Let's bask in these words for a few moments: all twenty labels are written.
Of course, what that leaves out is that they still need to be torn apart by Paula Reich, through whose skilled hands every label passes, generally leaving with more than a little red ink, but nonetheless, it feels like a mile stone. I still have work, and an overwhelming amount to learn that can never be accomplished in these three weeks, but it's a step. I looked over 6-8 with Adam today, who tore them apart a little bit, though happily not wide open, and he said I was on the right track, so hopefully the others won't face a gory death either.
Other than the slight excitement of labels, I also attended a Visitor Engagement meeting today, during which the discussion focused mainly on job description and communication within the museum. Although not necessarily pertaining to art history, it certainly shows an important facet of how the museum works, the behind the scenes that result in beautiful art in pristine galleries, and seamless, enjoyable exhibits for visitors to see. One concern raised was that those involved in projects would be volunteered without their knowledge, and so end up with much more work than they could handle, which obviously presents a valid concern. It seems that in the past (and possibly in the present), communication within the museum has been a problem. The museum has been transparent with the public, practically to fault (to quote someone else), yet, as always, people working together feel little desire to hurt each other's feelings or rock the boat. These are natural, human feelings, that almost anyone has fallen prey to, myself very much so included. However, that silence is at the expense of the institution at times, which presents the question of how to deal with these issues as they come up. These problems are practically universal: in almost any human situation, you must interact with social awareness and care, finding the line between overcompensating and rash disregard. In this way, the museum is like any other institution, a network of individuals who must work together in set positions, yet with a little bit of muddling, regardless of whether they're crunching baseball statistics or transporting and displaying priceless pieces of art. This also presents a difference between the museum world and academic art history world, where I would guess the power structure and goals are considerably different, though that is obviously simple conjecture and guess with little basis in reality.
All in all, today was a day like any other: one where I sat in a building with an elegant marble facade, beneath rooms that, in places, have more worth per square foot monetarily than Fort Knox, and more cultural capital than one could ever put a number on. So I would venture to say it was a success.
These are good observations about challenges that institutions face. I think you're right in assuming that there is a difference between the running of a museum and the world of purely academic art history. I imagine there are hierarchies of power and prestige at play within and between both areas.
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