When Large-Scale Professional Development Can’t Keep Up

AAM7964-2704Image: Courtesy of the American Alliance of Museums

By Guest Blogger Jackie Peterson
(See Jackie’s bio below)

Prior to launching the independent consultant phase of my career, I coveted the experience my museum-employed colleagues had going to AAM’s annual meeting. I used to think how wonderful it must be to learn what’s happening across our field, to meet new colleagues, to explore museums in a new or favorite city. But since striking out on my own, it has become clear this experience is no longer for me. Here’s why:

COST: Having to cover all of my costs to attend a conference now directly impacts my revenue. I’m only a few years into building my independent practice, so I’m not raking in 6-figure projects (yet). So I’ve had to be incredibly strategic about how I devote my resources to professional development. Like many others, I can no longer justify the cost. For all AAM talks about equity and inclusion, the cost of attendance continues to rise without addressing how it affects attendance. I am no longer a member of AAM, so even registering early would have cost me $695. Add the flight and lodging, and that’s a minimum total of $1850 – this doesn’t include meals or other networking and evening events. The response is always “We’re doing what we can to offset costs by offering scholarships.” The reality is that AAM estimates that 5,000* people attended the conference this year, and yet less than 1 percent** of attendees received a scholarship. That’s not equitable. I’m not saying every attendee needs a scholarship, but there are barriers inherent in the general pricing and pricing structure of this conference that prevent so many from being able to attend.

MISSED OPPORTUNITIES: The Museum Expo is supposedly the largest generator of conference revenue, yet AAM continues to miss opportunities to be more equitable within this space. Rarely – if ever – have I seen AAM highlight vendors that are women-owned, LGBTQ+ – owned or POC-owned or any intersection therein. Like the overall conference, it seems like whoever can foot the bill gets to come. Yes, bringing in revenue is necessary, but surely there are ways to allow smaller businesses, especially local or regional vendors, to participate. To add to that, rarely does AAM advocate for local businesses (beyond museums) in the host city by providing attendees with that information and encouraging people to patronize them. This is information that is easily available from local chambers of commerce and other business organizations, and even easier for AAM to distribute. Every year, I continue to be disappointed by who appears in the Expo space, and who does not.

MEDIOCRE, STATUS QUO SESSION CONTENT: Very often I attend a session based on the program’s description (as many do) and find the content presented is much different than the description or the presenters just rattle off their latest professional achievements to a captive audience. On top of that, the same names and faces keep showing up. I spent some time combing through the presenters on the first full day of the conference (Monday, May 20). After some unscientific analysis, I found that of the 65 or so sessions that day (exclusive of those that took place in the Museum Expo), roughly nine had panelists that were 50-percent or more people of color. And a majority of the panelists (almost 75-percent) were managers, senior managers, department heads, directors or chief officers. Again, for all the talk of equity and inclusion, the conversations that happened that first day were led or facilitated by an overwhelmingly white group of people in senior positions. With some exceptions, this means the perspective on content being presented is very limited. And I am no longer interested in these kinds of conversations. It reinforces the idea that “leadership” is a position rather than a skillset that can be embodied and enacted at every level of an organization. More importantly, it limits opportunities for more junior staff and staff from underrepresented departments (security, facilities, maintenance, front-line visitor services staff) to engage more formally in field-wide conversations.

While I recognize that some of these issues are deeply systemic, many of them don’t require upending AAM as an organization to fix. Organizations like the National Council on Public History (NCPH), the Association of African American Museums (AAAM), and regional museum associations have already been making strides and taking measures to actively include people and keep conference content relevant, rather than simply posture. As a large organization, AAM is in a unique position to be the change, so to speak. But the more I witness personally and hear anecdotally from other colleagues, the more AAM seems to lack credibility and relevance to museum work.

*https://twitter.com/AAMers/status/1131660345838329856
** https://twitter.com/AAMers/status/1132670274648891393
Jackie Peterson
Jackie Peterson is an independent exhibit developer, curator and writer based in Seattle, WA. She loves nothing more than working with museums to unearth and share their most meaningful – and more importantly, untold – stories.

Prior to establishing her independent practice, Jackie spent six years learning the museum trade at Ralph Appelbaum Associates in NYC. There, she served as a content coordinator and developer for a wide variety of projects from the NASCAR Hall of Fame to the S.E.A Aquarium at Resorts World Sentosa to the Smithsonian National Museum of African American History & Culture. She has always loved the intersection of public service, cultural institutions and education, and has landed in the exhibit design world in order to pursue this work.

Jackie currently serves on the steering committee for the Museums & Race initiative and on the Northwest Regional Council for the National Parks Conservation Association.

 

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How Do You Track Accomplishments and Make Meaning from Them?

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When someone asks what you do, what do you say? If you’re a curator, an education curator, a digital curator or museum director how do you explain your job to your great aunt or that family friend whose children are surgeons and investment bankers? And having explained your work life in two sentences and gotten a look of pure puzzlement, do you know what you actually do? By that I mean, do you have any sense of what you accomplish in a given day, week or month?

My colleague Anne Ackerson does. She has an accomplishment jar on her desk. Every time she completes a project or does something worthwhile, she drops a piece of paper in the jar with a note about the accomplishment. On New Year’s day, she re-reads her year through the lens of jobs well done. I am not so organized, but I work for a large organization that requires weekly reports, bi-annual check-ins, and annual performance reviews. But even with all that reporting take it from me: It’s possible to think about your job only in generalities or worse–and this is very, very gendered–to see it only in terms of what you haven’t accomplished. The result? It’s easy to lose sight of what you’ve achieved.

Why is this important? First, seeing progress is a morale boost. At the end of a bad week, it can seem as though the needle never moved, and you accomplished nothing. And that same week can feel so long that activities completed Monday may have disappeared in a fog of what went wrong by Friday. Plus, how often have we talked about leadership and self-awareness in these posts? A lot. And what is an accomplishment review except an acknowledgement of your strengths?

In 2011 two Harvard Business Review researchers, Theresa Amabile and Steven Kramer,  looked at how the for-profit world drives innovation. Focused on individuals on the creative side of things, they asked 238 individuals at 26 different companies to answer a daily email about their workday ups and downs. Data from 12,000 emails yielded some important conclusions. First, workers are more creative when they’re happy, and that happiness spills over to colleagues and to the organization itself. Second, they discovered that many of their subjects’ “best days” directly correlated with days when there was perceptible progress on a given project by them or their team.

It’s tempting to conclude that happiness comes with the conclusion of a project–the moment when Anne drops the paper in her Accomplishment Jar–but that’s not what Amabile and Kramer’s work showed. In their study, it was the small wins, the daily movement of the needle that brought happiness. Understanding and charting those small wins over time is important in understanding our own sense of accomplishment.

What can you as an individual do?

  • Make a chart: Divide your work life into its major headings–collections care, team management, professional development, and list the things you’ve done each week, month or year. Or just use a jar. But be sure to remember to empty it and read the contents.
  • Progress and a sense of accomplishment are intimately linked to creativity. Do you have a job where you check your brain at the door? Then look for ways to raise the creativity quotient. Chart your accomplishments in your off hours–miles run, words written, volunteer hours logged.

And if you’re a leader?

  • Check-in on your employees, don’t check-up. Look for what’s holding them back, and see how you can help. Remember that leaders remove barriers. Be a resource not a sheriff.
  • See work as iterative. We learn, we accomplish, we get better at what we do. Don’t make one-on-one meetings a laundry list of work yet to be done.
  • Use the  progress checklist from Amabile and Kramer @ HBR:

Remember this equation: meaningful work+clear and reasonable goals=workplace happiness=creativity= meaningful work.

Yours for accomplishment,

Joan Baldwin


Museum Staff Matter: Let Them Know It

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We can’t begin this week without mentioning museum staff who are among the many U.S. Government workers furloughed for a month. Words aren’t worth much, but we feel for you. We often whine on these pages about low pay, but you’re in the land of no pay, and we wish the shutdown would end. It’s likely cold comfort, but we’re proud AAMD offers a list of museums across the country offering government workers free admission. If you are among the federal workers currently out of work, check this out: a state by state list of free admission.

Based on last week’s post–a back-and-forth between Frank Vagnone and me –I thought maybe we should talk about governing boards. If you’re a leader they’re the people you probably see a lot of–some weeks maybe too much. They are the deciders. They may exercise that obligation too frequently or not often enough. They may fret about capital expenses, about decaying infrastructure, about risk, but–if you’re a leader, here’s a question for you–does your board worry about staff? Or is the staff your problem? You and your leadership team hire them, nurture them, and, if need be, fire them. What does your board know about them?

Here are some questions for you and your board:

For you, the museum leader:

  • Do you know what it costs to live in your county, city or town? Not what it costs you, what it costs your lowest paid full-time employee.
  • Do you know what the living wage is for your locale?
  • Do you know the ratio between your salary and your lowest paid FTE?
  • What benchmarks do you use to set salaries?
  • Do you know whether your organization’s salaries are equitable or not? Does your museum or heritage organization have a race/gender pay gap?
  • What is the racial and ethnic makeup of your board? Is it among the 46-percent of museum boards that are all white?

For your board members:

  • Do they know what it costs to live in your county, city or town?
  • Do they understand what a living wage is and why it matters?
  • Does your board understand there’s a national gender pay gap and how it affects your organization?
  • What is the racial and ethnic makeup of your board? How does it affect the board’s decision making? How does it affect the community’s view of your organization? Is that something your board has discussed?
  • Have the words “implicit bias” ever been mentioned at a board meeting? If so, what happened?

Have you and your board tried any of the following:

  • Have you talked about wage equity as a serious and ongoing problem in the museum world?
  • Have you addressed the costs of hiring, replacing and retraining staff?
  • Do you and your board know what it’s like to live in your community on the lowest hourly wage your organization offers?
  • Do you pay men more than women? Do you pay white staff more than staff of color? And that’s not a question about your personal beliefs, it’s about what  actually happens.
  • Has your board and your organization come to consensus on a values statement?

These are complex problems. Board and staff have to believe in change to make it happen.

  • Board and staff are co-dependent. Make sure you have the right people on the staff and on the board. Acknowledge the importance of each team, board and staff.
  • Make your meetings about doing rather than reviewing. Plan, reflect, strategize.
  • There are museums without walls, without collections, but there are almost none without staff. Paid or volunteer, staff carry out mission and reflect the museum’s values every day. Boards and leaders who don’t invest in staff and volunteers equitably, preside over a a work and volunteer force that’s disaffected, dissatisfied and discouraged.
  • Find hope and optimism. If staff feels victimized, the solution isn’t to hire new staff, it’s to find the source of their victimization, and correct it.
  • Don’t let yourself fall into the scarcity mindset: the pie is as big as you choose to make it.
  • Staff matter. Let them know it.

Joan Baldwin

Image: Field Museum staff at the Speak Up for Science March, 2017


Job Offer? Use the Moment.

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This week, along with five colleagues, I helped run a discussion about pay at the New England Museum Association’s 100th anniversary meeting in Stamford, CT. The meeting opened at the same time as newly-unionized hotel workers staged a picket line as part of their ongoing wage negotiations. As a result, our session was one of many that left the Hilton in solidarity with the hotel workers, holding our discussion across the drive in a small park.

It was the first day that felt like fall, but bright and beautiful. Attendees gathered in groups to discuss issues around unpaid internships, emerging professional pay, gender and pay, diversity and pay, and salary negotiations. Towards the end, groups reported out on their top thoughts. Ultimately those will make their way to NEMA in the hopes they will continue to spur action toward raising the field’s salaries.

One thing that struck me listening to the report-outs was how important negotiation or at least human interaction is in launching or continuing a job successfully. Ilene Frank, COO of CT Historical Society, and Diane Jellerette, Director of the Norwalk Historical Society, both commented afterwards how few people seem to know their own worth when an offer is on the table. Too many view that moment as if there is still a line outside the door of equally qualified people all clamoring for the position. “They don’t understand, we don’t want our second choice,” Frank said. “And they don’t understand their power,” Jellerette added.

Their point? Too few, and particularly too few women, understand the power job applicants possess when the offer is on the table. Job searches are time sponges. Work is neglected. Money is spent. Teams–and sometimes boards of trustees– assembled and focused. After a process that can last weeks and occasionally months, no one wants a no. As an applicant, you weren’t chosen as one of many, you were chosen because you were the best for this position. USE THE MOMENT. It is potent.

In fact, the way you negotiate your offer sets a template for your future. Your salary and benefits recalibrate from whatever you and your new employers decide. Years from now your retirement package will be determined by how you behave in this moment. So…no pressure, but DON’T LEAVE MONEY ON THE TABLE. If you’re in the job search process, particularly if you’re new to the museum world, here are some things to think about when someone picks you for what hopefully is your dream job.

  1. Be grateful. You aren’t the only ones who’ve been through a lot to make this happen, and these folks picked you. Say thank-you.
  2. Ask to think about it. The little person in your head may be doing your happy dance, but you’re in the sweet spot. Press pause.
  3. Go home. Talk to the people who matter to you. Look at your budget. Calculate your expenses. Can you live in this town/city/region on what they’ve offered? If you don’t know, find out how much that costs.
  4. DO YOUR DUE DILIGENCE. Know what the field is paying. AAM, along with many of the regional museum and statewide nonprofit associations, do salary surveys. Find them and use them. And for goodness sake, if you’re in a field like development or IT that moves across the non-profit world, know what organizations outside museums pay.
  5. Some of us are epically bad at math. Because your offer also includes monies dedicated to state and federal programs and taxes, use sites like this to calculate your net take-home pay.
  6. If you haven’t already asked, read the Employee Handbook. Know what working in this particular place will mean to you. If you have an elderly relative you care for, if you’re planning a family, if your partner works long hours, these questions are all part of the calculus. Does it offer paid leave or only FMLA? Things you wouldn’t have mentioned during the interview like you have a toddler and day care is $100/day are now fair game as you decide what you need.
  7. Time is also money. What if your new employer offers full benefits at 35 hours/week? Your offer is 40 hours/week, but you have two kids in kindergarten and first grade. Can you negotiate for fewer hours? Yes.
  8. Ask for assistance with moving. What if you don’t know a soul where you’re moving and you literally can’t afford movers? Ask. A $2,000 or $3,000 one-time expense is better than losing a great candidate.
  9. Ask for time. Do you need time off before you start to clear your head and settle your family? Ask.
  10. Know your own value relative to the field. Are you the second coming when it comes to exhibit design or conservation? Do others call you with questions? Is the reason you’re job shopping because you know you’re worth more? Well then, don’t throw it away. Use it.

Joan Baldwin

Image: Molly Brown House Museum


2018 Museum Leadership Myths and Realities

burke-museum-exterior-flowers (1)Thinking about leadership is something even adept leaders don’t do often enough. As we work on the revision of Leadership Matters (2019), Anne and I are pondering how museum leadership has changed in five years. Just for fun I scrolled back to the beginning of this blog (2013). There we talk a lot about the need for the museum world, particularly the history museum world, to make leadership a priority.

Leadership Matters opens with “10 Simple Myths,” where we outline the myths that frame the museum world’s professional narrative. Sadly, many still ring true, like “We don’t have to make money, we’re a nonprofit,” or “Building collections takes precedence over building talent,” or a favorite on these pages, “Compensation is secondary because the work is its own reward.”

There is one myth, however, that suddenly feels like it might be at the end of its shelf life: “We are the source of our own best ideas.” In describing why this sage-on-the-stage mentality isn’t such a great idea Anne wrote, “Their [museums] implacable deference to hierarchical decision making insulates them from ideas and solutions flowing between and among sectors.”

We could be wrong, but it feels as though in the last five years engagement, both intellectual and actual has mutated from something only the education department thought about to something more all-encompassing. Organizations are actually reaching out, and not in the give-me-your-stuff way, more like in the work-with-us-to-tell-your-story way. Not everyone and not all the time, but it feels like a sea change. Finally, history museums and heritage organizations realize that trying to force feed communities the life stories of American furniture and tools isn’t compelling. In fact, a quick scan of leadership positions on AASLH’s and AAM’s job boards yields the following phrases:

  • .….Fosters connections with local community and history in relevant and sustained ways by building beneficial partnerships, raising the level of civic dialogues …..
  • The director is responsible for developing positive community relations and partnerships with national, state, local organizations and for developing strategic initiatives in areas of community outreach, educational programming, exhibits, public history and tourism.
  • The Museum’s new leader should embrace its deeply held values, especially the active practice of diversity, inclusion, engagement and the critical representation of our multiple communities, their histories and current issues.

But….apart from engagement, many of our 10 myths are still alive, healthy, and posing as the truth. And, it’s 2018 not 2013, and there are new conundrums and problems for museum leaders. Here are five that we think need some work:

  • That understanding community is more than an anecdotal exercise. It is data-driven. Read Susie Wilkening and Colleen Dilenschneider to see what we mean.
  • The digital world is here to stay. Museums–even tiny ones–need to get a grip.
  • Museums are community partners. They build, they renovate, they employ, they use utilities, they sell things. Non-profit doesn’t mean money doesn’t matter. Just because you’re not paying shareholders, doesn’t mean you can’t be a downtown anchor.
  • Maybe, just maybe, there’s a recognition that an all-white, all-privileged field is not such a great thing and creating a more diverse field means making it a better paid field.
  • That leadership can be learned, and organizations can invest in it just like they invest in anything else; building talent is as important as constructing a new wing.

So what do you think? What leadership sectors do you think the museum world needs to work on?

Joan Baldwin

Image: Burke Museum, Seattle, WA


Museum Leadership: Being vs Doing

Doing vs Being

There’s something we’re puzzled about. There are now a lot of graduate programs in museum studies. There are even more if you include the ones in nonprofit management. But here’s our question–what if you’re mid-career, whether it’s your second job or your fourth and suddenly you find yourself managing people more than things. Huge junks of your time are spent on personnel, and short and long term planning, rather than what lured you to the museum field in the beginning. And whatever you learned about leadership, assuming it was part of your graduate school curriculum, has long since left your brain. Where should you turn?

Just for fun, we looked at AAM’s and AASLH’s websites. At AASLH we found “Leadership” and “Professional Development” both listed as topics under Resources, and some leadership and management topics specifically listed in “Continuing Education.” So far so good. AASLH also has some of its sessions–some very interesting–from its 2017 annual meeting available for purchase, but few about museum leadership. (And just to be clear, for us leadership isn’t always a corner office, a sophisticated board, and a multi-million dollar budget. Sometimes it’s a team of three, and a budget of $1,500.) However, the options for a person who wants to be a better leader can be few and far between.

AAM has a tab called “Manage Your Career,” where one can find the Salary Survey, links to various affinity groups and professional networks, and connection through Museum Junction. AAM also has a wealth of information on career transition, but weirdly many of its career tab links are from other job sectors and no longer connect directly. What’s even stranger is there’s almost nothing–with the exception of posting your problems on Museum Junction — that addresses leadership, management, and career problems or the “being” part of working in the field.

There are also the regional and state professional organizations. We looked at New England (NEMA), the Southeastern Museums Conference (SEMC), the California Association of Museums (CAM) and the Museum Association of New York (MANY). Of this limited search, SEMC offers a long-standing program for leaders/managers and CAM is gathering trend data and case studies that touch on several aspects of leadership. Like AAM, NEMA separates career support from museum resources, making the former about getting a job and the latter about advocacy, funding and policies. MANY, too, spends web space on jobs and advocacy. Don’t get us wrong. There is nothing wrong with any of these web page topics. They are necessary and important, but it’s curious how the field, whether its service organizations or graduate programs, puts greater emphasis on doing–what job do you want, how to advocate for your organization, how to advocate for your field–than on how to “be” in the museum workplace. And by “be” we mean how to be a good curator, not as someone who knows content, but someone who knows her staff or someone who leads with self-awareness, courage and vision.

Museums are tricky, complicated places. They require a wealth of knowledge on the content side coupled with massive leadership skills. Why does the field continue to ignore one for the other and what should a museum leader in the midst of an existential crisis do? How do you know if what you’re experiencing relates to your inexperience, some anomaly related to your site or to the field as a whole? Who should you turn to? Obviously, the type of advice and support you seek depends on the nature of the problem, but leadership is leadership, whether it’s an organization with a staff of 2.5 people or 250 people. You can be a bad or successful leader in both instances.

It’s a Leadership Matters tradition to offer advice for different strata within the field, so here goes:

If you have no money and want to stay local: 

  • If you don’t already have a peer network, kitchen cabinet or advisory group, now’s the time. These should be people who know your work, but who aren’t your friends.  They should be people you’re comfortable baring your professional soul with, but not your grandma. Presumably she likes everything you do. Invite them for drinks or coffee and pose your question(s). And before you meet with these folks, listen to this: to the Ted Radio Hour on how to break out of your comfort zone.
  • Contact your local Chamber of Commerce. See what it has in the way of resource groups and continuing leadership education. Ditto for your local community college or university.
  • Link to Harvard Business Review. Not everything will help, but much will.
  • Read regularly about leadership. If you haven’t read Patrick Lencioni’s Five Dysfunctions of a Team, Judith Glaser’s Conversational Intelligence and Sheryl Standberg’s Lean In, get them. At the risk of causing monumental eye rolling in your workplace, you may want to assign one to your team.

**If you have money and board support:

**This is by no means a complete listing and we welcome other suggestions for mid-career leadership training for museum professionals.

Last, but not least: 

  • If you feel your state, regional or national service organization isn’t offering what you need, say something. Say it the moment the 2018 meeting is over. Be specific. If  friends or colleagues feel the same way, get them to join in your ask. These are membership organizations that exist to support the field and the field is you.

Joan Baldwin


Museums = the Labor of Love? Not Quite

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Once again we find ourselves responding to an Alliance Labs post, this one titled The Labor of Love: Revaluing Museum Work, written by Emma Boast and Maddie Mott, and originally published on Medium, December 20, 2017 and republished by Alliance Labs this week. Here goes:

Dear Emma & Maddie:

Your article could be summed up in one sentence: Too often museums and heritage organizations put staff last, not first.  Leadership Matters is filled with pleas to boards and museum leaders to recognize the value of human capital. We’ve said it at least once a month for 36 months. It’s not buildings or collections that drive museums, it’s people.

A lot has happened since you originally wrote your piece. It’s odd to think that something written 15 months ago can already be,  if not out of date, then out of context. Today the world of work is beset with questions of #MeToo and sexual harassment, yet many things–particularly as they relate to women and work–are unchanged. If you need evidence for that, know that in 1974 a group of women known as the Women’s Caucus approached AAM with a list of grievances. With the exception of more women in museum leadership, most of the Caucus’s complaints are as true today as they were 44 years ago. And it is this Groundhog Day-quality of trying to make change at 35,000-plus organizations that is daunting. Museum employment is shackled by a legacy of gender inequity coupled with largely invisible race and class barriers.

But back to your piece. First, a caution about comparing museum work with academia. If by academia you mean a teaching position in a two or four-year institution, there are disgruntled overeducated employees in both sectors; however, the Bureau of Labor Statistics (BLS) tells us that, as of May 2016, there were 1.3 million postsecondary teachers at U.S. colleges/universities, professional schools, and junior/community colleges earning a median salary of $75,430.  Among curators in museums and other institutions where education requirements and job responsibilities are similar (if not often the same) to postsecondary teachers, the BLS 2016 employment number stood at 11,170, earning a median salary of $58,910. While it’s common knowledge, particularly at big universities, that adjuncts are the indentured servants of the academic world, contrasting museums and academia isn’t an apples to apples comparison. And don’t forget that many postsecondary teachers are unionized — that can make a big salary/benefits difference.

Second, your comments on advancement: If you yearn to be a curator, and in fact become one, what does advancement look like? Might it mean moving to a leadership position where ultimately you manage people rather than care for things? Or does it mean moving to a larger organization where you manage a more dynamic collection as well as staff?

One thing we’ve tried to point out on these pages is that in a small field where, to date, an advanced degree is the ticket for admission, moving up frequently means a leadership position which many museum professionals are ill-prepared for. But perhaps the point is advancement means different things in different parts of the museum job sector. If you want to be an ED, the path is pretty clear; you hop scotch your way from smaller to bigger. But if you’re a curator or an educator, there is likely to be a fork in the road, where you decide whether advancement is more important than what brought you to the field in the beginning. Finally, is zig-zagging up the ladder as much of a problem for museum professionals as organizations failing to provide even the most minimal professional development opportunities? We think the answer is no. All staff need professional development.

Third, we fundamentally disagree with the notion that change can’t happen piecemeal–that no single museum can make change alone. In fact, that IS how it’s happening. Individual museums with forward-thinking leaders and boards create workplaces where employees prosper. As a result, those institutions flourish. Museums that pay pitiful wages, offer no benefits, and make serving on a jury easier than going on maternity leave, don’t attract and retain creative, driven staff. They do the opposite.

We support the changes you call for: eliminating degree requirements, investing in existing workers, and helping with work/life balance, but it’s hard to believe that two 21st-century women left closing the gender pay gap out of the equation. It’s a pervasive and ongoing problem, affecting all women, but women of color, and queer and transgender women disproportionately. Until the museum field pays its staff equitable and living wages, this will always be a job sector known for its lack of diversity and its abundance of quit-lit. Last, we believe that AAM Accreditation and AASLH StEPs should require their member organizations demonstrate they not only have HR policies, but how complaints and harassment are handled.

Thank you and Alliance Labs for keeping this conversation going. It is an important one. For the second time in less than a month, we’ll close by asking: Isn’t it time for a wage summit that would bring together big thinkers from inside and outside the museum field to tackle this problem?

Joan Baldwin