Collections Skills Initiative 2012/2013

Rebecca Gordon

From as far back as I can remember, I have always had a keen interest in both local and world history. This resulted in a love of visiting museums. After completing a degree in Modern History, I decided to enrol in a Masters in Cultural Heritage and Museum Studies.

At the same time, I volunteered to work in both the history department at the Ulster Coaches: Museum and at Down County museum, in order to gain practical experience in a museum. Shirin Murphy and Jayne Clarke Whilst volunteering, I became aware of the Collections Skills Initiative and I was eager to secure a place to acquire skills in collections care and exhibition design. My placement was at Mid-Antrim museum, Ballymena but I also worked across the sites at Newtownabbey and Carrickfergus. A considerable amount of my time was taken up with conducting a collections audit and condition survey of over 200 artefacts from 1914-1916. It was my task to ensure they were all fully documented on MODES. I began at my computer then visited our three sites. I completed object entry forms, applied accession numbers and identified their location in storage. With all this information updated, I produced a report for the ‘On the Brink’ project team and made recommendations on which artefacts should be used in forthcoming exhibitions.

Working closely with other staff, I helped to set up three exhibitions entitled ‘Titanic: Honour and Glory’ ‘Megaliths of Northern Ireland’ and ‘The Project of Plantation’. Here I gained various skills, including label writing, object handling and placement and display design. I was also closely involved in object unpacking and repacking, object entry and exit documentation. I enjoyed being in this busy atmosphere, which saw museum professionals and technical staff working together to meet deadlines and expectations.

At Sentry Hill, I was responsible for documenting, digitising and accessioning letters from 1914 and 1915. The correspondences were from Tom McKinney to his father, grandfather, aunt and sister, sent whilst he was fighting in France during World War One. Reading these letters has given me an insight into how the McKinney family lived and I enjoyed connecting with history in that way, whilst furthering my skills in handling delicate paper items.

I was also able to help the Education officer with a school group of Primary 6 students, by Collectionsfacilitating a workshop on World War Two.

The formal training days helped build knowledge to take back and apply in our host Skillsmuseums, both now and in the future. A highlight of the year was the Learning Forums which allowed all twelve delegates to get know each other better, and gave us the opportunity to visit other sites involved in the CSI project. We met other museum staff and Initiativeobserved their practices. 2012/13 The aims of the Collections Contents 01 Skills Initiative are: Foreword 02 To provide valuable training and Nuala McCarthy 04 practical experience in working National Trust: Mount Stewart with collections Sarah Kingston 06 Ulster Mueum: History Department To promote skills-sharing and Daniel Taylor 08 sustainability through on-the-job Ballymoney Museum training Joanne Burns 10 National Museums Northern Ireland

To assist museums in developing Rebecca Gordon 12 coaching skills, work experience Mid Antrim Museum Service placements and collections care Charlotte McReynolds 14 projects Armagh County Museum Dr Robert Whan 16 To enhance pathways into working Newry & Mourne Museum in the museum sector Janine Diamond 18 Ulster American Folk Park

Elaine McEnarney 20 FE McWilliam Gallery and Studio

Karen Logan 22 History Department: Ulster Museum

Heather Taylor 24 Derry City Council Heritage & Museum Service

Claire Dalton 26 Art Department: Ulster Museum Foreword 03

This publication highlights the work of the twelve participants on the second Collections Skills Initiative, delivered in Northern Ireland during 2013, and marks their achievement in successfully completing the programme. It also reflects the benefits made possible by the on-going partnership between the Northern Ireland Museums Council (NIMC) and National Museums Northern Ireland (NMNI).

The overall aims of the programme were to provide training and experience in collections care, management, interpretation and research, thereby enhancing the pathways to working in the museum sector and ensuring that museums have an appropriately skilled workforce for the future.

Six placements were based in NMNI and six in local museums – Ballymoney Museum, Derry Museum & Heritage Service, F.E. McWilliam Gallery, Mid-Antrim Museum Service, Mount Stewart (National Trust) and Newry & Mourne Museum – and we offer our sincere thanks to the staff and governing bodies of these museums for acting as hosts. While on placement, each trainee received continuous training and support from their project coach, an experienced practitioner already working in the host museum. The success of the programme is due in no small measure to their patience, dedication, professionalism and generosity.

This success has also been underpinned by the guidance and support provided by Clora Gallagher, Project Officer based at NIMC, Nicola Thompson (Head of Organisational Development, NMNI) and Heather McGuicken (NIMC) on the Advisory Group, as well as the various NMNI staff who delivered the training. Special thanks must go to Siobhan Stevenson (Head of Collections Care, NMNI) who, as the CSI Training Co-ordinator, designed the training content in conjunction with NMNI colleagues, Clifford Harkness and Hannah Crowdy.

Of course, while the programme was conceived and delivered through the NIMC-NMNI partnership, it would not have been possible without the vision and funding of the Heritage Lottery Fund. We wish, therefore, to express our gratitude to them for their invaluable support.

The success of the Collections Skills Initiative is demonstrated by the fact that eleven of the twelve participants on the first programme are now working in the museum sector. We are hopeful that, equipped with their new skills and knowledge, alongside their own commitment and application, the individuals whose work is highlighted here will have similar prospects. We wish them every success for the future.

Jim McGreevy Chris Bailey Director of Collections and Interpretation, NMNI Director, NIMC Nuala McCarthy 05

I had been working at the Ulster Museum as a visitor guide since its reopening in 2009, and had just been accepted to do a MA in Preventive Conservation, when I saw the advertisement for the Collections Skills Initiative. I was aware that the National Trust was investing in a major restoration and conservation project and I saw the CSI programme as an opportunity to gain an accredited qualification and practical experience in the care and conservation of historical objects.

Coach: Having secured my placement at Mount Stewart, I started on a journey of learning and discovery Louise Newstead with NIMC and Mount Stewart House. This was to prove to be as intense in its application as it was in its diversity of subjects.

My day began by working with the house team, preparing the show rooms for public tours. Key responsibilities included inspecting the condition of each collection, taking the Lux and RH readings and ensuring that the objects and furniture were dust free. I also carried out weekly checks of pest control boxes and air pollution in the newly-built storage spaces.

My work with the project conservator and project team involved decanting the contents of rooms being prepared for restoration, then packing, transporting and storing all historical items. The Mount Stewart collection comprises a huge range of materials, so I gained considerable experience in the handling and packing of items ranging from delicate porcelain, to bulky 18th century mahogany wardrobes.

One of my projects involved undertaking a detailed examination of every item in the Dining Room collection. Using the National Trust Condition Report document, I noted the condition of each item and reported any signs of deterioration. This meant physically examining each item and drawing a sketch to highlight any areas and types of deterioration. The room contained hundreds of objects, from salad forks to full-length family portraits. Knowledge gained from my lectures in this area proved hugely helpful.

During my time with the project conservation team, I gained invaluable experience in preventive and remedial conservation and environmentally controlled storage of historical objects. I worked with furniture experts, chandelier experts, textile experts, paintings and gilding experts. Throughout this time, the project curator was a constant source of direction and information.

I also participated in a Conservation Interpretation Project, as part of the National Trust’s Conservation in Action Programme. This programme encourages members of the public to explore and understand how conservation works.

I worked with the Project Conservator, the Project Curator, the Regional Head of Visitor Experience This has been an exceptional year. It has given me an and my coach, the House and Collections Manager. I had to liaise with external suppliers, such as panel makers and graphic designers and arrange displays in the main entrance hall of the house. I unparalleled opportunity to work in an exquisite environment also created an audiovisual exhibition about the on-going project works. and be guided by expert and generous teachers, all of whom I thank most sincerely. Sarah Kingston 07

I came to CSI fresh out of my Masters in Cultural Policy and Arts Management at UCD Dublin. This opened my eyes to the possibilities museums present for people to engage with history and culture in meaningful ways. CSI would provide me with thorough practical experience in curatorial work and I saw it as a wonderful opportunity to launch my career in the museum sector.

The CSI training scheme did not disappoint. In the first quarter, we were given training in all the Coach: practical elements of museum work. Most of the learning happened on the job. Under the project William Blair name ‘Connecting History’, the Ulster museum is currently planning the re-development of its entire modern history galleries. As part of this project team, I was fully involved in large scale exhibition development. I began by focusing on the museum’s uniform collection, thematically working my way through the uniforms, assessing and researching them, checking their documentation, having them photographed and repackaging them.

From assessing and interpreting the 18th century uniforms, my work spiralled outwards to include all sorts of early modern material and I was put in charge of the planned gallery section Road to Revolution 1700 – 1800. Preparing the interpretation and narrative for this part of the exhibition involved a great deal of research, both into the time period and our own collection. I started compiling object lists, identifying possible gaps and loans, writing exhibition text and contributing to educational resources to accompany the exhibition. I also undertook very practical aspects of exhibition planning, such as carrying out risk assessments, and acquiring display mounts.

In addition, my work involved dealing with public enquiries, processing donations, organizing and running public events and refreshing the current history displays.

The CSI training allowance enabled me to receive formal training in reminiscence work and I went on to hold reminiscence workshops with a number of different groups, which I found to be hugely beneficial and enjoyable.

The benefits of my CSI year are almost too many to summarise here. To me, the most important gain was simply being involved in so many aspects of museum work, especially in exhibition planning and museum education.

At the Ulster Museum, to coincide with the World Police and Fire Games 2013, I mounted a display on fire fighting during the Belfast Blitz. Included in this display was the uniform of a local fire-fighter, William Cosgrove. His daughter came to the gallery to see it and it was wonderful to witness the pride and respect she showed for her father’s commitment to his service role.

I am leaving CSI with many new and improved skills, but more importantly, with greater confidence in my own abilities and increased passion for the work of museums. I want to take this opportunity to thank everyone I worked with, especially my colleagues in the history department, for their help As anticipated, CSI has been a fantastic start to the career I and support. hope to develop in the sector. Daniel Taylor 09

I viewed the CSI programme as an ideal way to launch a career as a museum professional. Initially, I wasn’t sure about which specific aspect of museum life I wanted to specialise in, but I hoped to gain insight into this as the year unfolded.

One of the most useful parts of the CSI programme was the split between training days and practical work at the museum. The first three months, when we attended formal training two days per week, felt like a crash course in museum life. At first there was a lot of new information to Coach: absorb and it was slightly overwhelming, but when I took this knowledge back to Ballymoney and Keith Beattie applied it to my day-to-day tasks, it all began to fall into place. I’m certainly more confident in my duties as a result.

I’ve been fortunate to have had a variety of experiences at Ballymoney Museum. For my project, I had to develop an exhibition celebrating the history of the G.A.A. in the borough. This appealed to me because it involved developing an exhibition from scratch and because I am interested in sports history. The G.A.A. clubs helped with my research and we are currently in the process of sourcing artefacts and photographs, as well as organising an evening event to be held at the museum. The exhibition will have panels documenting the history of each club and we hope to have a variety of objects on show, including medals, shirts and equipment, as well as a specially commissioned hurl with the museum logo on it.

Other work included the installation of a number of temporary exhibitions, including Walking the Colours and Ulster’s TT Heroes. I also set up a temporary geology case in the gallery and in particular, I enjoyed dressing my own motorbike-themed case.

Another project was a rationalisation of the museum’s photograph and document collection. The museum has around 2,000 paper items, ranging from cinema and event programmes, to photographs, death notices and letters. These had been kept in folders which were organised in the order they had been accessioned. My work involved: sorting the items into topics such as Ballymoney street scenes, or local characters; creating a new inventory and numbering system; and, relocating them on MODES. The process of deciding what should go where was very interesting and it has given me solid experience of cataloguing. I greatly enjoyed sorting through and researching the photographs and this has encouraged me to pursue a career working with archive material.

I have gained a great deal from my CSI experience. I found that learning alongside the other trainees meant we were able to share our experiences and discuss alternative approaches to dealing with issues. I now have a strong understanding of how museums work and how to care for collections appropriately. Participating in such a broad range of museum activities will serve me well in the future.

Most of all, the programme has shown me that in the modern era, museum professionals have to be adaptable and flexible. Joanne Burns 11

I have been fortunate to work for NMNI for the last 12 years, firstly as a visitor guide demonstrating traditional sewing techniques and more recently as the costume coordinator, responsible for the replica clothing worn by the guides in the outdoor museum.

I applied to CSI hoping to gain a recognised qualification and develop my curatorial skills. As the programme is a mixture of theory and excellent hands-on training, I felt it would enhance my existing skills and enable me to develop new ones relating to best practice in curatorial work. Coach: Valerie Wilson I was delighted to be offered a placement with the Textiles department at the Ulster Folk and Transport Museum.

Daily duties varied greatly. My ‘Costume in Context’ project covered three distinctly different types of clothes: Worn to Work – transport and occupational wear; Cycle of Life – christening, wedding and mourning costume; and, Stepping Out - dress for dance and ‘Sunday Best’. It was a joy to be able to immerse myself in the textile collections and I worked with a wide range of items, including knitting patterns, quilts, costumes from the Patricia Mulholland School of Ballet, small and delicate children’s clothing and utilitarian textiles from the reserve collection in the outdoor museum.

I am interested in the preventative conservation practiced by the museum, so I enjoyed learning about packing and handling techniques and how to apply them. I particularly enjoyed working with the collection of wedding dresses, assessing their condition, preparing them for storage, documenting them and recording their histories.

I was able to put my training in showcase dressing into practice when I was asked to design and install the window displays of Murray’s Drapers, a new exhibit building which recently opened in the Ulster American Folk Park, Omagh. This involved researching how windows were dressed in the early 1900s and replicating their display of ‘merchandise’ appropriately.

Preparations for Common Threads, the 2014-15 exhibition of costume, lace and embroidery for and influenced by Irish dance traditions, formed a large part of my project and I enjoyed completing the primary and secondary research required to support an exhibition.

The bursary gave me the chance to attend training and conferences outside Northern Ireland. I met other textile curators at the Dress and Textile Society conference in Glasgow and at the Festival of Quilts in Birmingham. In Dublin, I visited the curators and conservators in Collins Barracks to observe their practices.

I feel the year has given me a better understanding of object care and the ethos behind the building of a collection and expanding it in a holistic way. The coaches and staff were all very supportive and generous with their time and expertise. Looking back on the programme, I feel a great sense of achievement. CSI has helped me to identify my strengths and areas of interest. Rebecca Gordon 13

I have always had a keen interest in local and world history and this has resulted in my abiding love of visiting museums. While I was studying for a Masters in Cultural Heritage and Museum Studies, I volunteered in the history department at the Ulster Museum and at Down County Museum, and in this way, I became aware of the Collections Skills Initiative. I was eager to secure a place on this unique training programme.

Coaches: Shirin Murphy and My placement at Mid-Antrim Museum Service involved working across its sites at Ballymena, Jayne Clarke Newtownabbey and Carrickfergus. A considerable amount of my time was taken up with conducting a collections audit and condition survey of over 200 artefacts from 1914-1916. It was my task to ensure they were all fully documented on MODES. I began work at my computer and then visited our three sites. I completed object entry forms, applied accession numbers and identified their location in storage. With all this information updated, I produced a report for the ‘On the Brink’ project team and made recommendations on which artefacts should be used in their forthcoming exhibitions.

Working closely with other staff, I helped to set up three exhibitions entitled Titanic: Honour and Glory, Megaliths of Northern Ireland and The Project of Plantation. Here I gained various skills, including label writing, object handling and display design. I was also closely involved in object unpacking and repacking, object entry and exit documentation. I enjoyed being in this busy atmosphere, which saw museum professionals working together to meet deadlines and expectations.

I was also able to help the Education officer with a school group of Primary 6 students, by facilitating a workshop on World War Two.

The Learning Forums were an important part of the programme. They allowed all twelve trainees to get know each other better and gave us the opportunity to visit other sites involved in the CSI project.

The CSI year has been both rewarding and fascinating. It has allowed me to develop curatorial skills whilst discovering tasks I enjoy. I hope to secure employment in the sector.

The formal training days provided knowledge to take back and apply in our host museums. Charlotte McReynolds 15

It had long been my ambition to work in a museum, so when I heard about the Collections Skills Initiative while working as a visitor guide at the Ulster Museum, I felt it provided an ideal opportunity to develop my skills in this area. I was therefore delighted to be offered a place on the programme at Armagh County Museum.

Need Logo Armagh County Museum appealed to me because of the wide variety of its collections. I also felt that the suggested projects would enable me to learn about several different aspects of museum Coaches: work. Dr. Greer Ramsey and Sean Barden I experienced a wide variety of work throughout the year. In the first few months, I was asked to create six new displays for the museum and this required me to research, plan and select objects from the museum’s collections. I thoroughly enjoyed this process and was very pleased with the final displays, which focused on jewellery and costume accessories. Part of the display looked at Irish Victorian Bog Oak Jewellery, a topic which later formed the basis of a Collections Highlights Tour that I wrote for the museum’s website. One visitor commented that she had never heard about bog oak jewellery until she saw the display at Armagh County Museum, and that she couldn’t believe anything so lovely could come out of a bog!

Using the museum’s collections management system, I had to catalogue and digitise the DP Martin Photographic Collection - a collection of over 600 portrait photographs dating from the 1860s – 1930s. David Phillip Martin (1862-1952) was a local insurance broker who was passionate about collecting portraits of notable people from the region. The collection is very well documented and nearly every single face, in the hundreds of photographs DP Martin collected, has a name attached to it. This means that once online, the collection will serve as a valuable resource for researchers.

I also got the chance to learn some hands-on aspects of conservation work. After specialist training from a conservator at National Museums Northern Ireland, I spent several weeks cleaning, storing and re-shelving over two hundred taxidermy specimens.

One of the main highlights of the year was when I discovered new information about an object which had not previously been researched object in the museum’s collections - a rare and unusual ‘Puritan Watch’. I discovered that this watch dated from about 1625 and was one of the earliest portable timepieces used in Europe. It was thrilling to find out something new about the museum’s collection and I felt proud to be able to give the ‘Puritan Watch’ a new display label that gave a fuller account of its background.

I hope to put my new skills, knowledge and experience to good use in the Northern Ireland museum sector. I would like to convey my sincere thanks the staff of ACM for mentoring me for the past year and to the programme organisers for facilitating this wonderful opportunity. The CSI programme has made an immense difference to my professional capabilities. Dr Robert Whan 17

Having previously studied and taught history, much of my prior knowledge came from an academic perspective. I was keen to explore how artefacts and manuscripts are used within the wider heritage sector and how museums encourage the general public to engage with history.

What particularly appealed to me about the Collections Skills Initiative was that it combined theoretical and practical elements and gave me the opportunity to learn from experienced museum professionals. Coach: Dr Ken Abraham Formal training was delivered by staff from NMNI, the Collections Trust, and various freelance experts. It encompassed a broad range of topics and as a result, I am now more aware of how to monitor and control museum environments.

My placement at Newry and Mourne Museum has given me a well-rounded insight into the work of museums and has afforded me the opportunity to develop new skills and abilities. Whilst at Newry I accessioned and catalogued the papers of Eamon Donnelly (1877–1944), an Irish nationalist and republican politician, who is buried in Newry. I produced a printed catalogue and introduction for the collection. The second collection that I catalogued was a series of leases and registers relating to Newry Urban District Council in the late nineteenth and early twentieth centuries, and I also catalogued and packed a collection of twentieth-century toys.

I was involved in the installation of two temporary exhibitions at Newry: one on The Performing Arts, which examined their development in the Newry and Mourne area from the eighteenth century to the present day, including the key societies and personalities, and the second on Brotherhoods and Friendly Societies, which considered the growth of fraternal societies in the district. In addition, I dealt with public enquiries, developed material for the museum’s website and social media, spoke at a Family and Local History Day, was involved in environmental monitoring, worked with conservators, assisted with drafting of documents for the Museum Accreditation Scheme, was involved in the production of an education resource, gained an insight into putting together funding applications, and worked with the individuals volunteering in the museum.

The individual training allowance enabled me to complete a qualification in Reminiscence and Life Story Work, as well as attend the annual conference of the Social History Curators Group and an event organised by the Museums Association. Participation in the Learning Forums has allowed me to gain insights into different museum settings, including open air museums and National Trust properties.

I thoroughly enjoyed my time on the programme. In particular, I enjoyed working on the temporary exhibitions and working to make a collection, as unique and valuable as the papers of Eamon Donnelly, more accessible to a wider audience.

The year has been filled with invaluable experiences and opportunities and is a great platform from which to embark on a career in the museum and heritage sector. Janine Diamond 19

I have a M.Sc. in Heritage Science and employment experience in visitor service roles in the sector. However, while volunteering on the Rhythms of the Year exhibition, I discovered I loved the work involved in planning and installing exhibitions.

So, it was with excitement that I began my placement at the Ulster American Folk Park, relishing the opportunity to work in a living history museum with emigration-themed collections.

Coach: The early months of the programme were spent supporting the team with the opening of the Pat O’Donnell latest exhibit building: Murray’s. Permanent exhibitions such as this require two to three years of preparation and I joined six months before opening. I attended cross-site project meetings to understand the project objectives and where it sits within NMNI’s corporate strategy and business plan. Specifically, I had to help in the recreation of the interior of this rural drapery, which supplied local working class communities with a range of ready to wear clothing, as well as material such as tweed, corduroy, linen and flannel.

I started researching specific styles, materials and prices of Victorian and Edwardian shop stock, such as men’s hob nail boots, ladies’ corsets and children’s bonnets. This ensured that when it came to the final selection of objects for display, I was confident that they were authentic. Many of the artefacts associated with Murray’s, such as the shop display fittings, lace and linen, had to be documented onto MIMSY for the first time and labelled with accession numbers. On the shop floor, I arranged fabric bolts to sit on the shelves, and I filled the counter-top display cases with collars, cufflinks, ladies gloves, hair pins and glove stretchers. I wrote labels on cards and printed price tags for all stock. At the official opening, I was pleased that it was so well received. People said things like.. “I remember my grandmother wearing those”… “wow, the lace is beautiful” and.. “I wouldn’t mind a pair of them myself”.

I worked on the project to prepare and open Rogan House to the public. This gave me the opportunity to evaluate the vulnerability of objects on open air display. I used the telemetry system to conduct environmental monitoring and I helped to improve the storage facilities.

Over the year, I particularly enjoyed working with visitors and organising events, such as the Making Memories workshop and World Wide Knit In day. For the latter, I developed a child’s ‘Find the Knitted Doll’ challenge.

A generous training allowance gave me the opportunity to extend my skills set even further. I completed an Open College Network qualification with the Reminiscence Network Northern Ireland, called ‘Introduction to Reminiscence and Life Story Work’. I found this to be very worthwhile, as I acquired skills to assist the Live and Learn project during August Craft Month. I also participated on the NIMC training programme and completed a course in Adobe Photoshop.

I have experienced so much, thanks to the programme and would like to acknowledge the help and guidance from my coach. As the year draws to a close, I feel inspired and empowered to put my new knowledge and experience into practice. Elaine McEnarney 21

My previous experience had been within Contemporary, Visual and Community Arts, but as I wanted to pursue a career in the museum and heritage sector, I enrolled on a Masters programme in Museum Practice and Management.

I was keen to secure a place on the CSI programme to complement my academic studies. The programme began with training days delivered by experienced museum professionals in Northern Ireland and England.

Coach: On placement, I began by cataloguing F.E. McWilliam’s own personal exhibition catalogue Dr Riann Coulter collection, which was donated to the Gallery by the F.E. McWilliams’ estate. This collection was documented onto a collections management system for archival and research purposes. Prior to this, I received training from a paper conservator about a number of issues, including the environmental effects on paper collections; condition reporting of paper artefacts; collections care and storage of paper collections. As a result of this training, I was equipped to examine the F.E. McWilliam paper collection and document its condition. Some of the examples I worked with displayed the effects of pigment damage, foxing and air burning. I learned how this happens and how to reduce the visual effects of long term damage on such artefacts.

Early in the programme, in order to keep abreast of issues within the museum and heritage sector, I used part of my training allowance to join a number of professional museum bodies and publications. The remainder of my allowance was used in a research project into the life and exhibition career of F.E. McWilliam whilst he resided in St Ives.

As part of this research, I met an old artist friend of McWilliam, still working and living in St Ives, who told me many stories of their times together. By drawing on this primary evidence and scouring the archives in St Ives, I was able to build up a clear picture of the artist’s personal and professional life. I also had the opportunity to meet the Curator of Tate St Ives and Barbara Hepworth Sculpture garden. I was eager to learn about their preservation and interpretation methods regarding the Barbara Hepworth studio and its contents, as they are very similar to the McWilliam’s collections. As a result of this link, the curator of the F.E. McWilliam Gallery was invited to a symposium at Tate St. Ives, focusing on the conservation of the Barbara Hepworth Studios.

Back at the F.E. McWilliam Gallery, I continued to acquire practical skills in museum management. In particular, I was involved with the F.E. McWilliam archive exhibition, The Artist’s Overcoat, which took place from 15th March to 9th June. This exhibition focused on McWilliam’s archive and included his exhibition programmes, sketch books, works on paper, maquettes and sculptures. I was involved in every stage of the exhibition process, from installing the exhibition and producing promotional material, to conservation cleaning and de-installing on the exhibition’s completion.

The CSI programme has complemented my academic training and provided me with new skills and practical experience which will enable progression within the sector. Karen Logan 23

I have a background in research and information management, so in 2011, I was employed under a temporary contract to help the Digitisation Project Coordinator at National Museums Northern Ireland deliver a target of publishing 20,000 images on Collections Online.

During this time, I developed an interest in museum work, but found that I lacked the formal training and expertise necessary to secure permanent employment. I applied for the Collections Skills Initiative in order to gain a greater understanding of collections care and conservation and to Coach: get more direct experience of object handling and the design and installation of exhibitions. William Blair The Collection Skills Initiative provided a comprehensive programme of training delivered by individuals who are acknowledged experts in their respective fields. This has been beneficial not only in assuring the quality of the training, but in terms of helping me to develop a network of contacts.

Over the course of the year I have learned an enormous amount through being on placement at National Museums Northern Ireland. It has been an invaluable opportunity to work directly with the collections, and the level of practical experience and personal responsibility I have gained will be of great benefit to me going forward. During my project, Maritime and Industry, I worked with the Harland & Wolff and White Star Line collections to develop the understanding and interpretation around the TITANICa exhibition at the Ulster Folk and Transport Museum. I am delighted to have had the opportunity to refresh parts of the TITANICa exhibition with new content. I designed and installed changes to several of the display cases and published Collections Highlight Tours on the NMNI website. With the help of an industrial archaeologist, I conducted a survey of the industrial collection and, through retrospective documentation, have been able to catalogue and accession close to 1,000 objects.

I attended a course run by the Stranmillis College programme of lifelong learning entitled ‘The Industrial History of Belfast 1603 – 1960’, which I found very interesting and engaging. In June I took part in the Social History Curators Group Conference and really enjoyed getting to know curators from other museums and learning about their work. To balance the maritime and industrial elements of my project, I visited the Museum of Science and Industry in Manchester, and Sea City in Southampton. In each case I had the opportunity to meet with the relevant curators, who were very helpful in discussing their experience of working with maritime and industrial collections.

The highlight of my year was installing the changes to the TITANICa exhibition and seeing my work completed and on display in the gallery. What made this even more special was meeting the daughter of Harland and Wolff fitter, William Bell, whose tools we put on display, and showing her the exhibition. It meant a great deal to me to have her approval and it shows how meaningful this work is for the people involved. What I gained most from my CSI experience was the opportunity for ‘hands-on’ practical experience in working with museum collections. Heather Taylor 25

I have always had an interest in museums, I regard them as houses of history, so after studying for a degree in Modern History, I enrolled for a MA in Cultural Heritage and Museum Studies. During my studies I learned about the CSI programme and I felt very privileged when I was offered a place on the CSI programme with Derry City Council Heritage and Museum Service.

I joined the programme in October 2012 and attended training on how to research, document Coach: and catalogue artefacts, how to evaluate and reduce risks to artefacts both in storage and in Bernadette Walsh galleries and how to design exhibitions and displays. I was learning so much, I couldn’t wait to apply it to my project.

The opportunity to do so came at the Workhouse Museum. Its exhibition needed to be redeveloped and my job was to assist with this project. Using the exhibition’s two main themes - the History of the Workhouse (1840 – 1948) and The Great Famine in Ireland – I chose relevant images and objects for display, such as the Workhouse Bible, an archive collection from Gwyn’s Charitable Institution and a stretcher from the Waterside Hospital. I also wrote the text for the display panels, wrote the captions and liaised with the graphic designer.

While working at the Foyle Valley Railway Museum, I created two new panels for the permanent railway exhibition, in order to give visitors more information about the railway history of the city. I researched each object within the museum and created new captions explaining the object and its intended use. Some of the objects I worked on included a breakdown crane and a Nestlé vending machine. I also designed an activity for school children and I developed the idea of having postcards for visitors to write down their memories of the railway.

During my time at the Tower Museum, I helped in the installation of the Sports and Entertainment exhibition, which opened up a previously unseen collection of individual music and sporting material to the public.

In order to engage our younger audiences, I designed and produced a comic depicting the story of Sir Cathair O’Doherty. I am particularly proud of this work and the task provided me with opportunities to work within a budget, liaise with companies outside the Council and use my initiative.

The CSI programme has given me so much in just one short year. I’ve gained valuable new skills and learned more about the magnificent history of the city I grew up in. I have made new friends who share my passion for museums. As well as being able to develop skills in curatorial work, the project has also allowed me to gain practical experience within the education department, tour guiding and archives and genealogy. My level of confidence as a professional has greatly increased. I hope to secure employment within the sector. Participating on the CSI has given me knowledge, skills and confidence. Claire Dalton 27

Prior to joining the CSI programme, I worked in the commercial art and auction sector. I began my placement just after finishing my Masters in Cultural Heritage and Museum Studies. My objectives were to learn as much as possible about exhibition design and installation, interpretation and caring for collections appropriately.

The Ulster Museum’s Art Department is very active, with numerous exhibitions, displays and events. As well as displaying parts of its vast collection of paintings, sculpture, ceramics, glass and Coach: costume, it also welcomes touring exhibitions from other institutions. Kim Mawhinney

My main project was to reconcile, document and accession items in the ceramic and glass collection. This involved systematically going through boxes of objects in our offsite store; checking any identifying marks against their records on our Collections Management System, MIMSY; retrospectively documenting and accessioning objects such as tea services, figurines and decanters; and, labelling and repacking them according to conservation standards.

I also participated in all aspects of the Art Department’s programme for the year 2012-13. We installed several important exhibitions, including Revealed from the Government Art Collection of the United Kingdom. This brought over 160 works of art, both historic and contemporary, to the Ulster Museum for three months. The Revealed exhibition gave me a wonderful experience of team work, with conservators, curators and the handling team all pulling together to deliver the exhibition on time.

One area of particular interest for me is the interpretation of collections and engaging with the public. To this end, I led several gallery and exhibition tours for a variety of people, including fellow museum professionals, over 50s groups and resident visitor guides in the Ulster Museum. I developed research and writing skills and wrote the text for exhibition labels, introductory panels and the Web Highlight Tours for the Irish artists John Luke and Kenneth Shoesmith.

With contacts made through the programme, I independently installed two displays, a 1940s Christmas display at the Northern Ireland War Memorial museum and at Hillsborough Castle a display of the Queen’s Clothes. I instigated my own projects such as the redevelopment of the small sculpture gallery area in the museum, and a late night art event Artists in Conversation. I very much appreciate the guidance and support given to me by my coach and other members of the Art Department in allowing me freedom to suggest and develop these projects.

One of my highlights came early in the year when the family of an artist who was the subject of a retrospective in the museum saw the exhibition for the first time. Their emotional reaction reinforced in me both the power of art and the benefits that come from connecting people with collections.

The year has given me a thorough insight into the diverse nature of a curator's role and I have It was encouraging to be given so much responsibility on gained many new skills. placement and I look forward to putting my new knowledge and skills into practice as I continue my career. Trainees and their Coaches 2012/13 29 Northern Ireland Museums Council 6 Crescent Gardens, Belfast BT7 1NS

Tel: +44 (0) 28 9055 0215 Fax: +44 (0) 28 9055 0216 Email: [email protected]

The Collections Skills Initiative NI is a partnership between the Northern Ireland Museums Council and National Museums Northern Ireland, funded by the Heritage Lottery Fund.