A Holiday Gift List For Leaders, Presidents, Boards and Museum StaffPosted: December 13, 2022 Filed under: active listening, Communication, gender equity, Leadership, museum salaries, pay equity, Workplace Bias Leave a comment
Dzaky Adinata – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=93698541
In many cultures worldwide, winter is a time for gift giving. In that spirit, here are a dozen things museum leadership can give their staffs apart from a holiday party.
- According the Bureau of Labor Statistics, only one in five U.S. workers has sick leave. Part-time workers are least likely to be offered sick leave, while union members are more likely. Do your staff–all of them–have the agency to take care of themselves or a loved one while also getting paid? Give the gift of personal time.
- When things go wrong at work, do you have colleagues–inside or outside your workplace– you can really talk to? Who do you download to, dirt and all? Find them, online or in real life, and your staff or team will thank you. We all need space to download. Give yourself the gift of your own personal posse.
- Is your staff happy? How do you know if you’re not listening? Have coffee with a different group of staff every month, and give the gift of listening.
- Has your organization done an equity pay audit? Unconscious bias doesn’t just plague people we don’t like. We all have it. Give your staff the gift of equitable pay.
- For leaders and for followers: give the gift of not rushing in. If you’re angry, especially if you’re really angry, press pause. Dial it back. Separate your personal anger and hurt over whatever happened, and approach your staff member or colleague when you’ve sorted things out.
- Give the gift of respect: Most humans try to do their best. Approach problems as if your staff meant well. Sorting out what went wrong will be easier.
- Do you and your staff have an HR policy? Is it easily accessed and clear to navigate? Give your staff a path to resolution for workplace problems.
- A frantically busy staff isn’t always a creative staff, and spitting out to-do lists isn’t the mark of good leadership. Time is precious. Acknowledge it, and give your staff time to think.
- Good leaders are empathizers. Give your staff, colleagues and board the gift of empathy. Hopefully, it will come right back at you.
- Transparency is inclusive. Give your staff the gift of shared information. You don’t need to have all the answers, but build trust by sharing what you know.
- Do you muddle kindness with inequity? You let staff member “A” leave early because their relative has weekly appointments, but say no to staff member “B” who can’t make their after-work class without leaving early. Give the gift of equitable policy making and abide by it.
- We are all flawed, fallible humans. Some days we get the bear, others the bear gets us. Don’t let past mistakes imprison staff or you. We all need the opportunity to try again and succeed. Take the proffered apology and move forward. Give yourself and others the gift of acceptance.
Above all, be kind. That doesn’t mean being mushy or losing your principles, it just means being kind. Remember to use “Yes, and..” and also “How can I help?” Who knows, maybe you and your colleagues will reframe leadership in 2023?
Be well, do good work, enjoy family and friends, and I’ll see you in January.
What Does PMA’s Victory Means for the Rest of Us?Posted: November 13, 2022 Filed under: Human Resources, Leadership, Leading Across Organizations, Museum, Museum Boards, museum salaries, museum staff, Museum wages, pay equity, Race Leave a comment
Joe Piette – https://www.flickr.com/photos/1097
Unless you buried your phone, you’re likely aware that for 19 days this fall staff at the Philadelphia Museum of Art were on strike. Two years ago PMA workers unionized. What followed wasn’t workplace Nirvana, but rather protracted negotiations between their union and PMA leadership. Around the beginning of October when negotiations stalled, museum workers walked out.
From the sidewalks the striking workers watched, wondered and worried as PMA hung its Matisse show, while waiting for Sasha Suda, PMA’s new director, to acknowledge what was going on. Other museums and museum staff used social media to advocate for a sector-wide shunning of the Museum until the strike was settled, which it eventually was. Here are some of the Union’s contractual victories: cheaper healthcare; a month of paid parental leave (Previously, it was nothing); additional bereavement leave; a pay equity committee; limits on the Museum’s use of temporary staff and subcontractors.
It’s a David and Goliath story, and even without knowing much about museumland politics, it’s hard not to root for the underdog. But what about everyone else? What does PMA’s Union victory mean for the other 34,999 museums and heritage sites in the country, not to mention their 160,700 employees? In the long run, does a union victory in Philadelphia matter to the rest of us? Well, it should. The optimistic part of me hopes that slowly, very slowly, museum organizations, museum boards and leadership are waking up to the resource their staffs represent. While cynical board members may not care their organization’s staff are smart and dedicated, they surely understand that constant staff churn represents a ginormous investment as remaining staff cover positions while the organization advertises, interviews, hires and onboards, again.
And while this might be too Pollyanna of me, does the PMA settlement demonstrate museum staff have a voice, that their absence from work is meaningful, and negotiation is possible? Hopefully, yes. Here are seven other reasons why PMA’s union victory might be meaningful for museums and their leaders everywhere.
- If you didn’t know already, staff matter. I say that here often because it’s true. Our sites, whether they are about creative expression, heritage and culture or exploration and discovery are NOTHING without their staffs. Staff care, and museum leadership needs to care back. Whether it’s helping visitors find their way around a complex site, collaborating with communities to deepen understanding, hanging pieces correctly or making sure visitors and objects are safe, museum staff make it happen. Imagine Wilkening Consulting’s “Museum-Goers When Asked to Imagine No Museums” if instead it read, “Museum Boards When Asked to Imagine No Museum Staff….”
- Museums are workplaces not just community containers of beauty, history or science. Over the last quarter century, museums have neglected their workplaces, acting as though talking about staff, leadership and money was somehow in bad taste. From a failure to value leadership, failures to talk about leadership and the workplace, museums and museum organizations have acted as if their loftier goals meant museum magic had to happen regardless of poor pay, a gender pay gap, racial and class bias, workplace bullying, the ongoing imprint of patrimony, and on and on. Why do museum board members accept bad behavior on the part of leadership that they wouldn’t tolerate in the for-profit world?
- Scarcity: Striking is a huge risk. People don’t do it for fun. “We can’t” and “we don’t” are not phrases that move conversation between workers and museum leadership forward. They aren’t “Yes, and.“Whether your endowment is in the millions or barely anything at all, staff need leadership to be transparent. What would have happened if PMA’s leadership had acknowledged its HR issues from the get-go, beginning conversations with “There’s a problem, let’s fix it, acknowledging the need for dependable healthcare, the loss of loved ones, or the addition of a new human being in a family are moments PMA should provide for and support? Compromise is best begun from a positive place. If you, your board and leadership believe staff matters you will find a way to shake off scarcity’s shackles. Everyone wants a happy, engaged staff, but if the barista across the street from the museum makes more per hour than your front-line staff, can you blame them if they don’t want to stay?
- Staff–all staff–need to feel safe, seen and supported which is why your HR Policy matters: Do you differentiate between your staff–the full time, degreed folks–and the “workers”–the part-time, hourly folks? When was the last time you looked at your HR policy? When was it written? Is it time for an update? Is it easily accessible? Does everyone, from your housekeepers to leadership, know how to find it?
- Equity matters: What if the salary genie descended tomorrow and enabled you to raise everyone’s pay? Would you do it? Would you have equitable salaries? Maybe, but maybe not. You might be perpetuating a system that for generations paid women and people of color less. Don’t take blame, take action: do an equity audit so you know for sure.
- Grow up: There’s a lot about adulting that’s ridiculously annoying: taxes, bills, being responsible, but like individuals, organizations need to grow up as well. PMA staff couldn’t grieve, and apparently, unless they had outside income, weren’t supposed to have children. Hiding behind the but-we’re-a-non-profit myth or that’s-the-way-it’s-always-been, doesn’t help anyone, least of all staff. Surviving in the museum world shouldn’t be a form of hazing–I suffered, therefore the next generation should suffer. Adult organizations recognize they’re hiring people, people with lives, loved ones and families. Their boards need to do the work so that staff can be their best selves.
- Directors aren’t just leadership’s boss: Museum directors or presidents are responsible for the entire staff, not just the leadership team. Your leadership team may be the folks you see frequently, but if harassment happens, if 40-percent of your front-line staff has to get second jobs to make ends meet, you should know. And hopefully work to make change. What would have happened if Sasha Suda had started her first week by greeting the strikers? What would that have looked like?
I’ve been writing this blog for a decade, and railing, whining, and preaching for Museumland to take staff as seriously as it takes its audience. And yet, here we are 10 years later, and the needle hasn’t moved much. Workplace Bullying is still one of my most popular posts. What does that tell you besides the field is littered with leaders who equate power with being mean? And yet, our field is full of talented, smart people. How hard is it to treasure them? What is the living wage in your region, town, city? Does your board know what percentage of your organization’s positions fall below the living wage? In September I participated in an AASLH panel titled Approaching the Museum Worker Crisis through Systems Thinking. We used the hashtag #workingonmuseumwork. Forget the hash tag. Twitter may be on the respirator by then, but what if we–and by we I mean museum service organizations, museum leaders and museum staff–dedicate 2023 to museum workers? What could the museum world look like then?
Be well. Be kind. See you in December.
The Volunteer Conundrum: Necessary, Infuriating or Both? And Why?Posted: August 15, 2022 Filed under: Gender, Leadership, Leadership and Gender, Volunteers 1 Comment
Look back at museum history and you will uncover a wealth of volunteer labor. From Mount Vernon to MOMA, local historical societies to heritage sites, many of the organizations we think of today as staid and patriarchal, owe their lifeblood to a group of volunteers whose persistence created an organization. That moment of transition, when a group of like-minded individuals with a museum goal in mind becomes a non-profit organization governed by a board of trustees is a delicate one. Like it or not, it can stamp organizational culture into the future because it hallmarks who volunteers are, and most importantly, who they’re not.
Recently Michelle Moon tweeted that museum volunteer programs are a “third rail,” meaning they’re too volatile to discuss. Moon’s tweet was in response to an Instagram post on ChangetheMuseum praising Veronica Stein at Chicago’s Art Institute for her efforts in disrupting its all-powerful Docent Council. I don’t want to litigate the Art Institute’s case, but even today almost a year after it fired its docents, the topic still lingers. Why? Well, it incapsulates a gazillion touch stones, many dating to pre-Covid museum history and some to today. There’s gender–the vast majority of museum volunteers are women. There’s ageism. Many museum volunteers are older. There’s class–many volunteers, often called docents from the Latin docere, to teach–are wealthy or at least privileged enough not to work 40/hrs a week. There’s race: the vast majority of docents are White. They are frequently powerful. Collectively they form or join docent organizations, and, because they offer a much-needed service–their organization grows powerful. Even at a county historical society, a strong docent organization has the capacity to cripple an education program by simply failing to show up. And, at another level, docent programs’ origins are often built around women without careers who volunteered while their husbands took positions on the board.
Blech. I can hear you eye rolling. Like we need to feel sorry for a bunch of rich, older, White women, who create organizations within organizations and then refuse to take instructions from anyone. Right? But there are so many ways this narrative speaks to the museum field’s failures and problems. First, how did volunteer organizations become a third rail? Well, to quote Deep Throat, follow the money. When you put a group of well-heeled women together, who by the way, are often married to well-heeled men, who museum leaders want to court for one reason or another, they are teflonned. Any hint of distress might mean less giving. Is it possible less-than distinguished volunteer teaching is an acceptable trade off for a more robust annual fund? Second, museum education is the pinkest place, in a pink collar field. I’ve written about this a bit, which you can find here, and here, but if you want a concise break down look at Margaret Middleton’s Twitter thread on the subject. Her point, that if a field (museum education) is devalued from the start, volunteers are often a necessity not a choice. But once again, dismantling a volunteer program, may mean biting the hand that feeds you.
I understand it’s easy to sit at your laptop and act as though fixing the museum world’s problems is a snap. It’s not. Negotiating with humans is frequently challenging, and who has time to unravel organizational culture when there are so many more pressing problems? That said, here are a few thoughts for anyone considering dismantling or changing a volunteer program.
- The Bureau of Labor Statistics devotes considerable time to the act of volunteering. In fact, it defines volunteers as workers albeit unpaid ones.
- If volunteers are staff, just unpaid staff, then their work expectations, as opposed to their time, shouldn’t be less than staff. In other words, both types of worker, paid and unpaid, serve the museum. Anything less seems like it leads to anarchy. For example, what if the volunteer EMTs formed their own organization and refused to be trained by their parent organizations? No one in a museum will die if their teacher is a volunteer as opposed to staff. So…. is the question whether volunteers are old, rich, and White or whether they are serving themselves and not the institution?
- Interestingly, the BLS notes that volunteers can’t displace paid staff.
- I once heard Darren Walker talk about diversifying the Ford Foundation’s board. Perhaps because there is such is level of trust between Walker and his board, the board confessed it couldn’t diversify on its own. Board members didn’t know how, and more importantly they didn’t know who. Is it possible that if charged with diversifying their ranks, some docent organizations would need help? Might they also need help getting to the point of asking for help?
- Like staff, volunteers, even the most magical ones, take a lot of work. (For example, the Met’s volunteers train weekly for six months before being let loose in the galleries.) Too often volunteers train volunteers, creating an elaborate game of telephone, and distancing volunteers from staff. Does your organization have resources to educate and incorporate volunteers into its wider staff?
- Has your museum leadership talked about how to transparently deal with questions from paid staff about their worth, and what they’ve invested in the field, which is not nothing, versus a volunteer who swans in once a week for a tour?
- Has your museum talked about the language it uses when defining groups, either within or without the museum? As part of DEI education, many organizations offer help regarding appropriate group descriptors. As a museum leader, have you needed to model similar behavior when it comes to volunteers?
- At the end of the day, does your museum need volunteers? If so, which is more important: having a diverse body of volunteers or having volunteers who serve the museum? Or both?
Be well. Stay cool.
See you in September.
Two Leaders? No Leaders? Where’s the New Paradigm?Posted: July 14, 2022 Filed under: co-directorship, Leadership, Leadership and Gender, Metropolitan Museum of Art, Museum, Museum Boards, Nonprofit Leadership 1 Comment
We don’t need leaders, we need just need a load of people working together to make sure everyone else is alright. Jayde Adams in Serious Black Jumper
There is little doubt Covid lifted the rock off a host of museum leadership issues. In the hierarchy of museum problems, some point to our class-driven, patriarchal, colonial, racist organizational culture. Others feel the first priority on the road to organizational health might be to eliminate the person in the top spot. While I understand the cries of “Do away with museum leadership,” (I mean look at the tangled mess at the Philadelphia Museum of Art), to date, no one seems to have suggested a workable alternative more detailed than “We don’t need the leaders we’ve got.”
Many of us know or have worked for a bad leader. My optimistic self would like to think that while not perfect, today’s museum leadership is an improved version of the leadership I encountered when I began my museum journey decades ago. At least I would like to think it is. While the Bureau of Labor Statistics lets us know who’s working in museums, it’s sometimes difficult to parse exactly who occupies the top spot. Nevertheless, groups like Museum Hue and GEMM act as a kind of collective consciousness for us simply by taking note of leadership change as it happens.
That is not to say bad leadership’s been banished. Recently I reached out to a younger colleague to ask if they would be interested in a newly-opened leadership position. It’s not a small job, but the outgoing leader has done little more than use the museum and its contents as wallpaper for a personal agenda. While they were honored I thought of them, they said no immediately because a) They’re still recovering from being beaten up in their last leadership position, and b) They feel organizations who hire bad directors, and then publicly praise them, likely have no idea what good leadership is. Probably true. Boards perpetuate their own bad culture by repeatedly hiring versions of the same leader , and then scratching their heads when the scenario repeats itself for the umpteenth time.
So what would museum leadership look like minus the trope of the highly-paid soul in the biggest office with the most perks? One model might be the idea of co-CEO’s. The most obvious version of that is, of course, the Metropolitan Museum, which until recently had both Daniel Weiss, serving as business and administrative leader, and Max Hollein, looking after programming and curatorial issues. Dual leadership, where one leader’s responsibilities sometimes point inward while the other looks outward, has been used successfully in educational settings, but the Met’s choice was unusual in the museum world. It’s also one more easily accommodated at an organization like the Met with an endowment bigger than a tiny country’s GDP. After all, how many boards, who regularly grumble about salaries, would agree to the equivalent of two top positions? And yet, it’s a model that, while unspoken, exists at some government museums, where the top position is appointed, while the deputy director runs day-to-day operations. In the past, this model was often gendered, with the top post going to a man, while the worker-bee position was filled by a woman.
Maybe you read Niloufar Kinsari’s article in the June NPQ? There Kinsari describes moving her organization, away from top-down leadership. One thing I found compelling was her transparency about both the process and her own feelings. She recalls the factory collectives she visited in Argentina, describing them as places where “self-management, mutuality, respect, and dignity were the norm.” What’s not to like, right? So, after discussion and a vote by her staff, she proposed to her board that she lose her ED title. And the board’s response? Initially, it said no. The title stayed, but the organization continued to change, creating a dual-headed leadership structure not unlike the Met’s. This allowed Kinsari time to wrestled with her own demons about self-worth and hierarchical conditioning. As a woman of color, Kinsari writes, “I had been conditioned all my life to chase the positive feedback loop of visibility and status. Attaching some of my professional self-worth to my title was second nature.”
Kinsari and Pangea Legal Services have continued to flatten their hierarchy, and although she doesn’t explain it, her article concludes by saying the organization now uses a “hub” model where “staff self-organized to co-lead internal administration and development committees, including finances, communications, human resources, governance, and operations hubs.” Are museums doing this? If yes, how did their boards react? And is this kind of change easier to effect in a lean organization like Kinsari’s, where the biggest investment is the staff, as opposed to many museums with challenging collections to contend with, not to mention complex campuses populated with aging infrastructure?
It seems as though museum leaders behave badly daily. Not all of them certainly, but enough so there is a steady drain of emerging and mid-career folk who’ve simply had enough, and they’re leaving. Soon. Or they’ve already left. They’re filled with regret, but they’ve had enough. Would a different leadership model change things? Maybe. Sadly, though, organizations most likely to experiment with new leadership models probably already have a healthy culture of collaboration, mutual support and empathy. Change for them is natural whereas organizations prompting people to leave the field are stagnant, rigid, patriarchal, and far from empathetic. Not to mention that too often their pay stinks especially when compared with non-museum employment.
This sounds dark, but some days it feels like evening with the orchestra playing, and if we look, we’d see the iceberg coming towards us. We’ve talked ad nauseam about leaders’ individual behavior, but how should the architecture of museum leadership change to prevent the ongoing brain drain? I’d love to hear some thoughts.
In the meantime, be well, be kind, and make change where you can.
See you in August,
The Opposite of Kismet or What Happens When Work and Personal Values Clash?Posted: May 23, 2022 Filed under: History Museums, Human Resources, Leadership, Leading Across Organizations, Museum, Organizational Values, Stay or go?, Workplace Values Leave a comment
Recently I read an Emerging Museum Professionals posting. The writer had invested time and money in a graduate degree in Museum Studies. Covid blocked her path. Then her thesis was rejected. In the meantime, she’d found museum work. She asked whether she should finish the thesis or abandon her degree. Her respondents were divided on the answer, but everyone seemed to agree that investing in a degree is a big deal, and a lot of time and money to leave on the table. This post isn’t really about the need for graduate degrees–that’s another discussion.
It is about that golden moment when you find a field where everything seems right. Charmed by what lies ahead, you imagine yourself doing work that seems important and interesting. Then, grad school ends, and you are thrust into the world. If, like the EMP writer, you’re lucky enough to be hired or already have a museum position, soon your narrative is subtly different. You are no longer a solo traveler; instead, you are part of a larger organization whose needs and values are paramount. How do you know if you’re hitching your wagon to an organization whose values are similar to your own? How much do your own values matter? After all, they’re paying you to be a registrar or an educator or a curator, not wax philosophical about ethics, right?
But what happens when that same organization, the one that chose you out of all those applicants, does something that feels wrong, implicitly or tacitly, sweeping you up in behavior you can’t condone? In that honeymoon moment when you’re courted for the position you’ve always wanted and everyone is on their best behavior, it’s often hard to read a museum’s values. We live in a fractious, divided society where everything from race to faith to medicine to climate change pushes friends and colleagues apart in a heartbeat. Did you ask the right questions? Were there red flags you missed?
If you’re involved in the museum world at any level, you’re likely aware of the Montpelier Controversy. In brief, Montpelier, President James Madison’s 2,600-acre Virginia estate, once home to an enslaved population of 300, spent most of its years with an all-white board. In 2021, Montpelier announced its board would share governance with representatives from Montpelier’s Descendants Committee. All seemed well until earlier this year when the overwhelmingly White board amended its bylaws, seemingly refusing to recognize or collaborate with the Descendants Committee. Subsequently the CEO and the Board fired five full-time staff who supported the merger. When I started this piece, 11,000 people had signed a petition asking Montpelier to seat new Descendants Committee board members immediately. More recently, after being openly chastised by the National Trust, the Board, Montpelier’s Board voted to approve a slate of candidates put forward by the Descendants Committee.
Montpelier is a dramatic example of a heritage organization off the ethical rails, and the Montpelier Five are undoubtedly the poster children for a values/museum workplace clash. After all, getting fired for your beliefs certainly takes the uncertainty of whether to stay at a job that seems to compromise your north star. But what if your experience is less dramatic, but challenging nonetheless? In a field where jobs are hard won, few are privileged enough to pack it in over a values clash. And yet….where do you draw the line between your personal values and the organization’s?
- Start by acknowledging that all of us have different values.
- If you haven’t already, consider your organization’s history. How did it get to be the place it is? Where are its values most evident? To do this, you may want to look at Aletheia Whitman’s Institutional Genealogy pdf.
- Is what you’re struggling with a value conflict or a personal conflict? Admittedly the two can overlap, but fixing them means untangling one from the other. Don’t go to leadership with a value conflict only to rant about how you’re being bullied. Being bullied is wrong, and creates a horrific work climate, but it’s not a value conflict.
- Take baby steps: Try and suss out how the the behavior that is bothering you came to be. Was this an on-the-fly decision or the product of weeks of discussion?
- Are you alone or one of many? There is a value in numbers if you plan to approach leadership about a values issue.
- Is it one issue or is it the organizational culture?
- Pause and consider what you believe and how far you’re willing to go. Ultimatums lead to ultimatums.
- Think deeply about where the line in the sand is for you. Are you willing to walk away?
- You can’t know ’til you know: Discuss your concerns with museum leadership.
- If leadership won’t or can’t hear you, does your workplace have employee support for whistle blower complaints or concerns?
Many museums and heritage organizations have emerged from the last three years better organizations. They’ve become partners rather than pontificators, empathetic rather than my-way-or-the highway, collaborators in understanding who we are in the today’s world. Change isn’t easy though even at the most woke organizations. Part of your due diligence during the hiring process is to try to suss out your organization’s ability to grow and change. Does it match your own? If you move at a different pace, are you willing to be an outlier, a Joan of Arc? Not all of us are willing or able to try and lead an organization out of a values morass. What are you willing to sacrifice?
Be well. See you in June.
How Not to Write a Job DescriptionPosted: February 14, 2022 Filed under: Deaccessioning, Human Resources, Leadership, Leadership Transition, Museums Are Not Neutral, Self reflection, Self-Aware 1 Comment
This week the Berkshire Museum posted a job announcement for a new Executive Director. The museum, a small-city, art, history & science museum, founded in 1903, and located in Pittsfield, MA, has been without a full-time director since last September when Jeff Rogers abruptly stepped down after two and half years in the top spot. For anyone with memory loss, in 2018 the Berkshire Museum became the poster child for monetizing collections when it summarily sold $57 million worth of art, earning censures from the museum world’s governing bodies, and condemnation, gossip, and ire from the museum world at large.
From the outset, the Museum said it wanted a new direction, adamant that it couldn’t be who it wanted to be unless it sold a piece of itself. The decision left a gaping hole in its collections, and four years later, an organization that still seems to lack intent and self awareness. It hired M Oppenheim, a San Francisco-based search firm, to find a new ED. This week they released a five-page position description. Oppenheim is not without museum experience–the Philbrook, Peabody Essex and the American Visionary Museum are among its current and past clients–but the kindest thing you might say about the Berkshire’s position description is that it’s odd.
I used to work for a leader who liked to tell me, “Joan, people don’t change.” I found those four words truly disheartening because I really wanted people to change. I wanted them to be better, to do their best, to be humane. The unspoken words behind that sentence were “unless they want to.” In this case, I have to assume, based on this strange job description that–despite a five-year interval–the Berkshire Museum’s culture remains unchanged, a place in search of itself in a city it doesn’t much care for.
The job description begins with this sentence: “The Berkshire Museum offers in-person and online visitors a gateway to the natural and cultural history of the Berkshires and the world,” a weirdly grandiose sentence (the world?) built around a curiously passive verb. One of the themes that comes through in the five-page job description is board leadership. We learn the Board has installed strong financial controls, and that it’s hired a design firm whose work will be well underway before the new director arrives. The job description requires (their word) an experienced fundraiser, and explains the ED will manage curators, who curiously are listed separately from staff and volunteers, as well as collections, operations, exhibits, programs, systems and processes to ensure financial strength….” Community partnerships are barely mentioned. In fact, community seems to take a back seat except for a sentence about Pittsfield’s population. And the re-centering of whiteness, decolonizing, and doing the work of dismantling patriarchy that has permeated much of the museum world’s narrative over the last three years is absent. Nor does the job description point to towards success. Instead it seems to suggest the new director’s time will be spent shoring up unfinished projects. And despite the fact that the museum appears to have multiple curators, the new director will be responsible for a monster amount of collections management.
Absent from this executive vision is a museum value statement, the idea of community partnership and participation, of creating a place where Pittsfield’s people are resources. The idea of the citizens of Pittsfield and Berkshire County as independent beings with agency who deserve respect doesn’t come across. Perhaps most frighteningly, the Museum is portrayed as a place unmoored from the museum world’s ongoing themes of partnership, participation and not being neutral. After reading all five pages, imagining the Berkshire Museum as a place for voter registration, for discussion on Berkshire County’s wealth disparity or as a lynch pin in community collaborations around the subject of race feels close to impossible. It reads as though the Museum’s biggest accomplishment was raising a ton of money by monetizing the collections’ treasures, and the Board, like folks hallmarked by the Depression, remains fearful the money, and thus their hedge against a board’s relentless work, will vaporize.
The museum workplace is having a moment, and it’s not a good one. Numerous directors have either been pushed aside or have left as part of the Great Resignation. I recognize as well that for some this entire post could be considered a cheap shot, but Oppenheim makes it clear on its web site that they want the job description shared, which is how I ended up seeing it through social media.
The Berkshire Museum is in the unusual position of having a strong endowment, and yet somehow it has ended up with a job description that, rather than emphasizing the Museum, Pittsfield, and Berkshire County as places of possibility and avenues for change, reinforces the same scarcity mindset that prevailed four years ago, and still seems to hang cloud-like over the building. To quote Amy Edmundson’s The Fearless Organization, (recommended by Museum Human) “The problem solving that lies ahead is a team sport, and so you want to start by identifying and naming what the creative opportunity might be…” Creative opportunities in this job description are absent. Instead, it’s mind the money, mind the store, expand and diversify revenue streams, and maintain best practices.
Words matter. A lot. Few organizations are where they want to be, but many can point to what they’re proud of, what they’ve accomplished, what matters, and why. For many in the museum world, people matter: people who visit and people who are part of the workplace. Is this job description an anomaly? How many other museums and heritage organizations, especially those who can’t hire a search firm, don’t have enough self-understanding to identify their faults alongside their creative opportunities? I worry the answer is too many. Yet doing that work is the first step toward change, and that’s how we grow.
Be well, be kind, and do good work, and I’ll see you in March.
Taking Murawski’s Lead: 22 Ideas for ChangePosted: January 24, 2022 Filed under: Leadership, Leadership and Gender, Leading in Crisis, museum salaries, museum staff, Museums Are Not Neutral 2 Comments
Wednesday I was sitting in a doctor’s waiting room scrolling through email when an announcement for George Washington University’s Museums Today popped up. The title was 1,000 Ways to Reshape the Future of Museums with Mike Murawski, author of Museums as Agents of Change. I registered on the spot, which seemed appropriate since one of the things Murawski has encouraged his readers to do is reflect on their own relationship with change. Change is not something I adore, but encouraged by Mike’s writings and others, I am trying to live more in the present and not always anticipate the future as its own special brand of disaster.
Promptly at 6 p.m. Murawski appeared on screens around the globe. He opened by asking us to breathe while reflecting on an ancestor, mentor or guide who’d been important to us in our journey. He followed up by reminding us that for him (and for me too) museums are human-centered. I am old enough to remember when that would have been considered a completely wackadoodle thought. The immediate response would have been about the primacy of collections, their importance, and their meaning. A decade or more ago, museum humans’ only role was to be the air beneath the wings of the collections they served. A noble cause, but ultimately futile because it is humans–as care givers, people who see, people who love, people who bring their own stories, people who transform things–are the ones who make collections do their work.
As the talk continued Murawski reminded us to be disrupters, to celebrate the questioners among us, and to–where we can– break down hierarchies within our own institutions. So in that spirit, here are 22 ideas for creating change in 2022. What would you add? What would you delete? Share them here or with Mike.
- Consider cross-training both as a way to augment staffs decimated by COVID and by plummeting budgets, and as a way to increase understanding and empathy across your staff.
- Prioritize your HR policy: Does it reflect your organization’s values? If not, why not? Does it reflect life in 2022?
- Put your organizational values front and center. Are they something the staff knows about, talks about, lives and breathes? If not, why not?
- If you’re among the many museum folk preparing to advocate for the field in front of state or federal legislators, consider letting them know how important the American Families Plan will be to your organization in terms of parents, families and caregivers who make up your staff.
- If you’ve never done a gender equity audit, consider doing one now. Women make up slightly more than half of museum staff nation wide, and the gender pay gap remains a critical and unsolved problem.
- Model praise for questioners and creative thinkers.
- Always say thank you.
- Support your colleagues. Build empathy.
- Support going outside. It’s 4 degrees where I am, but when it’s appropriate, take your meetings on a walk or out-of-doors.
- Take a page from Murawski’s book and begin a meeting with a breath. Or more than one.
- Nurture creativity by looking at time. Are you and your colleagues always rushed? Are you ever encouraged to sit and think? If not, can that change?
- Make sure planning meetings include your colleagues across the spectrum so doers, not just deciders, are in the room.
- Work to make discussion equitable.
- Stand up and advocate when a colleague is bullied or harassed.
- Consider how your organizational values connect with your larger community? Does your museum help with issues around citizenship, food insecurity, childcare, or the environment? What would that look like?
- What work have you done recognizing historical and implicit biases ingrained in your catalog, in the narratives dominating your collections, and in the presumption of privilege permeating your organization?
- How does your museum or heritage site work against neutrality? When was the last time you took a stand?
- How is your museum or heritage site working to recenter its whiteness? See also La Tanya Autry’s recent article for more questions.
- How do new ideas germinate at your museum or heritage site? Is it an easy path or a risky one? Does everyone from security and housekeeping to curators understand how to broach an idea?
- Is your staff is safe, and do they know what to do if they’re not.
- Are your colleagues are seen?
- Are they are supported?
Be well. Be kind. Do good work, and do good at work.
Why a Hiring Freeze Isn’t Always the AnswerPosted: January 17, 2022 Filed under: Happiness, Leadership, Leading in Crisis, museum staff, Nonprofit Leadership, Organizational Values, Stay or go? 1 Comment
There is a saying that we’re all dying, just maybe not today. Something similar might be said about the nonprofit/museum workplace, that we’re all looking for a new job, just maybe not today. Unless you see retirement’s taillights gleaming in the distance, I would hazard a guess that everyone else has their periscope up more than they’d like to admit. It’s a way of day dreaming, of trying on new professional identities. Is that museum really as pleasant as it looks in the photos? Is living there a lot more expensive? Could I do the job? Could I move? What about my partner, children, parents? Is it reasonable to think about a new job in the middle of a COVID spike?
But the fact that a lot of us look casually or seriously isn’t the point. It’s what drives the looking: curiosity, better pay, new goals, a change in a partner’s position are likely a few of the positives. People also seek new jobs because they’re miserable. Maybe they are harassed or bullied at work; maybe their work is monumentally boring or maybe they work for a control freak where their only creative choice is choosing lunch. In fact, if we believe Resume Builders recent report, 23-percent of currently employed individuals plan to find a new job in 2022. Another 9-percent already have new jobs, while an additional nine-percent will retire. That’s 41-percent of sturm und drang, which is a lot of workplace churn.
And then there is this: In addition to all the other ways it’s complicated the museum workplace, COVID has tightened budgets to the point where many people do their original job, plus bits and pieces from staff who resigned or retired, leaving current staff with a constant feeling of whiplash. There is a direct connection between the speed with which those additional tasks become permanent and a staff member’s ability to perform them well. Succeed and they are yours forever. Fail, and you’ll get additional tasks as leaders spitball work at the overtasked. Funny thing though, these random tasks are most often assigned to the so-called rising stars, the driven, the scarily competent.
Then why do the leadership–otherwise known as your organization’s deciders–always seem surprised when those same scarily competent people look elsewhere and leave? Do they really think having a job that’s like a daily game of Jenga is the way to entice talented employees to lean in? Have the deciders forgotten that overloading current staff–even if it’s only until COVID is over–means they may loose staff in whom they have an investment? How does it make sense to have a multitude of tasks that need filling, but say you’re in a hiring freeze, and yet it’s the addition of those same tasks that cause current staff to look for work elsewhere, putting the entire HR picture into a kind of death spiral? Where’s the logic in not being able to hire for work that needs to be done, but allowing that to put you in a position where you loose staff with training, institutional history, and talent precisely because you’ve overloaded them? And it’s not like hiring doesn’t cost. At a minimum, it’s a time suck. Even doing 75-percent of a search on Zoom, you still need to bring finalists to your heritage organization or museum, and that costs money. Sometimes a lot of money. And then there is the time current staff invest in searches, in mentoring, in training, and onboarding. Time taken away from their already overloaded to-do lists.
So what do I think the deciders should do? Well, in a perfect world, communicate up so trustees understand the organizational employment picture. Make sure they’re clear about the costs associated not just with hiring, but in keeping talented, engaged, creative, competent staff. Make sure they understand that not hiring brings its own costs, and further, that an individual who is depressed and dissatisfied because their job mutated because of a staff freeze isn’t a bad person. Wanting to do what you were hired to do isn’t a character flaw. I’m not saying one conversation or even a series of conversations is a panacea, but at least when you have those conversations you’ll have something to report when you communicate down or across to your colleagues and leadership team. And that’s key. You’re asking for sacrifice in a situation that’s gone on for two years and shows no sign of let up. Your colleagues need to understand that a) the shared sacrifice applies equitably (even to the leadership), and b)what the organization’s plans are for moving forward.
- If you have an HR person, consider involving them in discussions regarding future planning. Ditto your CFO. There is more to both of those jobs than the bottom line and benefits.
- Make sure your board and your CFO understands a hiring freeze can lead to loosing staff, and what a talent drain means in terms of both overall expenses and your brand. If you emerge from the COVID years, a pale imitation of your former self, unable to hire the talent you once had, will the hiring freeze be worth it?
- Emphasize or re-emphasize your organization’s core values. Does the combination of freezing some positions while overloading others fit your organizational value statement? If not, this might be the moment to talk about it openly and transparently.
- Is your hiring freeze global or does it apply only to new positions? Whatever decision you make, be transparent about it, and stand by it. If you suggest it only applies to new positions, and then refuse to back-fill an existing position, your ability to maintain trust can be sorely damaged. Why should staff believe you moving forward?
- Your staff and your colleagues aren’t stupid. Explain the why. If you’re an organization whose endowment grew during COVID, and yet you’re still tightening your belt, explain why. Again, trust your staff to listen and ask questions.
- Be authentic, truthful and honest. Offer a future check-in. If the bulk of your money comes in between May-September, set a meeting now for early October to update colleagues on staffing.
COVID continues to damage the workplace as it damages families and individuals. If there is any lesson to come out of this period, it’s that we need to be truthful with ourselves, those close to us, and our workplace colleagues about our capabilities both individual and organizational.
Be well, be kind, and do good work.