Milwaukee Art Museum Blog

Much like our curators, the Museum’s archivists typically work behind-the-scenes. However, on October 2, in honor of Ask An Archivist Day, our social media followers were able to learn more about archival work and get a peek inside the daily lives of our on-site archivists. Check out some of the questions and responses below!

What training do you have? How did this become a career for you?

“My educational background includes a Masters in Information Studies and a Masters in Public History among several other related studies, certificates, and work experiences. With the rapid growth of information, data management has become a vital part of the Museum’s ability to document and manage its extraordinary collections and its everyday business activities. With my past studies in history and art, libraries and archives became a natural draw where I could apply my knowledge and skills to assist others.” –Heather Winter, Librarian/Archivist

What’s the history of MAM acquiring the Judge Jason Downer House for archival storage?

“The move to the Downer mansion in 2017 more than doubled the Museum’s original archive and library space. The larger space has enabled us to work one-on-one with researchers, authors, students, and staff, and provide behind-the-scenes tours to classes, support groups, Osher Lifelong Learning Institute, and more. Materials are housed at both the Downer mansion, for more typical day-to-day inquires, and also at the Milwaukee Art Museum for rarer materials.” –Heather Winter, Librarian/Archivist

What is a typical workday like?

“As the Museum’s media archivist, I fulfill daily staff requests for digital images and audio/video for various projects and press/social media. I am also constantly digitizing old media formats in our archive collections for digital access internally and online, along with maintaining and updating the information, or metadata, that describes these digital files that we create. While very time consuming, it allows us to be able to search for media when we need it, which enhances the stories of the objects in our Collection, and to tell the history of the Museum from its earliest beginnings to the present day.” –Beret Balestrieri Kohn, Media Archivist

How often do you collaborate with others during the day, and how often do you work alone?

“Our work in the library/archives is fascinating and no two days are alike! Some days we may be cataloging/archiving books or one-of-a-kind materials, and other days are spent working with researchers, staff, or students on their projects. Every day I feel like I am learning new things about the collections and Museum’s history, and I am thrilled we can share that information to help others move their own projects forward.” –Heather Winter, Librarian/Archivist

What’s the most difficult aspect of your job?

“In the archives, every day is different, which is both refreshing but also challenging. Each new request allows us to delve into a facet of the Museum’s history we often have not had a chance to visit, and we do get a bit distracted now and again winding down the threads of artists and events that have passed throughout the decades. We learn so much so quickly but often don’t have the time to indulge in the details as there is always a new request around the corner, changing our focus. It’s really a happy difficulty to have.”  –Beret Balestrieri Kohn, Media Archivist

If you could choose any piece from the archives to display, what would it be?

“I am a big fan of the Brooks Stevens archive material. Some of my favorites are the early iterations of the Wienermobile. There are so many amazing designs in his collection, here’s a snapshot.” –Heather Winter, Librarian/Archivist

How does one become qualified to be an archivist?

“In the fast-paced information world, more archivists are definitely needed! We are lucky enough to have several excellent university archive programs near. If interested, be sure to look into the School of Information Studies at UW-Milwaukee and the Information School at UW-Madison.” –Heather Winter, Librarian/Archivist

You see the exhibitions and the beautiful works of art in our galleries, but how often do you see the people who, through careful thought, research, and planning, helped bring them here? 

Much of a curator’s work takes place behind-the-scenes, and most Museum visitors only get to see the final products—new art acquisitions and stunning exhibitions. But on September 18, 2019, in honor of International #AskACurator Day, we encouraged our social media followers to ask our curators anything! Check out some of the questions and responses below.

How did you start your career in the art field? Always a curator or did you dabble first?

“I dabbled in painting as a child and teen, but even then it was obvious my talents were in analysis rather than practice. I actually majored in history as an undergraduate, but fell back in love with art and with museums, and went to graduate school for art history and museum studies. During that time, I did many internships and practicums and through those opportunities, finally landed my first job as a curator.” –Brandon Ruud, Abert Family Curator of American Art

What work of art started your passion for museum work?

“Rogier van der Weyden’s Portrait of a Lady, at the National Gallery of Art” –Tanya Paul, Isabel and Alfred Bader Curator of European Art

How did you become a curator? What did you go to school for?

“I became a curator because I love to think and talk about art. I studied art history as an undergraduate, and did a graduate program in curatorial studies.” –Ariel Pate, Assistant Curator of Photography

“Graduate school, internships, entry-level museum jobs, slowly working toward becoming a curator; I have an MA in decorative arts/design history and a PhD in architecture/design history” –Monica Obniski, Demmer Curator of 20th- and 21st-Century Design

 “In order to become a curator you have to be interested in visual language and how it reflects the time in which it is produced. I studied art history in college and graduate school, and focused on the history of photography and contemporary art. Then I interned at museums around the country until I finally landed my first fellowship. I find that having a good visual memory is key to success in this field.” –Lisa Sutcliffe, Herzfeld Curator of Photography and Media Arts

What is considered a MAM-worthy piece of art; what’s the protocol?

“We look at numerous factors—quality is paramount—but we also ask a range of questions. Is it in good condition? Is it an excellent representation of its type? Is it compelling and unique? How does it connect to the Museum’s Collection? Does it build strength on strength or offer us something we didn’t have before? Does it connect disparate parts of the Collection? Etc. It is hard to describe the process simply, as it is also something intangible—an object should speak to you, it should be something that is so appealing, so compelling, for whatever reason, that it demands to be added to the Collection.” –Tanya Paul,  Isabel and Alfred Bader Curator of European Art

What is the oldest work of art in the Museum’s Collection?

“Our Egyptian Statue of Sekhmet, Late New Kingdom (1069–664 BC), ca. 1000 BC” –Tanya Paul, Isabel and Alfred Bader Curator of European Art

What’s the oldest painting in the Museum’s Collection?

“Our Al Faiyum, Portrait of a Woman (AD 100-150)” –Tanya Paul, Isabel and Alfred Bader Curator of European Art

What is the oldest artwork in the Museum’s Collection that is known or suspected to have been made by a woman?

“It’s a toss up between our Diana Mantuana and our Sofonisba Anguissola, although likely the work by Sofonisba is a touch earlier” –Tanya Paul, Isabel and Alfred Bader Curator of European Art

How do you decide what pieces to display downstairs (in the Herzfeld Center of Photography and Media Arts)?

“As curators who oversee the Herzfeld Center, we aim to present a balanced program of photography and media arts that engages with the history of the medium as well as contemporary concerns. Photography is a light sensitive medium and so it must rotate more often than other objects in the Museum’s Collection.” –Lisa Sutcliffe, Herzfeld Curator of Photography and Media Arts, and Ariel Pate, Assistant Curator of Photography

How do you decide what pieces to move when you rotate what is currently on view?

“Sometimes we are making room for new acquisitions; other times, we may want to work through some ideas…and we are always considering how the works relate to one another, which may cause a work to rotate off view if there is a more compelling story to tell, etc.” –Monica Obniski, Demmer Curator of 20th- and 21st-Century Design

What’s your first step or thought when you begin curating a new exhibition?

“I started Portrait of Milwaukee looking at the Museum’s Collection: Which story or stories did the photographs tell, and what was missing from the narrative? With that in mind, I reached out to local collections to find photographs that told other stories—such as that of tannery workers in the mid 1970s, with photos borrowed from the Central Library.” –Ariel Pate, Assistant Curator of Photography

“What’s the thesis, and has something like this been done before?” –Monica Obniski, Demmer Curator of 20th- and 21st-Century Design

Are there any curations that are not your own that didn’t get the attention you believe they should have?

“The smaller rotation spaces in our Museum are sometimes overlooked. This is where curators get to explore just one idea, like the small posters Jules Cheret made for a Paris weekly; Milwaukee’s connection to polymath László Moholy-Nagy; or an introduction to Functional Fashions, a clothing line focused on providing disabled consumers with stylish clothing choices.” –Ariel Pate, Assistant Curator of Photography

What do you enjoy most about being a curator?

“Working with great art and the excellent team!” –Brandon Ruud, Abert Family Curator of American Art

If you visit the Museum between October 21 and November 10, you’ll notice the rise of the Burke Brise Soleil (“wings”) is a bit more rocking. The daily architectural feat, rising at 10 a.m., noon, and right before the Museum closes, will be temporarily accompanied by the song “Elevation” by U2. 

We’re not just in a “rock music” kind of mood now that the wings are spruced up. In early June, the Museum kicked off its annual giving campaign—with a new, exciting twist. For every gift of $50 or more, donors received one entry into our “Program the Wings” drawing, and one lucky winner was selected to pick the music that would accompany the opening and closing of the “wings” for a short period of time.

So, who won? Drumroll, please….

Long-time Museum Member Ann Rozanski!

This local engineer has created many fond memories at the Museum since she joined in 2008—seeing the newest exhibitions, lingering in front of her favorite Collection work (Jules Bastien-Lepage’s The Wood Gatherer), and spending time with her mom at Art in Bloom. The “wings” have also long been a source of inspiration; Rozanski says they “let us all imagine being able to fly over Lake Michigan.” She chose “Elevation” to accompany their opening and closing because the U2 song is uplifting, and the lyrics reflect the upward movement: “In the sky…You make me feel like I can fly…So high.” 

While this was a creative fundraising initiative, it’s also a reminder of the impact our donors have on the Museum. Without their continued generosity, we would not be able to put forth outstanding exhibitions, offer premier educational programs, and maintain our Collection of over 30,000 works of art—not to mention the 217-foot architectural wingspan.

Thanks to all who continue to support our institution, whether it was through donations or through one of the countless other ways you can share of your time and resources.