AMPLO’s Post

The highly anticipated 17th edition of FNB Artjoburg brought excitement into the electrifying city of Joburg as always. The vernissage opening never skips a beat when it comes to networking with the art world aficionados. Beyond socializing I personally always hunger to learn about the art space and what it has to share with us in its current state. I couldn't help but notice a few trends worth reflecting on. There was a decline in the presence of West and East African galleries, which, given the socio-political climate (South Africa hates our own people •), made mewonder how this impacted participation? Despite this, the fair's layout felt more intentional in its curatorial layout and less overwhelming, with a great mix of large-scale and more accessible, smaller pieces suitable for various spaces. Spacious with comfortable lounging in between allows for one to sit and contemplate art within one's peripheral view. It was also encouraging to see emerging artists being recognized by prominent galleries, a positive sign for the future of the market. On the business side, galleries seemed happy with conversions, even on day one, which speaks to the fair's commercial success. However, there's still room for growth-particularly in broadening the representation of African galleries to create a richer experience. We need to find a way to get them back in previous years we saw countries like Uganda, Morocco, Ghana, Nigeria, Kenya, Cote D'viore & Senegal in the room. Spanning almost a decade in the industry as a conservation framer I noticed the decline in creative framing - of course framing can be very personal, thus I understand why perhaps most galleries have opted to keep framing generic / simple or leaving works unframed to leave it to the buyer to choose how they want the finishing of their new acquired work. Overall, I left optimistic about the direction of the fair. There's a balance between showcasing established names and welcoming new talent, and I believe the fair is evolving in the right direction. #guidingthroughart

London

Advice for Aspiring Museum Curators: Insights from Informational Interviews In my role as a museum curator, I often provide guidance to aspiring curators through informational interviews. Pursuing a career in curation? Consider these key points: - Education matters: A master's degree in art history, museum studies, or a related field is crucial. Specializing can make you stand out, but being a generalist has its advantages. Consider courses in conservation, archival science, or digital technologies. - Practical experience is essential: Seek internships, volunteer roles, or entry-level positions in museums to gain hands-on experience in research, artifact handling, and exhibition planning. - Build a diverse skill set: Beyond academic knowledge, focus on developing strong research, communication, and technical skills to excel in the field. - Networking is key: Attend professional events, connect with established professionals, and engage in informational interviews to expand your network and industry knowledge. - Stay informed and adaptable: Keep up with industry trends and be open to new advancements in curation and conservation. Exploring different museum roles can create more opportunities in the future. Becoming a museum curator is a challenging yet rewarding journey. By prioritizing education, practical experience, skill development, networking, and staying updated on industry trends, you can pave the way for success in cultural heritage preservation and interpretation.

I seem to get fairly regular inquiries from students who are interested in learning more about a career in provenance research, and I find myself saying the same things to each of them. I thought it might be useful to summarize these below, and if others in the field want to add to this, they should absolutely feel free to do so.   1. There are few specialized provenance positions. I recommend remaining open to careers you may not know about yet. Stay flexible, because you never know where opportunities can lead.   2. Cultivating provenance research skills, however, will serve you well in any kind of curatorial position, so having that skill set is only a good thing.   3. Hands-on experience--especially through internships, fellowships, and entry level positions--is the best way to learn the ropes of curatorial (and therefore provenance) research.   4. I always encourage getting a degree in a traditional, academic field such as art history or archaeology. These programs will teach you how to conduct research responsibly.  I would not encourage overly specific or quick-fix degrees.   5. Research skills and foreign languages (i.e., German) are essential for the job. You should also know how to read handwriting.   6. In my experience, unsolicited resumes, inquiries about how to intern, and requests to “shadow” someone are not the right approach. Check job and internship web pages regularly. If you apply through a job or internship portal, someone will certainly review your application materials.   7. Do what challenges and rewards you. It’s okay to have an experience that is ultimately disappointing or doesn’t fit your interests. All of this information is useful as you go on to your next opportunity. 8. Updated to add: there is no one, single book, website, or database for someone to explore to learn more. Provenance research requires drawing on different resources (online, published, microfilmed, archival)--and it involves asking different questions each time, depending on the object being researched. Learning how to do the research is cumulative; it's not a one-and-done process. What am I missing?

💭 How do we get more young people thinking about careers in museums? In early 2024, the number of economically inactive young people not in full-time education was at the highest level since records began in 1992. Although it has risen in the past 12 months, the youth unemployment rate is at an historically low level. The cost of living crisis has also affected young people’s choices about work and education, with young people abandoning ideas about ‘dream jobs’ for roles that offer financial stability. We want to see the museum workforce becoming more diverse by creating routes for young people from all backgrounds to work in museums. Museums can play an important role in supporting young people to develop a range of transferable skills for employment that are valuable in any sector. We've explored some of this further in our free resource, which features some short, medium & long term strategies to support young people in heritage careers ➡️ https://lnkd.in/eHpcUS3c

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Why You Should (or Shouldn’t) Consider a Job in the Museum World Thinking about a museum career? Here's a quick look at the pros and cons. Pros 1. **Access to Unique Collections**: Work with incredible artifacts and art daily. 2. **Continuous Learning**: Always expanding your knowledge without student loans. 3. **Job Satisfaction**: Contribute to preserving history and educating the public. 4. **Professional Networking**: Connect with passionate experts and build a supportive community. 5. **Creative Environment**: Engage in dynamic projects and innovative exhibits. Cons 1. **Low Pay**: Not known for high salaries; passion is a must. 2. **Limited Advancement**: Fewer opportunities for quick career progression. 3. **Resource Constraints**: Often work with tight budgets, requiring creativity. 4. **Diverse Audiences**: Cater to varied visitor needs, demanding adaptability. 5. **Bureaucracy**: Navigate administrative hurdles and funding challenges. A museum career offers fascinating experiences and educational opportunities but comes with challenges like low pay and limited advancement. If you're passionate about history and education, it's a rewarding path despite the hurdles.

Creative thinking has been recognised by the World Economic Forum Future of Jobs report 2023 as the number 1 skill on the rise. This is valuable in a rapidly changing, complex world where AI is transforming how we do things. Some jobs of the future do not even exist yet. Creativity is a key component of unlocking new solutions, being adaptable and resilient. It can be cultivated and I believe that Art Fairs are an environment that can help unleash the creative spark in all kinds of people. The Investec Cape Town Art Fair is one of the best places on the African continent to engage with that creativity. Being a part of not only observing art in its many forms but listening in on conversation and interacting with various parties really stimulates that creative flow. I was privileged a couple of months to be a part of that. This is the second part of that experience that I am sharing: https://lnkd.in/db3ET5ym  In the midst of all that is on show, you are bound to find something that speaks to you and evokes awe and imagination. It gets you thinking of possibilities and ideas. You see differently. This is how you can stay relevant. As Forbes states, “In 2024, the ability to think creatively is no longer a nice-to-have or a quality reserved exclusively for entrepreneurs. Creative thinking skills are imperative if you want to remain in business, progress your career, drive innovation, and experience long-term fulfilment and success.” Creativity is for everyone. #mondaymotivation #art #creativity #creativethinking #futureofwork

The Safe Access Project aims to create positive change for the heritage sector by using experience-based research to inform the development of tools and frameworks to support heritage organisations in creating safe and inclusive workplaces for diverse communities. We’d appreciate you taking the time to complete our survey to share your own experiences. We want our research to be as authentic as possible by capturing the lived experiences of people from marginalised backgrounds who have freelanced or had casual contracts with museums and heritage organisations. https://lnkd.in/e2eUgAMH

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