A blog about the activities of the Museum Career Internship Program, a partnership between The American Folk Art Museum and LaGuardia Community College. Support for this program is provided by Richard and Laura Parsons, the Schaffner Family Foundation, Jane and Gerald Katcher, Donald and Rachel Strauber, and the LaGuardia Community College Foundation.
Hello! My name is India Roman, and I am an intern at the American Folk Art Museum. I became interested in the Museum Career Internship Program once it was recommended to me by one of my professors. I wanted to participate because I’ve been an artist since I was very young. I have also always wanted to try to get experience within the museum field since visiting my first art museum when I was sixteen. Participating in this internship so far has been interesting and enjoyable. I’ve met a few of the lovely staff members and learned about their jobs and have also attended some of their events.
So far, my favorite experience was when we met Tom di Maria, Director of Creative Growth Art Center in Oakland, California, and he talked about the background of the center. I learned about the history of how people with disabilities have been treated and how Creative Growth provides a place for them to be free to express themselves in whatever artistic way they choose. On their website they state that “Art is fundamental to human expression and that all people are entitled to its tools of communication.” I honestly couldn’t agree more. Art is something to be enjoyed by all and Creative Growth is a great center for providing that for free.
Creative Growth Art Center in Oakland, California
Overall, I’m just an artist and college student who’s trying to do as much as I can in the best way that I can! I also hope to one day release my own graphic novel as well as expand on what art I sell. Currently I only do commissions but I would like to have my own shop at some point.
Hi! My name is Ava and I use she/her pronouns. I am 21 and currently live on the Upper West Side with my parents, brother, two cats, and a bearded dragon. In my free time, I like to run in Riverside, read, draw, watch TV, and hang out with friends and family.
I was drawn to the Museum Career Internship Program because of my interest in learning in-depth about the various departments and their functions within a museum. As an artist, frequent museum goer, and someone who hopes to teach art one day, this experience has been invaluable to my understanding about how a museum can be utilized as a tool for educating kids about art. I am also drawn to the mission of the American Folk Art Museum, whose mandate to present art by self-taught artists specifically speaks to the ongoing need for a platform for artists working outside mainstream culture and/or without the benefit of formal art training. I think AFAM is doing something important in representing this work, as well as the fact that admission is free! Bringing art to the public is a revolutionary act for most art institutions require an admission fee, and can serve as inspiration to members of underserved communities that may have been cut off from the art world.
Ava at Dia:Beacon
So far, the virtual program has been really fun! The work we have done has been super interactive with both each other as well as the collection, and Natalie (AFAM Education Specialist) is very good at gauging when we are all suffering from “zoom fatigue” and need a break. I have liked to learn about the collection, more specifically learning about the lives of some of the artists within the collection. It has become apparent to me that there is more to art than just the piece itself, but the conditions of the artist that produced the work. It has been incredibly interesting to learn about movements like Art Brut, which we learned about in our meeting with Valérie Rousseau, who is the Senior Curator and Curator of Art Brut. Art Brut, or “outsider art,” refers to the work of self-taught artists who are not necessarily a part of mainstream art institutions. A huge section of artists who are considered part of outsider art are people who were institutionalized or have a mental illness. What has been most fascinating to me is learning about the line between mental illness and making art, and how the two interact and influence one another. Something else we learned about in that same area would be the work that the organization Creative Growth does in providing a space for people with mental and developmental illnesses to come and create art. Their work is different in that they aren’t focused on trying to “cure” people, but just providing a platform for them to use art to have a voice, which was incredibly inspiring.
Meeting with Valérie and Creative Growth has definitely inspired ideas in me for what I want to do for my final exhibition proposal, and I am excited to learn more about the lives of artists in the collection and the circumstances that their work came out of. Stay tuned!
My name is Denisia M. Codrington. I’m a 27-year-old Graphic Designer with an AA in Fine Arts who is currently pursuing an AA in Business Management in Eastern Gateway Community College and a Bachelor’s in Design at Queens College. I chose an opportunity at the American Folk Art Museum because I believe you shouldn’t let great opportunities pass you by. I already knew about this internship the year prior but did not want to overload myself with too many tasks; at the time, I still attended LaGuardia Community College full-time, while working full-time as well. Now part-time at my job, I decided to take the offered opportunity to work as an Intern and enjoy it immensely.
Even though we are online, working with the American Folk Art Museum has been pure joy. I have gotten to meet and converse with many professionals in the field and I have been inspired by their journeys to their current positions today. For a long time, I’ve been told that art does not make any money, so why pursue it? It may have taken me a while to gain the courage, but those voices of doubt are wrong; no one can give you the blueprints to your journey, and it’s up to you to find the way.
At the American Folk Art Museum in September, in front of Mother Sister May Have Sat in That Chair When She Lived in This House Before Me, by Jean-Marcel St. Jacques
One of the most memorable experiences I’ve had was participating in the DigitalDrink and Drawvirtual program. People let loose when given drawing prompts, with the idea that you craft that option into your own ‘words’. Art speaks, and many individuals have different ways of translating what art means to them. I chose to depict an experience from my 25th birthday, where surrounded by friends and family, my boyfriend drove out from Manhattan, and came back with a large cake; he sang to me while crouching down and holding it, it was very sweet. I cried, and I’m not really a crier. I was seriously touched; it’s one of my most favored memories. So, for this piece, I depicted myself with a heart symbol engulfing my face, surrounded by a gallery of hands, and a pair directly in front of me holding cake; in the background you see the random chatter of everyone around me. I chose to depict it this way because I wanted a claustrophobic feeling of love. There’s no space for anything else anywhere, the page is filled with clapping silhouettes of hands and finished off with words. I wanted the viewer to feel wrapped in warmth like I was, and the drawing prompt inspired me to go that route.
I would like current readers and potential interns to know that even through the epidemic, the American Folk Art Museum has done their best to make this internship opportunity very inclusive, and opens up their interns to different aspects of careers included with museum work. Interning with the American Folk Art Museum has opened my eyes to a whole line of creative work within the museum field. I am very glad to have this opportunity, and participating in events like virtual tours and Free Music Fridays has been welcome to ease the burden of this pandemic. I enjoy working with and being surrounded by other creatives; being here helps fuel my inspiration, and has offered me many ideas for the future. Artists do not have to be trained to become successful, and self-taught artists are just as relevant as trained creatives; it’s all about perspective.
Hi, my name is Oscar and I am a current intern at the American Folk Art Museum. In today’s blog post, I’ll be writing a little bit about who I am, why I am here and the internship overall. I am currently 19 and go to LaGuardia Community College where I am majoring in Fine Arts. I have a couple schools in mind to go for my BFA but I’m not too sure what my top schools are yet. Some of my hobbies include going to different museums, collecting sneakers and going for long walks. I think it’s important for people to have hobbies that help them escape real life for a brief moment. I usually try to get a lot of time for myself because of how stressful life can get, especially in times like now with the pandemic. Unique situations like these can really take a toll on you, and it’s pretty eye opening to say the least.
Speaking of pandemics and unique situations, this internship is unlike any I’ve ever been in before. Normally, we would meet at a specific location and introduce ourselves in person, but this time it’s different. All of our meetings are conducted through Zoom and we meet different staff members every week through video chat as well. We even had virtual tours in some of the sessions. One of my favorite sessions was the time we spoke to the Director of Collections and Exhibition Production at AFAM and got to see all of the different types of art pieces in storage, from little sculptures to quilts and paintings. I thought it was very interesting because it’s almost like a sneak peek, and not everyone gets to have that. Although there were a couple of issues with the internet here and there, I still enjoyed the tour a lot and can’t wait to hopefully see it again in person. Another moment I really enjoyed was when we took the time to create our own art using random objects around our house. This was also very enjoyable because a lot of the interns enjoy making art and some of us can’t find the time to ultimately make art and feel relaxed doing it. I made a swan out of some paper that I found lying around since most of the rubbish was thrown out, and I got to display some of the artwork I had lying around that revolved around the idea of making something out of anything.
View of a painting rack in AFAM’s collection storage area
The reason I wanted to become an intern was because I think it is extremely interesting the way museums put together pieces of history and make them available for the public to see. I want to dig deeper and explore behind the scenes so I can learn more about what keeps a museum going. I am also very interested in exhibition design since I think it’s one of the most important aspects in terms of giving visitors an experience that will have them coming back for more. I am fond of interactive exhibitions because they can help viewers learn about the exhibition themselves and also provide something fresh besides walking around and glancing at work from a certain distance. Hopefully in the future I will learn a lot more about museums and potentially start a career in one.
When I first started my internship in the Public Programs department at the American Folk Art Museum, my understanding of what was required to work in this field was limited. In a broad sense, I understood the responsibility of a public programs director was to engage patrons through special events. In order to gain a deeper perspective of the department’s inner workings, my supervisor Persephone Allen assigned me such duties like assisting in the set-up of events, digital documentation of survey responses, as well as analyzing the survey’s results. I learned all feedback is vital. By accessing the audience’s responses, we obtain greater insight on how to improve our patrons’ experiences in the future. Persephone also had me attend public programs at various institutions. Whether it was in person or through a virtual online event, I was able to see how each program reflected artwork from their collection or on-going exhibition.
The first AFAM program I participated in was the Dialogue & Studio: Lacemaking Workshop. The instructor was Elena Kanagy-Loux, a Collections Specialist at the Antonio Ratti Textile Center and founder of the Brooklyn Lace Guild. All guests were provided a set of materials to create bobbin lace. Before Kanagy-Loux began her lace demonstration, the class toured the gallery to discuss a few 19th-century portraits featured in AFAM’s American Perspectives exhibition. In each portrait, the subject wore some form of lace fabric. Kanagy-Loux pointed out and named each type of textile and explained the process that went into making it. The workshop contained no more than ten people, which made it easier for participants to concentrate and receive more individualized attention. I also noticed during the making portion of the event, that when one person was struggling with a pattern, a nearby seat mate would offer their assistance. As an educator, Kanagy-Loux’s patient approach and intriguing dialogue helped the program run smoothly. Event-goers responded positively to her direction and expressed interest (myself included) in attending future programs on lacemaking. Participants were also provided a list of resources on bobbin lace. I learned from this experience there are many different components in creating a successful program. Some of those components are: a strong lesson plan, subject matter that is interesting and relevant, and most important, creating a learning environment that is conducive for an audience.
Elena Kanagy-Loux demonstrates lace-making for program participants
I faced some challenges during the internship. They ranged from the universal struggle of adapting to life during COVID-19, learning how to use different kinds of software (my fellow interns can definitely attest to this!), and becoming more self-confident. It was such an honor to work with the staff and the internship cohort at the American Folk Art Museum. I am endlessly grateful for their support, mentorship, and resources that they provided. It was a powerful experience and I would not trade it in for anything.
During the quarantine and self-isolation, people have been facing different problems and handling them the best they can. It has been a unique experience interning at the American Folk Art Museum in a time like this because a lot of things that we work on connect to physically doing something such as attending meetings and hosting workshops and tours. Being limited to meeting virtually has been unfortunate and led to missed experiences, but we try to stay connected through weekly video conferences.
In one of our digital meetings, we had a great experience doing art together from home. The museum provided prompts inspired by artworks from the American Folk Art Museum’s collection to create art from home. While there were a fun variety of prompts, I decided to choose “favorite activities”.
Stuck at home, I am left with constant thoughts and longing to see my friends, my partner and my coworkers. Everyone around me plays an important part in my life. They were all involved in my daily routine and it has been hard not seeing everyone. Because of this situation, I wanted to draw an activity I miss when we were able to go outside and visit places. I was able to pour out my feelings into this quick drawing.
I chose to do a digital painting of a special person in my life walking in an exhibition at the Philadelphia Museum of Art. It was a very beautiful and interesting exhibit relating to Japanese culture. The museum’s collection of watercolor paintings and furniture was amazing and I had a lot of fun looking around constantly being distracted. One of these memories was captured by a picture of the Ceremonial Teahouse: Sunkaraku (Evanescent Joys). Throughout the internship, I have come to appreciate museums a lot more and I wanted to relate my personal experiences with my work experiences.
Philadelphia Museum. Ceremonial Teahouse: Sunkaraku (Evanescent Joys), c. 1917, designed by Ōgi Rodō (Japanese, 1863–1941), 1928-114-1
While I was drawing and enjoying the memories I had that day, the rest of my coworkers also chose prompts to work on along with Education Specialist Natalie Beall who hosts our weekly meetings along with recent fun events such as a “Digital Drink + Draw”. Below are two of the amazing artworks from my fellow interns who participated in the meeting, which show diverse styles, prompts, and media.
Drawing from home was a really nice breather of an activity. The other interns and I chatted about random things and updates, and talked about our drawings while also concentrating on what we were drawing. Despite being “just” a fun activity, sharing this experience felt special because I felt connected through our silence and focus and I also felt no pressure to say something and was able to just listen. I believe it is a nice experience to share and maybe others can get inspired to draw at home. There are plenty of resources online to get inspired by along with events to join digitally. There’s also artwork that can be done by yourself such as the “AFAM from Home Community Quilt Project”. Socializing digitally is a possibility for us thanks to the advances of technology, so let’s take advantage of it.
My experience in the education department working with different museum audiences has given me a feeling of excitement. It has given me a willingness to learn and a better understanding of how everyone brings their own experiences into the galleries and interacts with the museum educator. As an education intern, I took notes during these programs and thought about what I could learn from them. I also assisted the instructors and shared some of my input with the audience and the educator.
A Verbal Description tour participant utilizes the iPad to explore artwork more closely
The first program I participated in was the Verbal Description Tour. This series is designed for visitors who are blind or have low vision. The trained educator meticulously describes details of each selected artwork, so that participants can experience the objects through senses other than sight. It was really interesting to observe how some of the participants had different kinds of abilities and pictured the guided description in their own way. Some participants were not able to see very far, and others were able to see the shadows and colors of the artwork. To see an up-close image of the work, there was an iPad which was passed around so participants could zoom in and freely see the work a little more clearly. Some of them could even make out the kinds of figures in the artwork. The educator used a lot of details when it came to describing the artwork, and we also used “touch” pieces that could be handled by participants for a tactile experience, which was really one of the highlights of the program.
AFAM educator Hannah Heller leads an introduction.
Engaging with families during the art workshop
The other program I assisted with is the Families and Folk Art series. I worked with one of our museum educators, Hannah Heller. For this program, we worked with kids of all ages. Children were asked to create a portrait, either of themselves or their parents, based on one of the portraits by Ammi Phillips: Girl in Red Dress with Cat and Dog. They had a variety of materials to experiment with and also the support of their parents to guide them. I even got to interact with them and ask them questions about their process and creations. The children were creative and excited to be participating in the program, and so were the parents. I would say they were the true artists of the group. It was ultimately interesting to see the outcome of their artworks. I hope to work with this kind of group again, because it was my favorite.
After learning I was accepted as the collections intern, I knew I would be handling art eventually. I did not, however, expect it to be one of the very first things I was involved in. My first thought went to “What if I drop something? Am I in debt for life?” as I’m sure many others would also think. I expected to be dealing with excel sheets and entering data for a while but was pleasantly surprised. I was also nervous, but that nervousness quickly faded after working with the installation crew for the first time. It was almost like being thrown into the deep end, but I learned it’s not too hard to swim, you just need to be mindful. The crew, Edie, Patrick and Dave, took me under their wings and gave me many valuable tips and insight into art handling. They showed me how to specifically hold artwork of different categories, how to move them, which tools to use, how to properly use them, how to always be aware of the artwork in my surroundings and know when to be a little or a lot more cautious.
The first installation I was able to experience was the quilts show currently in the Self Taught Genius Gallery in Long Island City, Signature Styles: Friendship, Album and Fundraising Quilts. I was extremely nervous about handling the quilts as some of them are almost tenfold my age and very delicate. Learning about the process and correct procedures lessened that anxiety quite a bit. Making sure to always use gloves, creating a space for the quilts to lie, how to properly handle them and how they’re attached to the wall to be displayed were all things I learned within the first hours of the day. It also helped to learn the quilts were not as delicate as I once thought they were before handling them. By the end any nerves I had were gone.
the completed installation of Signature Styles: Friendship, Album, and FundraisingQuilts; Photo credit: Olya Vysotskaya
Not long after this, my second time experiencing an installation commenced and this time on a larger scale. For two weeks, we relocated from the Self Taught Genius Gallery to the museum at Lincoln Square for the installation of the American Perspectives: Stories from the American Folk Art Museum Collectionexhibition. There, I met other members of the installation crew, Billy, Glen, Don and Kirsten. The most interesting part of the installation was seeing how everyone knew exactly what to do and when, like a well-oiled machine. I just hoped I wouldn’t be the gear that got stuck. I was able to work with objects of many different categories, from paintings and sculptures to pottery and carved wood. I don’t think many people can say they vacuumed artwork or nailed and drilled into a museum wall, and I’m proud to say I am one of those people.
behind the scenes of the American Perspectives installation; Photo credit: Kate Johnson
I’m glad to say that neither of these installations ever felt like work or something I didn’t want to do. It was reassuring to work with people who were experienced, willing to teach an absolutely clueless intern and amazing to work with overall. The crew felt tight knit and everyone was very approachable. I never felt like I had a stupid question or was uncomfortable asking for help. I felt like a valued member of the team and at the end of each day, it was extremely satisfying to take a step back and see how everything had come together. I walked away with new skills, new friends, an openness to take on different tasks and a better understanding of what it means to be a part of the collections department.
the completed installation of American Perspectives; Photo credit: Olya Vysotskaya
About twice a month, my colleagues and I at the American Folk Art Museum take trips to museums and galleries throughout New York City. When thinking of the handful of trips we have been on so far, there were two that made a strong impression. Edith Halpert and The Rise of American Art at The Jewish Museum was an eye-opener. With many of our field trips, there is usually a connective thread that ties itself to self-taught art. The exhibit at The Jewish Museum was no exception. Halpert gave recognition and credence to folk-art in a time where it was held without value and helped pave the way for museums such as AFAM to exist. Our tour guide Chris Gartell (who was ever so engaging and gracious), met us at a large wall-sized portrait of Edith Halpert. In the forefront, Halpert sits on a chair, staring directly and confidently into the lens. Six artists pose behind her, all men. The photograph was taken in 1952 and considering the time, this portrait speaks volumes. Edith Halpert was a trailblazer.
At the turn of the century, Halpert and her family emigrated from Ukraine and settled in New York City. Edith got her first taste for business while working at her family’s candy store. Mr. Gartell shared an anecdote about Halpert blowing air into bags of sweets that were sold at the shop, giving the impression the bags were much fuller than they were. This was a clever marketing tactic for a kid if you ask me! Halpert worked many jobs to support her family and at sixteen became an illustrator for Bloomingdale’s advertising department. With a natural inclination for the arts, Halpert studied life drawing at the National Academy of Design and was a member of two radical artist collectives. Hardworking and fiercely independent, Halpert tried her hand in a variety of career roles. She achieved great success as a high-powered executive for multiple companies. But it wasn’t until 1925 that Halpert, now married, decided to leave the corporate business world and embrace her true passion, art.
In 1926, with her own money, Halpert and her friend Berthe Kroll Goldsmith opened an art space called Our Gallery (later renamed Downtown Gallery). The gallery focused primarily on avant-garde and contemporary American art, as Halpert felt there was not much of a market for American artists to sell and display their work. In that era, museums and galleries mainly exhibited traditional art. Ever the innovator, Halpert was ready to shake things up and give exposure to artists that were often unknown or marginalized in society. Halpert called upon her advertising and marketing skills to draw attention to the newly founded gallery. Mr.Gartell explained to our group that in order to excite the general public, the preparation process for each new exhibit was made visible to pedestrians on the street by opening the gallery’s large glass windows. Halpert felt strongly that art should be accessible and inclusive to people of all races and economic statuses. Admission to the gallery space was free and Halpert negotiated prices that were affordable to collectors of modest means. Halpert also served as a partner for the The American Folk Art Gallery and The Daylight Gallery.
For the exhibit at The Jewish Museum, we were able to see first-hand paintings and objects that Edith Halpert had curated in her gallery. Halpert tended to pick pieces that (seemingly) contrasted one another in hopes of engaging a conversation between visitors. To give an example, Mr.Gartell brought us to Charles Sheeler’s Americana, painted in 1931. In this oil on canvas still life, Sheeler uses warm colors to depict a large living room table set at an odd angle from the left side corner. On the table sits a patterned board game, two wooden bowls, and a piece of folded paper. Rugs and various textiles encompass the room. I noticed that we were all straining our necks trying to absorb each detail of this highly textured painting.
After viewing Charles Sheeler, we looked at a portrait of young boy painted circa 1790 by artist John Brewster, Jr. In the painting, a small child with a blonde page boy haircut stands against a dull grey wall. He’s wearing a frilly forest green blouse with matching trousers. A finch is perched on the finger of his left hand. Underneath his fine dress shoes is an earth toned, floral-patterned rug. The rug, with its muted color palette of orange, brown, and yellow, is almost reminiscent of early 1970’s décor. Although painted centuries apart, we notice a commonality between the two paintings. With a strong focus on detail and pattern, both artists invite the viewer to look closely.
The Museum Career Internship cohort examines Boy with Finch, 1800 by John Brewster Jr.; Oil on canvas, 39 x 24 in.; The Colonial Williamsburg Foundation. Gift of Abby Aldrich Rockefeller, 1939.100.
Upon further exploration of the exhibit, we noticed a large collection of weathervanes that varied in size and material. Halpert found this type of functional art to be unique and made this a strong selling point to potential buyers. She even convinced one reluctant buyer to purchase a weathervane of a steer, who initially referred to it with a less than flattering term. I never quite understood the allure of weathervanes myself, but was in awe of a liberty weathervane pattern on display. Carved in wood and painted with gilded metal, I was surprised to learn that this beautifully sculpted, towering weathervane was mass-produced.
Henry Leach for Cushing & White Co., Liberty weathervane pattern, 1879. Carved and painted wood with gilding and metal. Collection of Shelburne Museum, Shelburne, Vermont, museum purchase, 1949, acquired from Edith Halpert, The Downtown Gallery
Another painting that our guide pointed out was that of artist Horace Pippin. Pippin was an African American self-taught artist who centered many of his paintings around the subject of racial-segregation and slavery. Pippin’s Sunday Morning Breakfast was painted in 1943 with gouache on paper, and depicts a black family sitting down for breakfast. At the kitchen table, a mother serves her two children plates of food, while the father sits in a chair, tying on his boots for a day at work.A kettle sits whistling on a hot coal stove above flames of bright orange. The yellow front door is adorned with a horseshoe for good luck, and the kitchen cabinet is painted in a soft blue. Upon further inspection we notice the father is wearing tattered clothing, the window curtains are torn, and the kitchen walls are chipped, baring the skeleton of the house. We can only surmise that this family is poor. The painting engages with a comforting scene of everyday life, but it also brings attention to the history of a group of people who have long been disenfranchised through the constructs of racism.
We also viewed artists such as O. Louis Guglielmi, whose boldly painted Tenements gives commentary on how poverty and death are inextricably linked. By displaying works by these artists, Edith gave room for progressive dialogue between people from all walks of life.
The field trips we take are the most motivating and inspiring part of my internship. I’ve been exposed to new artists, institutions, and different ways of thinking and seeing. It has been an invaluable experience and has only emboldened my passion for the arts. I hope to share more of these experiences with you in the future.
After the first half of this internship, during which we came together as a group twice a week to learn about the American Folk Art Museum’s collection, it was time for us interns to begin actually working in our respective departments. It would be the first time that we wouldn’t all be together, and that was pretty nerve-wracking. When all the interns were together for each session, I didn’t feel as much pressure when I made mistakes because everyone there was learning too.Working with a staff member by myself made me nervous.
Then, I began to work with Social Media Manager Sam Morgan and Director of Communications and Marketing Chris Gorman in the communications department, and I realized that I had nothing to be nervous about. When I don’t understand something, they teach me and help me fix my mistakes. It’s only been a fewweeks, but I feel like I have learned so much about how the museum promotes itself and how much work goes into creating content for a continuously growing community.
Aaliyah (left) works on a social media posts with Social Media Manager Sam Morgan.
I actually feel like I am helping out when I am asked to do a task, and I am not afraid to ask questions because I know that Sam and or Chris will patiently answer them. Not only am I shown how the department works, but I am also encouraged to come up with new ideas and really be a part of the department. I’m encouraged to give my input and I feel like I am a full-on staff member, like everyone wants me here. So, in the end, I was worried for nothing,and now that I am not so nervous I am having a lot of fun.
For example, last week my fellow interns and I got to take a closer look at the Signature Styles: Friendship, Album and Fundraising Quilts exhibition hosted by curator of folk art Emelie Gevalt. Afterward, I had the great opportunity to create my first Instagram story. I used a special website called canva to design an appealing Instagram story that communicated how cool it was for us interns to get a closer look at the exhibit. I used photos and text to promote the great things that happen in this internship program, and I also got to promote the exhibition as well. It was a win-win situation. This experience also shed some light on how I can use what I am learning to properly promote myself as an artist. I learned that a lot of thought goes into promoting oneself. I can’t wait for what I’m going to learn next.
Museum Career Internship Program 