5 Tips for Great Teamwork

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First, a little news catch up: Philadelphia Museum of Art’s CEO Timothy Rub gathered his staff together last week to apparently apologize for the museum’s handling of Joshua Helmer and the allegations of sexual misconduct that dogged his PMA tenure. The event was closed to the press, but the Philadelphia Inquirer reported that Rub gave a statement similar to his initial one, offering apologies, but seemingly scant indication that museum leadership understands the gravity of the situation. Clearly, there are moments in leadership where staff expects (and needs) action not the equivalent of hopes and prayers.

Also, if you haven’t read Robert Weisberg’s The Schrodinger’s Career of Working in Museums, you probably should. Weisberg works at the Metropolitan and his blog, Museum Human, is now in its second iteration. This particular post unpacks the shape- shifting world of museums where their public faces rarely echo behind the scenes behavior. If you’re having a dark day, you may want to temporarily skip this or at least follow it by reading Darren Walker’s The Hard Work of Hope,  Walker is president of the Ford Foundation, and believe me if he had groupies, I would be one. Wise, warm, and honest, he’s the kind of true-north human we should all have in our lives. Read him whenever you can.

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In a museum world where hierarchy continues to flatten, it’s likely someday soon you’ll be asked to work with individuals from another team, program or department. That may happen as part of a merger or because you’re tasked with a specific project. You will suddenly find yourself sitting around a table with people you barely know, charged with something big. A speedy exit isn’t an option.  Instead, you need to figure out how to work together quickly and well. And inevitably, and because adulting isn’t that different from 8th-grade, one of the people sitting across from you will prove themselves to be challenging. They may be unreasonable, passive-aggressive or just plain mean. They may also be lazy–forcing you and your teammates to shoulder their work as well,—while they gab from the sidelines. What should you do?

  • Remember why you’re there: A team project isn’t about you, your agenda or your individual quiver full of skills. It’s about group work and the task your museum or heritage organization gave you.
  • Decide on team norms: These are the behaviors under which your group will operate. They can spell out something as granular as how long individuals should speak or address how to communicate respect and open-mindedness. When creating norms, don’t forget to outline how they’ll be used, and how you’ll hold each other accountable if lines are crossed.
  • And what about the proverbial participant who feels its their job to stir things up? Don’t engage, and for goodness sake, don’t personalize what’s happening. Focus instead on moving forward and problem solving. Lead from where you are, and draw the conversation back to the subject at hand.
  • There are people–and perhaps you know some–who take joy in arguing. It’s their love language. If an arguer ends up on your team, again, separate the personal from the work-related, and pick your battles. You’re not on a team to make everyone think like you. You’re on a team to create, to build, to solve a problem or set of problems.
  • There’s a lot to the proverb about attracting more flies with honey than vinegar. Not to sound like your grandma, but manners matter. You and your team all want to be safe, seen and respected. That means listening, being on time, and treating everyone, even the individual you perceive as too unimaginative to function, with respect.

Do good work. Be kind. Create museum workplaces we’re all proud of.

Joan Baldwin

Resources for Teams:

Forming, Storming, Norming, and Performing: Bruce Tuckman’s Team Stages Model Explained

Jon R. Katzenbach and Douglas K. Smith. The Wisdom of Teams: Creating the High- Performance Organization. Harvard Business Review Press. 2015 (Reprint Edition).

Image: The New York Times

 


#MuseumMeToo: Aren’t We Done with Excuses?

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In 2017 Anne Ackerson and I published Women in the Museum. One of our final chapters is titled “Ground Hog Day,” after the eponymous film with Bill Murray and Andie McDowell. We needed a title like that because in the years of fighting the gender battle in the museum workplace its problems remain relentlessly unresolved, raising its head, year after year, just like a virus.

Fifty years ago women’s leadership was still a question. Women museum directors were rare, and women leaders were often found in the second spot, being logistical titans all while providing the emotional glue and the soft skills to keep the museum workplace turning over and moving forward.

Today, things are different. There are many more women leaders–and not just white women, but women of color. But the underbelly of workplace gender issues–sexual harassment–is alive and well. For those of you who were off social media last week, the director of the Erie Art Museum, Joshua Helmer, found himself without a job after an article in The New York Times reported that in his previous position at the Philadelphia Museum of Art, multiple women had accused him of making inappropriate advances. When Helmer moved to the Erie (PA) Museum of Art in 2018, he continued his predatory pattern. This time involving a museum intern. The incident resulted in a Change.org petition and several articles by New York Times Reporter Robin Pogrebin. Indeed, the week ended with Philadelphia’s mayor, Jim Kenney, an ex-officio member of the PMA’s board, calling for it to strengthen its harassment policies. This led PMA director, Timothy Rub, to say, ““The mayor is right and as we have indicated, our policies are undergoing close review,” all while 240 members of his staff signed a statement in support of their colleagues and the women at the Erie Art Museum.

Neither the Erie Art Museum nor the Philadelphia Art Museum are unsophisticated organizations, and yet Joshua Helmer somehow victimized women at first one institution and then another. No matter who you are in the museum world–trustee, volunteer, leader, curator, guard, housekeeper, intern, educator–this is your problem. Workplace sexual harassment destroys the social trust that exists back stage in the museum workplace. Museum workers, regardless of their titles, deserve to be safe, seen, and supported.

As we’ve seen, sexual harassment scandals plunge museums and heritage organizations into a world of bad press, not to mention legal complications. So if you are a….

Museum Trustee: If you don’t already know, ask what your organization’s policy is on sexual harassment. Where is it written, how is it available to staff, and who handles complaints? Boards are not immune to bad behavior. As a group, how do you police yourselves? If you don’t have an HR office, where do complaints go? If your organization has an HR office, when was the last time your board or its personnel committee heard from the HR director on this topic?

Museum Leader: Do not say this won’t happen here. It happens everywhere. Review your organizational policy for sexual harassment; check-in with Human Resources and your leadership team. Make sure everyone understands what happens when a complaint is made. If appropriate, role play. No victim should be made to feel what’s happened to her is her fault. Make sure victims are treated with compassion. And further, make sure you know and have thought through how complaints involving the board, significant donors, and/or consultants will be handled.

Museum Worker: Go to bat for your colleagues. Speak up and intervene. If you don’t, no matter how you frame it, you are complicit. Know your organization’s policy; know what to do in the event of an incident. Know what kind of support is available through EEOC, and how your state defines sexual harassment. And know who in your city or town offers pro-bono legal services. And for goodness sake, sign the GEMM pledge.

Sometimes we’re so besotted with our roles caring for artwork, objects and living things, and placing them in dialog with one another that we forget our staff and colleagues. If you’ve been sexually harassed or victimized, it’s difficult, if not impossible to function at work. As a museum leader no one is asking you to serve as staff psychologist, but if a staff member seems “off,” ask whether it’s something work-related. Create an atmosphere where staff feel safe, seen and supported, make sure your policies are clearly written, easily available, and that they provide a road map for anyone experiencing harassment. It’s 2020. Aren’t we done with excuses?

Joan Baldwin

Image: From the infographic, “The Survey: Gender Equity in the Museum Workplace,” 2018, by Anne W. Ackerson and Joan H. Baldwin.

 

 


Of #MuseumMeToo, Whiteness, and Doing the Right Thing

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Twelve days into the new decade, and so much has happened. Last Monday the museum world reacted to President’s Trump’s threatened bombing of Iranian cultural sites with responses from AAM, AASLH, AAMD, and even social media from the circumspect Metropolitan Museum of Art. That was the week’s beginning. By week’s end, The Times had published an article on Joshua Helmer, once employed by the Philadelphia Museum of Art, and now director of the Erie Art Museum. In a #MuseumMeToo moment, Helmer is accused by both current and past colleagues of sexual harassment.

I had planned to write about white people trying to do the right thing, but before we go there, I need to say something. The Joshua Helmer scandal not only generated a social media storm, but a Change.org petition demanding Helmer’s firing. Meanwhile, Friday, the Erie Art Museum released the following statement,”The Erie Art Museum Board of Directors takes seriously all allegations of misconduct. Prior to offering Mr. Helmer the position at the Erie Art Museum, the Board, with the help of an employment consultant, conducted due diligence including background checks. No issues were identified during our due diligence.”

The subtext here is a board who says it did its research. If the complaints about Helmer are true, then it sounds as though the board is shifting blame to its recruitment firm or the Philadelphia Museum of Art for failing to divulge what they knew. But here’s what’s really bothering me: In 48 hours the Helmer firing petition garnered over 2,000 signatures. GEMM–Gender Equity in Museums Movement–has its own page on Change.org, a pledge to stop sexual harassment in museum workplaces. In six weeks it has yet to amass 500 signatures.

Why is it so easy to sign the Helmer petition, but not the GEMM pledge? Does encouraging Helmer’s firing make you feel like you’re doing something? Does it take the onus off you, and put it where it seems to belong? For centuries powerful people have used authority to coerce sexual favors and harm the less powerful. Yet sexual harassment remains an ongoing problem in the museum workplace. Imagine, for a minute, if the GEMM pledge had been around when Helmer left the Philadelphia Museum of Art. Could employees who signed it remain silent as a purported harasser left for a new position? It’s each of us who makes change. Not “them,” whoever “they” are. And we make change by changing our behavior. Sign the GEMM pledge. Don’t wait. Do it today.

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So what I really meant to write about is this: In my ongoing journey recognizing the limitations and boundaries of my own whiteness, sometimes I hear stories that speak to the way we as white humans think we’re doing the “right” thing, but it backfires majestically. Let’s imagine there’s a white development officer and a curator who’s a woman of color. The curator knows of an eminently successful young, black businessman who’s just sold his company for $30 million. She follows him on social media, knows he’s a collector, and has met him at a social event. She discusses this with the white advancement officer who’s aware of the businessman’s success. She asks the museum to approach him because her upcoming show will include several artists he collects. She’s hoping for additional underwriting for her exhibit and maybe an acquisition fund for artists of color. Instead, the development officer asks her to reach out first. In his world, it’s better if the businessman is approached by a) someone he sort-of knows, and b) by someone of color. He may also be scared–scared he’s not culturally astute enough–and he’ll say something wrong, and he doesn’t want to be wrong. The curator of color is angry because to her the optics look terrible. The collector isn’t a small business owner. He’s a gazillionaire who’s just sold to a multi-national corporation. Why shouldn’t he be treated like any other 1-percent entrepreneur?

What’s wrong here? Well, a lot, but definitely a failure to communicate. The white advancement officer is unable or unwilling to confess he feels ignorant, something he’d do in a heartbeat if the prospect were an international, and there were a language barrier. In addition, he’s comfortable letting the curator of color carry the burden of race. She, on the other hand, reads the situation from the black entrepreneur’s point of view and suspects he’ll be insulted if he isn’t treated like every other big giver the museum approaches.

So where does leadership come into all of this? Good leaders understand their own limitations and vulnerabilities. Humbling themselves in front of colleagues, admitting what they don’t know, and asking for help come naturally. When we’re all being our best selves–admittedly a daily struggle–we need to model great leader behavior: stop worrying about judgement, stop worrying about control, stop writing the script for others, and instead communicate and collaborate. What if the advancement officer admitted a gift from this young entrepreneur would be a first from a non-white donor, and he was scared of messing it up?  What if he asked for the curator’s help and collaboration instead of turning the ask back to her? What if she felt she could say, I am not the spokesperson for my entire race? And further, what if, as a woman of color, she  also didn’t need to worry about being characterized as brash and pushy?

There are a number of ways this story could have gone. I offer it only to point out how our narratives hem us in. Understanding our own parameters enough to know what we don’t know, and having the courage to be vulnerable are leadership practices we all need to develop.

Joan Baldwin

 


Opportunities to Create Great Museum Workplaces

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Photo by Robert J Weisberg

To begin, I want to announce Gender Equity in Museums Movement’s (GEMM) Pledge to End Sexual Harassment in the Museum Workplace. GEMM released the Pledge November 12. It is available on its website and on Change.org. According to the Bureau of Labor Statistics there are 338,000 museum employees in the United States. In 2018, 49.5-percent were women. Based on the two surveys conducted in 2018 by Anne Ackerson and me, and a second by nikhil trivedi and Aletheia Wittman, roughly 49-percent of those identifying as women reported experiencing verbal or sexual harassment at work. I don’t know about you, but for me that’s a shockingly high  percentage.

Signing the pledge takes a few minutes. It asks signers to, among other things, refrain from sexist language, to be open to dialogue about museum workers’ concerns and needs, and to create and nurture workplaces free of sexual assault and understanding of consent. Maybe you’re not someone who signs things, maybe you believe sexual harassment doesn’t happen in museums or maybe you think it’s simply not your problem. The museum workplace is many things: It’s creative, sometimes inclusive, dynamic, frequently stressful, achingly beautiful, and filled with many big and small moments of discovery and learning. Sexual harassment doesn’t belong there. You are only one person out of 338,000, but by signing, you tell the world, and most importantly your co-workers, you will do your part. Join GEMM in pledging to help end workplace sexual harassment in museums and heritage organization. And don’t save it for later, do it today.

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Last week I gave the keynote at the Association of Registrars and Collections Specialists (ARCS) meeting in Philadelphia. It was an honor and a privilege, but like any new experience, it made me think. Many of the attendees came from large museums–large enough where the curator or collections manager doesn’t wear a different hat depending on the day. Based on the crowd, many are women, and many are white. That doesn’t make them bad people, but they might be ground zero for the museum world’s old-school hierarchical leadership. Other front-facing departments–education, development, leadership–have diversified more quickly, but this world, on which so much depends–if you can’t find an object, it doesn’t matter how special a curator you are–is in some ways landlocked, caught in a century-old tradition of women caring for and organizing stuff.

That made me think for possibly the umpteenth time about leadership and hierarchy. When you think about diversity, what do you think of first? Be honest. Do you think about race? Gender? Age? You have heard me say–probably too often–how important it is to have everyone at the table, and yet creating a staff who represents your community is a challenge, but say you’re successful. Say your department is like a little utopian United Nations. Say they range from Millennials who tolerate Boomers, Christians who work along side Muslims, men who work respectfully with women, gender fluid folk with resolutely cisgender. But you’re all in the same department. How does an organization’s internal segregation and stratification affect the product, the idea making, the program, the exhibit?

None of this may apply if you work at a small museum. You may see your frontline staff daily, and they may also function as security. But what if you’re part of a larger organization? How often do you talk with staff outside your department about a project that affects them? Do you speak as equals or as one staff explaining its needs to another? All I’m suggesting is diversity and inclusion is more than just outward appearances. It’s more than the Instagram-able group around the table. It’s making sure varied constituencies across the museum or heritage organization have a voice. Maybe it bothers you that there are always folding chairs in your newly-redesigned admission area? Were your frontline staff part of the architects’ focus groups? How about your volunteer coordinator? Did anyone mention what percentage of your visitors are retired? That’s a banal example, but it speaks to how listening to many voices from across an institution makes it a better place. And breaking down hierarchical barriers is another avenue to creating a diverse and healthy workplace.

So….the intentional museum flattens hierarchies and contributes to diverse idea-building by allowing staff at all levels to:

  • participate
  • disagree with one another
  • be themselves in the workplace
  • contribute to the best of their abilities

Joan Baldwin

 


Museum Women: Why Are We Tolerating This?

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Image: Most Frequent Forms of Gender Discrimination (in the museum workplace), from THE SURVEY: Gender Equity in the Museum Workplace, conducted by Anne W. Ackerson and Joan Baldwin, 2018.

Last week, I participated in a panel at the Southeastern Museums Conference in Jackson, Mississippi. Organized by Heather Nowak and titled “Women on the Rise,” the panel included AAM President Laura Lott, Betsy Bradley, Director of the Mississippi Museum of Art, and me. I was there not in my Leadership Matters capacity, but as the co-author of Women in the Museum, and one of the co-founders of the Gender Equity in Museums Movement (GEMM). The audience was all women.

Laura Lott opened the session, speaking about AAM’s salary survey, but perhaps most importantly about the gender bias she encountered serving on a national search committee. She also spoke about being a working mother, and the times when she’s ended up bringing her child to work. Lott’s background is in finance, and I don’t think I’m misquoting her when I say she’s still surprised at how patriarchal and old-fashioned the non-profit world is around issues of gender.

I spoke second, reviewing some of the myths associated with gender in the museum world — myths about pay equity, about feminism itself — and the fact that the Bureau of Labor Statistics tells us that women are now 50.1-percent of the museum workforce. The latter is particularly disturbing since a pink collar field is not necessarily a healthy field, and with wages in the museum world already suppressed, trending toward all-female could be the final nail in the salary coffin.

Betsy Bradley closed the session. Tall and elegant, Bradley describes herself as a polite Southern woman. She’s lived and worked in Jackson, MS, most of her adult life. After outlining her career, Bradley talked about three things: Not feeling guilty about being a working parent; asking for what you want; and #MeToo. Her #MeToo story was so unexpected that the room, which included several of Bradley’s staff, fell silent. Following the incident, Bradley took care of herself, but she told only a few people, two board members and a family member. Ultimately the accused resigned his position.

Our session took place a week after Christine Blasey Ford testified before the Senate Judiciary Committee. No matter where your allegiances lie, for many, Ford’s testimony brought back their own experiences with sexual harassment and assault. Tuesday in Jackson, MS nerves were raw  So it is no wonder that during the concluding Q&A, the second question never really got asked because the woman, who’d been assaulted, broke down while trying to speak.

My question to all of you is how long can this go on? We like to say how much we love our work, how important it is, how special and wonderful the museum field is, and yet two 2018 surveys, one by Anne Ackerson, and one by nikhil trivedi and Aletheia Whitman report that 49-percent and 55-percent respectively of museum workers identifying as female have experienced sexual harassment, assault or abuse. So when is enough enough? If you or your organization is looking to make change, we suggest……

  • Make sure your board understands that operating a museum or heritage organization means Title VII or the EEOC apply to you. You owe it to your organization to know how.
  • Create or update your HR policy. Make sure you and the Board know what steps an employee who’s experienced sexual harassment should take. Is the reporting system clear, understandable and equitable?
  • Talk with your staff leaders. Help them understand that if 50-percent of museum workers experience sexual harassment, assault or abuse, they need to know how to deal with it. Suggesting an alleged victim go talk to her alleged harasser is not the answer. People who’ve been hurt, violated and humiliated aren’t interested in being hurt, violated and humiliated a second time.
  • Make sure your organization stands for something. Do you have a values statement? Is it clear you stand for a code of behavior? It’s hard to excuse or explain sexual harassment, when an organization is clear from the beginning about its code of conduct.

There are a lot of issues that swirl around gender in the museum workplace, but no one should come to work to be hurt, abused or harassed. Museums and heritage organizations have been complicit in a system that oppresses women for too long. We’re overdue for change.

Joan Baldwin


The Harassment Conversation You Need to Have

harassment statisticsSource: NBC News Poll, October 23-26

In the post-Weinstein Tsunami that is the American workplace, there’s a lot of guilt going around. There are also a lot of nervous folks. They are the people who say “I bet I can’t say that anymore” or “I’m glad I’m not on her team. She’ll get me fired.” And then there’s another kind of backlash: The humans lying in wait for those they see as not their friends to slip up, to put an arm around them, give them a full frontal hug or tell them they look pretty.  Then they pounce.

If you’re a museum leader and you haven’t had a post-Weinstein conversation with your staff, your department or your team, you should. Perhaps the first conversation should be with your board. They may look at you like you’ve lost your mind, particularly if you lead a small museum or heritage organization. Their faces may say–sexual harassment! Are you kidding me? The furnace is on it’s last legs. That’s what we need to think about. They may also say, “That wouldn’t happen here.” Why? Because they know their community? Because they are there to keep watch over the public, volunteers, interns and staff as they interact with each other?

Preparing your organization to deal with sexual harassment claims is a moment when belief and hope aren’t enough. Have the conversation. Frame it as a check-in. Make sure everyone on your board understands that just because you operate a museum or heritage organization, doesn’t mean you aren’t subject to Title VII. Nor does it mean a member of your staff can’t or won’t file a complaint with the EEOC. Make sure you and the Board have thought through what it might do when a complaint goes to the police. And last, and perhaps most importantly, your staff–even if it totals three or five–needs to know they matter, and letting them know the organization cares, empathizes and is there to protect them is one way to do that.

Hopefully, when your board leaves the room, it will understand its role. As we’ve said many times on these pages, this might be the moment to a) update your personnel policy or write one if you don’t have one, and b) create a values statement so everyone from part-time contractors to volunteers to board and staff know what the museum stands for and what it will and won’t tolerate. Hint: If you’re having trouble with this, outline several harassment scenarios and imagine how your organization would deal with the victim, accused and the PR.

The next conversation is with your staff. It might be led by you and your board president or the two of you plus your HR director if you have one. Make sure the expectations are clear, and most importantly, make sure staff understand what to do in the event of harassment. People who’ve been hurt, violated and humiliated aren’t interested in being hurt, violated and humiliated a second time during the reporting process. If your reporting system is too complex and Byzantine–don’t model yourself on the U.S. Congress–no one will come forward. Ultimately they will resign, but not before they’ve missed work and been justifiably unhappy. You don’t want this. You want and need a happy, productive staff.

So think of these conversations–first with the Board and then with the staff–as a form of insurance. You may believe you work in Happy Valley–and we hope you do–but in the event someone is harassing your 20-something intern and she’s too embarrassed to talk about it–do your due diligence. You’ll protect your museum, but most importantly you’ll stand up for something that hasn’t been right for decades. Museums have a long history as white, patriarchal institutions. That’s created world-renown collections and big endowments that generate great programs and exhibits. But isn’t it time for a cultural shift? Not just for your public and your community, but for the staff that works hard to feed your community’s soul? Museums and heritage organizations have been complicit in a system that oppresses women and particularly women of color for too long. We’re overdue for change. Be part of the change.

Joan Baldwin