea accepted. Opinion was divided; some felt a cafe would bring in more visitors, others that we were wasting valuable s.p.a.ce that could accommodate more art. It was at about the same time that Elizabeth Esteve-Coll, the newly appointed director of the V&A, caused huge controversy by allowing the advertising of the London museum as a 'lovely cafe with quite a nice museum attached'.

Now things have changed exhibitions have to make money, or justify their initial estimates, and footfall is part of this. I know having watched traffic in the foyer of the Scottish Portrait Gallery that people sometimes come into the gallery to use the cafe and head straight out again if it is closed but of course I also realise that a popular exhibition means we are busier in the cafe and takings rise (of which a proportion returns to the gallery).

'I think it is important to offer people a quality experience in the cafe and not just the opening of another branch of an international chain: local staff offering a local product which is valued by the clientele for that very reason. I also feel that as a public inst.i.tution, a gallery's cafe or restaurant should offer food which is accessible to all budgets, and it was always my aim to do this without compromising the quality of the food available. In my opinion, a destination restaurant with prices to match is not appropriate to the gallery setting.

'We did sometimes get people wanting to work in the cafe in order to start a career in museums, but I always used to tell them that once the door is shut on the kitchen you could be in an airport or a hotel; the work is the same. Having said that, you do get a privileged view of what goes on within museums and, for staff who take an intelligent interest in their surroundings, it may qualify as useful work experience for building up their CV. And going through the famous doors can bring a thrill, as can the response of those who hear where you work working in a gallery brings kudos. We have had resting actors as well as artists come and work for us, and those who stick at it enjoy being part of a strong team. The customers can occasionally be difficult and last-minute panics happen (arriving to find that the oven is not working, or suddenly finding there is a power cut before the food is ready) and it is the team effort and overcoming these issues together that brings job satisfaction.

'Cafes in museums and galleries are becoming more important as they create revenue, and publicly funded organisations have to show that they are responsible stewards of funds. What was once regarded as vulgar commerce is now seen as valuable because it yields a profit and is integral to the customer's overall experience of the venue visited. As time went on I ended up running cafes in three of Edinburgh's galleries. I have now sold my business but still feel proud of what we achieved and value the experience gained. I saw a fascinating world from the inside.'

Chapter 9

Galleries that sell work

One of the most common misunderstandings about public museums and galleries is that they can offer advice to the public on the value of items. Staff deal constantly with those who, often having trekked long distances with bulky items in tow, have been told that the specific information they sought is not on offer: provenance yes, commercial value no.

There are, however, inst.i.tutions that make a connection between an item and the price others will pay for it, and working for one of these can offer an interesting career within the wider world of museums and galleries. These inst.i.tutions range from the commercial galleries that cl.u.s.ter in smart locations, to online selling through the Internet, from agencies that interpret historical doc.u.ments and offer them for sale to art society exhibitions.

Why doesn't the maker or owner just arrange to sell it themselves?

Commercial galleries and other sellers act as intermediaries, representing the work of artists, makers or original owners and explaining it to potential buyers, in the same way as the sommelier in an upmarket restaurant will interpret the wine list, and advise on the best purchase based on an understanding of what the client's tastes are and what else they already have (or to extend the food a.n.a.logy, what they will shortly have in front of them).

While the former British reluctance to summon up much enthusiasm for selling is being overcome on a daily basis through websites such as eBay, it's very hard to sell something in which you have a strong personal stake as anyone who has tried to sell a car or their home may appreciate. An awareness of the value you place on something whether it's based on how long you have lived there, or how long it has taken you to create it can make it difficult to listen to someone valuing it purely as an investment, or who seems more interested in securing a discount than in the object in question. Hence, the art world has long relied on intermediaries to do the selling.

This is seldom a hard sell. Although a desire to own a work of art can become peculiarly intense, the potential customer is not purchasing a life essential such as food or heat and they do not have have to buy. They may, in any case, be actively considering other possible uses for their funds (perhaps jewellery, items of furniture, garden or kitchen renewal, bespoke tailoring or other individual, commissioned items). All such purchasers are likely to be influenced by fas.h.i.+on, the media, and what their peers or influencers (and notably their spouses) are either currently buying or consider a good use of their money. to buy. They may, in any case, be actively considering other possible uses for their funds (perhaps jewellery, items of furniture, garden or kitchen renewal, bespoke tailoring or other individual, commissioned items). All such purchasers are likely to be influenced by fas.h.i.+on, the media, and what their peers or influencers (and notably their spouses) are either currently buying or consider a good use of their money.

Selling items, whether historical objects, old masters or work by modern artists, involves making items accessible and attractive to a range of potential customers, who may have a variety of different buying criteria. Some may be buying as an investment, others seeking to purchase a present, either of their own or on behalf of someone else. Some may be seeking an display of conspicuous consumption, whether individual or corporate ('look at what we can afford'), others to fill s.p.a.ce, or the pleasure of owners.h.i.+p. The skilled staff member will explore the reasons for considering purchase, spot the appropriate buying signals and deliver the information most likely to be of interest (and this may include saying almost nothing).

Of particular relevance to decisions to purchase are likely to be: The unique nature of what is on sale The unique nature of what is on sale. If the artist is long dead, and the work rare, then obviously the opportunity to purchase is not repeatable. Even if the exhibition is of the current work of an artist at the beginning of their career, each item will probably be different. Purchase allows the customer to buy and/or own what no one else has.

Your own tastes and preferences Your own tastes and preferences. These are highly relevant in helping you put together a collection of items for sale that makes a coherent offering that other people find attractive (and hopefully return to) and in explaining what is on offer to those who seek confirmation that they are buying something worthwhile. Every gallery owner I spoke to said that it was essential to offer work in which they personally believed and could justify as a good use of the money being spent, but there are grey areas: work you do not like but others do; commercial opportunities which seem to you distasteful and/or short term1 and customers who see the negotiation of a discount as more important than obtaining the work. A degree of pragmatism will be demanded if the gallery is to stay in business with its reputation maintained. and customers who see the negotiation of a discount as more important than obtaining the work. A degree of pragmatism will be demanded if the gallery is to stay in business with its reputation maintained.

The a.s.sociated ambience you offer The a.s.sociated ambience you offer. This may have a substantial effect on the willingness of your market to buy. It is usually achieved through private viewings (which offer the opportunity for a group of people to view the collection before others do, usually with a drink in their hands) or a privileged opportunity to discuss a particular object alone with its retailer, as a consultation before items are made available to other potential buyers ('I'm offering you first refusal').

Your ability to describe what you are selling Your ability to describe what you are selling. This could be during a one-to-one conversation, through accompanying doc.u.mentation, a brochure or pamphlet, on a website or via viral marketing mechanisms. Some of what is prepared may never get read, rather stored and held for the future, but its very existence confirms a value in purchase. For example, firms that retail historical doc.u.ments provide highly specific supporting information detailing how the item fits within the wider historical narrative (e.g. it is signed by someone who was about to take part in a battle/lose his life/be discredited/enn.o.bled) and this story will form a large part of the item's appeal to the buyer. Similarly, gallery owners who can explain a particular work in the context of the artist's personal life or world events endow the work with an additional significance that can often make purchase more attractive.

Case Studies Interview with Jess Wilder, co-owner of the Portal Gallery, Great Cavendish Street, London W1 (www.portal-gallery.com) 'I left the University of East Anglia with an BA in Art History in 1975. In those days such a degree was a relatively unusual commodity and, like many of my contemporaries, I fancied working in the world of commercial galleries. We were warned against getting our hopes up too high, but today there are at least dozen of us still so employed.

'I wrote to all the galleries and arts centres on the Arts Council list and offered to work for them in a very lowly capacity I had no notions of sweeping in, flexing my degree, and was quite happy to make the tea. Out of the blue a man who ran a gallery in Canterbury contacted me. He could not offer me a job himself (he had six children he could employ, one of whom now runs his business) but he offered to accompany me to visit galleries in London; to use his contacts on my behalf.

'This was a gesture of extraordinary kindness we were unknown to each other then, and there was no ulterior motive although he has since become a very good friend. We met in London and together walked up and down Bond Street; he walking into the galleries, greeting his friends, and asking whether they had need of my services ('This is Jess...'). The twelfth gallery we visited was the Portal, and it just so happened that Kerry, the a.s.sistant of the two founders, had just been summoned back to Australia to look after her sick mother. They asked me if I could type, and I said yes, in the sure knowledge that by the time they next saw me I would be able to. My mother borrowed a typewriter from her place of work, and within two weeks I could do so. I was offered a month as a trial and so my life in galleries began.

'After a couple of years I decided I needed a change and went off and did the same sort of pavement crawl in Paris and again found a job, although this time for about four times what I was earning in London (working in a gallery has never been well paid in the UK). The gallery needed someone who could speak English, and I found myself representing the organisation at a number of art fairs and exhibitions. My confidence grew.

'It was then that I got another call from the Portal. Kerry wanted to go off travelling with her partner and I was offered the chance to come back. I did so and pretty soon was in overall charge. The two owners (Eric Lister and Lionel Levy) were wanting less day-to-day management, and so it fell to me. And when Eric died he left me his share of the business at the age of 35 I had half share in a prestigious gallery and Lionel, who been my boss, was now by business partner.

'Having reached this world through such a generous and unprovoked act of patronage, I do try to reciprocate. For those who are looking to gain work experience in a commercial gallery, I think that a personal call from someone who has done their research on the kind of thing we sell (figurative work, finely finished with a high level of detail, and "quirky" always appeals) is always better received than an e-mail, which you are aware has been much used as part of a wider campaign. You need to see how people are going to be to work with on a daily basis and experience their interpersonal skills first hand.

'We must not be squeamish about the fact that galleries sell: we engage with people and encourage them to spend often quite large amounts of money. But the art of selling is very much one of listening rather than talking, and sensitivity to the occasion is needed at all times. Sometimes the customer wants a complete description, at other times a few hints, at others silence and the chance to look in peace. Anecdotes about the artist or the period are often appreciated, as are interesting facts most buyers like to know more about the person who produced the work, for they are going to live with the artist's view of the world for a long time! The most important thing is that just as each individual work of art is unique, so is each customer, and one must never use a "one size fits all" approach. I would expect those working with me to be good communicators, effective judges of character, alert to buying signals from visitors, and able to handle negotiations.

'Artists can be difficult people. They have strong egos and can be selfish and single-minded, but our job is to depersonalise any diffi-culties and represent them as professionally as possible. To find an artist who is commercially astute and can sell themselves is rare, and this would not influence my decision on whether or not to represent them their work has to be the most important thing.

'Galleries are often perceived as posh and full of nicely spoken young ladies and, while manners are certainly vitally important, I hope we offer a warm and welcoming environment. It is important that anyone who works here has a rapport with the work we represent otherwise they could not do the job. Sadly, all staff working in an environment that houses expensive goods have to be alert to the possibilities of fraud and theft, but we think we have our antennae well tuned and of course effective security processes in place.

'Above all, we try to be accessible and friendly. We want to build relations with our customers, for them to feel confident that what we sell offers value for money and will be a long-term source of pleasure. If people suggest a discount I like to remind them that they surely want us to still be here to visit in future, and this idea is often well received. In this age of standardisation it's important to be able to buy something unique and special. As Michael Palin kindly said in his speech at our recent 50th birthday party, we continue to offer "an oasis of insanity in an ever more programmed world".'

Interview with Brian Eakin, Director, Eakin Gallery, Lisburn Road, Belfast (www.eakingallery.co.uk) 'I started the gallery 20 years ago; I had no professional qualifica-tions in art, but a deep pa.s.sion for it. I had been working with my father in his jewellery business in Portadown and I introduced the sale of art through the showroom just as I later tried to showcase jewellery in the art gallery but neither combination worked particularly well. So when my father retired, and I had to make a choice of what kind of retailer to be, I opened the gallery and decided to concentrate on art. I am lucky that I have found what I love doing also makes a reasonable business proposition.

'We sell only Irish art, or art by people who have a strong connection to here they may have been born somewhere else and now live in Ireland, or went from here to somewhere else, but the affiliation still stands. People in Ireland like to buy from people whom they can both meet and have a connection with, and often they continue to buy from us even if they move away. We do get a few tourists popping in during the summer, but mostly it's the connection they are looking for rather than just a picture something that reminds them of home, their ancestry or more immediate family.

'Buying art is a highly personal thing, and making a choice means expressing yourself. So it's important to stock a range of artists, not just the things I would particularly choose to hang on my own walls although I see the appeal of every single painting we stock. People want something to connect to: a holiday, their children, a place they loved from the past (hence images of the Mourne Mountains always sell well). Younger people may choose something more abstract, but I do sometimes wonder about how artists who want to sell their work are being taught in art schools, because if you want to sell you have to produce something that others will want to buy. Of course every artist has their own individual style, and not all artists want to sell their work and would rather produce something completely individualistic. But people liking what you produce sufficiently to want to own it is an important form of acceptance for an artist, and I know that during launch events artists whose work is being shown are often both extremely nervous and desperate for others to buy.

'Buying art is also a long-term decision: pictures are one thing that go into a house that tend not to come out again. You may reorganise what is on the walls to highlight your changing taste or most recent acquisition, but most people have fond feelings about how and when they bought a particular picture and would not part with it altogether. Buying something new can feel almost like a drug, something you are desperate to have, but it's also something that will continue to give pleasure as well as hopefully rise in value. I always advise people to choose what they like and want to live with rather than something they think will rise in value. But the bottom line is you get both the investment and the pleasure of living with it, so it's a good way to use your money.

'The reasons for buying can be varied. I would say only about five per cent of our regular buyers are serious art collectors, who are consciously building a collection. Sometimes they are looking for a present, sometimes to fill s.p.a.ce in a new house. We do get a few people buying on behalf of others, as well as design agencies and hotels, although in recent times the credit crunch has meant there are fewer of them around. Others are choosing presents for their husband or wife, perhaps a significant birthday or anniversary. Most come in uncertain what they want, but sure that "I'll know it when I see it".

'The process of buying a picture is interesting. About half of those who want to buy do so, and take it away immediately, the other half say they will think about it and of these about half come back but once customers have decided they want something, there tends to be an intensity to the process. Most will ring and pay for it over the phone and then come in and collect it in person. We don't hold pictures without payment (it's not fair on the artist, us or another customer who might want to buy what one customer has liked but not enough to make an immediate decision) so there is always the chance that it will be gone when they get in touch again. Those who buy long distance over the phone (and we sell a lot to England this way) usually want a conversation about what it is actually like, and I will stand with the catalogue next to the original to give a precise description of the colours and how they relate to the image in the catalogue. For those who want to buy a picture, but for someone else, we offer gift vouchers and it can be lovely helping a couple new to art choose something with which to furnish their first home.

'Our main promotional expense is the catalogue for each exhibition. We use high-quality photography and paper and send them out to our mailing list of around 4,500 people usually six times a year. I know a lot of galleries cross people off the list if they have not bought anything for a couple of years, but I think it's good to remain in touch. Often people come in and say they have received a catalogue addressed to someone else who used to live at their address, and are curious, and of course new occasions to buy a picture crop up over a lifetime weddings, 21st birthdays, anniversaries and so on. To be honest, it does not cost that much more to print 4,500 copies than 2,000 (although the postage is pro rata). We do get a subsidy for our costs from our link with Rosemount Estate (wines from Australia), who have sponsored our launches for about ten years now, but in return they get their name in front of our audience, and fine wine and fine painting probably appeal to the same market.

'The art market is closely tied to the economy and when things are going well we sell well at its height we sometimes had people sleeping out in the street to be first in line to buy work by particular artists. Things have calmed down a bit now, and there is more time to consider and choose. For every new exhibition, we make the work available from receipt of the catalogue; people start buying immediately as many do not want to risk losing a work by an artist they have admired for a while and the supply is not constant. On the day of the launch itself there is excitement in the air, and disappointment from those who have come for a specific item and found it is already sold. Some artists will oblige and paint something similar on commission, but of course they can never (and would probably never want to) recreate the image entirely; other artists simply refuse and see each work as different and non-replicable. We work with whatever viewpoint they have and help them through the process. We pay them as soon as we are paid, so we have a good relations.h.i.+p with them. We are inundated with artists seeking representation and get several applications every week but probably only take on about two or three new artists a year.'

Interview with Sarah Ryan, founder of New Blood Art, an online gallery (www.newbloodart.com) 'I did a fine art degree, then took a PGCE to train as a teacher and taught art for seven years. I started New Blood Art in 2004. We sell work online by new and emerging artists.

'The idea behind it came from personal experience. Like many art students, I spent my time making work, supporting my studies through paid employment; in my case folding clothes in Gap Gap and working in bars. I became increasingly aware that I was one of many other students busy creating, and that there were potential customers who might like to buy the work, but that making the link in order to sell it to them was difficult. It's hard for a new artist to be taken on by a commercial gallery because your work does not sell at sufficient prices to make the gallery's cut worthwhile and the costs of running a physical gallery are very high. So all this art, that people might like to own, from artists who would like to sell, was just remaining in storage under art students' beds. and working in bars. I became increasingly aware that I was one of many other students busy creating, and that there were potential customers who might like to buy the work, but that making the link in order to sell it to them was difficult. It's hard for a new artist to be taken on by a commercial gallery because your work does not sell at sufficient prices to make the gallery's cut worthwhile and the costs of running a physical gallery are very high. So all this art, that people might like to own, from artists who would like to sell, was just remaining in storage under art students' beds.

'I went to teach in Botswana for two years and returned in 2000 to find a changed world: the Internet had arrived, everyone was moving online and this created the opportunity for my idea to take shape; the mechanism for linking artists and buyers now existed.

'We run an online art service, taking the work of new and emerging artists to potential purchasers; the prices are affordable because the artists are at the beginning of their careers and potential purchasers are offered privileged access they don't have to go looking for it, and would in any case be unlikely to find it through commercial galleries. I find artists by visiting art colleges and talking to their tutors, attending degree shows and through word of mouth artists now often come to us and say that friends of theirs have been happily represented by us and they would like the opportunity to show their work through us too. I like to review work by seeing digital photographs along with information on size and medium as the work is to be promoted via a website it is important that it reproduces well in this format. I tend to make this the first contact with an artist rather than a personal meeting, which can be awkward if the work is not suitable for selling this way or you do not wish to represent them.

'We have a database of about 1,000 people to whom we promote. Buying something without physically seeing it at first hand can feel like a leap of faith, but most find that the experience positive, and over 60 per cent of those on our database are repeat purchasers. I often get to know them well through e-mails and if I understand someone's specific taste I may try to alert them to new work by an artist they have bought from in the past, or work by a new artist I think might also appeal to them. People quite often ring to have their online selection confirmed ("what does it look like in the flesh?"; "is it nice?") and we get a lot of feedback afterwards from buyers who tell us they are happy with their purchase. Our customers tend to approve of our support for nascent artists, and of course they are getting access to affordable art in an easy way. We offer the option for people to return a picture (within 14 days) if they do not like it, but this has happened only a handful of times in five years of business more usual feedback is that the item looks so much better than it did on the website. Interior designers and other clients who regularly need new work are a valuable source of income to us.

'We provide a forum for artists to speak to each other and are very conscious of our own role in supporting artists. I do not take on work I do not believe in; I firmly feel that we are making available affordable art that people want to own, and that represents good value for money. The artist gets 65 per cent of the selling price, and this can represent a substantial income to many at a vulnerable point in their career. Working as an artist can be lonely, and I know from personal experience how difficult it can be to sell your own work I find it much easier to sell other people's and can pa.s.s on my genuine enthusiasm. The art teacher in me wants to nurture the artist, and having us believe in them and want to represent their work, can be a considerable support to their morale and motivation many stay with us over the longer term, even when physical galleries start to sell their work. We also offer work experience to those keen to enter this world, and of course this equips them to go off and apply for other jobs in related galleries.'

Case Study: Selling on behalf of other artists Interview with Jo Beale, Founder of The Jo Beale Gallery, Peggy's Cove, Nova Scotia (www.jobealegallery.net) 'The area around Peggy's Cove in Nova Scotia has always attracted artists, and many have made work here, but because there was no gallery to sell it through they tended to take it home and it got dispersed via a variety of different galleries and private sales.

'I have lived here for many years, working as an artist, and six years ago the opportunity came up to buy this house, which used to be the post office. Most of the properties here belong to the same fis.h.i.+ng families that have owned them for generations, so the opportunity to buy one was significant. It is light and airy and makes a good s.p.a.ce for displaying work. I take work from a variety of artists and the work is wide-ranging, from mounted photographic prints and limited edition prints, through watercolours and drawings to much larger oils. The prices are correspondingly varied. Some of our visitors have never been in an art gallery before, so it is important to have some work at lower prices and in more accessible (usually figurative) formats. Some customers want to take them away immediately, but we have now s.h.i.+pped all over the world (I thought this would be more difficult than it turned out to be).

'Best of all, we have a steady influx of visitors who are charmed by the place and delighted to take home a high-quality gift to remind them in future of their trip. As for selling my own work, I tend to concentrate on the art provided by other artists, all of which I feel strongly about and hence enjoy selling. Most artists find it difficult to sell their own work and I am no exception. The gallery occupies me for most of the summer (it is important for me to be here to talk about the work on display) but it gives me an income for the rest of the year that allows me to produce my own work during the winter.'

Case Study: Selling artwork in bad times Interview with Susan Jones, researcher and writer on contemporary visual arts matters and Director of Programmes, a-n The Artists Information Company (www.a-n.co.uk) 'For artists and galleries who see selling as an important part of their work, it's vital to understand both why people collect art and the prevailing environment2. However good the work and however much advice the artist/gallery takes on marketing, client and business development, whether artists can make a living from selling art work is debatable and even more so in a period of economic recession.

'So why do people collect art? For some it's for enjoyment or entertainment and a chance to be part of the art world. For others it's a business proposition.

'How society views the practice is changing. Thirty years ago the contemporary visual arts were largely regarded with disdain by the British public; opportunities to buy work were scarce and there were few private collectors. In recent years, it's become fas.h.i.+onable to be seen around contemporary art and among artists, and to become an art collector. London art fairs Frieze Frieze and and Zoo Zoo have contributed to this change. Also influential in spreading the art-buying habit has been the Arts Council's 'Own Art' have contributed to this change. Also influential in spreading the art-buying habit has been the Arts Council's 'Own Art'3 scheme which offers interest-free credit on sales from selected galleries. scheme which offers interest-free credit on sales from selected galleries.

'But, in difficult economic times, artists and art lovers have had to find new and imaginative ways of tempting potential buyers to part with their money, and some interesting initiatives are emerging. Various examples follow: 'Set up five years ago, The Collective4 grew out of a desire to enjoy art at home rather than considering it as something to invest in. The first group in London came together as friends who enjoyed contemporary art and, as they say on their website: "We enjoyed looking at art and talking about what we'd seen. And we were keen to live with art on a full-time basis. We came up with the idea of pooling our resources to buy work and then share it through presentation in our own homes." grew out of a desire to enjoy art at home rather than considering it as something to invest in. The first group in London came together as friends who enjoyed contemporary art and, as they say on their website: "We enjoyed looking at art and talking about what we'd seen. And we were keen to live with art on a full-time basis. We came up with the idea of pooling our resources to buy work and then share it through presentation in our own homes."

'If the press is to be believed, online galleries such as New Blood Art5, set up by artist Sarah Ryan have been weathering the recession quite nicely. A number of painters have seen the value of their work double in recent years, this being a major factor in setting higher prices for their new pieces. The gallery takes 35 per cent commission on sales lower than the average commercial gallery meaning a better financial deal for her artists, and quicker sales.

'Some artists may see their careers flourish through exposure at Newcastle's Biscuit Factory which they claim on their website is "the original art store". Britain's biggest commercial gallery comprising 35,000 square feet with two floors of exhibition s.p.a.ces and two floors of artists' studios, it sells art and craft in a s.p.a.ce that is relaxed and fun, with "Own Art" interest-free credit available. Bestsellers on the gallery's website are generally small framed work or craft objects priced at the 200 mark.

'Cutting out the middle-person can have its attraction for artists, who then don't need to be spotted by a curator or gallerist before they get to show. Often organised collectively by the artists, open studio events6 have been promoted as a user-friendly way for the interested public to make contact with artists, engage them in conversation, to see demonstrations of art and craft techniques and hopefully then buy or commission. For the artists concerned, the overhead costs are relatively low usually a members.h.i.+p fee to the group behind the venture and contributions to signage and promotions. Like fine art graduation shows at universities, they also offer a route for arts officers and curators to research interesting artists and see a range of new work. The success of open studio ventures however is generally counted in audience rather than sales figures. have been promoted as a user-friendly way for the interested public to make contact with artists, engage them in conversation, to see demonstrations of art and craft techniques and hopefully then buy or commission. For the artists concerned, the overhead costs are relatively low usually a members.h.i.+p fee to the group behind the venture and contributions to signage and promotions. Like fine art graduation shows at universities, they also offer a route for arts officers and curators to research interesting artists and see a range of new work. The success of open studio ventures however is generally counted in audience rather than sales figures.

'Described on BBC's Imagine Imagine7 by Alan Yentob as "An ingenious way of bringing art to the people", the by Alan Yentob as "An ingenious way of bringing art to the people", the Empty Shops Network Empty Shops Network has moved fast up the recession-busting agenda. Instigated by the artist-led Revolutionary Arts Group (RAG) has moved fast up the recession-busting agenda. Instigated by the artist-led Revolutionary Arts Group (RAG)8, it's part of a timely and strategic movement designed not to pretty-up down-trodden urban centres but to create a genuine route for artists' self-determined projects.

'By February 2009, about 10 per cent of the UK's shops were empty, with over 1,000 high street businesses closing every week, and the situation looked set to worsen. RAG's Dan Thompson says on their website: "Landlords letting artists, arts organisations and community groups use their empty s.p.a.ces see the property looking great and kept in good order, and their business getting some great publicity. Users benefit from low-cost s.p.a.ce on short and easy-to-manage leases, meaning they can take a bigger risk on bolder, more innovative and experimental projects and maybe even get a good business kick-started." Seizing the spirit of the time, the government put 3 million and Arts Council England 500,000 into developing such initiatives for 2009/10.

'At the Bigger Picture Gallery, Crystal Palace9 artists can apply to use the s.p.a.ce for nominal sums "for anything you want as long as it is art-based". Landlords and property owners are invited to register their interest or discuss the possible use of empty s.p.a.ce to: "help your business and customers enjoy a rotating display of creative work, while you provide a showcase for local artist". Similarly in Colchester, Slack s.p.a.ce's artists can apply to use the s.p.a.ce for nominal sums "for anything you want as long as it is art-based". Landlords and property owners are invited to register their interest or discuss the possible use of empty s.p.a.ce to: "help your business and customers enjoy a rotating display of creative work, while you provide a showcase for local artist". Similarly in Colchester, Slack s.p.a.ce's10 aim is "to fill the slack s.p.a.ces in town with colour, art and laughter and to help keep our social, cultural and economic life warm in the chill of the recession." aim is "to fill the slack s.p.a.ces in town with colour, art and laughter and to help keep our social, cultural and economic life warm in the chill of the recession."

'The Pretty Vacant11 project in West Bromwich continues the theme, with co-organiser Gemma Hadley, a new graduate, reporting on her blog on project in West Bromwich continues the theme, with co-organiser Gemma Hadley, a new graduate, reporting on her blog on www.a-n.co.uk/artists_talking on 20 August 2009: "In our wisdom (and lack of funds), we thought that it was a marvellous idea to set up this show in five days. This includes converting a neglected retail unit into something that vaguely resembles an exhibition s.p.a.ce...Our shows are the perfect place to buy affordable and original art works, while supporting young artists in their early careers". on 20 August 2009: "In our wisdom (and lack of funds), we thought that it was a marvellous idea to set up this show in five days. This includes converting a neglected retail unit into something that vaguely resembles an exhibition s.p.a.ce...Our shows are the perfect place to buy affordable and original art works, while supporting young artists in their early careers".12 www.a-n.co.uk/artists_talking Financing for the project came through a local fund to support entrepreneurs.h.i.+p, awarded after a "Dragon's Den" style interview. www.a-n.co.uk/artists_talking Financing for the project came through a local fund to support entrepreneurs.h.i.+p, awarded after a "Dragon's Den" style interview.

'Such gra.s.sroots projects along with the more democratic nature of Web-based art galleries are contributing to a s.h.i.+ft in the way art is viewed, appreciated and acquired, suggesting a new type of sustainability and business model within contemporary visual arts, designed to last beyond the recession and into the next decade.'

Chapter 10

The educational role of a museum or gallery today

By Rachel Moss, Young People's Programmes Manager at the National Portrait Gallery

'Education, education, education' was Tony Blair's mantra as New Labour set out its priorities for the general election in 1997.

At the time I had just made the decision to leave my job as a primary school teacher to start a Master's degree in Museum Studies at the University of Leicester, with a specialist option in education. On joining the museums and galleries sector I discovered a new mission: to place 'education at the core of the museum'. Ten years on, has this mission been achieved and what is the educational role of a museum or gallery today?

Setting the context Museum education began within the mid-19th century context of philanthropy and self-improvement, when public museums 'were an expression of enlightenment which produced an enthusiasm for equality of opportunity for learning...that collections which had hitherto been reserved for the pleasure and instruction of a few people should be made accessible to everybody.'1 Recorded school visits to museums in Britain began in 1984/5 with the opening of Haslemere Educational Museum. The first schools museum service was set up between 1901 and 1914, at Leeds Museum. This was followed by the introduction of a special teacher to work with children in 1902, at the Manchester Museum. However, it was not until 1931, nearly 30 years later, that the first full-time education post was created Schools Museum Officer at Leicester Museum.2 Jumping to the end of the 20th century, as I began my Master's degree in 1997 the newly appointed Labour government commissioned A Common Wealth A Common Wealth by David Anderson, by David Anderson,3 Director of Learning at the Victoria and Albert Museum. This key report on museums and galleries in the UK, revised two years later in 1999, highlighted that education needed more resources and a raised profile within the museum and gallery sector, lobbying for additional funding. Around the same time, 1998, the Museums a.s.sociation agreed a definition of a museum that began 'museums enable people to explore collections for inspiration, learning and enjoyment...', Director of Learning at the Victoria and Albert Museum. This key report on museums and galleries in the UK, revised two years later in 1999, highlighted that education needed more resources and a raised profile within the museum and gallery sector, lobbying for additional funding. Around the same time, 1998, the Museums a.s.sociation agreed a definition of a museum that began 'museums enable people to explore collections for inspiration, learning and enjoyment...',4 which remains the same today. Education in museums and galleries was starting to become a key agenda. which remains the same today. Education in museums and galleries was starting to become a key agenda.

A Common Wealth stated that 'provision for museum and gallery education is a patchwork', with half the museums and galleries surveyed making no specific education provision and only one in five having a member of staff specialising in education. stated that 'provision for museum and gallery education is a patchwork', with half the museums and galleries surveyed making no specific education provision and only one in five having a member of staff specialising in education.5 Since then this has increased greatly, but still depends on the size and type of a museum or gallery and how each one is funded. Some smaller inst.i.tutions may still have only two or three staff as a whole. I have worked in two nationals (Tate Modern and the National Portrait Gallery), a corporate (the Ba.s.s Museum), two independents (the Serpentine Gallery and Mid-Pennine Arts) and a number of local authority museums. Within these organisations my role has been as a freelance educator, as the sole education staff member, part of a small education team of three and now in a larger department of 13 (eight full-time and five part-time staff), shortly due to expand. Usually the number of education staff is supplemented by freelancers, including artists and historians. Since then this has increased greatly, but still depends on the size and type of a museum or gallery and how each one is funded. Some smaller inst.i.tutions may still have only two or three staff as a whole. I have worked in two nationals (Tate Modern and the National Portrait Gallery), a corporate (the Ba.s.s Museum), two independents (the Serpentine Gallery and Mid-Pennine Arts) and a number of local authority museums. Within these organisations my role has been as a freelance educator, as the sole education staff member, part of a small education team of three and now in a larger department of 13 (eight full-time and five part-time staff), shortly due to expand. Usually the number of education staff is supplemented by freelancers, including artists and historians.

Within museums and galleries, education starts with object-based learning, in a context different to that of the cla.s.sroom. It is now acknowledged that people learn in a wide variety of ways and so museums and galleries respond to this by providing a range of educational or interpretative tools to meet multiple learning styles or intel-ligences.6 Visitors may have the option to read a wall-mounted text panel or hand-held exhibition guide, take part in a discussion, follow a trail around the building, create their own artwork in a workshop, listen to an audio guide, handle objects, or explore other interactive gallery-based displays. Some of these activities are self-directed, whereas others promote group interaction depending on the preference for the intrapersonal or the interpersonal. Visitors may have the option to read a wall-mounted text panel or hand-held exhibition guide, take part in a discussion, follow a trail around the building, create their own artwork in a workshop, listen to an audio guide, handle objects, or explore other interactive gallery-based displays. Some of these activities are self-directed, whereas others promote group interaction depending on the preference for the intrapersonal or the interpersonal.

What is a museum or gallery educator's role?

Peter Clarke, who taught the specialist option in Education on the Museum Studies Master's when I studied at the University of Leicester, once asked the group what we expected mainly to be doing in our chosen profession. All of the responses were along the lines of 'inspiring people' or 'making museums accessible to all.' He surprised us by saying that the reality was that we would mainly be moving tables and was.h.i.+ng up paintbrushes. Looking back I find this to be partly true, with my job ranging from tasks like these, to writing detailed strategic doc.u.ments and funding reports.

The job of museum or gallery educator varies greatly each day as I take on the role of facilitator, manager, administrator, troubleshooter and broker; the latter between artists and visiting groups, and sometimes also external partners. I have found it of great benefit to have a teaching background, although not all person specifications for museum or gallery education jobs will require this. I still work directly with an audience group to inform my work, although I am now much more office based. On the whole I employ freelance artists to deliver the education programme. This is a popular area of work, but diffi-cult in terms of gaining regular employment within one inst.i.tution. I prefer to have the financial security of a full-time job.

The museum or gallery educator role would suit someone who loves communicating with people and enjoys seeing the way that people respond to and develop during workshops, projects or events. This brings its own rewards and is why I am pa.s.sionate about my job. It is not done for great financial gain, as it is often less well paid than teaching, or for great recognition, like that which a curator might get for putting on an exhibition. The job involves interacting with a wide range of people both externally and internally, the latter within the education department and also cross-departmentally with, for example, curatorial, visitor services, marketing, press and fundraising staff.

For anyone who is interested in moving into a career in museum or gallery education it is useful to have some experience, usually voluntary, as well as relevant qualifications. Many larger museums and galleries run compet.i.tive interns.h.i.+ps within their education departments. Alternatively, approaching a smaller inst.i.tution could lead more easily to a work placement as these might benefit more from having extra staff. Qualifications include a Postgraduate Certifi-cate in Education (PGCE), a Master's degree or diploma in Museum Studies, or even a course specialising in museum or gallery education. For example, the Inst.i.tute of Education in London runs a Master's degree in Museums and Galleries in Education, as well as offering shorter courses in both Museum Learning and Learning in Galleries: Engaging with Visual Culture.

There are two key members.h.i.+p organisations that provide training, networking, resources, publications, advocacy and support for those working in museum and gallery education. These are GEM7 (the Group for Education in Museums) and engage (the Group for Education in Museums) and engage8 (the National a.s.sociation for Gallery Education). GEM is most relevant for people working in museums, and engage for those within galleries. As a sector we are good at sharing experiences and offering opportunities for Continuing Professional Development (CPD). I am currently one of three London representatives for engage who offer advice and run seminars three times a year for members in the area. (the National a.s.sociation for Gallery Education). GEM is most relevant for people working in museums, and engage for those within galleries. As a sector we are good at sharing experiences and offering opportunities for Continuing Professional Development (CPD). I am currently one of three London representatives for engage who offer advice and run seminars three times a year for members in the area.

Before being allowed to work with children, young people or vulnerable adults, everyone needs to be checked via the Criminal Records Bureau (CRB)9 to verify their suitability for this kind of role. A new vetting and barring scheme is currently being proposed by the Independent Safeguarding Authority (ISA) to verify their suitability for this kind of role. A new vetting and barring scheme is currently being proposed by the Independent Safeguarding Authority (ISA)10 with the aim that checks will become portable rather than specific to working in one museum or gallery. In relation to CRB checks, each inst.i.tution should have a policy on the protection of children, young people and vulnerable adults, as well as having a general education policy and an educational mission statement, underpinning the educational work taking place. with the aim that checks will become portable rather than specific to working in one museum or gallery. In relation to CRB checks, each inst.i.tution should have a policy on the protection of children, young people and vulnerable adults, as well as having a general education policy and an educational mission statement, underpinning the educational work taking place.

The value of an education programme to a museum or gallery Audience development is an important issue for museums and galleries but is not solely the responsibility of education departments. Marketing teams often do visitor surveys and curators may respond to findings by putting on an exhibition aimed at a specific group. However, when it comes to targeting non-visitors, educators play a major part. When attracting new audiences, it is also important to remember the needs of existing visitors.

Originally museums and galleries focused on formal education for primary and secondary schools, but this has now widened to include informal education provision for groups such as families or community groups. It is important that inst.i.tutions attract visitors in their early years, as children are the future; at the same time there is an expanding ageing population. Inter-generational groups may even consist of a small child, a teenager, a parent and a grandparent, each with specific needs, learning styles and interests. These can be catered for by providing a wide variety of education programmes and types of interpretation.

My jobs have ranged from working with 'everyone' nurseries, schools, colleges, community groups, families, teachers, adults, elderly people, physical and learning disability groups, people with visual impairments, mental health groups, refugees and homeless people, and even dog walkers to specialising in one audience group. At the National Portrait Gallery I was recently recruited into a new role, Young People's Programmes Manager, focusing on 14 to 21 year-olds outside of school hours, to attract non-visitors to the gallery and therefore fill an audience gap.

By carrying out evaluation, museums and galleries can gain a much better understanding about different types of audiences, their needs and interests. Evaluation is integral to informing future developments, often taking place as consultation before an exhibition or programme of activity is initiated (front-end), as well as during (formative) and after it has concluded (summative). Visitors are sometimes invited to form one-off or more long-term focus groups acting as advisers to a museum or gallery. At the National Portrait Gallery I run a Youth Forum, which meets monthly on a Thursday evening. This is beneficial to the gallery as it provides ongoing feedback on the Young People's Programme, as well as wider areas identified by other gallery staff. At the same time, it is a peer-led programme where the members decide what they want to do, gain experience for their CVs and meet other young people with similar interests. So far, Youth Forum members have chosen images for the covers of leaflets, instigated an online writing compet.i.tion, created a young people's guide to an exhibition, written captions for a project-related display, recorded an audio describing their favourite portrait, and carried out a branding exercise over the s.p.a.ce of a year, culminating in their own logo. They are now planning a launch event to attract more young people to the gallery, including recruiting new members to the Youth Forum.

As well as audience development, a key reason that museums and galleries provide education programmes is to meet government strategies. For example, the report Every Child Matters11 provides an approach for all organisations involved with services for children to ensure the wellbeing of young people up to age 19. In addition, the recently announced Cultural Offer is an exciting commitment from the Department for Children, Schools and Families (DCSF) and the Department for Culture, Media and Sport (DCMS) to 'ensure that all children and young people, no matter where they live or what their background, have the chance to engage in at least five hours of high quality culture a week in and out of school.' provides an approach for all organisations involved with services for children to ensure the wellbeing of young people up to age 19. In addition, the recently announced Cultural Offer is an exciting commitment from the Department for Children, Schools and Families (DCSF) and the Department for Culture, Media and Sport (DCMS) to 'ensure that all children and young people, no matter where they live or what their background, have the chance to engage in at least five hours of high quality culture a week in and out of school.'12 There will also be a specific focus on youth leading up to the 2012 London Olympics. There will also be a specific focus on youth leading up to the 2012 London Olympics.

Additional government funding is sometimes available to address strategies like the above, or activities resulting from these may appeal to trusts and foundations who regularly support education work. Businesses with philanthropic or social responsibility funding may choose to sponsor a high-profile exhibition while also supporting a programme of related workshops and events. Even applications to fund the acquisition of a specific artwork can be backed up by highlighting existing and potential educational programmes inspired by the work. In an unstable economic climate, museums and galleries will need to obtain funding from a variety of sources, and education can prove to be an attractive tool.

The value of an education programme to partic.i.p.ants Museums and galleries are focused on providing access to real artworks or objects, with educational activities taking the objects as a starting point and bringing them to life through narratives, questioning and discussion. This could involve the exploration of issues relevant to partic.i.p.ants, such as reminiscence with elderly groups, or increased knowledge and understanding in a specialist subject, for example the history of brewing. Workshops may include creative activities, such as taking photographic portraits, while at the same time developing technical skills, for instance on how to use different types of cameras and experimenting with lighting. Where possible, museums and galleries provide these educational activities for free, especially when aimed at children and non-visiting groups.

Museum and gallery educators often employ practising artists to lead workshops. Artists referenced in the National Curriculum for art are usually famous icons from the past, such as Van Gogh and Monet. Meeting someone who makes a living as an artist or a photographer can be very inspiring in terms of opening up career options. There is also likely to be greater opportunities for experimentation and risk-taking outside of the cla.s.sroom, and the emphasis is more often on process than product.

With hard-to-reach groups, such as disaffected youth, educational activities can motivate, build confidence, raise self-esteem, promote teamwork, and in doing so develop key social and life skills. By working with groups like this over a period of time, the long-term aim is to empower the partic.i.p.ants to become independent visitors and develop a sense of owners.h.i.+p. At the National Portrait Gallery, progression routes have been identified so that young people may start by partic.i.p.ating in outreach sessions taking place in an environment they are already familiar with, such as their local youth centre, before visiting the inst.i.tution as part of a group. Later they may feel confident enough to attend a half-day workshop on their own, next taking part in a three-day project and, if more committed still, they might then choose to join the Youth Forum to work with the gallery on a regular basis.

Young people who are 'not in education, employment or training' (NEET) need supportive venues outside of mainstream education to refocus their future aspirations. Museums and galleries can work in partners.h.i.+p with organisations such as Pupil Referral Units (PRUs) and Youth Offending Teams (YOTs) to inspire young people to gain alternative qualifications or accreditation. This could include the Arts Award13, ranging in level from bronze to gold, where museum or gallery educators can receive training to become arts award advisers and their inst.i.tution then becomes arts award centre. Another option is specifically devised qualifications through the a.s.sessment and Qualifications Alliance (AQA) Unit Award Scheme,14 giving students recognition of their success in a short unit of work. Within formal education, the new Diploma in Creative and Media giving students recognition of their success in a short unit of work. Within formal education, the new Diploma in Creative and Media15 aimed at 14 to 19 year olds is currently being piloted in museums and galleries as a new type of accreditation, and Creative Apprentices.h.i.+ps aimed at 14 to 19 year olds is currently being piloted in museums and galleries as a new type of accreditation, and Creative Apprentices.h.i.+ps16 are being launched from September 2008. Having the opportunity to gain work experience in a museum or gallery can help with making important career decisions as well as enhancing CVs. are being launched from September 2008. Having the opportunity to gain work experience in a museum or gallery can help with making important career decisions as well as enhancing CVs.

Other visitors to a museum or gallery who are not partic.i.p.ating directly in educational activities can both enjoy and be inspired by seeing showcased work resulting from education programmes. This could be interpretative, for example audio guides recorded by ex-brewery employees in their own words at the Ba.s.s Museum, or through looking at displays of work resulting from projects such as after-school courses involving primary pupils at Tate Modern or even performances within the museum context, like youth dance bringing the historical gallery s.p.a.ces alive at the National Portrait Gallery.

What's in a name?