This small selection of historic sites operated by The National Society of The Colonial Dames reveals the enormous diversity of house museums and historic sites in the United States.
In 2007, I helped organize the Forum on Historic Site Stewardship in the 21st Century, which resulted in an influential issue of Forum Journal that laid out the major challenges and opportunities, including the need for financial sustainability, a willingness to change in response to the needs of the community, and a balance between the needs of buildings, landscapes, collections, and the visiting public. It also recognized that museum standards may not be the best practices for historic sites and that the profession “must develop new measures, beyond attendance, that document the quality of visitor engagement at sites and the extent of community outreach beyond the bounds of historic sites.”
So what has happened in the 16 years that followed? We’ll find out this week as the American Association for State and Local History hosts a virtual summit on the Sustainability, Relevance, and the Future of Historic House Museums on July 11-12. Sessions will address measuring the impact of house museums, broadening interpretation, care of buildings and landscapes, and the evolution of mission statements.
For small non-profit organizations operating on less than a million dollars annually, programs are often the beating heart of the operation. The best programs balance mission and financial sustainability to serve their audiences. Program revenue (admissions, events, and membership dues) can be a vital means of maintaining financial stability and growth. For History-Focused Organizations [Museums (NTEE A50), History Museums (A54), History Organizations (A80), and Historical Societies & Historic Preservation (A82)] as overall revenue grows, so does the share of program revenue. This means as your organization grows, so should the prominence of your programs as a true revenue driver (see figure 1 below).
As small history-focused organizations expand, it’s crucial to manage their programs wisely to increase income while keeping the mission in mind. For small groups, program decisions can be very personal, often influenced by board or staff interests. Taking a strategic approach to these decisions can boost the organization’s growth and success.
Figure 1. History-Focused Organizations command large portions of the museum field’s revenue and institutions. Source: Internal Revenue Services and National Center for Charitable Statistics.
Over the past year, Engaging Places has been looking over individual segments of the museum field. While these segments are unique in specific ways, as demonstrated by the data, several of them do share a common theme and mission: an overall goal to promote history. These four segments are History Museums (A54), History Organizations (A80), Historical Societies & Historic Preservation (A82), as well as the broad Museums (A50) category. By combining these segments we can focus on the history-centric portion of the museum field that makes up close to half of its revenue and consists of a whopping 89% of its institutions (see Figure 1). This block of museums is incredibly dominant within the field and a major focus of Engaging Places’ work. For ease of reference, we will be referring to them as History-Focused Organizations.
It is important to remember that as an aggregate these History-Focused Organizations still trend small. Over 90% operate on less than $1 million in revenue annually, with contributions and grants bringing in over half of that vital revenue. For these smaller museums, financial security is a constant and essential priority. While many of these History-Focused Organizations are unable to achieve large pools of investment to stabilize operations, unlike some of their larger counterparts, they can develop practices to move them in this direction.
Figure 1. Historical Societies & Historic Preservation (A82) organizations have an outsized presence in the field. Source: Internal Revenue Service and National Center for Charitable Statistics.
Of all the organizations in the United States devoted to arts, culture, and humanities, Historical Societies & Historic Preservation (NTEE A82) organizations have an outsized presence. More than a third of all organizations “sponsor activities which celebrate, memorialize and sometimes recreate important events in history such as battles, treaties, speeches, centennials, independence days, catastrophes that had an important impact or other similar occasions.” “Historical society,” “historical association,” “heritage society,” “preservation,” and “restoration” are in the name of nearly 80 percent of institutions in this category. They are also focused on local history—only one in twenty institutions appear to have a geographic scope larger than the county level.
While preserving and interpreting local history is their primary interest, these organizations are the smallest by revenue. More than 90 percent operate with less than $1 million in revenue annually and have a median revenue near $64,000 (yes, the median is $64,000 annually for all A82 organizations for 2011-2017—half of these organizations operate with less than this amount). Only Historical Organizations (A80) produce similar financials, albeit with slightly higher figures.
The Class of 2022 celebrating their graduation from the HLI Seminar.
The History Leadership Institute, AASLH’s professional development program for mid-career history professionals, introduced its long-running Seminar in a new format in June.
In 1959, the Seminar began as an effort to train newly graduated history students and directors of history museums in the unique skills of managing museums, historic sites, and archives in a six-week program held at Colonial Williamsburg, During the decades that followed, the Seminar has continually changed to meet the needs of the field and explore new and emerging practices.
When your history organization is modeling itself on other museums or historical societies, are you choosing the right ones? Are they doing things that are well within your capacity or are you following an impossible dream? There’s nothing wrong with observing the extraordinary leaders in the field, but if you’re modeling your life on a superhero, you may be destined for an avoidable series of crashes and burns. You would have been much more successful had you devoted your time and energy on more achievable efforts.
For example, Historical Organizations (NTEE Code A80) are “organizations that promote awareness of and appreciation for history and historical artifacts,” which is mostly composed of local historic sites, house museums, and memorials that are not solely history museums or historical societies. A sample of Historical Organizations shows that many focus on local history, support museums, or memorialize people, places, or events (see Table 1). Of the 2,500 Historical Organizations providing IRS Forms 990 in 2017, nearly 40 percent include the words “memorial,” “foundation,” “friends,” or “association” in their names.
Like art, efforts to define “museum” are challenging and controversial. The American Alliance of Museums takes the “big tent” approach to defining museums—“if an organization considers itself to be a museum, it’s in the tent” (AAM 2008, 3). The Internal Revenue Service, however, takes a different approach, which can be puzzling to the field. It assigns the type of charitable organization (e.g. history museums, elementary schools, forest conservation) with no guidance or approval from the organization. Among the categories is “Museums” (NTEE code A50), which is described as, “Organizations that acquire, preserve, research, exhibit and provide for the educational use of works of art, objects or artifacts that are related to the study of zoology, biology, botany, mineralogy, geology and other natural sciences; history; archeology; or science and technology.”
An analysis of IRS Forms 990 of museums identified as NTEE code A50 reveals the incredible diversity of the field as well as challenges our notions of “museum” (see list of examples in Table 1; a complete list is available as a pdf). Consisting of roughly 18 percent of the entire museum field, Museums (A50) are the third-largest type behind Historical Organizations (A80) and Historical Societies & Historic Preservation (A82) (see Figure 1). While large in number, Museums (A50) have fewer resources than the average player in the field, but are growing faster. They hold average net assets of $3,501,000, which is 28 percent lower than the museum field as a whole, but their average net assets increased 11 percent year over year compared to the 4 percent average of the entire museum field. They are also united by their smaller scale and resources rather than subject matter with more than 85 percent of institutions receiving less than $1 million in revenue each year (see Figure 2), confirming the value of providing targeted services to small museums, such as the Small Museum Association, or funds, such as NEH’s Preservation Assistance Grants.
Imagine taking a road trip to visit Independence Hall. It would be impossible to get there if you don’t know where you are (are you starting in Boston? Chicago? Los Angeles?). Yet most museums and historic sites find themselves in this same predicament—but they don’t know it.
Knowing your museum’s financial position within its larger context can more clearly improve performance. We’ve witnessed how demographic shifts, a global pandemic, and social issues have affected all museums in the last year. Identifying which museums are responding well or poorly is largely based on rumor and anecdote, resulting in an incomplete picture of the field—and potentially misleading if a museum bases its decisions on them. Instead, we are following the advice of Karen Berman and Joe Knight, authors of Financial Intelligence (2013): “The art of accounting and finance is the art of using limited data to come as close as possible to an accurate description of how well a company is performing.”
Washington County Museum of Fine Arts, Hagerstown, Maryland.
On my first day on the road, I made my first stop just after an hour in Hagerstown, Maryland to see the Washington County Museum of Fine Arts. Set in a county park near its historic downtown, it has a surprisingly fine collection of American and European art from 17th to 19th century. Exemplary portraits by the Peale family, bronze sculptures by Rodin, vases by Tiffany and Lalique, and pots by George Ohr are found among its collections of 7,000 objects–that’s small compared to most art museums. Along with displaying their collections, they also organize temporary exhibitions, such as one on Joshua Johnson (ca. 1763-1824) of Baltimore, the first professional African-American painter. Anna Brugh Singer and her husband William H. Singer, Jr. (heirs to a family fortune, not of sewing machine fame) established the museum in the 1931 after they had traveled the world.
More interesting, however, was my discussion with board president Roger Fairbourn and curator Daniel Fulco about the vision of the museum. It’s clear they don’t want to collect more to become another Metropolitan Museum of Art, but they do plan to grow. They are hosting more ambitious traveling exhibitions, such as the current one on 17th century Italian paintings. They are adding more facilities for education, but that’s in response to community interest. They are expanding their collections, but it is to diverse their American art by including under-represented stories and move further into the 20th century. They also recognize their primary audience is the surrounding four counties, not tourists. Their strengths are uncommon and a refreshing change from the usual bigger-is-better, get-more-tourists mentality that usually infests the minds of museums. This is a tough position to take because it goes against the usual metrics, in this case, smaller is better.
Washington County Museum of Fine Arts, Hagerstown, Maryland.
Another surprise: a board president who can explain the history of the museum, its vision for the future, and discuss the significance of the current exhibition. I happened to run into him accident, when he caught me taking photos outside and stopped to chat. When I expressed my interest in the history and management of the museum, he took me around to the side of the museum to explain the physical evolution of the building, then took me inside to talk about the exhibitions and their vision. While we were chatting, he noticed another visitor was puzzled by the Johnson exhibition, so he stopped to describe its significance and pointed out a painting that might interest her. And he didn’t do it by flaunting his position at the museum (he just introduced himself as Roger). What!? If anyone on your board of trustees can do this, you’re in luck. Most can’t.
Visiting these small art museums verifies that small history museums, which dominant the field, can be effective and worthy organizations. They just need to develop a vision that pursues impact on their audience rather than size of collections or attendance.
It’s a webinar bonanza at Engaging Places this month! We’ll be participating in two different back-to-back webinars in March for house museums and historic sites, one on interpreting women’s history and the other on management and strategy.
On Thursday, March 25, 2021 at 10:00 am Central, the Wisconsin Historical Society is hosting a free panel discussion on “Sharing Women’s History: Exploring New Stories and Formats for Engaging Audiences“. Panelists include Mary van Balgooy, Vice President of Engaging Places, LLC and Executive Director of the Society of Woman Geographers; Meredith S. Horsford, Executive Director, Dyckman Farmhouse Museum; and Brooke Steinhauser, Program Director, The Emily Dickinson Museum. House museums, historic sites, and other cultural organizations can share women’s history through special programs, tours, and other storytelling formats. From a broad view of new directions for interpretation to strategies for virtual engagement, panelists will share examples of innovative programming and best practices for interpreting complex stories that engage new audiences. For more details, visit https://www.wisconsinhistory.org/Records/Event/EV8032
On Friday, March 26 at 3:30 pm Eastern, Stenton, The National Society of The Colonial Dames of American, and Historic Germantown are hosting, “Historic House Museum in the 21st Century: Reimaginings and New Solutions“. Stenton Curator Laura Keim will moderate a discussion with Donna Ann Harris (author of the recently updated New Solutions for House Museums) and Kenneth C. Turino and Max A. van Balgooy of Engaging Places (editors of Reimagining Historic House Museums), who will provide overviews of their recently released publications, share lessons they’ve learned from the field and their researches, and explore the nature and future of historic house museums. Cost is “Pay What You Can” and register in advance at www.stenton.org/programs. Visit http://www.rowman.com to purchase both books and use code 4S21MUS30 for a 30% discount.
Engaging Places 