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About Frank J Cunningham | Producer

Frank J Cunningham was born in Co. Mayo, Ireland. As a young adult, Frank studied at a Gaelic-speaking boarding school. At the end of his studies at the University of Galway, he traveled and worked across Western Europe, for five years. During this period, Cunningham immersed himself in the indigenous cultures of the countries where he lived, learning native languages (French and German). In the mid 1980’s, he immigrated to the United States.

He has since lived in New York City, Nantucket, and The Hamptons.

Since 2003, Frank has served as a Contributing Editor to  MuseumViews. He is now the Producer of feature film THE DEALER Movie, and Executive Director for INT’L MUSEUM WORKERS DAY.




English: Native

Gaelic (Irish), French & German : reading, and some fluency


FILMS & New Media

Producer THE DEALER Movie, 2016 – Present

Executive Director INT’L MUSEUM WORKERS DAY (IMWD), 2015 – Present

Contributing Editor to  MuseumViews, 2003 –  Present

Contributor to, 2010 – 2016.

Contributor to MuseumViews’ In Conversation with…[VIDEO Series], 2013 – Present

Contributing writer & researcher, Rene (feature film by Homa Taj, in development), 2016

Nantucket Atheneum (short film based on Frank J Cunningham’s poem by Homa Taj), 2013

Maria’s Comet (short film based on Frank J Cunningham’s poem by Homa Taj), 2014

Steely Eyed Samurai (short film based on Frank J Cunningham’s poem by Homa Taj), December, 2014




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3rd Int’l Museum Workers Day IMWD to Take Place on June 29, 2017

UPDATE (July 2016) International Museum Workers Day  #IMWD aims to educate the public about various professions in the museum world – including art and heritage.

The THIRD International Museum Workers Day will take place on June 29, 2017.

An advocacy project initiated by MUSEUMVIEWS, #IMWD was previously called International Hug A Museum Worker Day #HAMuseumW.

On Monday June 29th, 2015, thousands of museums, museums associations, and museum professionals in more than thirty countries celebrated The 1st International Hug A Museum Worker Day.

As of Tuesday June 30, 2015, #HAMuseumw (hashtag, alone!) had generated 4,9 million impressions on Twitter (via Hashtracking). This number excludes all other engagements across social media (Twitter, Faceboo, Tumblr and Instagram).

And, thanks to our British colleagues in Scotland, England, Wales and Northern Ireland, #HAMuseumW made it to Top 100 trends on Twitter (on June 29th).


In the meantime, here is a sampling museums, museums associations and museum professionals that celebrated The 1st International Hug A Museum Worker Day.:

International Council of Museums (ICOM-US)

Education and Cultural Action (ICOM-CECA)

Association of Art Museum Directors, USA

American Association of Museums (Media & Technology Committee), USA

United States Holocaust Memorial Museum, Washington DC

New York Foundation for the Arts (NYFA), New York

Nat Geo Museum, Washington DC

National Museum in Warsaw, Poland

Art Institute of Chicago, Illinois

Mauritshuis Museum, The Netherlands

National Gallery Singapore, Singapore

Nato Geo Live (National Georgraphic Explorers)

Association of Nova Scotia Museums

Western Museums Association, Washington

Museo Nazionale dell’Ebraismo Italiano e della Shoah, Italy

Nationalmuseet, Denmark

Association of Science-Technology Centers, Washington DC

Association of Manitoba Museums, Canada

Nobel Museum, Sweden

ICON The Institute of Conservation, England

The Jewish Museum London, Great Britain

Museo de la Alhambra, Spain

Emergin Museum Professionals BC, Canada

Royal Belgian Institute of Natural Sciences, Brussels

Musei Firenze (Palazzo Vecchio), Italy

Museum of Technology, University of Cambridge, England

National Museum in Krakow, Poland

Museum of Cambridge, England

Musée de la tapisserie d’Aubusson, France

Michigan Museums Association, Michigan

Museum Media , The Netherlands

Hammer Museum (UCLA), California

Musée des Ursulines de Québec, CANADA

Ministerio de Cultura de Colombia, Colombia

Blanton Museum, Texas

Consortium of European Taxonomic Facilities, Brussels

University of Cambridge Museum, England

Hawaii Museums Association, Hawaii

Museums and the Web, Australia

Canadian Centre for Architecture/ Centre Canadien d’Architecture, Quebec

Canada Aviation and Space Museum/ Le Musée de l’aviation et de l’espace du Canada, Canada

Canadian Association for Conservation/ Association canadienne pour la conservation et la restauration, Canada

Museum Education Roundtable, Washington DC

University of Michigan Museum of Art, Michigan

The Museum Computer Network, New York City

National Park Services (Cultural Resources), West Virginia

Danish Maritime Museum, Denmark

Associació de Museòlegs de Catalunya, Spain

Association of Manitoba Museums, Canada

Museo Nacional de Arte Romano, Spain

Museums Association of Saskatchewan, Canada

Tennessee Association of Museums, USA

Portland Museums Professionals, Oregan

Museo de Bellas Artes de Granada, Spain

Small Museums Association, USA

Museum of Antiquities (Uni Saskatchewan), Canada

Villa Médicis, Italy

Natural History Museum, England

Norsk Teknisk Museum, Norway

Michigan Science Center, Michigan

Museo de Arte de PR, Puerto Rico

University of Alberta Museums, Canada

Muzeum Historii Fotografii, Poland

Museum of Chinese in America, New York

The Institute For American Indian Studies, Washington DC

Museums Association Scotland, Scotland

National Museum of Wales, Wales

Science World, Canada

Ottowa Museum Network, Canada

Swedish Museum of Science and Technology, Sweden

Beamish Museum, Great Britain

Associazione Nazionale Piccoli Musei, Italy

Society for the Preservation of Natural History Collections, New York

North Carolina Museum of History, North Carolina

Montana Historical Society, Montana

Le Musée québécois de culture populaire, Quebec

Ludwig Múzeum, Hungary

The PA Historical & Museum Commission, Pennsylvania

Klassik Stiftung Wiemar (Museen, Schlösser und Parks, Archive und Bibliothek), Germany

Brightom Museums, England

State Ethnographic Museum in Warsaw/ Państwowe Muzeum Etnograficzne w Warszawie, Poland

Casa Battlo Gaudi, Spain

Society for Promotion of Museology in the Balctics, Latvia

Museum of Science and Industry, Florida

Emerging Museum Professionals Cincinnati, Ohio

Yukon Historical & Museums Association, Canada

University of Michigan Museum of Art, Michigan

For a more complete though in no way conclusive list, visit

United States Holocaust Memorial Museum, hug a museum worker, hamuseumw, museumviews

“We’re always inspired by the Holocaust survivors who serve at ‪#‎USHMM‬ as Museum volunteers.Thank You! ‪#‎HugAMuseumWorker‬ ‪#‎HAMuseumW‬” – The United States Holocaust Memorial Museum

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Homa Taj In Conversation with Filmmaker & Photographer Jerry Schatzberg (part ii)

Jerry Schatzberg, Halloween Manhattan, 1954 - Courtesy the Artist
Jerry Schatzberg, Halloween Manhattan, 1954 – Courtesy the Artist

Continued from: Homa Taj In Conversation with Filmmaker & Photographer Jerry Schatzberg (part i)

HT – Speaking of cinema, I read in The Hollywood Reporter that you are now going back to making a sequel to Scarecrow (1973)?

JS – I went back thinking that I was going to make a sequel to Scarecrow but when I finished the script, I found out that Gene Hackman has retired. Then I told Al [Pacino] about it… And, then, I thought that a re-make shouldn’t be my return to filmmaking. If I can’t get Hackman, I’d have to eliminate that character.

In any case, the script stands on its own without being a sequel. There are certain things that I would tweak…but, ultimately, it does stand on its own.

Also, I am working on three different films, right now. We’re very close to getting one of them off the ground.

But, then, there is the archiving of my photos. If they are not put in properly you won’t be able to find them.

HT – Well, you are making it easier for art historians to descend on your archives to do research, in the very near future.

JS – I think my papers are going to Harvard. Haden Guest [Director of Harvard Film Archives] told me, “We don’t have a big archive but what we have, we take very seriously.”

HT – In the late 1990’s, I studied film with the former film programmer at the Harvard Film Archives. At the same time, I was working (part-time) at the HCL’s Fine Arts Library. So, I can personally attest that your archives will be in great hands!

JS – That’s great. Harvard will have all the letters and telegrams – there were telegrams before emails – and all the other documents. They already have some of my films. But I would love to have them both in the same place: archives for my films and archives for my photographs.

Actually, all the work that I am doing now, the book with Dylan, the show for the Cinémathèque, the documents… are preparing me for it. Everytime we go into the storage, we find something new.

When I went to the Cinémathèque, they were hanging a new show of Antonioni…

HT – Yes, it’s on right now – until July 19…

JS – Yes, it looked very interesting and gave me some ideas. The theme of my show is From Still to Cinema. A bit like the exhibition at Beaubourg. But, back then, they only had half of my films there, and a small part of my photographs.

Now, I am making a list of the people whom I have photographed and who are working in cinema, in some way.

I really like the space that they have.

HT – Meanwhile, back home, in America… I personally think that there is something fundamentally off about the state of contemporary art in America. And, films too…

JS – I think part of the problem is that people are trying too hard. I have to say, at the beginning, I had a hard time with Andy Warhol and his soup cans. But Warhol was a real artist. A real Pop artist. Out of that movement came Robert Rauschenberg, Jasper Johns and others.

I remember the first time that I met Rauschenberg at their loft (they had two), I asked him, “Tell me, are you trying to be humurous?” He said, “No. I am just trying to make people aware.” And, that made an impression on me. We had a long talk. And, we continued to meet several times over the years.

Some things he had done had influenced me. For example, I began to photograph stuff on the street – the garbarge that people throw away. I’d find a nice composition – I never move anything – and, I just photograph them. Rauschenberg would paint them, and I photograph them. I’ve taken a couple thousand of them – that I really like. And, I’d like to show them.

HT – Speaking of exhibiting never before seen photos, what experiences have you had of working with private dealers.

JS – Once, I had a show with a gallery. I didn’t care for the way he had hung my pictures so I told him that if you put this picture next to this one, you won’t see the third. But if you put this one in the middle, you’ll see all three. He didn’t like it at all. He was very upset!

HT – I laugh… because my film (The Dealer) is about an art dealer and, it references photography…

JS – Well, there was a time when ICP (International Centre for Photography) wouldn’t touch a fashion photographer’s work. And, now, fashion photography is considered art.

HT – Yes. It’s everywhere. Boston MFA did a show of Mario Testino in 2012, another one on Herb Ritts is on now until November 8. etc…

JS – I loved the Avedon’s show at the Met (2002), and the Irving Penn exhibition at MoMA (2009-10). I liked Penn’s catalogue. The way he puts a bowl of soup, a fashion image, and a portrait alongside each other.

You see, photogaphy is different from sculpture or paintings. It’s more a way of seeing.

Jerry Schatzberg, Bob Dylan (Thumb in Eye), 1965 - Courtesy the Artist
Jerry Schatzberg, Bob Dylan (Thumb in Eye), 1965 – Courtesy the Artist

HT – If you were to do photography now, would you use a digital camera?

JS – I like digital. I am not a technical snob. Mary Ellen Mark who recently passed away, she would never shoot digital. For me, it is the mind and the content that makes the photograh not the film or the technology. I want my films to be beautiful. If I take a photograph on the subway and it is blurred, if I like the content, I don’t care that it is blurred.

I mean, look at Blonde on Blonde (the cover of Bob Dylan’s 1966 album). It is moving. I only had three images like that. Everyone is trying to say that it was a trip, it was LSD. It wasn’t any of that. We started shooting in the studio. And, we thought, let’s go out. We’ll find more light outside, somewhere in the meatpacking district.
People are always asking me where it was taken, and I have tried to find it. I think they’ve gentrified it.

HT – [Laughs] You think?

JS – Well, there are places that have remained the same, but I think that place is gone. I did take some very beautiful images that I really like and that I have shown in exhibitions. It was Dylan that chose that blurred photograph for the cover of his album. It was cold. We were shaking. So the photo came out blurry. People have always tried to theorize it. But that was it. I mean, the record company would have never allowed such an image on an album cover. But Dylan could do whatever he wanted.

HT – So, the quivering anxiety of a new generation wasn’t what you had in mind?

JS – We let people interpret their own thoughts. It’s just that no one wants to hear about the technical aspects, or that it was cold and we were both shivering [laughs].

HT – Speaking of technical aspects, does using digital also apply to filmmaking for you?

JS – I used a digital camera in my the last film. I liked it. It worked fast. I didn’t do a lot. But my next film will be digital. I have no problem with that. I haven’t jumped into pigment prints, yet. I still like silver gelatin and c prints. I like very much what they look like but they are not archival enough. Also, for the time being, collectors want silver or platinum prints, or what they already know about. But, I have nothing against digital prints. In fact, I have made some digital prints and I challenge anybody to tell me which is digital and which is silver.


Jerry Schatzberg is represented by Rukaj Gallery in Toronto, Canada