Is a conservatory a professional school? « PREV | NEXT »: Is Obama combining arts policy and disability policy?

Making molehills out of cliffs
Great (albeit harsh) thoughts from Adrian Ellis on the present and future state of museums in this economy. He posits that business of museums internationally has been shaped and hewn in service to the ultra-rich, leaving the institutions particularly vulnerable to the whims and toils of that constituency. Says Adrian:

These institutions have been significant beneficiaries of the growing and, to many, morally indefensible disparities of wealth throughout the world. It has left them heavily reliant on, and overly attuned and attentive to, a narrow constituency whose long-term appetite or capacity for support is highly questionable. The sector has come to rely disproportionately on the very wealthy, and on the role that museums can play as mechanisms for the translation of wealth into status, and status into power.
The steep contribution curve (with the vast majority of all money coming from the tip-top few) is therefore in need of a softer slope, in the form of more, smaller donations. Problem is, the arguments for supporting the arts among the very rich don't resonate particularly well with those who might join the smaller donor crowd. And it will take museums (and other cultural institutions) some time to retool their rhetoric.

Adrian also suggests that minor alterations won't suffice, even though radical reconstruction will be difficult for conservative boards and defensive leadership. Although desperation may be the mother of innovation:

The alternative to the open-minded exploration of radical alternatives is a sombre one, in which the energies and ingenuities of the sector are devoted increasingly to the support of a dysfunctional pseudo-mission: that of maintaining appearances at any cost, even if the museum becomes a sort of "living dead" organisation, in which any capacity for aesthetic or intellectual endeavour is sacrificed to the goal of keeping the institutional ego protected.
March 16, 2009 9:08 AM | | Comments (5) |

Categories:

5 Comments

I think that every donor, no matter how small, needs to feel like his or her gift is valued. Obviously board members and other wealthy patrons are going to give the most money, but that doesn't mean that not every gift matters.

I worked at an arts organization who had specific events for smaller donors (and even a young professionals fund raiser) so that these people could come together and not feel overshadowed by the huge donors. I think that this was a good way to acknowledge the small donations, and make them feel just a worthy as the bigger donors, since most people think that the wealthy people get invited to special events.

I think that part of the reason that museums only recieve a few large donations as opposed to more numerous but smaller donations is that museums tend to scoff at small donations. For instance, I know of a small museum which encourages donations, but you can't even become a member of the museum 'friends' for under $5,000 a year. Most people, especially in today's economy, can't afford to give away that kind of money even if they want to. As a result these people don't donate anything because they feel that the museum wouldn't accept or appreciate it. If museums want more patronage from a large group of people they need to let people know that every little bit counts and that it's important to them. But they shouldn't make them feel as though a small amount doesn't matter to them; it only hurts them in the long run.

I think the best way to attract smaller, less wealthy donors is to make museums feel like they belong to those people. Non-profits are supposed to be available not for the owners but for the good of the community.

Sometimes museums are not welcoming for the community. They may seem too uppity or stuffy. They seem elite. That can be a turn off for less wealthy people for two reasons. First, they assume that the museum is already getting enough support from the rich. And second, they may not feel like their contributions would mean anything because they would be "small."

If museums want to attract more donations from lower income brackets they need to tailor parts of the museum experience to those people. Unless visitors have a connection with a museum they will not want to donate to it. Simple things can be done to build connections between the prospective donor and the museum. For example, creating more interactive exhibits is a simple way to get visitors engaged in *using* the museum regardless of how rich they are.

Museums must also make sure to show donors what their donations do! Make it known that each dollar counts!

Maybe arts orgs should take a lesson from the Obama campaign? http://tinyurl.com/dj4ovf

Wow, that's some tough love from Mr. Ellis.

In the past, some arts fundraising staff may have felt that the ROI on cultivating anyone but the super-rich was too small to justify.

I'm guessing one reason for the smaller return is our tendency to want to use one message for everyone. And for expediency, that message tends to be whatever resonates with the wealthy.

Leave a comment

About...

...The Artful Manager
What if we fundamentally misunderstood what it meant to run the arts "like a business"? more...

...Andrew Taylor
Andrew TaylorAmong other things, he's Director of an MBA degree program in Arts Administration. more...

Get your MBA in Arts Administration

Social Networks

Follow me on Twitter
View Andrew Taylor's profile on LinkedIn
ConnectCP International

Archives

Creative Commons License
This weblog is licensed under a Creative Commons License.

AJ Ads

Introducing
AJ Arts Blog Ads

Now you can reach the most discerning arts blog readers on the internet. Target individual blogs or topics in the ArtsJournal ad network.

Advertise Here

AJ Blogs

AJBlogCentral | rss

culture
About Last Night
Terry Teachout on the arts in New York City
Artful Manager
Andrew Taylor on the business of arts & culture
blog riley
rock culture approximately
critical difference
Laura Collins-Hughes on arts, culture and coverage
Dewey21C
Richard Kessler on arts education
diacritical
Douglas McLennan's blog
Dog Days
Dalouge Smith advocates for the Arts
Flyover
Art from the American Outback
Life's a Pitch
For immediate release: the arts are marketable
Mind the Gap
No genre is the new genre
Performance Monkey
David Jays on theatre and dance
Plain English
Paul Levy measures the Angles
Real Clear Arts
Judith H. Dobrzynski on Culture
Rockwell Matters
John Rockwell on the arts
Straight Up |
Jan Herman - arts, media & culture with 'tude

dance
Foot in Mouth
Apollinaire Scherr talks about dance
Seeing Things
Tobi Tobias on dance et al...

jazz
Jazz Beyond Jazz
Howard Mandel's freelance Urban Improvisation
ListenGood
Focus on New Orleans. Jazz and Other Sounds
Rifftides
Doug Ramsey on Jazz and other matters...

media
Out There
Jeff Weinstein's Cultural Mixology
Serious Popcorn
Martha Bayles on Film...

classical music
Creative Destruction
Fresh ideas on building arts communities
The Future of Classical Music?
Greg Sandow performs a book-in-progress
On the Record
Exploring Orchestras w/ Henry Fogel
Overflow
Harvey Sachs on music, and various digressions
PianoMorphosis
Bruce Brubaker on all things Piano
PostClassic
Kyle Gann on music after the fact
Sandow
Greg Sandow on the future of Classical Music
Slipped Disc
Norman Lebrecht on Shifting Sound Worlds

publishing
book/daddy
Jerome Weeks on Books
Quick Study
Scott McLemee on books, ideas & trash-culture ephemera

theatre
Drama Queen
Wendy Rosenfield: covering drama, onstage and off
lies like truth
Chloe Veltman on how culture will save the world

visual
Aesthetic Grounds
Public Art, Public Space
Another Bouncing Ball
Regina Hackett takes her Art To Go
Artopia
John Perreault's art diary
CultureGrrl
Lee Rosenbaum's Cultural Commentary
Modern Art Notes
Tyler Green's modern & contemporary art blog