Lunchtime break – lay down and look up

Laying down on my yoga mat. Trying to rest from a massive morning writing. I found some sense in the shapes on the ceiling.

an introduction to my PhD research project

This is the introduction to the confirmation paper for my PhD project:

Tomorrow’s art museum and gallery workforce in Australia

“Over the last two decades, The Arts have become regarded as one the most important sectors in developing the world’s economy towards an innovative and sustainable future (Flew and Cunningham 2010). No longer are the arts simply considered a hobby or leisure activity, or something for the elite, they are a major player in the fabric of life, and recognised as an important tool to secure improvement and modernisation across sectors. Creativity, at an individual level, is also considered one of the key skills needed to adapt to an innovative future (Florida 2012). Creativity, the creative industries and The Arts are recognised as important for economic and community development, and thus, justifiable areas for research projects are those that seek to better comprehend the industry.

If The Arts is one of the major players in the development of the future, it’s arguable that the art museum and gallery in the Australian context is the key player in this country’s creative industries. This is evidenced by the fact that art museums receive $330 million of the $400 million the Australian government gives to the broader arts sector (ArtFacts 2013). Philanthropic support for this sector is also the highest in the arts (Artfacts 2013).

While on the one hand the centrality of the art museum and gallery in the Australian arts milieu is acknowledged, there is limited research into the mechanics of the art museum and gallery industry, particularly outside of the economic impact of the institution and the function of the exhibition product in the social development of the nation. With this and the challenges facing the industry in the digital age (Knell 2009), it is important to take stock of the current and emerging industry, in order to better prepare for the future of the sector to ensure the investment made into this area brings appropriate returns.

Staffing, recruitment and the workplace of the art gallery and museum is not only where a considerable amount of the roughly $330 million public funds would be provided, it is also another area that is little written about and understood. This research draws attention to the staff and hiring of those in the art museum and gallery sector, specialising in the transition of postgraduate students and job seekers looking to enter the industry. These people will bear the brunt of the challenges facing the institution in the digital age and also the increasingly complex social focus, in its relatively uncertain future.

The transition point of those entering the art museum and gallery world, and the concept of career management for the betterment of the industry in question, is something that other sectors have focused on (e.g. nursing, education and to a lesser extent, creative artists such as designers) (Duclos-Miller 2011; Haukka 2011), and there is research regarding career theory for creative producers and practising artists (Daniel 2010; Bridgstock 2005). The arts administrator in the art museum and gallery environment, however – the individual who works behind the scenes to bring galleries, exhibitions and their associated programs to the community – is a different type of worker and degrees that specialise in this area in Australia will form part of this study. Arts administration, arts management or curatorial studies as an education product in Australia is also another area that has had limited attention in academia. There is some research into this area in the UK and the USA, but virtually none in the Australian context (Davies 2007; Bienvenu 2005).

The relationship of and coordination between the education system, the industry and the impending arts administrator in the Australian art museum and gallery industry, is the three-pronged axis that will underpin this study. The experience of the emerging art gallery and museum worker in finding work is the main concept to be explored using this axis.

As well as experience, the question of vocational motivation and satisfaction will also be explored with the primary participant groups. It is hypothesised that motivational lures will be the standing and responsibility of the art museum and gallery institution and also its perceived creative workplace environment. Due to a number of likely impediments (such as few stable job opportunities, low pay and the industry at the brink of a new era in the digital age (Visser 2014; Knell 2009)) it is projected that these factors will see participants not completely satisfied with their career’s position and the industry’s support. This will be related to participants’ original motivations for working in the area, their expectations of the industry and details of their experience seeking work. Whether it has been hard to secure a role, whether a role attained meets expectations, whether they feel suitably supported in their transition, whether they are content to pursue a long-term career in the industry – these questions will be explored to ascertain a deeper picture of the experience and outlook of the participants – the future leaders of the art museum and gallery industry.”