Position announcement

Berry, Vicky

Dear AAMG colleagues,

We have recently been funded for a new education position. Please share with any qualified candidates that may have an interest.


Associate Curator of Education

Associate Curator of Education for Public Programs

The OSU Museum of Art is seeking an Associate Curator of Education for Public Programs who will build upon current strengths and develop K-12 programs in concert with the Education team's recently completed interpretive plan and the growing needs of our public partners. This is a full-time position reporting to the Director.

Job Responsibilities:

Serves with the Education and Programming Coordinator and Curator of Education and Public Programming for School and Teacher Programs and for Family and Outreach Programs as the management team responsible for implementing the Museum’s education plan.

Assists with managing schedules and training of Museum Associates (student staff).

Planning and implementing evening and monthly programs such as Second Saturday, Final Fridays, writingLAB, artLAB, and other community focused programming. 

Plans with the Curatorial team, Curator of Education and Education Interns and is responsible for the schedule of public programs related to the Museum collection and special exhibitions. These include lectures, panels and symposia, interdisciplinary arts/studio arts workshops and visiting scholars' programs. Is responsible for developing project budgets and implementation.

Participates with other educators in preparing and presenting public gallery talks, public lectures and tours on the collection, as needed, at the Museum and in the community.

Leads docent education sessions for new docent candidates.

Develops content for tours and programs and participates in development of other digital technology for programming.

Works with Communications to develop promotional materials for public programming.

Required qualifications:

Education/ Experience: Bachelor’s Degree in Art Education with Teaching Credentials

Experience may substitute for credentials.

Three (3) years’ experience in the field of Museum Education.

Proficient in Microsoft Office Applications, adaptable to learn new software.

Preferred qualifications:

Education/Experience: Master’s Degree in Art Education

Five (5) years’ experience in the field of Museum Education.

Proficient in digital media and production of interactive learning materials.

The successful candidate must be an exceptional communicator through written communications and public speaking.  Must be a team player with a positive attitude, able to balance roles as an educator, administrator and manager.  Bi-lingual skills (English-Spanish) a plus.

About Oklahoma State University & the OSU Museum of Art

OSU is a modern land-grant system of interdisciplinary programs that prepares students for success. Through leadership and service, OSU is preparing students for a bright future and building a brighter world for all. As Oklahoma's only university with a statewide presence, OSU improves the lives of people in Oklahoma, the nation, and the world through integrated, high-quality teaching, research, and outreach. OSU has more than 35,000 students across its five-campus system and more than 24,000 on its combined Stillwater and Tulsa campuses, with students from all 50 states and around 120 nations. Established in 1890, OSU has graduated more than 240,000 students to serve the state of Oklahoma, the nation and the world.

Oklahoma State University Museum of Art’s mission is to advance creativity, lifelong learning, and cultural and civic engagement through exhibitions and programs. The Museum contributes to the academic research and teaching of Oklahoma State University and is committed to serving learners from communities across Oklahoma and beyond. Housed in a repurposed 1933 post office located off campus, the Oklahoma State University Museum of Art opened its doors in this location in January 2014. With primary holdings in modern and contemporary American art, the Museum's inherited collections have grown from 3,000 to 5,000 objects. We are the only art museum within the 135 mile stretch between Tulsa and Oklahoma City. Our annual attendance ranges between 6,000 and 7,600 visitors and admission is free.


To Apply

Job number AS9052



Victoria R. Berry
Director and Chief Curator
Oklahoma State University Museum of Art
720 S. Husband Street
Stillwater, OK 74074


Book your AAMG registration now before that #earlybird passes you by... #earlybird


University of Minnesota campus

Join us in beautiful Minneapolis-St. Paul this summer for two full days of session presentations, roundtables, keynotes, and workshops to re-energize your campus museum.

The 2019 AAMG Annual Conference is just a few short months away. Register today!

Close to 400 academic museum and gallery professionals attended the 2018 AAMG UMAC Annual Conference in Miami, Florida from June 21-24, 2018. Many thanks to all who attended, presented, and supported our program this past year.

Update: Registration is open for the 3rd Annual Digital Data in Biodiversity Research Conference


Yale Peabody Museum in collaboration with iDigBio, the Natural Sciences Collections Alliance, and Ecological Society of America is pleased to update our announcement of the third annual Digital Data in Biodiversity Research conference, to be held 10-12 June 2019 at Yale University, New Haven, CT.


Registration is open:


The lodging options are also open. Please note that we are offering economy lodging again this year:


Abstracts may be submitted for workshops as well as oral and poster presentations and discussion sessions (you will receive an abstract link in your registration confirmation letter).


For workshop proposals: 23 March 2019;

For those submitting an oral presentation or poster abstract: 30 April 2019;

General registration: 17 May 2019.

New this year will be the opportunity to submit abstracts for half or full-day workshops and symposia to be held on Wednesday the 12thThose submitting workshop or symposium abstracts must register prior to 23 March. Those submitting discussion, oral, or poster presentation abstracts must register prior to 30 April.

The conference wiki, which includes the agenda, is under construction but available at:,_Yale. It will be continuously updated, so keep an eye on it.


More conference info (including a list of keynote and plenary speakers) is available at:


Themes for oral presentations and posters might include:

published or publishable biodiversity research using digitized specimen data,

methods and protocols for enhancing discovery with digitized specimen data,

systematics and the use of digital specimen data,

ongoing research projects that utilize digital data,

gaps and deficiencies in currently available digital data that hinder effective use,

user critiques of digital data, aggregators, and data providers,

pipelines that integrate digitization, data use, and research,

standards and practices for depositing and documenting open access digital datasets,

the role and relevance of “Big Data” in biodiversity research,

use of digitized biodiversity specimen data within ecological research and practice,

conservation use of digital specimen data,

the relative importance of vouchers vs. observations as digital data,

managing digital biodiversity specimen data in support of research pipelines,

analyzing and visualizing specimen-based and related digital data.


The planning team for the 2019 conference includes Tim White, Patrick Sweeney, Larry Gall, Susan Butts, Michael Donoghue, Nelson Rios, Greg Watkins-Colwell, and Michelle Duong from Yale; Jill Goodwin, Gil Nelson, and Pam Soltis from iDigBio; Jill Parsons and Emily Mastrianni from ESA; and John Bates and Rob Gropp from NSCA.


For further information or to ensure that you are on the conference email list, please contact Jill Goodwin (jvgoodwin@...) or Gil Nelson (gnelson@... at iDigBio.




Gil Nelson PhD, Director

Integrated Digitized Biocollections (iDigBio)

Florida Museum of Natural History

University of Florida




Courtesy Professor

Department of Biological Sciences

Robert K. Godfrey Herbarium

Florida State University





Rogers, Michael D.


My students are working on survey questions to determine customer needs/expectations for our area  museums, parks, and zoo. Anyone with sample surveys? Online and/or intercept surveys.

Michael Rogers, PhD
Business (Management)
229 430-4784 (office)
229 347 4174 (cell)


Albany State University


Diverse + inclusive acquisitions policies?

Kovacs, Claire

Dear All, 

As the Augustana Teaching Museum of Art lives into its new strategic framework (available here, for anyone interested), we are looking to write an acquisitions policy that centers diverse and inclusive collecting practices. Can anyone share their policy and/or know of any policies that we could look at as examples? I know that museums like the Baltimore Museum of Art are making this turn, but am not sure if any organizations have incorporated this at a policy level. 

My thanks, in advance, for any leads you might be able to provide. 

All the best, 

Claire L. Kovacs, PhD
Pronouns: she/her/hers
Director, Augustana Teaching Museum of Art
Augustana College
Rock Island, IL
Located on the ancestral homelands of the Sauk, Meskwaki, and Miami Nations.

Practical Approaches to Emergency Preparedness online course begins April 1 on

Brad Bredehoft

An Emergency Response Plan is one of the 5 core documents listed by the American Alliance of Museums. Join Rebecca Elder for the four week online course Practical Approaches to Emergency Preparedness where we will discuss initiating an emergency planning effort, writing an emergency plan, assembling and training a recovery team, and evaluating and maintaining readiness.
For more information visit our website:

Brad Bredehoft
Museum Study, LLC

Defining our Roles and Managing Expectations

Casey Mathern

The William Paterson University Galleries is establishing an art on campus collection, and staff would value your insights about some of the practical and ethical gray areas that academic museums and galleries encounter as we define our roles within our academic institutions and navigate other departments' expectations. We would like to share the results with the AAMG community to provide our peers with a baseline of current approaches for providing interactions with art and culture beyond our walls while remaining true to our missions and our industry's best practices. Here is the link to the survey, and many thanks in advance for joining the conversation.

Casey Mathern


Casey Mathern

Curator of Visual Resources and Collections Manager

University Galleries

William Paterson University

300 Pompton Road

Wayne, NJ 07470

(973) 720-3283

*By participating in this survey, you acknowledge and accept the following: Users of this listserv agree to indemnify, defend and hold harmless, AAMG and its subsidiaries, affiliates, officers, and agents against all loss, claims, demands, causes of action, liabilities, expenses, including reasonable attorney’s fees and costs arising from any claim arising out of or resulting from in whole or part any breach of these guidelines by the user or any omission or act taken by the user. In no event will AAMG be responsible to the users for any indirect, consequential, special or punitive damages or losses users may incur in connection with the AAMG listserv (and any survey data collected or disseminated) or any of the data or other materials transmitted through or residing on the listserv.

Re: Diverse + inclusive acquisitions policies?

Jane Becker Nelson

Hi Claire, 

Thanks for posing this question to the AAMG group. We're also ready to integrate what has been an unofficial push in recent years on a policy level, but have not yet approached the language of our accessions policy. I'm interested to see the results you compile. I hope you'll share your findings.  

Jane Becker Nelson
Director & Curator | Flaten Art Museum
St. Olaf College
Office: 507.786.3556 
1520 St. Olaf Avenue Northfield, MN 55057

On Wed, Mar 13, 2019 at 9:46 AM Kovacs, Claire <clairekovacs@...> wrote:
Dear All, 

As the Augustana Teaching Museum of Art lives into its new strategic framework (available here, for anyone interested), we are looking to write an acquisitions policy that centers diverse and inclusive collecting practices. Can anyone share their policy and/or know of any policies that we could look at as examples? I know that museums like the Baltimore Museum of Art are making this turn, but am not sure if any organizations have incorporated this at a policy level. 

My thanks, in advance, for any leads you might be able to provide. 

All the best, 

Claire L. Kovacs, PhD
Pronouns: she/her/hers
Director, Augustana Teaching Museum of Art
Augustana College
Rock Island, IL
Located on the ancestral homelands of the Sauk, Meskwaki, and Miami Nations.

Re: Diverse + inclusive acquisitions policies?

April Vasher-Dean

Here at SUNY Potsdam we use this language within our Collections Management Policy.  You might find it useful.  Feel free to contact me if you would like to see the entire written policy.




Acquisition of Objects – The Director and the Collections Manager, in their charge of growing and strengthening the Collections, are responsible for the search of possible gifts, donations, bequests, and purchases.  Of particular interest are objects that build on the Collections’ strengths and/or supplement scholarship, research, and education.  Also, of consideration is strengthening the Collections with the addition of objects by under-represented and diverse peoples and categories to broaden existing Collections…



April Vasher-Dean, Director

The Art Museum, SUNY Potsdam

44 Pierrepont Ave

Potsdam, NY 13676

(315)267-2481- phone

(315)267-4884- fax



From: <> on behalf of "Kovacs, Claire" <clairekovacs@...>
Reply-To: "" <>
Date: Wednesday, March 13, 2019 at 10:46 AM
To: "" <>
Subject: [AAMG] Diverse + inclusive acquisitions policies?


Dear All, 


As the Augustana Teaching Museum of Art lives into its new strategic framework (available here, for anyone interested), we are looking to write an acquisitions policy that centers diverse and inclusive collecting practices. Can anyone share their policy and/or know of any policies that we could look at as examples? I know that museums like the Baltimore Museum of Art are making this turn, but am not sure if any organizations have incorporated this at a policy level. 

My thanks, in advance, for any leads you might be able to provide. 


All the best, 



Claire L. Kovacs, PhD

Pronouns: she/her/hers

Director, Augustana Teaching Museum of Art

Augustana College

Rock Island, IL

Located on the ancestral homelands of the Sauk, Meskwaki, and Miami Nations.

Wisconsin Historical Society: Chief Program Officer


The Wisconsin Historical Society seeks an innovative leader and dynamic executive to oversee Programming for the Wisconsin Historical Society (WHS).

Founded in 1846, the Wisconsin Historical Society is a self-governing Agency of the State of Wisconsin. The Society is headquartered on the campus of the University of Wisconsin-Madison.

The Society administers twelve historic sites and museums throughout the state including the Wisconsin Historical Museum on the Capitol Square in Madison. For additional information about the Wisconsin Historical Society, please see:


As a member of senior leadership, the Chief Program Officer (CPO) is responsible for leading all of WHS’s museums and programmatic channels in delivering relevant, engaging, authentic, dynamic, diverse as well as inclusive mission-based experiences, publications, exhibits, digital resources, and educational services. 


Additionally, the CPO is also responsible for staff excellence, and financial performance of the Museums, Programs & Outreach Team and works institutionally to lead and guide the experience design process.  Leads the creation, implementation, and coordination of a strategic direction for Museums, Programs and Outreach, all while insuring sustainability and ongoing performance improvement. Works with the Director’s Office, Senior Leadership Team, and the Deputy Director/COO and technical experts in business units such as Finance, Human Resources, Communications, IT, Retail, Facilities, Historic Preservation and Collections, to ensure that all venues, projects, exhibitions, and programs align and meet Society standards, brand, as well as business goals.



A qualified candidate will possess the following-

o  Five+ years of senior leadership experience in a complex organization with a proven track record of success

o  Experience designing mission-driven programs, products or events that drove and achieved core strategic business functions, including demonstrated success in supervising senior staff to achieve organizational programmatic and fundraising goals.  (Example: public program development, implementation, integration, and sustainability of programs)

o  General experience in programming operations (Examples includes familiarity and experience with designing best practices/efficiencies, performance management, multiple platform program integration, executing organizational/ culture change).



How to Apply:   
Please submit electronically a cover letter addressing qualifications for this position, a resume, and five professional references (references will not be contacted without prior permission). Submit to:

Questions may be directed to:
John Obligato, Senior Human Resources Business Partner
Wisconsin Historical Society
816 State Street
Madison, WI 53706-1482
Telephone 608/264-6409

Materials will be evaluated and the most qualified applicants will be invited to participate in the next step of the selection process. The Wisconsin Historical Society is an equal opportunity employer.


Special Notes:   
A criminal background check will be conducted prior to an offer of employment to determine if the circumstances of any conviction may be related to the job. 

Traveling Exhibit Available


Affordable traveling exhibit available. 2 + 3 x 18: Diptychs and Triptychs by 18 Contemporary artists features works in a variety of media. Basic specifications are 200-250 linear feet as well as pedestals for 3-D work. Rental fee is $1500 for an 8 -week period starting summer 2019. For more information, please e-mail christine@.... #travelingexhibits

Online Museum Courses beginning May 6, 2019

Peggy Schaller

May 2019 Online Museum Courses

$100.00 off any full length May course if purchased before April 6, 2019.  Use discount code EARLYBIRD at checkout at

MS 212: Care of Textiles

May 6 to 31, 2019

Instructor: Ann Coppinger


Caring for textiles demands an understanding of how and why they deteriorate. This course offers a simplified explanation of the origin and structure of textile fibers as well as the finished textile object; be it either a piece of whole cloth or a finished garment. Care of Textiles teaches students to identify fibers, fabric structures and finishes, write condition reports, and understand the agents of deterioration that are harmful to various fabrics both in storage on exhibit. Topics include preparing textiles for storage and exhibit, the use of archival materials with textiles, and three dimensional supports.

For more information or to sign up:

MS 226: Care of Furniture and Wood Artifacts

May 6 to 31, 2019

Instructor:  Diana Komejan



Caring for furniture and wood artifacts demands an understanding of how and why wood deteriorates. This course offers a simplified explanation of the chemistry and structure of wood as well as the finished wooden object; be it either a totem pole, plow or a French polished table. Care of Furniture and Wood Artifacts teaches students to identify woods, finishes and furniture styles, write condition reports, and understand the agents of deterioration that are harmful to wood both in storage and on exhibit. Topics include preparing wood artifacts for storage and exhibit, the use of archival materials with wood artifacts, housekeeping techniques for furniture and large objects on open display, basic repairs and three dimensional supports for storage or exhibit.

For more information or to sign up:

MS 234: Archives Management

May 6 to 31, 2019

Instructor: Jennifer Edwards



Archives include flat paper, photographs, bound pamphlets, books, small 3-dimensional objects, and magnetic media. The Archives Management course covers an introduction to the materials found in archives and typical use of these materials including use patterns, retrieval needs, finding aids, handling and exhibition. The last half of the course details optimum storage options for archival materials. Storage includes furniture, storage techniques, standardized and specialized housing such as folders and boxes and custom-made housings.

For more information or to sign up:

MS 270: The Interpretive Exhibit Planners Tool Box

May 6 to 31, 2019

Instructor: John Veverka



What makes an interpretive exhibit “interpretive”?  This course will help staff new to interpretive exhibit planning; theme and objective development, and label copy development, create truly successful exhibits that effectively communicate their messages to your visitors.

This course provides guidelines and tools for planning and managing interpretive exhibit projects for parks, museums, historic sites, zoos, botanical gardens and related interpretive sites for interpretive staff, managers/heads of education, charged with developing or evaluating their interpretive exhibits, or for exhibit design consultants who have had no formal training in interpretive communications.

For more information or to sign up:

Feel free to contact me with questions

Peggy Schaller
Northern States Conservation Center


Collections Research for Museums
4830 E Kansas Dr
Denver, CO 80246
Toll free: 1-877-757-7962

Is the Museum Profession Turning Pink? A New White Paper from GEMM

Anne W. Ackerson

Good Morning, AAMGers--

In celebration of Women’s History Month, the Gender Equity in Museums Movement (GEMM) developed the attached white paper, “Museums as a Pink-Collar Profession: The Consequences and How to Address Them,” exploring the implications of gender equity in the museum workforce.

The U.S. Bureau of Labor Statistics reports that women comprised almost 50-percent of the museum workforce in 2018. But when we look at the overwhelming number of women in the graduate school pipeline and in museums’ junior ranks, GEMM anticipates the field could reach 70-percent female in a decade, thus becoming an official pink-collar profession. While the term ‘pink collar’ has little to do with education or training (after all, pink collar professions run the gamut from nursing and teaching to wait-staffing and housekeeping), it has everything to do with long-standing cultural definitions of what constitutes appropriate work for women and men. Across the board, female-dominated professions carry with them the economic and social burdens of “women’s work.” Consequently, society views them as “less-than.” 

The “respect gap,” as author Joanne Lipman calls it, is just one of many consequences to being a pink-collar profession. Widening gender gaps in pay and access to promotion are also associated with female-dominated fields. As the white paper points out, female-dominated fields are not exempt from issues with diversity and inclusiveness, parental leave, and sexual harassment.

Now is the time for the field to collectively understand and address these implications. The white paper offers a variety of actions museum leadership and museum workers can take to ensure more equitable workplaces as one way to attract and retain a creative and diverse workforce.

GEMM believes this timely issue is worthy of your attention and urges you to share the white paper with your staff, board, and membership.


Anne Ackerson
Co-founder, Gender Equity in Museums Movement (GEMM)

Anne W. Ackerson
Creative Leadership & Management Solutions
1914 Burdett Avenue
Troy, New York  12180
T:  518-271-2455
E:  anne@...

Read my Blog, Leading by Design
Follow me on Twitter and on LinkedIn
Visit my Website

Subscribe to Take 5, the newsletter with a fresh take on nonprofit life

Washington University in St. Louis: Assistant Educator, Learning and Interpretation






Assistant Educator, Learning and Interpretation


Posted March 2019

Open until filled


The Mildred Lane Kemper Art Museum, part of the Sam Fox School of Design & Visual Arts at Washington University in St. Louis, seeks a dynamic, self-motivated individual to join the Museum’s education department. Founded in 1881, the Mildred Lane Kemper Art Museum is a nationally accredited university art museum with an exceptional collection of 19th-, 20th-, and 21st-century American and European art, and an active education department that supports the interpretation and appreciation of art through stimulating programs that engage with the Museum’s intellectually rigorous special exhibitions and permanent collection displays.


Primary Responsibilities


The Assistant Educator, Learning and Interpretation facilitates the Teaching in the Galleries student educator program and implements a broad range of PK-12 school and teacher programs, including but not limited to teacher workshops, educator guides, and curriculum-based tours. This position is responsible for coordinating all tours for visitors from on and off campus, including scheduling student educators, overseeing events calendars, conducting related internal and external communications, and leading tours and workshops when necessary. The Assistant Educator, Learning and Interpretation tracks education event attendance, assessment data, and departmental activities as well as assists in other areas of the education department as needed. This is a full-time, benefits-eligible position that reports to the Head of Education and Community Engagement.



  • MA degree in Art History or equivalent
  • One year of art museum education department experience required; three to five years in a university art museum education department preferred
  • Teaching experience and familiarity with developing and leading tours to varied audiences; knowledge of PK-12 educational program development and lesson planning a plus
  • Ability to work well independently and to collaborate with a range of individuals, including University faculty, staff, and students, PK-12 schools and teachers, museum professionals, and the general public
  • Strong teaching, organizational, and oral and written communication skills
  • Excellent public speaking skills and ability to engage tour participants
  • Proficiency in Microsoft Office Suite and Adobe Creative Suite; basic design skills preferred
  • Available to work some evenings and weekends

Application instructions

For a complete posting, full requirements, and application, visit the Washington University employment website at, reference number 43331, or use the quicklink:

All qualified applicants will receive consideration for employment without regard to sex, race, ethnicity, protected veteran, or disability status.


Institutional background

Washington University, a medium-sized, independent university, is dedicated to challenging its faculty and students alike to seek new knowledge and greater understanding of an ever-changing, multicultural world. The University is counted among the world’s leaders in teaching and research, and draws students and faculty to St. Louis from all 50 states and more than 120 nations. The University is highly regarded for its commitment to excellence in learning. Its programs, administration, facilities, resources, and activities combine to further its mission of teaching, research, and service to society.


The Sam Fox School of Design & Visual Arts at Washington University in St. Louis is a unique collaboration in interdisciplinary architecture, art, and design education, linking professional studio programs with the Mildred Lane Kemper Art Museum in the context of an internationally recognized research university.


The Mildred Lane Kemper Art Museum is among the nation’s leading university art museums. As a teaching museum within a major research university, it serves as a center of cultural and intellectual life on campus and in St. Louis. Its mission is to build and preserve its art collection for current and future generations; collect significant modern and contemporary art; provide excellence in art historical research, exhibition, and object-based learning; and engage the campus population, its visitors and alumni, the St. Louis region, and the global art community.



Job Posting: Registrar at the Hood Museum of Art, Dartmouth

Isadora Italia

Hood Museum of Art, Dartmouth


The newly expanded and renovated Hood Museum of Art at Dartmouth, Hanover, New Hampshire, seeks an experienced registrar to manage the process and implementation of acquiring, documenting, storing, maintaining, caring for, and lending objects from the museum’s collection of over 65,000 works of art and material culture.


The registrar manages the registration department, including its budget, and the work of the associate and assistant registrars, and serves as the principal department liaison with administrators, curators, and exhibitions staff. Included within the scope of the registrar’s work is also prioritizing photography of the collection in consultation with director, curators, and exhibitions coordinator, ensuring that collections policies are accurate and up to date, coordinating the rolling inventory and processing of objects, acting as chief liaison to the college’s office of risk management and insurance carrier, coordinating conservation work with curators and various conservators/conservation labs, and is the primary registrarial liaison on exhibitions, including shipping, insurance, packing, crating, condition reports, courier arrangements, and preparation of loan forms.


Candidates should have five to seven years of museum registration experience, three to five of them in a management capacity. A bachelor’s degree in museum studies, art history, anthropology, or related field or equivalent experience is required, with a master’s preferred. Candidates should also have knowledge of current policies and standards on collections care and management and conservation assessment, and demonstrated experience in art handling best practices, departmental budgeting, and exhibitions organization and management.


To submit your application please refer to the posting at this link:

Dartmouth College is an AA/EOE employer.





Isadora Italia

Campus Engagement Coordinator

Hood Museum of Art, Dartmouth

6 East Wheelock Street

Hanover, NH 03755

Office    603.646.2111


final logo for email sigs2 (003)


Director - Schingoethe Center of Aurora University

Meg Bero

Position announcement

Director of the Schingoethe Center
The Schingoethe Center of Aurora University—Cultivating Creative Community

Aurora University is an independent, comprehensive institution founded in 1893 offering bachelor's, master's, and doctoral degrees. Our two campuses are located in Aurora, Illinois and on the shores of Geneva Lake in Wisconsin. Additionally, we have an Educational Center in Woodstock, Illinois. We seek people passionately involved in the educational process who will help us realize our vision.

The mission of the Schingoethe Center of Aurora University is to foster inquiry, celebrate artistic excellence, preserve and perpetuate Native American cultures, and inspire a lifelong engagement with the visual arts. An agent of and catalyst for teaching and learning on the Aurora University campus, the museum is integral to the academic community. The museum provides cultural and historical enrichment that builds bridges between the classroom and the world beyond. Building on its tradition of object-based learning, the museum brings people and objects together using interdisciplinary approaches. State-of-the-art exhibition spaces combine with a lecture hall, classroom space, study center, and our library and rare book collection, to facilitate access to the collection. The museum also serves the broader community with unique exhibits and programs. The Schingoethe Center supports Aurora University's continuous 100-year tradition of valuing the arts.

Position Purpose: The Director of the Schingoethe Center supports learning by leading and enhancing the position of the museum as a vibrant and interdisciplinary cultural center for exhibitions, programs and events that benefits both university and surrounding community life. As chief curator, the director features the work of artists of national and international stature in order to facilitate cultural and intellectual exchange throughout greater Chicago.

Core Competencies:

  1. Represents Aurora University in the most positive manner with prospective, former and current students, clients, suppliers and the community we serve. Interacts effectively with a diverse group of faculty, staff, students and other customers of our service, learns and uses operating practices of the department and Aurora University.
  2. Upholds the Mission Statement: Aurora University an inclusive community dedicated to the transformative power of learning.
  3. Handle confidential information with tact and discretion.
  4. Supports learning through performance of essential job functions and performing other duties and functions as necessary or as assigned.

Essential Job Functions:


  1. Lead and develop the vision of the Center to better serve its various constituencies, taking full advantage of its recent status as a Smithsonian Affiliate.
  2. Be the face of the museum as an effective advocate and communicator by reaching out to and collaborating with various departments across campus, such as art, history, communications, education and science.
  3. Add to the collection of important Native American art and ethnographic collections of the museum.
  4. Build the growing non-Native art collection.
  5. Coordinate museum initiatives with the university
  6. Maintain a high level of museum best-practices and standards based on AAM accreditation guidelines.
  7. Work with the university communications department on public relations and marketing initiatives. Develop an effective communications plan to raise the profile of the museum.
  8. Oversee appropriate care for and stewardship of the building and collections.
  9. Provide effective financial management for the museum, developing long-range financial objectives, building the annual budget, and allotting resources needed to mount a robust schedule of exhibitions and programs that serve the university and the community.
  10. Provide oversight of the museum studies academic program, and build on the established minor.
  11. Manage and motivate staff, setting a collegial and professional environment.

Essential Job Requirements:


  • BA in Art, Art History, Art Education, History, Anthropology or Museum/Curatorial Studies with an advanced degree in an appropriate discipline such as an MA in Art History, Art Education, History or Museum/Curatorial Studies or MFA in Studio Art is required.
  • Knowledge of American Indian art and history is preferred.


  • A minimum of three (3) years’ experience as a museum director; art museum and university museum experience preferred
  • Demonstrated curatorial success is required with a strong aesthetic sense and knowledge of contemporary art.
  • Extensive background in museum/art center programming and operations.
  • Teaching experience in higher education preferred.


  • Ability to provide strong leadership, vision and strategic direction.
  • Demonstrated ability to work collaboratively and cultivate strong partnerships.
  • Demonstrated knowledge of all aspects of curatorial work including exhibition research, development, and installation.
  • Demonstrated knowledge of standards and best practices for museums and non-profits.
  • Knowledge of state and federal law as regards museum collections and non-profit management.
  • Experience developing and implementing strategic plans.
  • Working knowledge of Past Perfect museum software or a similar database product.
  • Ability to communicate effectively with a diverse campus community.

Physical Requirements:

  • Ability to lift 30 pounds.
  • Ability to move about campus.

Benefit-eligible positions offer excellent benefits including health, dental, life, vision, long term disability, a 403(b) retirement plan through TIAA, and tuition remission. Please send resume with cover letter and contact information for three references including name, telephone and email address.

Apply to:

Aurora University
Human Resources
347 South Gladstone Ave
Aurora, IL 60506
630-844-5650 - fax
jobs@... - email

Aurora University is an Equal Opportunity Employer.



AAMG Conference: Graduate Hotel booking error

Craig Hadley <craighadley@...>

Dear colleagues,

Several of you have pointed out that the online reservation system is reporting the room blocks at the Graduate Hotel as full (or the dates as unavailable). Please know that this is an error and that the Graduate Hotel is working to resolve this glitch. In the meantime, you can still make reservations under the AAMG room block by calling the number below:

Call 612-379-8888, Press 1 for Reservations and ask for the AAMG Association of Academic Museums and Galleries room block rate.

Our apologies for any inconvenience or confusion this may have caused.


Craig Hadley
Director/Curator with rank of Assistant Professor
DePauw University | Peeler Art Center | 10 W. Hanna St. | Greencastle, IN 46135 
Vice President for Communications | Association of Academic Museums & Galleries (AAMG)
O: 765.658.6556 | M: 317.658.9346 | F: 765.658.6552

Stay up-to-date with the latest exhibits and events on Campus Labs

SECAC 2019 CfP. Session: Academic Museums are Not Neutral: Civic Responsibility and Institutional Politics

Kovacs, Claire

Dear All, 

We encourage you to submit a paper to our session, "Academic Museums are Not Neutral: Civic Responsibility and Institutional Politics" which will take place at SECAC 2019 in Chattanooga

Session description:
This panel aims to investigate the civic responsibility and institutional politics of academic museums in the contemporaneous political climate. While many call museums to aspire to be apolitical spaces, LaTanya Autry notes in writing about her and Mike Murawski’s #MuseumsAreNotNeutral campaign, “Museums are cultural products that originate from colonial enterprise, they are about power. They are political constructs. Their ongoing practices also are rooted in power.” It is essential that this myth of neutrality be effaced, and museums’ relationships to power be addressed. Every choice we make in a museum (academic or public) is a political choice rooted in power, and the implications of that mindset be embraced. 

We welcome papers on case studies of exhibitions, programming, acquisitions, or other museum issues that address political issues and/or power in an academic museum/gallery space and the institution’s political response. Our hope is to utilize these case studies as a means by which to facilitate a discussion about strategies for response and engagement across a variety of institutions. 

Source: LaTanya Autry, “Museums Are Not Neutral"  

You can apply via this link. The full call for papers is available here (there are a couple other museum-related sessions happening, too!). 

Deadline to submit is April 1, 2019

Claire Kovacs (Augustana College)
Michael Dickins (Austin Peay State University)

Claire L. Kovacs, PhD
Pronouns: she/her/hers
Director, Augustana Teaching Museum of Art
Augustana College
Rock Island, IL
Located on the ancestral homelands of the Sauk, Meskwaki, Peoria, and Miami Nations.

Please circulate: Three fellowships at the Yale University Art Gallery

Milkova, Liliana

Dear Colleagues,


Please help us spread the word about these three fellowships (master’s degree required) in the Education Department of the Yale University Art Gallery.


Many thanks, and happy Spring,





Liliana Milkova, Ph.D.

Nolen Curator of Education and Academic Affairs

Yale University Art Gallery



There is still time to sign up for online museum courses starting in April 2019!

Peggy Schaller

April 2019 Online Courses

Join our excellent instructors for one on these interesting and informative courses!

MS 001: The Problem with Plastics

April 15 to 19, 2019

Instructor: Diana Komejan



As we march boldly toward the 22nd century, artifact collecting includes that most fragile of materials - plastic. Not only is it in our collections, but it is used to house our collections, too. What problems have you seen? What problems have others seen? What materials are best? What can we, as caretakers, do to minimize long-term damage? Join Diana in this mini-course for discussing care and deterioration of plastics. Bring any questions you have about plastics in your museum.

For more information or to sign up:

MS 011: Gallery Guides

April 8 to 19, 2019

Instructor:  Karin Hostetter



Self-guided brochures, exhibit labels, docent led tours, guest speakers, and audio tours are only a few of the methods available to guide visitors through an exhibit. Explore the strengths and challenges of many different methods and garner resources for further information. Learn how to determine which method works best with which exhibits and how to provide variety to enhance the visitor experience.

For more information or to sign up:

MS202: Museum Storage Facilities and Furniture

April 1 to 26, 2019

Instructor:  Laura Elliff Cruz



If you are building a new storage facility or retrofitting an old one, this course provides the blueprint for how to approach architects and engineers as well as redesigning your facility yourself. The course covers the philosophy of storage, the construction requirements, security, fire and water prevention, types of furniture, and how to plan for collections growth.

The course will start with a refresher on the agents of deterioration and environmental issues to assure that the students have a common base to begin.

After this introduction, topics include determining storage and defining space, architectural design considerations and issues such as lighting, security and planning. We will discuss general information about storage furniture types and storage materials, how to modify existing cabinets and information on homemade storage systems. The last section includes specific information from a variety of vendors, specifics on writing a Request for Proposal (RFP), and what to consider when making a decision on a furniture type and vendor.

The instructor will add readings and other information depending upon the students and their individual institutional problems and concerns.

For more information or to sign up:

MS 209: Collections Management Policies for Museums and Related Institutions

April 1 to May 10, 2019

Instructor:  Kimberly Kenney



Acquiring and holding collections impose specific legal, ethical and professional obligations. Museums must ensure proper management, preservation and use of their collections. A well-crafted collections management policy is key to collections stewardship. Collections Management Policies for Museums and Related Institutions helps participants develop policies that meet professional and legal standards for collections management. Collections Management Policies for Museums and Related Institutions teaches the practical skills and knowledge needed to write and implement such a policy. The course covers the essential components and issues a policy should address. It also highlights the role of the policy in carrying out a museum's mission and guiding stewardship decisions. Participants are expected to draft collections management policies.

For more information or to sign up:

MS 214: Collections Management Databases

April 1 to 26, 2019

Instructor:  Sarah Kapellusch



A collection database is a necessary tool for accurate and efficient collections management. In Collection Management Databases you will learn what characteristics distinguish one database system from another; how a database can be used to manage inventory, conservation, pest management, and other aspects of collections management; as well as how to prepare your collection and documentation for entry into a database.

For more information or to sign up:

MS 223: Care of Metals 

April 1 to May 10, 2019

Instructor:  Diana Komejan



Outdoor sculpture, silver tea service, gold jewelry, axe head, wheel rim - metals are found in most museum collections and may be stored or displayed indoor or outdoors depending on the object. Learn how to identify different types of metal and their alloys. Gain an understanding of how and why metals deteriorate and methods for preventing deterioration from occurring or continuing. The pros and cons of different popular treatments will be covered along with recommendations for the least damaging approach to treatment. Care of Metals provides a simplified explanation of the chemistry and structure of metals, explaining the importance of the galvanic series and electrochemistry in care strategies. Starting with an overview of the history and function of metals and how they are made, the course will cover guidelines for handling, labeling, exhibiting and storing metals. An overview of treatments, including cleaning, used on metals and how appropriate they are for the long-term preservation of the metal object will help students make care decisions when consulting with conservators.

For more information or to sign up:

Feel free to contact me with questions

Peggy Schaller
Northern States Conservation Center


Collections Research for Museums
4830 E Kansas Dr
Denver, CO 80246
Toll free: 1-877-757-7962