Afterword
In 1980 I very nearly embarked on a career in museums and galleries. I had a good degree in history and history of art from the University of St Andrews, a place on the Manchester Museums Course, a pa.s.sion for enthusing about pictures to others, and two lots of work experience under my belt. But I was equally keen on books, reading and the a.s.sociated pleasures, and hence swithered between museums and publishing. The latter eventually won.
But having decided against a career in museums and galleries, I have remained their pa.s.sionate fan, attending exhibitions myself, ensuring our four children had access to them as a staple of their growing up, with my husband building an extensive collection of art and regularly using examples from this world when, later in my career, I morphed from publisher to provider of information about how to get published/get into publishing.
I have discovered that when working with authors, if you relate a story of what has happened to a fellow writer, most concentrate on wondering who the author is, and why they were singled out and jealously often blocks the point being made. But use an example from the life of an artist or actor, and they can really absorb the issue. So Tilda Swinton lying in a gla.s.s box in the Serpentine Gallery5 is an excellent example of what is intrinsically fascinating to the general public and how writing that similarly engages, gets read. Museums and galleries also provide me with a means of explaining complicated ideas to students Cornelia Parker"s exploded garden shed, exhibited in Tate Modern is an excellent example of what is intrinsically fascinating to the general public and how writing that similarly engages, gets read. Museums and galleries also provide me with a means of explaining complicated ideas to students Cornelia Parker"s exploded garden shed, exhibited in Tate Modern6, remains my favourite method of explaining how to deal with over-complicated text. I advise that they should, just as she did with the shed, (this time metaphorically) blow it up and see what substantial chunks are left, and use these as the "big ideas" on which to base a new version rather than seeking to tinker with it and produce a kind of school pupil"s "French translation" which, because it is managed word by word, usually makes less sense than the original. And the dynamism of starting again and adding energy usually takes far less time than the painstaking fiddling with an unsatisfactory existing version.
In 2007 I co-wrote a book on careers in publishing, and was subsequently approached by Lisa Carden, Commissioning Editor of A&C Black, about an idea she had for a similar book on museums and galleries and could I recommend anyone to write it? I made a few enquiries, but pretty soon found the diversity of organisations and roles within this world was so wide that I felt an objective outsider might be able to do a good job and so volunteered myself.
It has been a hugely enjoyable albeit rather expensive year. I have visited a wide range of different organisations, road tested their cafes whenever possible (with my staple fare of a pot of tea and a slice of carrot cake)7 and patronised the a.s.sociated shop. Both The Portal Gallery and The Eakin managed to sell me a picture in the process. I have met people I would have encountered on the Manchester Museums Course, had I taken up my place, and had privileged access to a wide number of fascinating people. and patronised the a.s.sociated shop. Both The Portal Gallery and The Eakin managed to sell me a picture in the process. I have met people I would have encountered on the Manchester Museums Course, had I taken up my place, and had privileged access to a wide number of fascinating people.
Many of these now need to be formally thanked. I would particularly like to thank Kate Gillespie, Ann Gunn, Rachel Moss, Sandy Nairne, Laura Paterson and Jo Prosser.
I would also like to thank: Terry Baverstock, Jo Beale, Mary Bee, Susannah Bowen, Gyles Brandreth, Neil Bruce, Jessica Burdge, John Barnie, Cortina Butler, Steve Carey, Gill Ca.s.son, Malcolm Chapman, Jane Cholmeley, Peta Cook, Louise Coysh, Gwenda Constant, Brenda Conway, Louise Coysh, Nicholas Crofts, Paul Dearn, Claire Dyson, Brian Eakin, Jo Elner, Lorna Ewan, David Falkner, Mike Fisher, Lydia Fisher-Norton, Ruth Gimlette, Jonathan Gla.s.spool, Jo Graham, Andrew Hansen, Philippa Heath, Jo Graham, Kathryn Hallet, Andrew Hansen, Jane Hudson, Peter Humfrey, Jocelyn James, Tracey Jerrard, Christopher Johnstone, Kate Knowles, Linda Lambert, Susan Lewan-dewski, Su Jones, Muriel King, Jayne Knight, Elliot Lamble, Catherine MacDermott, Joanna Moorhead, Claire Mulley, Paul Nesbit, Henry Noltie, Philippa Ouvry, Michael Palin, Colin Philpott, Sophia Plender, Poogia Raj Kalyan, David Rae, Christine Rew, Sandy Richardson, Helen Ruthven, Sarah Ryan, Graham and Edna Scott, Anne Sebba, Desmond Shawe-Taylor, Rosie Smith, Esther Solomon, Kris Stutchbury, Kirsten Suenson-Taylor, Helen Sunderland, Alice Tate-Harte, Jeremy Theophilus, Jane Thompson-Webb, Timothy Walker, Helen Ward, Jess Wilder and Louise Wirz.
Finally thanks to Lisa Carden, Ellen Grace and all the team at A&C Black, copyeditor Jan Bowmer, my agent Jenny Brown, and my family who have been my accomplices on so many occasions.
Appendix: Useful organisations and contact details American a.s.sociation of Museums (AAM) Focal point for professionals in museums and museum-related fields.
www.aam-us.org The Art Fund An independent charity that exists to save art for everyone to enjoy. For further information about working for a heritage charity, as outlined in Chapter 3 Chapter 3, e-mail: [email protected] [email protected] Job information: www.artfund.org/about/jobs.html a.s.sociation for Cultural Enterprises (ACE) The a.s.sociation for Cultural Enterprises promotes commercial best practice in the UK"s cultural and heritage sector by providing training and networking opportunities and facilitating the sharing of information and experience between its members.
www.acenterprises.org a.s.sociation for Heritage Interpretation (AHI) The a.s.sociation for Heritage Interpretation is a key forum for anyone interested in interpretation the art of helping people explore and appreciate our world.
www.ahi.org.uk Botanic Gardens Conservation International (BGCI) The international networking organisation for botanic gardens has a wealth of information about botanic gardens and links to kindred organisations. Its "garden search" online database of botanic gardens and their facilities lists those with galleries and museums.
www.bgci.org British a.s.sociation of Paintings Conservators-Restorers (BAPCR) The BAPCR was founded in 1943 as The a.s.sociation of British Picture Restorers (ABPR), and is the professional organisation for conservator-restorers of paintings with over 400 members internationally www.nationaltrust.org.uk/main/ Collections Link The national advisory service for Collections Management managed by the Collections Trust in partnership with the Inst.i.tute of Conservation (ICON) and the National Preservation Office (NPO).
www.collectionslink.org.uk engage A membership organisation representing gallery, art and education professionals in the UK and in 15 countries worldwide. Engage promotes access to, and enjoyment and understanding of the visual arts through gallery education.
www.engage.org English Heritage Partly funded by the government, English Heritage works to conserve and promote the historic environment by providing public access to heritage sites and helping people to understand the past.
www.english-heritage.org.uk Job information: www.english-heritage.org.uk/server/show/nav.18150 Group for Education in Museums (GEM) Promotes the importance of learning through museums, galleries and other cultural organisations. UK based but with an international membership.
www.gem.org.uk/home.html Job information: www.gem.org.uk/jobads/jobads_menu.html ICON A charity committed to the conservation of cultural heritage in the UK. Membership includes over 3,000 individuals and organisations from across the conservation community. Of particular value is the ICON Conservator Register (see "Find a conservator" on their website), which allows free access to information on ICON members, by specialisation and region. ICON supports the principle of parity across the heritage professions when promoting the skills and value of conservators, curators, librarians, archivists, archaeologists and historic buildings specialists.
www.icon.org.uk/index.php Inst.i.tute for Archaeologists The Inst.i.tute for Archaeologists (IfA) advances the practice of archaeology and allied disciplines by promoting professional standards and ethics for conserving, managing, understanding and promoting enjoyment of heritage.
www.archaeologists.net Job information: www.archaeologists.net/modules/icontent/index.php?page=28n International Council of Museums (ICOM) International organisation of museum and museum professionals.
International Inst.i.tute for Conservation of Historic and Artistic Works (IIC) IIC membership is open to everyone with an interest in conserving the world"s cultural heritage: to conservators and restorers, to conservation scientists, architects, educators and students and to collection managers, curators, art historians and other cultural heritage professionals.
www.iiconservation.org/index.php International Licensing Industry Merchandisers" a.s.sociation (LIMA) Promotes the growth and expansion of licensing. LIMA sets standards of ethical and professional conduct, provides information and education on licensing, and is a valuable forum for networking.
www.licensing.org Museums a.s.sociation The Museums a.s.sociation represents both the people and inst.i.tutions const.i.tuting Britain"s museums and galleries, i.e. both employers and employees.
e-mail: [email protected] www.museumsa.s.sociation.org Museums, Libraries and Archives London (MLA) MLA London is the strategic development agency for museums, libraries and archives in the region.
www.mlalondon.org.uk Museum Professionals Group MPG is a membership organisation which reflects the interests and aspirations of people working in or for museums.
www.museumprofessionalsgroup.org Museum Store a.s.sociation US organisation with the stated purpose of advancing the success of cultural commerce and of the professionals engaged in it.
www.museumdistrict.com Job information: www.museumdistrict.com/JSCla.s.s/jsearch.cfm National a.s.sociation of Decorative and Fine Arts a.s.sociations (NADFAS) An arts-based educational charity, with over 340 societies in the UK and mainland Europe, all subscribing to the basic aims of the advancement of arts education and the appreciation and preservation of artistic heritage.
www.nadfas.org.uk National Heritage Training Group Training and professional development for the heritage sector, in particular, the support of traditional building skills.
www.nhtg.org.uk The National Trust The National Trust is a charity that protects, and provides public access to, historic houses, gardens and ancient monuments as well as many other sites such as reserves, archaeological remains, castles and villages.
www.nt.org Job information: www.ntjobs.org.uk Portable Antiquities Scheme A voluntary scheme to record archaeological finds made by members of the public in England and Wales.
www.finds.org.uk Royal Entomological Society Plays a major role in disseminating information about insects and improving communication between entomologists.
www.royensoc.co.uk
If you have your heart set on a career in museums and art galleries, you will already know just how hard it is to get started...
This book offers an approach that is both positive and practical, encouraging aspirants to really think about why they want to work here, and examining ideas and issues that those who seek employment must both care about and want to further.
Featuring case studies, real life examples and interviews with people who work in museums and galleries, readers gain a valuable overview of the sector as well as first hand feedback on what working in this area is really like. There is advice on whether and what to study - should you take an MA in Museum Studies or embark on a PhD? This is supported by further guidance on how to create an effective CV, apply for an advertised post, prepare for an interview and find work experience. With a foreword by Sandy Nairne, Director of the National Portrait Gallery, this is an essential guide for anyone setting out on a career in this world.
Alison Baverstock is a former publisher and author. She runs the MA in Publishing at Kingston University and regularly lectures across the university on marketing, enterprise and creativity. Her previous books for A&C Black include is a former publisher and author. She runs the MA in Publishing at Kingston University and regularly lectures across the university on marketing, enterprise and creativity. Her previous books for A&C Black include Is There a Book in You? Is There a Book in You? and and How to Get a Job in Publishing How to Get a Job in Publishing.
Notes Chapter 2 1 Interview by Gyles Brandreth with Charles Saumarez Smith, Interview by Gyles Brandreth with Charles Saumarez Smith, The Sunday Telegraph The Sunday Telegraph, 2001.
2 An expert on children"s literature. An expert on children"s literature.
Chapter 3 1 Jo Prosser, Managing Director, V&A Enterprises. See her chapter "Commercial opportunities in museums and galleries" on page 131. Jo Prosser, Managing Director, V&A Enterprises. See her chapter "Commercial opportunities in museums and galleries" on page 131.
2 ICOM Statutes art.2 para 1. ICOM Statutes art.2 para 1.
3 United Parcel Service, United Parcel Service, www.ups.com 4 Within the university the garden is cla.s.sified as a "collection" along with the four museums (Ashmolean, Natural History, History of Science and Pitt Rivers). But while the four museums have Museums and Library a.s.sociation (MLA) accreditation, the botanic garden has not. Within the university the garden is cla.s.sified as a "collection" along with the four museums (Ashmolean, Natural History, History of Science and Pitt Rivers). But while the four museums have Museums and Library a.s.sociation (MLA) accreditation, the botanic garden has not.
5 The Museums Live project, Kingston University. The Museums Live project, Kingston University.
6 Or high art; serious work executed to a high specification. Or high art; serious work executed to a high specification.
7 A music project working with young people. A music project working with young people.
Chapter 4 1 "Remarks toward an Ideal Museum of Photography", in V. D. c.o.ke (ed.), "Remarks toward an Ideal Museum of Photography", in V. D. c.o.ke (ed.), One Hundred Years of Photographic History: Essays in Honor of Beaumont Newhall One Hundred Years of Photographic History: Essays in Honor of Beaumont Newhall (1975). Haworth-Booth, M., (1975). Haworth-Booth, M., Photography: An Independent Art. Photographs from the Victoria and Albert Museum 1839-1996. Photography: An Independent Art. Photographs from the Victoria and Albert Museum 1839-1996. London: V&A Publications, 1997. London: V&A Publications, 1997.
2 Unspoken a.s.sumptions: Visual Art Curators in Context Unspoken a.s.sumptions: Visual Art Curators in Context, curatorial mentoring roundtables in Banff (July 15-17, 2005) and Toronto (December 1-4, 2005). See: 3 ibid ibid.
4 Currently The Secretary of State for Culture, Media and Sport although watch out for reorganisations of responsibility. Currently The Secretary of State for Culture, Media and Sport although watch out for reorganisations of responsibility.
5 See See Board matters, a review of charity trusteeship in the UK Board matters, a review of charity trusteeship in the UK produced by New Philanthropy Capital: produced by New Philanthropy Capital: www.philanthropycapital.org 6 Arts and Humanities Research Council. There are seven UK Research Councils, established under Royal Charter. The Department for Business, Innovation and Skills has statutory control of the Councils, supported by the Director General for Science and Research. Council members are appointed by the Secretary of State for Business, Innovation and Skills, who is answerable to Parliament for the Councils" activities. The UK Research Councils are: Arts and Humanities Research Council (AHRC); Biotechnology and Biological Sciences Research Council (BBSRC); Engineering & Physical Sciences Research Council (EPSRC); Economic & Social Research Council (ESRC); Medical Research Council (MRC); Natural Environment Research Council (NERC); Science and Technology Facilities Council (STFC). Arts and Humanities Research Council. There are seven UK Research Councils, established under Royal Charter. The Department for Business, Innovation and Skills has statutory control of the Councils, supported by the Director General for Science and Research. Council members are appointed by the Secretary of State for Business, Innovation and Skills, who is answerable to Parliament for the Councils" activities. The UK Research Councils are: Arts and Humanities Research Council (AHRC); Biotechnology and Biological Sciences Research Council (BBSRC); Engineering & Physical Sciences Research Council (EPSRC); Economic & Social Research Council (ESRC); Medical Research Council (MRC); Natural Environment Research Council (NERC); Science and Technology Facilities Council (STFC).
7 The Times Magazine The Times Magazine, 26 August 2006.
8 ibid. ibid. By the time I decide what to call this paper, the world will be different By the time I decide what to call this paper, the world will be different, July 2005, Banff.
9 Supporters who agree to pay a regular subscription (often at different levels of commitment) and in return receive privileges such as invitations to the opening of new installations and a discount in the shop. As they commit for a period of time ahead, they are a particularly valuable source of reliable income. Supporters who agree to pay a regular subscription (often at different levels of commitment) and in return receive privileges such as invitations to the opening of new installations and a discount in the shop. As they commit for a period of time ahead, they are a particularly valuable source of reliable income.
Chapter 5 1 SPECTRUM is the UK and international standard for Collections Management (see SPECTRUM is the UK and international standard for Collections Management (see www.collectionslink.org.uk/manage_information/spectrum).
2 As well as object-specific records we offer access at "drawer level" by species or type so similar items in store would be on the same record, which may cover up to about 60 different objects. As well as object-specific records we offer access at "drawer level" by species or type so similar items in store would be on the same record, which may cover up to about 60 different objects.
Chapter 6 1 Birmingham Science Museum: Birmingham Science Museum: www.thinktank.ac 2 www.bath-preservation-trust.org.uk Chapter 7 1 HM Revenue & Customs. HM Revenue & Customs.
2 International Licensing Industry Merchandisers" a.s.sociation (see appendix) International Licensing Industry Merchandisers" a.s.sociation (see appendix) 3 Mulley, Claire. Mulley, Claire. The Woman Who Saved the Children: A Biography of Eglantyne Jebb. The Woman Who Saved the Children: A Biography of Eglantyne Jebb. Oxford: One World Publishers, 2009. Oxford: One World Publishers, 2009.
4 Published by Jossey-Ba.s.s, John Wiley and Sons Inc., 2001. Published by Jossey-Ba.s.s, John Wiley and Sons Inc., 2001.
5 This is a skill you may have developed to secure a university place or apply for a bursary to study or travel; lots of students have had to brush up on their connections to a particular part of the country in order to add emphasis to their application for support, whether for a place or funding. This is a skill you may have developed to secure a university place or apply for a bursary to study or travel; lots of students have had to brush up on their connections to a particular part of the country in order to add emphasis to their application for support, whether for a place or funding.
6 Think of the scene in Think of the scene in The Devil Wears Prada The Devil Wears Prada where the magazine runs its annual party and how the editor"s representatives prepare for it by learning faces and names. where the magazine runs its annual party and how the editor"s representatives prepare for it by learning faces and names.
7 E.g. Dame Anita Rodd.i.c.k, founder of The Body Shop. E.g. Dame Anita Rodd.i.c.k, founder of The Body Shop.
Chapter 9 1 For example, prison art by notorious criminals has a ready market, which has nothing to do with the artistic merit or originality of what is on offer. For example, prison art by notorious criminals has a ready market, which has nothing to do with the artistic merit or originality of what is on offer.
2 Often referred to in marketing theory as PEST (political, economic, social and technological). Often referred to in marketing theory as PEST (political, economic, social and technological).
3 www.artscouncil.org.uk/ownart/index.html. A scheme designed to make it easy and affordable to buy contemporary works of art and craft, including paintings, photography, sculpture, gla.s.sware and furniture, and at the same time to widen the collector base. Buyers can borrow from 100 to 2,000 (which can be put towards items of greater value) and pay back the loan in 10 monthly instalments interest free. The scheme is available through a network of over 250 partic.i.p.ating venues throughout the UK and in the first five years of its operation, over a quarter of the sales were to first-time art buyers. A similar scheme (Collectorplan) has been operating in around 70 galleries in Wales for over 20 years see the Arts Council of Wales website for a full list: www.collectorplan.org.uk 4 www.the-collective.info 5 www.newbloodart.com 6 www.openstudiosnetwork.co.uk 7 28 July 2009 28 July 2009 8 9 www.biggerpicturegallery.co.uk 10 www.iheartslacks.p.a.ce.blogspot.com 11 www.prettyvacant.org 12 www.iheartslacks.p.a.ce.blogspot.com Chapter 10 1 Hudson, K. (1975) cited in George Hein, Hudson, K. (1975) cited in George Hein, Learning in the Museum Museum Meanings Learning in the Museum Museum Meanings. London and New York: Routledge, 1998, p. 3.
2 Carter, Graham. "Editorial", Carter, Graham. "Editorial", Journal of Education in Museums, Journal of Education in Museums, no. 1 September 1980, p. 5. no. 1 September 1980, p. 5.
3 Anderson, David. Anderson, David. A Common Wealth: Museums in the Learning Age A Common Wealth: Museums in the Learning Age. London: Department for Culture, Media and Sport, 1997.
4 Museums a.s.sociation: Museums a.s.sociation: www.museumsa.s.sociation.org 5 Anderson (1997) p. 3. Anderson (1997) p. 3.
6 Gardner, Howard. Gardner, Howard. Frames Of Mind: The Theory Of Multiple Intelligences Frames Of Mind: The Theory Of Multiple Intelligences. New York: Basic Books, 1993.
7 GEM: GEM: www.gem.org.uk 8 engage: engage: www.engage.org 9 Criminal Records Bureau: Criminal Records Bureau: www.crb.gov.uk 10 Independent Safeguarding Authority: Independent Safeguarding Authority: www.isa-gov.org.uk 11 Every Child Matters: Every Child Matters: www.everychildmatters.gov.uk 12 Cultural Offer: Cultural Offer: 13 Arts award: Arts award: www.artsaward.org.uk 14 a.s.sessment and Qualifications Alliance Unit Award Scheme: a.s.sessment and Qualifications Alliance Unit Award Scheme: web.aqa.org.uk/qual/uas.php 15 Diploma in Creative and Media: Diploma in Creative and Media: www.skillset.org/qualifications/diploma 16 Creative Apprenticeships: Creative Apprenticeships: Chapter 11 1 Museums and Galleries Commission. Museums and Galleries Commission. Museum Professional Training and Career Structure: Report by a Working Party 1987. Museum Professional Training and Career Structure: Report by a Working Party 1987. London, 1987, p. 30. London, 1987, p. 30.
2 Davis, Maurice. Davis, Maurice. The Tomorrow People: Entry to the museum workforce The Tomorrow People: Entry to the museum workforce. London, 2007. www.museumsa.s.sociation.org 3 ICTOP ICTOP Curricula Guidelines For Professional Development, Curricula Guidelines For Professional Development, revised ed., February, 2008. revised ed., February, 2008. revdoc.u.ment081.pdf. See also The Museum Career Development Tree: 4 5 Reynolds, Terry R. Reynolds, Terry R. Training for Entry-Level Museum Professionals. A Report prepared for the Committee on Museum Professional Training, American a.s.sociation of Museums Training for Entry-Level Museum Professionals. A Report prepared for the Committee on Museum Professional Training, American a.s.sociation of Museums. Washington, 2000. www.compt-aam.org/images/Reynolds_Survey.doc 6 The recognised courses were: University of Birmingham, Ironbridge Inst.i.tute (MA in Heritage Management) Bournemouth University (MA in Museums and Collections Management) University of East Anglia (MA in Museology/Museum Studies) University of Ess.e.x (MA in Gallery Studies) University of Greenwich (MA in Museum Management; MA in Heritage Management) University of Leicester (MA in Museum Studies; MA in Art Gallery Studies, MGeol in Geology, Museums and Earth Heritage) City University London (MA Museum and Gallery Management) University College London, Inst.i.tute of Archaeology (MA in Museum Studies) University of Manchester (MA in Art Gallery & Museum Studies) University of Newcastle, International Centre for Cultural Heritage Studies (ICCHS) (MA in Museum Studies; MA in Heritage Education and Interpretation; MA in Art Museum and Gallery Studies) Nottingham Trent University (MA in Heritage Management) University of Southampton Winchester Campus (MA Museum and Galleries: Collection Management pathway; MA Museum and Galleries: Culture, Collections and Communications pathway; MA Museum and Galleries: Access and Learning pathway) University of St Andrews (M.Litt. in Museum and Gallery Studies; M.Phil in Museum and Gallery Studies/National Trust for Scotland Studies) 7 www.globalmuseum.org 8 www.ac.u.mg.org/studies.html 9 www.ac.u.mg.org/conference09.html 10 Davis, op cit, Appendix 1, p. 6. The most common subjects were history, archaeology, art history and cla.s.sics. Davis, op cit, Appendix 1, p. 6. The most common subjects were history, archaeology, art history and cla.s.sics.
11 www.finalchapter.com/museum-l-faq 12 SCRAN is an online education resource containing digital images from Scottish museum, galleries, archives etc. SCRAN is an online education resource containing digital images from Scottish museum, galleries, archives etc. www.scran.ac.uk Chapter 12 1 Sarah Townsend, work placement student in publishing. Sarah Townsend, work placement student in publishing.
2 Or sitting with an exhibition Or sitting with an exhibition 3 The Jonathan Poole Gallery. The Jonathan Poole Gallery.
Chapter 13 1 With thanks to Janice Pickard, Careers Consultant at Kingston University for this idea. With thanks to Janice Pickard, Careers Consultant at Kingston University for this idea.
Chapter 14 1 You would probably be working for the Collections Access Manager, who may look after several different collections. You would probably be working for the Collections Access Manager, who may look after several different collections.
2 This is a job that offers only a year"s contract. It may get extended, but it may not, and whereas it may be a good starting point on your career, and a useful addition to your CV, but you will have ensure you are accessible if you are selected for the role, and so move to an accessible location. This is a job that offers only a year"s contract. It may get extended, but it may not, and whereas it may be a good starting point on your career, and a useful addition to your CV, but you will have ensure you are accessible if you are selected for the role, and so move to an accessible location.
3 These three words are probably part of their overall ethos/mission statement and will have been drafted with care. Have a think about the implications. Where else could you get access to the sort of resources they hold? The British Film Inst.i.tute and various television stations and newspapers might have some, but this museum offers the history of all media under one roof. Try to find out something about the collection"s history, when it was set up and what it tries to do. Visit if possible. These three words are probably part of their overall ethos/mission statement and will have been drafted with care. Have a think about the implications. Where else could you get access to the sort of resources they hold? The British Film Inst.i.tute and various television stations and newspapers might have some, but this museum offers the history of all media under one roof. Try to find out something about the collection"s history, when it was set up and what it tries to do. Visit if possible.
4 Google this. What is NMSI? What other collections belong to "the family"? Google this. What is NMSI? What other collections belong to "the family"?
5 Three key verbs, and probably part of the organisational plan which will have taken time to draft. Your response should pay attention to these clear priorities and you should think about how you can engage audiences, inspire them and educate them to understand more about the collection. Three key verbs, and probably part of the organisational plan which will have taken time to draft. Your response should pay attention to these clear priorities and you should think about how you can engage audiences, inspire them and educate them to understand more about the collection.
6 What do they have available and how much more is in the archive? What do they have available and how much more is in the archive?
7 With what age groups? For adults or children or both? Is there a regular programme of talks about the collection given to groups and organisations in the area who ask for one? With what age groups? For adults or children or both? Is there a regular programme of talks about the collection given to groups and organisations in the area who ask for one?
8 Can you think of any case histories, where media reporting played a part in the story? The death and subsequent reporting of the reputation of Diana, Princess of Wales is an obvious example Can you think of any case histories, where media reporting played a part in the story? The death and subsequent reporting of the reputation of Diana, Princess of Wales is an obvious example 9 The specific job being advertised is with the Insight Team, so be clear about what it does. The specific job being advertised is with the Insight Team, so be clear about what it does.
10 This could be worth a question at interview. In this context, what does repatriate mean? Does it mean giving stuff back to donors or encouraging the gift of materials to the museum that support the archives they hold? This could be worth a question at interview. In this context, what does repatriate mean? Does it mean giving stuff back to donors or encouraging the gift of materials to the museum that support the archives they hold?
11 The role requires the inc.u.mbent to promote understanding and encourage people to use the collection. The role requires the inc.u.mbent to promote understanding and encourage people to use the collection.
12 Google him and find out more. Google him and find out more.
13 How far have they got with this? How far have they got with this?
14 These are the things you must have for this role. Go through this list particularly carefully. These are the things you must have for this role. Go through this list particularly carefully.
15 Probably gained through work experience. Probably gained through work experience.
16 Willing and not a.s.suming that you know it all already. Willing and not a.s.suming that you know it all already.
17 How did the Gla.s.s collection end up here? A good question to ask at interview. How did the Gla.s.s collection end up here? A good question to ask at interview.
18 The job is two-fold, they want you to both work on the Zoltan project but also be part of the team, getting involved with other initiatives/their wider ethos. The job is two-fold, they want you to both work on the Zoltan project but also be part of the team, getting involved with other initiatives/their wider ethos.
19 Most job specifications divide the skills they are looking for into "essential" and "desirable". "Knowledge of cataloguing and doc.u.mentation" are the latter rather than the former, but a candidate who can offer both "essential" and "desirable" has an advantage. Try to think of an example of your experience for each of the areas suggested, and confirm that you are eager to learn/gain more experience. Most job specifications divide the skills they are looking for into "essential" and "desirable". "Knowledge of cataloguing and doc.u.mentation" are the latter rather than the former, but a candidate who can offer both "essential" and "desirable" has an advantage. Try to think of an example of your experience for each of the areas suggested, and confirm that you are eager to learn/gain more experience.
20 If you know little about photography, but still want to apply for the role, buy yourself some photography magazines, find a friend whose hobby this is, try to find some relevant exhibitions to attend, and start learning. You should not present yourself as an expert, and if you try to bluff you will get found out, but arriving at an interview for this role with no understanding of photography would seriously affect your chances of getting the job. The same goes for your interest in the media. Think about this before you apply. If you know little about photography, but still want to apply for the role, buy yourself some photography magazines, find a friend whose hobby this is, try to find some relevant exhibitions to attend, and start learning. You should not present yourself as an expert, and if you try to bluff you will get found out, but arriving at an interview for this role with no understanding of photography would seriously affect your chances of getting the job. The same goes for your interest in the media. Think about this before you apply.
21 This is a most important part of the application process and it should make a link between your CV, which will probably have been compiled for general job applications, to this specific role and your particular desire to fill it. See This is a most important part of the application process and it should make a link between your CV, which will probably have been compiled for general job applications, to this specific role and your particular desire to fill it. See Chapter 13 Chapter 13 for more advice on how to write an effective letter to support a job application. for more advice on how to write an effective letter to support a job application.
22 They will need to be convinced that you truly want this job and see your career in this sector. They will need to be convinced that you truly want this job and see your career in this sector.
23 The job description will relate to the role envisaged but they will want you to be flexible, willing to muck in and not stick to strict demarcation zones see Chapters 1 and 2. The job description will relate to the role envisaged but they will want you to be flexible, willing to muck in and not stick to strict demarcation zones see Chapters 1 and 2.
24 Self-starting, with lots of get up and go. Self-starting, with lots of get up and go.
25 Implies this already exists, but note they are advertising for both Keeper and a.s.sistant Keeper at the same time. Are these new roles or is there a ready-made team in this area? If you are planning on phoning Christine Rew, this would be a good question to ask. Implies this already exists, but note they are advertising for both Keeper and a.s.sistant Keeper at the same time. Are these new roles or is there a ready-made team in this area? If you are planning on phoning Christine Rew, this would be a good question to ask.
26 Find out about them. Where are they? Is it one art gallery and several museums and if so which ones are they? Find out about them. Where are they? Is it one art gallery and several museums and if so which ones are they?