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ART MUSEUM TEACHING
Photo credit: Dallas Museum of Art. In Activity-Based Teaching in the Art Museum (2020), Kai-Kee, Latina and Sadoyan illustrate an approach to eliciting low-risk, movement-focused emotional responses from a group: Our group collects in front of Portrait of Madame Brunet (ca. 1861-63), an early work by Édouard Manet.#CHANGETHEMUSEUM
Then in June, ChangeTheMuseum appeared. If you are unfamiliar with it, ChangeTheMuseum is an Instagram account where museum workers can anonymously submit issues and situations that have arisen in their museums related to race and equity. Most of the submissions have been from Black, Indigenous, and People of Color (BIPOC) employees inmuseums.
SOCIAL ACTION
The Philadelphia Museum of Art serves the people of Philadelphia, and we must emerge from the COVID-19 crisis as a safe, accessible, and equitable place where all Philadelphians can engage with the arts. For this to be possible, working people must have a seat at the table in museum decision-making. REFOCUSING MUSEUMS ON PEOPLE: MY DREAMS FOR MUSEUMS IN A Thereby, museums have bolstered white supremacy, sexism, colonialism, ableism, heteronormativity, and a lot of other icky isms. The pandemic layoffs are only exacerbating this situation. In fact, museums were explicitly designed to reinforce these icky isms. In a blog post for the SuperHelpful newsletter, I wrote about the book Museums and the QUESTIONS | ART MUSEUM TEACHING Written by Mike Murawski, Kristin Bayans, and Phillippa Pitts. This essay is part of the new MuseumsEtc book Interpreting the Art Museum, an expansive volume of 19 essays & case studies from experienced museum professionals sharing some of today’s most successful initiatives in art interpretation. From November 2014 through April 2015, the Portland Art Museum hosted the installation of aJOHN ARMSTRONG
Posts about John Armstrong written by Mike Murawski. Written by Mike Murawski. This past November, the art market grabbed headlines around the globe with the record-breaking auction purchase of Francis Bacon’s 1969 triptych “Three Studies of Lucian Freud.” With nearly 500 news stories (and counting), this trio of canvases has garnered nearly Miley-Cyrus-level media attention — a frenzy MULTICULTURAL CRITICAL REFLECTIVE PRACTICE Melissa Crum (Mosaic Education Network) and I came together to develop multicultural critical reflective practice (MCRP) as a protocol because we shared the belief that the decisions museum educators make about our teaching practice — such as the artwork to discuss, language we use, expectations we set for learners — are informed byour
TOWARDS A MORE HUMAN-CENTERED MUSEUM: PART 1, RETHINKINGSEE MORE ON ARTMUSEUMTEACHING.COM MASS ACTION TOOLKIT: JOIN THE READING GROUP MASS Action–Museum As Site for Social Action–is a collaborative project that launched in 2016, centering on the question: How do you transform museums from the inside out? Through a series of public convenings and the creation of a toolkit of resources, this project’s intention is to share the strategies and frameworks needed to align museums with more equitable and WHY MUSEUMS DON’T SUCK: THE CURRENT STATE OF TEEN This week, one of the contributing authors here at ArtMuseumTeaching.com, Dana Carlisle Kletchka, brought to my attention a recent column from LA Youth written by 15-year-old Howard Hwang who felt compelled to write about his distaste for visiting museums. His piece entitled "Why museums suck" seems to have already generated an interesting response from theART MUSEUM TEACHING
Photo credit: Dallas Museum of Art. In Activity-Based Teaching in the Art Museum (2020), Kai-Kee, Latina and Sadoyan illustrate an approach to eliciting low-risk, movement-focused emotional responses from a group: Our group collects in front of Portrait of Madame Brunet (ca. 1861-63), an early work by Édouard Manet.#CHANGETHEMUSEUM
Then in June, ChangeTheMuseum appeared. If you are unfamiliar with it, ChangeTheMuseum is an Instagram account where museum workers can anonymously submit issues and situations that have arisen in their museums related to race and equity. Most of the submissions have been from Black, Indigenous, and People of Color (BIPOC) employees inmuseums.
SOCIAL ACTION
The Philadelphia Museum of Art serves the people of Philadelphia, and we must emerge from the COVID-19 crisis as a safe, accessible, and equitable place where all Philadelphians can engage with the arts. For this to be possible, working people must have a seat at the table in museum decision-making. REFOCUSING MUSEUMS ON PEOPLE: MY DREAMS FOR MUSEUMS IN A Thereby, museums have bolstered white supremacy, sexism, colonialism, ableism, heteronormativity, and a lot of other icky isms. The pandemic layoffs are only exacerbating this situation. In fact, museums were explicitly designed to reinforce these icky isms. In a blog post for the SuperHelpful newsletter, I wrote about the book Museums and the QUESTIONS | ART MUSEUM TEACHING Written by Mike Murawski, Kristin Bayans, and Phillippa Pitts. This essay is part of the new MuseumsEtc book Interpreting the Art Museum, an expansive volume of 19 essays & case studies from experienced museum professionals sharing some of today’s most successful initiatives in art interpretation. From November 2014 through April 2015, the Portland Art Museum hosted the installation of aJOHN ARMSTRONG
Posts about John Armstrong written by Mike Murawski. Written by Mike Murawski. This past November, the art market grabbed headlines around the globe with the record-breaking auction purchase of Francis Bacon’s 1969 triptych “Three Studies of Lucian Freud.” With nearly 500 news stories (and counting), this trio of canvases has garnered nearly Miley-Cyrus-level media attention — a frenzy MULTICULTURAL CRITICAL REFLECTIVE PRACTICE Melissa Crum (Mosaic Education Network) and I came together to develop multicultural critical reflective practice (MCRP) as a protocol because we shared the belief that the decisions museum educators make about our teaching practice — such as the artwork to discuss, language we use, expectations we set for learners — are informed byour
TOWARDS A MORE HUMAN-CENTERED MUSEUM: PART 1, RETHINKINGSEE MORE ON ARTMUSEUMTEACHING.COM MASS ACTION TOOLKIT: JOIN THE READING GROUP MASS Action–Museum As Site for Social Action–is a collaborative project that launched in 2016, centering on the question: How do you transform museums from the inside out? Through a series of public convenings and the creation of a toolkit of resources, this project’s intention is to share the strategies and frameworks needed to align museums with more equitable and WHY MUSEUMS DON’T SUCK: THE CURRENT STATE OF TEEN This week, one of the contributing authors here at ArtMuseumTeaching.com, Dana Carlisle Kletchka, brought to my attention a recent column from LA Youth written by 15-year-old Howard Hwang who felt compelled to write about his distaste for visiting museums. His piece entitled "Why museums suck" seems to have already generated an interesting response from theSOCIAL ACTION
The Philadelphia Museum of Art serves the people of Philadelphia, and we must emerge from the COVID-19 crisis as a safe, accessible, and equitable place where all Philadelphians can engage with the arts. For this to be possible, working people must have a seat at the table in museum decision-making. MUSEUMS MUST BECOME MORE TRAUMA INFORMED 5) Creativity – Take risks. Value imagination and experimentation 6) Joy – Work with presence, passion and authenticity. These core values could complement trauma informed practices if considered through that lens. Trauma informed practices prioritize people, in the case of a museum this includes visitors AND staff.JOHN ARMSTRONG
Posts about John Armstrong written by Mike Murawski. Written by Mike Murawski. This past November, the art market grabbed headlines around the globe with the record-breaking auction purchase of Francis Bacon’s 1969 triptych “Three Studies of Lucian Freud.” With nearly 500 news stories (and counting), this trio of canvases has garnered nearly Miley-Cyrus-level media attention — a frenzy RESPECT | ART MUSEUM TEACHING About the Author. FERNANDO ECHARRI IRIBARREN holds a degree in Biological Sciences (University of Navarra, 1989) and a PhD in Museum Education (University of Navarra, 2007).He is an associate professor of the University of Navarra (Pamplona, Spain) and teaches in the following areas: “Art Education”, “University Master’s Degree in Higher-Education Teaching” and “University Master TRAUMA-AWARE ART MUSEUM EDUCATION: A CONVERSATION The good news is that a trauma-aware approach to museum education is in line with Universal Design principles of multi-modal engagement and is beneficial for all, not just those who have experienced trauma. Left: A group of five adults use their bodies to interpret the lines of Richard Diebenkorn’s Ocean Park No. 29. DANCING TO JACKSON POLLOCK: EXPLORING MULTI-MODAL Dancing to Jackson Pollock: Exploring Multi-Modal Responses to Art. Originally posted on ArtMuseumTeaching.com on February 5, 2012 – the site’s inaugural post. As schools and museums work to meet the demands of the 21st century, there has been a renewed emphasis on developing an interdisciplinary culture of inquiry where teachers and PARTICIPATORY PRACTICES IN THE MUSEUM SPACE: A DISSECTION Written by Danielle Carter Participation in the museum sector has become a buzzword, used at such a high frequency that it can oftentimes be misunderstood amongst museum professionals or, in some cases, so that it becomes meaningless from overuse. When talking about participation, it is essential to discuss the theoretical aspects of what participation is, IMAGE THEATRE: OPENING A DIALOGUE THROUGH OUR BODIES The Image Theatre technique, an exercise developed by Brazilian director Augusto Boal (author of Theatre of the Oppressed ), can provide a fresh way to activate museum learning for all ages. I was reintroduced to this technique last year, when educators from the Metro Theater Company led a series of teacher workshops at the SaintLouis Art Museum.
THE DANGERS OF SUPERFICIAL ACTIVISM Reposted from the blog of MASS Action (Museums as Sites of Social Action), an important cross-institutional initiative leading to actionable practices for greater equity and inclusion in our institutions. Be sure to visit the MASS Action website and check out their Toolkit under "Resources." Contributed by Kayleigh Bryant-Greenwell Those that know me, especially those dedicated TOWARDS A MORE COMMUNITY-CENTERED MUSEUM, PART 2: IS Written by Mike Murawski The term ‘community’ may very well be one of the most frequently used words these days when it comes to describing the shifting goals, values, programs, exhibitions, staff, audience demographics, and communication strategies of museums. To be honest, I use the word pretty regularly myself. For decades, museums(and most funding
ART MUSEUM TEACHING
Photo credit: Dallas Museum of Art. In Activity-Based Teaching in the Art Museum (2020), Kai-Kee, Latina and Sadoyan illustrate an approach to eliciting low-risk, movement-focused emotional responses from a group: Our group collects in front of Portrait of Madame Brunet (ca. 1861-63), an early work by Édouard Manet.#CHANGETHEMUSEUM
Then in June, ChangeTheMuseum appeared. If you are unfamiliar with it, ChangeTheMuseum is an Instagram account where museum workers can anonymously submit issues and situations that have arisen in their museums related to race and equity. Most of the submissions have been from Black, Indigenous, and People of Color (BIPOC) employees inmuseums.
QUESTIONS | ART MUSEUM TEACHING Written by Mike Murawski, Kristin Bayans, and Phillippa Pitts. This essay is part of the new MuseumsEtc book Interpreting the Art Museum, an expansive volume of 19 essays & case studies from experienced museum professionals sharing some of today’s most successful initiatives in art interpretation. From November 2014 through April 2015, the Portland Art Museum hosted the installation of a TABLEAUX VIVANT: HISTORY AND PRACTICE Tableaux vivant is often referred to as a playful pastime, but it has also provided a great amount of purpose in the cultural history of the United States. Translated from French, tableaux vivant means ‘living pictures.’. The genre peaked in popularity between 1830 and 1920. During a performance of tableaux vivant, a cast of characters MULTICULTURAL CRITICAL REFLECTIVE PRACTICE Melissa Crum (Mosaic Education Network) and I came together to develop multicultural critical reflective practice (MCRP) as a protocol because we shared the belief that the decisions museum educators make about our teaching practice — such as the artwork to discuss, language we use, expectations we set for learners — are informed byour
TOWARDS A MORE HUMAN-CENTERED MUSEUM: PART 1, RETHINKINGSEE MORE ON ARTMUSEUMTEACHING.COM TOWARDS A MORE COMMUNITY-CENTERED MUSEUM, PART 2: IS Written by Mike Murawski The term ‘community’ may very well be one of the most frequently used words these days when it comes to describing the shifting goals, values, programs, exhibitions, staff, audience demographics, and communication strategies of museums. To be honest, I use the word pretty regularly myself. For decades, museums(and most funding
IMAGE THEATRE: OPENING A DIALOGUE THROUGH OUR BODIES The Image Theatre technique, an exercise developed by Brazilian director Augusto Boal (author of Theatre of the Oppressed ), can provide a fresh way to activate museum learning for all ages. I was reintroduced to this technique last year, when educators from the Metro Theater Company led a series of teacher workshops at the SaintLouis Art Museum.
MASS ACTION TOOLKIT: JOIN THE READING GROUP MASS Action–Museum As Site for Social Action–is a collaborative project that launched in 2016, centering on the question: How do you transform museums from the inside out? Through a series of public convenings and the creation of a toolkit of resources, this project’s intention is to share the strategies and frameworks needed to align museums with more equitable and WHY MUSEUMS DON’T SUCK: THE CURRENT STATE OF TEEN This week, one of the contributing authors here at ArtMuseumTeaching.com, Dana Carlisle Kletchka, brought to my attention a recent column from LA Youth written by 15-year-old Howard Hwang who felt compelled to write about his distaste for visiting museums. His piece entitled "Why museums suck" seems to have already generated an interesting response from theART MUSEUM TEACHING
Photo credit: Dallas Museum of Art. In Activity-Based Teaching in the Art Museum (2020), Kai-Kee, Latina and Sadoyan illustrate an approach to eliciting low-risk, movement-focused emotional responses from a group: Our group collects in front of Portrait of Madame Brunet (ca. 1861-63), an early work by Édouard Manet.#CHANGETHEMUSEUM
Then in June, ChangeTheMuseum appeared. If you are unfamiliar with it, ChangeTheMuseum is an Instagram account where museum workers can anonymously submit issues and situations that have arisen in their museums related to race and equity. Most of the submissions have been from Black, Indigenous, and People of Color (BIPOC) employees inmuseums.
QUESTIONS | ART MUSEUM TEACHING Written by Mike Murawski, Kristin Bayans, and Phillippa Pitts. This essay is part of the new MuseumsEtc book Interpreting the Art Museum, an expansive volume of 19 essays & case studies from experienced museum professionals sharing some of today’s most successful initiatives in art interpretation. From November 2014 through April 2015, the Portland Art Museum hosted the installation of a TABLEAUX VIVANT: HISTORY AND PRACTICE Tableaux vivant is often referred to as a playful pastime, but it has also provided a great amount of purpose in the cultural history of the United States. Translated from French, tableaux vivant means ‘living pictures.’. The genre peaked in popularity between 1830 and 1920. During a performance of tableaux vivant, a cast of characters MULTICULTURAL CRITICAL REFLECTIVE PRACTICE Melissa Crum (Mosaic Education Network) and I came together to develop multicultural critical reflective practice (MCRP) as a protocol because we shared the belief that the decisions museum educators make about our teaching practice — such as the artwork to discuss, language we use, expectations we set for learners — are informed byour
TOWARDS A MORE HUMAN-CENTERED MUSEUM: PART 1, RETHINKINGSEE MORE ON ARTMUSEUMTEACHING.COM TOWARDS A MORE COMMUNITY-CENTERED MUSEUM, PART 2: IS Written by Mike Murawski The term ‘community’ may very well be one of the most frequently used words these days when it comes to describing the shifting goals, values, programs, exhibitions, staff, audience demographics, and communication strategies of museums. To be honest, I use the word pretty regularly myself. For decades, museums(and most funding
IMAGE THEATRE: OPENING A DIALOGUE THROUGH OUR BODIES The Image Theatre technique, an exercise developed by Brazilian director Augusto Boal (author of Theatre of the Oppressed ), can provide a fresh way to activate museum learning for all ages. I was reintroduced to this technique last year, when educators from the Metro Theater Company led a series of teacher workshops at the SaintLouis Art Museum.
MASS ACTION TOOLKIT: JOIN THE READING GROUP MASS Action–Museum As Site for Social Action–is a collaborative project that launched in 2016, centering on the question: How do you transform museums from the inside out? Through a series of public convenings and the creation of a toolkit of resources, this project’s intention is to share the strategies and frameworks needed to align museums with more equitable and WHY MUSEUMS DON’T SUCK: THE CURRENT STATE OF TEEN This week, one of the contributing authors here at ArtMuseumTeaching.com, Dana Carlisle Kletchka, brought to my attention a recent column from LA Youth written by 15-year-old Howard Hwang who felt compelled to write about his distaste for visiting museums. His piece entitled "Why museums suck" seems to have already generated an interesting response from the ABOUT | ART MUSEUM TEACHING About this Site ArtMuseumTeaching.com is a digital community and collaborative online forum for reflecting on critical issues in the field of museums, including issues of teaching, learning, community engagement, equity & inclusion, social justice, and reflective practice. Launched in 2011, ArtMuseumTeaching aims to connect museum professionals, leading thinkers, communities,SOCIAL ACTION
The Philadelphia Museum of Art serves the people of Philadelphia, and we must emerge from the COVID-19 crisis as a safe, accessible, and equitable place where all Philadelphians can engage with the arts. For this to be possible, working people must have a seat at the table in museum decision-making. MUSEUMS MUST BECOME MORE TRAUMA INFORMED 5) Creativity – Take risks. Value imagination and experimentation 6) Joy – Work with presence, passion and authenticity. These core values could complement trauma informed practices if considered through that lens. Trauma informed practices prioritize people, in the case of a museum this includes visitors AND staff. TABLEAUX VIVANT: HISTORY AND PRACTICE Tableaux vivant is often referred to as a playful pastime, but it has also provided a great amount of purpose in the cultural history of the United States. Translated from French, tableaux vivant means ‘living pictures.’. The genre peaked in popularity between 1830 and 1920. During a performance of tableaux vivant, a cast of characters TRAUMA-AWARE ART MUSEUM EDUCATION: A CONVERSATION The good news is that a trauma-aware approach to museum education is in line with Universal Design principles of multi-modal engagement and is beneficial for all, not just those who have experienced trauma. Left: A group of five adults use their bodies to interpret the lines of Richard Diebenkorn’s Ocean Park No. 29. PARTICIPATORY PRACTICES IN THE MUSEUM SPACE: A DISSECTION Written by Danielle Carter Participation in the museum sector has become a buzzword, used at such a high frequency that it can oftentimes be misunderstood amongst museum professionals or, in some cases, so that it becomes meaningless from overuse. When talking about participation, it is essential to discuss the theoretical aspects of what participation is, STUDENT LEARNING IN MUSEUMS: WHAT DO WE KNOW? Reposted from Museum Questions, a blog authored by Rebecca Herz that is dedicated to questions about museums and thoughts on creating a reflective practice. The Museum Questions exploration of school visits to museums has been sorely lacking the context of a literature review, as noted by Christine Castle of Museum Education Monitor. Happily, Dr.Lynda Kelly told me
DANCING TO JACKSON POLLOCK: EXPLORING MULTI-MODAL Dancing to Jackson Pollock: Exploring Multi-Modal Responses to Art. Originally posted on ArtMuseumTeaching.com on February 5, 2012 – the site’s inaugural post. As schools and museums work to meet the demands of the 21st century, there has been a renewed emphasis on developing an interdisciplinary culture of inquiry where teachers andJOHN ARMSTRONG
Posts about John Armstrong written by Mike Murawski. Written by Mike Murawski. This past November, the art market grabbed headlines around the globe with the record-breaking auction purchase of Francis Bacon’s 1969 triptych “Three Studies of Lucian Freud.” With nearly 500 news stories (and counting), this trio of canvases has garnered nearly Miley-Cyrus-level media attention — a frenzyHOMI BHABBA
Posts about Homi Bhabba written by Briley Rasmussen. Editor’s Note: This post is part of a series on ArtMuseumTeaching.com during August that focuses on the recent book Multiculturalism in Art Museums Today (2014). Find links below to additional posts in this series by several of the book’s authors, and please join us for an Online Book Club via Google Hangout on August 20th.ART MUSEUM TEACHING
Photo credit: Dallas Museum of Art. In Activity-Based Teaching in the Art Museum (2020), Kai-Kee, Latina and Sadoyan illustrate an approach to eliciting low-risk, movement-focused emotional responses from a group: Our group collects in front of Portrait of Madame Brunet (ca. 1861-63), an early work by Édouard Manet.#CHANGETHEMUSEUM
Then in June, ChangeTheMuseum appeared. If you are unfamiliar with it, ChangeTheMuseum is an Instagram account where museum workers can anonymously submit issues and situations that have arisen in their museums related to race and equity. Most of the submissions have been from Black, Indigenous, and People of Color (BIPOC) employees inmuseums.
QUESTIONS | ART MUSEUM TEACHING Written by Mike Murawski, Kristin Bayans, and Phillippa Pitts. This essay is part of the new MuseumsEtc book Interpreting the Art Museum, an expansive volume of 19 essays & case studies from experienced museum professionals sharing some of today’s most successful initiatives in art interpretation. From November 2014 through April 2015, the Portland Art Museum hosted the installation of a THE WHAT AND THE WHERE OF ART MUSEUM EDUCATION The What and the Where of Art Museum Education. Educational practices in art museums don’t often make the pages of major newspapers, so I was pleasantly surprised to see this article, “ From Show and Look to Show and Teach ,” in the New York Times a few months ago (see also Lindsay Smilow’s earlier response to this NYT article). MULTICULTURAL CRITICAL REFLECTIVE PRACTICE Melissa Crum (Mosaic Education Network) and I came together to develop multicultural critical reflective practice (MCRP) as a protocol because we shared the belief that the decisions museum educators make about our teaching practice — such as the artwork to discuss, language we use, expectations we set for learners — are informed byour
TOWARDS A MORE COMMUNITY-CENTERED MUSEUM, PART 2: IS Written by Mike Murawski The term ‘community’ may very well be one of the most frequently used words these days when it comes to describing the shifting goals, values, programs, exhibitions, staff, audience demographics, and communication strategies of museums. To be honest, I use the word pretty regularly myself. For decades, museums(and most funding
MASS ACTION TOOLKIT: JOIN THE READING GROUP MASS Action–Museum As Site for Social Action–is a collaborative project that launched in 2016, centering on the question: How do you transform museums from the inside out? Through a series of public convenings and the creation of a toolkit of resources, this project’s intention is to share the strategies and frameworks needed to align museums with more equitable andHOMI BHABBA
TOWARDS A MORE HUMAN-CENTERED MUSEUM: PART 1, RETHINKINGSEE MORE ON ARTMUSEUMTEACHING.COM IMAGE THEATRE: OPENING A DIALOGUE THROUGH OUR BODIES The Image Theatre technique, an exercise developed by Brazilian director Augusto Boal (author of Theatre of the Oppressed ), can provide a fresh way to activate museum learning for all ages. I was reintroduced to this technique last year, when educators from the Metro Theater Company led a series of teacher workshops at the SaintLouis Art Museum.
ART MUSEUM TEACHING
Photo credit: Dallas Museum of Art. In Activity-Based Teaching in the Art Museum (2020), Kai-Kee, Latina and Sadoyan illustrate an approach to eliciting low-risk, movement-focused emotional responses from a group: Our group collects in front of Portrait of Madame Brunet (ca. 1861-63), an early work by Édouard Manet.#CHANGETHEMUSEUM
Then in June, ChangeTheMuseum appeared. If you are unfamiliar with it, ChangeTheMuseum is an Instagram account where museum workers can anonymously submit issues and situations that have arisen in their museums related to race and equity. Most of the submissions have been from Black, Indigenous, and People of Color (BIPOC) employees inmuseums.
QUESTIONS | ART MUSEUM TEACHING Written by Mike Murawski, Kristin Bayans, and Phillippa Pitts. This essay is part of the new MuseumsEtc book Interpreting the Art Museum, an expansive volume of 19 essays & case studies from experienced museum professionals sharing some of today’s most successful initiatives in art interpretation. From November 2014 through April 2015, the Portland Art Museum hosted the installation of a THE WHAT AND THE WHERE OF ART MUSEUM EDUCATION The What and the Where of Art Museum Education. Educational practices in art museums don’t often make the pages of major newspapers, so I was pleasantly surprised to see this article, “ From Show and Look to Show and Teach ,” in the New York Times a few months ago (see also Lindsay Smilow’s earlier response to this NYT article). MULTICULTURAL CRITICAL REFLECTIVE PRACTICE Melissa Crum (Mosaic Education Network) and I came together to develop multicultural critical reflective practice (MCRP) as a protocol because we shared the belief that the decisions museum educators make about our teaching practice — such as the artwork to discuss, language we use, expectations we set for learners — are informed byour
TOWARDS A MORE COMMUNITY-CENTERED MUSEUM, PART 2: IS Written by Mike Murawski The term ‘community’ may very well be one of the most frequently used words these days when it comes to describing the shifting goals, values, programs, exhibitions, staff, audience demographics, and communication strategies of museums. To be honest, I use the word pretty regularly myself. For decades, museums(and most funding
MASS ACTION TOOLKIT: JOIN THE READING GROUP MASS Action–Museum As Site for Social Action–is a collaborative project that launched in 2016, centering on the question: How do you transform museums from the inside out? Through a series of public convenings and the creation of a toolkit of resources, this project’s intention is to share the strategies and frameworks needed to align museums with more equitable andHOMI BHABBA
TOWARDS A MORE HUMAN-CENTERED MUSEUM: PART 1, RETHINKINGSEE MORE ON ARTMUSEUMTEACHING.COM IMAGE THEATRE: OPENING A DIALOGUE THROUGH OUR BODIES The Image Theatre technique, an exercise developed by Brazilian director Augusto Boal (author of Theatre of the Oppressed ), can provide a fresh way to activate museum learning for all ages. I was reintroduced to this technique last year, when educators from the Metro Theater Company led a series of teacher workshops at the SaintLouis Art Museum.
SOCIAL ACTION
The Philadelphia Museum of Art serves the people of Philadelphia, and we must emerge from the COVID-19 crisis as a safe, accessible, and equitable place where all Philadelphians can engage with the arts. For this to be possible, working people must have a seat at the table in museum decision-making.MASS ACTION
MASS Action – Museum As Site for Social Action –is a collaborative project that launched in 2016, centering on the question: How do you transform museums from the inside out? Through a series of public convenings and the creation of a toolkit of resources, this project’s intention is to share the strategies and frameworks needed to align museums with more equitable and inclusive practices. MUSEUMS MUST BECOME MORE TRAUMA INFORMED 5) Creativity – Take risks. Value imagination and experimentation 6) Joy – Work with presence, passion and authenticity. These core values could complement trauma informed practices if considered through that lens. Trauma informed practices prioritize people, in the case of a museum this includes visitors AND staff. PARTICIPATORY PRACTICES IN THE MUSEUM SPACE: A DISSECTION Written by Danielle Carter Participation in the museum sector has become a buzzword, used at such a high frequency that it can oftentimes be misunderstood amongst museum professionals or, in some cases, so that it becomes meaningless from overuse. When talking about participation, it is essential to discuss the theoretical aspects of what participation is,DIVERGENT THINKING
Posts about divergent thinking written by Mike Murawski. Written by David Bowles, Assistant Museum Educator for School Programs, Metropolitan Museum of Art. Cross-posted with Museum Questions, a blog authored by Rebecca Herz that is dedicated to questions about museums and thoughts on creating a reflective practice. This blog post is about listening and reflection. STUDENT LEARNING IN MUSEUMS: WHAT DO WE KNOW? Reposted from Museum Questions, a blog authored by Rebecca Herz that is dedicated to questions about museums and thoughts on creating a reflective practice. The Museum Questions exploration of school visits to museums has been sorely lacking the context of a literature review, as noted by Christine Castle of Museum Education Monitor. Happily, Dr.Lynda Kelly told me
JOHN ARMSTRONG
Posts about John Armstrong written by Mike Murawski. Written by Mike Murawski. This past November, the art market grabbed headlines around the globe with the record-breaking auction purchase of Francis Bacon’s 1969 triptych “Three Studies of Lucian Freud.” With nearly 500 news stories (and counting), this trio of canvases has garnered nearly Miley-Cyrus-level media attention — a frenzy THE DANGERS OF SUPERFICIAL ACTIVISM Reposted from the blog of MASS Action (Museums as Sites of Social Action), an important cross-institutional initiative leading to actionable practices for greater equity and inclusion in our institutions. Be sure to visit the MASS Action website and check out their Toolkit under "Resources." Contributed by Kayleigh Bryant-Greenwell Those that know me, especially those dedicated WHY MUSEUMS DON’T SUCK: THE CURRENT STATE OF TEEN This week, one of the contributing authors here at ArtMuseumTeaching.com, Dana Carlisle Kletchka, brought to my attention a recent column from LA Youth written by 15-year-old Howard Hwang who felt compelled to write about his distaste for visiting museums. His piece entitled "Why museums suck" seems to have already generated an interesting response from the OPENTHINK: VISUAL THINKING STRATEGIES (VTS) & MUSEUMS For the past two decades, the overall discourse regarding Visual Thinking Strategies (VTS) has been the subject of rather thorny debate. The often-cited conversation between Philip Yenawine and Danielle Rice at the 1999 National Docent Symposium (published in 2002) productively drew out many of the disagreements about the role of information in museum teaching, especiallyART MUSEUM TEACHING
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Leading Towards a Different Future MAKING THE CASE FOR COLLABORATIVE LEADERSHIP IN MUSEUMS StickySeptember 14, 2020Mike Murawski 3
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_WRITTEN BY MIKE MURAWSKI_ Early this week, it was so fantastic to see the Birmingham Museums Trust announce its decision to bring Sara Wajid and Zak Mensah on as joint CEOs, making a bold leap into co-leadership that can help serve as a model for many other museums and nonprofit institutions in the years to come. I am particularly thrilled to hear this news since, over the past few months, I have taken a dive into the practices of collaborative and shared leadership in museums and nonprofits, thinking more deeply about this approach and seriously asking why more museums are not adopting this. It has been made clear that most museum professionals are not aware of established models to look toward for this practice (few still exist), and the significant benefits of collaborative leadership are not widely understood in our field. Outdated ideas of solo leadership remain the dominant narrative in the field of museums, but that is beginning to change. I am moderating a panel session on the topic for MuseumNext’s virtual conference this October, bringing
together individuals with experience in co-leadership roles in museums and arts organizations. My interest in this issue also comes out of my recent call for our field to upend our thinking about leadershipand
make some significant changes as we move into the future. Here is some of what I have found, and some helpful readings and resources for those working to advocate for this type of change at your institution. And please, if you know of other examples of co-leadership in practice at a museum or other useful resources, please share (and I can addthem in here).
COLLABORATIVE LEADERSHIP THAT WORKS If the current moment of crises is indeed a unique and unprecedented opportunity for museums to reimagine themselves and emerge as more human-centered institutions, then I cannot think of a better time to seriously consider adopting a collaborative and shared approach to leadership. Not only do collaborative forms of leadership align more strongly with organizational cultures working to advance equity and anti-racism, but it is also increasingly difficult for any single individual to possess all of the skills and abilities needed to lead a complex organization into a future of post-pandemic uncertainties. In his post entitled “Museum Leadership for the Rest of Us,” Robert Weisberg cites a roundtable conversation among business experts and senior partners at McKinsey that calls into question the hero mentality of directors and CEOs in times of crisis. When asked “Does this mean we are seeing the end of the hero CEO?,” Bill Schaninger responded: > “e’ve seen COVID-19 accelerating the shift away from classic > authoritarian leadership to new forms of distributed decision > making…. CEOs still trying to hold on to top-down mandates could > very quickly become the impediment rather than the solution.” A small number of museums have moved towards various forms of collaborative leadership, although examples are still difficult to come by and there are very few sustained or permanent commitments to these alternative forms of leadership. After a bit of a lengthy search, I was able to find a few examples to note: * Beginning in 2016, Deyan Sudjic and Alice Black served in co-director roles at the Design Museum in London. Both individuals stepped down from these roles in January 2020,
and the institution appointed Tim Marlow in a solo director role as well as the first person to serve as chief executive officer. * In 2019, Sabina Sabolovic, Natasa Ilic and Ivet Curlin were collectively hired to take equal share in running the Kunsthalle Wien (Vienna), after the sudden resignation of the Kunsthalle’s previous director Nicolaus Schafhausen. * The Five Oaks Museum (previously the Washington County Museum) transitioned from a single director to a co-director model in 2019 with the promotion of Molly Alloy and Nathanael Andreini in its first co-director roles. * At the Fort Collins Museum of Discovery, an organizational merger back in 2008 led to a unique dual leadership modelbased
in a public/private partnership structure. Cheryl Donaldson and Laura Valdez currently serve as Co-Executive Directors of the museum, a model grounded in a partnership relationship and based inco-expertise.
* The Museum of New Zealand Te Papa Tongarewa (Te Papa) established a bicultural dual leadership modelwhen
it was founded in the 1990s. The partnership between the Chief Executive Officer and Kaihautū (Māori leader) reflects the bicultural nature of the museum. Te Papa acknowledges the unique position of Māori in Aotearoa New Zealand and the need to secure their participation in the governance, management, and operation of the museum. Arapata Hakiwai has served in the role of Kaihautū since 2013, while Courtney Johnston more recently entered the role of Chief Executive Officer in December 2019. * And, of course, now the fantastic news from Birmingham MuseumsTrust
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one of the UK’s largest independent museum trusts. Outside of museums, there are many nonprofits and arts organizations adopting a shared leadership or co-directorship model. A 2017 article in _Nonprofit Quarterly_shared
insights from five leading nonprofits that have developed shared leadership structures, including the Building Movement Project, Management Assistance Group, and the Rockwood Leadership Institute. Arts nonprofit Fractured Atlas has been operating with a shared, non-hierarchical leadership model since 2018, using a moment of leadership transition to experiment with new organizational structures. Fractured Atlas began this new approach with a four-person leadership team, and they have written rather extensively about their experiences with this model thus far (via their blog).
After studying some of the research on the topic along with the experiences of those successfully implementing collaborative and shared leadership models, there are several key benefits that appearto emerge:
_1. LEADS TO MORE EFFECTIVE DECISION-MAKING_ When it comes to decision-making, a collaborative leadership approach focuses more on quality than efficiency. Making decisions may take more time, but this process brings in more perspectives and ideas and results in doing things better collectively. With this process also comes greater transparency as more individuals and staff are involved in making decisions and talking through ideas. In his study entitled “Shared Leadership: Is It Time for a Change?,” Michael Kocolowski found that organizations identified several benefits of shared leadership, including the “synergy and expertise derived from shared leadership” and “diversity of thought indecision making.”
In 2019, Cheryl Donaldson and Donna Jared, then Co-Executive Directors at the Fort Collins Museum of Discovery, reflected on some of the keys to making co-leadership work. For them, this model means that co-leaders are bringing their own expertise to the organization and the daily decisions that are made. While each has some autonomous responsibilities, they note that “the lines are blurred, on purpose, to allow us to support one another, to bring different perspectives to decision making, and to hold each other accountable” (see interviewwith Jill Stilwell
).
According to Tim Cynova, a member of Fractured Atlas’s co-leadership team, their shared leadership model “lessens the organization’s dependence on any one person, and strengthens strategic thinking and decision-making capacity across a broad range of staff members” (see Tim’s post “CEO Not (Necessarily) Required”).
When there is more than one leader—and when leadership becomes part of organizational culture—it becomes even more critical to spend a lot of time thinking together, sharing ideas, communicating, and being as transparent as possible. _2. CULTIVATES INNOVATION AND GROWTH_ For many organizations adopting collaborative and shared leadership models, there is an observed increase in innovation and experimentation. Kocolowski observed that “flow and creativity seem to flourish in a shared leadership environment,” and that such shared leadership models are particularly important for the growth and development of new ventures and projects. “Co-leadership allows you to think bigger and dream knowing you have a thought partner to dream with,” noted Donaldson and Jared at the Fort Collins Museum ofDiscovery.
In a traditional top-down leadership model, there is often a sense that the knowledge, expertise, and ideas of those at the very top are more valued and important. This way of siloing and isolating innovation in a single leader or small group of managers can work to prevent an organization from truly reaching its potential. A collaborative organization aims to unlock the knowledge, lived experiences, and creative capacities of its entire team, breaking down the barriers that prevent new ideas from bubbling to the surface. As Darlene Nipper of the Rockwood Leadership Institute puts it, “What we’re able to accomplish together is way more than I believe any one person could accomplish.” _3. CENTERS THE VALUE OF RELATIONSHIPS_ A shared leadership model brings attention to the relational and collaborative aspects of work as well as the ways in which the value of relationship itself can be incorporated into the leadership structures of an organization. As social justice activist and author adrienne maree brown proclaims in her book _Emergent Strategy_ (2017), “RELATIONSHIPS ARE EVERYTHING,” and the depth of those relationships determines the strength of a system or organization. For many in co-directorship roles, they develop a strong sense of connection, respect, and mutual trust with their counterpart. For these models to work effectively, an organization needs to center these values and understand the importance of relationships within organizational culture. Donaldson and Jared reflect about their experience at the Fort Collins Museum of Discovery, “As co-leaders, we’ve come to understand it is the partnership relationship that is leading the institution, not us an individuals.” _4. PROMOTES SHARED LEADERSHIP ACROSS THE ORGANIZATION_ “Shared leadership does really work, and when it’s working well, it’s not just about the few people who are codirectors, it’s actually about the whole organization,” states Susan Misra,
co-director at the Management Assistance Group. Collaborative leadership is not just about the individual leaders sharing power and working together—it is also about changing organizational culture and mindset to be more collaborative. For most organizations successfully adopting a shared leadership model, developing a co-directorship is just the beginning of a longer process of building collective structures and new ways of working that include the voices of all staff. Erin Matson, Co-Director of Reproaction, acknowledges, “The
co-directorship model is a powerful was to expand the leadership capabilities of your organization.” For Donaldson and Jared, their co-leadership approach at the Fort Collins Museum of Discovery models a flattening out of the organizational chart. They expanded their shared leadership approach to include director level staff who are invited to work together as a shared group rather than only oversee their own specific departments or areas. Other organizations, including Fractured Atlas and the Five Oaks Museum, have used this moment of collaborative leadership to also deeply explore pay equity and transparency. When organizations take this approach, leadership growth can occur across an entire team and begin to have a powerful effect on many areas of work and practice. _5. ALIGNS WITH ANTI-RACISM AND EQUITY_ With collaborative leadership comes the opportunity to examine what power looks like within your organization and to reimagine how it operates in more equitable and inclusive ways. For some organizations, the shift to co-directorship emerges during a transition out of a particularly oppressive situation with traditional leadership. Overall, a top-down, individualistic model of leadership is in direct contradiction with efforts to advance equity, inclusion, and anti-racism. In their discussion with CompassPoint team members aboutshared power
,
co-directors of several social-justice-focused nonprofits noted that forms of traditional, hierarchical leadership just did not align with the work they do as organizations. As noted in _Leadership and Race: How to Develop and Support Leadership that Contributes to Racial Justic_e, a
report developed through a research initiative of the LeadershipLearning Community:
> “We often reward people whose leadership style is aligned with the > individual model of the dominant culture, but not those who engage > in more collective forms of leadership. This serves to render > invisible the leadership of many women and people of different > races/ethnicities.” The report’s authors continue: > “Leadership can play a critical role in either contributing to > racial justice or reinforcing prevailing patterns of racial > inequality and exclusion…. To achieve racial and social justice, > we need to move beyond the emphasis on the power of individuals to a > philosophy of interdependence and building connections.” Fractured Atlas Board members Christopher Mackie and Russell Willis Taylor state that the shared leadership model in their organization makes “a powerful statement against the inevitability of hierarchy and the racist, sexist, and otherwise oppressive social institutions and organizations that it enables” (see their post “Thoughts on Co-Leadership: What So We Think We’re Doing?”). For
Fractured Atlas, their non-hierarchical leadership team helps advance their core values of anti-racism and anti-oppression by modeling an inclusive approach that fosters a diversity of voices, perspectives, and skills. By questioning and breaking away from the commonly accepted ideas of leadership based in white dominant culture, organizations can move toward more inclusive forms of decision-making, collaborative practice, and collective workplace culture. TAKING ACTION TO BUILD A DIFFERENT FUTURE In her June article “On the Limits of Care and Knowledge,” Yesomi Umolu, Director and Curator of Logan Center Exhibitions at the University of Chicago, sharply highlighted the broken foundations of colonial violence and exclusion for museums, writing: > “at a time when many civic institutions are being exposed for > negligence of duty, museums must recognize their shortcomings and > develop new ways of thinking and doing.” By replacing the outdated, broken, and harmful structures of individualistic leadership and leader-centered organizational hierarchy, we have the potential to reinvent museums as vibrant, thriving, equitable institutions that are better equipped to navigate the unprecedented challenges of our times and more fully care for their staff and their local communities. Yet nothing is going to change unless we question our assumptions, fight against the entrenched barriers of the status quo and the “we can’t” mentality, and begin to take action to make change happen. I hope that this post includes some information and resources that can support those making arguments for collaborative leadership right now, and that it might help spark more institutions to consider moving in thisdirection.
SERIES ON LEADERSHIP This is the third post in a series called “Leading Towards aDifferent Future”
that
takes a deeper dive into ideas about leadership and some steps for taking action. I am, of course, open to questions, conversation, and bringing together more ideas that can help us move toward changing museums. Add to the Comments below, message me via social media, or send me an email at murawski27@gmail.com. Other posts in this series include: * “Upending Our Ideas about Leadership in Museums” * “Leading Means Being More Human”* * *
ABOUT THE AUTHOR
MIKE MURAWSKI: Independent consultant, change leader, author, and nature lover living in Portland, Oregon. I am passionate about transforming museums and non-profits to become more equitable and community-centered. After more than 20 years of work in education and museums, I bring my personal core values of deep listening, collective care, and healing practice into the work that I lead within organizations and communities. Learn More.* * *
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CALL FOR PROPOSALS: DISRUPT, DISMANTLE,MANIFEST
April 9, 2021
Mike Murawski Leavea comment
_WRITTEN BY MEMBERS OF THE EQUITY COALITION_ UPDATE (4/16): We are extending our deadline to EOD (11:59pm) 4/20. Thank you to those who raised the issue of cypher compensation. We are currently working on ways to raise money to compensate speakers. We don’t want compensation to be a barrier to anyone presenting. Please reach out to us if this is a concern and we’ll figure something out!* * *
The legacies of colonial and racialized violence, and white supremacy broadly, express themselves in myriad ways in contemporary museum practice. Internal and external transformation is required for shifting systems of power; interrupting the cycle of abusive museum culture; and healing from traumatic histories. Yet, despite decades of advocacy, we keep repeating the same patterns. Why? What keeps us from taking necessary actions? We must face individual and institutional unwillingness in museums to self-educate as well as the resistance to embed racial equity. We must name the lack of transparency, accountability, and serious commitment to make this work foundational. We must move our field away from performative, so-called DEAI measures that center whiteness towards models that break historical patterns of inequity and harm. WE ARE CALLING FOR A RADICAL REIMAGINING OF POSSIBILITIES AROUND WHAT A MUSEUM CAN BE FOR ITS PUBLICS WHEN RACIAL JUSTICE IS AT ITS CENTER.GET INVOLVED
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HOW EMPLOYEES AT THE PHILADELPHIA MUSEUM OF ART ARE UNIONIZINGJuly 22, 2020
Mike Murawski Leavea comment
_WRITTEN BY ERIC MORSE_ > Reposted with permission from the Museums + Democracy Project > , a project founded by Eric Morse > to explore all aspects of how museums can be more democratic. > Originally published on 10 July 2020. Interested in forming a union at your museum, but not sure how to do it? This post shares the steps taken by the employees of the Philadelphia Museum of Art (PMA) to create their union.
While any unionizing effort will be unique based on the local circumstances and conditions, the steps below can be used as atemplate.
CREATE TRANSPARENCY, TALK, AND LISTEN For any unionization effort to start, employees need to begin talking to each other about their salaries, benefits, and working conditions. These are the main areas unions and management will negotiate through a contract. The Art + Museum Transparency spreadsheet that was published last year was a catalyst for employees at the PMA. That spreadsheet allowed museum professionals to post their job titles, salaries, and benefits from current and past positions. Many at the PMA added their information. The transparency created by the spreadsheet allowed employees to see salary inequities between employees with the same job title and in benefits for full-time versus part-time employees. Sarah Shaw is a coordinator of the Education Resource Center and a museum educator at the PMA. She is also an organizer of the union. Shaw says that it was important that employees from across the museum talked to each other because it broadened the conversations to includeother concerns.
“Individuals across the museum, across different departments, started having conversations that were ignited by the spreadsheet,” says Shaw. “As we talked to more and more of our colleagues and started trying to crowdsource issues that people had we heard concerns in addition to salary and benefits.” Those concerns included a lack of effective policies to keep employeessafe.
“The most important way that we have gone about this work is by using our networks and individual connections,” says Shaw. “One-on-one conversations have been the meat of this organizingeffort.”
Shaw says that employees had conversations over coffee, during lunch, or meeting up after work. When the pandemic hit, they continued to have conversations over the phone and by using online meeting toolssuch as Zoom.
Shaw also said that listening has been critical. “We have been intentional about making seventy percent of the conversations listening to our co-workers, what they love about their job, what they wish they could change about their job, ways that they feel both empowered and powerless in their job, and relating those concerns to what we can accomplish together through a union that we cannot as individuals,” says Shaw. CREATE AN ORGANIZING COMMITTEE As PMA employees continued to talk about the workplace issues important to them, they also began to discuss how they could organize to make positive changes for themselves. This led them to realize aunion was needed.
An organizing committee formed organically. “Our committee has really grown over the past year, but it is entirely made up of individuals who have said, ‘This is important to me, I have the time and energy to put into it,’” says Shaw. RESEARCH A UNION TO AFFILIATE WITH If you are going to organize a union at your museum, you will probably need the support of an existing union. You’ll want to choose a union that will understand the museum environment, so it can bestserve your needs.
Don’t be fooled by the names of unions. Museum workers have affiliated their unions with the American Federation of State, County, and Municipal Employees (AFSCME), the United Auto Workers, and the International Union of Operating Engineers, among others. “We did a lot of research into unions to find the one we would affiliate with,” says Shaw. “We needed to have an established union with legal representation and expertise in contract negotiation and who can advise us through this process. They are the support system that we need in order to get the campaign off the ground and win our election and our first contract.” The PMA employees decided to affiliate with AFSCME District Council 47. One of the reasons is because AFSCME has experience working with other museum unions and the local District Council represents workers in environments similar to museums. “They represent workers in non-profits in Philadelphia, at the Philadelphia Zoo, and at the Free Library,” says Shaw. “They represent folks working in universities. The academic system has a lot in common with workers in museums. They represent people who work for the City of Philadelphia and those connections to City Hall were important. We felt like they had the most relevant experience and represented the broadest cross-section of Philadelphia workers, which is really what the museum is.” On its Cultural Workers United website , AFSCME says that it represents more cultural workers than any other union in the UnitedStates.
SIGN AUTHORIZATION CARDS At least 30 percent of employees who would form the union need to sign authorization cards that say they support the unionization effort and the affiliation with the selected union. The goal here is to have much more support than 30 percent. That is what happened at the PMA, where a supermajority of eligible employees signed the authorization cards. VOLUNTARY RECOGNITION OR ELECTION The signed cards are used to petition a state or federal Labor Relations Board for recognition of the union. Having a supermajority of employees sign cards is important because it sends a strong message to leadership that employees support the union. A goal is that the museum voluntarily recognizes the union. That’s what happened during a unionization effort at the Los Angeles Museum of Contemporary Art. Otherwise, museum leadership can request a vote of eligible employees. The Labor Relations Board figures out who eligible employees are. “Eligible workers are typically folks who are not in a supervisory position and who do not make independent decisions about hiring and firing,” says Shaw. NEGOTIATE A UNION CONTRACT If the union is voluntarily recognized or recognized through an election, the next step is the ultimate goal: negotiating a union contract. This is the document that will govern the relationship between the museum and the union, and allow employees to have a say in pay, benefits, and working conditions. WHERE THE PMA UNION IS IN THE PROCESS Museum leadership did not voluntarily recognize the union and a vote is currently being held through the end of July . The votes will be counted in early August. The vote is expected to succeed. If it does, the employees of the PMA will have created a more democratic workplace.* * *
ABOUT THE AUTHOR
ERIC MORSE: Founder of the Museums + Democracy Project, and a museum professional in central Iowa in the United States. Eric has a Master of Arts in Museum Studies from the Johns Hopkins University. He has experience working in museums, non-profits, and communications. Eric is the founder of the Central Iowa Community Museum . This new museum has a mission to create more democracy through exhibitions that celebrate the people of central Iowa and the issues they must face together. Eric is writing a book on the subject of Museums + Democracy.SHARE THIS:
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WHY EMPLOYEES AT THE PHILADELPHIA MUSEUM OF ART ARE UNIONIZINGJuly 17, 2020
Mike Murawski 4
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_WRITTEN BY ERIC MORSE_ > Reposted with permission from the Museums + Democracy Project > , a project founded by Eric Morse > to explore all aspects of how museums can be more democratic. > Originally published on 26 June 2020. We need museum workplaces to be more democratic. Museum workers are hurting. The coronavirus pandemic has brought layoffs and furloughs. In most cases, workers have not been included in the decision of who is laid off or furloughed. Now that museums are reopening, workers face possible exposure to the virus and many have not been consulted about how they will be kept safe. Things weren’t much better before the virus hit. Expensive advanced degrees are required for positions that have salaries so low it’s difficult to pay back school loans and support living expenses. Salary inequality is common between men and women; between white people and Black, Indigenous, and people of color; and between leadership and most employees. Museum workers are passionate and dedicated. They deserve to be treated much better than they are. For that to happen, workers need to use democracy to make a difference for themselves. That’s where unions come in. Unions are democratic institutions. Unions are formed through a vote. Members elect their leaders and vote on agreements negotiated with employers. Unions allow workers to have a say in how their workplaces are run. Recently, I spoke with Sarah Shaw, a coordinator of the Education Resource Center and a museum educator at the Philadelphia Museum of Art (PMA). Shaw is one of the organizers of the union at the museum. The unionizing effort has its beginnings in 2019, when the Art +Museum Transparency
spreadsheet was published. It allowed museum professionals to share their salaries at past and present positions. Many at the PMA added their information. As they did, inequities became visible. There was salary inequity between men and women filling the exact same position and in benefits for full-time versus part-time employees. “Those conversations grew and began to broaden outside of what was covered by the salary transparency spreadsheet,” said Shaw. One of those concerns was that the PMA had no parental leave policy or parental leave time pay. “Those conversations grew very organically into talking about what we could achieve if we were unionized, what we could achieve through collective action and collective bargaining that we’re not able to achieve as individuals,” said Shaw. “It was a grassroots, homegrown movement that grew up around both the concerns that the salary transparency spreadsheet brought up and problems that had gone unvoiced for a long time.” Earlier this year, it was revealed that PMA leadership inadequately handled sexual harassmentand bullying
toward staff by former managers. Shaw is quick to point out that the effort to begin to unionize began before these scandals became public and that they are not the focus of the unionization effort. “I hesitate to give too much weight to those stories because it feels like it frames the organizing effort in a negative way. That it is just people who have grievances against management at the museum and that is not the case,” said Shaw. “Those stories are a small part of a constellation of much larger concerns that can be addressed by workers having a voice in the workplace and having a seat at the table when decisions are made.” A lack of transparency runs through all the issues employees hope to address through the union, whether salary inequality, benefits, orworkplace policies.
“We want to improve employee morale by having clear, transparent systems in place that can improve relationships between managers and employees,” says Shaw. FOR LOVE OF THE MUSEUM AND EACH OTHER The union’s website says employees “are unionizing out of a love of the arts, the museum, and each other.” Shaw says one of the goals is to make museum labor more visible and valued. She says that in the eyes of the public—and too often museum leadership, boards, and donors—the focus is on collectionsand buildings.
“Museums would not function without the human labor and it does not make sense for the heart of a cultural institution to be valued so much less than the collections or the building,” said Shaw. “Unionizing is the most effective way for us to assert our value to the institution. Unionizing is the most effective way to make that sometimes invisible labor material to the institution.” Museums have focused on making staff more diverse. But not improving salaries or changing educational requirements has prevented that goal from becoming a reality. During the recent protests against police brutality and systemic racism, the public has noticed that museums have not improved in this area.
Shaw says unions can help. “Making changes to hiring practices, employee support and promotion, and pay equity will make our workplace more diverse and look more like the city of Philadelphia,” said Shaw. “That is going to make the PMA a more welcoming place to everyone.” A museum’s worth is measured by how well it serves its community, and that includes its own employees. Shaw says that a unionized workforce benefits the community as well. “The workers of the Philadelphia Museum of Art are Philadelphia’s workers,” says Shaw. “Improving the working conditions, improving the standard of living, improving benefits, making our workplace more inclusive and more equitable, that is a service not just to the workers of the museum but a service to our community because we are part of Philadelphia.” WHERE THE UNIONIZATION EFFORT IS TODAY By March of this year, a supermajority of eligible employees had signed authorization cards indicating they supported forming a union. The PMA leadership had the option to voluntarily recognize the union. Instead, leaders hired an anti-union law firm to handle negotiations with the union and the National Labor RelationsBoard (NLRB).
During the initial NLRB hearing , PMA leadership and its law firm claimed that some employees are not “core” to the museum’s mission and that “core” and “non-core” employees should be split into two unions. “Non-core” positions, according to PMA leaders, include visitor services, technology, development, and membership, among others. This is ridiculous. Every position at a museum is core to the mission. Unions provide employees with an opportunity to have a say in layoffs and rehiring, which is critical at a time like this. “Workers who aren’t unionized in institutions that have instituted furloughs and layoffs have no legal recourse,” says Shaw. “At least if you are unionized, there is a legal mechanism to negotiate an extension of benefits or rehiring policies. You can negotiate that when the museum is ready to rehire workers they are going to rehire folks who were laid off, not all new people.” Unfortunately for workers at the PMA, since the union is not yet recognized, workers will not have a say on furloughs and layoffs. On June 24, the PMA announced that 100 staff members would be furloughed or lose their jobs through voluntary departures and possible layoffs. A museum spokesperson told the Philadelphia Inquirer that furloughs were distributed across departments, but that the curatorial and conservation staff were not impacted. A union organizer told the newspaper that many working in visitor services were being furloughed. This is more insight into what the museum views as “core” and “non-core” positions. On June 25, the union and the PMA reached an agreement. The union will not be split into “core” and “non-core” employees. Since the museum failed to voluntarily recognize the union, employees now need to vote whether they will unionize. Employees who are eligible to participate in the election, even if they are furloughed during the voting, will be allowed to vote. Votes will be taken by mail July 9 – 30 and counted on August 6. Since a supermajority have already signed authorization cards, it is expected that the vote will be overwhelmingly in favor of unionizing. If that is the case, the museum must recognize the union. The Museums + Democracy Project will continue to follow thiseffort.
Museum workers should support unionization efforts everywhere. As these efforts grow they improve conditions for everyone in the field. More democracy in museum workplaces benefits workers. Through improving conditions for workers, unions benefit museums and their communities as well. Interested in how you might start a union at your museum? The next blog post will detail the steps employees at the PMA took to organize and establish their union.* * *
ABOUT THE AUTHOR
ERIC MORSE: Founder of the Museums + Democracy Project, and a museum professional in central Iowa in the United States. Eric has a Master of Arts in Museum Studies from the Johns Hopkins University. He has experience working in museums, non-profits, and communications. Eric is the founder of the Central Iowa Community Museum . This new museum has a mission to create more democracy through exhibitions that celebrate the people of central Iowa and the issues they must face together. Eric is writing a book on the subject of Museums + Democracy.SHARE THIS:
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Writing in a Time of Crisis ART THERAPY AT THE MANCHESTER MUSEUMJuly 3, 2020
Mike Murawski 2
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_WRITTEN BY CHLOE SYKES_ > This guest post from Chloe Sykes, Art Therapist Trainee, is reposted > with persmission from the Manchester Museum’s hello future blog> .
As a trainee art psychotherapist, I was very fortunate to be offered my final placement at Manchester Museum in the UK. As it has come to an end, I have been asked to write a blog post reflecting on my time at the museum. But first, I will briefly explain what an art therapistdoes.
Art therapy (or art psychotherapy – both are protected and interchangeable titles) is a mental health intervention and has the scope to be utilised in many different ways. Some people engage in art therapy with no previous art making experience but want to explore and connect to their thoughts and feelings in a creative way. Using art materials during the therapy session can allow someone to find meaningful ways to explore any difficulties and/or develop new self care and resilience tools. It is my role to be alongside them during this journey, ensuring the person feels safe, seen andunderstood.
Image 1: Reflective image exploring the role of the art therapist in create a safe space for a client. Image 1 explores how it is the art therapist’s role to ensure the therapy space feels safe, protected and secure (shown by the blue outer circle). This allows a client to feel like they are somewhere that they can express their thoughts and feelings freely (like the centre of image 1, with the free-flowing colours and textures, feelings and thoughts, remaining held by the blue circle). During my experiences prior to and throughout my training, I have developed a keen passion for working with different communities. I believe that a person’s mental health and well-being can be influenced by how we engage socially and individually. Unfortunately, mental health is sometimes hard to navigate and can often be daunting to experience alone. Therefore, it is exciting to see and be part of a cultural establishment that is actively making space for mental health and well-being. I truly do believe there is a place for health and well-being to be offered alongside the learning that is already available for communities; these cultural organisations have a great opportunity to bring people together through exploring the arts and our history. It is through this sense of coming together and sharing experiences, when paired up with creativity, that culture can have a powerful positive effect on a person’s well-being. The Manchester Museum is already known for doing amazing work, engaging in various ways, with many local communities and organisations. This is something that clearly aligns well with my own passions. So, at the very start of the placement, time was spent considering where art therapy could lay within the museum and their already existing outreach partnerships. It seemed natural to introduce an art therapy service that would be offered to the organisation as well as their participants. The planned art therapy sessions were to be held within the museum; regular sessions making artwork and exploring museum objects, in a way that would relate to how a client was potentially thinking and feeling. However, as the ripple effects of COVID-19 took hold, the shape of the placement at the museum had to adapt to the ‘new normal’. As people and organisations took the necessary time to adapt to the new unknown, it seemed appropriate to adjust where art therapy could lie during these times at the museum. A new direction was taken to offer virtual art therapy sessions to the museum staff and volunteers during the lockdown. Each week I have been facilitating individual art therapy sessions for staff and volunteers through video conferencing. In spite of meetings being held virtually, they have still been very beneficial in many ways. A simple example of this has been how simply having a weekly time scheduled for meetings has given a much-needed sense of routine during a time when everything else seems so unknown. Also, knowing that there is a protected hour each week to reflect on any difficulties can be very powerful for some, it can feel like a beneficial space to breathe and pause. As a trainee art therapist, facilitating something as personal and intimate as therapy over video calling needed to be carefully thought about. Because video calling can sometimes feel distant and strange, it was important to make some adaptations in light of this shift onto online delivery. Under normal circumstances, sharing the same space in therapy allows for a sense of safety and trust. Image 2: Reflective image of connecting in a therapeutic spacevirtually.
Image 2 (above) explores the ideas of sharing a space and time whilst being in a different place. Moving online, it was important to still have ways to feel like we were sharing the same safe space, despite being at separate locations, finding a way to feel connected. I introduced the use of lighting a candle at the beginning of each session (seen in the centre of the drawing). This allowed for us both to know that we had entered into the same shared space (connecting our separate spaces together through the candles). Blowing out the candles also brought the session to a close in unity; it also was a reminder of returning back to our own homes and metaphorically stepping out ofthe shared space.
Grounding exercises were useful for some, as it helped to bring the mind back into the virtual therapy space and similarly, back into their homes at the end of the session. Much like a commute, where we have some space to allow our minds to return to where we were before. Once we had virtually entered into the shared space, art making through various materials was used as a way to explore any thoughts or feelings for the clients. Sometimes, even online museum collections or galleries were used, with reflective chats about what those images meant for the person. The images (made or found) were reflected on, discussing what feelings, thoughts or sometimes memories were brought forward, or sometimes an imaginative narrative would be given to thepiece(s).
The creativity and presence of a therapist allows for expression of sometimes powerful emotions to be discovered, seen, felt and shared. This can be a very healing process which is what the image 3 above explores. Clients often come to therapy feeling overwhelmed or stuck, seen in the left-hand side of the drawing. During the course of therapy, these overwhelming feelings and areas where they feel stuck can be explored and begin to be understood, so that the client no longer feels overwhelmed or stuck. Instead, hopefully they will be able to recognise their feelings/thoughts/behaviours and understand what they mean (the right hand side of the drawing). Another way that art making can help with growth is through the use of experimenting with art materials in a space that feels secure. Playing with art making, making mistakes and finding new ways to use the materials can allow self-esteem to foster. As materials are like symbolic tools to learn how to use what we already have, uniquely for each person whilst being thought of and supported by the therapist. Over the past few months it has been a privilege to see how creativity has been used to gain a sense of understanding and bring people together despite being in lockdown. The art therapy for the museum staff and volunteers allowed for any mental health and well-being struggles to be taken on a journey of discovery and growth.SHARE THIS:
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TRAUMA-AWARE ART MUSEUM EDUCATION: PRINCIPLES & PRACTICESJune 29, 2020
Mike Murawski 6
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_WRITTEN BY ANDREW PALAMARA, RONNA TULGAN OSTHEIMER, STEPHEN LEGARI, EMILY WISKERA, AND LAURA EVANS_ After our initial discussion of developing a trauma-aware practice, we have had several conversations about what T-AAME could become. We initially began thinking about T-AAME in reaction to the trauma inflicted by COVID-19, but it has taken on new urgency in recent weeks with the killing of George Floyd. We have spent time thinking about what would distinguish trauma-aware practice from our regular work as art museum educators. Wouldn’t best practice approaches already be sensitive and responsive to individual experience and need, including trauma? While the answer is yes, we believe T-AAME is still a littledifferent.
Namely, unlike traditional art museum teaching and practice, T-AAME asks art museum educators to be mindful and responsive to implicit or explicit trauma. An awareness of trauma is no simple task, especially when most art museum educators are not trained therapists. The word ‘trauma’ itself encompasses many different human responses, but it still carries a heavy connotation in our society. It’s not safe to assume that all museum-goers will have experienced something traumatic prior to their visit, but everyone still deserves some compassion and care from us. Compassion and care are the core values of T-AAME from the art museum educator’s perspective, while connection and empowerment are two of the main goals for visitors. According to recent surveys conducted by Wilkening Consulting, museum-goers have strong reservations about participating in guided tours or programs in the galleries when they visit museums again. We will have to confront a new set of limitations and reinvent our best practices in response. As we continue to develop and refine T-AAME, we have developed a list of supportive and foundational resources about trauma that have informed our approach (see the end of this post for an access link). We hope to continually update this list and welcome others to contribute resources as well. We have also begun to articulate some principles and practices of T-AAME. We believe these ideas can be applied to online and in-person programs and are practices that could easily and safely be incorporated into our work as we return to museums. Many are approaches with which you are, no doubt, already familiar and we are highlighting them here to emphasize that certain practices are already sensitive to trauma. Others may be new approaches or only require slight modifications to make widely-used practices more trauma-aware.PRACTICE
CREATING RELATIONSHIPS WITH TRAINED THERAPISTS We know that good art museum education, especially practices that focus on personal interpretation and perspective, can be therapeutic without being therapy. But, because T-AAME is at the intersection of art museum education and therapy, we strongly advocate for working with a licensed therapist who has training in trauma-informed practice and experience working with groups and/or teaching. Many therapists regardless of their modality can help with this initiative. Art therapists, we feel, might be especially well placed to work with given their strong connection to the creative arts and to dialoguing with and through art objects. You can find a list of registered art therapists in your area through the Art Therapy Credentials Board or the American Art Therapy Association.
PREPARING A TOUR & PREPARING YOUR GROUP To borrow from art therapy language, setting the frame is an important activity at the outset of a group visit. Set the boundary around what participants can expect from an experience and also the limitations of what the experience can provide. It is important to adapt language and attitude for different groups and their needs. It is also worth noting that this does not mean we are always engaging in serious talk and dire warnings. Helping to get yourself and your group ready should come from a place of warmth, openness, curiosity and can include playfulness and humour. Understanding the goals of the visit can inform our style of preparation. This holds true for virtual visitsand live ones.
When planning a tour or program, carefully consider the individual identities within your group to select appropriate works of art and topics of discussion. Along with being aware of the group, it is also important to be aware of your own presence. Do you have any particular stressors that you need to be aware of? Develop and practice techniques to center yourself and manage your own emotional activation when facilitating a group. Brian Arao and Kristi Clemens (2013) write about establishing brave spaces instead of safe spaces for dialogue. They advocate for groups to create ground rules for discussion together so that terms like “safe” and “judgment” are defined clearly by everyone involved. For example, when starting a conversation about a social justice issue in the museum, you might begin by asking, “What do you all need from each other to be honest and vulnerable in this conversation?” This makes time for the group to collectively set the terms for their interaction with each other. While Arao and Clemens use this as a framework for conversations about social justice, it could be adapted as a more compassionate opening to any museum program. In the coming months, museum visitors will likely feel some kind of anxiety about sharing an enclosed public space with other people. If you are facilitating some kind of program in the galleries, you might ask your group, “What do you feel comfortabledoing together?”
Andrew Palamara welcomes a group of visitors to the Cincinnati Art Museum. Photo credit: Erin Geideman. As explained in _Museum Objects, Health and Healing_, it is important to craft appropriate warnings for potential emotional activation when looking at and talking about art. Avoid using terms like “trigger warning” or cautioning the group in a way that will increase anxiety. Instead, select terms that encourage visitors to apply their own emotional skills to navigate and stay in control of their experience. Cowan, Laird, and McKeown (2020) offer a few suggestions: > “_Remember to take care of yourself. You decide how much of this > to see. Some visitors have strong reactions. Your reactions are > unique to you. It’s okay to be emotional. Reach out if you need > help. Do this in your own way” _(p. 183). GROUP DISCUSSION AND DYNAMIC Facilitating careful and sensitive conversations is a critical part of art museum education, and paraphrasing or re-voicing (O’Connor & Michaels, 1996) is widely considered to be a best practice in these discussions. In T-AAME, we advocate for a scaffolded approach to paraphrasing, which eventually results in participants speaking to one another, rather than to or through the facilitator or mediator. Terry Barrett visited with a group of Laura’s university students in the fall of 2019, before COVID-19, and facilitated many discussions about works of art. Barrett set up several ground rules before the conversations started. He asked us to speak loudly and to one another (and not to him) so that everyone could hear. He would frequently remind the group to talk to each other. He melded into the group – sometimes standing with us, sometimes behind us, sometimes in front of us – giving us the feeling that he was with us rather than removed from us. Barrett asked for no side conversations (anything that wanted to be shared to a neighbor, could be shared with the group) and no put-downs, and emphasized that listening was as important as talking. If he couldn’t hear someone, he would simply ask for them to speak up or ask the person farthest from the speaker if they could hear. Very occasionally, he would paraphrase, if what was shared was a complicated idea or if he needed clarification. Mostly, he asked provocative questions and moved the conversation forward as the group spoke to one another. He listened far more than he spoke and he emphasized to the group that listening was a form of participation. Inspired by Barrett, we believe that limited paraphrasing can be a T-AAME practice as it empowers the participant to speak without mediation and connects members of a group. We think this works best with older participants (not “littles”) and can be eased into or scaffolded by starting out with more traditional paraphrasing and slowly stepping back while introducing the rules of speaking loudly and to one another, while avoiding side conversations and put downs. The ultimate goal is for participants to be speaking directly to one another, responding to one another, and feeling connected to oneanother.
MODES OF RESPONSE AND ENGAGEMENT Allow for the time and space for deep reflection to occur. Instead of always asking visitors to verbally respond to a work of art as part of a conversation, pass out paper/notecards and pencils for written responses. Tell your participants, up front, that the writing is completely anonymous, that you don’t want them to write their names on their responses, and that after everyone is finished writing, you will randomly read some of the notecards out loud. Ask a question or provide a clear, open prompt that gives participants the opportunity to express themselves, emotionally or creatively. They can write just a few words, a poem, a story, or whatever comes to mind as it relates to the question or prompt. After giving the group time to respond, collect the responses. Shuffle the cards and read them out loud without providing any commentary. The responses are for the group to hold in their mind, but not to critique or comment on. An added benefit of this activity is that it can be comfortably done whilewearing a mask.
Students writing an object based personal reflection in the Clark galleries. Photo credit: Tucker Bair. Another trauma-aware approach focuses on creating new sensory experiences that contradict those of trauma, replacing them with sensations rooted in safety, empowerment, and connection. One method is to incorporate multi-sensory objects or prompts into your program, as is commonly done as a best practice. For example, if discussing the process of mummification in Ancient Egypt while exploring an object like the Dallas Museum of Art’s Coffin of Horankh , participants could feel a piece of linen wrap or smell frankincense and myrrh, two oils used in the embalming process. If shared touch objects are of concern in the short-term, ask visitors to touch something of their own, such as their purse or clothing and make a sensory connection to an object they find in the galleries. Use their selection as a point ofdiscussion.
Sensory exploration can also be done verbally. If exploring a scene such as Mountain Landscape with an Approaching Storm,the group could be
prompted to describe a place that they have been to that looks or feels similar to the scene in the painting. If they were inside the scene of the painting, what would they hear? Feel? Smell? Taste? If they were amongst the group of villagers in this painting, what path would they take to castle on the hill? What would they encounter alongthe way?
In the DMA’s Meaningful Moments for Memory Care Facilities program, participants match texture samples to what they see in the works of art. Photo credit: Dallas Museum of Art. In _Activity-Based Teaching in the Art Museum _(2020), Kai-Kee, Latina and Sadoyan illustrate an approach to eliciting low-risk, movement-focused emotional responses from a group: > Our group collects in front of Portrait of Madame Brunet (ca. > 1861-63), an early work by Édouard Manet. “If you like this,” > Lissa begins, “stand to your right. If you don’t, stand to your > left.” Her word choice is intentionally open ended. “This” > could mean the person depicted in the portrait, the way in which she > is represented, the painting style, the artist, and so on, or a > combination of factors. “Take a moment to really think about this > question, and tap into your reaction.” Lissa is purposefully slow > in leading the group through these steps, creating space for her > visitors to sensitize themselves to the work for their emotions to > unfold over time. As the participants start to move their bodies in > response to the prompt, Lissa adds another dimension: “Stand > closer to the painting if it is a strong feeling, and farther back > if it is the opposite. If you are undecided, you might find yourself > in the middle.” She then invites the group to share the reasons > why they have selected their current positions. “Please listen to > others’ responses,” she adds. “They might even affect your > decision. Feel free to change your mind, and your position, if you > find someone else’s reasoning compelling.”(pg. 134) We consider Kai-Kee, Latina, and Sadoyan’s approach to be trauma-aware for several reasons. It allows participants to incorporate movement as a mode of response and it acknowledges different levels of trust within a group. Participants are able to share as much or as little as they feel comfortable and to demonstrate reciprocity by changing their position in response to others’ ideas. This approach empowers the visitor by valuing their feelings and opinions while also connecting visitors by giving them the opportunity to observe and react to others.MAKING
Until recently, participatory opportunities for museum visitors were an important way for them to be able to externalize something of their lived experience and enter into creative dialogue with the larger museum community. Open studios, creative workshops, arts-based and written feedback, and community exhibitions are all well-established tools that art educators have used to connect with their participants and connect their participants to the museum. COVID-19 has presented serious constraints about the safe use of art materials. Participants of the DMA’s Meaningful Moments program explore a variety of materials in the art studio. Photo credit: Dallas Museum of Art. As creative professionals, the education teams in museums have been quickly adapting and are using a number of simple, digitally-based tools. These include participants sharing their artwork made at home, photography, and digital-art. The gradual return to live encounters means that participants will not be sharing materials for some time. Organizing with groups to bring and use their own materials is one solution. Another is the exclusive use of easily disinfected materials such as markers, scissors, colored pencils, paintbrushes, needles, and knitting / crochet tools. But, the intention and use of participatory activities remains important and perhaps even more so as we consider the traumatic impact of COVID-19 on large portions of ourpopulations.
The American Art Therapy Association has a guide for best practice of the use of art materials based on CDC recommendations.
The studio remains an important practice whether live at the museum using the appropriate guidelines or in the virtual studio. Along with empowerment through art-making, the art studio will continue to be a place for social connection. The careful attention of facilitators, the casual conversations, and the sharing of work are all essential ingredients in maintaining the connections to communities and visitors that educators have built over many years. GOOGLE DOC FOR RESOURCES: Inspired by La Tanya S. Autry’s _Social Justice & Museums Resource List_, we started an open-source document of trauma-focused resources: TRAUMA-AWARE ART MUSEUM EDUCATION RESOURCE LIST We hope that you will contribute to this document and share it with colleagues. Likewise, we welcome any and all feedback on T-AAME. We are grateful and buoyed by the responses we have received so far and we would appreciate hearing about your experiences incorporating any of these practices into your work.* * *
WORKS CITED
Arao, B., & Clemens, K. (2013). From Safe Spaces to Brave Places: A New Way to Frame Dialogue Around Diversity and Social Justice. In Landreman, L. (Ed.), _The Art of Effective Facilitation_ (pp. 135-150). Sterling, VA: Stylus Publishing. Cowan, B., Laird, R., & McKeown, J. (2020). _Museum Objects, Health and Healing: The Relationship Between Exhibitions and Wellness_. Milton Park, United Kingdom: Routledge. Kai-Kee, E., Latina, L., & Sadoyan, L. (2020). _Activity-based teaching in the art museum: Movement, Embodiment, Emotion. _Los Angeles: Getty Publications. O’Connor, M., & Michaels, S. (1996). Shifting participant frameworks: Orchestrating thinking practices in group discussions. In D. Hicks (Ed.), _Discourse, learning, and schooling _(pp. 63-103). New York, NY: Cambridge University Press. This is another engagement strategy that Laura has witnessed and participated in when teaching with Terry Barrett.* * *
ABOUT THE AUTHORS
LAURA EVANS is an Associate Professor of Art Education and Art History and the Coordinator of the Art Museum Education Certificate at the University of North Texas in Denton, Texas. Evans received her Ph.D. in Art Education, with a Museum Studies specialization, at The Ohio State University, a Master’s in Museum Studies at the University of Toronto, and a Bachelor’s in Art History and English at Denison University, Granville, Ohio. Evans has worked in museums from Australia to Washington DC to New Zealand. During non-COVID-19 summers, Evans lectures about art crime on cruise ships that sail the high seas. Laura’s email address is Laura.Evans@unt.edu STEPHEN LEGARI is a registered art therapist and couple and family therapist. He holds a Master’s degree in art-therapy from Concordia University Concordia and another M.A. in couple and family therapy from McGill University McGill, where he won the award for clinical excellence. He has worked with a range of populations in numerous clinical, educational and community contexts. In May 2017, he became head of art therapy programs at the Montreal Museum of Fine Arts. He is currently the world’s only art therapist working full-time in a museum. Legari is a member of the MMFA’s Art and Health Committee. Stephen can be reached at slegari@mbamtl.org ANDREW PALAMARA is the Associate Director for Docent Learning at the Cincinnati Art Museum (CAM). In this role, Andrew oversees the training, recruitment, and evaluation of the CAM docents. Prior to joining the CAM, he worked in education at the Dallas Museum of Art and MASS MoCA. He holds a BFA in Graphic Design and Illustration from Belmont University and a MA in Art Education from the University of North Texas. When he’s not at the museum, Andrew is most likely playing music or coaching his high school soccer team. Singing telegrams can be sent to Andrew at andrew.palamara@cincyart.org RONNA TULGAN OSTHEIMER has worked in the education department of the Clark for more than eighteen years, first as the coordinator of community and family programs and then, for the past nine years, as director of education. Her goal as a museum educator is to help people understand more fully that looking at and thinking about art can expand their sense of human possibility. Before coming to the Clark, Tulgan Ostheimer taught at the Massachusetts College of Liberal Arts in the education department. She holds an EdD in psychological education from the University of Massachusetts and a BA in Sociology and American Studies from Hobart and William Smith Colleges. She can be reached at rtulgan@clarkart.edu EMILY WISKERA has worked in museum education since 2011, with a specialized focus on accessibility and working with diverse populations. As Manager of Access Programs at the Dallas Museum of Art, Wiskera oversees initiatives for visitors with disabilities, including programs related to dementia, Parkinson’s disease, autism, developmental or cognitive disabilities, and vision impairment.She is passionate about creating equitable experiences for all visitors. In her free time, Emily enjoys well-meaning mischief. Emily only receives carrier pigeons at EWiskera@dma.org* * *
_Featured Image: A mediator (educator) at the Montreal Museum of Fine Arts working with children. Photo credit © Mikaël Theimer (MKL)_SHARE THIS:
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NO LONGER IN EXTREMIS: A LETTER OF RESIGNATION & COURAGEJune 15, 2020
Mike
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> Reposted with permission from Andrea Montiel de Shuman’s Medium> page
> .
> Visit to read more from Andrea. _WRITTEN BY A. ANDREA MONTIEL DE SHUMAN_ Today, it is with a heavy heart that I announce my resignation. I could not be any more proud of the years that I invested at an institution that has dedicated decades to serving an immeasurable amount of visitors from diverse backgrounds. The Detroit Institute of Arts has been a precious anchor where many of us have created memories that helped define who we are today. It would be difficult to count the wonderful opportunities I’ve had here. Among other highlights, it was an honor to lead the ambitious AR project _Lumin_, which helped us, and the field at large, to confirm that it is possible to create meaningful AR experiences,
even when technology has some catching up to do. It is hard to describe the gratification of seeing families meaningfully engaging with the Asian interactives we prepared with many advisors that included local members of the Asian communities. Both projects received awards by AAM. At large, I am proud of the countless hours of cross-departmental and community collaborations that will inspire me forever, hand-in-hand with colleagues who have invested their best efforts on behalf of the people we are committed to serving. Representing my institution, I’ve had the honor of engaging in multiple professional development opportunities, such as speaking at conferences like SXSW, Museums and the Web (MW), Museum Computer Network (MCN), and other convenings dedicated to exploring best practices, ethics, and moral implications of arts + technology. This work led to my appointment as an organizing committee member of AAM’s Tech & Media MUSE Awards, my election as Program Co-Chair of MCN, being part of Knight Foundation’s initiativeto
support positions with digital expertise, and receiving grants to continue digital efforts. For the last three years, I’ve had the pleasure of collaborating with the Smithsonian Latino Center as part of the Education Program Advisory Board, in preparation for the forthcoming Molina Galleries,
which will focus on celebrating the contributions of Latinos in theHistory of America.
During our current crisis, knowing that the world largely communicates via digital platforms, as the Digital Experience Designer I strived to incorporate my best professional advice, along with the most relevant recommendations from my networks and the field at large, to help the institution make informed and strategic decisions. Numerous colleagues and I made suggestions and prepared resources to ensure that we had protocols, and that our digital projects were accessible to anyone regardless of internet access or physical ability. However, unfortunately, our strategies have gone only partially used_ — _Instead, many of us have struggled to understand how leadership is managing the digital efforts, and to gain active support for something as basic as commitment to a comprehensive accessibility approach, despite having the funds and internal expertise to do so. As a consequence, I believe that we have neglected a number of communities who support our operations through the millage, some who already go underserved by our institution and who need our attention the most these days. TODAY WE MUST FACE OUR REALITY: It is not just the pandemic, the situation only exacerbated larger, systemic issues most staff are well aware of. In the past couple of years, the institution has been reshaped into a form that many of us cannot recognize _— _it is a contradictory, hostile, at times vicious and chaotic work environment that is no longer anchored in the visitor-centered practices that gave us our legacy, the one that we use in our marketing materials and that we quote to pursue funding. I cannot identify a single strategy-level decision maker with visitor-centered expertise and enough cultural competency to develop and apply successful, proven methodologies in-house, let alone share with other institutions nationwide and beyond. I understand the field at large is struggling to catch up with the demands of digital resources. However, the DIA is privileged to have one of the most comprehensive understandings of visitor experience in the field, thanks to world-class methodologies developed by the research, interpretation, and education teams; work led by respected colleagues in the field like Nancy Jones, Jennifer Wild C., Swarupa Anila, and Ken Morris. These practices have led to more meaningful, equitable, accessible, and diverse engagements with our visitors and one another. We are seated on a legacy of more than 25 years of comprehensive contributions to the museum education field, including formative and summative evaluations of how our exhibitions and engagements with various communities have performed. Instead of using our best tools and talent we have in-house, many of my colleagues and I have been systematically disenfranchised. We constantly have to justify and defend our expertise, often unsuccessfully. We are being hurt by leadership that has fostered a totalitarian, oligarchic system, which is currently extinguishing our best efforts to be reflective and meaningful in what we do. And itshows.
There are numerous examplesof
the consequences of ignoring and dismantling our best practices. The one example that is clearest in my mind is witnessing_ _the violence of _Spirit of the Dead Watching_paired
next to _The Yellow Christ_during the staff
preview of the _Humble and Human_exhibition. A label
accompanied the two paintings that barely acknowledged that the naked body on that purple bed was a 13-year-old indigenous girl named Tehamana. The label did not address that the artist sexually abused her, gave her syphilis, and colonized her home. When I saw the cross near Tehamana’s gaze of terror, I was immediately transported to the terror I experienced as a young girl after being molested by a worship leader. On that purple bed I no longer saw Tehamana, it was my naked body, exposed, and my colleagues were collectively watching. I immediately wrote a detailed letter to leadership describing how the pairing fell into critical cultural sensitivity and interpretive errors that any museum educator would identify, including the dangers this presented for our communities. I asked how the DIA was preparing front-line staff to handle conversations around power dynamics, colonial abuse, and sexual assault — particularly of minors. I was especially worried as we were about to open the exhibition that annually drives our largest indigenous participation, Ofrendas: Celebrating Día de Muertos. The DIA was also about to receive hundreds of students who visit to celebrate the student exhibition show. Most troubling was knowing we were the hosts of two groups of sexual abuse survivors who engage with the institution for healing. All in all, I did my best to make clear that my experience had fulfilled the mission of the institution: I saw myself in art, and itwas horrifying.
Soon after, a local social worker postedher
own experience, an episode that confirmed what I had warned to museum leadership days ahead. Attempting to prevent further damage, I used all of my available channels and resources to bring up the issue and seek a meaningful response. INSTEAD OF A RESPONSIBLE SOLUTION, I ENDED UP IN THE HR OFFICE, TOLD THAT: (1) THE “STRATEGY” (SENIOR LEADERSHIP) TEAM HAD DISCUSSED AND DETERMINED THAT THIS WAS LARGELY A PERSONAL ISSUE (MEANING, ONLY I HAD A REACTION SINCE I WAS MOLESTED AS A CHILD), AND (2) THAT THE DIA WAS NOT GOING TO BE A CENSORING INSTITUTION. Which is a lie. Across museums we censor, and we do it all the time. It is done strategically, systematically, and at the wish of decision makers. We do it for money, to protect reputations, out of ignorance, or to please the political views of the one audience most museums seem to be willing to create a space for. And that makes us complicit. We censor the stories of colonial abuse, we censor the truths of how we acquired our collections, we censor the pain of communities of color, we censor the struggles of women. The biggest burden I personally carry is the way museums censor the voices of their workers of color and our allies: We are subjected to these systems and are told that to navigate them we have to stay quiet or forgo our careers, even though these systems, which are put in place by the powerful institutions that we work for, often directly exclude or harm us. Instead of being allowed to do our best work and meaningfully contribute to the field, we have to meet behind closed doors to encourage each other and share resources on how to deal with the Amy Coopers of our own institutions, those who — probably even unconsciously — look down at our expertise, who know that our voice is limited, and who use that to their own advantage. There are known reports on the psychological and emotional consequences of dealing with systemic racism in museums. After the situation with Tehamana, as well as other related experiences I had to endure, I was forced to take a month-long mental health break. I have been told that if we stay quiet and play the system, eventually things will change. But how am I supposed to have hope if at my institution decades of museum education and visitor-centered practices were dismantled in a matter of a few years? Those practices led to the inclusion of my communities. I remember the first day I visited the DIA and saw myself in art, embraced as part of humanity, by the creative collective memory of the multitude of nations. Those practices that made me feel accepted, no longer an alien, because that day the DIA was speaking directly to me: the immigrant, the Mexican, the woman of color — and it told me that I belonged.
The conversation that prompted me to formally resign happened at the end of a call with the team discussing digital experiences during the first week of the recent protests against police brutality. After not hearing anything related to the Black Lives Matter movement, I raised the question of how the institution was planning on responding. The deputy director replied that, “since in earlier conversations we had discussed DEAI considerations, all of our digital offerings should be healing and helpful to our Black communities”. Unsatisfied with the reply, I asked how the institution was planning on meeting the specific, personal needs of our Black communities and the rest of our audiences affected by the current situation. “I have to go”, she added as she signed off the line. I knew that I too, had to go. Any statements the DIA has released since have read to me like weak attempts to prevent the type of backlash that many museums are facing across the nation for weak responses that do little to recognize our part in supporting white supremacy. We have to remember and acknowledge that the victims of systematic racism are not only those at the end of a gun. “The entire system and structure of this country has been built on racism. And that is what systemic racism is.” During a recent discussion hosted by AAM on _Racism, Unrest and the Museum Field_,
Lori Forgaty, director of OMCA, encouraged museums to take the necessary next steps when she stated “It is the laws, the structures, the roles, the government, property ownership, every facet of our life. Museums have been built on that power of white people over people of color and particularly Black people.” I personally find it criminal to take money from African American donors and supporters, and benefit from the hard work of my African American colleagues as we actively turn our backs on practices that are specifically designed to protect them. If leadership actually understands the complexity and ramifications of the situation, does that mean they don’t think we can meaningfully contribute to the transformation and future of our communities? if we don’t believe we have an integral role in this, then what’s the point of our museum at all, other than retaining, increasing, and collecting people’s wealth? How can we believe in the transformative power of the arts and yet so blatantly ignore or even deny its potential to inflict severe pain and trauma? Why do we deserve the support of our diverse communities if we do not do our best to respect them and incorporate their diverse perspectives? The only way I see my beloved institution restoring the quality of work our constituents deserve is if it has the courage to look in the mirror and meaningfully reflect, then commit to not only apply, but to actively endorse the development of visitor-centered, education and evaluation practices that lead to the eradication of racist structures. I also believe it is crucial to add layers of transparency and accessibility that protect our legacy and ensure the work is not dependent upon the competency of the leadership in place. I encourage the DIA Strategy team and Board of Directors to discuss their stance with our audiences. I support the millage and the institution — I always will — but our communities have the right to ensure the institution uses their investment in a way that willmost benefit them.
While some might interpret this letter as hateful, I want to emphasize it is written out of love. My heart is certain there are good intentions amongst the leadership of the Detroit Institute of Arts. I was told this letter will ruin my career, that I will be forever labeled as a disgruntled employee. I disagree. This letter exists as a tribute to the immeasurable support that my colleagues have gifted me with, and that has resulted in courage. I look forward to the days ahead as I plan on applying to a research-based postgraduate program that explores the arts and technology and how they affect communities of color, particularly indigenous peoples. But for the following weeks, my plan is to focus on recovering from this all. I look forwardto that.
At 3:05am, a few hours before delivery, I wonder how to end thisletter.
I do not think I have anything left to say at the time, but the words by James Baldwin in his book,_ The Fire Next Time,_ is compelling. It is an encouragement to imagine the opportunities ahead: > “TO ACCEPT ONE’S PAST — ONE’S HISTORY — IS NOT THE SAME > THING AS DROWNING IN IT; IT IS LEARNING HOW TO USE IT.” Thank you, DIA, for everything. I am hopeful.* * *
ABOUT THE AUTHOR
ANDREA MONTIEL DE SHUMAN is a digital experience designer that focuses on public-facing digital experiences to help visitors find personal meaning in art. Among other collaborations, Andrea serves as Program Co-Chair for Museum Computer Network, as Committee member of the Tech & Media MUSE Awards, and as an Education Program Advisor for the future Smithsonian Latino Galleries, and she has been involved in a number of reflective digital initiatives with Knight Foundation and AAM, mainly discussing ethic/moral implications of emerging technologies. Currently, she is interested in exploring opportunities to use the power of experience to set traditionally underrepresented audiences, especially indigenous communities.SHARE THIS:
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A MOMENT FOR ACCOUNTABILITY, TRANSFORMATION & REAL QUESTIONSJune 3, 2020
Mike
Murawski 5 Comments > Reposted from Museums Are Not Neutral website > . Visit to learn more. Expose > the myth of museum neutrality and demand equity-based transformation > across institutions _WRITTEN BY MIKE MURAWSKI_ As protesters have gathered in the streets of more than 2,000 cities, towns, and communities across the United States to stand against police brutality, white supremacy, systemic racism, and the violent oppression of Black communities, museums across the country have decided to post images of artworks by Black artists (without statements and without the permission of many of these artists), share their own vague and often hollow statements of ‘solidarity,’ and post the #BlackoutTuesday black squares on their social media accounts without considering the impact. Many of these predominantly white museums have been called out for their superficial and performative acts (see more about SFMoMA,
Guggenheim ,
the Met
,
and Nelson Atkins
,
just to name a small few), and more will be held accountable to these statements as we see whether or not they commit to making the changes needed to dismantle racism, take action, and transform theirinstitutions.
In addition to using the hashtag #BlackLivesMatter, several institutions have also used the hashtag #MuseumsAreNotNeutral. While we never claim to control the use of the #MuseumsAreNotNeutral hashtag, it has certainly represented a grassroots movement for all of those who stand against the myth and lie of museum neutrality. La Tanya S. Autry, curator and co-producer of Museums Are Not Neutral, writes via Twitter: “we hate seeing people co-opt it to perpetuate more abuse. Museums could identify their investment in racism, apologize, and create community-derived action plans.” For any institutions who have used the #MuseumsAreNotNeutral hashtag in recent days, I would simply ask that your team reflect on what this means for you, and where your organization stands when it comes to actions and transformative changes that tear down and refuse the system of white supremacy that is the foundation of most museums. “Museums Are Not Neutral” is a message and call to action that has been around for many decades (long before hashtags), and it continues to be a powerful call to action right now in this moment because of the time, energy, labor, risk-taking, and truth-telling of so many Black museum leaders, curators, educators, organizers, and activists. When you use these words, back them up with action — stop causing harm and commit to change! I am grateful for the REAL QUESTIONS shared by Madison Rose (@nomadiso) via Instagram on June 2, 2020, the day that many referred to as #BlackoutTuesday. I wanted to share these questions below as a way to help guide institutions and those in positions of authority within museums to think through their own process of internal reflection, critique, and transformation. This is not a moment to “check the boxes” and do something just because everyone else is doing it — this is a moment for true leadership, substantive and seismic change, and for institutions to choose to stand apart as they directly address racism, colonialism, and oppression within their walls and in conversation with their communities.* * *
I_n 2017, co-producers of the #MuseumsAreNotNeutral movement, La Tanya S. Autry and Mike Murawski dedicated their time to refuse the myth of neutrality that many museum professionals often take and calling for an equity-based transformation of museums._ _It’s essential to hold their message during this time. To acknowledge the politics in everything we do. Museums are always making choices where to spend their time, their money, and their influence. A simple post on Instagram providing solidarity because the public forced them to is bare minimum. Highlighting dead Black artists with an inspirational quote isn’t support. It’s time for internal institutional critique to start to dismantle white supremacy, inequities, and colonialism in our institutions. Can museums beredeemable?_
_SOME REAL QUESTIONS TO ASK:_*
_What work are you doing internally to fight institutional racism?_*
_How accessible are you making that information?_*
_Who is making decisions?_*
_Are you redistributing the white wealth?_*
_Is there Black leadership?_*
_Are you owning your mistakes and making amends?_*
_Are you laying off BIPOC workers?_*
_Are you donating to Black community organizations?_*
_What is the % of Black art do you have in your collection?_*
_What are you going to do with your stolen African artifacts?_*
_What efforts are you making toward decolonizing your museum?_SHARE THIS:
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ACTION & RESOURCE GUIDE: MUSEUM EDUCATION ROUNDTABLEJune 1, 2020
Mike Murawski 1
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> Reposted with permission from Museum Education Roundtable (MER) blog> .
_WRITTEN AND COMPILED BY MUSEUM EDUCATION ROUNDTABLE BOARD OFDIRECTORS_
The Museum Education Roundtable stands alongside those protesting violence against Black people in Minneapolis and around the country. Museum educators are bridges to and producers of cultural knowledge. We care for our communities intellectually but also emotionally, socially, and physically. As such, we have a responsibility to address structural injustice, oppression, racism, and abuses of power. Museums are not neutral,
and neither are those who work in these privileged institutions. We are angered by and mourn the killing of Breonna Taylor, George Floyd and countlessothers.
We stand with those condemning the violence against and ongoing oppression of Black people in the United States. Our thoughts, words, and actions are with anyone organizing to dismantle systems ofoppression.
These are only the most recent instances emerging from centuries of violent, structural racism in the United States. To end this cycle of injustice, we all must come together to recognize the insidious nature of white supremacy and the ways it has infiltrated every aspect of our lives, including and especially our cultural institutions. We encourage our members and readers to take action and have compiled the following resources for folks seeking an entry point. As a Board, and within a museum field, that is predominately white, we must center our Black, Indigenous, and racialized colleagues, partners, and visitors. We have privilege inherent to aspects of our identities and power in our position within the cultural landscape. HERE’S WHAT WE CAN DO RIGHT NOW: * Donate to local groups on the ground pushing for transformative justice like Reclaim the Block, Black
Visions Collective and the North Star Health Collective ;* Call legislators
;
* Sign this petitionfrom
Color of Change;
* Register to vote
and
encourage others to do the same. HERE’S WHAT WE CAN DO WITHIN THE MUSEUM FIELD: * Audit your work, your privilege, and your sphere of influence; consider where you can be most useful; * Integrate antiracist and culturally responsive pedagogy into your practice; reading, or rereading, Pedagogy of the Oppressedby
Paulo Freire or Culturally Responsive Teachingby
Geneva Gay;
* Read “Activating Diversity and Inclusion: A Blueprint for Museum Educators as Allies and Change Makers”
by Wendy Ng, Syrus Marcus Ware, and Alyssa Greenberg from the JMEissue 42.2 ;
* Intervene during acts of injustice against people of color, from microaggressions toviolence;
* Download the Museums as Site for Social Action Readiness Assessment; * Complete the Asian American Racial Justice Toolkit;
* Understand intersectionalityand
apply that lens to your work; * Recognize the link between ableismand racism; create
exhibits, programs and exhibits that prioritize access for all; * Partner with local racial and social justice groups in your community and pay them for their expertise; * Read the Social Justice & Museums Resource Listcurated
by organizer and art historian La Tanya Autry; * Visit Adrianne Russell’s #MuseumsRespondToFerguson resourcelist;
Mike Murawski expanded on this work to include resources for teachingabout
Ferguson.
FOR MUSEUM WORKERS WHO ARE, OR WANT TO BECOME ALLIES, ADVOCATES,ACCOMPLICES:
* Recognize how this violence affects Black, Indigenous and colleagues of color deeply and differently than white colleagues; * Make space for Black friends, colleagues, and family to grieve and mourn; center them and their experiences rather than your own; * Talk with kids , students, coworkers
, family,
and friends
about
race;
* Join or start reading and discussion groups like Building Antiracist White Educators,
centered around racial equity * Support BIPOC organizations in a sustainable way, not just during crises; send funds to thought leaders and changemakers that you learn from using platforms like Venmo or Paypal; become a Patreon member of podcasts that challenge your bias; * Confront your own bias and unearth the ways that white supremacy has benefited you; then start dismantling it. RESOURCES FOR WHITE PEOPLE CONFRONTING ANTI-BLACK RACISM:* _White Fragility_
by
Robin J. DeAngelo, and other selected titles from this booklistfor
white readers from Atlanta’s Charis Books * _Me and White Supremacy_by
Layla F. Saad
* _How to Be an Antiracist_by
Ibram X. Kendi
* _You Can’t Teach What You Don’t Know_by
Gary R. Howard, edited by James A. Banks We offer MER’s platform to amplify the voices of museum colleagues of color, and uplift liberatory work in our field. If you have thoughts, blog posts, or resources to share with the museum education field, we welcome you to do so in this space. We can be reached at dearmuseums@museumedu.org. We acknowledge that much of the framework for organizing how museums can and should respond to injustice has been the labor of people of color, in particular Black women. We thank Adrianne Russell and Aleia Brown (#MuseumsRespondToFerguson); La Tanya Autry (#MuseumsAreNotNeutral); and Kimberlé Williams Crenshaw and Andrea J. Ritchie (#SayHerName); Patrisse Khan-Cullors, Alicia Garza, and Opal Tometi (#BlackLivesMatter); and Porchia Moore and nikhil trivedi (Visitors of Color).In solidarity.
* * *
ABOUT MUSEUM EDUCATION ROUNDTABLE Formed in 1969, the Museum Education Roundtable fosters professionalism among museum educators by encouraging leadership, scholarship and research in museum- based learning. MER provides leadership in professional development for a broad and diverse audience of museum practitioners and educators. Through its publications, programs, and active communications network, MER: Supports professionalism among peers and others committed to excellence in museum-based learning. Encourages leadership, scholarship, and research in museum-based learning, and advocates for the inclusion and application of museum-based learning in general education and life-long learning. MER publishes the Journal of Museum Education, the only American
journal that is devoted to the theory and practice of museum education. Written by museum and education professionals, JME articles explore innovations in the field of museum education, teaching strategies for use in museums and other informal learning environments, visitor research, and evaluation. MER hosts an annual program each year in Washington, DC, and a members reception at the AAM annual conference. In addition, MER partners with regional groups to present programs that offer networking opportunities and discussions around issues of the JME.SHARE THIS:
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Writing in a Time of Crisis WHAT DOES IT MEAN TO BE HUMAN IN THIS MOMENT?May 28, 2020
Mike Murawski 6
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_WRITTEN BY EMILY TURNER_ There’s a sentence that’s been haunting me lately: “museums are places where people go to think and feel about what it means to be human”(1). It’s a beautiful concept that encompasses the good and the ugly of what museums have been, what they are, and what they could be. It expresses the potential for museums to assert definitions of humanity that are liberatory, healing, and affirmative while leaving room for the essential question “but for who?” What is our role and responsibility to help people think and feel about what it means to be human in this moment? What does it even mean to be human in this moment? What does it mean to be essential or vulnerable? What does it mean to survive? Who will? I keep thinking about what our actions – as neighbors, colleagues, and culture workers – communicate about what we think it means to be human right now. As to be expected, the impacts of the virus are not being felt equally. Essential workers are still largely low wage workers; access to health care is still restricted and costly; educators are still trying to meet students’ needs with too few resources; the elderly are still disposable; it’s still expensive to be poor. The systems that prop up what “normal” looks like are still pushing folks to the margins. As the few museum staff left try to creatively adapt to serve the needs of their community, they ultimately express what they think those needs are and what they believe is the museum’s unique position to fill them. What people will be comforted by, what will help them navigate their day, what will help them make sense of their emotions or the news will depend drastically on how the pandemic is affecting their material reality. Content designed for people who are bored is probably not going to resonate (at least not in the same way) with people still riding the bus every day to work or whose loved ones lie in a hospital bed they cannot visit. Yes, people _are _looking for history that affirms a sense of self, distractions, or art as a therapeutic process. People are _also_ looking for more mundane balms – to hear someone express a similar feeling, to speak aloud, to know their child is occupied for thirty minutes. People are also _in crisis. _ Ruminating on life in the pandemic has been a continuous exercise in getting absorbed in and extracting myself from my own isolation, emotions, hardship, and drama. I’ve been generally disappointed with museum leaders (individuals and institutions) who are unable to pull themselves out of their own internal turmoil, who seem unable to instinctually care for others in a time of crisis. You know, the ones who assume their priorities are the top priority, that whatever choices they make will be justified as long as they can save the institution, that if people _know_ just how long and hard these decisions were they will understand them and feel okay. It can feel like asking the world for what in reality is so little – for those who hold the power to consider our experience and let it impact their choices. To take time to listen, or communicate frequently even if incompletely. To put others’ needs before their own or the needs of the institution. As I try to articulate and find examples of the leadership I am looking for within myself, my institution, and my community this is what I’m getting stuck on. Whose humanity is being affirmed through our choices and in the ways we reach out? * Marc O’Neill in Gaynor Kavanaugh’s _Dream Spaces: Memory andthe Museum_
_._
Leicester
University Press, 2000.ABOUT THE AUTHOR
EMILY TURNER: Seattle-based museum educator and creative historian who strives to infuse joy and creativity into the museum experience and encourages visitors of all ages to think critically about objects and their stories. Through writing and comix, Emily explores issues of representation and labor in art and history museums. An officer for the Museum Educators of Puget Sound, she is active in her community as a mentor and an advocate for emerging museum professionals.SHARE THIS:
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THE POWER OF COLLECTIVE ACTION: PMA UNION ANNOUNCEMENTMay 26, 2020
Mike Murawski Leavea comment
_WRITTEN BY MEMBERS OF THE DIVISION OF EDUCATION AT THE PHILADELPHIAMUSEUM OF ART_
The past few months of pandemic response have given the museum education community plenty of reason for heartbreak. Many of our colleagues across the country have been laid off or furloughed.
Programs into which we’ve poured months of creative planning have been canceled or postponed indefinitely. MoMA and other institutions have announced budget shortfalls for the coming fiscal year that all but guarantee further cuts to education and programming. Even those of us who have been granted the reprieve of continued employment for a few months know that everything could change tomorrow. It’s not easy to stay optimistic in the midst of such incredible uncertainty, so it feels especially important to share news that’s hopeful. On Friday, May 22, an overwhelming majority of eligible staff at the Philadelphia Museum of Art announced our intent to unionize in affiliation with AFSCME District Council 47. While it’s hard
right now to separate how essential an empowered workforce is from the context of the current crisis, this moment comes for us at the end of a full year of organizing. Motivated in part by the revelations in last year’s Art + Salary Transparency Spreadsheet,
our colleagues from departments across the museum started talking to each other, finding common ground, and building solidarity. It won’t surprise you to learn that museum educators have been deeply involved in this effort. We know how to create community, facilitate challenging conversations, and consider multiple points of view. We know you don’t have to reinvent the wheel, and we have embraced inspiration from other museum union campaigns (the New Museum Union , Tenement Museum Union, BAM Union
, and New Children’s Museum , just to name a few). And as educators, we’ve come to value the process of organizing as much as the end product. We’ve learned how to build consensus and disagree without falling apart. We’ve experienced immense vulnerability and resilience, both within ourselves and with each other. Friday’s announcement doesn’t mark the end of our campaign; it’s only the beginning of a new, public phase. All of the unknowns associated with reopening during a pandemic have given renewed urgency to PMA staff advocating for a voice in decision-making. Now more than ever, museum educators and our public-facing colleagues need safe, accessible, and equitable working conditions. And we need a mechanism for preventing the financial impact of museum closures from landing disproportionately on positions and programs that serve the public. We know that unionizing isn’t the answer to every challenge we face today, but the past year has taught us to believe in the power of collective action to effect change for the better. If you want to learn more about the PMA Union campaign, you can read our press release (PDF link and full text below) and visit our website at PMAunion.com . We also have Instagram and Twitter accounts under the handle @PMA_Union where we’d be thrilled to receive support. Finally, please reach out to us at solidarity@pmaunion.com to continue the conversation. _Members of the Division of Education at the Philadelphia Museum ofArt_
Lindsey Bloom
Anna Bockrath
Gina Buoncristiano
Leigh Dale
Amy Danford
Rosalie Hooper
Adam Rizzo
Sarah Shaw
James Stein
Greg Stuart
Angela Vassallo
* * *
PMA UNION PRESS RELEASE (PDF) MAY 22, 2020 FOR IMMEDIATE RELEASE: PHILADELPHIA MUSEUM OF ART WORKERS FORM UNION Today, staff from across the Philadelphia Museum of Art (PMA) announce our intent to unionize in affiliation with AFSCME DC47. We have collected authorization cards from a supermajority of union-eligible staff and are requesting voluntary recognition from the museum’s senior management. Voluntary recognition of staff unions has been granted recently at other cultural organizations, including the LA Museum of Contemporary of Art and The Shed, and clears the way for more expeditious and collaborative bargaining. The Philadelphia Museum of Art serves the people of Philadelphia, and we must emerge from the COVID-19 crisis as a safe, accessible, and equitable place where all Philadelphians can engage with the arts. For this to be possible, working people must have a seat at the table in museum decision-making. By unionizing, we are taking important steps to ensure that the eventual reopening of the museum prioritizes visitor and staff safety; to empower staff in the face of incidents of harassment and discrimination like those publicized in January of this year; and to prevent the financial impact of the museum’s closure from landing on the programs that serve our community and the workers who are already the most vulnerable. It has never been more important for workers to have a say in our own working conditions, especially when our workplaces are also public spaces. We are facing challenges that our institution and city have never faced before. We know that whatever the future brings, we will be better able to face it with an empowered workforce that can bring all our passion and creativity to bear in service to our community and collection. We are eager to take on these challenges in solidarity with one another and in cooperation with management, executive leadership, and the Board of Trustees, which is why we have requested voluntary recognition. The new PMA Union will be affiliated with AFSCME DC47. District Council 47 of the American Federation of State, County, and Municipal Employees (AFSCME DC47) represents workers at several Philadelphia cultural organizations, including the Free Library of Philadelphia and the Philadelphia Zoo, as well as about 6,000 other professional workers in the city’s public and private sectors. AFSCME is the leading union for representing museum professionals nationally and covers workers at the Metropolitan Museum of Art, Brooklyn Museum, American Museum of Natural History, Los Angeles Museum of Contemporary Art, Museum of Tolerance, Milwaukee Public Museum, and otherinstitutions.
We are unionizing to win a seat at the bargaining table, to have a say in the decisions that impact our lives and livelihoods, and to ensure that the PMA continues to be a leader in Philadelphia and the nation. We are unionizing out of love for the arts, the museum, and eachother.
We hope that museum leadership and our Board of Trustees will see that a unionized workforce will create a stronger, more resilient museum, and look forward to voluntary recognition and a collaborativebargaining process.
* * *
_Featured Image:_ Graphics for the PMA Union by Nick Massarelli.SHARE THIS:
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Writing in a Time of Crisis MAKING THE CASE FOR MUSEUM EDUCATION IN THE MIDST OF A CRISISMay 14, 2020
Mike Murawski 5
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_WRITTEN BY JASON PORTER_ All of us have been watching closely as museums across the country layoff their educators and interpretive staff. I understand why these decisions were made: staff costs for a non-profit are expensive, right now unemployment benefits are generous and long-lasting, and decision-making metrics that take into account experience, seniority, and “essential” status often disproportionately count against the people who work directly with visitors (and those in security, visitor services, and operations). So in some senses laying off educators makes sense. Part of me also has to acknowledge that there are also more shadowy reasons for these layoffs at play: board members and executive directors have very little interaction with these workers, so they appear more expendable than senior staff; interpretation and education are not seen as “core functions” because it is possible to keep the lights on and keep the collections safe & secure without educators; as well as the fact that education and interpretation staff are often lower-wage workers (or working on contracts) and therefore viewed as less skilled or more easy to replace than curators, fundraisers, or marketing staff. Appropriately, the outcry from educators has been full of rage. Some have suggested boycotts and protests while others have defiantly declared that they won’t return to the field because of the ways they have been undervalued and cast off by museum leadership at this desperate moment. And predictably, leaders from museums that have undertaken these large-scale layoffs have frequently bungled the communication around their reasons for these actions. And yet here we are at the precipice of a new reality. Because of the COVID-19 crisis, managers and directors of interpretation or education and programming have been left with fewer staff members (or dwindling numbers), holding out hope that soon we will return to normal in time to execute the programs we planned for the fall, and facing a future in which digital engagement — long the “extra” component of our interpretive work — is now the primary way in which we’ll connect with our visitors and communities.MoPOP PopCon
Like many of you, I’ve spent the last month-and-a-half canceling our offerings, postponing others, checking in with community partners to see how we can help each other stay afloat, and keeping long-term projects going in the hope that social distancing won’t last too much longer. But mainly I’ve been supporting staff, doing a lot of listening and encouraging, a lot of expectation-setting around what may happen with our jobs, and struggling to interpret the ever-changing messaging coming from leadership about how we plan to sustain ourselves as an organization. I find myself talking a lot about mindfulness, about staying in the present and focusing only on what each of us can control. Especially with emerging professionals, I think this has been helpful in dealing with the demons of dread and disillusionment that hover around us and drift in as we devour too many podcasts and calamitous news alerts. But in the few weeks, I’ve embarked on a new way of thinking. It came to me after I was asked by my boss to come up with a staff reduction plan that evaluated people based on their job descriptions, the number of projects they had to work on, and whether they were performing well. I am the type of person that needs a lot of reflection time, “sleeping on” ideas, and the space to (most often) write down my thoughts to work through how I feel about something as consequential as this. So I took a few days and attempted to write out my thoughts. By way of context setting, the week before, my department had started a weekly “watch-a-long” film series and we’d launched a bunch of social media initiatives that pushed out all sorts of content — blogs, videos, book clubs, playlists, etc — and all of it was proving to restart a bit of the creative thinking that had been a bit of a side-effect of COVID-19 since we’d shuttered the museum. In addition, I’d been taking in some news and the dire predictions of the length of the pandemic,
and I started to think that the work that we had started to do was liable to be with us for quite some time. I didn’t really have time to go through the stages of grief. My staff plan was due in just a day or two, so I decided not to grieve at all. Instead, I shifted my thinking from mourning what we won’t be able to do anymore — the huge, crowded opening events, the groups of 150 school children coming through the door at once, the film screenings, the live concerts, the 1000-visitor days at the museum — to making the conscious choice to embrace the change and apply the kind of thinking that always motivated my work: REINVENTION. It was at this point that I decided not to submit this staffing plan as assigned. Instead, I wrote a “vision” for the next year for Education and Public Programs, the department I oversee. When I tried a first pass at the assignment from my boss, I had followed the rules: I created a plan where the hourly folks had their time scaled back, the folks who coordinated programs or did admin work would be laid off, and only the managers and content producers would remain. But once I started to think about the future and what it might be like (instead of assuming we will just return to “normal” after the quarantine period ends), it seemed like minimizing staff wasn’t a good idea at all, even in the short-term. I thought about the ways in which visits to the museum will be different, how if we will engage visitors mostly through on-line experiences, if we have to go to schools to reach students and teachers, if our large-scale gatherings will have to be re-imagined with safety and social distancing in mind, then we’re going to need creative, skilled people to do it. In fact, scaling staff back either in preparation for this new paradigm or once we are able to open again will leave us at a great disadvantage to function as a community-based, educational organization that provides support to schools or convenes groups of curious visitors. In my most radical thinking, I considered that we might actually need more people — folks who really understand digital learning, people who are expert in using technology such as VR, digitized collections, app-based programs, etc. to create and facilitate programs that will remind people how essential museums are for content, community, andconnection.
Across the field, the definition of a museum has become a hotlydebated issue
, and while
I was thinking about the vision plan I was writing, I thought a lot about what role a museum will play in our new reality. Of course, to a dyed-in-the-wool educator like myself, the main function of the museum will always be to connect with visitors — to be part of learning ecosystems through storytelling, to provide outlets for people’s interests and creativity, and to satisfy our very human need to come together (in whatever form that takes). Stewardship of collections will still be important, regardless of whether visitors feel able to congregate in public spaces, as will research and scholarship. But few cultural organizations have the capacity to keep connected to their communities and audiences solely through posting collections online; to me, the museum of the future will need interpretation, accessible programs, creative approaches to sharing ideas, extensive outreach via social media as well as our more traditional in-person platforms if people are going to continue to see museums as trusted, essential resources. THE MUSEUM EXPERIENCE WILL ALWAYS BE A HUMAN-CENTERED ONE, BASED ON EXCHANGES BETWEEN AND AMONG PEOPLE, BUT THESE INTERACTIONS WILL LIKELY HAVE TO OCCUR IN VASTLY DIFFERENT FORMATS THAN WE’REUSED TO.
There is no denying that what’s happened in the museum field is catastrophic and that for far too many of us, there doesn’t seem like there is much we can do to influence the decision-makers in the choices they’re making to try and sustain their organizations. But as educators, I’d urge all of us to not just accept these decisions without at least making a counter-argument, one which focuses on who will be best positioned to adapt to the new environment during and after COVID-19. We must make a compelling case for ourselves and our indispensability, for holding on to the essential value ofengagement.
After I submitted my plan to my ED and explained my thinking, I worried that it wouldn’t have an impact. She has been spending most of her time running through various financial scenarios to sustain the organization and working with our board’s finance committee. I was almost certain that she would tell me to revise my thinking and begin the layoff process. But after hearing nothing for a few days, at our leadership team meeting, I listened as she spoke to the group about the importance of the work my department is doing, how this pivot to re-imagining our programs as virtual experiences and the emphasis on keeping visitors engaged was one of our highest priorities. Now, I can’t claim that my conversation with her and the vision plan I submitted were solely responsible for the fact that we have not laid off staff, but I don’t think it hurt; in fact I think it did influence her decision-making, and thus far (knocking on wood here in my kitchen), we have held onto everyone on my team. All around in the museum field, we’re witnessing the kind of leadership decisions that reflect hastily considered responses and panic instead of vision and progressive thinking, leaders following the prevailing winds instead of charting new courses. I believe that educators and interpreters will be key to the survival of our institutions (and current and future sources of revenue). Of course, I also acknowledge that my institution has found a way to afford to respond in this way and that not every organization is privileged to have the option of retaining all staff members. But if you have the forum (and the time) to make a compelling case for why educators, teaching artists, interpreters, and evaluators will be essential to your work whether visitors can walk into your galleries or only have access to you through Zoom and Youtube, I say you should do it. It may help to show your leadership the way forward.* * *
ABOUT THE AUTHOR
JASON PORTER is the Director of Education + Programs at MoPOP (the Museum of Pop Culture) in Seattle. His work focuses on experiential education and public programs that serve community, school, family, and teacher audiences and on using the arts as a vehicle for personal and social change. Prior to his work in the museum world, he was a public school teacher. His dissertation examined charter schools meeting the needs of special education students. He was a board member of EdCom (at AAM) from 2014 through 2016, a jurist with the Excellence in Exhibitions competition in 2017 and 2018, and has been a peer reviewer for the Journal of Museum Education since 2016. When he’s not working, he’s reading, writing, cooking, cycling around town, or (yes, nerd that he is) visiting museums. _Photo credit: Museum of Pop Culture, photography by Jim Bennett._SHARE THIS:
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