Museum Women, Working, and COVID-19

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It’s been a while since I’ve written about gender and the museum world, and as we enter week nine of the COVID-19 pandemic, here are a few things I’ve been thinking about:

First, if you think sexual harassment in the museum world is over, because everyone’s working from home or furloughed, it isn’t. 

We’re undoubtedly looking towards a post-COVID future where job competition will be furious. Anxiety never brings out the best in people, and stringent budgets combined with a tight job market does not lend itself toward a humane workplace. Just last week Art News reported on sexism and racism allegations at the Akron Museum of Art. The article, which suggests the museum’s Executive Director Mark Masuoka and another senior administrator, Jennifer Shipman, were responsible for allowing an atmosphere of discrimination to flourish. And remember the news at the Erie Museum of Art when the board realized who it had hired? That was only four months ago. The good news is that in both cases it was the boards, not museum leadership, who seem to appreciate the dire consequences of a troubled workplace. For Akron, there are allegations that management used the pandemic to eliminate whistleblower employees who had previously complained about sexual harassment. People who are threatened will deflect any way they can, using the it’s–not–me–it’s–the–pandemic excuse. But workplaces that were humane before COVID-19 will remain humane. Those that weren’t are likely to be challenging places to work especially if you’re a woman. Side note: Without wading into the politics of Tara Reid’s complaint against presidential candidate Joe Biden, there is a lesson in her narrative for all women in today’s workplace. If you are sexually harassed at work or even if something unsettling happens to you, write it down. In pen, on paper, with dates for each and every incident, the old fashioned way. You may not be ready to talk, you may not have processed what’s happened to you, but get your thoughts down in the moment, and put them in a safe place. 

Second, there is no doubt this pandemic hit women harder than men. 

Economists quipped that the 2008 Recession was a Mancession because some 70-percent of job losses happened to men. This time, the COVID-19 pandemic hit women hard. In fact, women haven’t experienced a double-digit unemployment rate since the Bureau of Labor Statistics (BLS) began reporting job loss by gender in the 1940s. April’s rates for women were 16.2-percent. We can’t say what the job loss is for museum women because curiously of all the folks reporting, from AAM to the regional service agencies, no one seems to be collecting data based on gender. What does that tell you?

We do know two things, however: First, much as we’d like to think the museum workplace is different from regular offices filled with cubicles and Steve Carell-like characters, it’s not. So if the national data tells us women working in the hospitality and recreation industries are the worst hit, it’s likely museum women are too. In addition, we know that 40-percent of households earning less than $40,000 experienced at least one job loss in March. The BLS tells us museum employees have a median salary of $48,000, so how do you think museum women fared? In addition, it’s women who shoulder the brunt of child or elder care, home schooling and many home chores. According to a recent survey by Syndio, 14-percent of women thought about quitting their jobs in the last two months simply to relieve the pressure of being teacher, day care coordinator, working person, and household manager. 

Last, what did the pandemic teach us, and what could we possibly change as we try to ready museums and heritage organizations to open in a socially-distanced world with a vicious virus lurking in the background?

First, we know that pre-COVID-19, women made up 50.1-percent of all museum workers.[1] We also know that in the museum world’s highly pink-collar employment, men and women cluster on gendered lines, with women filling education departments, while men are more often grouped in exhibit design, leadership, and plant operations. And we know the same problems that plague the national employment market, bedevil the museum world: There is a gender pay gap; health insurance–if it’s offered–is tied to employment; childcare is ridiculously expensive; many employees do not receive paid sick leave; and many women (and some men) would benefit by more flexible hours to accommodate family responsibilities. 

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So, as you restart your organizational engines, here are some things to remember about women returning to your workplace:

  1. Working from home doesn’t have to be confined to pandemics. Within your organizational culture, how can virtual work be structured so employees working from home still feel connected to your organization? How about flextime? Often women are responsible for getting a family–children or elders–ready to begin the day. Breakfasts, lunch to go, dressing and commuting to school, daycare or appointments take time. Would it help women (or primary parents) in your organization to begin and end the work day at times that support their schedule while still providing the organization with the agreed upon time?
  2. Women are paid less. You don’t have to believe me. Read AAUW and the Center for American Progress. Isn’t it time your organization did an equity pay audit, and raised women’s salaries?
  3. How many organizations let frontline staff go during the virus because within the organizational culture they have one skill set? Can you change your museum culture so that all hourly staff are cross trained? How would things look if hourly staff had a primary task, say, elementary school tours, coupled with a secondary task working elsewhere, not just in emergencies, but always?
  4. Daycare is frighteningly expensive. According to the Center for American Progress, the average cost of infant daycare in the United States averages $1,230/month, and for a preschool child, $800/month. What are the demographics of your staff? Are many of them parents? When you hear griping about salaries remember some of them may shoulder childcare costs equal to a mortgage. In an ideal world, large museums would have their own daycares. Failing that, would your museum consider a partnership with a local day care? Your education department provides an agreed upon amount of programming, and your staff get a discount. 
  5. One thing the pandemic has taught us: viruses spread and sick people should stay home. Staff without paid time off are either forced to take unpaid leave or to come to work sick. Even before COVID-19, illnesses at work affect large numbers of staff. According to Kaiser Health News, “The lower likelihood of paid sick leave for part-time workers has a disproportionate impact on women, who are more likely than men to hold part-time jobs…… Nine in ten (91%) workers in financial activities have paid sick leave, compared to less than half of workers in leisure and hospitality (48%) and accommodation and food services (45%).” The Families First Coronavirus Response Act requires employers with less than 500 staff to provide two weeks paid leave for sick employees, and two-thirds regular pay for those caring for someone who’s sick. If you don’t already offer paid time off, is that something you can institute? 

Environmentalist Bill McKibben says the dumbest thing we can do post-COVID is to set up the bowling pins in exactly the same way. How will you make change in your workforce, and how will it support 50.1-percent of your staff?

Stay well and stay safe,

Joan Baldwin

[1] Bureau of Labor Statistics. Employed persons by detailed industry, sex, race, and Hispanic or Latino ethnicity. 2019. bls.gov/cps/cpsaat18.htm. Accessed May 18, 2020.

Image: New York Times


Museum Endowments Aren’t Crisis Cash Cows

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By Steven Miller, Guest Blogger

On April 15, in an attempt to help member museums during the COVID-19 pandemic, the Association of Art Museum Directors (AAMD) issued a press release announcing it had “…passed a series of resolutions addressing how art museums may use the restricted funds held by some institutions.” Key wording in the announcement stated “… the AAMD will refrain from censuring or sanctioning any museum – or censuring, suspending or expelling any museum director – that decides to use restricted endowment funds, trusts, or donations for general operating expenses.” The information included how endowments are defined. It provided wording about ways they could be raided by museums. The resolutions also included new exemptions about how money gained from the sale of deaccessioned museum collections can be used for the “direct care of collections.” The statement went on to explain, “AAMD also recognizes that it is not within the Association’s purview to approve the redirection of restricted funds. However, it hopes that these resolutions will serve as an endorsement to donors or the relevant legal authorities, encouraging them to permit the temporary use of these funds for unrestricted needs.”

This blog post focuses on the endowment issue.

Museums are expensive places to run. Money primarily comes from three sources: earned income, endowments, and charitable donations. Earned income is customarily realized by such things as admission fees, retail sales, memberships, and space rentals. Endowments comprise funds gifted or otherwise allocated to sustain operations or designated programs. Charitable donations involve money freely given for general or specific uses.

Funding for American museums has been abruptly reduced as a result of the coronavirus epidemic. Most institutions are closed. This means attendance and retail profits are almost entirely lost. Downward valuations combined with large emergency withdrawals have reduced investment portfolio size and returns. Many museums find charitable giving reduced to a trickle as donors hold back.

Museum boards of trustees are going nuts trying to assure the survival of their organizations for which they are responsible. Their struggles are almost insurmountable. Practical solutions are almost entirely of a fiscal nature. What will it cost to survive, how is survival defined, and, where will the money come from, not to mention when?

The AAMD’s resolution announcement was made “…in recognition of the extensive negative effects of the current crises on the operations and balance sheets of many art museums – and the uncertain timing for a museum’s operations, fundraising, and revenue streams to return to normal.” In the abstract it’s a nice gesture. In reality, it has little weight. In fact, museum boards have always had the right to go to donors or their heirs to make restricted funds less restricted in order to survive a financial crisis.

Museum endowments range from huge to negligible and their purposes and structures range from specific to general. Usually they are invested in conservative monetary instruments, mostly stock and bond portfolios. These are managed either by professional money managers or designated members of a museum’s board of trustees. Responsible museums have investment policies. They spell out how funds are retained and used. As with other policies, the one regarding investments is agreed on by a board of trustees and kept in governing documents.

Anyone familiar with the American museum world knows boards of trustees do as they wish within sometimes broad legal parameters. For the most part their decisions are beneficial or at least not too damaging. Now, all face terrible choices regarding the very survival, much less longevity of museums, in this country. For the most part trustees are doing whatever they legally can with whatever resources they have, which include endowments.

Having directed a museum in 2008 when the Great Recession hit, I witnessed how one board of trustees dealt with endowments. Their example is unfolding again. The board analyzed the institution’s endowments. Unrestricted funds were spent down to cover operating costs. Trustees approached people who had established restricted endowments, or the donor’s heirs to request a release of the restrictions. Permissions were granted for all such endowments. Substantial cost-saving measures were instituted by me, starting with a voluntary 40% cut in my salary. Other compensation was reduced incrementally with the lowest paid employees suffering the smallest cuts. Furlough weeks were also instituted. We emerged from the mess having cut one position and that person was quickly rehired. A dozen years later, as COVID-19 unfolds, the lost endowment funds from 2008 have still not been replenished to their original levels.

My time dealing with the 2008 fiscal debacle was the most difficult leadership challenge I ever faced in my career. I am grateful to avoid the current boondoggle. But, as a member of two non-profit boards (an art conservation center and a college alumni/ae group) I am witnessing trustees struggling to make ends meet and how the AAMD’s resolutions have no meaning. Censuring or sanctioning member museums or directors will carry little weight. When push comes to shove, boards of trustees need to make difficult decisions based on a lot of unknowns. Unless the AAMD can pony up significant cash assistance, given the fiasco museums face now, they have sound arguments for contradicting their best intentions.

AAMD Board of Trustees Approves Resolution to Provide Additional Financial Flexibility to Art Museums During Pandemic Crisis (Press release, April 15, 2020)

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Museum Access in the Age of COVID and Beyond

 

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If I were Randy Rainbow I’d begin this post with a clever song about my ongoing crush on the Philbrook Museum. But I’m not. My singing is cringe worthy, although my crush is real. How can you not love an organization that writes about post-pandemic life like this? “The museum we closed will not be the museum we open.”

Yesterday I heard an NPR interview with a Boston doctor. He explained ER visits are down because many people will endure pain rather than expose themselves to the virus. He suggested ERs have to learn to do two things at once: Be familiar, caring places we’re not afraid to go for stitches or a broken limb, but also be the entry point for Coronavirus patients. It occurred to me that may also be true for museums. Museums need to do two things at once as well: the familiar in-person experience and a whole other multi-leveled virtual one.

More than 20 years ago the Internet dissolved library walls. Suddenly physical space didn’t matter. Walls were porous because information was everywhere, from the books you checked out, to whatever you found on the library’s computers and databases, to ultimately, your laptop and cell phone. As devices became increasingly sophisticated, so did librarians, not because they no longer believed in the power of books (they do, passionately), but because they knew we needed guides through the wild world of the digital universe. To an outsider, the library pivot felt pretty seamless, shifting from a place where access only happened in the traditional reading room to an all-enveloping library where the focus is on you and your access to information. How did museums miss that boat? Where were they when the shift to the digital universe happened?

Clearly, some folks got on board, which brings us back to the Philbrook. Under normal pre-COVID circumstances, a resident of Connecticut (me), would not likely know much about a museum in Tulsa, Oklahoma. But I discovered the Philbrook on Instagram several years ago where it already possessed a lively social media universe rooted in its site and collections. In a piece written for AAM, Philbrook President Scott Stulen describes the museum’s closing: “On March 13th, a cross-departmental group assembled. We had just cancelled the opening to our new exhibition that evening and met to actively respond to the expected (and unexpected) challenges ahead. This group quickly mobilized the entire staff, guided by the priorities to ensure the safety of staff and the public while stabilizing the museum financially. There was also a realization that our mission to connect the community to art and gardens was not on pause, it was just moving to new platforms.”

The Philbrook, along with many other museums and heritage organizations, understands museum collections have a power beyond the sanctity of space. It wants you to visit, but equally important, the Philbrook seems to want you to know them, virtually and actually, their values, their beliefs, even the museum cats. And they don’t see their virtual collections and exhibits as some sort of junior varsity version of themselves. Rachel Cohen wrote “What We Miss Without Museums” for last week’s New Yorker.  Cohen talks about her life pre-children, visiting the Metropolitan weekly. She is a master of slow looking. Yet after she became a parent and regular museum visits were more difficult, she started to take pictures, creating her own virtual exhibits. She writes, “Every day, I use a few of my photos of artwork to write an entry for an online notebook. I’ve been keeping the notebook on and off for years, but now I do it urgently, sending messages in bottles to friends and strangers, trying to offer what I’ve stored, what I miss.”

I wonder two things about museums in the post-COVID universe: Will the ones who survive be the ones who saw themselves as more than repositories? And will the ones who survive successfully be those who recognize the collections’ energy to serve audiences in a multitude of ways, not because we’re in a pandemic, but because it’s the smart thing to do? And in doing it well, will they acknowledge museums too have no walls? Nothing can replace standing in front of your favorite painting, seeing a living creature or sharing space with an object of historic significance, but is it a binary choice? Is an actual visit the only choice? Or is there another that’s different, but equally important? 

This week Wilkening Consulting posted an infographic about virtual museum content and the public. Among the things it points out is that most adults don’t look to museums as a virtual source. Can that change? Wilkening reports her respondents are still looking for hope, for escape, to understand the pandemic experience, and to make connections while maintaining social distance. Raise your hand if you don’t at least have something hopeful you can offer. 

As states loosen pandemic restrictions, medical experts warn it may be a year or more before we return to something like our old lives. So as museum leaders and followers how will we ride out the next 12-18 months?

As leaders: 

  • In times of crisis it’s easy to fall into the trap of the hero/shero, but is any of us capable of having all the answers? Don’t we need one another? Be the leader who values interdependence.
  • Work with your staff to build a collaborative model where your museum is more than the keeper of the rare and the special.
  • Understand your organization’s DNA. Know your organization well enough to make gentle fun of it. 
  • Take care of your staff. They are your museum and they can help move it forward from the COVID-19 pause.
  • Know your community. Ask it how you can help?
  • Don’t stop connecting.

Be well.

Joan Baldwin

 


Dear Zélie Lewis…..Advice for NextGen Museum Professionals

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Recently Zélie Lewis wrote a piece for Mike Murawski’s blog, Art Museum Teaching, titled What Am I Supposed to Do Now? In it, Lewis wrote about how COVID-19 affected not only her personal life, but the last semester of her museum studies master’s program, and, most importantly, her future. From my place in a chapter far ahead, safely working from home, reading it was uncomfortable, but it made me think. Again and again, I went over what advice I would offer Lewis if she were one of my own students, faced with finishing graduate school at the very moment the museum field plunges into the toilet along with the economy. 

So, to Zélie Lewis and museum studies graduate students everywhere, here goes: Some of what I offer is cold comfort, in part because we have so little control over a vast, ever-changing situation, but also because I’m not walking in your shoes. That said, my first thought is congratulations, and also thanks. Congratulations on joining the 8-percent of the United States’ population with master’s degrees. Thank you for wanting to join the museum field. And thank you for assuming the potential debt necessary to get the degree considered the field’s admission ticket. In normal circumstances, you’d undoubtedly have a bright future. And you may yet. 

Don’t forget the hard work you’ve done, but remember to put it in context. Your degree is more than a quid pro quo, permitting you to apply for jobs you couldn’t before. It is, hopefully, a set of skills and ways of thinking. You planned on being a museum educator. You know how to use an object, a painting, a document as a lens for learning. Those skills are useful beyond the museum world. You also write clearly. That’s an accomplishment too few possess. As a museum educator you know the world isn’t siloed. Each object, each artwork, each Tweet, each Instagram holds connections you have the ability to parse. You are an educator and you teach experientially. You planned to do that in a museum, but you don’t have to. You’re probably armed with skills you haven’t even tried to use yet. Believe in them. Understand them. And don’t let anyone define who you are. Do that for yourself. Remember what James Baldwin wrote: “You’ve got to tell the world how to treat you. If the world tells you how you are going to be treated, you are in trouble.”

Life comes at us all fast, and despite what you read, only a few, lucky souls have a straight shot at the career they imagine. For most of us, and particularly for women, our work lives zig and zag. The job we thought was nirvana wasn’t. We fall in love; we break apart. We follow a partner somewhere and start again. Our parents fall ill and need us. We go back to school (again). We have a child. What’s different now is your pain isn’t only yours, it’s echoed everywhere. There are a thousand stories on the news every day to make you sadder and more disheartened then you already are. But if the worst that happens to you is a delay in your career trajectory, count yourself lucky.

Don’t hold too tight to your dream. Be open to change. Being agile and adaptable is a building block of leadership. If need be, consider this an in-between period, a coda between graduate school and your future life, a time when you change your definition of success. Make the best career choices you can. Utilize your skills. No matter what you end up doing in the post-COVID chapter, you’re still a person with a graduate degree. 

Be patient. I know. Easy for me to say, but sometimes doors open and we need to step through even though it doesn’t seem appropriate at the time. It may be months or even decades before the pieces fit and you understand what was asked of you.

Even though you may find work perhaps outside of museums, try to stay engaged with the field. Who do you know? Who is your kitchen cabinet or your peer group? How often do you meet with them? Are they capable of giving you clear, unvarnished advice? Are they just enough ahead of you career-wise to have contacts you don’t have? Are they capable of helping you get a mentor if you don’t have one or need a new one? Just because the train is stuck in the station doesn’t mean you shouldn’t reach out for advice and support. 

Adulthood, like leadership, isn’t a plateau we reach, it’s a place we grow into through the tough work of deliberation and reflection. And while you don’t have complete control–who does? We’re in a pandemic–you still have choices. So while I wish we could wave a magic wand and put the world back to the way it was six weeks ago, we can’t. We’re hunkered down in pause. It may take more than a year for museums to sort themselves out, and who knows what our field and our graduate programs will look like post-pandemic. In 2019, women made up 50.1-percent of the museum workforce. Post-COVID, that number will undoubtedly change because while women occupy half the jobs, they cluster in departments–like education–that have already been decimated by layoffs. One thing we can be sure of: The museum world we return to will be forever changed. So write down, not the courses you took, but the skills you learned. Think about the paths open to someone with your competencies. Think about how you will pay the bills. Put your support group together. Revise your resume. Be ready for whatever comes.

Last, and this is for your life decades from now: Remember the spring of 2020. Remember you were the COVID-generation. Remember, what it felt like, and don’t judge the generations coming after you. If and when you get the position you want, be kind. Reach back. Help those who follow you.

To Zélie Lewis and the classes of 2020 at museum studies programs, be safe, stay well and do good work. Even if it doesn’t feel like it, the field is counting on you.

Joan Baldwin

Image: Jeppe Hein

 


Leading from Where You Are: When Theory Meets Application

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By Andrea Crivello, Guest Blogger

There have been overwhelming and challenging day-to-day realities in my professional and personal life as I, like all of us, navigate the presence of COVID-19. As I also juggle being a soon-to-graduate graduate student, there is a ‘business as usual’ characteristic to my coursework that, to my surprise, is equal parts stress and stabilization in such an uncertain time. With the global pandemic attacking from all sides, I’ve observed that reactive is to management what proactive is to perseverance and leadership…and completing my degree with sanity intact.

There were two influencing factors that prompted me to pursue a master’s degree at the University of Pennsylvania: The first, its motto: Leges sine moribus vanae or, “Laws without morals are useless.” …I’ll let that be as it may. The second, its Non-Profit Leadership Program (NPL).

Why?

Maybe it’s a kudos to UPenn’s marketing team, for swapping “leadership” for “management,” but in all seriousness, I researched degree programs for three years before landing on one that aligned with my personal and professional values and career goals as an Associate Curator/aspiring ED in the museum field. The NPL program has all the makings of an MBA: courses in finance, law, statistics, entrepreneurship, marketing; but it also includes courses like social norms for social change, design thinking for social impact, ethics for social impact, and the difficult art of listening. **

There is a saturation of scholarly articles, thought pieces, and webinars that all aim to profile what good leadership looks like, and increasingly so in the museum sector. I had the good fortune to experience first hand what it is like embodying leadership characteristics at a non profit museum during the program’s Leadership Practicum. The Practicum is the culmination of rigorous study with intensive application before receiving the degree. More explicitly, the goal of the practicum is to engage in a professional learning process, while enhancing my understanding of how leadership happens in a social impact organization. The goal is to contribute to the practicum organization utilizing skills learned in the NPL program. This was an opportunity to witness leadership in action and benefit directly from individual mentoring and personal leadership development.

Weekly mentor meetings were to include definitions and requirements of leadership, guidance on management of an organization, in-depth status of organizational conversations, career planning and guidance, and conversations on the social impact landscape locally, nationally, and globally. After working with Anne Ackerson as my mentor while completing 500+ hours of practicum work over five months, I was asked to write a thought piece about the experience.

Here are the key takeaways:

Mentorship Matters
The need and commitment by current museum leaders to support emerging professionals cannot be overstated. Not only are their institutions the direct beneficiaries of activating innovation and cultivation, but they help transform next generation leaders.

Exposure to Museums at Every Level Matters
Museum professionals only wear one hat (said no one ever). Yet as a museum professional functioning as a curator-volunteer manager-archivist-registrar-collections manager, it was an entirely different experience to engage in a new strategic plan for an organization, partake in development project planning efforts, have a voice in a COVID-19 related marketing campaign, and join horticulturists researching a cultural landscape report to inform future public use of museum grounds. I think, due to the busy and intensive nature of museum work, it is easy to become siloed in our positions. Participating in these comprehensive projects and experiences not only made me stronger in my personal work, but made me a stronger colleague through leadership’s “soft-skills”: understanding and empathy.

Agility and Resilience in Leadership at Every Level Matters…Perhaps More Than Management Itself
Given my background, exhibition development was a large component of my practicum, during which there were many changes and additions to the number of pieces in the show due to hesitations on the part of private donors. Despite the consistent addition of manual labor as a department of one, and circling back with fine art and insurance companies, the importance of quickly shifting gears and rising to the occasion of timely completion for public benefit was clear. Similarly, resilience came into play when the irony of having never-before-seen works newly accessible to the public, now inaccessible due to COVID-19 stay at home orders, resulted in a quick pivot to a virtual exhibition opening.

While this may not be new information or experiences, I hope it sparks more critical thought and dialogue that everyone can and should embody leadership right from where they are.

**No, I am not a paid advertiser for UPenn.

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On COVID-19 and Managing Separation

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Nothing changed this week, and yet everything did. Pandemic numbers continued to climb, all while public health officials predict the worst is still to come. Lines for food banks grew as the number of unemployed multiplied. Museums and heritage organizations made headlines with massive layoffs of front line staff. Midst it all, those of us lucky enough to work from home, found our worlds simultaneously shrink to the size of our houses or apartments and expand to the farthest reaches of the world as we spend more and more time online.

This week I’ve been thinking about separation. As museum folk, our livelihood depends on our interaction with things — paintings, documents, buildings, living things or objects. Suddenly, we’re apart. Apart from the stuff we care for, caring that comes in many forms, through leadership, advancement, scholarship, education, conservation or transportation. Whatever our role, we’re separated. And in this case we’re separated not just from the heartbeat of our museums or heritage sites, we’re separated from colleagues, our human communities, volunteers, tiny children, bigger children, budding artists and scientists, families, and elders.

Is there such thing as a good separation? How do you manage disconnection yet stay attached? How many novels, plays and movies take shape when one character announces they must leave, but they’ll be back? How do relationships deepen between absent friends? Does absence may the heart grow fonder?

And what sustains us through a separation? It used to be letter writing. Now, not so much. Are separations also defined by how we choose to fill the absence?

This week I read a wonderful piece by John Stromberg, director of Dartmouth’s Hood Museum to his community. Stromberg talks about the Hood’s commitment to art “by all, for all.” But more exciting to me is his open acknowledgement that however empathetic and caring the Hood’s exhibitions were, now the museum is closed, he acknowledges his staff must pivot. He writes:

As the Hood Museum staff continues to transition to our new digital work format, we are challenged to revitalize and update a key tenet of what we do: putting individuals in direct contact with original works of art and each other. How do we move forward without the physical proximity that has been critical to our practice? Can digital means replicate the intimacy of face-to-face dialogue about today’s most pressing issues?

So must separation incorporate a willingness to change and grow?

Then there is the Philbrook Museum of Art whose relationship with its community, both virtual and actual is a marvel, thanks in part to the leadership of Scott Stulen, a multi-talented artist who admits his directorship is about putting community building into “overdrive.”[1] Who doesn’t want to know a place that in a matter of days changed its tagline to “Chillbrook Museum of Staying Home, Stay Home, Stay Social” as if this were just another day in the life. The Philbrook’s  website makes you believe all your emotional and intellectual needs are in hand. Whether it’s listening to podcasts, hearing a tiny concert or participating in a children’s art class, it’s clear that separated or not, the museum percolates along, even for those of us who’ve never been to Tulsa, OK. This week the Philbrook put its money where its mouth is, announcing it is expanding its edible garden in order to support the food bank. How could anyone forget a place that offers so much for so many, and who manages to be winsome, and serious, musical and witty, all at the same time? Maybe a good separation is about enhancing what’s already there, making it richer in the absence of human contact?

Although Old Salem Museum and Gardens closed ahead of some North Carolina museums and heritage sites, the door was barely shut before it launched #wegotthis, a series of online events that included the History Nerd Alert and the Old Salem Exploratorium. About a week ago, it began transforming its historic gardens into Victory gardens to support the city’s Second Harvest Food Bank. That prompted another online series called Two Guys and a Garden. In addition Old Salem has put its head pastry chef back to work producing 50 loaves of bread a day for the food bank, while its head gardener offers videos on seed starting. Does giving back make an organization more memorable? Is it easier to ask, once you’ve given? 

Last, but not least, Raynham Hall Museum, The Frick (What’s not to like about Friday cocktails with a curator?) and the Tang Teaching Museum: All used Instagram before the pandemic, but since COVID-19, they’ve ratcheted things up, speaking directly to their audience, making connections between collections and past epidemics, illness, inspiration, art and spring. And there are many more museums and historic sites you know who, despite separation, are enriching connections, building bridges, and creating new audiences.

So what makes a difficult thing like separation doable? Ah…wait for it….because maybe it’s similar to museum life back when things were normal: How about honest, authentic communication that builds outward from mission and collections to connect with community? Opportunities abound for learning the “how-to’s” of social media, but knowing your own site, and your own community, and translating your organizational DNA to images, video, tweets and Instagram, that’s on you. Because when the separation is over–and it will be–how will your organization be remembered? As the site that closed its doors and then 10 weeks later woke up like Rip Van Winkle? Or as the online friend who made people laugh, taught them some stuff, and helped out the community?

Stay safe,

Joan Baldwin

Notes

[1] Scott Stulen, “When an Artist Becomes a Director,” American Alliance of Museums, May 17, 2018. Accessed April 13, 2020.

Image: Chillbrook (Philbrook) Museum Instagram post, “Our cats are lonely and would love to hear from you. Write them a letter and they’ll write back. 🐾”


The COVID-19 Impact on Museum Consulting

As COVID-19 moves across the country, every sector of the museum workforce feels the  pandemic’s power from the still employed, but working from home, to the temporarily suspended, to the recently let go. Every day museums and historic sites announce closures and massive layoffs, leaving many to wonder how museums will recover. One sector not much has been written about is independent consultants. Not museum employees who consult sporadically, but the group who work independently across the field in collections, education, governance, art handling and more. They work from job to job, shouldering the full costs of benefits, building careers while offering services many museums and heritage organizations need, but can’t afford on a full-time basis.

Being a consultant means you need to take work when it’s offered because a month from now when your calendar opens up the offer may have evaporated. It means your rates need to account for your business expenses, Social Security benefits and health care. It means working from home, punctuated by travel is your normal. And it means your access to COVID-19 Paycheck Protection Program is delayed ’til April 10. Amidst the tidal wave of museum layoffs and closures, we checked in with a group of consultants to see how they’re doing. Here are their voices:

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