Distinguished Alumni: Scott A. Shields

In graduate school I was fortunate enough to do an eighteen-month internship at the Fine Arts Museums of San Francisco under the auspices of the National Endowment for the Arts. At this time, the de Young Museum was opening an exhibition titled Facing Eden: 100 Years of Landscape Art in the Bay Area. I remember thinking how little most people—even those in the field—knew about these California artists and decided to gear my own research in that direction, as I find it more satisfying to work on artists who have been less explored. After completing my PhD. coursework, I accepted the position of Fine Arts Curator at the California Historical Society while at the same time writing my dissertation on the Monterey Peninsula art colony. Nearly three years later, I became Curator at the Crocker Art Museum. I have since become the Crocker’s Associate Director and Chief Curator. I don’t typically feel like I am following a path so much as I try to take advantage of opportunities as they present themselves. And, in the realm of art in the American West, I have more projects looming than I will ever be able to realize.

I’m always relying on what I learned about the broader context of art history, even though I’m not typically working on artists that I studied in graduate school.

The importance of relationship building, especially for someone going into museum work. This is certainly true of organizing exhibitions, which require numerous collaborators from co-authors, editors, publishers, institutional partners, collectors, photographers, funders, etc. It is also true in terms of working with donors and potential donors, which occupies at least half of my time. It is also critical to be able to work effectively with the internal museum staff, especially the development, education, and marketing departments.

Take as many internships as you can. Try to avail yourself of opportunities and make the most of them. And, be flexible by taking on projects that might actually be realized as an exhibition or publication instead of pursuing 2016 Distinguished Alumni Award Department of Art History | 7 ones that won’t. Finally, if possible, never burn a bridge.

In graduate school I had a rather rosy idea about how I thought things should be. That gets shorn pretty quickly in the real world of too many projects and not enough time to do them all.

The way one does research has changed immensely. The internet has opened up so much in terms of archival sources—almost too much sometimes, and it can become overwhelming. We have come a long way since microfilm. On the other hand, sometimes one just has to say enough, as you could research forever based on what is available now.

A lack of a great art library close at hand. I miss so much just being able to go downstairs to the Murphy Art and Architecture Library and get practically anything I needed. Now, it requires travel to one of the university libraries, which requires travel time (in traffic), parking hassles, etc., and I just don’t have the luxury to do much of this.

Steadily producing publications on California artists long overdue for recognition and building the Crocker’s collection. The latter is especially satisfying, as when I go through the galleries I have very personal memories of acquiring more than half of the pieces now on view.

I think, perhaps, “What did graduate school not prepare you for?” When asked by students what I do, I often say, “I write thank-you notes.” Academic programs do not really teach future curators how to effectively interact with donors, their colleagues, and the public, and it’s an enormous part of the job. The ability to work with so many different personalities, often for years or even decades, is critical.