Will Work for Art: Steven Correll
"Will Work for Art" takes you behind the scenes to meet the people who make the Fine Arts Museums operate. Steven F. Correll is a Registrar who literally makes the "scene" possible by organizing and tracking artwork as it moves through the Museums. Originally from San Diego, CA and Ponca City, OK, Steve has been with the Museums for 4 years.
What do you do here at the Museums?
I am a registrar. In England people with my museum job are called “keepers.” For instance in a zoo you have zookeepers that are concerned with the safety, care and health of the animals. At the Museums, the registrars are concerned with similar issues that pertain to the artworks—making sure they are safe, well cared for and in good shape to go on exhibition—either here at home or on loan to another institution.
How did you become involved with the Museums?
I was an intern with FAMSF, as part of of my MA program in collections management at John F. Kennedy University.
What is your favorite artwork or gallery in the Museums and why?
I love the Museums’ collection of 18th century silver, both American and British. My first job after college at William & Mary was working for the silversmiths of Colonial Williamsburg. It was then that my lifelong love of sterling silver began.
What do you do when you’re not at work?
Too many things. My personal life is far busier than my professional one. And to make life even busier, I’m currently enrolled in a singing class. It’s very “Glee.”
What are you working on right now?
Exhibition preparations for Picasso: Masterpieces from the Musée National Picasso, Paris and Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection. I am concerned with a lot of issues related to these exhibitions, such as which artworks are definitely coming? When do they arrive? How many shipments? Who is insuring them? When does installation need to begin? I am the king of spreadsheets.
Do you remember the first time you visited the Museums?
I visited the Legion of Honor in March of 1987 during my spring break from art school. Several of my instructors told me that I had to see it--so I did.