americanperspectives – Museum Career Internship Program

by Audrey Capria, Public Programs Intern

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 19^th-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.

VtLkHmOI — 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.

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The Nervous Art Handler

by Matthew Morris, Collections Intern

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.

EX - 2020 - Signature Styles - STGG - 029 — the completed installation of *Signature Styles: Friendship, Album, and Fundraising* *Quilts;* 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 Collection exhibition. 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.