Joseph Madeira ’88
Degrees: B.A. in history and studio arts; M.B.A., The George Washington University
Job Title: Director of curatorial and visitor services for New York State, Office of General Services, in Albany, New York
Favorite Trinity Memory: One of my most significant memories is from senior year, during my Senior Art Show as a studio major. My parents (who have since passed away) came to see my work displayed in the Austin Arts Center gallery. My father had a successful career in business and, while supportive of my art, had always tried to steer me toward business studies as an undergraduate. That day, when he walked into the gallery, he told me how proud he was of me. I’ll never forget that moment. Years later, I finally listened to him and attained an M.B.A., which has been instrumental for me in leading and shaping organizations. Looking back, however, I would not change a thing about the path I took and the decision I made to study studio arts and history at Trinity.
What do you do in your role? I am responsible for the presentation, administration, conservation, and preservation of the fine and decorative art collections owned by the State of New York. These include the Governor Nelson A. Rockefeller Empire State Plaza Art Collection and the New York State Harlem Art Collection, as well as the art and historic furnishings in the New York State Executive Mansion and the New York State Capitol. In addition to overseeing these important collections, I provide policy leadership and direction to New York State. I also manage the New York State Capitol Tour Program and the Empire State Plaza Visitor Center and Gift Shop and direct the interpretive programming for the Empire State Plaza, the New York State Capitol, and the New York State Executive Mansion.
What was your path to your current position? After working for a few years at a private high school, I wanted to pursue a career that combined education with art and creativity, which led me to museum work, specifically in exhibitions. My first museum job was for the opening of the United States Holocaust Memorial Museum in Washington, D.C. After that, I moved to the Smithsonian Institution, where I became director of special exhibits for the National Museum of Natural History. As my responsibilities grew, I pursued an M.B.A. from the George Washington University. I then served as deputy director for the Kohler Arts Center in Wisconsin and later as executive director of the Southern Vermont Arts Center. In 2017, I took on my current role, a dream job that allows me to work with an incredible collection of monumental abstract expressionist art while guiding the historical interpretation and public programming for the New York State Capitol and Executive Mansion.
What do you enjoy most about your work? I get to lead a variety of projects and work with an amazing team. From exhibits on the history of New York and its people to long-term conservation projects for pieces such as our Alexander Calder sculpture or Claes Oldenburg’s Geometric Mouse, my job is incredibly diverse. I also oversee outreach and partnerships, such as working with the Louis Vuitton Foundation on loaning our Mark Rothko for its retrospective in Paris. I organize new interpretive tours for the New York State Capitol and assist the governor in finding historic art and furnishings for the Executive Mansion. It’s incredible to combine my love of history and art in a job where every day presents new tasks that touch on both disciplines.
How did your time at Trinity prepare you for your work? My studies at Trinity, particularly in history and studio art, ignited the passion that directly led me to my career. I’m fortunate to be doing exactly what I studied at Trinity and found a career I love where I continue to learn new things nearly every day.
What was the most memorable course you took at Trinity? Professor James West’s historiography class wasn’t just about studying history; it was about understanding why we study it and how we approach it. The course examined underlying characteristics of how history was recorded, and it opened my eyes to the broader impacts of demographics, beliefs, attitudes, and lesser-known connections that shaped historical events. It was the first course for me that raised more questions than it answered, but it ultimately set a high standard for how I think about learning.
Did you have a professor who was particularly influential? Professor George Chaplin saw potential in me and pushed me to do better, but in a supportive way. In discussing art, art technique, and, of course, space, we became good friends. He had a subtle yet hilarious sense of humor and encouraged me to find value in everything I did. He’d say something like, “I know you can do better, but that’s not important because who cares what I think. The real question is, why aren’t you doing better if you know you can?”
