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Field Trip Through Time

Field Trip Through Time

The opportunity to travel into the past has arisen at the National Museum of Natural History in D.C. The famous Fossil Hall has been closed for renovations the past five years, and I am in the lucky position of being around when it reopened with 

Exploring Xiangtan Museums

Exploring Xiangtan Museums

In May, I took a trip to China to visit a friend who is working as an English teacher in the city of Xiangtan. While I was there, I wanted to visit as many museums as possible to see if there was a cultural difference. 

Talking the Talk: Next Steps for the Salary Spreadsheet

Talking the Talk: Next Steps for the Salary Spreadsheet

You may have seen the Arts + All Museums Salary Transparency spreadsheet: a Google sheet of (at the time of this posting) nearly 2000 museum salaries from around the world. The nature of the data for each submission varies, but most entries include the name or type of museum, individual’s role and department, location, starting and ending salary, benefits, and required degree. Some individuals have also provided their gender and race. The bulk of the submissions come from museum professionals working in the United States, but the sheet also includes entries from countries such as Brazil, France, New Zealand, and the United Kingdom.

Kimberly Rose Drew (@museummammy) shared her story of undercompensation at the 2019 AAM Annual Meeting & Expo

Michelle Millar Fisher, an assistant curator in the European decorative arts and design department of the Philadelphia Museum of Art, and colleagues created the spreadsheet to encourage transparency across the field after being inspired by Kimberly Rose Drew’s story of how she learned she had been undercompensated for her work at The Met. They may have also been inspired by a similar spreadsheet created weeks earlier by Alison Green of Ask A Manager for the same purpose: to “take the mystery out of salaries.”

At this point, the spreadsheet has grown 1800% since its first day and the story has been picked up by news sites such as Artnews, Artnet, Business Insider, Nonprofit Quarterly, and others. Fisher expressed her hope to Artnews that the spreadsheet “… encourages a conversation between coworkers… If you don’t do it, everything stays the same. Sometimes it takes just one tiny action. Solidarity is the only way to effect great change.”

Where do we go from here? What can you do?

  1. If you haven’t yet, look over the spreadsheet. It’s grown from a 100-entry sheet of mainly curatorial submissions to a nearly 2,000-entry behemoth of positions in administration, collections, digital, education, operations, security, visitor services, and other departments. If you’re interested in downloading a copy of the data, you may be able to obtain one by emailing the contact provided on the front page of the sheet.
  2. Submit your own entry. The spreadsheet has been locked to preserve its data, but you can (and should!) add your information through this Google form. While it has grown impressively, we’re still nowhere near a full picture of the field.
  3. Be open with your colleagues. Workplace etiquette has long dictated to keep mum about one’s salary, but silence perpetuates the status quo. Transparency about salaries and benefits exposes both institution-based and field-wide inequities.
  4. Speak up. In a NY Times article about the Ask A Manager spreadsheet, Liz Dolan of the podcast “Safe for Work” and formerly of the marketing teams for Nike and the Oprah Winfrey Network suggests “[asking] for regular raises, noting that the earnings compounded over time [are] considerable.” She also notes, “Sometimes you have to be first and that is the scary part… It’s important to build that confidence.” Whether you are applying for or already in a museum job, use the data from this spreadsheet and other resources such as annual wage surveys to bolster your ask for pay you deserve. (You can find additional pay-related resources under Tab 3: Other Resources on the spreadsheet.)
  5. Team up. Asking for change can be intimidating. Lean on and lend your support to colleagues if you or they decide to speak up.
  6. Share up. Transparency is important; action on the the information provided is doubly so. Share the spreadsheet and other salary data with the people with pockets (or paying power): museum leadership, board members, HR, you name it. They need to understand that this is an issue to be taken seriously, and – hopefully – with our voices combined, we may move the needle.
The Politics of Seeing

The Politics of Seeing

Hopefully summer time is going swimmingly for everyone, whether you’re in internships, jobs, or are relaxing. For museum-goers, popping into an exhibit or two (or thirty) during the dog days is a favorite past-time. And that’s exactly how I kicked off my summer, by visiting 

“Nice to Meet You” from the New Editors

“Nice to Meet You” from the New Editors

It’s that time of year again: the editors you’ve come to know and love have moved on to new endeavors. Never fear, your three new editors are here and ready to get to work! Many thanks and well wishes to Danielle, Kelsey, and Amanda – 

Do Smaller Museums Better Serve Their Communities?

Do Smaller Museums Better Serve Their Communities?

In conducting my thesis research, I recently came across a quote that really stood out to me and that I think museum professionals can agree on:

“The most promising innovations in museums’ relationships with communities are coming not from the largest, oldest, and best-funded institutions, but rather from institutions once viewed as marginal.” (From “Audience, Ownership, and Authority” in Museums and Communities: The Politics of Public Cultures, edited by Ivan Karp and Christine Mullen Kreamer).

Why is it that some of the most striking, relevant exhibitions come from museums operating on a much smaller scale than say, the Metropolitan or the Museum of Fine Arts, Boston? That is not to say that larger institutions are not relevant to their communities, but in my experience, smaller museums seem to be a better platform for fostering interpersonal connections and serving the needs of their immediate audiences.

In reading this quote, a few examples of smaller community museums that appear to offer “the most promising innovations” immediately came to mind, including the Currier Museum of Art in Manchester, New Hampshire and the Wing Luke Museum in Seattle, Washington.

For instance, the Currier Museum is a resonant example of a museum actively engaging with its community by creating outreach programs that reflects its visitors’ needs. Its mission statement clearly supports this idea- “Focused on Art, Centered in Community, Committed to Inspire.” The Currier also curates exhibitions that directly respond to its community, such as the Visual Dispatches from Vietnam War exhibition that involved Manchester’s close-knit veteran community. More relevant, however, is the museum’s current work reflecting on one of the worst epidemics the United States is currently experiencing. Manchester, the largest city in New Hampshire, is unfortunately at the heart of the opioid crisis. In response to this, the Currier has created a program that invites family members of individuals struggling with an addiction to come to the museum and create art in a safe space. This is a beautiful example of a museum “reinventing” themselves to become relevant to their own community, proving that relevance is often more important than even the museum’s collection.

The Currier’s work in successfully engaging with its community reminds me of the transformation that the Wing Luke Museum in Seattle recently experienced. As a result of Director Ron Chew’s decision to create a “community-response” exhibition platform, that is an exhibition “that speaks to the issues happening here and now, and that reach and echo far beyond the museum’s space,” the Wing Luke Asian Museum experienced a spike in museum attendance, fundraised millions of dollars, and ultimately established a “mutually beneficial relationship” within its community.[1] I am impressed with museums such as the Currier and Wing Luke Asian that have taken the (sometimes scary) initiative to amend and improve their relationship with their community, by inviting more voices and perspectives to be heard and recognized.   

What are your thoughts? Does the size and budget of an institution matter when it comes to producing relevant exhibitions? Do any other examples come to mind? Please share your thoughts in the comments below and keep the conversation going!


[1] Ron Chew, “Five Keys to Growing a Healthy Community-connected Museum,” 6.