We begin this week’s post with an invitation. For all of you traveling to Austin for AASLH’s annual meeting beginning September 6, we hope you will join us for “Workplace Confidential: Museum Women Talk Gender Equity,” a panel discussion on women in the museum workplace. Moderated by Anne Ackerson with panelists Ilene Frank, Shakia Gullette, Wyona Lynch McWhite, and Jessica Phillips, this panel is for everyone across the history museum world who has experienced gender-related workplace issues. It’s for emerging professionals who’ve had to deal with sexual harassment; it’s for women of color, who deal daily with the intricate intersection of low pay and benign racism, and for leaders who handle complex personnel issues daily. Panels like this one can’t wave a magic wand and send you home to a changed workplace, but they can help you feel you’re not alone, and offer advice and encouragement.
So if you’re going to be in Austin, we hope we’ll see you September 7 at 1:45 pm. Anne and I will also be around afterwards if you want a copy of our new book, Women in the Museum: Lessons from the Workplace. We’ll even sign it for you!
Last week Artnet News ran an article titled “Is It Time for a Woman to Run the Metropolitan?” Their answer was a resounding yes, and just in case the Metropolitan’s interview list isn’t gender balanced, Artnet provided them with names of 11 stellar female candidates.
Leadership Matters would like to see the Metropolitan with a woman director too, but we’re going to go out on a limb here: The Met’s having a woman director is not the goal. The goal is equity in the hiring process. Frankly if the Met’s destiny is female leadership, history tells us now might be the moment. The museum has reorganized its leadership structure so that whoever becomes director will report to Daniel Weiss, President and COO. This “almost” position is a traditional spot for women. It is a place they frequently occupy in government museums, playing the role of task-oriented collaborator while the political appointee (often a white male) in the corner office is the performance based communicator. In addition, if you scan leadership positions in American museums, you will find that women are often hired to lead troubled organizations. Once they are off the respirator, they’re frequently handed back to a male leader.
Even though we wrote the book on women in the museum workplace, there’s something really depressing about parsing the leadership game by gender. In an equitable world we would assume that the Metropolitan’s top-five list might include women, people of color, and openly gay or queer candidates because we would assume that good leadership is good leadership. We would assume that as the country’s largest museum, the Metropolitan wants to lead by example. We would assume it incorporates blind screening into the hiring process, and that HR staff and board committees discussed how unintentional bias affects hiring. (They could learn a lot from AAM here.) Last, we would assume that the Metropolitan wants a professional with a proven track record and a particular skill set. This is very important for candidates who are not white males. Why? Because statistics show us that men are promoted on promise and potential while women are promoted on performance.
The bottom line? It would be awesome to see the Metropolitan join the Brooklyn Museum, giving us two organizations with budgets over $15,000, 000 with woman directors, but it’s the process we care more about. Changing lives for women leaders means museum workplace culture must change too, and that means boards need to be open, transparent, intentional, and as bias-free as possible in the hiring process. When it comes to hiring, boards need to recognize that what is paramount is the museum, not their private discomfort or uneasiness in the face of difference.
I have a colleague who is forthright, direct, sometimes foul-mouthed, and an incredibly dedicated and hard worker. She will also walk your dog if you’re on crutches, babysit so you can have a date night, or bring you food if you get Lyme disease. And no, she’s not perfect. Recently I commented on her new boss–a change that happened this summer–and wished her well. Her new leader is female, the outgoing one male. Knowing the former relationship was difficult, I said something to that effect. Her response? “Yes, but I enabled a lot of his behavior.”
That comment stopped me in my tracks. I asked what she meant. Her response? “Often I couldn’t wait for him to complete a project, write a letter, whatever, so I would make the work happen.” As a result, he looked good. The work got done. The way she explained it, the lightning pace of today’s workplace coupled with the power imbalance of leader to staff member, made discussing what, for her, was a challenging work situation difficult. In her mind, work trumped her frustrations so she she made sure it was completed smoothly, and moved forward. The only problem? Without time to press pause and talk things out, she was angry about doing his work and hers.
Remind you of anything? Maybe you’re an enabler: Trapped in a situation where there is no possible way explain to your boss how often she lets others (like you) pick up the slack. Or maybe you’re the leader. Museum leadership in 2017 is a multi-layered endeavor. The pace is fast, the news/social media cycle relentless. Leaders need a host of skills to move museums or heritage organizations from mediocre to majestic. We would argue, though, that the chief skill should be relationship building. Strong relationships build trust. Trust builds teams, and strong workplace teams change organizations.
We like to think a leader who’s observant about work relationships–whether through listening or watching–would have quashed a situation like the one described at the beginning of this post. Teams flourish because every member has a role to play, and in happy workplaces, staff are willing and able to cover for one another if there’s a need. Museum leaders, however, should never confuse support given willingly to help a colleague with an absence of effort that means other staff members cover or enable for someone who’s not getting the job done. And they need to be self-aware enough, to see that these situations apply to them as well as folks in external affairs, communications or education.
We’ve said it a lot in these pages: leaders need to make a habit of self-reflection–daily, weekly–whatever works. While walking the dog, sitting on the subway, jogging, or watching the sunset with a glass of wine, do a check-in. Go over what happened that day or that week. This isn’t mea culpa time. This is so you’ll know where the dragons are as you chart the course for the next day or week. And sometimes the dragons are you. Be a big enough person to recognize your own failings and self-correct.
In the wake of the ongoing dismay surrounding the Berkshire Museum’s decision to renovate its building, change its focus, and shore up a plundered endowment, and Lee Rosenbaum’s cautionary post about the National Academy of Design — another organization that hoped to cure its ills with cash — we’ve been thinking a lot about boards, board culture, board building, and board behavior.
We’ve written about museum leadership since 2013. Our focus has been the women and men leading museums and heritage organizations. Any of you who’ve read our posts know we believe passionately that the museum field needs to invest more in its leaders and staff than its infrastructure.
Lately museums have made news for a host of reasons including poor decision making and inattention. Each incident sends the press scurrying to find similar situations so the public is reminded of the field’s misdeeds. The field needs to make our job sector a place with better salaries, better benefits, HR offices, personnel policies, and gender equity training. That’s a cultural shift that isn’t going to happen overnight, and a lot of the heavy lifting needs to be done by museum boards. We don’t have a magic wand, but if we did, here are our five wishes for board behavior:
- Boards who understand why they’ve chosen to serve, who know that service is about the institution, whether it is tiny and all-volunteer or a community’s anchor store.
- Boards who believe in the museum field, who understand it’s a place with its own culture, rules, and most importantly, ethics and standards. Those standards weren’t invented a century ago because the folks at the newly-formed American Association of Museums (now American Alliance of Museums) had nothing else to do. On good days these ethics and standards actually inform what the field does.
- Boards who invest in museum leadership within their own ranks as well as staff ranks find that it can be a key to making change, not just an opportunity to shift the responsibility of leadership off their own backs.
- Boards who have a deep understanding of why their organizations matter know it is an understanding that informs and eases the ongoing task of raising money.
- Boards who know that museums hold the public trust, and realize that being a non-profit isn’t a ticket to practices and behaviors they wouldn’t sanction in their own businesses.
This sounds like we think all boards are badly behaved, and we don’t. Many, many are exemplary. But for the sake of collections, communities, and museum staffs, we’d like to see boards move the needle away from downright poor decision making and mediocrity. And the sooner the better.
As we predicted last week’s post generated some lively thoughts. Since not all our comments are posted on the blog itself, in the spirit of change coming from the bottom up, we thought we should share a comment with you. With the writer’s permission, here it is:
“I am in the process of writing a grant, or as we say, I am playing the hunger games. The request is for a FT staff position and the salary I am requesting is $33,000 plus health and life insurance, total compensation package approximately 40,000. I am requiring one year of experience (internships count), but I am not requiring an MA because I believe doing so has made our field less diverse and less equitable over the past 25 years. When I showed the job description and salary package to a colleague, her reaction was “Wow! That’s a lot of money.” When I explained that it was just over the soon to be minimum wage of $15 hr, she just said, “Oh.” We all need to stop thinking that an MA is required to work in a museum (or a library). We need to invest in the next generation, believe and act on the belief that less than minimum wage is unacceptable, for anyone.”
What would happen to the museum field if more people did this? No, one individual’s act won’t change the salary crisis, nor will it deal with the gender pay gap, but if even a quarter of museums opened their doors to newly minted college graduates, let them test the water, mentored them, advised them, would the field be worse off? Might it be more diverse as the writer suggests? Might emerging professionals be better off understanding the field a little bit before investing in graduate school?
Given our location near that hotbed of artistic happenings known as the Berkshires, we would be remiss if we failed to comment on the fracas generated by the venerable Berkshire Museum’s announcement last week. If you’ve been on vacation and cut off from news, the Museum disclosed plans to sell 40 paintings to increase endowment and make capital improvements. Needless to say, the news release sent shock waves through the museum world. While the Berkshire Museum isn’t alone–the Delaware Museum of Art did something similar in 2015 when it sold four paintings–monetizing the collection isn’t usually a board’s first or even second choice when it’s desperate for money. To date, the Museum received a letter from the American Alliance of Museums and the American Association of Art Museum Directors. Their joint statement included this line, “One of the most fundamental and longstanding principles of the museum field is that a collection is held in the public trust and must not be treated as a disposable financial asset.” The Museum’s director responded in The New York Times by stating, “The fact is, we’re facing an existential threat, and the board chose the interests of this institution over the interests of these national professional organizations.”
What puzzles Leadership Matters is the same question we asked about Tom Campbell’s exit from the Metropolitan Museum: What was the board thinking? In that instance we were curious whether the board had given Campbell free rein, and then woken up to see the museum tipping toward financial disaster. Did something similar happen in Pittsfield, MA? What is the board thinking?
But more importantly the Berkshire Museum is not any nonprofit organization. It’s a museum. When current board members agreed to serve–and serve is an operative word– did no one tell them that a position on the Board, meant they were joining not only the Berkshire Museum, but the larger world of museums through AAM and AAMD? How did they get the idea that ignoring standards of accepted professional and ethical practice wouldn’t matter?
This situation is eerily reminiscent of Walter Schaub Jr.’s resignation from the Office of Government Ethics. At the time Schaub told National Public Radio, “Even when we’re not talking strictly about violations, we’re talking about abandoning the norms and ethical traditions of the executive branch that have made our ethics program the gold standard in the world until now.” Remind you of anything? How about we replace the words “executive branch” with the “America Alliance of Museums”? In other words, the Museum hasn’t done anything illegal, but its board chose to disregard the field’s ethical boundaries.
While we can hope some gazillionaire raises his hand at Sotheby’s, buys a painting or two and donates them to another museum, the Berkshire Museum’s pending sale seems like a train that’s not going to stop. But before you get too smug that this sorry state of affairs would never happen at your institution, we suggest there’s always work to be done. This is probably a teachable moment. When was the last time your board familiarized itself with terms like “fiduciary” and “duty of care”? Did they receive or are they reminded of AAM’s Pledge of Excellence or AAMD’s Code of Ethics regularly? Is it worth discussing that museums and heritage organizations don’t operate in vacuums, but collectively agree to abide by the field’s ethical boundaries? That is an obligation, not a choice. Like so many other things–political office, for example–you can’t only follow the rules when they suit you. The museum field is the wonderful, complex place it is today because we collectively agree to serve our public. So let’s do the best we can to protect the objects, living things, buildings, and sites entrusted to us.
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.
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.