Cleveland Jewish Heritage, Maltz Museum

The Maltz Museum of Jewish Heritage is a wonderful example of a purpose built museum in Beachwood near Cleveland, OH, opened in 2005. One section tells the history of Jewish life and settlement in the region. Most of the objects and scholarship come from nearby Western Reserve Historical Society in this section. Another section exhibits the magnificent collections from The Temple Tifereth Israel, an internationally acclaimed collection of Judaica. A third large gallery accommodates traveling exhibitions. The museum is devoted to tolerance and understanding by sharing Jewish heritage through the lens of the American experience. This it does. www.maltzmuseum.org

Traveling to Cleveland frequently has allowed me to watch the slow-walking, magnificently staged re-opening of the Cleveland Museum of Art. The $350 million dollar renovation, the relayed marathon of three previous museum directors now handed to recently appointed David Franklin can not be underestimated. A complete campus re-imagination has been led by architect Rafael Vinoly.

And CMA is free, as its original facade shouts. FR EE

This juxtaposition symbolizes the museums’ adaptability -- the most important word in a recession, 16’ high bracketing its imposing 1916 neoclassical facade.

Galleries first reopened in 2008 were a distance from the entry. Visitors were required to traverse half the museum’s basement level, which could have been a real downer. Instead, museum meisters lined the doors and walkways with information and

life-size images of what was behind. The unheralded workers of the museum see their work celebrated --conservation, education, registrar -- and visitors learn about the work. Brilliant and an exampleof the museum’s transparency.

What I really love about CMA is the object labels. They are long! The curators respect their audience and provide complex information about artists, sitters, technique, medium, place, provenance, and much more. People in Cleveland read.

Vinoly’s Design will unite the old and new buildings under a high flying roof that will undoubtedly become Cleveland’s 21st Century meeting magnet. Every time I look, I see more!

Rafael Vinoly

Situational Leadership

I'm posting today for my colleague, John Durel.

If you, as the chief executive of a nonprofit organization, are not spending at least 75% of your time on external affairs, you are impeding your organization’s success. If your focus is primarily on internal capacity and operations – managing people, managing money, working on systems and procedures – then you are failing to perform a role that only the executive director can play.

Nonprofit executives must be out in the community meeting with civic and business leaders, learning about civic issues and concerns, looking for opportunities, advocating for the organization, cultivating relationships, and raising money. It is only by being out there that the leader can see her organization as others perceive it. Being aware of their concerns and ambitions will sensitize you to opportunities and challenges on the horizon. Being known, liked and respected by others will open doors.

In addition to being out and about, you must bring outside leaders in. Invite them to lunch and to see your operation. The purpose is to inform and educate them about the work of your organization, to get their thoughts and advice, to nurture relationships, and ultimately to invite them to participate financially in the important work you are doing.

Each organization will define its community based on its constituents. Whom do you serve? Who else serves this population? Who can support you? Who has knowledge or power to help you? Who sets the civic agenda? You must have a system for identifying the people most important for you to get to know and a strategy for engaging them.

Letting Go of Internal Matters

Some executives fail to spend enough time on external activities because they are more comfortable working on the inside. They choose to attend to internal matters and put off external meetings. If you are more comfortable sitting around a table with your staff than having lunch with a local business leader, then you must find a way to gain the skills and confidence to do the latter. The more you put it off, the more you hurt your organization. (See the management briefing “Your Public Presence” for more on this.)

Some executives are concerned that if they are not around, things will not be done properly. They don’t trust their staff to do the right things in the right way, especially if something unexpected occurs. If you feel this way, this is a failure of leadership on your part. It is your responsibility to develop staff leaders who are able to make good decisions in the best interest of the organization.

Developing Staff Leaders

You can use the following “Situational Leadership Model” to develop the leaders on your staff. Your goal is to improve their competence so that you can delegate important decisions to them. The model is adapted from Ken Blanchard, Leading at a Higher Level (2006)

In order to develop leaders you must adapt your own leadership style to their needs.

Be Happy!

Every executive roundtable meeting develops its own theme. As snow threatened the Capitol on Tuesday and Wednesday this week, the new Qm² museum directors roundtable emerged with a surprising theme: be happy! Despite serious issues discussed, everyone walked away wearing the cloak of leadership a little more lightly. As always, the directors set the agenda. Topics included:

• Rewarding staff without money
• Web 2.0
• Moving toward a 501c3
• H2 revise board appointment process
• Transition from old to new leadership
• Launching a new board
• Organizational Life Cycle
• Tension between bureaucracy and entrepreneurship
• How to show/demonstrate organizational benefit to your community
• HR Evaluation process
• H2 deal with rogue board member
• Getting ready for a new boss
• Transition from old to new leadership
• How to keep your head in two games, fully engaging in your current job while keeping an eye open toward what is next.

Geographic Bliss

Eric Weiner, The Geography of Bliss engages with the most positive of insights (how could a book on bliss be otherwise?). We're not talking the left-coast, follow-your-sort-of bliss. Rather, Weiner is a soft-core NPR corespondent counting the happiness index from the Neatherland to Bhutan, to Qatar, to Moldova, to Iceland and many other points latitude and longitude. He recounts the history of positive psychology and proceeds to quantify differences the globe over.

Yet another measure of diversity: in Switzerland, happiness is boredom; Bhutan, it is policy; failure is a big part of happiness in Iceland. Where we live? The USA? Weiner doesn't give us good guidance when it comes to our home country and this is wise. We wouldn't believe him anyway.

Layered Links to Museum Exhibits

Reading Patti Smith's Just Kids I am reminded of the tiny slice I know about my icons or probably anything. Yes, she is the Mother of Punk Rock, but who knew she was Robert Mapplethorpe's lover, muse, lifelong friend and creative consort? Just Kids won the National Book Awards for nonfiction. In it, she recounts the story of two fragile souls who cling to one another as they wonder who they will become, encouraging it to happen, pledging each other support. Who knew Patti Smith as poet with a narrative mastery of grace and power, sweetness and calm?

Patti Smith by Robert Mapplethorpe, 1975

By chance this week, I discovered that Felix Angel, an admired arts administrator and colleague from the Inter-American Development Bank is also one of Columbia's renowned creative exports.

Joanne McNeil's blog post of 12/31/2010 Tomorrow Museum provides a lively history of blogging and predicts that in 2011 posts will be longer than three-ish paragraphs recommended by current Internet gurus, if one has something fresh to say.

This leads me to reflect on the long form of museum exhibitions and recommend one in DC now: Human Origins at the Smithsonian Institutions' National Museum of Natural History. The exhibit attempts to ask the questions: What does it mean to be human? On the rich website, you will see what a big institution like NMNH can do for a wide public. The site provides curriculum for school teacher and home-schoolers and teacher network projects. There is an interactive floor plan, information about related research projects, maps, images of fossil collections and information about them. The curators have held back nothing.

At the museum, look past the bio-mass of living humans milling through the giant hall, and focus on the many aspects of the exhibit. The difficulty of creating worthy exhibition products of this scale cannon be over-estimated, but NMNH has achieved success in every important way: design, content, visitor attention and people flow, novelty, beauty. This is art and science, mystery and light, 21century technology coupled to stories of millennials past.

Time is needed to absorb what the curators, designers, educators, and scientists have provided. Several visits. Time at the site (on-line or in-house), the same kind of time we need to find about about the layers of our icons and our colleagues. Luscious.

John Gurche's reconstructions of early humans on display in the Hall of Human Origins, National Museum of Natural History

Place and Space

I've been musing about the differences between history and art - two subjects I love dearly. Years ago I wrote an article entitled "History: A Thing to Study, A Place to Go," in which I addressed the differences between history taught in the academy and history presented at a historic site. For me, history as a place has always been paramount. When you learn about history at a particular place, when you are in the place where something happened, the experience is physical and emotional as well as cognitive. It's a richer experience. I have had many times when I actually felt like I could touch the past.

My experiences with art are different. It's not about the place, it's about the space. Recently I was in the new modern wing of the Chicago Art Institute. The gallery spaces, and the vistas across space into other galleries, heightened my senses. Viewing the art, and watching other visitors viewing the art, was a layered physical and emotional experience.

So, I'm wondering about place and space and how they affect me. I'd welcome thoughts on this.