A Conversation with the Curators

There are lots of moving parts that keep the historic site of Bethel Woods running smoothly. Each team works diligently to provide the best experience for patrons; whether that be setting up a great show line-up, teaching educational programs, answering phones and emails to help with any questions, and more!

One of those teams lives and breathes everything Woodstock and 1960s related. The museum staff of curators and fellows dedicate their days to the preservation of the 1969 Woodstock festival.

Recently I had some questions and wanted to get to know everyone in the Museum a bit better. Join me in a ‘Conversation with the Curators’ with Assistant Curator Julia Fell.

• ?Can you describe your background:

Julia Fell: I have a Master’s Degree in Museum Studies from the Cooperstown Graduate Program. Before that, I earned a B.A. in Technical Theater/Costume Design from SUNY New Paltz. A lot of the skills I learned in theater have been useful in the work I do in museums! Before earning my degrees, I had a lifetime of visiting museums and historic sites with my family; history has always been important to me.

• Why did you choose to come to the Museum at Bethel Woods?

JF: My first visit to the Museum was the year it opened when I was just 15! Later, I met the Museum director at a professional seminar and knew that Bethel Woods would be a good fit when I was ready to look for jobs. I love drawing parallels between the exciting decade of the 1960s and today.

• How long have you been at the Museum at Bethel Woods?

JF: I will have been at Bethel Woods for five years on March 5.

• Is there any advice that you would give to someone who is looking to enter the museum curating field?

JF: Be prepared and willing to learn a diverse set of skills and to take an interdisciplinary approach to most things. Being open to ideas and methods from unconventional places will only make your work better.

• What has been the most rewarding part of your job?

JF: Being the lead on our oral history initiative. It is an incredible privilege to connect one-on-one with so many people and to help make sure their stories are preserved. Each one is truly special.

• What have you learned/how has your perspective changed since working at Bethel Woods?

JF: Working with history that is still within living memory for many people is a really unique experience. This isn’t something that most historians get to do! I’ve learned how deeply important it is to preserve stories while you can, and that people are eager to leave their mark.

• What is challenging about having a career such as this?

JF: One challenge that I take quite seriously is the responsibility to do right by the people’s whose lives and stories we interpret. While this is important no matter what era of history you work with, in our case, we work with a time period that is still remembered by so many people. It has to be treated with empathy and respect.

• Which part of the exhibit is your go-to, must see, favorite and why?

JF: Tough one – I have to pick two. With a background in costume design, I am always drawn to clothing and love the fashion display. But I also really love the Aquarian Theater, or “bean bag theater” where you can get comfy while being immersed in the sights and sounds of Woodstock.

• Can you describe a unique piece of Woodstock history that is often overlooked?

JF: Many people don’t know how much work and planning went into the festival. Because it got overwhelmed with huge crowds, at first glance Woodstock looks like a poorly planned near-disaster. But we know from documentary evidence, archaeology, and oral history just how much careful thought went into it. One of our big goals with programming and exhibitions is to change the narrative on this.

• What are some projects you are currently working on/excited for?

JF: This year is a big one for oral history. Through a major federal grant awarded by IMLS, we will be traveling to different locations around the country to meet Woodstock attendees and record their stories!