What should artistic and cultural leaders aspire to exemplify and accomplish in a time of crisis? Some crises are caused by an operational problem that approaches or passes a point where the survival of the enterprise is at risk. Other crises may impact before their cause is readily understood, with such impact or with such complexity that a leader must act before optimal information can be gathered. Let us focus on a third kind of crisis: one caused by a ubiquitous challenge that imperils the value in many kinds of transactions and organizations, threatening or disrupting the general operational environment. The COVID-19 pandemic fits this description. So does racism (about which there are many lessons to be learned by considering for whom this issue has been a crisis their entire lives and for whom this issue is perceived as a crisis more recently—and why). This blog is intended to stimulate dialog about characteristics desirable in leaders during crises, the ways effective crisis managers think, the special needs and opportunities for leadership during crises, and the management principles that prove most valuable during crises. 

In this blog, we feature Courtney Bryan and Ashleigh Gordon, two of the 11 music artists who were the exemplary nominees for the 2020 Johnson Fellowship. As consummate musicians in contemporary genres, each thrives on the stimulation of artistic collaboration with fellow musicians, poets, writers, and dancers, but also drives the collective work that builds strength as socially engaged artists. These artists advance self-representation and advocate for cultural equity in the music field, creating music and curating programs that showcase and elevate Black culture and excellence. Importantly, themes of racial justice serve as sources of inspiration and a reservoir of strength in their ongoing support of the Black Lives Matter movement. Committed to spirit and always to beauty, Bryan’s music responds to the present, confronting contemporary social injustices in her home city of New Orleans and across the globe. In her home community of Boston, Gordon is a musical force whose goal is to foster cultural curiosity about, and celebrate the music of, Black composers.

On May 25, 2020, Minnesota police officer Derek Chauvin brutally murdered George Floyd, an unarmed Black father accused of issuing a counterfeit $20 bill, while other police officers stood by. This tragedy, following many other recent police-involved shootings of unarmed Black men and women that have been broadcasted and protested nationwide, has sparked renewed and global visibility for the Black Lives Matter movement. This most recent wave of protests has prompted a discussion within the public art field: How can public art respond to the Black Lives Matters movement? Should it? What will we do about the public artwork that is being tagged and damaged during these protests? Public art, at its best, is an authentic reflection of our times and values. Public art should reflect the community around it, and represent the hopes, lives, and aspirations of the people in that community. What we can do as public art policy makers and administrators is uplift those voices in our communities that are calling for justice and equal protection for people of color under the law. It is time to talk about the lack of diversity within our public art commissions, artist selection panels, and our public art workforce. We need to address the elitism with which we dictate to communities which artworks are acceptable, and which persons and cultures are worth affirming with monuments and beautiful objects.

For over 10 years, The Betsy has been celebrated as one of the world’s great art hotels, known for a unique artist in residence program, high profile exhibitions by globally-known artists, creating and nurturing a place for poetry in Miami, and placing classical music and jazz side-by-side in daily performances by the best and brightest players in all genres. We live in challenging times. We need the arts (and artists) more than ever, but at the moment almost 62% of artists are unemployed. Even when they were working, many were in a struggle to survive. This needs to change, and here’s why: To solve the problems of our world—whether one is thinking macro or micro—we need to include individuals who think in new ways. Keeping the status quo just is not going to work when the stakes are so high. So, our challenge is to continue to advocate for the power of the arts. Even as we recognize that although artists “will always find a way” to do their work, we need to support creative enterprise at the highest levels.

Cities are in trouble. A new report by the U.S. Conference of Mayors and National League of Cities—The Economy and Cities: What America’s Local Leaders are Seeing—shows that effectively every city, county, and town in America is expecting a budget shortfall this year. “[The] coronavirus will have a staggering impact on municipal employment,” notes the report, with about half expecting layoffs or furloughs. Depending on population size, 50% to 75% of municipalities will cut public services—and more than half expect that to include police. With cities facing their most severe budget headwinds in generations, every sector of government can expect to be scrutinized to gauge impact on the community, including the nation’s 4,500 local arts agencies (LAAs)—arts councils, arts commissions, cultural affairs departments that lead, cultivate, and support an environment in which arts and culture can thrive. They ensure vibrant and accessible arts experiences for all. LAAs are an essential tool for local leaders as they work to rebuild their economy and promote social cohesion in the wake of COVID-19. Here are 10 reasons why investing in LAAs benefits everyone.

Arts and culture chief executives from the around the world are digging in, planning for recovery through the COVID-19 crisis. From what I’ve seen of the efforts of the 75 executives I’ve worked with over the past month as the impact of the crisis on our sector has changed, evolved, and grown in its realities, I’ve been inspired. We’ve talked about the people on our teams, and their creative action to support staff and artists and boards. We’ve talked about communities and programs that are responsive: creating specific, practical support for people at this time. I’m hearing about plans that acknowledge the need for safety while also creatively planning potential operations. Create. Creative. Creating. That is us: Creative is what we do. With this background and collective thinking in mind, I offer these recommendations for your thinking now.