Monday, December 17, 2018

Apply Now for the World's Best Museum Job: Mine.

Hey, you. Yeah you, generous community builder. You, brilliant manager. You, fearless fundraiser. You, playful leader. It's time to make your dreams a reality and apply to become the next executive director of the Santa Cruz Museum of Art & History (MAH).

Our board, staff, and community are seeking a new director to join the MAH in 2019. The job announcement is live now, accepting applications on a rolling basis. If an amazing leadership opportunity is on your wish list this holiday season, I hope you'll apply.

When you check out the job description, you'll see the MAH is not looking for museum-director-as-usual. We're looking for someone with vision and commitment to community involvement. We're looking for someone with strong experience in management, fundraising, and community organizing. We welcome candidates with nontraditional resumes, and we encourage women and people of color to apply.

As the current executive director, I'm not participating in the selection of the next director. But it is my honor and pleasure to tell you what a great job it is (and to answer any questions you might have).

Santa Cruz County is a open-hearted, generous community--a great place to be a cultural leader. It's the kind of place where people say, "Something different? Let's try it." It's a place where people strive to bridge cultural differences and fight for equity--even when it isn't easy. Santa Cruz County is full of natural beauty, iconoclastic history, and explosive creativity. And the MAH is in the middle of all of it, striving to build a stronger, more connected community.

As 2018 ends, I hope you'll give yourself the gift of considering this opportunity or sharing it with a promising leader in your life. I can't wait to meet - and support - the next director of the MAH.

Have questions? I imagine others do as well. Share yours in the comments below and I'll try to answer them to the best of my ability.

Tuesday, November 27, 2018

Change Ahead: I'm Shifting from Local to Global in 2019

I have some big news to share. In mid-2019, I will transition out of my role as the executive director of the Santa Cruz Museum of Art & History (MAH) to focus full-time on leading OF/BY/FOR ALL, an emerging global movement to build more inclusive community institutions. We're planning for a slow and thoughtful transition; you can read more about it on the MAH website. Here on this blog, I wanted to share more of the personal side of this decision and what it means for me.

It has been my great privilege to lead the MAH since May of 2011. When I started as executive director, I was 29 years old. I knew nothing about management. Nothing about fundraising. But the museum needed a new direction, and the board took a risk on me. I knew something about community participation. I knew something about taking risks and making space for others to do so. I knew that Santa Cruz County - my beloved chosen home - was full of creative, curious people eager to connect in a new kind of institution. And so we made the MAH that institution, full of diverse, brilliant humans coming together to build a stronger, more connected community.

The MAH today is profoundly different from the museum I was hired to run in 2011. The budget is up 4x, full-time staff is up 6x, and visitation is up 9x. We've built a community plaza, hosted hundreds of community festivals, and co-created exhibitions that spark action on social issues. We now have a wholly community-rooted model, working with over 2,000 local partners annually to plan, produce, and share exhibitions and events. Our visitors and partners reflect the diversity of our community. And the reason they participate is not fundamentally to learn about art or history. People come into the MAH every day to make art. To make history. And to do it together, with friends and strangers alike.

I like to joke that both our biggest advocates and our biggest critics say the same thing about the MAH: "that museum is a community center." They're right. Our incredible staff and partners make it so every single day. I couldn't be prouder.

So why would I start to make plans to leave at this time of strength and beauty? Over the past year, I've worked with the MAH board to incubate OF/BY/FOR ALL, a global movement to help more organizations do the kind of community-involved work we do at the MAH. When OF/BY/FOR ALL started, we imagined it would grow big one day. We had no idea how quickly that day would come. In the past year, OF/BY/FOR ALL has gone from a good idea to a full-fledged nonprofit startup. I'm thrilled that so many people around the world want to work with us to build more inclusive institutions. I'm full of gratitude for the amazing staff at the MAH who have made it possible for me to spend more time online and on airplanes. But I see that this won't be sustainable for too much longer. I see the incredible potential for both the MAH and for OF/BY/FOR ALL, and I believe that each will soon need focused, committed leadership.

This sent me into an honest assessment of my own skills and passions and where I could do my best work. I'm an entrepreneurial, experimental, opportunistic leader. Those skills made me a great fit to turn around and grow the MAH to the amazing place it is today. But I see that these same skills could make me a liability to keep the MAH strong and growing. I've learned and grown a lot as a manager and leader as the MAH has evolved. But the institution is growing beyond my "zone of genius" as a risk-taking spacemaker. The MAH doesn't need someone to break it open and rebuild it. It needs someone to deepen and strengthen it.

I love the MAH, and I want it to have the best executive director possible. I know that person is out there--that leader who is brilliant on depth and structure, committed to community impact and inclusion. Maybe it's you - or maybe it's someone you know. When we post the job announcement in a few weeks, I hope you'll help share the opportunity. I truly believe it's the best museum director job in the world.

This was not an easy decision to make. I'll be leaving a place that has become home for me. I have brilliant colleagues who make our office joyful, zany, and loving. They teach me new ways to be true to our community every day. I have the best board, full of thoughtful, diverse community leaders. And then there are the people walking in every day ready to get involved, their pockets spilling over with passion and ideas. I love how open the MAH feels and how open it has made me.

But I also see what a big opportunity lies ahead for me with OF/BY/FOR ALL. I see what a big opportunity exists for the next director of the MAH. I have often thought of my job at the MAH as that of a spacemaker. I create and hold space for our community to flourish in all its creative and cultural diversity. With OF/BY/FOR ALL, I'll be able to take that spacemaking to a global stage, helping empower organizations and communities all over the world to grow stronger together. I'm moving forward with hope towards that abundant future for our community, our museum, and our world.

Monday, November 12, 2018

How Hello Museum Builds Intimate Community in one of the Biggest Cities in the World

When I tell stories about how the MAH builds community, I emphasize the importance of deep partnerships and relationship-building. We connect with people both professionally and personally, at the museum and on the street. Colleagues from bigger cities often ask: is this approach relevant to us? Can this kind of intimacy and informality work in a sprawling metropolis? This weekend, I got my answer in Seoul--the 18th biggest city in the world--at Hello Museum.


Nestled in a forest of high-rise apartment buildings, this small museum connects children and families with contemporary art. Like the New Children's Museum in San Diego, Hello Museum creates building-wide interactive exhibitions with artists, on themes like nature and #NoWar. But while Hello Museum originally opened as a "children's contemporary art museum," that's not the tagline they use today. Now, they call themselves a "small neighborhood museum"--in the middle of a city of 9.8 million people.

Hello Museum embeds neighborliness in every aspect of its work, starting with its name. I assumed the name was an invitation for children to say hello to contemporary art. But director and founder Ysaac Kim explained that it's not about people connecting to the museum. It's about them connecting with each other. As she said, "I noticed that children these days are taught not to talk to strangers, not to say hello to them. So we made this museum as a place where you can say hello."

Walk into Hello Museum, and you'll encounter a million touches that create a sense of intimacy and community. Everyone takes off their shoes on entry, which creates a homey feel. As we padded in, the front desk was manned by a visiting artist. In a warren of small rooms without doors, parents sat chatting on the floor as their children swirled through art installations made from everyday objects. There were plants and books everywhere.

We wandered up the stairs, slipped on slippers and sunhats (provided on a friendly shelf), and enjoyed a small rooftop garden with waterplay and painting areas. Up on that roof, our world of paints and plants felt tiny in contrast to the skyscrapers looming all around. It felt like a place to be human in a concrete and steel world.


While Seoul is very different from Santa Cruz, Hello Museum felt like a sister to the MAH. The warm, sociable spirit felt the same. Visitors easily and happily collided and said hello to one another. Staff members and teenage volunteers brokered conversations and play. At one point, Ysaac effusively greeted a woman visiting with her child. As they hugged and laughed, they explained to me that the mother was a friend - and part of a company that had sponsored this exhibition opening. It reminded me of every time I've given a tour of the MAH and run into a friend or partner along the way.

Like the MAH, Hello Museum brokers new "hellos" through local partnerships and visitor participation. They try to be of, by, and for their community (which is why I was visiting). For example, on our way into the museum, Ysaac pointed out tiny textile factories dotting the neighborhood run by "grandmothers." In Hello Museum's maker space, children worked with scraps donated by these seamstresses. On the floor, children sat and slid on denim cushions, sewed by the grandmothers out of cast-off jeans donated by museum visitors. After the exhibition closes, these community-made denim cushions will keep doing good in the community. Hello Museum is donating them to a local animal shelter that needs warm cushions to insulate dogs and cats from cold concrete floors.

Ysaac and her team at Hello Museum have created something small, beautiful, and powerful. Seeing this hive of creativity and human kindness made me realize that this kind of museum may even be more valuable in a big city than a small one. In a city that is rapidly growing and changing, they've created a place to come together and play and create things and make friends. A place to slow down and say hello.

Hello Museum taught me that intimacy and community-building is a choice. It's a choice to keep things simple. To work with neighbors. To design spaces that feel human and warm. A choice that any small museum, no matter how big the city, can make.


Tuesday, October 23, 2018

Want to Co-Create an Exhibition on a Hot Issue? Introducing the Community Issue Exhibition Toolkit

Two years ago, our team at the MAH embarked on our most challenging co-creation project ever. We partnered with foster youth, former foster youth, artists, and community advocates to create an exhibition that used art to spark action on issues facing foster youth.

Short story: we learned a lot. We wrote a toolkit about our process. You can download it for free right now.

What did we learn? This project wove together many different participatory threads. We co-created it from start to finish with community partners. There were over 100 partners. We commissioned new collaborative artwork. We invited visitors to take real action in response to what they saw. The exhibition evolved after it opened. The lead partners were youth who had been marginalized and exploited by institutions. There were trust issues. Complex power dynamics. The facilitation was as chaotic and fragile as a spiderweb.

The result was the best exhibition I've had the honor of working on (check out these outcomes). It empowered our partners, deeply touched our visitors, and catalyzed real community change.

The lessons I learned from Lost Childhoods are at the heart of the OF/BY/FOR ALL project we're building now. This project deepened our commitment to creating platforms that empower partners. This project taught me that co-creative projects must be OF and BY the communities they purport to be FOR. It taught me that exhibitions can make a real and measurable difference in how a community tackles its biggest issues. Through Lost Childhoods, we saw youth step into their power. We saw casual visitors volunteer to become foster parents. We saw politicians, foster youth, and advocates come together to talk about how we can build a community where all youth can thrive.

Since that first project, we've made a commitment to create a "community issue exhibition" every other year at the MAH. We're working now on the next one, on seniors and social isolation. It's just as messy and complicated as the first one. But now, we have a format to manage the process. And we see the magic working again.

Today, I'm thrilled to share that format with you. You can now download the Community Issue Exhibition Toolkit, a guide to this co-creation process. I wrote it with Lauren Benetua, Dialogue Catalyst, and Stacey Marie Garcia, Director of Community Engagement and the architect of this approach. Lauren's now bringing her community organizing skills to the OF/BY/FOR ALL project--here are her thoughts on the toolkit and its impact on her work.

In the toolkit, you'll find:
  • the how and why of community issue exhibitions 
  • templates for timelines, budgets, and community partner communication 
  • tools for empowering partners to take the lead in the co-creation of complex projects 
  • tools for empowering visitors to take action on the issue you are exhibiting
We don't expect you will use the toolkit to do exactly what we've done. We hope it's a useful set of recipes you can riff off of to co-create your own project on a local issue that matters to you.

Please let us know what questions come up, and most of all, how you can imagine using this toolkit in your work. We'd love to see this model evolve and grow.

Wednesday, September 26, 2018

Launching the First Wave of the OF/BY/FOR ALL Change Network

How do you build a movement for institutional change?

That's the question we've been grappling with as we start the OF/BY/FOR ALL initiative. Our goal is to help civic and cultural institutions become more representative OF, co-created BY, and welcoming FOR their diverse communities. We've see this model succeed at the MAH and at other community-centered organizations around the world. We want to share the methods and tools that make it work. Not as a prescriptive recipe, but as a pattern. We see OF/BY/FOR ALL as an adaptable playbook for community change.

The challenge is to figure out the best way to share that playbook. Last year, we tested out different formats. We explored opening a training center. Publishing toolkits. Consulting. Building a leadership development program. We even thought about franchising.

The model we landed on was movement building. We plan to fuel a distributed Change Network of organizations growing OF/BY/FOR ALL together. We'll offer an online program for change, support a global community of practice, and keep expanding the program based on community input.

We want to make the "how" of community involvement clear and achievable. Change Network organizations will make specific pledges to become of, by, and for new communities. We'll provide tools to help organizations meet their goals step by step. As the network grows, more of the tools and knowledge base will come from participating institutions, with our staff focusing on community organizing and connections.

Our near-term goal is to enroll at least 200 organizations by the end of 2020, collectively pledging to involve one million new people in their work. Eventually, we may build a certification program, like LEED for green buildings, or B Corps for social enterprise. But we're starting with a campaign to involve one million people - and to build a community of organizations helping each other make it happen.

We're excited about this movement-building model for three reasons:
  • It taps diverse sources of expertise. The MAH is not the authority on all things OF/BY/FOR ALL. By building a change network, we will empower diverse organizations to share methods and expertise with each other. 
  • It scales. We want to go big with this movement. We plan to involve hundreds of organizations in the next three years - and thousands in the years to come. We realized that models that rely heavily on in-person training or consulting wouldn't scale to the extent of our dreams. 
  • It emphasizes action. Talk is good. Change is better. Change Network organizations will make specific commitments to become of, by, and for more diverse people. The program we're building will help accelerate their progress. But it starts with organizations demonstrating eagerness and pledging to take action.
The Change Network program launches next week in prototype form with a First Wave of twenty organizations (full list at the end of this post). We selected a First Wave that reflects diversity of geography, size, and sector, so we can see who this works best for and why. The First Wave includes 6 museums, 5 performing arts organizations, 3 public libraries, 3 parks, and 3 community centers. Half are led by people of color or indigenous people. We represent six countries and ten time zones. For this prototype, 19 of 20 are in English-speaking countries, to provide as much clarity as possible as we get feedback from participants. In the future, we look forward to taking what we learn from this First Wave to build a strong Change Network with organizations all over the world.

I can't wait to learn with and from these amazing First Wave organizations. Some are leaders in the field of community participation. Others are just getting started. All are ready and eager to grow of, by, and for their communities.

OF/BY/FOR ALL is one of many projects in a growing ecosystem of efforts to propel more inclusive institutions. Some people are writing toolkits. Some are giving workshops. Some are developing training programs. Some are leading academic studies. Some are funding projects. If we are going to build a more inclusive world, we don't need just one or two projects. We need an ecosystem of activists, academics, funders, professionals, policymakers, and associations striving together towards common goals.

With OF/BY/FOR ALL, we're playing a role in this ecosystem as an accelerant for organizational change. I respect my colleagues who are writing, advocating, funding, and researching the nuances of community work. Heck, I've spent lots of time participating in those ways myself. But today, I'm motivated to focus my resources and energy on a program to help organizations commit to action and make it happen. That's what OF/BY/FOR ALL is all about.

As we learn more from the First Wave and build the Change Network, we'll write about it on the OF/BY/FOR ALL website. So if you want to join us in sharing stories and opportunities to become of, by, and for your community, please consider joining that email list today.

Here is the brave, beautiful, and wide-ranging First Wave:
I can't wait to learn and build the Change Network with this First Wave in the months to come.

Tuesday, August 28, 2018

What Church Planters Taught Me about Welcoming New People into Community Organizations

This summer, a gift landed in my podcast feed: a five-part series on evangelical church planting.

This podcast series didn't come from a Christian source. It came from Startup, a podcast about entrepreneurship. The series focuses on the intersection between mission and hustle--a battleground familiar to many nonprofit leaders.

I've been fascinated by church planting for a long time. Not because of religious affinity--I'm an atheist Jew--but because church planters teach me new lessons about relevance and inclusion.

Church planting is the act of creating new churches, often targeted for people who may not feel like church is relevant to them. Church plants bring the message of Christ to new people in new ways.

Like church planters, I'm passionate about connecting new people with mission-driven community experiences. I see church planting as way, way outside my comfort zone--leading to surprising, catalytic lessons.

Here are two reasons you might want to join me in learning from church planters:

1. Church plants are petri dishes of innovation when it comes to inviting new people into mission-based organizations.

Church plant pastors are a lot like other nonprofit leaders. They're passionate about organizational mission. They want to connect people to work they perceive as life-changing and sublime. But church planters pastors differ in an intriguing way: they are unapologetically evangelical. Their evangelism makes them creative, courageous hustlers when it comes to inviting new people into their work.

Some nonprofit leaders are put off by evangelism. It seems pushy, or gauche, to insist that passersby check out the art center or adopt environmental habits. We want people to be inspired by our mission... but we want them to come to it on their own. Instead of evangelizing, we hedge. We court newcomers, but not too much. If they don't come running to us, we demur. We don't want to be too exposed. We assume they just weren't interested. We drop it.

Evangelists don't hedge. They feel called to share the mission, to spread the message. They may be pushy, but they're also more whole-heartedly invested in bringing in newcomers. And that means they take bigger risks and attempt wilder experiments in making their work relevant.

Put in a daycare center? Hold services in a brew pub? Evangelists push themselves to reach new people in new ways. There's a lot we can learn from their experiments in pursuit of relevance.

2. Church plants are part of a healthy ecosystem for innovation and diversity--the kind of ecosystem I wish we had in the cultural sector.

The biggest, most established churches don't see church plants as threats. They see them as innovative feeders. Tim Keller, head of the giant Redeemer Presbyterian Church in NYC, claims that new churches are 3-6x better than established churches at attracting the "unchurched." And so Redeemer plants new churches. They don't just do it in far-flung cities. The majority of the churches they plant are in New York--the exact same city where Redeemer operates.

The result is an ecosystem in which large and established institutions help fuel new and risky ones. The rationale is both generous and self-serving. It's an abundance model, premised on the idea that more churches means more Christians and a better world for everyone. New churches bring new people to Christ. They bring new donors to Christ. And they bring fresh, innovative methods to pastors of churches old and new. So big churches like Redeemer spend time mentoring and funding church plants.

What would it look like if our largest organizations actively championed and funded new, experimental upstarts?

What would it feel like if we approached new potential audiences with the zeal of pastors on a mission?

What else can we learn from the weird and wonderful world of church planting?

Check out the podcast and let me know what you think.

Wednesday, August 01, 2018

Who are We Protecting?

I remember the exact moment when I snapped. I was at an informal talk by a visitor research professional from a large American art museum. The presenter was a few minutes in, setting context about a recent rebranding effort at her institution. "Our real challenge," she said, "was how to attract new audiences while protecting loyal patrons."

My eyes locked on that phrase on her slide, "protecting loyal patrons." I couldn't let it pass. I asked her: "what are you protecting them from?" A colleague of mine helpfully added: "who are you protecting them from?" The conversation went downhill from there.

I'm grateful to this presenter. She put in black and white what goes unsaid in so many talks and press releases. Cultural institutions are willing to change to attract new audiences. But not at the expense of the pain or discomfort of loyal patrons.

Some people might argue that protectionism is the natural political position of a collecting institution. These institutions exist to protect heritage. To protect artifacts from harm. To protect and preserve that which would otherwise be discarded or destroyed.

But when it comes to people, protectionism is problematic. Loyal patrons don't need protection--even if they may be the people who gave us those artifacts. Loyal patrons get most of our attention, assets, and appreciation. And they already have most of the power. They are, on average, wealthier, whiter, more educated, and older than the general population. They are, on average, people with privilege. They may feel that their privilege is at risk, or fragile. But that doesn't mean they don't have it.

For people with privilege, protection is a waste of resources that demeans their agency. Loyal patrons don't need to be wrapped in archival tissue paper. They need to be engaged in change processes. They need invitations--to participate, to be part of the new, to embrace the unexpected alongside the familiar. Just like new audiences, loyal patrons need to be welcomed into institutions full of different people, experiences, and opportunities.

When the MAH was changing aggressively, we embraced Elaine Heumann Gurian's idea of "the museum of and." We didn't want to reject some people and anoint others. We wanted to build a truly pluralistic institution.

Most of the time, this strategy works. When confronted with a conflict between two groups, or two ways of experiencing the museum, we choose both. We bring them together. We build bridges. We choose "and." But when we have to decide--and sometimes we do--we try to stand on the side of those who have less power in the given conflict.

For the MAH, siding with the less powerful is part of our work and our mission. When an institution protects powerful people, it hobbles its ability to involve new people and grow more diverse. Organizations often protect powerful people at the expense of the very same new audiences they seek to attract. Protecting power means protecting the power structures that put whiter, wealthier, more educated, older people on top.

This incident happened at the same time ICE started separating families at the southern border of the U.S. My colleagues at the MAH were working with local organizers on the Santa Cruz #FamiliesBelongTogether rally (which ended at our museum). My colleagues were working with partners in the Latinx community who were receiving overt threats. These partners--who represent audiences we have recently worked to attract--were afraid for their loved ones. Their rights and safety were at risk.

Who are we protecting?

Tuesday, July 10, 2018

The Art of Gathering: A Fabulous Book to Help You Host Better Meetings and Events

I remember the first staff meeting I ever ran. I had just started at the MAH as the new executive director. The museum was in huge financial trouble. I wasn't sure we were going to make payroll that week. But I also had a more immediate problem: I had no idea how to lead a staff meeting. I felt like a new teacher on the first day of school. Everyone's eyes on me, expecting something. I had no idea what to do.

I didn't know how to open a meeting. I didn't know how hold power and share it. I didn't know how to kick off a productive conversation, make group decisions, or close a meeting with energy. I knew that I didn't want to replicate the droning report-fests I'd encountered in other jobs... but I felt like I didn't have any alternative formats to draw on.

The weird thing is that that wasn't true. I'd spent years leading workshops around the world as a consultant. My expertise was on inviting strangers to participate in public settings like museums. I had lots of creative formats for drawing people out, sharing stories, and working collaboratively. I had tools to achieve everything I wanted to achieve in that staff meeting. But for some reason, I applied none of those lessons to my new situation. It was as if I had bought a new car and lost all memory of how to drive.

Priya Parker's wonderful book The Art of Gathering shares the core principles of how to drive. Whether you dream of better meetings or you're planning a community festival, I urge you to read this book. Parker argues that all events--from team meetings and picnics to conferences and weddings--are opportunities to come together with purpose. The book explains how to host events with purpose, drawing lessons from intimate parties, mass happenings, and international summits. This is one of those rare non-fiction books with the killer trifecta: strong stories, specific takeaways, powerful vision. It made me feel more confident about what I already know and eager to push myself further. It's an easy read, and if you're like me, you'll want to put it into practice right away.

Here are my three big takeaways from The Art of Gathering:
  1. Hosting is an exercise in courageous leadership. When you host an event, you have the power to define what happens. It takes courage to assume that power. If you shrug it off, you hurt the event. Too often, a conference moderator will tell each panelist they have exactly five minutes, and then do nothing when a speaker heads into his 18th minute at the podium. Too often, a dinner party host will airily encourage guests to "get to know each other," without providing fuel for connection. When we abdicate hosting responsibility in an attempt to practice humility or democracy, all we do is let someone else take over. Instead, Parker encourages all event hosts to adopt a stance of "generous authority." Take the lead. Set the table. Invite people into participation. Redirect when needed, even if it feels uncomfortable. You'll end up doing more work than usual--and getting the results you want.
  2. When participants are diverse, explicit rules help. I admit: I've never been a fan of events that start with the group writing rules for the day. It always feels contrived and dreary to me. Of course we know not to look at our phones, or to listen with respect. But Parker makes the point that the more diverse the participants at an event, the less likely that they have shared expectations about etiquette or ground rules. Creating event-specific rules can level the playing field, make the implicit explicit, and create a specific culture for the event. Parker calls these event rules "pop up rules," and they can be as silly or serious as desired. First names only. Everyone must wear a hat. Sit next to a stranger. These kinds of rules have the surprising dual effect of helping people know what to expect AND making events more memorable.
  3. Strong events deserve strong endings. Many events close with a whimper when we yearn for a bang. The end of an event is one of those moments when the host has to actively practice leadership (and often abdicates). The host has to decide to close the discussion. To clear the plates. If you don't decide as host, people will straggle away, some exhausted, some feeling guilty, all missing out on the opportunity for a shared closing moment. At work and at conferences, we're often "saved by the bell" of the clock telling us the time is up. But why are we letting the clock close our meetings for us? If we open meetings with purpose, we should close them that way too. Closing rituals seal the shared experience of the event and launch us back into the real world with the event's imprint on our hearts.
The Art of Gathering expanded my understanding of what it means to build a powerful culture of participation. Events are not all logistics and content. The way you welcome, the way you host, the rules you make, the way you say goodbye--all these play major roles as well. As Parker writes in the introduction: "Gatherings crackle and flourish when real thought goes into them, when (often invisible) structure is baked into them, and when a host has the curiosity, willingness, and generosity of spirit to try." Sounds like great participation to me.

Tuesday, June 26, 2018

Taking OFBYFOR ALL Out for its First Live Call to Action [VIDEO]

Last week, I had the great honor of launching the OFBYFOR ALL global initiative as the opening keynote speaker at MuseumNext in London. The talk is a 35-minute introduction to the OFBYFOR ALL framework, with a museum bent given the audience. I hope you enjoy it. Here's the link if you can't see the video embedded below.



This talk was a real challenge for me to write. In the past, I treated keynotes as opportunities to share insights and stories. I rarely shared explicit calls to action beyond the option to buy a book. I tried to do a great job, but it felt safe. I didn't feel like I had anything on the line.

With OFBYFOR ALL, the stakes feel higher. We hope this project sparks a set of tools AND a global movement. So I don't just want audiences to enjoy the talk. I don't just want them to learn something from it. I want people to take action. To sign up, join in, and help us build a more inclusive world.

I care deeply about this call to action, which increased my vulnerability and nervousness in writing the talk. It increased my sense that I needed the audience. Without them, without you, there will be no global movement.

So I got stuck. I agonized over the talk. I spent hours trying out and scrapping material. I was afraid I couldn't give a talk that would inspire people to participate.

I broke through when I realized I'd been here before. I realized I was feeling the same fear and excitement that comes with any truly participatory project. We've launched many projects at the MAH - and in my own personal work - that only succeed if people respond to our call to action. Exhibitions that only exist if enough people contribute artwork. Projects that only happen if partners show up to meetings. Books that only get edited if people decide they want to help.

For years, I've believed that the most powerful question you can ask to shift to a participatory mindset is: how can participants help make this project better? When you ask this question, your relationship with participants starts to change. You start to need them. The power dynamic swings towards them. If they are the ones who can make the project great, then you get really focused on inviting them in the most powerful way possible.

OFBYFOR ALL will only impact millions if many people at many organizations get involved. And so I tried, with this talk, to invite you to get involved. I hope watching this video will encourage you to do so too. And if it doesn't, let me know why. This project is in its earliest stages, and I'd love any and all feedback on how we can make the invitation to participate as strong as possible.

Wednesday, June 06, 2018

Want to Work at the MAH? Two New Jobs Building Community & Social Change

The Santa Cruz Museum of Art & History keeps growing and experimenting in our quest to build a stronger, more connected community. We have several jobs open right now, but I want to highlight two for people with passion for building community in new ways.

The positions are:
  • OFBYFOR ALL Communications Catalyst: to fuel the OFBYFOR ALL movement by organizing civic and cultural professionals online and at conferences around the world. 
  • Dialogue Catalyst: to work with local partners to co-develop an exhibition that sparks social action around issues facing socially-isolated senior citizens. 
Both these people will lead innovative work to build community locally and globally.

The OFBYFOR ALL Communications Catalyst will be the online host and voice of the growing global OFBYFOR ALL movement. In this job, you will welcome, motivate, and collaborate with civic and cultural professionals around the world who want to make their organizations OF, BY, and FOR their communities. If you're a great writer with experience leading digital community organizing or campaigning efforts, we want you. This is a full-time job with benefits and a salary range of $43,000-$48,000 per year. Here's the full description and how to apply.

The Dialogue Catalyst will be the community organizer for our next issue-driven exhibition focusing on the social isolation of seniors. In this job, you will recruit and work closely with a local committee of senior citizens, advocates, artists, and community members to co-create an exhibition and related events. The Dialogue Catalyst is the glue that keeps partners together and makes the resulting exhibition sticky and powerful. If you're a strong community organizer and event producer who cares about seniors  and social change, we want you. This is a part-time contract role, 24 hours/week, with a salary range of $17-$19/hour. Here's the full description and how to apply.

We believe that the strongest teams come from diverse backgrounds. You won't find requirements in these job descriptions to have a master's degree or many years of experience. You WILL find applications that ask you to demonstrate your talents and perspective. We hire high-performing people who are ready to work hard, collaborate, experiment, and get shit done in a fast-moving, fun, community-minded environment. We especially encourage people to apply who have experience feeling excluded or disconnected from the arts. A lot of our partners are in the same boat, and we want staff members who can empathize.

If you think that you are the right person for one of these jobs--or if you know the right person--I hope you will check out the job descriptions and consider applying. Both jobs are open until filled and we are ready to hire immediately. Thanks in advance for spreading the word.