Jorrit Huizinga (1989) is junior curator of De Ploeg and 20th-century art at the Groninger Museum. We went to see him to talk to him about his job. Because what does a curator actually do? And how do you become one?
“A curator is concerned with part of the collection and then with everything that is not directly related to the physical object. So you'll be creating exhibits and permanent displays, but you'll also be working with the education department to provide text and descriptions in the rooms. As a curator you are also involved in research and background information. I answer many questions from people who want to know something about the collection or from people who even have something from De Ploeg and wonder what it is and whether the museum can do anything with it. So I also do research work. Expanding the collection is also part of a curator's job, so donations and purchases when they happen.”
"I think it has a lot to do with the fact that during my master's I had lectures from Andreas Blühm. The current curator of the Groninger Museum, Mariëtta Jansen, has received a grant from the Prins Bernhard Cultuurfonds. She will be doing research, so the museum was looking for a replacement. The condition of the Prins Bernhard Cultuurfonds was that the replacement had to be a recent graduate. What I understand is that there was then contact with the programme and then my name was mentioned. I received an email from the museum asking if I wanted to visit. After that, it was actually very quick. There was no vacancy. It's a bit of a matter of being in the right place at the right time, and presenting yourself favourably."
"I thought: oh, wow, surprising. Especially because it was about De Ploeg, while I was mainly into older art. So I thought I would not be the obvious choice at all. But actually, that hasn't been an issue. You have a lot to learn, anyway. If you're excited about it and you think it's beautiful and interesting, then as far as the knowledge goes, you'll be fine."
“It's important that you can tell the audience why things are important or interesting, without needing a whole art history background or thick books to do it. Of course, that's what happens at universities: the in-depth research. There is no time or space for this in museums. It is important, however, to ensure that the knowledge yielded at universities reaches the public. You have to pair that knowledge with the works you have so you can make it appeal to people.”
“No, I don't think so, but that's true of many occupations. The knowledge you gain in an education programme can also be acquired later. After all, working on a programme like that is an obvious choice. In an Art History programme you learn to look at art and think about it. So that's something that does help tremendously. But I myself also know curators who come from a more practical, art academy background. That's a common route. Historians can also be curators. And Egge Knol, who sits in the office across from me, is an archaeologist.”
“It's important to connect with people who work in museums. It's not helpful if you just stay within the confines of the university. Internships often help a lot. And then you have to present yourself well. Which means that you can write well, because that's a big part of the job. And you have to demonstrate that you can put what you see into words."
“I'm not so concerned with that. At some point, of course, I will start thinking about what I want after next year. If it's at all possible, I'd like to continue here too. You won't get bored with a museum after a year. But whether I can stay here depends largely on how much money there is and what's in the pipeline. It's already pretty special that I can do this right after graduation. I certainly hope to continue in the profession as a curator.”