Episode 6 – The Art World Demystified by Brainard Carey / Museums and Nonprofit Institutions

Museums and Nonprofit Institutions

How do museums operate and what do they hide in terms of policy and access to artists?

In this chapter, I will discuss the public role of the museum and the ways in which an artist has access to the museum. How do museums and their staff work with artists? Do you need to be well-known to be in a museum? How do nonprofits work or residencies and cash grants—and is it competitive?

Museums are filled with public servants and you have a right to access and speak with staff in my opinion. That does not mean that you can be rude or arrogant, of course, but it does mean that the staff of a museum and a nonprofit institution in general should be accessible. If they are not accessible, I think you have the right to say so. I believe in fairness and access, and once I was tested and was surprised at what I found. Let me tell you the story of how I brought a non profit to its knees begging for my help! It’s an odd story that illustrates how much power an artist can have when dealing with institutions.

Manhattan

I have always applied to different residencies and awards and exhibits through nonprofit organizations in Manhattan, where I live. It is a competitive process, but not as competitive as you might think. For example, the Guggenheim Foundation, which gives grants of up to forty thousand dollars of unrestricted funds to artists, gets about eight hundred applicants a year for the fine arts category, and picks about thirty winners. Other organizations that are lesser known sometimes get more applicants. The Lower Manhattan Cultural Council gives artists residencies (studios) every year, and last I checked has roughly three thousand applicants for about one hundred spots. That is about as competitive as it gets, but it is still not as tough as most top colleges, and this is New York, where there is a huge concentration of artists. Almost half of most application-oriented opportunities are dismissed because of a lack of material provided, so the odds are better that what they appear to be.

Confrontation

Once I applied for a grant from a nonprofit organization in New York that gave studio space and exhibition opportunities to artists. I had won the grant in the past with them, more than once. Then one day I wanted to call the director of the organization and talk to him about an idea I had for making their website look better. I went to their website to find his direct number or email. I was surprised to find out that there was not a listing for a contact for the director. I was surprised and called them to ask for his email or number and was told they do not give that out and he does not have a direct line. I was shocked because, in my view, here was an organization meant to serve artists and yet the director was so difficult to reach. I felt this was hypocritical and it got me upset and determined to not only access him but to tell him why I thought it was wrong to have no email address for him on the website.

The Email That Was Sent

Since I could not gain access to the person I wanted, I sent an email to the secretary whom I had called and asked her to pass the letter onto the director. In the subject I wrote “Critic of (organization name withheld).” That way, without opening the email, it could be easily seen that I was the equivalent of an unhappy customer. In the email I explained that I was very unhappy with how the organization was structured, and if they wanted to help artists, they needed to change a number of things, and I needed to talk to the director about this. I got a quick response from the director saying he was sorry I was unhappy and asked me what the problem was. I said I had to tell him in person. I said that because I felt the issue was personal, and that it was about a style of management, most likely his. I explained I wanted a meeting with him. He made a date to talk to me and I arrived in his office on time.

A Nervous Meeting

I was apprehensive before the meeting and wondered why I was being so confrontational, and what I had gotten myself into, but I said to myself that I believed in fairness and access to all artists and detested what I perceived as elitism in this organization. When I went to his office I found the entire staff of the organization was present, which took me by surprise. I shook the director’s hand and sat down. I told him this was a personal issue about management style and I didn’t think he would want the whole staff here for the conversation. He dismissed the staff and we were alone. I thanked him for the meeting and explained that I was upset by the lack of contact information for him personally. He said, “Is that all?” I said that was the main part, but that it started with how difficult their website was to navigate, and on a more personal note, how difficult he was to be access, which to me smacked of elitism, because this organization was here to serve artists, so how could they justify not being easily accessible? He got defensive, but was polite and savvy. He said that they were going through changes and he also thought the website was bad.

I countered that it was a deeper problem to resolve than website design, because the organization should give the overall impression of a welcome mat for artists. He listened to me and asked what they could do to change that. It caught me off guard to be asked for a solution, but I began to brainstorm. I said his own voice on the voicemail might help, and something that was truly friendly on the website that invited more people to interact. He said he thought those were good ideas and asked if I would help the organization, and he would pay me for my services. I accepted his offer, and was quite surprised at the result of the meeting.

Lesson Learned

That meeting taught me a few things about the world of nonprofit organizations which also applies to museums. The lesson for me was that everyone is accessible if asked the right questions, and in this case it was being a critic that drew attention and got me a meeting and a freelance job. Even a large retail business doesn’t want a vocal critic, so if you have an issue, the top employees and managers want to solve it before you make a publicity problem for them. In this case I was also paid to give them ideas for a better interaction with the public and artists in particular. I have rarely been so confrontational since then, but I haven’t had the need to do that very often. In the case I mentioned, my relationship continued to evolve with the organization in positive ways. I am not saying the way to access nonprofits and museums is through confrontation, but if it is necessary and you see something wrong, why not? After all, who else will bring light to an unjust process or even one that is just a bit arrogant? Next is a similar lesson with a museum that ended up with them buying one of my Artworks.

To learn more about Brainard Carey and his services for artists, or to take a class from him, click here.  To join one of his free weekly webinars, click here.

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