Submitted by Sadiah Thompson, Social-Media Marketing Intern.

I was warned my first week at ESMoA would be unlike any other simply because it was the opening week of their new show, Experience 29: NOEMA, a collaboration with the Getty Research Institute (GRI). I could tell everyone was mentally and physically preparing themselves for the busy days ahead, but I on the other hand, was anxious to tackle any task thrown my way. Little did I know my tasks for the week would range from organizing ESMoA’s archival material to interviewing the featured artist and curator of NOEMA. I knew the process of putting the show together would require a great deal of work, but by the week’s end I was more amazed by how quickly everyone was able to pull it together.

In the midst of all the pre-show madness, my job was to handle marketing efforts for NOEMA. This meant sending out multiple social media posts a day, creating event listings, and going around the neighborhood posting event flyers at local shops and businesses. I even had the chance to stop by the El Segundo Farmer’s Market, which was a convenient introduction to the arts and cultural scene of the city. It also served as the perfect transition into my first ESMoA event, the curatorial walk-through for NOEMA.


Featured artist Matthew Ritchie explains why he chose Floyd on the Floor: Performance Notes (2007) by Kelly Nipper to be included as a contemporary piece for Experience 29: NOEMA.

At the walk-through, I continued posting on social media capturing snippets of the curatorial remarks by featured artist Matthew Ritchie and GRI curator David Brafman. How did I get to interview Ritchie and Brafman, you ask? I was able to connect with the GRI’s social media manager and come up with a series of questions for a Facebook Live Q&A. As a journalism major, I’ve had my fair share of reporting and doing quick man-on-the-street interviews, but I never had the chance to report live. So, the interview was something totally new. I was able to expand on my professional skills as well as gain insight on how they explored the concept of ideas and thoughts through the history of diagrams. That moment will definitely be something I will never forget.

With a lot of unexpected twists and turns, the week couldn’t have ended off on a better note than at the Community Opening. I had the opportunity to work with a number of ESMoA volunteers and educators for the CREATE workshop where visitors could create their own unique spiral drawings. The two dozen or so smiling faces I saw that day (especially those of the children) made it all worthwhile. Seeing how much the experience sparked their creativity proves just how much of an impact the “art laboratory” can have on visitors. It’s not about reading museum labels to understand an artist’s point of view. Rather, it’s pretty similar to the idea Ritchie conveys with The Temptation of the Diagram (2014). The diagram will always be a form by nature that encourages people to add to it. It’s not just about one interpretation of an idea, a thought, or even art. It’s about being able to visualize multiple ideas and never being afraid to question your ability to add to them. That’s where the art truly takes shape.


A few finished spiral drawings at the community opening CREATE workshop.

In just one week I’ve definitely exercised my ability in adding to the ESMoA family, and I can’t wait to see what’s in store for the next nine weeks. Who knows, maybe I’ll have another exciting artist interview or perhaps create a Snapchat geotag. Whatever it is, I’ll be sure to keep you updated on my [Intern]al Perspective here at ESMoA!

(P.S. I’d like to extend a big thank you to my 13-year old cameraman Vincent Trommer, who shot the Facebook Live video via iPhone all while having a broken arm.)

Thank you for reading. If you enjoyed this post, please share it on social media.