learn from it or a benefit to society that relates to their own values and ethics) and then work directly with them or through others who know them well (such as trustees or members of a campaign board) to build the connection.
‘We have a strong offering to make. We are, after all, the national museum. Among other things, our collections express the impact that Scotland made on the world. They show the role of Scottish pioneers, explorers, endeavour and the value we have always placed on education. This is one powerful message we can use to approach Scots, both here and those who have settled elsewhere.’
Interview with Ruth Gimlette, membership volunteer at the V&A
‘I have been working at the Victoria and Albert Museum for 15 years, for the last 11 with Gwenda Constant, and before that with someone else. We form a regular partnership, every second Wednesday afternoon running the membership desk in the corner of the main entrance hall. The gallery is open to the public for free, but special exhibitions have to be paid for and our job is to encourage people to sign up for membership, which allows them instant access rather than having to pay and queue for tickets each time. Members get a range of other benefits such as discounts in the shop and restaurants, and of course also save time – they can just show their membership card at the entrance to the special exhibition – plus they have the satisfaction of helping to support something they believe in. When the queue for exhibition tickets is particularly long, the museum staff like us to walk up and down, reminding those who are waiting that if they had a membership ticket they could just walk straight in.
‘Our unofficial function is to be the face of the organisation – we are reminded that ours are the first faces many people see. We sit in the corner of the impressive entrance hall and we do have a dress code (black and white). We also function as an enquiry desk, telling people where the nearest bathrooms are, the shop, the restaurants and specific exhibits. Having worked in the museum for so long, we know it very well and it pleases me to be able to direct people.
‘I do like working here. Gwenda and I were already members ourselves, but we had to make a formal application and quote references, and of course being accepted was pleasing. We receive training, a regular printed newsletter telling us things we need to know and may be interested in, and at Christmas there is a special party at which the museum’s director thanks us for our valuable contribution. We also have the opportunity to act as front of house staff for events organised for members, and if you turn up and help tick off names and do other administrative tasks, you can then stay and enjoy the rest of the day. There are many memorable occasions here – one of the best was when Kaffe Fassett decorated a huge Christmas tree in the entrance hall. He gave a demonstration of how to make the fans with which he was planning to decorate it, and I eventually had four on display. I was quite proud of that! My family are glad to see me busy – and I think working here means friends and relatives assume I am brighter than I am! I love to bring my grandchildren and show them around the collection.
‘You also meet interesting people. It’s fun to watch the arrivals and speculate about who are the fashion students and who are the visitors, and from which country. You can also spot famous people on their way in and out – last week I spotted Terence Stamp.’
What else can be given?
In addition to the development team seeking money, others within a gallery or museum may have a long-term eye on specific items that might enhance the overall collection, perhaps by filling gaps in what is on view, or just belongs to the public. Most large such organisations will have a legacy department, which considers material (both objects and archives) that the owners may want to pass on to the nation, sometimes to perpetuate a name or perhaps to assuage the impact of death duties.
For the family of an artist it can be appealing to have significant pieces become part of a national collection – and hence ensure that its reputation and significance is safeguarded. Several gallery and museum directors are