Dear museum baby boomers, this post is for you.
If you were born after 1964, this may confirm or support some of your worst fears, so you may want to give it a pass. Here at Leadership Matters we’re now in the chapter where some of our museum mentors are retired–taking cooking classes, exercising like fiends, traveling, reading novels–while others are beginning to announce their retirement dates. Or they are starting to do the work to make that happen: achieving the last, penultimate position, beefing up their consulting business, downsizing, buying the forever home. You know the drill.
Then there are the folks who should be planning their exit, but aren’t. The only decision they’ve made is to stay on as long as possible. They’re treading water, sucking up big(ger) salaries, and contributing in the most lacklustre fashion. They give the rest of us a bad name. Don’t get us wrong. We more than understand that the overall crappiness of museum salaries may mean working ’til age 70 isn’t a choice but a necessity. But, we firmly believe that employees should be judged by their contributions, never by their age, gender or race. And age and length of tenure don’t give you the right to coast–at least not until you’ve announced your exit date. In fact, no matter what your age, we hope you’re not coasting, but instead contributing your best self at work.
Study the colleagues you admire most, whether in the museum field or elsewhere. They are probably individuals who are constantly on a path of reinvention. They are probably not people hiding behind we’ve-always-done-it-that-way–or people who believe social media is the instrument of the devil. They’re the people who somehow link their institutional knowledge, which may be vast, to what’s going on the museum field, and always manage to say something new (and wise) in meetings. They are the people we all want to be when we get over our case of impostor syndrome.
So if you’re a boomer, we urge you to be a contributor ’til the day you pack up your office. Perhaps your museum or heritage organization has a succession plan in place. Whether it does–and they are excellent planning tools–you can have a personal succession plan as well. Just as you strategized your career when you were in your 30’s, 40’s or 50’s, a personal succession plan can help design your exit.
Don’t wait ’til you’re on your way to your retirement party to whine that no one picked your brain, and asked about that great store of knowledge you’ve amassed. Write it down. This actually applies to everyone. Commit work flow and basic tasks to a document. That way even if you have a skiing accident, your colleagues can step up and complete some basic tasks.
And if you are retiring, what information would someone need to do your job well on day one? How have your organization’s quirks informed the way you do things? Were you a path-breaker in your position? Would you be willing to train your successor, and if the answer is yes, what might that look like? Perhaps the most important thing you need to strategize is what you’ll do when your days aren’t consumed with meetings, openings, and planning. Write that down too, but don’t share it. That’s for you and the rest of your life.
It’s summer. The days are long, and a lot of us are on vacation. If you will retire this year, commit to making the next 12 months the most fruitful ever. Go out with a bang.
Maybe it’s just Leadership Matters, but it seems as though the museum field might be pulling its head out of the sand about its salary problem–like it’s been sleeping but now it’s woke? The last few weeks we’ve seen blogs, online discussions, and press releases, all discussing the low salaries in the field.
The prompt may have been the press surrounding American Association of Art Museum Directors’ (AAMD’s) 2017 salary survey released in June. Although it’s collected data for a century, this was the first time it made the results public. And yes, it’s a small survey–219 North American art museums–and, as the name implies, we’re talking art, not history. But the good news is it’s free. Of course there’s always AAM’s salary survey, which is a massive collaboration between 10 regional museum associations, and the most comprehensive of any museum salary survey. Of AAM’s 1,000 respondents many come from history museums, however, it also includes staff from zoos, botanical gardens, and science museums. There’s only one problem, and it’s not with the survey itself, but if Facebook posts from emerging professionals are any indication, its cost sometimes makes access prohibitive.
Just for fun we Googled “salaries museum jobs.” We got 548,000 hits and a surprising amount of information from outside the field, information that ought to put the fear of god in many graduate student hearts. Payscale.com which claims its data was updated in June 2017 offers not only salary information, but hourly pay, and pay by institution. Admittedly it’s a tiny group, and many of them are large urban or suburban organizations, but information is information. Clearly it’s better to work for the Smithsonian at $26/hour then just about anybody else on Payscale’s list. Not to mention, that despite the current administration’s best efforts, the Smithsonian is here to stay. And yes, there are more than a few organizations on Payscale’s list where choosing a career at Panera Bread or Target might offer a better starting salary, more predictable raises, and where there’s no need for a graduate degree.
So what should you do if you’re new in the field and clobbered by the fact that maybe your grandma was right and you should have learned a trade like plumbing or gone to medical school? Well, pulling the covers over your head is an option, but here are some other thoughts.
- We do believe change starts from the bottom up so even though it’s a small thing, start talking about the salary issue. Talk with your colleagues. Talk with your boss. Practice ways to say what needs to be said that aren’t confrontational, but still get the point across. Your museum’s leadership won’t listen if they think they’re liable to see you with a picket sign on the front steps.
- We are fierce advocates for higher wages, but it’s important to love what you do. It sounds dopey, but honestly, no matter what you do–in or out of the museum field–if you don’t love it, you’re going to feel like your soul’s being sucked out of your body a bit at a time. Change doesn’t happen overnight except in fairy tales, so if a big salary means more to you than a life in museums, you’ll never be happy. Try investment banking. Then you can be a museum board member. Just be honest with yourself.
- If you’re in museum leadership, you need to be a fierce advocate for your staff. Your organization–and the field as a whole–is only as good as its staff. You want the best you can afford, and you want them to be happy, not covertly job hunting at their desks. Lobby your board for equitable salary and benefits. Take a page from academe and endow some of your key positions. If you lead a small organization, are there creative ways you can band together with local arts organizations and hire one person to do the same task at several places? Collaboration brings its own rewards, but that’s another post.
- If you teach in a graduate program, we hope you make AAM’s salary survey available to your students.
- Last, if you’re new to the field, DO YOUR HOMEWORK. Yes, big city salaries are often higher, but are they higher for entry level employees? And will your expenses be higher too? Do you want to work two jobs and share an apartment? The bottom line: know where you will get the best deal for you. And negotiate your offer. Again, know what you need: Is it more personal time off? Health benefits? Opportunities to travel? Or just cold hard cash? Whatever you choose, it’s not a life sentence. Get as much experience as you can and move on.
This is an issue that shouldn’t go away. Let’s all do what we can to make museum salaries equitable and livable.
Recently the Metropolitan Museum announced a change in its leadership structure. You’ll recall that former tapestry curator Thomas Campbell, the Met’s director since January 2009, resigned under pressure in February. Since then, the art museum world has been awash in speculation about who might succeed Mr. Campbell. The answer (sort of) is Daniel Weiss who is currently the Met’s president and CEO. Weiss’s new title will be president and chief executive. Most importantly, the museum’s new director–a position that’s still open– will report to Weiss.
Not surprisingly, this change set museum tongues wagging. For some, making Weiss top dog means the Metropolitan’s board is putting business (and money) ahead of content and mission; however, both Weiss and the as yet unnamed director will serve on the museum board and collaborate on its priorities. For others, there’s also the implication that the Met’s problems are all of Tom Campbell’s making. While Campbell may not have been the most able leader, it seems too easy to blame everything on him. Clearly he wasn’t prepared to move from leading the tapestry department to leading the whole museum, and his choices regarding relationships with women on the Met’s staff seem unprofessional at best. But the idea that Tom Campbell alone led the museum into its financial morass seems too facile. Where was the Metropolitan’s board in all of this? Were they so bewitched they forgot their fiduciary responsibilities, allowing Campbell to spend willy nilly?
The Met is the size of many small towns. In that, it’s unlike the vast majority of American museums. At least one museum blogger suggested that the Met’s new division of leadership runs counter to the American Association of Art Museum Directors’ (AAMD) guidelines which state, “The board should appoint the director—to whom it delegates responsibility for day-to-day operations—to be the chief executive officer of the museum.” AAMD’s guidelines may be the right path for most art museums. But the lesson here is that while guidelines are important, leadership for individuals and organizations is specific, and in many ways, personal. Museum boards need to choose the best possible leadership path for their organizations, and who’s to say that in this new, lightning-fast world, where ambiguity and change wait at every corner, that bigger museums wouldn’t benefit from a made-to-order leadership plan? The Met’s bi-partisan model is found more often in academia than museums, yet it makes its own kind of sense. The beauty of the Met’s solution is that in Daniel Weiss it found a person with a PhD in art history and an MBA from Yale, someone who has reportedly earned the trust of the Met’s chief curators, and someone who walks the walk.
How do leadership decisions like this flourish? They happen where boards aren’t wedded to old hierarchical models, where boards are interested in the challenge of change and cooperation. They happen when boards are willing to try and understand organizational culture. And, last but not least, leadership changes when boards invest time in actually finding the best solutions for their organization, rather than hiring someone so they can revert to doing what they’ve always done.
At the director/CEO level, leaders who truly embrace change need to be collegial and collaborative; they need to be as interested in serving as leading. The Met’s solution may not be the model for your organization, but the point is that the lone director, reporting to a board of trustees, is not the only model.
The world has changed. It’s global. It’s fast. Museums need alert, responsive leadership. That happens when boards and museum leaders collaborate, creating leadership models tailored to their organizations. That takes courage.
- Know your organization. Really know it.
- Use that knowledge to create a leadership model that works for the organization, not one that makes life easy for the board.
- Be bold. As trustees you want to do more than hand over a mediocre museum to your successors. Your community, museum staff, donors, and volunteers deserve the best. Figure out what that is.
We’ve waited two and a half years and the moment’s finally here: Our new book, Women in the Museum: Lessons from the Workplace has arrived.
While it is still listed as a pre-order on Amazon, Routledge assures us it really is available. So first some thank you’s: To all of you who answered our short and long surveys, who participated in our focus groups, who took time out of your busy lives to share data and thoughts, and those who were interviewed, A VERY BIG THANK YOU. We couldn’t have done it without you.
Although there are days when writing a book seems like an out-of-body experience, we’re proud to have taken a long overdue step in the gender and museum discussion. We hope it serves as a catalyst for ongoing conversation about these issues.
You may think this is not a subject that has much to do with you. Our response? If you’re working in the field you need to know who you’re working with. If you’re female, and you’re part of the 47.6 percent of museum workers identifying as female, you may have already discovered that as a woman you lead differently, make decisions differently, and often have family and sexual harassment issues that are different from your male counterparts. If you identify as male, you may want to explore how the other half of your workforce thinks, decides and works, and more particularly, how the long history of women in the museum field has influenced the way it conducts business.
You may think there are already too many women in the museum field. That’s almost true. And this book discusses the dangers of a pink collar workplace. Perhaps you have an understanding of women’s contributions to the museum field. While that was not our only goal in writing Women in the Museum, we tried to give a sense of the almost century and a half of women’s contributions as volunteers, collectors, philanthropists, founders, directors and staff. We believe it’s important to know on whose shoulders we stand.
You may believe the salary disparity between genders doesn’t exist in the museum world or that it did, but it’s over. It isn’t. The data is real, and the problems of low pay affect everyone — museum workers, their families, and ultimately, their desire to remain in the museum field. Salary disparity is especially acute for women of color. If you are a trustee, a director or department head, and you are struggling to make your workforce more diverse, you may want to read the chapters on stereotyping and on women at work in museums today.
Last, you may think this is too much feminism or too much white privilege. We hope you’ll read the book and then decide. As women, we need to support, guide, mentor, hire, and help one another. We need to solve our own salary issues first by making sure that all the women in our organizations are equitably paid. Once that goal is accomplished, we can tackle the gender divide. We want to make sure that everyone is at the table, and that once there, they are treated fairly. How can your institution preach organizational open-mindedness if the staff break room tolerates cruel remarks or the HR policy is rife with inequity?
If you care about these issues, we’ll be at AASLH Thursday, September 7 at 1:45 pm with four of our interviewees for Workplace Confidential: Museum Women Talk Gender Equity. In addition, you can join the Gender Equity in Museums Movement, a group we started in 2016 to encourage dialog on these issues: https://www.genderequitymuseums.com/.
Joan Baldwin & Anne Ackerson
This fall Anne Ackerson and I will teach a course called “The Museum Leadership Challenge” for Johns Hopkins University’s Museum Studies master’s degree program. As a result, we’ve talked a lot about what we really think the key components of museum leadership are. It’s an ongoing conversation, but the thought of being in a classroom, even a virtual one, puts a different spin on things. I won’t lie: Participating in a program that annually launches newly-minted graduates on the museum world, makes us acutely aware of the museum ecosystem, particularly the job market. The job race is a daunting prospect, asking applicants to create (or shed) versions of themselves via social media, to send hundreds of resumes zooming around the Internet, all while trying to work or volunteer in this field they’ve committed time and money to. It’s a big, complicated deal. And the elephant in many rooms.
Even though a director’s position is sometimes the way out of the hideously low salaries plaguing the museum field, it’s often viewed as a painfully pressured role, so many emerging museum folk avoid the leadership challenge. At small museums and heritage organizations it’s the job that sends 26-year olds to board meetings with people old enough to be their grandparents. Instead, you aim for positions as curator, chief curator, collections manager or educator, director of engagement or social media guru. But here’s what we say: all those positions lead. And more importantly you need to be the leader of yourself. That sounds dopey, but think about it. Your career, in which you’ve invested a bundle of money, isn’t something that happens to you. It’s something you make happen.
When you get your first job and start moving up the museum ladder, you will spend hours in planning meetings. You’ll plan exhibitions, events, and programs. You’ll think about branding, messaging, and mission statements. This will be the 10,000 hours Malcolm Gladwell talks about. Hopefully, you will have good mentors, leaders and guides. Hopefully you won’t zone out with your iPhone under the table. And, hopefully, you will think strategically. Why do we care? Because we want you to think strategically about your own life and career. We want you to make things happen. So, if you’re a new museum person, here are five questions to think about:
- What makes you happiest at work?
- How do you manage a challenge and can you embrace and learn from failure?
- Who are your mentors and advisors?
- Have you made a list of your leadership qualities?
- If you’re already working in the field, do your plans and values align with your museum or heritage organization?
If you are a board member, director or department head, directly or indirectly responsible for hiring, know that the culture of your organization affects not only longtime employees and new hires, but the field as a whole. You are change agents. Here are five questions for you.
- Does your organization have a values statement? Have you read it recently?
- Does your organization have a HR policy and/or an HR department?
- What has your museum or heritage organization done to keep bias out of the interview room?
- What is the most important quality you (or your organization) looks for in new employees?
- When was the last time your board talked about staff salaries?
Strategic planning isn’t just for organizations. It’s for individuals, too. No, it’s not a panacea, but in an overcrowded field knowing what you want will help you move ahead of the pack.
This post is a two-parter. First, it’s about saying what you mean. This is a big deal for museum leaders who often think they communicate clearly, only to find, when things go wrong, how lame their skills are. But whether you occupy the fancy office and go to lunch with trustees or not, you still need good communication skills. Here are five things you need:
- Be a good listener: Say you’re a curator. A colleague asks why boxes in your storage area are stacked close to the heating pipes. There are 1,000 ways to answer the question from “All our storage is inadequate and this is the best of many bad choices,” to “This is temporary while we empty another area,” to “Gosh, I was so anxious about the mold I found last week, closer to the ceiling seemed like a good thing.” But what if you don’t hear the question? What if what you hear is an attack on your skills as curator and your personal worth? The answer you give in that situation is likely to be different, less helpful, and since you feel personally attacked, may escalate a fairly innocuous situation.
- Don’t withhold information: Sometimes we don’t say what we mean because we’re locked in a silent power struggle with a colleague. That person may be struggling too in which case only a minimum of information gets through. Remember, work is work. You all serve the museum, heritage or arts organization. Focus on what the other person needs, provide the best answer you can, and surprise, surprise, your next interaction may be different, but in a good way.
- Do not babble: Do not go down conversational rat holes. Channel your inner Hemingway. Be simple, concise, and specific.
- Try to check your ego at the door: Great communicators make everyone else feel like they’re the only people in the room. Why? Because they communicate with authenticity and care. Try pausing for a moment or two before answering a question. Reflect on whether the question is about you and your skill level or whether it’s about the collection items next to the ceiling.
- When you’re wrong, say you’re wrong: If you snapped at the curator about the boxes, we hope you’re self aware enough to figure out what happened and apologize. Conversely, if you’re the curator, who responded as if you’d been slapped rather than as if a concerned colleague also cared about the collection, apologize. Don’t wait. Don’t write absurd narratives in your head about why this isn’t the right time to talk. Just do it. A real apology offered human-to-human builds trust. There’s no better ingredient for workplace communication.
And now to getting better at what you do: There’s likely a book waiting to be written on the perfectionism found in museums. It casts a pall over everything, putting dampers on experimentation and innovation because staff feels there is no room for risk. The results of too much perfectionism are often spectacularly mediocre.
We here at Leadership Matters constantly harp on reading widely so here are two very different articles. The first is from Outside Magazine on Getting Better. Yes, it’s about exercise, but it’s also full of stuff that applies to life without spandex and a water bottle. Learning to manage challenges, to break work into manageable chunks, to put the cell phone aside–those are skills that apply in the museum workplace just as much as the gym. And for a completely different voice, here is writer Jamaica Kincaid with advice on how to live and how to write. She too advocates less cell phone time and more focus. She’s also about learning how not to write crap, and she advocates not taking yourself too seriously. She is a writer after all. She lives on her imagination.
You are museum, humanities, and culture folk. You spend time trying to make art, living things, and objects speak. You need your imagination too.
Here in America’s Northeast we’re at the peak of the long days. That’s more time to pause, think about more skillful communication, and get better at what you do. Use it. Get better.
In a week a friend and colleague of mine and Anne’s begins a new job. When all the papers were signed, and everything was real, she wrote to tell us the good news. Moving from a smaller organization to a much larger state-funded position, means she transitions from supervising a few to many.
Our friend and colleague is beginning a new chapter, and she isn’t alone. In the last year a number of our professional colleagues have gotten new jobs or new job titles. One thing distinguishes all these folks; not one thinks s/he has “arrived”. They are all learners. They read widely, observe carefully, and reflect. So while this annotated list is for them–you know who you are–we hope all our readers will find something they like.
For the Individual Leader/learner:
- For women leaders: 7 Small Steps Women Can Take to Make Their Voices Heard
- The importance and danger of bias in the workplace: 13 Cognitive Biases
- One of our colleagues to whom this post is dedicated, spent part of his first 100 days as a new leader doing other staff members’ jobs. He already knows what this article teaches us.
- What If Companies Managed People As Carefully as They Manage Money
- This was written by women to their younger selves, but we believe much of it applies to humans: Six Leaders on the Advice They Would Tell Their Younger Selves
About the Business of Museums:
- Written using theatre as the primary example, this article asks a lot of basic questions about non-profit workplace diversification. Diversity for Dummies
- If you aren’t already reading this blog, you should be: How Imaginary Lines Drawn By Cultural Institutions Hold Them Back
- An explanation of the difference between diversity and inclusion and why it matters: Beyond Diversity
A Short list of books and Ted Talks for leaders:
- Daring Greatly by Brenee Brown.
- We Need to Talk About An Injustice a Ted Talk by Bryan Stevenson.
- Why It’s Time to Forget the Pecking Order at Work
Six Practices for Your First 100 Days from Leadership Matters:
- Listen. Don’t wait for your turn to talk, listen.
- Love what you do.
- Participate before making decisions.
- Model empathy and respect.
- Practice reflection. Write, walk, meditate before or after work.
- Identify your biases and work to leave them outside the office.
And, last, a poem from Mary Oliver:
The Summer Day
Who made the world? Who made the swan, and the black bear? Who made the grasshopper? This grasshopper, I mean- the one who has flung herself out of the grass, the one who is eating sugar out of my hand, who is moving her jaws back and forth instead of up and down- who is gazing around with her enormous and complicated eyes. Now she lifts her pale forearms and thoroughly washes her face. Now she snaps her wings open, and floats away. I don't know exactly what a prayer is. I do know how to pay attention, how to fall down into the grass, how to kneel down in the grass, how to be idle and blessed, how to stroll through the fields, which is what I have been doing all day. Tell me, what else should I have done? Doesn't everything die at last, and too soon? Tell me, what is it you plan to do with your one wild and precious life?
—Mary Oliver taken from https://www.loc.gov/poetry/180/133.html
Joan Baldwin & Anne Ackerson