Arts Intranet

Sometimes, of course, you feel like walking away because of the old challenges: a change in the political tide, a recession, difficult people, the endless paperwork, scrambling to do more with less. But none of these are reasons to bail. When I know I haven’t shied away from an uncomfortable situation or unfamiliar territory, then I can choose something new with a clear conscience.

The MOCA Teen Program, which I co-manage, is an academic yearlong paid internship for 18 students that supports teens on a journey of self-discovery through learning about art, the museum, and the world. In the process of selecting candidates, we look for individual voices that can become part of a diverse and connected community. Students who come from privilege are empowered to have a voice from a young age. Students with fewer resources are not, and face a disadvantage before even applying for the MOCA Teen Program. The unequal empowerment of student voices illuminates a systematic barrier for youth to be prepared and competitive candidates for art and leadership pipeline opportunities. While the MOCA Teen Program aims to empower the voices of our program participants, we may be perpetuating cycles of privilege if our selection process gravitates towards privileged applicants. We must put more resources and thought into equitable recruitment and application processes to creative pathways if we are to overcome this barrier to diversity in our field. 

For me, it all started the third week on my job, in June 2003, at an arts marketing conference hosted by the California Arts Council (CAC) in Sacramento. Right in the middle of the luncheon, someone came bursting into the banquet hall announcing that the Legislature was about to "zero out" the CAC. We conferees leapt up from our rubbery chicken and raced the two blocks to the Capitol. Engraged arts administrators stormed into the ornate office of the Senate Pro Tem, screaming at the staff, and demanding to see the Senator. I grabbed one of my board members, and we slipped out to see if we could meet privately--and quietly--with our local reprentatives.

While the economy seems to be on the upswing, with jobs increasing and unemployment down, one group is still falling behind: children. The rate of children living in poverty has gradually increased since 2008; currently, 20% of children are living in poverty. That’s one in five American children. This means that the citizens most at risk to deficient health, emotional, and cognitive development, and the poorest citizens of our country, are also the youngest.

The artwork is a map of the world, a work of science, a history book, a newspaper, a calendar—all in one! The effort of taking our concept to reality was monumental. Bringing TABULA to life required deep collaboration with architects, scientists, artists, programmers, city officials, construction personnel, and real estate management and insurance companies, but together we were able to get it done. 

As a woman working in the arts management field, I know how critical it is to look for opportunities and to take advantage of them. I have had several women role models who have demonstrated the importance of being a good leader, and now that I’m at a stage in my career where I am training the next generation of arts leaders, I’ve been reflecting on what it means to be a woman in a leadership position, and how to create your own opportunities. There are three guiding principles that I continually share with my interns who are just getting a glimpse into the inner workings of an arts organization. First, always be curious about what you are doing and what others are doing around you. Second, don’t sweat the small stuff; work your way through problems the best way you know how and don’t lose sight of the bigger picture. And finally, pass your knowledge and expertise on to the next generation.