Tag Archives: COVID

So what am I supposed to do now…?

Written by Zélie Lewis

It’s hard to accurately represent the magnitude with which the COVID-19 pandemic is affecting each one of us and disproportionately affecting black, brown, and low-income communities. Not only are we all worrying about staying healthy and protecting our lives, we have the compounding stress of worrying about our livelihoods and careers as unemployment rates soar. In a report released on Thursday, April 2, the Labor Department indicates that “…there are around 8.5 million more people on unemployment benefits today than there were two weeks ago.” The unemployment rate has been estimated to be at around 13 percent, according to further reportsThis is likely the worst period in history for all of us. 

As a graduate student two months away from earning my master’s in Museum Studies, I find myself circling back to a single, gut-wrenching question: what am I supposed to do now? 

It’s also hard to ignore the impact COVID-19 is having – and will continue to have – on museums and cultural organizations across the U.S. I can’t scroll through Twitter or talk to a museum friend without hearing about more layoffs, teams struggling to generate revenue while closed, or people scrambling to generate something, anything to put out into the world. Worst of all, it’s hard to escape the constant anxiety and grief that surrounds the work that we do.

While the U.S. is understandably preoccupied with the worsening health emergency, the last few weeks have underlined the fact that museums and cultural institutions are extremely undervalued in American society (just think about the lack of emergency funding for arts and cultural organizations). Our institutions were not designed to handle a crisis like this – and we haven’t even dealt with the education, job, and economic crises that are yet to come. 

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Source: https://twitter.com/MichelleNMoon/status/1240992082484961280?s=20
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Source: https://twitter.com/AMTransparency/status/1242869675425443840?s=20

One perspective I have noticed is eerily absent from broader discussions about the impact of our current situation is that of the youngest generation of museum professionals. I’d like to create a space where our needs, concerns, and frustrations can be both shared and heard. I guess there’s no better way to do that than to start by sharing my own. 

The last few weeks have brought an onslaught of changes for all of us. Like virtually every other student in the country, I have watched my university close its campus and switch to entirely remote learning and work, tried to prepare my individual research for conferences that might not happen, and watched the museum where I work part-time close to the public before laying me and others off. 

I am tired. I am frustrated. But mostly I am anxious. Ironically, being a graduate student right now provides a certain amount of comfort; I have work to do, I have a community to lean on, and I have a sense of normalcy others may not have. Unfortunately, being a graduate student right now also emphasizes the uncertainty of the job market. I was in the midst of applying to countless positions before museums started closing and now…everything is on hold until further notice. Knowing that it can take several months to a year post-degree to land a full-time job in a museum, seeing the plight of the field unfold is petrifying. As an educator, watching museums announce sweeping layoffs of education and interpretation staff is especially worrisome. Getting a sustainable job as a museum educator was hard enough before COVID-19; if museums cut their education programs and have no plan for reinstating education staff, the outlook seems bleak. 

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Source: https://twitter.com/AMTransparency/status/1244961086048264192?s=20

And I am but one person. There are countless other graduate students and young professionals across the U.S. and around the world in the same position. In speaking with a peer from my graduating cohort, I quickly realized that the feelings of anxiety and fear are widespread among emerging professionals. Olivia Knauss, a second-year Museum Studies student at NYU specializing in development and fundraising, states: 

“Before the COVID-19 pandemic, I felt ‘on-track.’ I was working two different paid internships at two different NYC-based museums, while also reaching the final stages of my master’s thesis. I made it to the second round of interviews for three different full-time positions. But as in most industries, everything came to a screaming halt. Early on, I was laid off from one of my paid internships, losing valuable income I need to live in one of the most expensive cities in the world. All of my interviews have been suspended or postponed indefinitely. I’m back at square one…it’s hard not to feel helpless.”

Museum Studies students and those in related programs are not the only ones hurting right now. The programs themselves are facing mounting uncertainties. Will more students enroll this fall? Will these programs be able to stay open? What will this pandemic change how we pursue and complete graduate work? It’s hard to know what the next few years will look for professional training and graduate education. 

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Source: https://twitter.com/meglovesmuseums/status/1245147902399389696?s=20

This is not to say that there aren’t incredible things happening in museums right now. More institutions are finally realizing how essential true digital engagement can be. The National Cowboy Museum in Oklahoma City and the Shedd Aquarium are leading the way with joy-inducing internet content. Leaders in the field continue to share advice on how to navigate this experience and biting critiques of inequity in the field. 

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Source: https://twitter.com/HistoryGonWrong/status/1245421097413197826?s=20

The only way out of this reality is through it, so we must keep pushing forward. I try to remain hopeful, to stay up-to-date on what is happening in the field, and to have faith that this degree will be worth it in the end. 

I try … but what am I supposed to do now? 

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About the Author

Zélie Lewis: As an educator specializing in digital learning and engagement, Zélie is set to receive her MA in Museum Studies from New York University in May 2020. Prior to graduate school, Zélie served as a college advisor in a rural high school where she worked to improve student and community access to post-secondary resources. Zélie began her transition to the museum field as an Apprentice Museum Educator at the Rubin Museum of Art in New York and joined the Brooklyn Historical Society as the Education Administrative Assistant in 2019. Her research focuses on the role and effectiveness of museum-based distance education in serving rural K-12 educators and speaks more broadly to the role of distance ed in providing more equitable access to museum resources for low-access communities.

Museum as space of opportunity, creativity & care: A perspective from Spain

Written by Fernando Echarri

In Spain, COVID-19 has caused and is causing sudden and overwhelming social change. Spain is one of the countries in the world that is suffering most from the effects of the pandemic at the moment. Effects that translate into new social and personal challenges, involving many factors including misinformation, manipulation, fear and catastrophism. This situation shakes the foundations of a way of living, of coexisting, of perceiving, of doing, of desiring, of dreaming.

This change has happened practically from one day to the next, when the Spanish Government declared a state of alarm. The change meant the closure of many public and private equipment, including all educational centres and museums. We work at the Museo Universidad de Navarra, located in the north of Spain. It is a recently created university museum of contemporary art (2015). With structures and procedures still being established and, therefore, also with the power of flexibility towards new scenarios. The museum’s closure has been very sudden, with the exhibition “Universes” by the artist David Jiménez just opened in March. It has taken place at the same time that the University has stopped its face-to-face activity, so that university students and other visitors from other segments of the population cannot physically visit the museum or carry out their various cultural and educational programmes.

And how does a university museum of contemporary art adapt to a situation that prevents the public from seeing its exhibitions and carrying out the rest of its cultural programme?

We try to raise 5 criteria that can help answer this question :

1.  It must be faced with a positive mind, which sees this situation as a generator of personal and social change that provides a new space of opportunity.

2.  Learn to work with uncertainty; with a continuous and changing uncertainty that the situation itself generates. Uncertainty that affects everything from the biology of the virus and the evolution of the disease to the political and regulatory measures that are taken and the social perceptions and new forms of behaviour that are being generated in real time. These new forms of behaviour will probably include a new emotional and affective state in terms of the relational aspect between people. And in this new generation of new forms of behaviour, the museum cannot be alien. It cannot miss this train, in a challenge that we do not know where it is going, but in which the museum has to be assembled, to travel together with society, to accompany it in the different situations and contexts that are being generated.

3.  Space for creativity. The uncertainty generated provides in turn a great ally, usually forgotten: creativity. Creativity can be a lifeboat when the waters are turbulent and the known capsizes. The undefined space is built with enabling bricks that are linked to the creative cement. New products are thus generated, at this time digital, that respond with contemporary art to the needs of the users.

4.  To focus on the value Care. This value is not usually the focus of most education programmes, and is not usually one of the main values considered in a transversal way in the programmes of museums. However, this word is currently one of the most mentioned in the media and has become one of the key words generated by COVID-19 and which people are taking into account the most. Personal, family and social care is now a trend topic. Perhaps this value has surpassed the value of respect, which is the one most often used in social work. The respect value has fallen short in this situation. If we understand the value respect as the consideration for others, the value care implies respect, but it is more than that value. It also implies concern, protection, solidarity and love.

We could simplify by considering that care = respect + love. In this situation generated by COVID-19, it is clear the numerous evidence of care that is being generated in society. Neighbours who previously did not speak to each other are now wondering how they are doing, how they are handling the situation, if they have any sick relatives, if they need anything. Anonymous people who help other anonymous people. It’s not a minor change. COVID-19 is possibly making society better, more humane. Or maybe it already was, but there were no opportunities to make it so obvious. In order to adapt to this situation, museums should integrate this value into the relational possibilities offered by their various programmes.

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5.  ‘Stay at home’. This is the communicative message that the Spanish Government is promoting during this period of confinement. This message has forced the Museo Universidad de Navarra to change its communication, dissemination and educational strategy. This new situation is a challenge for the University of Navarra Museum. It means devoting all its efforts to off-site activities. If the visitor does not come to the museum, the museum will look for the visitor. It means taking the museum to the people’s homes. That is why it has created the ‘MUNENCASA’, with the intention of providing artistic, cultural and educational support to the various people and groups that are currently confined.

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This impediment to living physically in the museum has made it possible to develop a parallel, virtual museum, which offers users programmes, activities and tools such as virtual visits to the exhibitions, multimedia videos, digital gamification, a blog with recent history and current affairs, and classes for university students and the rest of the population. It also pays continuous attention to the different social networks, publishing not only news. The world of social networks has increased its volume of traffic these days and we must redouble our communication efforts. In record time, digital materials are generated that adapt existing analogue resources. Programmatic resources are generated, both exhibition and educational, which help people through art and culture.

This is what we have to do at this time: to approach each home and accompany, help, and care for our users as much as possible.

Society expects nothing less from us.


Header Image: José Ortiz Echagüe, “Tenura”


About the Author

FERNANDO ECHARRI IRIBARREN holds a degree in Biological Sciences (University of Navarra, 1989) and a PhD in Museum Education (University of Navarra, 2007). He is an associate professor of the University of Navarra (Pamplona, Spain) and teaches in the following areas: “Art Education”, “University Master’s Degree in Higher-Education Teaching” and “University Master’s Degree in Curatorial Studies”. Since 2014, he has been Head of the Education Department at the University of Navarra Museum. His interests include meaningful learning and significant learning experiences.