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- Why Are So Many Pop Stars Canceling Tours This Summer?
In recent weeks big-name artists including Meghan Trainor, Zayn Malik, Post Malone and the Pussycat Dolls have cancelled performances or entire tours. – The Times (UK)
- This Year’s US Entry In The Venice Biennale: Empty
The second Trump administration’s call for proposals for the Venice Biennale said the American presentation should “reflect and promote American values” and foster “peaceful relations between the United States and other nations.” So how does that bear out in Allen’s US Pavilion? – ARTnews
- Parliamentary Report Proposes To Sweeping Cuts To France’s Public Broadcaster
Right-wing lawmakers have issued a report following a five-month inquiry into the “neutrality, workings and financing” of French public broadcasting. The paper’s recommendations include reducing the overall public broadcasting budget by 25%, merging several major channels, and reducing the sports budget by 33% and the entertainment budget by 75%. – The Guardian
- A Manifesto From The Battle Front Of French Literature’s Latest Culture War
“A publishing house is not meant to be a propaganda machine. It is a place where conflict, doubt and nuance can, and should, coexist. … Grasset’s authors rarely agreed on much, but as the letter of protest we signed said, we have had — and still have — a common enemy: authoritarianism.” – The New York Times
- Louvre’s New President Outlines His Plans For Museum Post-Heist
“With the search for France’s crown jewels still ongoing, … plans are afoot for a new display of Empress Eugénie’s diamond-and-emerald crown. … In time, Christophe Leribault recently (said), the crown Emperor Napoleon III commissioned for his wife will become a new highlight, one only surpassed by the Mona Lisa.” – Artnet
- San Francisco’s Notorious Brutalist Fountain Bursts Into Flames As It’s Being Disassembled
“A small fire broke out Wednesday during the removal of San Francisco’s Vaillancourt Fountain, sending flames and dark smoke from a section of the massive concrete sculpture as crews dismantled the controversial artwork at Embarcadero Plaza.” – San Francisco Chronicle (Yahoo!)
- As City Of San Diego Prepares To Slash Arts Funding, County Sets Up $2.75 Million Program
This despite the fact that the San Diego County government is facing a budget cliff of its own, just as the city is. – The San Diego Union-Tribune (MSN)
- Of Course They Did: Pussy Riot Stormed Russian Pavilion At Venice Biennale
“Wearing pink balaclavas, the protesters ran towards the Russian pavilion where they gathered outside and lit pink, blue and yellow flares while playing punk music and shouting slogans, including ‘Blood is Russia’s Art’. At one stage about 40 activists … attempted to enter the Russian pavilion but were pushed back by police.” – The Guardian
- Due To Fire, Broadway’s “The Book Of Mormon” To Be Closed For Two Weeks
“The long-running Broadway hit … will close its doors through May 17 as its theater undergoes repairs. … The blaze, which began May 4 in an electrical room, caused ‘substantial damage’ to the Eugene O’Neill Theatre.” – AP
- Executive Director— Springboard for the Arts
St Paul, Minnesota (Hybrid)
Springboard for the Arts (Springboard) seeks an experienced leader to serve as its next Executive Director. The Executive Director provides overall leadership and strategy for Springboard by articulating a shared vision and purpose for the organization, working with organizational leadership to create a collaborative and effective organizational culture, and leading the teams responsible for fundraising, external relations, programming, staffing, and operations. The Executive Director is a visible advocate for artists, and participates in local and national thought leadership through writing, speaking, and representing Springboard in local, state-wide, regional, and national conversations and working groups. The Executive Director reports to a 9-12 member Board of Directors, leads a 21-member hybrid staff based in offices in Saint Paul and Fergus Falls, MN, and manages the operating budget of over $5 million and more than $14 million in net assets.
Equity is foundational to Springboard’s work, whose priority communities include Black, Indigenous, and People of Color (BIPOC), LGBTQIA+ artists, artists with disabilities, and artists living in rural places and underinvested urban neighborhoods.
About the opportunity
Springboard is undertaking a planned leadership transition to strengthen its long-term sustainability and position the organization for its next stage of impact.
Over the past five years, Springboard’s operating budget has grown by almost 50% driven by major initiatives including piloting one of the longest-running Guaranteed Income programs in the U.S., scaling its Emergency Relief Fund through a statewide partnership with MN’s regional arts councils, transforming a used car dealership into its new Saint Paul offices and public space, and establishing the national Creative Change Coalition. After operating at this increased scale, the board and staff recognized the need to focus the organization and right-size operations for long-term health.
As part of this shift, Springboard’s Creative Change Coalition (CCC) is moving into a related but independent structure that the current Executive Director, Laura Zabel, will lead. This evolution enables both organizations’ work to thrive with greater focus, dedicated leadership, and operational flexibility, while keeping artists at the center of all decisions.
With the current Executive Director transitioning to leadership of the CCC, Springboard seeks a new Executive Director to fully lead its strategy, culture, operations, fundraising, and local partnerships and programming. This new position will report to the Springboard Board of Directors and be responsible for leading Springboard in the future.
About Springboard
Founded in 1991 as Resources and Counseling for the Arts, Springboard for the Arts is a nationally recognized artist-led community and economic development organization: by artists, for artists. Its mission is to support artists with the tools to make a living and a life, and to build just and equitable communities full of meaning, joy, and connection. From its dual offices in Saint Paul and Fergus Falls, Springboard delivers resources locally and nationally tailored to creative workers, and pilots bold ideas rooted in local contexts, assets, and needs.
Springboard’s guiding principles center on the belief that how the work is done is as important as what is done. Springboard collaborates with and within existing resources and systems, especially outside of the traditional arts sector, both because there is abundant potential in these relationships, and because systems will be improved by engaging artists. Springboard builds bridges and mechanisms to connect artists as partners in system change. The goal of Springboard’s work is not a product, but rather the relationships that are sparked and will grow through working together. Beyond Springboard’s own work, the organization helps artists and organizations collaborate with each other and others in their communities.
Springboard incorporates the expertise and experience of artists to create effective, responsive, and relevant programs and tools to support the interests and needs of artists and communities. Springboard uses the broadest definition of who an artist is, and builds its work through an intentional and creative process using collaboration, communication, iteration, and play. Springboard’s focus is on local artists in their own communities—an intentional strategy rooted in equity, anti-displacement, and repair of historic economic and cultural extraction.
Springboard’s programs are deeply practical, providing direct resources and supports for artists and creative workers’ lives and livelihoods, while also focusing on longer term system change to build power and improve conditions for our communities.
Springboard works nationally, regionally, and locally. In its two homes, Fergus Falls and Saint Paul, Springboard is a “doer.” In other places, Springboard focuses on strengthening and supporting local ecosystems by connecting people, convening networks, fostering collaboration, sharing tools and resources, and advocating for community-driven work.
The Springboard staff currently works on a hybrid schedule in an open office format with the requirement of three days in the office for most staff. The requirements of the position mean that the Executive Director is mainly an in-person position in the Saint Paul office location.
About the Executive Director’s responsibilities
The position’s job duties are summarized below:
Strategy and operations: The Executive Director leads the vision, strategic, programmatic, financial, and management operations of the organization, including regularly updating Springboard’s strategic framework and its broadly-owned guiding principles. The Executive Director works with the Operations and Finance Director to ensure that the operations of the organization meet the programmatic needs of the mission.
Programmatic leadership: In partnership and collaboration with program directors, the Executive Director identifies opportunities and needs for new programming, evaluates the relevance and impact of existing programs, and ensures that Springboard’s programs are aligned with its strategic framework, guiding principles, and the mission of the organization. The Executive Director prioritizes listening to local and community voices, responsiveness to current events affecting our communities, and building durable collaborations with other organizations and leaders, both in and outside of the arts community.
Financial management: The Executive Director ensures that financial strategy and resource allocation support programmatic goals, organizational values, and mission impact, working in close collaboration with the Operations & Finance Director on financial management and operational execution. Together, they oversee the organization’s financial health, including the operating budget, balance sheet, capital assets, and contractual commitments, ensuring the ethical, effective use of resources and the responsible attraction and stewardship of financial support.
Board relations and governance: The Executive Director serves as the primary interface between the Board and the organization, ensuring that directors receive accurate and timely information and tools to support informed decision-making, strategic planning, and organizational growth. Working closely with Board leadership, the Executive Director collaborates in recommending, achieving, and maintaining the ideal composition of the Board and its committees, and fosters a culture of engagement that encourages active participation from each board member.
Fundraising: The Executive Director builds on a track record of resource-building with creativity, equity, and an abundance mindset. Springboard’s diverse funding mix—anchored by strong foundation and public support—centers long-term, trust-based relationships. Working closely with the Advancement Director, the Executive Director plays a key role in sustaining and expanding these partnerships, engaging directly with funders, and helping to shape strategy for growing individual giving.
External relations: The Executive Director plays a primary role in representing Springboard to stakeholders including artists, community leaders, donors, foundations, the press, and others who support and engage with the organization. The Executive Director engages with local and national critiques of philanthropy and nonprofit structures, challenges these structures to be more human-centered, and is open and willing to implement new practices. The Executive Director provides intellectual leadership and insight in developing future direction and programs for the organization. They are responsible for the clear and innovative framing and articulation of Springboard’s mission that influences program design, implementation, and overall communications strategy.
People and culture: The Executive Director creates an organizational culture of equity, abundance, health, joy, and accountability, and actively fosters a collegial and collaborative environment internally. As the primary liaison to the board, the Executive Director builds and sustains an effective partnership with board members in service to Springboard’s mission. In collaboration with the Operations & Finance Director, who leads the organization’s people and culture functions, the Executive Director and Operations and Finance Director together ensure that Springboard attracts, supports, and retains a talented and diverse staff; that roles are clearly defined and appropriately resourced; and that teams are supported to work effectively and collaboratively in service of the organization’s programs and long-term growth and durability. The Executive Director serves as a thought partner and collaborator to the three Program Directors.
Relationship with affiliated entities: Springboard manages an active fiscal sponsorship program, serving as an umbrella for 150+ artist-led projects. Springboard also manages a number of re-granting initiatives that operate independently from Springboard’s daily operations and programming. Most recently, Springboard has formed an independent entity for the Creative Change Coalition which will be led independently by Springboard’s former Executive Director, Laura Zabel. The Coalition delivers national network, storytelling, and capacity-building programs, and leads specific independent national initiatives. Though these projects are led and managed outside of Springboard’s regular operations, Springboard’s Executive Director serves as Springboard’s key advisor to the leadership of these projects, and coordinates national positioning, funder-facing communications, and public narrative to ensure their alignment and clarity with Springboard’s core work and mission.
Qualifications sought
The Board of Directors seeks a candidate who is aligned with Springboard’s mission and values, and who has demonstrated vision and strategic leadership experience and abilities, including the following skillsets:
- Systems thinking and ecosystem-building work
- Innovative and entrepreneurial thinking in pursuit of an organization’s strategic vision
- Operational and financial management; fundraising and resource generation
- Relationship- and network-building
- Equity-centered culture-building
- Fostering an organization with a creative, collaborative, and strategic orientation
- Knowledge and appreciation for the capabilities, potential contributions, and mindsets of artists and those with creative practices
- Working for and with a board of directors
- Nimbleness and flexibility, particularly in service to response to community needs
Priority expertise
Minnesota lens: Strong relationships in Springboard’s immediate neighborhoods and communities and across Minnesota. Awareness of the issues and opportunities in these places; commitment to long-term relationship building with formal and informal leaders. Understanding the dynamics and importance of urban-rural solidarity in Minnesota and elsewhere.
Fundraising and communications: Springboard is financially healthy and has built successful long-term funding relationships while also attracting new individual and institutional donors. Springboard’s financial model is dependent on an Executive Director who is actively involved in fundraising, prospecting, and relationship-building across many sectors and types of donors.
Evidence of commitment to equity, inclusion, and access: Springboard’s work is rooted in addressing the recurring inequities that exist in the arts, the nonprofit sector, and broader economic systems.
Community development experience: Springboard’s Executive Director position is not a traditional role as leader of a cultural or arts organization. Experience and comfort in the fields of community development, economic security, local economies, and social justice are vital to the development of Springboard’s programs and relationships.
Engaged in creative practice: Alongside comfort with community development work, having a deep appreciation for and belief in artists is key to successful leadership of Springboard’s mission achievement and work. A practicing artist, broadly defined as anyone who has an intentional creative practice, is preferred.
Organizational care and feeding: Springboard is a growing and changing organization with a large staff of creative and innovative artists. The organization requires a leader who cares deeply about system design and implementation and values-aligned organizational structures, and who is committed to mentorship and support of its leaders.
Compensation and benefits
The salary range for this position is $175,000 to $195,000 plus excellent benefits, and an annual salary increase at the discretion of the Executive Committee of the Board.
The benefits package includes:
- 100% health insurance coverage for employee and 50% employer-paid for family members
- 100% dental insurance for employee
- 403(b) plan with 5% employer contribution match
- Generous paid time off, sick leave, vacation, sabbatical, semi-annual office closures, and holidays
- Flexible work schedule
- Creative, artist-led work environment
The position is in-person and based in Springboard’s Saint Paul office. The position requires some travel, including time working from Springboard’s Fergus Falls office (approximately four times per year) and occasional national travel for meetings, convenings, and relationship building. The role requires minimal to light physical effort, including sitting or standing in an office environment and using a computer.
The application process
Interested candidates may contact 8 Bridges Workshop directly by email to find a time to discuss the position. Inquiries will be handled in confidence. Scheduling a preliminary call is not required if candidates wish to start the application process immediately. Please email us at SpringboardSearch@8bridgesworkshop.com if you want to chat before applying.
When ready to apply, candidates are asked to submit their materials through the Springboard website portal. The application requirements include a cover letter and current resume. As noted above, candidates may submit materials when ready, with or without a preliminary call.
The selection process will include preliminary review by 8 Bridges followed by the Search Committee, and will include telephone or Zoom interviews; reference checking; and semi-finalist and finalist in-person interviews. The process will also include submission of writing and work samples, and, for the finalists, an opportunity to meet with staff at Springboard.
Please submit your application through the Springboard website portal no later than 5:00 p.m. Central Daylight Time on June 2, 2026
Equity is the Foundation for all our work
Springboard has adopted the following equity statement about its work:
“Springboard’s scope is to provide infrastructure, ecosystem and support to artists and communities across Minnesota, the Upper Midwest and the nation. Springboard is for everyone. We know that to be truly ‘for everyone’ means we need to address the recurring inequities that exist in the arts, nonprofit sector and broader economic systems that have prevented ‘everyone’ from equitable access and opportunities. We do this through this framework:
Across all our programs we start with our intention to increase accessibility and to prioritize communities that are under-resourced. As a baseline all our programs prioritize:
- People who are BIPOC and Native
- People who are LGBTQIA+
- People in rural places and underinvested urban neighborhoods
- People with disabilities
“We acknowledge that there are additional communities that experience systemic marginalization and extraction, including because of gender, religious belief, geography, and poverty. While these identities may not be defined in our prioritized groups, our goal is to always ask “Who benefits?,” “Who is being left out?” and “How can we make this program more accessible to more people?”
Thank you!
Thank you for your interest in the Executive Director position at Springboard for the Arts. If you need additional information please reach out to SpringboardSearch@8bridgesworkshop.com.
Helpful links
Springboard “About Us” (website)
- Book Publishers Fire on Zukerberg
Good Morning,
The big publishing houses filed their long-telegraphed class action against Meta yesterday — and notably, Mark Zuckerberg is named individually, with the complaint alleging he “personally authorized and actively encouraged” the use of pirated books to train Llama (AP). Five of the largest houses, with Scott Turow as class lead (Washington Post). Adjacent on the same day, The Conversation argues human-made creative work is becoming a luxury good — provenance as the new premium. Two halves of the same shift.
The Venice Biennale opens Saturday under unusual pressure (The New York Times), and Russia’s controversial pavilion comeback features a folk ensemble singing under flowers — no paintings, no sculpture (The New York Times).
Two notable deaths: Ted Turner, who built CNN and reshaped late-20th-century media, at 87 (Los Angeles Times); and María Nieves Rego, who helped ignite a worldwide tango revival, at 91 (The New York Times).
And in Tokyo, fans pray to a 1,000-year-old shrine for concert tickets (BBC). Lottery economics meets folk religion.
All of our stories below.
- People Pray For Hot Concert Tickets At This 1,000-Year-Old Tokyo Shrine
For many pop concerts in Japan, “fans enter (a lottery) for the chance to buy tickets and can only purchase them in limited quantities if they are selected. … If praying at Fukutoku is believed to work for winning scratch-off lottery tickets, fans hope it might bring luck with concert tickets, too.” – BBC
- The Many Controversies Dogging This Year’s Venice Biennale
The 2026 Venice Biennale has experienced waves of uncertainty that have only grown in strength as the public opening of the world’s most prestigious international art exhibition nears on Saturday morning. – The New York Times
- Media Mogul Ted Turner, 87
The media business is full of big-talking executives. But Turner’s outsized public persona — some called him the “Mouth from the South” for his free-wheeling trash talk — actually matched his influence on news, politics, sports and entertainment in the late 20th century. Over and over again, Turner shook up established industries. – Los Angeles Times (MSN)
- “The Devil Wears Prada” And The Rise And Fall Of Chick Lit
“Before it was a movie, Lauren Weisberger’s The Devil Wears Prada, published by Broadway Books in 2003, marked the absolute high point of that once-ubiquitous genre. … Soon after the success of the novel, chick lit started to fall apart,” with dedicated imprints long since discontinued. – Publishers Weekly
- Can The UK Theatre Touring Model Be Saved?
“It doesn’t feel as though we have recovered any meaningful ground since the pandemic, and the fact that venues and their teams remain under such pressure is evident in terms of morale, energy, staff turnover and sector knowledge.” – The Stage
- What Research Tells Us About How Memory Works
The idea of photographic memory is simple and powerful: Experience is captured objectively, stored completely and retrieved perfectly. See it once, keep it forever. There’s just one problem. There’s no scientific evidence it exists. – The Conversation
- “Death Of A Salesman” Director Joe Mantello On Working With Disgraced Broadway Producer Scott Rudin
“I would be lying if I said … I didn’t grapple with making that decision. … I will say I do believe in accountability, and I think Scott has spoken about taking responsibility. … I believe in second chances. I know other people don’t share that belief, and that’s their right.” – Variety
- How A Change In SEC Reporting Might Change How Hollywood Studios Behave
The SEC is proposing to change its rules, allowing for public companies to report financials semi-annually rather than quarterly. Will major studios buy in? – The Hollywood Reporter
- So Just How Big is the Culture Audience? (comparisons that may make you rethink)
By revenue, the nonprofit arts sector is small — about $73 billion in organizational spending compared to $1.17 trillion in total US arts and cultural production. Disney’s annual revenue alone is larger than every US nonprofit cultural institution in the country combined. But the map of audience shows something entirely different.
The post So Just How Big is the Culture Audience? (comparisons that may make you rethink) appeared first on diacritical.
- In An AI Economy, Human-Made Becomes Luxury Good
We don’t value human creations solely for their beauty or their price tag. We also value them because they embody deliberate labour and expertise. – The Conversation
- Indianapolis Symphony CEO to Step Down
James Johnson began his tenure with the symphony in 2018 after serving as president and CEO of the Omaha Symphony Association. Since then, Johnson has overseen several changes in the Indianapolis orchestra. – Indianapolis Star
- For Her Second Choreography Commission From NY City Ballet, Tiler Peck Is Going Big
It’s George Balanchine’s company, after all, and he had a special gift for coordinating and synchronizing large casts. Peck particularly admires that achievement and was frustrated by how few choreographers today do the same. So, in her new Symphonie Espagnole, she’s deploying 40 dancers. – The New York Times
- Big Book Publishers Band Together To Sue Meta Over AI Plundering
Five leading publishers and a best-selling author filed a class-action lawsuit against Meta and its founder, Mark Zuckerberg, on Tuesday, alleging that the tech giant violated copyright law by training its generative artificial intelligence platform on millions of illegally pirated books and articles. – Washington Post
- The Met Gala Was A Failed Opportunity To Make The Case For Art
“Fashion is art” was meant to encourage attendees to think about how every human body is a canvas, and about how making an item of clothing—the precision that goes into selecting textiles, creating shapes, and combining colors—requires the same kind of artistry deployed by the painters and sculptors featured throughout the museum. – The Atlantic
- What This Year’s Tony Nominations Say About International Theatre
While it’s too early to tell which of the nominated shows will go on to have an international life, we can find some hints of the possibilities with a look at the title pages of their Playbills. – Jaques
- At Last, Berlin’s Pergamon Museum Has A (Partial) Reopening Date
“Traditionally one of the German capital’s top tourist attractions, (the Pergamon) will reopen next year after the first part of a painstaking restoration effort. … The Pergamon Museum has been closed altogether since October 2023. The part of the building containing the Pergamon Altar has been closed for far longer, since 2014.” – AP
- María Nieves Rego, Co-Creator Of Worldwide Hit “Tango Argentino,” Has Died At 91
“With her dance partner and onetime husband, Juan Carlos Copes” — described as the Fred Astaire and Ginger Rogers of tango — “(she) formed a duo that, despite their often-painful personal relationship, helped spark a tango revival in Argentina that spread worldwide.” – The New York Times
- L.A.’s Holocaust Museum To Reopen As Part Of New Cultural Center
“The Holocaust Museum LA, the first survivor-founded and oldest Holocaust museum in the United States, will reopen after a 10-month closure as part of the new Goldrich Cultural Center — a $70-million campus expansion set to debut June 14 in Pan Pacific Park (near downtown).” – Los Angeles Times (Yahoo!)
- Having Canceled Most Of Its Concerts, San Antonio Philharmonic Schedules A Couple Of New Ones
In mid-February, the precarious orchestra called off the remainder of this season and lost its music director. In what may be a surprising development, the SA Phil has just announced two performances of a program of Moncayo, Ravel and Tchaikovsky, scheduled for the last weekend of this month. – Texas Public Radio
- A Visit To Russia’s Exhibition At The Venice Biennale
“There weren’t any paintings or sculptures in Russia’s pale green building, which dates to before the Revolution. Instead, … the Toloka Ensemble, a folk group, sat below a bulbous flower arrangement and sang traditional songs to a cluster of reporters eager to witness the country’s controversial comeback at the Biennale.” – The New York Times
- Publishers And Authors Sue Meta And Mark Zuckerberg (Personally) For AI-Related Copyright Infringement
Five large publishing houses, along with Scott Turow representing authors as a class, allege in their filing that Zuckerberg himself “personally authorized and actively encouraged the infringement” of copyrights by Meta, which used countless books and articles to train Llama, its AI language system. – AP
- James Murdoch Is Looking To Buy New York Magazine And Its Podcasts
“Media investor James Murdoch is in advanced talks to buy Vox Media’s New York magazine and podcast division, according to people familiar with the matter. The deal, which is through Murdoch’s Lupa Systems investment company, isn’t yet final, and could still fall apart, they said.” – The Wall Street Journal (MSN)
- The Joslyn Art Museum seeks Director of Learning & Engagement
Position Summary
The Director of Learning & Engagement (Director) will serve as a visionary force behind The Joslyn Art Museum’s (The Joslyn) dynamic and expanding portfolio of education and public engagement initiatives, from school partnerships and tours to lectures and community outreach. The Director will drive a bold, forward-looking strategy that elevates innovative, audience-centered programming and amplifies The Joslyn’s mission and impact. With a collaborative, people-first approach, the Director will cultivate meaningful relationships with staff, educators, artists, and community partners, while championing inclusive and inspiring experiences that ignite curiosity, foster connection, and broaden access to art for diverse and evolving audiences.
Organization
The Joslyn Art Museum is a leading cultural institution and the largest art museum in Nebraska, dedicated to connecting people with art across time and cultures. Located in Omaha, The Joslyn stewards a collection of more than 12,000 objects representing 5,000 years of human creativity, encompassing American, European, and global traditions. Founded in 1931 as a gift to the community from Sarah H. Joslyn in memory of her husband, George, The Joslyn remains committed to public access and engagement, offering free general admission and serving as a welcoming resource for audiences of all backgrounds. The Joslyn’s mission, to bring people together to explore art across time and cultures, guides its work as a civic and cultural anchor for the region.
The Joslyn’s architecturally significant campus blends three distinctive buildings that together create a unified and evolving museum experience. The original Joslyn Building, an extraordinary Art Deco landmark that opened in 1931, established The Joslyn as both a civic gift and a work of architectural significance. The 58,000-square-foot Suzanne & Walter Scott Pavilion, completed in 1994 and designed by Norman Foster, marked The Joslyn’s first major expansion, introducing soaring interior spaces and a dramatic glass atrium. Most recently, the 42,000-square-foot Rhonda & Howard Hawks Pavilion, designed by international architectural firm Snøhetta, opened as part of a transformative campus expansion, adding approximately 16,000 square feet of gallery space along with new studios, gathering areas, and visitor amenities. Together, these buildings expand access to art while creating a dynamic, welcoming environment that connects galleries and community spaces.
Through a robust program of exhibitions, educational initiatives, and community partnerships, The Joslyn engages audiences of all ages and backgrounds while amplifying diverse artistic voices and perspectives. In 2025, The Joslyn welcomed more than 200,000 visitors from all 50 states and 62 countries, hosted 10 temporary exhibitions, and acquired 154 artworks, further strengthening its collection and reach. Of those visitors, more than 100,000 individuals participated in Learning & Engagement programs designed to connect audiences with The Joslyn’s exhibitions, collections, campus, and community.
The Joslyn’s Learning & Engagement Department offers a wide range of programs for all ages, abilities, and interests, including free monthly community events, public tours in English, Spanish, and ASL, school tours, lectures, and collaborative programs with local arts and community organizations. Grounded in a commitment to access and inclusion, these initiatives are developed in partnership with community stakeholders and across museum departments to ensure meaningful engagement and broad participation. Through this work, and with national and international recognition for its leadership, innovation, and community impact, The Joslyn continues to evolve as a place where art, community, and creativity come together to enrich lives and strengthen civic vitality.
The Joslyn Art Museum has a 27-member board of governors. The Director of Learning & Engagement reports to Jack Becker, Executive Director & CEO, and oversees a department of 25 full-time and part-time staff members and contractors, including four direct reports: the Head of Community Programs, Head of School & Teacher Programs, Head of Studio Programs, and Head of Kent Bellow Mentoring Program. For the fiscal year ending December 31, 2025, The Joslyn reported total revenue of $9.9 million. The projected revenue for the fiscal year ending December 31, 2026, is $10.3 million.
Sources: edited from joslyn.org; propublica.org
Community
Located on the Missouri River on the eastern border of Nebraska, Omaha acts as a gateway between the agricultural Midwest and the High Plains to the west. Omaha is the largest city in Nebraska and home to more than 480,000 residents, anchoring a metropolitan area of nearly one million people. As the economic and cultural center of the region, Omaha is known for its diverse economy spanning finance, transportation, healthcare, and technology, alongside a strong tradition of civic leadership and community investment. The city offers a high quality of life with affordable living, welcoming neighborhoods, and a growing reputation as a destination for both businesses and families.
Omaha combines historic character with modern development, featuring distinct districts such as the Old Market, where brick streets, local restaurants, galleries, and boutiques create a vibrant urban experience. Residents benefit from an extensive park system, riverfront redevelopment, and recreational amenities that support an active lifestyle year-round. The city’s central location and accessibility enhance its appeal, connecting residents to regional and national destinations while maintaining a strong sense of local identity.
Arts and culture are integral to Omaha’s community fabric. In addition to The Joslyn, a vibrant network of organizations, including Omaha’s Henry Doorly Zoo and Aquarium, Opera Omaha, Omaha Performing Arts, KANEKO, Lauritzen Gardens & Botanical Center, The Durham Museum, and the Bemis Center for Contemporary Arts, anchors the city’s creative life and provides diverse opportunities for cultural engagement. The City of Omaha supports a wide range of cultural initiatives, public art, and community events that celebrate creativity and foster inclusion. Through partnerships among municipal leadership, cultural organizations, educational institutions, and nonprofits, Omaha continues to strengthen its cultural ecosystem. With its blend of economic vitality, cultural richness, and community commitment, Omaha provides an inspiring environment for leaders seeking to contribute to a dynamic and evolving city.
Sources: cityofomaha.org; census.gov
Roles and Responsibilities
Strategic Vision
• Develop and lead the strategic vision for The Joslyn’s Learning & Engagement Department, aligning programs with the institution’s mission, exhibitions, collections, and community priorities.
• Inspire innovative, inclusive, and accessible learning experiences for audiences of all ages, abilities, and backgrounds.
• Champion community-centered program development that reflects local needs, fosters belonging, and expands access to the arts.
• Integrate exhibitions, collections, buildings, and gardens into cohesive educational and interpretive experiences.
• Serve as a key thought partner across departments to embed learning and engagement into institutional planning and initiatives.
• Embrace other strategic vision responsibilities as needed.Team Leadership and Operations
• Lead, mentor, and support the Learning & Engagement team in developing and delivering high-quality programs and visitor experiences.
• Oversee the planning and execution of a wide range of programs, including public tours, school tours, lectures, performances, studio classes, and community events.
• Guide the development of multimedia and interpretive content that enhances visitor engagement and educational impact.
• Collaborate with curatorial, exhibitions, and other departments to design and implement exhibition-related programming, including lectures, performances, and hands-on activities.
• Build and sustain partnerships with community organizations, schools, artists, and peer institutions to expand reach and deepen impact.
• Develop and implement strategies to increase access and participation, particularly for underserved and target audiences.
• Ensure the successful coordination of K–12 and lifelong learning initiatives, aligning programs with curriculum standards and community interests.
• Incorporate community input into program and exhibition development, including engagement with advisory committees and key stakeholders.
• Oversee evaluation and assessment of programs, using data and feedback to inform continuous improvement and demonstrate impact.
• Manage departmental budgets, resources, and staffing to ensure effective and sustainable operations.
• Represent The Joslyn in public, professional, and community settings, advocating for learning and engagement initiatives.
• Embrace other team leadership and operations responsibilities as needed.Traits and Characteristics
The Director of Learning and Education will be a collaborative, people-centered leader who is motivated by service and committed to creating meaningful, inclusive learning experiences for diverse audiences. Resourceful and results-oriented, they will maximize the effective use of time, talent, and institutional resources while maintaining a strong focus on impact and accountability. Guided by a balanced and thoughtful approach, they will value multiple perspectives and foster a harmonious environment that supports creativity, access, and engagement. Highly interactive and relationship-driven, they will build trust across staff, educators, community partners, and learners, while remaining adaptable and versatile in a dynamic setting that requires frequent shifts in priorities. With a strong orientation toward audience needs and experiences, they will demonstrate consistency, sound judgment, and the ability to translate vision into responsive, high-quality programs that advance The Joslyn’s mission.
Other key competencies include:
• Teamwork and Understanding Others – The capability to cooperate to meet objectives while understanding the uniqueness and contributions of others.
• Time and Priority Management – The organizational acumen to prioritize and complete tasks to deliver desired outcomes within allotted time frames.
• Planning and Organizing – The ability to establish courses of action to ensure that work is completed effectively.
• Employee Development and Coaching – The capacity to facilitate, support, and contribute to the professional growth of others.
• Diplomacy and Leadership – The aptitude to organize and influence people to believe in a vision while creating a strong sense of purpose and direction, and to effectively and tactfully handle difficult or sensitive issues.Qualifications
A master’s degree in education, museum studies, or a related field is desired, along with five to seven years of progressively responsible experience in museum education, including demonstrated leadership experience. A proven ability to develop and implement innovative educational programs, contribute to institutional strategy and senior leadership initiatives, and effectively manage and build diverse teams of paid staff and volunteers is essential. The Director will possess strong interpersonal, team-building, organizational, planning, and financial management skills, as well as a solid understanding of learning and curriculum development principles across a range of ages and program types. Flexibility to work varied hours, including evenings and weekends, is required, along with the ability to pass an extensive background check and adhere to organizational policies and procedures.
Compensation and Benefits
The Joslyn provides a competitive and equitable compensation package with an estimated salary range of $100,000 to $110,000 with the potential for an annual bonus. Benefits include a comprehensive health plan offering medical (PPO), prescription, and dental coverage, as well as voluntary vision coverage. Employer-paid benefits include basic life insurance and short-term disability coverage. Retirement savings are supported through a 403(b) plan with a 50% employer match on employee contributions up to 7% of annual salary (with employer contributions beginning after one year).
Applications and Inquiries
To submit a cover letter and resume with a summary of demonstrable accomplishments (electronic submissions preferred), please visit https://artsconsulting.com/opensearches/the-joslyn-art-museum-seeks-director-of-learning-engagement/
Email TheJoslyn@ArtsConsulting.com
The Joslyn is an equal opportunity employer. It is the policy of The Joslyn that all applicants and employees are entitled to equal employment opportunity regardless of sex, race, color, religion, ethnic or national origin, gender, sexual orientation, gender identity or expression, age, pregnancy, leave status, disability, veteran status, genetic information, and/or any other characteristic or status protected by national, federal, state, or local law. The Joslyn is dedicated to cultivating an inclusive work environment. This policy applies to all aspects of employment, such as hiring, promotion, and training, and aims to prevent retaliation against individuals engaged in protected activities.
- A Visit To Africa’s Largest Contemporary Dance Festival
“Founded in 1997, the African Dance Biennial has spent three decades rotating across African cities — most recently Maputo, Mozambique, in 2023 — with the aim of raising the visibility of choreographic work on the continent. The three-day event, which closed Sunday, was held at the École des Sables … in Toubab Dialao, Senegal.” – AP
