AAMC Foundation Best Practices Guide for Artist Demographic Data Coordination

Association of Art Museum Curators Foundation

BEST PRACTICES GUIDE FOR ARTIST DEMOGRAPHIC DATA COORDINATION

AAMC Foundation

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TABLE OF CONTENTS PREFACE 8 Contributors 12 Disclaimer 15 Land Acknowledgement 16 INTRODUCTION 18 GETTING STARTED 24 Preparation 28 Conceptualization 30 Assessment 34 Current Practices 34 Tools 35 Resources 35 Communication 37 Legal Implications 39 Data Privacy Rights 40 Commencing the Project 43 Assembling a Project Team 43 Training the Project Team 45 Grounding Research 46 Accountability 46 Project Timeline 47 Planning and Policy Documents

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CREATING AND IMPLEMENTING A QUESTIONNAIRE 52 Further Research 56 Questionnaire Design 59 Access 59 Format 59 Language 60 Storage 60 Tone and Phrasing 60 Groups 61 External Resources 61 Questionnaire Structure 62 Multiple-Choice Questions 63 Open-Text-Field Questions 63 Optional vs. Required Responses

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Privacy Options 64 Questionnaire Content 65 Name 65 Contact Information 65 Languages 66 Pronouns 66 Gender 67 Sexual Orientation 68 Nationality/Residency/Place of Birth

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Ethnicity 69 Race 70 Religious Affiliation 70 Ability/Disability 71

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Introducing the Questionnaire 72 Institutional Significance 73 Usage 73 Privacy 74 Storage 74 Other Questionnaires and Interpretation

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Bias and Feedback 75 Implementation 76 Timing 76 Communicating with Artists 77 Feedback and Updates

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DATA USE, MANAGEMENT, AND MAINTENANCE 80 Data Use 83 Data Management 87 Provenance and Preservation 87 Structure 88 Making Meaning 89 Data Maintenance 90 Next Steps 92

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CASE STUDIES 94 Museum of Modern Art, New York

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San Francisco Museum of Modern Art

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SAMPLE QUESTIONNAIRE 98 ABOUT THE AAMC & AAMC FOUNDATION

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AAMC & AAMC FOUNDATION BOARD OF TRUSTEES 107

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PREFACE

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The Best Practices Guide for Artist

which included curators, collections

Demographic Data Coordination was cre-

and data managers, registrars, conser-

ated as a freely accessible document to

vators, archivists, and more from over

serve as a foundational resource, advo-

40 institutions in the United States. As

cacy tool, and guide for those looking to

a full group and then in smaller working

move forward with artist identity sur-

subgroups, these colleagues engaged

veys ethically and fairly. In recent years,

in conversations that inspired and led

there has been a growing recognition

to the framework for this guide. We are

that this type of assessment needs to be

honored to have had the trust and candor

undertaken for the sake of transparency,

of the consortium, many of whom par-

accountability, and internal reckoning.

ticipated in the making of Best Practices

Simultaneously, there has also been a

Guide for Artist Demographic Data

growing apprehension about institutions

Coordination, and all of whom galvanized

initiating surveys individually and with-

it. The consortium has expanded to

out direct lines of communication be-

merge with AAMC’s established Curator

tween them. Therefore, in October 2020,

Gathering events, with the caveat that

the AAMC Foundation began assembling

these gatherings vary from our tradi-

colleagues, curators and non-curators

tional member-only format by continu-

alike, who were seeking a space to can-

ing to welcome non-members from the

didly share questions and concerns

consortium and AAMC members’ guests.

about museums’ processes and goals for

The creation of Best Practices

gathering and analyzing information on

Guide for Artist Demographic Data

artist identities. The community became

Coordination is indebted to conversa-

the Artist Demographic Consortium,

tions held over the past few years and to

AAMC Foundation

The Mellon Foundation that has made

Within this guide, the term “artist” is

the document a reality with their sup-

used as broadly as possible to include

port. It should also be recognized that

makers and creators in multitudes of

this undertaking is all possible because

mediums and traditions, without di-

AAMC & AAMC Foundation are valued

viding them into the predetermined

as conveners, supporters, and advocates

but outdated subdivisions such as craft,

for the curatorial community through

fine art, design, film, and the like. In its

our commitment to ethics, diversity,

centering of the authentic voice and

inclusion, and accessibility.

active participation of the respondent,

At AAMC & AAMC Foundation,

the guide offers broader ethical and

ethical best practices within the cu-

procedural insight for the surveying and

ratorial sector are at the forefront of

statistical gathering of demographic data

our mission, as evident in our Call to

from all institutional constituents—staff,

Curators: DEAI Practices: Collections

donors, boards, visitors—and recognizes

and Exhibitions, Code of Conduct for

that organizations may benefit from in-

Curators, and Professional Practices

corporating all artist data collection into

for Art Curators in Nonprofits. These

one project and process. This document

pledges and the Professional Practices

primarily addresses gathering data from

guide, along with the information that

living artists, but many museums and

follows in this document, present ways

arts organizations are seeking to better

forward that are relevant beyond the

identify the demographic information of

curatorial field, and that are helpful

nonliving artists as well, and some of the

and impactful for all museum and

processes, guidelines, engagement, and

visual-arts nonprofit spaces. We en-

discussion points can also be relevant for

courage sharing these resources with

these studies.

colleagues and students in the arts community at large.

This document is, as its title indicates, a guide, and we acknowledge that it

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This document is a guide, and

we acknowledge that it is by no means an exhaustive review of

every possible detail or scenario that might be encountered. For curators working in differing

locations, organizational types,

and on varying scales of projects,

experiences and policies will vary.

However, it is our intent that this

handbook provide an overview of as much information as possible,

supplemented by relevant support material through case studies and additional resources.

possible, supplemented by relevant support material through case studies and additional resources.

In creating this guide, we also seek to outline the highest level of current best practices, as the collection of demographic information is even more fraught if embarked upon without these. Accurate information on artists, provided in their voice, can bring forth change to our collecting and exhibition practices, and with it new possibilities but also new challenges. The pressures on staffing, budgets, and artists in undertaking a demographic data collection process can be significant. The need for organizations to complete this project at the highest level of ethics

is by no means an exhaustive review

might make it unattainable. For these

of every possible detail or scenario

reasons, it was evident in the process of

that might be encountered. For

creating this document that there is a

curators working in differing locations,

need for a centralized, artist-centered,

organizational types, and on varying

accessible yet secure, and diligently

scales of projects, experiences and

maintained database, and that the

policies will vary. However, it is our

collection process and content should

intent that this handbook provide an

be aligned with that database across

overview of as much information as

all organizations. Unfortunately, to

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date this does not yet exist, but it is our hope that it will in the future.

We express our gratitude to all those who participated in the creation of this document. In particular, we are grateful to those who developed and spearheaded the project through all its stages: Briana Parker, Editor; Lucy Lydon, Project Manager, Director, Luce Productions; the AAMC & AAMC Foundation Board of Trustees and staff; the Artist Demographic Consortium; and The Mellon Foundation.

Judith Pineiro Executive Director, AAMC & AAMC Foundation

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CONTRIBUTORS LEAD Judith Pineiro Executive Director, AAMC & AAMC Foundation PROJECT MANAGER Lucy Lydon

Wendy Chang

Christine Kuan

Director, Rennie

President and Executive

Collection; Board of

Director, Creative Capital

Trustees, AAMC & AAMC Foundation

Manager of Art Amanda Dearolph

Information, Princeton

Head of Collection

University Art Museum

Assets, Los Angeles

Jaye Melino

County Museum of Art

Collections and

Director, Luce Productions Information and Digital WRITERS Leslie Anderson Director of Collections, Exhibitions, and Programs, National Nordic Museum Daniel Belasco Executive Director, Al Held Foundation; Board of Trustees, AAMC & AAMC Foundation Sarah Osborne Bender Head of Library Technical Services, National Gallery of Art, Washington, D.C.

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Frances Lloyd-Baynes

Exhibitions Information Marissa Del Toro

Assistant, Museum

Independent Curator

of Modern Art, New York

Jenny Gibbs

Liz Munsell

Executive Director,

Barnett and Annalee

IFPDA, IFPDA

Newman Curator of

Foundation, IFPDA Fair

Contemporary Art, Jewish Museum, New York

Gigi Gilliard Gigi Gilliard Development

Leela Outcalt Director of Collections,

Kathryn Gunsch

Museum of the City of

Deputy Director, MIT

New York

Museum

Briana Parker

Farris Wahbeh

Lynda Roscoe Hartigan

Assistant Managing

Benjamin and Irma Weiss

Rose-Marie and Eijk

Editor, Publications and

Director of Research

van Otterloo Executive

Editorial Department,

Resources, Whitney

Director and Chief

The Metropolitan Museum Museum of American Art

Executive Officer, Peabody

of Art

Essex Museum; Board

Judith Pineiro Executive Director, AAMC & AAMC Foundation Pavel Pyś Curator of Visual Arts, Walker Arts Center Lauren Vargas Independent Researcher and Consultant, One

by One, University of Leicester, United Kingdom, Your Digital Tattoo

REVIEWERS Myrtis Bedolla Founding Director, Galerie Myrtis; Board of Trustees, AAMC & AAMC Foundation Tiana Webb Evans Founder, ESP Group LLC Maria Elena González Artist and Educator Vivien Greene Senior Curator, 19thand Early 20th-Century Art, Solomon R.

of Trustees, AAMC & AAMC Foundation David Max Horowitz Assistant Curator, Solomon R. Guggenheim Museum Dakota Hoska Associate Curator of Native Arts, Denver Art Museum Mia Locks Independent Curator and Co-Founder, Museums Moving Forward

Guggenheim Museum

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Victoria Mattingly Chief Executive Officer and Co-Founder, Mattingly Solutions Eva Respini Deputy Director for Curatorial Affairs and Barbara Lee Chief Curator, Institute of Contemporary

EDITOR Briana Parker Assistant Managing Editor, Publications and Editorial Department, The Metropolitan Museum of Art PROOFREADER

Art, Boston

Rachel Selekman

Juliet Sorce

DESIGNER

Executive Vice President,

Stephanie Rudig

Resnicow and Associates; Board of Trustees, AAMC & AAMC Foundation, Vice President, Advocacy

LEGAL REVIEW Katherine Wilson-Milne Partner, Schindler Cohen & Hochman LLP

The AAMC Foundation is grateful to The Mellon Foundation for their support of this project.

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DISCLAIMER The information in this document is

The information provided in this docu-

subject to change or revision with-

ment and related materials are not

out notice. AAMC and/or AAMC

intended to be the source of legal or

Foundation, along with its contributors,

other professional advice. You should not

assume no and disclaim any responsibil-

consider the information provided to be

ity for any errors that may appear in this

legal or professional advice and should

document. They shall not be liable for

not rely on the information herein/

any damages, including but not limited

therein as legal or professional advice for

to general, incidental, or consequential,

any purpose and should always seek the

that may arise from use of this docu-

legal advice of competent counsel in the

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relevant jurisdiction as needed.

of this document indicates your agree-

Links provided do not imply any asso-

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ciation, endorsement, or sponsorship

This document and parts thereof

of any site or, with regard to protected

are the intellectual property of AAMC

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copied, or used in any manner other than for personal reference without AAMC Foundation’s prior written permission.

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LAND ACKNOWLEDGEMENT The Association of Art Museum Curators (AAMC) and AAMC Foundation offices are in Manhattan, and our team also works remotely from Brooklyn. These locations are situated upon the unceded, seized territory of the Lenape and Canarsie peoples and benefited from the economies of enslavement and the labors of African-descended captives. We owe our existence and vitality to generations of people from around the world brought here against their will or drawn here to escape persecution and those who have lived on this land for more generations than can be counted. We pay respect to their communities past and present. This acknowledgment asks us to consider the many legacies of violence, displacement, migration, and settlement that bring us together.

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INTRODUCTION

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Conversations regarding the realities

representations within their holdings

and consequences of exclusion and

and exhibitions. Institutions are also

marginalization are happening globally.

seeking new visions for installation and

Topics of diversity, equity, inclusion,

interpretation policies to present an

access, and belonging (DEIAB) within

inclusive and expansive narrative within

the arts have been a focal point for de-

their historical and contemporary

cades, with the lack of diversity across

collections, special exhibitions, and

all areas of the visual arts highlighted as

through other platforms.

an unfortunate—yet inevitable—result

Tied to these institutional efforts,

of the system in which the arts operate.

curators are also responsible for exam-

These conversations accelerated in 2020,

ining how their practices can contribute

with numerous panels, statements, and

to equitable representation within the

reflections throughout the industry (see

institutions they serve. These efforts

examples in the Resources sidebar).

may incorporate documenting their

Striving to become more equitable

collection practices, facilitating discus-

organizations, arts institutions,

sions, and working to correct historical

nonprofit and for-profit alike, are

injustices in their sphere of influence.

undertaking investigations of DEIAB

Curators can and should advocate for

practices in staffing, fundraising,

equitable hiring practices; culturally re-

leadership, governance, and

sponsive programming; and exhibitions

management to address the systemic

that welcome community voices, diverse

bias and inequities embedded within

artist representation, and fair inter-

all aspects of the industry. With these

pretation and presentation of diverse

investigations happening, nonprofit

histories and ideas; providing platforms

arts organizations are also working

for stories that have been overlooked or

to adjust collection and exhibition

silenced; and looking critically at histo-

practices to seek more inclusive

ries that have become broadly accepted.

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Institutions have the responsibility to

RESOURCES

support them in these endeavors.

As stated in the AAMC Foundation’s

General

Professional Practices Guide for

“Art Museum Staff Demographic

exhibition should include increasing

Survey.” Mellon Foundation.

public understanding of a given subject;

Nonprofit Curators: “The goals of any

forging new narratives that expand the “Code of Conduct for Curators.”

art historical canon; and enhancing vis-

Association of Art Museum

itor experience. The principles of diver-

Curators.

sity and inclusion must guide exhibition planning at all stages. Additionally, cu-

Topaz Chad M., et al. (2019).

rators must tailor their programming to

“Diversity of Artists in Major U.S.

serve the needs of their audiences, being

Museums.” PLOS ONE 14(3):

consciously aware of differing perspec-

e0212852.

tives. Curators need to gather together community voices in developing pro-

“Inclusive Demographic Data

gramming, texts, and other materials

Collection.” Office of Regulatory

around an exhibition.” For acquisitions,

Affairs and Research

the guide states, “Acquisition policies

Compliance (ORARC), Harvard

need to demonstrate the organization’s

University.

commitment to telling the most complete, inclusive, and multivalent narra-

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Professional Practices for Art

tive possible. New acquisitions should

Curators in Nonprofits. Association

not only add depth to the collection but

of Art Museum Curators

seek to fill and correct gaps within it,

Foundation.

such as a lack of holdings by artists from

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underrepresented communities and

such, institutions and their leadership

cultures, and to adjust linear and tradi-

are seeking to quantify and be transpar-

tional histories.”

ent about the diversity of their collec-

Demographic data, or information

tions and exhibitions by moving swiftly

related to identity such as race, eth-

to secure demographic data identifying

nicity, gender, and sexuality, can be a

artists. Specifically for living artists, this

compelling instrument for addressing

process should be done through firsthand engagement with artists and not

Data is only reliable and

through secondhand research or conjec-

interpretation, and

and data-gathering tools needs to engage

equitably obtained and used.

and data and collection management, di-

usable when its collection,

ture. The development of questionnaires

implementation are ethically and

curators, registrars, and conservators, versity, and digital teams, as well as other key members of internal staff, and it

inequitable harms if used properly. Often

should also involve artists, external data

collected by government agencies as well

experts, and additional outside consul-

as by private entities, demographic infor-

tants such as foundations. This type of

mation can provide a plethora of insights

information is about an artist’s identity

into surveyed populations. However,

more broadly and is not meant to be tied

data is only reliable and usable when its

to a particular work or body of work, and

collection, interpretation, and imple-

demographic data should therefore not

mentation are ethically and equitably

be linked to object data.

obtained and used.

When possible, arts organizations

Pressure is mounting toward rectifying

should work together to gather this

gaps and lack of holdings from underrep-

information to avoid repetitive ef-

resented communities and cultures. As

forts and to secure consistency and

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RESOURCES

“Diversity, Equity, Accessibility, and Inclusion.” American Alliance

DEIAB and the Arts

of Museums.

“Association of Art Museum

“Excellence in DEAI.” American

Curators Statement on Systemic

Alliance of Museums.

Violence and Racism.” Association of Art Museum Curators, June 2, 2020.

“Beyond Statements: Living It Out” webinar. Association of Art

tively across institutions isn’t always feasible due to privacy concerns, dif-

Museum Curators.

fering data management systems and

“Beyond Statements: People

there is a centralized and accurate

Power” webinar. Association of Art

policies, and capacity. If in the future database with information collected

Museum Curators.

with the highest ethics in place, and

“Beyond Statements: Taking

would help solve the issue of duplica-

Action” webinar. Association of Art

not utilizing secondhand research, this tive work and better facilitate public

Museum Curators.

access to accurate artist data without

“DEAI Practices.” Association of

across an already stretched sector.

Art Museum Curators.

Disrupting Whiteness in Libraries resource list.

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accuracy. However, working collabora-

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overburdening both artists and staff Overall it is highly recommended that curators be vocal contributors in the process and reinforce open discourse,

internally and externally, about how

and using them should be considered

collected data is secured, stored, and

organic, living projects.

used. In addition, curators should make

The act of accumulating demographic

certain that the goals of artist demo-

data about people should center the

graphic data collection projects are

critical voices of the people. Many artist

clear and shared, and that institutions

constituents in an institution’s collection

establish and publish action plans based

or exhibition program may not be alive to

on their findings—for instance, chang-

undergo this process of self-identification,

ing acquisition and display policies and

which poses numerous issues and

practices—to ensure organizations will

concerns. This guide centers on the

be held accountable.

capacity to collect information from living

It is vital that the initiative to gather

artists, which enables the voice of the artist

artist demographic data is not viewed as

to be part of the project in a way that is not

a project that has a beginning and an end,

possible for nonliving artists. However,

but rather as a continuous and evolving

while this guide does center on living

effort with modifications and adapta-

artists, the stages, processes, and questions

tions welcomed. In no way can an artist

to raise are applicable for projects

demographic data collection project ever

regarding deceased artists as well.

be deemed complete or considered set

When using this guide, it is important

in stone. Artists may opt to change their

to keep in mind that it largely employs

responses, new terminology and ways of

U.S.-specific language and terminology.

structuring identity may impact fields

The general guidelines and information

in the questionnaire, goals may change

are, however, relevant across the non-

internally, and the capacity to maintain

profit arts sector globally. In addition,

a project may shift (see Feedback and

this document offers a path forward

Updates). Both the questionnaires and

for all team members working on artist

the processes for creating, maintaining,

demographic data projects.

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GETTING STARTED

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For nonprofit arts organizations, demo-

Artist demographic data collecting

graphic data can be constructive infor-

initiatives might be requested by in-

mation that offers insight into patterns

stitutional leadership or colleagues

among all their various constituencies,

who have a particular need in mind or

including staff, board, visitors, funders,

see the benefits of collecting this data

and artists, as well as into their policies

more generally to help shape the orga-

around collections, exhibitions, fund-

nization’s mission and exhibition and

ing, and governance. In the aggregate,

collection programs. They may also be

artists’ demographic data can reveal

a response to external interest, such

broader insights, including what groups

as questions from constituencies and

or identities are equitably or inequitably

media inquiries. Regardless, for many

represented and presented within an

organizations, these are new projects

institution’s holdings and exhibition programs. An arts organization that analyzes demographic data of artists can make its exhibitions, permanent gallery displays, and

Any artist demographic study must begin with thoughtful, cross-functional discussions to develop a clear motivation or key purpose for the collection of this data. This motivation, and the process as a whole, should be transparent and shareable.

acquisitions more

and there are many questions on where to begin, how to best approach this type of enterprise, and even what artist demographic data is and how to collect it.

inclusive. This is particularly true in

This section seeks to provide guidance

considering living artists. The data col-

for brainstorming, conceptualizing,

lection process itself presents an oppor-

assessing, considering the ethical ram-

tunity to center equitable practices.

ifications of, and finally beginning (or

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deciding not to begin) to create this type

between traditional expectations of open

of project.

access to all information relating to an

Navigating myriad unique identities,

organization’s engagement with artists

and numerous ways to define those iden-

in their collection and/or exhibitions

tities, is complicated. It is imperative to

and the need to respect individuals’

implement a collaborative, mission

right to privacy will need to be consid-

-driven process that includes voices

ered transparently and inclusively. It is

from across and outside of the institu-

not possible to guarantee the privacy of

tion. Any artist demographic study must

material collected due to the potential

begin with thoughtful, cross-functional

for human error and the fallibility of

discussions to develop a clear motiva-

digital systems. Some information, such

tion or key purpose for the collection of

as citizenship status, may be considered

this data. This motivation, and the pro-

sensitive enough that it should not be

cess as a whole, should be transparent

collected at all.

and shareable.

Discussions need to be had from the

During the conceptualization process,

beginning on how this data will be used

as demographic data is highly sensitive

by the organization, which will affect the

personal information for which the insti-

management and maintenance of the

tution will be responsible, it is important

information within your organization.

to be aware of the practical and ethical

Collecting and reporting on sensitive,

considerations for the project, such as

personal data requires an understand-

resources, long-term investment, and

ing of its use by all internal and exter-

privacy. Artist questionnaires are meant

nal stakeholders. Usage should be the

to affirm artists’ agency to define their

very first question in answering why a

own identity; however, if proper care is

project is being requested, and one that

not taken, there is serious potential to

should be constantly raised throughout

create harm. The cognitive dissonance

the process. Each project should have a

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mission statement that includes the why and the usage aspect and that is referred to throughout the process.

If an institution feels it does not have the capacity, support, or resources to carry out this work in accordance with the highest ethics and professional practices, consideration could be given to collaborate with other institutions, pool resources, connect with external colleagues, and/or reflect on other paths forward, such as a smaller-scale initiative that adds questions to a preexisting process. If the recommendation from the stakeholders is that the organization cannot, to the utmost best practices, create an artist demographic study that is fair and equitable, then honest discussions on postponing the project should be made. All uncertainties should be sorted through to full agreement by all engaged before proceeding.

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PREPARATION The impetus for an artist demographic

• Motivation: Is the desire to move

data project may come from leader-

this project forward authentic? Is it

ship, including the board, staff, and/

a checkbox for data or is it seeking

or external stakeholders. The first step

information from the data to forge a

is to assess the formative reasons and

way forward with DEIAB work?

needs for this type of project before

• Trust: What trust building would

deciding to proceed. A few key factors

need to be done if the organization’s

to consider are:

voice in DEIAB is not trusted or

• Request: Where has the request

respected by internal or external

come from and what is that person’s/ group’s stakeholder role in the project?

• Goal: Why has an artist demographic

constituencies?

• Voice: Will the project give voice to underrepresented constituencies?

• Additional Goals: Are there

data project been requested? What

motivations and goals not discussed

is the goal? Is the organization open

in the original request that should be

to the data analysis process changing

considered?

this goal?

• Timing: Is there a reason for the

• Intersection: How does the project intersect with other larger initiatives

request at this specific time? What is

(e.g., strategic planning, capital

the timeline expected for all stages?

campaigns) conceptually and in

• Mission and Vision: In what way does

terms of bandwidth and timing? Is

the project speak to the mission and

there openness to the project itself

vision of the organization?

initiating programmatic shifts?

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• Usage and Audience: How will the

expected to be executed within an

information collected be used? Is the

existing budget? Are any additional

intent for internal usage or public

staff members or consultants

viewing? Is the original intent for

required?

it to be used for public relations,

Initial conversations can be informal

development, or education to advance

and are meant for securing preliminary

the institution’s profile and funding

ideas about goals, purposes, and re-

and/or is it to change and meet

sources. All of these questions should be

directions of DEIAB goals? Will it be

addressed in an iterative way through-

used to ensure equitable practices?

out the process, and any changes to the

• Data Storage and Security: Is there

original responses considered before

a plan for storing the information?

taking further steps. Before moving

Does the plan take into account

beyond this point, document any topics,

security concerns?

concerns, and questions that surfaced

• Staffing: Is there a clear plan for

through these initial discussions. If the

staffing for the project? Who will it

answers to these questions are in balance

impact and how will their day-to-day

with best practices and ethics, proceed

schedules be balanced? Who is the

to the next stage. If there are gaps and/

project lead who will ensure that the

or unclear information, pause and come

work gets done and is coordinated

to a mutual agreement on how to rectify

across all staff and stakeholders?

these concerns before advancing.

• Funding: Are there specific funds allocated for the project or is it

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CONCEPTUALIZATION In the conceptualization stage, early

be invited to participate; however, they

conversations begin to be formalized

should not be made to feel obligated and

through collaborative and cross-

should never be invited solely for their

departmental convenings, including

identity. It should never be undertaken

one-on-one, roundtable, and/or focus

or even entertained that their voice in

group discussions.

the process is to represent or speak for

Identifying key internal and external

and/or on behalf of any affiliated group.

stakeholders to participate in the con-

Be sure to invite a team member from

ceptualization process is important and

all departments at the start, regardless

ensures an open and productive dialogue

of whether they will regularly work with

throughout. Seek to garner represen-

artist demographic data, to gather vary-

tation across lived experiences and

ing views and opinions.

identity groups as well as to secure staff

Later in the process, key stakeholders in

members who are known for their advo-

collecting and using the data will take on

cacy for equitable practices in the past.

larger roles to negotiate the varied needs

Even if the latter are not able to partic-

and potential data uses throughout the

ipate in the full project directly, they

organization. Departments or roles that

should be contacted to aid in this part of

may be part of the initial conceptualiza-

the conversation and/or recommend a

tion group that might continue as deeper

colleague who might welcome the com-

stakeholders, which will later be referred

mitment. Black, Indigenous, and People

to and work as a project team, are board

of Color (BIPOC), women, LGBTQIA+,

relations, conservation, communications/

and other staff from historically margin-

marketing, curatorial, development,

alized groups should feel welcome and

education (perhaps in a facilitation role

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as well), human resources, leadership

• Timing: Is there a reason for the

office, library, membership, public rela-

request at this specific time? What is

tions, publications, registrar, and visitor

the timeline expected for all stages?

services. Critical to the success of these

• Mission and Vision: In what way does

efforts is a sole project lead who is respon-

the project speak to the mission and

sible for the coordination and completion

vision of the organization?

of all work across the entire project team.

• Motivation: Is the desire to move

It is also recommended to invite artists

this project forward authentic? Is it

and members from constituencies that

a checkbox for data or is it seeking

the organization serves to participate

information from the data to forge a

at any and all stages. This involvement

way forward with DEIAB work?

should ideally be compensated.

• Trust: What trust building would need

During these early conceptualization

to be done if the organization’s voice in

conversations, identify and discuss foun-

DEIAB is not trusted or respected by

dational questions and considerations for

internal or external constituencies?

an artist demographic data project. The

• Voice: Will the project give voice to

initial questions addressed should be asked

underrepresented constituencies?

again and the earlier responses presented:

• Additional Goals: Are there motivations

• Request: Where has the request come from and what is that person’s/ group’s stakeholder role in the project?

and goals not discussed in the original request that should be considered?

• Intersection: How does the project intersect with other larger initiatives

• Goal: Why has an artist demographic

(e.g., strategic planning, capital

data project been requested? What

campaigns) conceptually and in

is the goal? Is the organization open

terms of bandwidth and timing? Is

to the data analysis process changing

there openness to the project itself

this goal?

initiating programmatic shifts?

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• Usage and Audience: How will the

Differing views should be reviewed and

information collected be used? Is the

discussed with the original team, though

intent for internal usage or public

it is probably better that they simply be

viewing? Is the original intent for

part of this phase, as long as it does not

it to be used for public relations,

hinder open conversation. Advancing

development, or education to advance

a deeper dive into additional questions

the institution’s profile and funding

and discussions will be useful at this

and/or is it to change and meet

stage. While developing and considering

directions of DEIAB goals? Will it be

new questions to ask, ensure they center

used to ensure equitable practices?

on authenticity, trust, capacity, service,

• Data Storage and Security: Is there

and reflection as much as the path for-

a plan for storing the information?

ward. A few examples are listed here,

Does the plan take into account

with some repeated due to importance:

security concerns?

• Review and discuss openly who is

• Staffing: Is there a clear plan for staffing for the project? Who will it

initiating the project and why was it first considered.

impact and how will their day-to-day

• Ensure it is clear why you are

schedules be balanced? Who is the

collecting this information.

project lead who will ensure that the

• How does the project concretely

work gets done and is coordinated

relate to the mission and the values of

across all staff and stakeholders?

the organization?

• Funding: Are there specific funds

• How will the artist demographic

allocated for the project or is it

information be used, internally

expected to be executed within an

and/or externally? Will the data be

existing budget? Are any additional

used for internal benchmarking,

staff members or consultants

accountability, and/or tracking

required?

progress in diversifying the

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collection? Will it impact existing

• What would constitute a misuse

labels and object records? Who will

of data based on the organization’s

then manage updating information

values and its obligations to artists

across physical and online platforms

and the public?

for this variety of uses?

• What are the organizational

• How does this type of information

strengths and weaknesses that could

benefit the organization and/or its

benefit or undermine the success of

constituents?

this project?

• Which departments are needed to

• Does the institution currently

realize a project like this?

support and acknowledge unique

• What are the roles needed to

and varied visible and invisible

execute it?

• What is the time commitment

expressions of identity? Does this support and acknowledgment align

from the staff and additional voices

with the purposes of the artist

involved?

demographic data collection?

• Does the request take into

• Does the institution actively

consideration the capacity of

demonstrate inclusivity in building

current staff ?

spaces of belonging, in particular

• What guidelines need to be set up for those working on the project (conflict

for artists?

• What is the capacity of the

of interest, fair and equitable voice

organization to not only undertake

regardless of title, agreement of non-

this project but also maintain

retribution, etc.)?

and update it indefinitely? Does

• Which artists or community

the organization need external

constituents does this initiative

consultants to help with this

impact?

assessment?

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ASSESSMENT Current Practices

shared publicly, for living and nonliving

It is crucial to survey current documen-

artists, e.g., object identification labels

tation practices across your organization

in the gallery or on the organization’s

as well as to understand workflows, stan-

website. It is important to know what is

dards, tools, and stakeholders already

being publicly shared, so that the group

involved in demographic data collec-

can discuss if that information will

tion. Development, education, human

need to be reconsidered in its presenta-

resources, and visitor services depart-

tion. Determine how a new artist de-

ments often collect data on fundraising

mographic data collection process and

efforts, visitors, program attendees,

results would impact how, where, and

staffing, and more. It is also possible that

what is already outwardly presented.

there already are efforts to collect demo-

If the intent is to include new informa-

graphic data from artists, for example,

tion in all locations, then, for example,

for exhibitions, loans, and acquisitions.

new labels and object records will need

This should all be reviewed to determine

to be created throughout the organiza-

who is requesting demographic informa-

tion, which has an impact on staffing

tion internally or externally, what types

and finances.

of information they are looking for, and

If demographic data collection already

why, in addition to how it is being stored

happens in the organization, an in-

and shared, internally or externally.

depth investigation into why, how, and

As you examine the organization’s his-

by whom this information is collected,

tory in demographic data and current

stored, and used should be undertaken,

collection processes in regard to art-

and similarly, if there are other forms

ists, also look at what is already being

or questionnaires already in place they

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should be reviewed too. Consider if legal

support this endeavor. Speaking with de-

counsel was utilized in implementing

velopment, education, library, registrar,

any current data collection practices, as

and visitor services staff can lead to a dis-

it is possible that they were not, particu-

covery of resources and helpful feedback.

larly for a small study. Reflect not just on

Evaluate the currently utilized resources

the who/why, but also consider how new

for their suitability, including their tech-

information gathered in this initiative

nical and security capabilities. It would

will impact the preexisting workflows,

also be helpful to consider approximately

records, and data. It would be rare for an

how many artists or data points the insti-

organization not to have collected any

tution has or plans to track in the future

type of survey from visitors, members,

to get a sense of a tool’s ability to be used

donors, and/or program attendees. That

sufficiently and accurately. In terms of

said, if no demographic data is currently

questionnaires, Google Forms is widely

being collected, investigate why the

used, but it is necessary to figure out how

organization hasn’t embarked on a proj-

the information gathered is then inte-

ect like this before, in any capacity, and

grated into the organization’s data, and

the potential issues or opportunities that

what are the capacity and security abil-

might then exist with this one.

ities of the platform. Other commonly used survey platforms include Wufoo,

Tools

Airtable, Typeform, and SurveyMonkey.

review any preexisting technologies,

Resources

Communicate with all departments to such as databases or online applications, used in the organization that could

Having sufficient resources in the areas of technology, staffing, and budget

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is critical to successfully delivering on the initial objectives and long-term maintenance of an artist demographic project. Budgets that include funding for the ongoing process are essential, and a commitment to sustainable resources is necessary before moving forward. This is not a two- or three-year endeavor to be left behind, but one that will require financial support and resources throughout the life of the organization.

Therefore, the next step should be to determine the necessary funding to carry out and maintain the artist demographic data collection over the short and long term, including budgetary implications. Investigate and decide what software or programs will be used, and if there are new acquisition and subscription costs involved in gathering

Communicate with all departments to

review any preexisting technologies, such as databases or online

applications, used in

the organization that could support this

endeavor. Speaking with development, education, library,

registrar, and visitor services staff can

lead to a discovery of

resources and helpful feedback.

and storing the information. Ensure that data is stored on a secure database,

of adjusting to future changing needs in

ideally using encryption to prevent

tracking, reporting, and integration and

against any leaks. Because changes and

that any technological tools are feasi-

advancements in technology are a given,

ble within the organization’s timeline

ensure to the best of your ability that

and budget. Determine if preexisting

the programs are malleable and capable

databases already require updates to

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encompass more expansive identity

including the board if appropriate.

options (see Questionnaire Structure).

Provide a clear understanding of why

Staffing costs are another big factor to

you are undertaking the project, how

consider for the long-term success of the

you are doing it, and what purpose it

project. Staff overtime, regular antici-

will serve. This process should be re-

pated salary increases for cost of living

peated at each stage or milestone, with

and promotions, training courses (tech,

findings and progress shared with all

DEIAB, data management), and em-

the stakeholders, including the orig-

ployee benefits should all be taken into

inators of the project, if internal, and

account. Review if new hires are needed

with leadership (see Accountability).

for designing the survey; collecting,

Ensure that everyone involved, from

entering, storing, and updating the data;

the board to the staff, understands the

as well as overall maintenance. The full

goals, data usage, and relationship to

timeline—from the design phase through

the organization’s mission and values

the open-ended timeline for updates,

of the artist demographic data project

changes, and maintenance—needs to be

in the same way. Underscore the impor-

laid out in order to have reliable staffing

tance of resource allocation for such an

expenditures in place. Other factors to

endeavor. Consider providing opportu-

consider are the institution’s size and

nities for anonymous staff feedback, and

resources and how those affect the proj-

communicate transparently with all the

ect’s scope and feasibility.

impacted departments and build consensus and understanding around the

Communication

goals of the project and how it will affect

Ensure ongoing support from leader-

staffing and workloads.

ship by checking in and sharing the find-

One department or function cannot

ings of the initial assessment clearly,

take sole ownership of the progress,

openly, and transparently with them,

updates, or impact. While a singular

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37

lead is critical, the project should not be owned by one department within the organization to prevent their particular profession’s point of view becoming too dominant in the process. In addition, there should not be multiple angles to the project presented to different constituencies to appeal to their desires. All descriptions, motivations, and anticipated results presented to different internal constituencies should be shared in the same format and with identical information.

If uncertainties and/or questions arise that affect capacity, support, best practices, and more, there should be a pause before moving forward.

Alternative options should be investigated, such as partnerships and collaborations to pool resources.

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LEGAL IMPLICATIONS Lack of clarity about the legality of collecting and using artist demographic data has been cited by many nonprofit organizations as a reason for not engaging in such a process. In general, in the United States, there are no legal barriers to such a project if the artist demographic data collection is executed in a way that protects the subjects’ privacy rights, as those are defined in various laws and regulations. The data privacy considerations will vary from country to country. The information provided here is largely focused on statutes and regulations for the United States. It is the organization’s responsibility to ensure all stakeholders have familiarity with applicable laws concerning data privacy. Even basic knowledge of these legal matters can help inform the project parameters and enhance institutional focus on equity, inclusivity, and privacy. Legal review and advice must be garnered at the onset of the project to prevent future,

NOTE

Civil rights are personal rights protected in the United States by the constitution and federal laws enacted by Congress such as Title VI of the Civil Rights Act of 1964, Title IX of the Education Amendments of 1972, Section 504 of the Rehabilitation Act of 1973, the Americans with Disabilities Act of 1990, and the Age Discrimination Act of 1975. While these civil rights statutes prohibit discrimination on the basis of protected statuses including age, race, disability, gender, gender expression, gender identity, genetic information, national origin, religion, sex, and sexual orientation, they do not prohibit the collection of data documenting the demographics of those protected statuses.

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otherwise unfounded legal concerns.

RESOURCES

Regardless of the funding source for any project, arts organizations also have an

International Data Laws

obligation to work with and coordinate

Farkas, Lilla. “Data collection in

curing, maintaining, and/or reporting on

the field of ethnicity.” European

the usage of the financial support.

with the individuals responsible for se-

Commission, 2017.

York, Joanna. “France debates

Data Privacy Rights

The comprehensive privacy law of the

legality of collecting ethnicity data.”

European Union (EU), General Data

The Connexion, June 16, 2020.

Protection Regulation (GDPR), applies to all organizations that collect the

“Ethnic Origin and Disability Data

data of EU residents, requiring them

Collection in Europe.” Open Society

to ask for permission to share data

Foundations, 2014.

and outlining the rights of individuals to access, delete, or control the use

“Guidance note on the collection

of that data. While the United States

and use of equality data based on

does not have a comparable federal

racial or ethnic origin.” European

data privacy scheme, GDPR will apply

Commission, September 2021.

to arts organizations that collect data from EU residents. While there are several U.S. laws (e.g., Children’s Online Privacy Protection Rule [COPPA], Health Insurance Portability and Accountability Act [HIPAA], and Family Educational Rights and Privacy Act

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[FERPA]) designed to protect specific

or legal counsel, to ensure compliance

types of data from specific classes of

with the organization’s policies and with

individuals, most of these fall outside

applicable laws. Laws governing data pri-

the normal practice of museums and

vacy and the sharing of PII should also be

other arts organizations. Additionally,

evaluated prior to sharing demographic

at the time of this writing, five states—

data externally. Note that the law is the

California, Colorado, Connecticut,

minimum level of protection that the

Utah, and Virginia—have enacted

organization must enact, however going

comprehensive data privacy laws, and

beyond the current legal statutes is ad-

several others, including New York,

visable ethically—securing data is essen-

have privacy bills in various stages of

tial to maintaining trust and respect.

committee review. Most museums and arts organizations will fall below the thresholds of revenue, the number of employees, and/or the number of individual records containing Personal Identifiable Information (PII) processed by the organization that would trigger the need for compliance with state privacy laws.

Nevertheless, to ensure the protection of participants’ rights and privacy, project leaders should review the proposed methodology for data collection, usage, storage, and privacy with their organi-

RESOURCES U.S. Data Laws “Data Protection Laws and Regulations 2022.” International Comparative Legal Guides.

Frankfurt, Tal. “What Does GDPR Mean for U.S.-Based Nonprofits?”

Forbes, May 25, 2018.

zation’s experts, including information technology, human resources, and/

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RESOURCES U.S. Data Laws continued “Implementation Guidance on Data Collection Standards for Race, Ethnicity, Sex, Primary Language, and Disability Status.” U.S. Department of Health and Human Services, October 30, 2011.

Ver Ploeg, Michelle, and Edward Perrin, eds. “Private-Sector Collection of Data on Race, Ethnicity, Socioeconomic Position, and Acculturation and Language Use. Cover of Eliminating Health Disparities” in Eliminating Health Disparities: Measurement and Data Needs. National Research Council (US) Panel on DHHS Collection of Race and Ethnic Data, Washington, D.C.: National Academies Press, 2004.

“State Laws Related to Digital Privacy.” National Conference of State Legislatures.

“U.S. Privacy Laws: The Complete Guide,” Varonis, September 2, 2022.

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COMMENCING THE PROJECT Assembling a Project Team

into consideration, however, that the

The first step to initiating the project

group does not become too large and

itself is to put together a formal team to

unwieldy. Selected representatives

work on the full endeavor. Utilize the

at this stage should have a working

participants secured in the earlier step,

knowledge of the needs and priorities

with their interest and commitment, or

of their respective departments

expand to additional ones. The project

and some authority to implement

should be an inherently interdepart-

decisions, as well as the capacity to

mental effort and include represen-

participate. These departments may

tatives from all teams involved with

include board relations, conservation,

gathering, administering, or utilizing

communications/marketing,

the data and that are entrusted to ac-

curatorial, DEIAB staff or committee

curately represent artists and artworks

members, development, education,

and to archive related data and records.

human resources, leadership office,

Follow the United Nations’ human

library, membership, public relations,

rights principle of participation that

publications, registrar, visitor

affected parties should be included in

services, and others, depending on the

the process and outcomes.

organization’s structure and staffing.

Ideally, at least one representative from

The work of data coordination should

each department or function involved in

be acknowledged as part of each

the effort should participate to ensure

employee’s position description and

that all perspectives are included, taking

workload, if not already included. It is

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RESOURCE

equitable distribution of work and resources among the project team. Review notes and findings from earlier phases as

Universal Values

part of this process (see Preparation

“Human Rights-Based Approach.”

Simultaneously, create a stakeholder

United Nations.

advisory group to be consulted at mile-

and Conceptualization).

stone phases. This group could include external community members, artist strongly recommended that one person

representatives, those from diverse

is assigned to lead the project and be

backgrounds, members of underrepre-

held accountable to its completion and

sented groups, and especially those who

success. Without this centralization,

participated in the conceptualization

responsibilities and ownership can

process (see Conceptualization).

become unclear, leading to dropped balls,

As a reminder, the initial individuals

timeline delays, and inconsistencies

who requested the project, such as lead-

across the various work streams. Appoint

ership and the board, must be regularly

additional project managers if needed

and consistently updated, while the full

to ensure consistent administration,

staff should be apprised at key stages,

accountability, and communication for

likely at less frequent intervals. New

all members of the project team and

discoveries or ideas that impact the

advisory group.

project at differing stages, along with

At this point, the project team, along

planning and policy documents, assess-

with leadership, should create a purpose

ment reports, and external research,

statement and work plan for the proj-

should be shared with the advisory

ect, along with a document that high-

group as well as organizational leader-

lights commitment, transparency, and

ship and affected departments. Securing

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leadership approval and acceptance of each stage is important, as is ensuring that they are provided deadlines for responses. It is necessary to incorporate feedback and thoughtfully document

RESOURCES DEIAB Training

and discuss why information from these

“13 Diversity Training Programs

sharing opportunities should or should

to Kickstart DEI in 2022,” 360

not be incorporated.

Learning.

Before proceeding at any stage, make sure the project team remains true to the

“Diversity, Equity and Inclusion

purpose of the project and to the mission

in the Workplace Certificate,

and vision of the organization. Ensure

University of South Florida.

adherence to policies and procedures, which may vary depending on the size and structure of your organization.

Training the Project Team

Participants need to have diversity, equity, inclusion, access, and belonging (DEIAB) training before starting the project. This should be above and beyond standard annual human resources trainings and cover race, ethnicity, gender, sexuality, and any other identity marker related

NOTE

Project management templates from the Management Center or project management tools such as Airtable, Asana, or Monday may prove helpful in developing a timeline.

to the project, as well as fluidity and intersectionality—the overlap, intersection, and changeability of these

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categories. This training will give project team members a shared vocabulary

Grounding Research

Team members should acquire an under-

for and a deeper understanding of

standing of demographic data collection

DEIAB concepts before developing

more broadly. Begin by researching

the questionnaire and working with

well-established external efforts, such

community members and artists.

as relevant censuses, local government

Due to the fluidity of terminology and

agencies, nonprofits, etc., to understand

understanding around these topics, the

how this type of data is defined, gathered,

project team should keep up with the

organized, and used. Consider also the

latest literature, including from sectors

literature problematizing these sources

outside the arts, such as publishing,

(e.g., there is significant debate around

education, and media, and additional

U.S. Census categories). It might also be

training will be needed throughout the

helpful to consult external groups who

project development and implementa-

have undertaken similar projects. (See

tion. This is not a one and done training,

Case Studies.)

but ongoing learning should be part of the project throughout its development and execution. All participants should

Accountability

Critical to the success of this initiative

also have a clear outline of accountabil-

will be careful messaging on the why

ity, engagement, and obligations around

of this project internally, ensuring that

issues of conflicts of interest, safe spaces,

staff and other organization community

and equitable practices. In addition, they

members are clear about the goals of

should have an understanding of the

the initiative, the desired outcomes, the

basic legal issues around data gathering

overall lift, and the broad timeline and

(see Legal Implications) as well as data

motivated to execute on the significant

collection methodologies at the begin-

associated workload. Provide space for

ning of the project.

reporting back to leadership, affected

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Participants need to have

should publicly share that they are em-

access, and belonging (DEIAB)

on it does not need to be identified nor

project. This should be above

leadership should release a short state-

human resources trainings and

outlines the purpose. Within that state-

diversity, equity, inclusion,

barking on it. The project team working

training before starting the

does every step need to be outlined, but

and beyond standard annual

ment on the organization’s website that

cover race, ethnicity, gender, sexuality, and any other

identity marker related to the

project, as well as fluidity and

intersectionality—the overlap,

intersection, and changeability of these categories.

ment should be a clear concession that the process is ongoing and that there is no set start nor end, and that updates will be provided as they are available and relevant. This public admission ensures that the organization will be transparent and authentic in the process, while also creating accountability for the execution of this work.

departments, and the full staff at milestones in the project. These presenta-

Project Timeline

At the first gathering of the formal

tions may consist of new discoveries or

project team, it is critical to set up a

ideas that affect the project, planning

regular cadence of meetings with a com-

and policy documents, assessment re-

mitment by the participants to prioritize

ports, and external research. Incorporate

them. For the group, a basic strategy for

and respond to feedback thoughtfully,

effective execution of meetings should be

with documentation and discussion.

followed for equitable and respectful prac-

Once the mission and vision for the

tices, agendas, summaries, action points,

project is finalized, the organization

updates, deliverables, and dialogue.

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Begin by reviewing the current or antici-

goals. Points for reflection may be based

pated timeline set out at the initial stages.

on the calendar (e.g., quarterly) or on key

It is vital that a detailed, clear, and struc-

milestones, such as the completion of an

tured project timeline that highlights

organizational assessment, significant

roles and responsibilities for each team

feedback from stakeholders, the first

member be established. Ensure that time

draft of a questionnaire, etc.

is also built in for leadership review and

The exact timing will vary depending

feedback at regular intervals. Due to the

on the size and scope of the project, the

sensitivity of the data, the project needs

size and capacity of the organization, and

to proceed carefully and correctly, with-

various internal and external factors.

out artificial time pressures. Anticipate

This will not be a one-timeline-fits-all

and build into the timeline known large

effort, but regardless of size or internal

events (such as galas, new exhibitions, or

structure, every institution embarking

holidays), and ensure every stage has, as

on this type of project needs to give it

noted, time for review, input, and modi-

ample time to recognize the magnitude

fications by all involved, including lead-

of the effort.

ership. Build in flexibility given that the

Some possible key milestones are

need to do things ethically and equitably

listed here, which together could take 24

is paramount, above meeting deadlines,

months or more to complete.

and also anticipating that there could be

• Finalizing the scope and type of artist

turnover or leaves among staff.

Goals may shift over the course of the

demographic data to be collected.

• Selecting the format of the

project and the working team should

questionnaire and any software

build in moments to periodically assess

needed to create or support it.

that its process is aligned with institu-

• Selecting the repository for the data

tional objectives as well as with the artist

(existing or newly created or adopted

demographic data project’s vision and

database).

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• Authoring the questionnaire,

tasks, timelines, and resources needed

including its introduction and cover

to complete, implement, and maintain

sheet.

it. Then review the mission and vision

• Assembling contact information of artists and/or their representatives.

• Setting communications standards and protocols.

statements for the project to ensure they center transparency, equity, and inclusion. These should include: • Goals and aims of artist demographic

• Distributing questionnaires.

data collection across functions and

• Collecting and processing responses,

departments.

including entering data.

• Outlines for sharing aggregated and

• Interpreting and analyzing data.

disaggregated data both internally

• Incorporating data into the

and externally. Begin to identify

publications and procedures of all

where exactly the data will be used—

departments.

collections management systems,

• Reviewing the impact of the data on

interpretive materials and scholarly

acquisitions and exhibition planning

publications, digital and print

policies, and incorporating necessary

collateral, grant applications and

adaptations.

reports, etc. (See Data Use.)

• Presenting findings to stakeholders.

• Plans to report out internally and externally about the project itself—

Planning and Policy Documents

history, process, implementation,

First analyze the reports compiled from

participation rates, etc. (See the

the assessment phase (see Assessment)

SFMOMA example in Case Studies.)

and any updates that have occurred

• Processes for data integration

since before drafting planning and policy

into existing workflows related to

documents. Ensure that they still clearly

growing and refining collections,

lay out the purpose of the project and the

documentation and cataloging

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practices, exhibition and program

the participants’ privacy. (See

planning, fundraising, marketing and

Questionnaire Content.)

public relations, and public outreach and partnerships.

• Options provided for artists’

• Institutional policies for management of and access to data. This language may also appear in an abbreviated

participation in or feedback on the

form on the questionnaire.

data collection process, as well as

Determine reasonable expectations

opportunities to edit responses. (See

of confidentiality for the institution.

Feedback and Updates.)

Who will have access to this

• The implementation of the

information in the database? What

questionnaire, such as timing and

information will be shared publicly?

workflow. (See Implementation.)

Is there any that will be kept for

• Question development that specifies

internal use only? (See Data Use.)

which data serves research and/or

• The process for and frequency of

collection needs on specific projects

questionnaire revision initiated by

or the larger interpretation of an

the staff (e.g., to introduce current

artist’s work. If there is no practical

and preferred terminology), as well

application for the data furnished

as removing or redacting previously

by a proposed question, the project

collected data if needed. (See

team may opt to omit it to maintain

Feedback and Updates and Data Management.)

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CREATING AND IMPLEMENTING A QUESTIONNAIRE

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When embarking on designing and im-

Questionnaires should use language and

plementing an artist demographic data

vocabulary that is current, understand-

questionnaire, it is important that there

able, and that respects artists and their

is institutional agreement and recog-

identities. It is also important that the

nition that the questionnaire is a living

questions are adaptable to situations of

document and that identities are not

cultural and linguistic difference. While

fixed. It will never be complete or final,

it is helpful for there to be alignment

as questionnaires must be responsive to

between database structure and survey

changing terminology and newly consid-

structure, be aware of replicating any

ered facets of identity. Similarly, artists should be allowed to amend responses or redo the survey as needed, as well as feel respected and included rather than othered by the questions the survey asks and the possibilities for response—for instance, not seeing their identity reflected in the response options, feeling like an identity facet they consider minor is made overly prominent, or that their identity is being tokenized.

When designing a questionnaire, it is important to consider the colonial legacies that have informed understandings of identity and demographic markers.

As mentioned earlier, for example, the U.S. Census form is considered out of

When embarking on

designing and implementing an artist demographic data

questionnaire, it is important that there is institutional

agreement and recognition that the questionnaire is a living document and that

identities are not fixed. It

will never be complete or

final, as questionnaires must be responsive to changing terminology and newly

considered facets of identity.

date and reflective of historical biases.

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RESOURCES

RESOURCES

Developing Surveys

General

“Better Practices in Surveying

American Alliance of Museums

Demographic Information,” Society of Industrial Organizational Psychology.

“Creating Inclusive Surveys,” Penn

preexisting program. For instance, “first

Libraries.

name” and “last name” formulations

“Guide to Demographic Survey

be too limiting and expose bias toward

Questions,” National Center for

or simplified “nationality” fields may conventions from Europe and the United

Women and Information Technology.

States. Changes to existing databases or

“How to ask inclusive demographic

required and should be accounted for in

questions in your market research,” Voxpopme.

“Inclusive Demographic Data Collection.” Office of Regulatory Affairs and Research Compliance

the adoption of new technology may be the process. (See Tools.)

The implementation phase should also be guided by an agreed-upon set of values and ethics outlined by the project team, incorporating feedback from the organization’s leadership and voices from across

(ORARC), Harvard University.

departments within the organization as

“Recommended Demographic

the inherent value of and respect for

Survey Items,” Society of Industrial Organizational Psychology.

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biases in the former, especially if using a

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well as artists and stakeholders. Uphold artists’ time, labor, and energy, as well as for their privacy and choice around participating in the data project. When

collecting and interpreting the responses, always prioritize an artist’s self-designation of identity factors and related terminologies, and never modify, change, or fill in a response regardless of historical, personal, or publicly documented knowledge. If new information comes to light later on, updates may need to be considered in consultation with the respondent (see Feedback and Updates).

Additionally, it is important to recognize that living artists may intentionally hold back or alter personal demographic or identity information for various reasons. Plan for, allow, and respect a nonresponse to the survey in general or to any specific questions.

While those working with an artist (e.g., a writer, scholar, dealer, curator, and/ or journalist) may wish to share the information they have on hand to help in securing full data responses, unless the artist has directly empowered the individual to provide that information, and done so in writing, it should not

RESOURCES Related Surveys American Community Survey, United States Census Bureau.

The Art of Equal Pay Current Population Survey, United States Census Bureau.

General Social Survey, National Opinion Research Center (NORC) at the University of Chicago.

National Archive of Data on Arts and Culture, University of Michigan.

Study of Jazz Artists 2001, National Archive of Data on Arts and Culture, University of Michigan.

be used. If conflicting data is secured, such as differing responses to age,

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that impacts an exhibition, label,

• Conduct a thorough review of

or other documentation, the artist

current demographic data projects

should be consulted to clarify the

across sectors, especially non-art

accuracy of the information and to

organizations, with a particular focus

provide the final decision on what

on well-established demographic

should be utilized, with any stored

data surveys, such as the General

information updated accordingly.

Social Survey (GSS), American

Changing artist information must

Community Survey (ACS), and

never be made without a living artist’s

Current Population Survey (CPS).

input. If institutions decide to partner

This practice can help pinpoint

on a project, and agree on questions,

data that is already vetted to a high

mission, vision, usage, execution, and

standard, but there is still a need

maintenance, then this shared data

to ensure resources are applicable,

needs to always be sustained accurately

relevant, and inclusive. Review for

between the organizations.

relevance to your project’s goals and organization’s mission as well as for

Further Research

Building on the analysis conducted in the initial stages of the project (see

suitability in prioritizing the voice of the respondent.

• Consult with other institutions that

Assessment and Grounding Research),

have undertaken or are in the process

the project team should conduct more

of undertaking artist demographic

in-depth research on preexisting models

data projects and remember that

and resources. Upon doing this, review,

many are considering this type of

update, and finalize the planning and

project—you are not alone. (See

policy documents (see Planning and

Case Studies.)

Policy Documents). Communicate any updates to stakeholders.

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• Network and speak with colleagues locally and more broadly; seek

discussions on general policies and resources on demographic data around artists. Reach out to or review resources from external industry and social groups relevant

RESOURCES Vocabularies

to your constituents and project.

Homosaurus: An international

For example, the Kenneth Rainin

LGBTQ+ linked data vocabulary,

Foundation sought guidance from

Digital Transgender Archive.

Queer Women of Color Media Arts Project for a demographic survey

Indigenous Peoples Subject

of artists in the Bay Area in order

Headings Crosswalk, Peabody

to design survey questions with

Essex Museum.

categories that accurately reflected the self-perceptions of diverse

Union List of Artist Names Online

community members.

and vocabularies, Getty Research

• Review data service or authority

Institute.

files, such as Getty Vocabularies, id.loc.gov, Virtual International

Virtual International Authority

Authority File (VIAF), Indigenous

File (VIAF).

Peoples Subject Headings Crosswalk, or Wikidata, with controlled

Wikidata.

vocabularies for demographic data, which provide consistent terminology that organizes data for use and analysis. Note that some of these are updated infrequently and their limitations should be considered and

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adjusted for as institutional needs and shifting terminologies demand.

demographic information that the

These references are starting

institution is already collecting for

points, and it is the responsibility

any constituents, including artists.

of each organization to ensure they

Ensure you have reviewed every

are building a contemporary and

possible surveying mechanism

inclusive vocabulary.

the organization may have used or

• Collection, acquisition, and

participated in.

exhibition guidelines at your

After this more in-depth research, a re-

organization should be reviewed

view of the decisions made earlier should

for information and policies, if that

be undertaken, particularly in terms of

was not done exhaustively in earlier

technology choices. Ensure you are still

stages, with the understanding that

on the right path and communicate that

they may need to change in response

update outward.

to or in anticipation of this project.

• Consult field best practices and ethics on these topics from industry organizations such as the AAMC’s Professional Practices guide and resources from the American Alliance of Museums.

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• Conduct a deeper audit of the

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QUESTIONNAIRE DESIGN Access

anything they feel uncomfortable

The priority in developing a question-

sharing. These are key components

naire, as with any survey, is ensuring an

to any questionnaire following best

equitable, fair, and accessible capacity

practices guidelines.

to respond. Plan to make the questionnaire accessible to those with a wide variety of abilities, including those who

Format

Decide how information will be col-

use adaptive technologies. In the ques-

lected—electronically, via an online

tionnaire, communicate the reasoning

survey or PDF form, via in-person inter-

behind the project and planned usage of

views, and/or via a handwritten form.

the information. Use clear and agreed-

More and more information gathering

upon language.

and communication with artists is hap-

There always must be an open-field

pening electronically, and this format

response option for all questions, and

may be easier to secure initially, as well

managing this type of data will need to

as easier to maintain, alter, and update

planned for (see Data Management).

into the future. Electronic forms will also

Do not make any question about

allow for additional options based on

artists’ demographic information

user responses (conditional questions).

required, and provide a “choose not

Consider access and security pros and

to respond” option for every question,

cons around these options, or if it will be

as to not force participants to answer

necessary to have multiple formats.

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RESOURCES General

as any metadata that will be stored

Mobasseri, Armin. “Improving

sent or received the survey, who filled it

Readability,” Villanova University.

about the answers (date collected, who out). The human-readable and archival version of the questionnaire should be stored in its raw form to preserve the

Language

words of the artist. This can be a PDF

Consider if the questionnaire will be trans-

version of the questionnaire linked to

lated into other languages by assessing

the artist in the database, a transcript

both the resources involved and the con-

of a conversation with an artist, printed

stituencies that it will serve. Anticipate the

in an artist’s folder, etc. Define who will

resources and processes involved in trans-

have access to both the computer-read-

lating responses as well. Also determine if

able and the human-readable versions

the questionnaire requires the capacity to

and make sure they are linked. Artists

handle spellings and diacritics in a range of

should always be sent a copy of their

languages (e.g., Chinese characters [Pinyin

responses upon submission. (See Data

or Wade-Giles], oral Indigenous lan-

Management and Data Maintenance.)

guages), especially for the constituencies you plan to query.

Tone and Phrasing

Ensure that the tone of the questionStorage

naire is accessible and sets reasonable

The responses to the questionnaire

expectations. For example, clarify what

should be able to be stored in both

information the organization is planning

“computer-readable” and “human-read-

to display on which platforms, qualifying

able” formats. The computer-readable

that this may change, and establishing

format includes database fields in which

how these changes will be communi-

this information will be stored as well

cated to the artists and what approvals

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will be needed. Ensure the method for artists to communicate feedback about the questionnaire is clear.

Use inclusive language that is respectful to a wide variety of cultural backgrounds as well as education, experience, age, and accessibility needs. A fifth-grade reading level is generally recommended for all outward facing materials.

• Less inclusive: “Program(s) attended, public collections with examples of your work, people with whom you have studied?” The phrasing of this question is elitist, prioritizing the experiences of artists who have more traditional arts educations and careers.

• More inclusive: “Is there anything else you’d like to share (general statement about your work or practice, places you have been active, collections with your work, programs you have attended, who you have studied with or been mentored by)?” The phrasing of this question prioritizes the artist

NOTE Groups Consider how to handle artist attributions that are not simply individuals, e.g., artist collectives where members rotate or change (Guerrilla Girls, Postcommodity), Indigenous families who create works as a group, works created by a specific artist but attributed to a community. Designate one person to respond on behalf of the group, explicitly stating that their responses should be representative of the entire group, not of the one individual.

External Resources Provide reference materials and links to additional research in case artists aren’t familiar with any of the terms your questionnaire employs.

themselves, focusing on artistic practice and leaving space for a diversity of backgrounds and experiences.

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QUESTIONNAIRE STRUCTURE Planned uses for the data and the da-

can all be used within the same question-

tabases used to house and process it

naire. All of these formats have their pros

will in part dictate the structure of the

and cons, which are listed here to help

questionnaire and vice versa. For any

a project team begin conversations. In

questions where there is a selection of

general, multiple-choice formats should

options presented, ensure that you list

allow respondents to select as many

the options in a consistent format; al-

answers as they would like.

phabetically can be the most objective,

There are some questions that may

but sometimes it may be more logical to

fit into the multiple choice versus

order differently. If you do list options in any set order, it is important to indicate that order (alpha order, English) and it is recommended that you acknowledge why you have done so. Ideally, the format of the questionnaire will allow for the most uses possible as well as balance objectivity and logic to be as easily interpreted as possible.

Question format can take varying models, including open-field, multiple choice, or a combination of both. These formats

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The only questions that should be required are those that are needed to track the data between staff members or to be associated directly with the artist.

free-text-field structure better. (See the

• Cons: Providing a selection of

individual entries under Questionnaire

predetermined options can require

Content.) As mentioned above, regardless

more oversight and planning; more

of structure, always include an open-text-

traditional structure can echo

field option, allowing artists to respond in

limited or outdated conceptions

their own words or to add more nuance to

of identity; limited diversity and

the predetermined responses, especially

variation in responses.

in structures with more defined values.

This space should not replace any list values, but be an optional addition (e.g.,

Open-Text-Field Questions

• Pros: Can feel more inclusive and

“Other [specify below]”).

elicit a greater range of responses;

lack of predetermined options may

Multiple-Choice Questions

require less institutional oversight

• Pros: Easily digestible, transferable,

and maintenance; could be a

and database-friendly data; useful

more useful structure for smaller

for institutions undertaking data

institutions that are collecting

collection for a larger number of

information from fewer artists.

artists, or with a more focused data

• Cons: Data may be unsearchable, unable

usage; because the data is more

to be aggregated, or require more staff

defined, it can be more seamlessly

resources to translate into a controlled

integrated into a database and

vocabulary for aggregation; risk of

interpreted in aggregate without

misinterpreting data is higher and may

excessive intervention from staff (i.e.,

require more managed phrasing of

the data will be more clean and easy

questions to avoid; the empty fields can

to use); straightforward question

demand more time for artists to fill out

structure puts less demand on artists

and open-ended possibilities can be

filling out the form.

overwhelming to artists.

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Optional vs. Required Responses

Privacy Options

should never be required. A “choose

data in any databases, electronic or oth-

not to respond” option provides an

erwise. Elaborate privacy preferences

easy out to participants who do not feel

(e.g., by question, or allowing to indicate

comfortable sharing their data on par-

preference for individual vs. aggregate

ticular questions.

publication or reporting) are not recom-

The only questions that should be re-

mended as they increase the possibilities

quired are those that are needed to track

of breaches, complications, and human

the data between staff members or to be

error. Before instituting privacy options,

associated directly with the artist. For

consider the following points carefully:

example, if the questionnaire is being

• Can the database handle recording

shared digitally along with acquisition

the privacy options being offered?

paperwork, make the “email address”

Can it track and maintain them

question required, along with name. This

accurately and consistently?

Questions about demographic data

There is an inherent inability to secure

will ensure that contact information for

• Will permissions groups within the

the artist is confirmed as well as that the

staff be clearly defined, and is there

information is findable and searchable.

a succession plan in place as staffing

While it might be helpful to have required

changes?

information be the preferred language of

• Are there checks and balances in

communication, that could also be seen as

place to confirm that information

a way of discriminating against an indi-

is only being used that has been

vidual. Institutions should consider how

confirmed to be publicly shareable?

“prefer not to answer,” “not listed,” or

• Determine when and how the

“prefer to self-describe” options will

information that should only be

be handled within the database and

private will be used; for instance,

reported. (See Data Management.)

upon the death of the artist?

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QUESTIONNAIRE CONTENT Determining what demographic information to collect can be the most intimidating part of the project. Refer to the reasons for developing the ques-

NOTE

ULAN Guidance on Search provides a helpful breakdown of common fields.

tionnaire and planned uses for the data (see Planning and Policy Documents), as well as the research conducted by peer

like to be addressed, and a number of

institutions and other demographic data

options for further clarifying the struc-

projects (see Grounding Research and

ture of their name. This may require

Further Research) to guide decisions

changes to existing databases that are

around what to gather. The mission and

modeled on limited name structures,

goals should always be centered, and

such as first, middle, last, and honorific.

organizations should not collect data for

While alignment is useful, and should

which they have no practical purpose.

be sought after, the need to change an existing database is an expense and pro-

Name

cess that might not be considered in the

To account for names that may not fit

early stages of a project but should be

into the “first name,” “middle name,”

reviewed now.

and “last name” structure, questionnaires should provide fields where the artist can identify how they want their name to appear publicly, how they’d

Contact Information

This section could include a main and alternate contact information

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(representative, estate, family member,

questions can be asked as “Preferred

assistant). Be aware that international

language for communication,” “What

mailing addresses may require different

is/are your native language(s)?,” and

fields and formats, and try to use a

“What language(s) do you speak?” And,

sophisticated form that can adapt to

of course, offering a blank open-text-

these scenarios. Fields to consider

field response as advised.

include a personal and/or work email, phone number (indicating type, such as mobile or not, with the country code

Pronouns

Gender and sexuality are fluid and pro-

included), home and mailing address,

nouns can change over time. Pronouns

and alternate contact information.

should be queried separately and not be conflated or associated with specific

Languages

gender and sexual identities. Do not

Languages spoken and preferred lan-

use the phrase “preferred pronouns,”

guage for communication are often

because being gendered correctly is

asked together, but should be consid-

not merely a preference and should not

ered separately. Ask for the respon-

be qualified as such—simply use “pro-

dent’s native language(s), preferred

nouns.” This is a question for which

language for communication, and the

external resources can be particularly

language(s) they speak as separate

helpful for assisting with understanding.

questions. These should be open-text

Because it is easy to conflate gender with

fields with options for multiple re-

pronouns, it is recommended to provide

sponses for each. Securing the preferred

a baseline of options. Provide a variety of

language for communication allows for

options and allow respondents to select

an equitable place to collaborate, but

as many as they would like, as people

institutions should acknowledge their

can identify by a range of pronouns from

own limitations as relevant. Language

traditionally masculine (he/him/his) to

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traditionally feminine (she/her/hers) and beyond (they/them/theirs; ze/zir/ zirs), sometimes in combination. Always provide open-text fields as the options for pronouns are limitless, and allow

RESOURCE Gender and Identity Questions

the respondent to select as many as they

“Pronouns Matter,” Lesbian, Gay,

want. Recognize that pronouns may not

Bisexual and Transgender Resource

be utilized in the culture or language of

Center, University of California San

the respondent and/or that some people

Francisco.

prefer to always be referred to by their name rather than by pronouns.

“A Guide to Gender Identity Terms,” NPR.

Gender

Gender identity is a person’s own internal

“Sex and Gender Identity,” Planned

sense of their gender. Gender identity

Parenthood.

is not the same as gender expression, which is the way a person presents their

“Sexual Orientation and Gender

gender outwardly, and it is not the same

Identity Definitions,” Human Rights

as sex, including assigned sex at birth.

Campaign.

Assumptions shouldn’t be made; for example, a person who has a gender

GLAAD Media Reference, Gay

identity of “woman” does not necessar-

& Lesbian Alliance Against

ily have a traditionally feminine gender

Defamation.

expression, does not necessarily use she/ her/hers pronouns, and may not have been assigned female at birth. Provide a range of options and allow respondents

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to choose as many as apply, including agender, cisgender, cisgender man, cisgender woman, gender fluid, gender queer, intersex, nonbinary, man, woman, transgender, transgender man, transgender woman, and two-spirit (note that this term can be used to describe sexual orientation as well). If asking this question, acknowledge this is a response from a moment in time and ask the artist if they wish this answer to be aligned with their identity, a certain time period, or in any specific way.

The mission and goals should always be centered, and organizations should not collect data for which they have no practical purpose.

Sexual Orientation

(note that this term could be used to

Sexual orientation is the emotional,

describe gender as well). If asking this

romantic, or sexual attraction that a

question, acknowledge this is a response

person feels toward another person,

from a moment in time and ask the artist

and an individual’s sexual orientation is

if they wish this answer to be aligned

independent of their gender identity or

with their identity, a certain time period,

expression. Include a range of multiple-

or more broadly.

choice options with the opportunity to choose as many as possible and multiple open-text fields. Some terminology to consider using is: aromantic, asexual,

Nationality/Residency/ Place of Birth

Note that many databases used by U.S.

bisexual, gay, heterosexual, lesbian,

institutions are structured around

pansexual, queer, straight, and two-spirit

limited conceptions of identity related

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to place, and that will not necessarily

birth, place of residence, and national

align with the articulation of every

identity, including immigration and

artist’s nationality. Allowing openness

naturalization. It is preferable to use

and flexibility in this and all fields is

open-text fields for these responses.

important. Be inclusive of a variety of scenarios, including refugee status, countries that have changed names

Ethnicity

Ethnicity refers to commonalities

in the respondent’s lifetime, disputed

among groups that share cultural,

territories, multiple nationalities, and

traditional, and familial bonds, and

tribal nationalities as separate from

should not be conflated with race.

cultural affiliations. Also note that

Questions about ethnicity, as with all

nationality, ethnicity, race, and even

demographic data, are sensitive and

religion can be overlapping points

should be treated as such. It is pos-

of identity but also have differing

sible to reference government forms

responses. If this is data that is displayed

or other demographic surveys used

publicly or used frequently for querying,

in the institution to think about the

confirm that you’re asking the artist

respondent options to the questions

how they’d like this information to

(see Grounding Research and Further

be displayed publicly. For example,

Research). Census surveys can be a

“American, born Japan,” “Japanese

starting point, but as noted earlier,

and American,” “Japanese American,”

many of these are outdated and can lead

“American,” “Japanese,” and “Japanese,

to offensive generalizations that do not

working primarily in America” can all

reflect increased flexibility or changing

refer to the same artist based on the

terminology. An institution also needs

raw data, but one of these options might

to acknowledge its geographical view-

be preferred by the artist. Consider

point in considering ethnicity, which

separating out questions about place of

does not always apply globally.

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Open-text options to respond are en-

it is required that particular attention

couraged. Pay particular attention to

be paid to terminology that may be

terminology that may be controversial

controversial or could be construed as

or could be construed as disrespectful or

disrespectful or outdated, and as noted,

outdated. Be as expansive as possible if

open-field responses have to be provided

it is opted for in order to align data, how-

here regardless. If utilizing this informa-

ever, do ensure you provide open-field

tion, it is strongly encouraged to ask if

capacity as well. In a shifting landscape,

the respondent identifies as a person of

research on the most inclusive response

color directly. Do not ever make assump-

options should be utilized.

tions based on responses.

Question formats to consider if a path

Race

of multiple choice (with multi-select

Questions about race are responses often

options) are chosen include: “How would

sought after by demographic studies.

you describe your racial identity?”

However, it is also among the most sensi-

with responses that include but are

tive of questions. In creating this inquiry,

not limited to Alaskan Native, Asian,

an institution needs to acknowledge its

Biracial, Black, Indigenous American,

geographical viewpoint in considering

Indigenous, Monoracial, Multiracial,

race and not rely on outdated options

and/or White, along with options to not

such as those available in many govern-

respond and an open-field option. Note

ment censuses.

that Latina/o/x/e and Middle Eastern

Open-text responses are the ideal

identities are generally considered eth-

method for collecting this information in

nicities, not races.

terms of sensitivity, yet multiple-choice formats are used frequently to receive aligned data for aggregation. If moving ahead with a multiple-choice response,

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Religious Affiliation

Dive deeper into why this question is being asked in order to determine how

best to ask it, or if multiple related

a disability can be separate from those

questions are needed, or if you need to

asking about the nature or category

ask this question at all. This question

of the disability (sensory, learning,

may also be shaped by the collecting

etc.) and/or the terminology they use

practice of the institution—for exam-

to describe it (“If yes, how would you

ple, a Jewish art museum might have a

describe your disability?”). Consider

very different structure for this ques-

separating out neurodivergence (e.g.,

tion than a modern art museum, and

autistic, ADHD) as its own option.

both may vary by location. Understand that someone might identify with a religion without actively practicing it and assumptions should not be made otherwise. A sample question for religious affiliation could be, “Do you observe or practice a religious faith or multiple religious faiths?”

Ability/Disability

This section should be created in collaboration with colleagues who have expertise in this field, including accessibility, education, and human resources. Be especially sensitive to the fact that information about disabilities can sometimes involve protected health information. A question about if the respondent identifies as having

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INTRODUCING THE QUESTIONNAIRE Introductory messaging, which includes

or the project itself reconsidered and

honest and transparent information

revised to align.

about the survey, is an integral part of

State that the organization will never

the document and should therefore be

populate any sections at any point, in-

embedded within it so that the ques-

cluding with information from the public

tionnaire cannot be removed from this

sphere, scholarship, or existing data and

context. To make it as accessible and

that self-identification is paramount.

visible as possible, it’s best to present

Indicate that the artist should fill out

it as a cover sheet, but it should be also

the form themselves but provide an

included at the top of the survey.

option for receiving assistance if needed.

Return to your original questions from

Outline practical information such as

the start of the project around goals,

how long the questionnaire should take

usage, intent, mission, and vision (see

to complete and if there is a deadline

Planning and Policy Documents). The

for completing the form. Adherence

answers to these questions should still

to a deadline will vary, but having one

be applied and help form the informa-

is helpful in encouraging responses to

tion you will provide in the introduction

come in by a certain timeframe. It is

to the survey. If they don’t align at this

recommended to set a deadline no lon-

stage, the project must be paused and

ger than three weeks after the request

the statements reviewed, adapted, and

to complete the survey, because artists

modified to match the updated intent

may not feel compelled to respond and

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may forget about the request, and to send a reminder before the deadline.

Emphasize that participation is optional.

Institutional Significance

Explain why your institution is gathering this information, including why it is important to your organization and how it aligns with its mission, values, strategic plan, and exhibition/acquisition policies. It is critical to be transparent and authentic. If you are seeking to bring change through this effort, to redirect

Be transparent about what you intend to do with the captured data and the impact the information could have on the organization.

the organization’s current and past trajectory, share that and be clear where the institution is seeking to go.

policy creation, etc. Explain what will be reported in aggregate and what will be

Usage

utilized individually (this can also be indi-

Be transparent about what you intend

cated by a question, if relevant). Indicate

to do with the captured data and the im-

how the responses may affect change at

pact the information could have on the

the museum, for instance, by amending

organization. Share how the institution

acquisition policies and practices to

intends to use and communicate the

center on more diverse representation

data, whether internally or externally,

in the collection. Describe the security

and specifically where it might ap-

measures the institution has in place to

pear—catalogues, labels, print materials,

protect the information, but also clarify

website, social media, funding requests,

that privacy cannot be guaranteed.

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Privacy

Other Questionnaires and

their identity information will not

Clarify the relationship or intersection

It is important to assure artists that

Interpretation

affect the institution’s relationship

between this questionnaire and

with the artist, including acquisitions

other medium- or object-specific

of their work, plans for programming

questionnaires that typically

with them, etc. However, to set reason-

aid registration, curatorial, and

able expectations, state that respon-

conservation teams. Explain if you have

dents shouldn’t share any information

demographic data on artists already,

that they would not want used for cura-

which could be from an acquisition,

torial choices, scholarship, cataloguing,

loan, object record and/or from a

etc., as relevant to planned public uses

program, that this new form will replace

by the institution.

it as the standard. For example, if a response is received from this survey

Storage

that conflicts drastically with a current

Indicate where the data will be stored

object record, the artist needs to be

(analog and digital) and archived and

aware that the new survey response

who will have access to the information

will replace older information. If there

in as broad and understandable a way

is an intent to contact every artist that

as possible. While you may wish to be

this may happen with, it must be done

exclusive here, you should be as wide

so consistently and fairly with every

and open as possible, highlighting de-

discrepancy, not limited to certain

partments and not titles or specific indi-

questions or artist profile. This can

viduals. Recognize that if you intend to

be an unexpected capacity issue. The

use the data in a certain way, then those

collecting organization needs to be very

areas involved in that usage should have

clear about this process and its intent

access to the data collected.

when conflict arises in records.

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Bias and Feedback

Indicate the feedback mechanisms and/ or contact information for respondents’ questions and concerns. Outdated cataloguing structures can be entrenched in institutions, and it is important to acknowledge the bias that may be present in the form and that the organization of the data in the survey might not match an artist’s conceptualization of their own identity. Feedback should be welcomed, as it can help to highlight bias and inequities, and those collecting the data need to accept input, as that shared information needs to inform current and future endeavors. The process will require recognition that the data-gathering organization and team may, intentionally or unintentionally, have a narrow realm of understanding that can be expanded through this process. (See Feedback and Updates.)

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IMPLEMENTATION Before releasing the questionnaire, make sure it is clear who will be re-

Timing

Create a timeline and process for

sponsible for communicating it to

distribution of the questionnaire

artists and processing responses from

to artists. Refer back to the reasons

the artists, making it as centralized as

for collecting the information to

possible. Do not wait until the ques-

determine if this effort should be

tionnaire is ready for distribution

tied to collections, exhibitions, and/

before making decisions and creat-

or other initiatives or processes, such

ing infrastructure for the process.

as programming, that involves living

Members of the project team should

artists, including panel discussions,

be reviewing contact lists, developing

film screenings, performances, gallery

outreach mechanisms, and timing, and

talks, etc. Determine which current,

setting up a point person for managing

ongoing, and upcoming projects should

responses and questions.

be considered for integration, looking

Without tying the project to one in-

carefully at your timeline. If tied to

dividual or department, create a ded-

more expansive efforts, it should

icated email inbox or portal that only

be determined from when to start,

assigned staff will be able to access, such

ensuring that if using programs, such

as artist_info@XXXX.org, so that com-

as talks, and exhibitions, the start date

munications are centralized, private,

for inclusion in the survey matches.

and respondents are guaranteed equita-

If the organization is in the process

ble access.

of actively acquiring works, or in the midst of new exhibitions, a historical cut-off point for the project or ways

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to incorporate the artist demographic

the questionnaire is submitted, ensure

data project into ongoing acquisitions

that a record of submission has been

and/or exhibitions may need to be

sent to the respondent. Send reminders

determined. The cover letter and/or

to artists who have not completed the

introduction may need to be modified

process. Expect a low completion rate,

depending on the impetus for or larger

and only repeat outreach once to artists

context of the request to complete the

who have not responded. Reiterate the

form. Conduct a detailed review of the

contact information and/or process

distribution plans to prevent multiple

for the artist to change or update their

requests to one artist under different

response or to provide feedback on the

projects or processes from the

survey in these reminders. Do not con-

same institution.

tact artists more than twice per precipitating event or information-gathering

Communicating with Artists

drive; there may be good reasons why

It might be necessary or more prudent to

an artist is not willing to share demo-

work through an assistant, studio staff,

graphic information about themselves.

or gallery representative to reach the

Do not create any penalties for nonpar-

artist, though the questionnaire should

ticipation or make any other aspect of

ideally never be filled in by anyone who

your collaboration contingent on par-

is not the artist. All communication

ticipation, and do not try to gather the

should have the same script, including

information in other ways. Artists are

the cover letter, and should not vary

extremely busy and fulfilling requests

by respondent, though it should be

from all the museums and organizations

addressed to the artist personally.

that request their demographic data

If communicating electronically, send

may not be their priority or feasible if

from or copy the centralized email in-

they do not have a team or studio to help

box established for the project. Once

support them administratively.

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Feedback and Updates

review of identity terminology should be

Demographic information may change,

built into DEIAB consultation work and

new research may surface, other publica-

generate a periodic update, and an insti-

tions and scholarly materials may become

tutional timeline for conducting reviews

available, and preferred terminology may

and updates should be established.

evolve; therefore, artist demographic information will likely need to be updated at regular intervals. Develop a check-in with artists for updates on a regular interval (e.g., every five years, or when acquiring a new work by them or other precipitating events as established by the initial distribution). Also ensure there is a simple way for artists to contact your institution to make corrections or updates as needed, and a designated staff member should regularly monitor the email address or portal (e.g., biweekly). Ensure the institution is prepared to handle disagreements with artists throughout, and has a clear process for doing so. Additionally, there may be a need to proactively correct, update, or amend existing records in consultation with respondents as new information becomes known or issues arise.

As discussed earlier in this section, the survey itself may need updates. A

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DATA USE, MANAGEMENT, AND MAINTENANCE

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Recording and standardizing fluid and

How the information is recorded,

inherently unique information can be a

the structures imposed on the data,

challenge. This section provides ethical

and the systems employed to manage

and practical guidance around expecta-

and access it determine meaning

tions, governance, and literacy related to

as well as how the information can

artist demographic information, as ex-

be interpreted and presented. The

pressed through data use, management,

records can enable you to understand

and maintenance. The decisions around

the demographics in the aggregate

how an organization collects and uses

(where you’ve captured structured,

data are a critical part of its organiza-

controlled data) and also support the

tional memory and mindset; therefore,

contextualization of an artist’s identity

it is a best practice to document, dissem-

in your storytelling.

inate, and share why and how decisions

Managing the data set must be an on-

are made regarding data.

going commitment, like tending a gar-

While this stage represents the culmina-

den that grows and changes over time.

tion of all the efforts to develop a thought-

An institution that collects artist demo-

ful and ethical approach to documenting

graphic data must equip staff with the

artist demographics, this work must be

knowledge and skills to be custodians

considered during the conceptual and

of that data. Keep in mind the fluidity

implementation phases of the project. It

of language and identity and respond as

is the institution’s responsibility to honor

appropriate; your data set is not static.

each artist’s intentions and apply your

Plan for regular reviews of the data and

defined values and agreed-upon policies

your artist data collection processes, as

and procedures to manage, maintain, and

well as the necessary labor and commit-

share that data with others.

ment to preservation.

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As you share the data with your staff, colleagues, and audiences, be aware of the impact and consequences. Consider how well the intended use of the data aligns with your organization’s values and use this as a guide. Center values on open data (data that is publicly open for access and use, as well as technically open for linking and repurposing) and transparent processes. Remember that harm can be unintentional.

These guidelines are scalable and can be universally applied by any institution committed to both respecting an artist’s agency in self-identification and to employing effective and efficient data management. While they pertain to living artists’ information, the same care and ethics should be applied to demographic information about nonliving artists.

Reputable sources for demographic information for nonliving artists should be cited alongside data and data provenance should be preserved.

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Managing the data set must be an ongoing commitment, like tending a garden that grows and changes over time.

An institution that collects artist demographic data must equip staff with the knowledge and skills to be custodians of that data.

DATA USE When determining how questionnaire

can be intentionally misused or cause

data can be used internally and shared

unintentional harm to the identified

externally, refer back to the initial deci-

artist. Consider limiting quantified

sions and policy documents related to the

reporting to the aggregate, with a pref-

organization’s intentions for the data and

erence for a contextual approach when

the parameters outlined in the question-

sharing data about any individual pub-

naire (see Getting Started and Creating

licly. Assume that any data gathered is

and Implementing a Questionnaire). The

potentially public, as there is no way to

demographic data that is documented

ensure the security of the data over time

and stored should support the planned

and across users once it is documented,

end uses. For example, using quantified

regardless of your good intentions. If

data for internal analytics requires con-

you think any of the data you gather

trolled terminology. Contextualizing the

should NOT be made public, then it is

demographic data on an individual level

best not to collect it. Consider both the

requires narrative (free text) options.

intended and unintended consequences

Your data-capture tools and process should allow both approaches. (See Questionnaire Structure.)

When deciding where and with whom to share the data, keep in mind the legal and ethical implications of assigning identity tags to named individuals, e.g., in an object ID on a label or in a visible search tag online. The data you gather

NOTE

Organizations may want to use the consequence decision tree found in the Playbook for Ethical Technology Governance to reflect upon consequences.

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RESOURCES Data Use

of making artist demographic data accessible when sharing information both internally and externally.

Increasingly, arts organizations are being asked to report quantified data on

Sandberg, Jane, ed. Ethical

the demographics of their artists by third

Questions in Name Authority

parties, e.g., funders wishing to ensure

Control. Sacramento, CA: Library

their contributions support diverse

Juice Press, 2019.

communities, researchers examining collecting and exhibition practices, or

Dunagan, Jake, and Ilana Lipsett.

potential employees or board members.

“A Playbook for Ethical Technology

These often take the form of broad per-

Governance: Helping governments

centages of given demographic groups,

anticipate and prepare for unin-

which loses detail (flattens) and can

tended consequences of new tech-

embed assumptions in your data set (e.g.,

nology.” IFTF Foresight Essentials,

by referencing “Black” or “White” art-

Foresight Matters, July 21, 2021.

ists without defining what those terms mean). Internal uses could also result in

D’Ignazio, C., and L. F. Klein. Data

the flattening and decontextualization of

Feminism. Cambridge, MA: MIT

data. When deciding what data to share

Press, 2020.

and with whom, be aware of the requestors’ intentions and that any nuance in

“Insight, Impact, and Equity:

your data may be lost as these parties use

Collecting Demographic Data.”

the data for various purposes.

PEAK Grantmaking.

Using the planning and policy documents created earlier in the project as a starting point (see Planning and

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Policy Documents), develop more detailed policies, plans, and procedures around data use prior to distributing the questionnaire.

Create and approve within your organization a publishing process for demographic information, including provisions for takedown.

When sharing data online, consider how you will both present and make artist demographic data discoverable as well as the implications of your choices.

Information could do harm, such as outing an individual, exposing refugee status, or unintentionally misrepresenting changing identity information.

Have an organizational policy about how much demographic information is publicly shared about any individual

NOTE

Organizations may want to consider their intentions for artist demographic data collection and use the lens of the seven principles of data feminism as proposed by Catherine D’Ignazio and Lauren F. Klein in their book Data Feminism.

The principles are: Examine Power; Challenge Power; Elevate Emotion & Embodiment; Rethink Binaries & Hierarchies; Embrace Pluralism; Consider Context; and Make Labor Visible. In so doing, organizations may become aware of and determine how they might address power imbalance and its reflections in data science.

or group of individuals. Consider all demographic information recorded by the organization equally whether it describes artists, donors, employees, board members, etc.

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RESOURCES Data Use Continued Montenegro, María. “Subverting the Universality of Metadata Standards.” Journal of Documentation; Bradford 75, No. 4 (2019): 731–749. DOI:10.1108/ JD-08-2018-0124.

“More Than Numbers: A Guide Toward Diversity, Equity, and Inclusion (DEI) in Data Collection.”

Charles and Lynn Schusterman Family Philanthropies.

Rahnama, Hossein, and Alex “Sandy” Pentland. “New Rules of Data Privacy.” Harvard Business Review, February 25, 2022.

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DATA MANAGEMENT Data management policies and practices

acquisition or information-gathering

should be consistently reviewed and

project), which version of the

updated in alignment with your orga-

questionnaire was sent, and whether

nization’s data use intentions. This in-

completed questionnaires were

cludes the structures and processes that

returned or not.

are designed to ensure accountability,

○ Have a mechanism to receive,

transparency, responsiveness, legality, stability, equity and inclusiveness, empowerment, and broad-based participation. The following are some prompts

review and/or update, and remove data over time.

○ Prepare to handle variations of the questionnaire, either translations

and activities to consider in relation to

to different languages or updates to

data governance.

the questionnaire itself over time.

• Document what is not recorded

Provenance and Preservation

(constituents who have not

All returned questionnaires should be

responded to the questionnaire or

preserved—scanned (if hard copy) and

respond only partially) and how this is

saved (in a format as close as possible to

reflected in your data, e.g., capturing

what the artist returned) with a clear link

all types of responses: an answer, a

to the data’s location.

decline to answer, no answer.

• Establish a protocol to securely and

• Centralize data in anticipation of a

consistently transfer information

future in which this kind of data is

from the form to the database.

aggregated and managed at a sector

• Track when forms were sent out

level, rather than at the institutional

(and the precipitating event, e.g., an

level. The benefits would include not

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taxing artists with multiple forms

International Authority File (VIAF),

(by finding one template that fits the

or Wikidata. Note that some of these

multitudes of needs of organizations

may require updates to be made

globally) and easing maintenance for

current (see Further Research).

individual organizations.

• Data captured in systems should ideally be both controlled (i.e., fielded,

Structure

• Refer to the information

with controlled term lists and options to provide remarks) and include

gathered in the assessment and

primary data such as:

conceptualization phases (see

○ The language as shared by the

Assessment and Conceptualization) about the types of reporting requests anticipated for this kind of data

artists (i.e., their actual words).

○ The source of the information (i.e., who filled out the form—

and be sure values are recorded and

vital for any museum with

parsed in a way that would satisfy

works by both living and

those reporting requests.

nonliving artists in which data

• For fielded, structured data,

on nonliving artists may not be

enter each term and data element individually, not as a string, unless the data can be easily parsed.

self-identified). ○ The date that the data was received or collected.

• Deploy linked open-data principles

• To assist in future data management

whenever possible, i.e., include

and discoverability, include an

a Uniform Resource Identifier

indication of the type of data

(URI) for names or terms that are

recorded, including that this data

sourced from a linked data service

is “demographic” or even specific

or authority file such as Getty

types of demographic data (e.g.,

Vocabularies, id.loc.gov, Virtual

“gender identity”).

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• To support the stated intentions

of your controlled vocabulary

for data use, indicate clearly

(See Questionnaire Structure),

within your database whether data

requiring the recording of their

points are for internal use only or

natural language responses and/

external use, whether that is at the

or translation into a controlled

questionnaire level or at the question

vocabulary term.

level, including the decisions made

• Questionnaire data represents a

by the artist, if that was given on the

moment in time for the artist and

questionnaire.

should not be assumed to be tied to a particular work or body of work. An

Making Meaning

individual artist’s demographic data

It is incumbent upon us to correctly

should be recorded and considered

document what is shared with us, so

separately from object data.

that we are able to translate answers on the form to something meaningful.

Through the use of data standards, the meaning of individuals’ answers can be recorded and preserved.

• Employing a controlled vocabulary will support the use of demographic data. You can build your own, but a variety of vocabulary tools exist (though to date none is considered a sector standard). See the list in Data Structure.

• Artists may provide their own demographic terms that fall outside

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DATA MAINTENANCE Considering how the data collected will

• Ensure there are paths to digital data

be maintained is an essential part of the

literacy for staff working with this

data management process. Collecting

data, meaning there is: accessible

and storing artist demographic in-

documentation of policies and

formation requires a commitment to

processes; regular review cycles for

preserve both the original form of the

policies and processes; and training to

information and the significance of that

understand why and how this data is

information at the time it was collected,

being collected, managed, and used.

as well as to ensure the data is correct

• All artist demographic data should be

over time. Institutions must consider

proactively reviewed (see Feedback

what is sustainable for them and should

and Updates).

not underestimate the amount of digi-

○ Establish a regular interval for data

tal labor required to steward this sensitive information.

• The work does not stop once you

○ Utilize precipitating events—

new acquisitions, exhibitions,

receive the data; the fluidity of the

etc.—to revisit the data recorded

data requires ongoing maintenance

about an artist.

programs to be built into your

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review, e.g., every five years.

○ Track all feedback received.

workflows. As discussed, identity

• Consider how to store historical

is fluid and can change over time.

and problematic terms while still

Ensure your data can be updated,

retaining and ensuring usability of

and the dates of any updates and the

the information. Also, keep in mind

original information all recorded.

that language changes over time can

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shift the meaning of terms you have documented and require changes to your approach to demographic types (e.g., consider the changed meaning and general acceptability of the word “queer”).

• Maintain updates of any external vocabularies, thesauri, or authority files that provide names or terms used within your records.

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NEXT STEPS After the artist demographic data proj-

• Report out to internal and external

ect is launched, provisions for its con-

stakeholders (e.g., the board,

tinuance, maintenance, and usage are

collections committee members,

in place, and you have collected a body

community members, the public),

of demographic data, what comes next?

especially those who were involved

Knowing that this work is an ongoing

in the conceptualization phase of

process, examples of follow-up steps

the process.

may include: • Review of the initial data capture

and collections strategies and

among the core team and assessment

interpretation plans and

of the questionnaire’s performance

documents that are informed by

(What is the response rate? Is it filled

the data and community input

out correctly? What feedback have

on the ongoing work.

you received?).

• Form a community response committee to review the data in

• Create programming to generate public discourse about the data and subsequent response.

depth and consider: What were the

• Ensure that staff members who

initial goals of this endeavor? What

have been appointed stewards of

are the metrics of success, and how

the questionnaire (and related

does the implementation measure up

data ethics) have the support and

against the original goals?

resources they need going forward.

• Work with the data team to create

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• Develop or revisit exhibitions

• Use the data to drive future decisions

a status report and report of initial

about including artists from

statistics.

underrepresented groups.

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CASE STUDIES

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CASE STUDY

Museum of Modern Art, New York

The Artist Identity Project at the

institutional objective of a more in-

Museum of Modern Art (MoMA) is a

tersectional and diverse collection all

focus group of staff members across the

defined the need for more nuanced and

institution who have the shared goal

detailed artist information. There is also

of recentering the identity and experi-

an institutional desire for increased da-

ence of the artist by designing a holistic,

tabase utilization focusing on forwarding

progressive, and respectful approach to

extant database structures in order to

identity information. This project was

more easily import, utilize, and store the

prompted by the dovetailing of a number

identity responses and cataloguing infor-

of factors and motivations, primarily

mation that will be collected.

the desire to respect the artists with whom MoMA collaborates and innovates. Additionally, the creation of the Cataloguing in the 21st Century team, which has been tasked with examining the ways in which the institution can represent, display, and collect artist identity information; DEAIB workshops; and staff-led initiatives, which occurred as a response to the Black Lives Matter movement; and the longtime

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CASE STUDY

San Francisco Museum of Modern Art

The San Francisco Museum of Modern

project launched a public, online dash-

Art (SFMOMA) initiated its Artist

board to provide annual reports with

Identities Data Program (AIDP) in 2020

anonymized demographic data—such as

to collect and steward information about

race, ethnicity, and gender—related to

artists whose artworks have been ac-

artists whose works the museum ac-

quired or exhibited by the institution. A

quired or exhibited in the previous fiscal

collaboration between the curatorial and

year. The data will support the museum’s

collections departments, the AIDP began

representation of artists and their work

as the Artist Identity Project to advance

in gallery texts, publications, programs,

management of artist demographic data

and other public-facing content.

in an internal collections database. Two years later, the project was renamed and became an ongoing and farther-reaching program as part of the Museum’s efforts to broaden the scope of identity data related to living artists and to coordinate with identity data efforts happening in other SFMOMA departments and in other museums, libraries, and archives.

In an effort to improve institutional accountability and transparency, the

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SAMPLE QUESTIONNAIRE

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What follows is a sample artist self-iden-

Our goals for this questionnaire are

tification questionnaire from a mu-

to enable artists to self-identify across

seum. It is not meant to be prescriptive,

a range of categories so that we can

but rather provide an example of one

respectfully and accurately use your

approach.

preferred language and designations in materials we produce (for example,

Sample Questionnaire

pronouns for wall labels or social

The museum, in dialogue with other in-

media posts); to use this data to better

stitutions, is in the process of developing

understand and steer our institutional,

best practices for the documentation of

programming, and collecting practices;

artists’ identities and lived experiences.

and to seek resources that aid in

We acknowledge artists as partners in

aligning our collecting and educational

this process, and hope that through this

practices with our values.

questionnaire we are better able to serve

In an effort to ensure transparency

you, our public, and our mission.

in how this information might be

In order to fulfill our mission, the mu-

used, we will maintain an open line

seum strives to reflect the diversity and

of communication for any questions

complexity of the United States in all as-

concerning the dissemination of

pects of our work: the histories we recount

this data. The data from this survey

in our collection, exhibitions, and program;

may be used to help give context to

the people who make up the staff and

the composition of our collection,

leadership of the museum; and the audi-

exhibitions, and other programming

ences who provide context and meaning to

in terms of artist demographics.

what we do. The museum recognizes that

Internally, this will allow for us to

this work begins with a deeper and more

understand how to better serve the

nuanced understanding of our collection,

communities we are engaging with and

exhibitions, and programs.

address areas of oversight.

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Additionally, we may use this data for grant and fundraising opportunities relating to our collections, programming, and educational activities. Information may be shared externally to provide data on the museum’s approach to collecting and exhibiting, but we would only report demographic information in aggregate.

We will not share information on the individual level without seeking consent in advance.

If you prefer not to share some or all of this information, we respect your choice to opt out.

In an effort to avoid binary or restricted responses, we have included the opportunity for you to respond in your own words throughout the questionnaire and welcome your feedback on adjusting or reframing the language in the survey.

We understand that your responses may change over time, so we invite you to contact the Museum at any point to adjust and/or remove any information you have previously shared.

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*Requires response

What is your phone number?* [Free text]

What is your legal first name? * [Free text]

What is your home address?* [Free text]

What is your legal last name?* [Free text]

If applicable or different from the address above, what is your preferred

What is your full preferred name?*

mailing address? [Free text]

[Free text] This will appear on wall labels and

If you have access needs we should

related institutional texts, such as press

keep in mind, please describe:

materials, catalogues, and didactics.

[Free text]

Stylization should be specified here.

For contact information for our DOB?* [Calendar dropdown]

Access department and other information, see our webpage. Services we

In what city, state, country, tribal

provide include, but are not limited

nation, and/or province were you

to, the following:

born?*

• access to breastfeeding/chest-feeding

This information will be used in the catalogue, press, etc. [Free text]

spaces • area for religious observance • information about barrier-free

In what city, state, country, tribal na-

building entrances

tion, and/or province do you live?*

• ASL interpretation

This information will be used in the cata-

• captioning services

logue, press, etc. [Free text]

• service-animal accommodations • verbal description of live programs/ live transcription of programs

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What is your best contact email?*

Which of the following options best

[Free text with response validation]

describes your gender identity?

(Please select all that apply)*

Is there someone else we should loop

[Unlimited checkboxes]

in on correspondence? If so, who,

☐ Cisgender

and what is the best contact number/

☐ Intersex

email for them? [Free text]

☐ Man ☐ Nonbinary

What is your preferred/primary lan-

☐ Transgender

guage? (Select all that apply)*

☐ Woman

[Unlimited checkboxes]

☐ Prefer not to answer

☐ ASL

☐ Your words: [Free text]

☐ English ☐ Spanish

What are your pronouns/what pro-

☐ Prefer not to say

nouns do you use? (Please select all

☐ Language not listed: [Free text]

that apply)* [Unlimited checkboxes] ☐ Ze

Are you a part of a collective?

☐ Hir/hirs

[Multiple choice]

☐ Zir/zirs

☐ Yes

☐ They/them/theirs

☐ No

☐ She/her/hers ☐ He/him/his

[If yes, the following questions appear:]

☐ No pronouns. I prefer for people to use my name.

Name of the collective: [Free text]

☐ Prefer not to say ☐ Your words: [Free text]

Individuals in the collective: [Free text]

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Do you identify as LGBTQIA+?

☐ Latinx/a/o (If you wish, please

[Free text]

specify.) If desired, please elaborate on the question above: [Free text]

With which racial and ethnic group(s) do you identify? (Please se-

☐ White (If you wish, please specify.)

lect all that apply)*

If desired, please elaborate on the question above: [Free text]

☐ Arab (If you wish, please specify.)

If desired, please elaborate on the ques-

☐ Race/ethnicity unknown

tion above: [Free text]

If desired, please elaborate on the question above: [Free text]

☐ Asian (If you wish, please specify.)

If desired, please elaborate on the ques-

☐ Prefer not to say

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AAMC Foundation

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AAMC Foundation

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ABOUT AAMC & AAMC FOUNDATION Founded in 2001, the Association of Art

The AAMC & AAMC Foundation value,

Museum Curators (AAMC) & AAMC

support, and promote: centering DEAI in

Foundation celebrate the curatorial

the arts community, ethical and profes-

narrative by supporting and promoting

sional best practices, professional devel-

the work of art curators at all stages in

opment and advancement, and advocacy

their career through opportunities for

for the visual arts.

networking, collaboration, professional development, and career advancement.

In the ever-changing nonprofit visual art world, the AAMC Foundation is the voice for all curators—regardless of field, experience level, and institutional type.

It ensures that the curatorial perspective on art, museums, and educational issues is actively communicated to the public, media, and museum profession. AAMC today has more than 1,500 members from more than 500 institutions from more than 30 countries.

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AAMC Foundation

AAMC & AAMC FOUNDATION BOARD OF TRUSTEES AAMC & AAMC Foundation

Mary-Kate O’Hare, Director and Senior

Board 2023

Art Advisor, Citi Private Bank, Art

Executive Committee

Finance & Audit

Tuliza Fleming, Interim Chief Curator of Visual Arts, National Museum of African American History and Culture; Vice President, Inclusion & Outreach Lauren Haynes, Director of Curatorial Affairs and Programs, Queens Museum; Vice President, Fundraising Michelle Jacques, Head of Exhibitions & Collections/Chief Curator, Remai Modern; President, Board of Trustees Elizabeth Morrison, Senior Curator of Manuscripts, J. Paul Getty Museum; Vice President, Governance & Nominating

Advisory & Finance; Vice President, Juliet Sorce, Executive Vice President, Resnicow and Associates; Vice President, Advocacy At-Large Trustees Myrtis Bedolla, Founding Director, Galerie Myrtis Daniel Belasco, Executive Director, Al Held Foundation Wendy Chang, Director, Rennie Collection Beth Citron, Independent Curator

AAMC Foundation

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José Carlos Diaz, Susan Brotman Deputy

Emily Kernan Rafferty, President

Director for Art, Seattle Art Museum

Emerita, The Metropolitan Museum of

Whitney Donhauser, Deputy Director

Art

and Chief Advancement Officer, The

E. Carmen Ramos, Chief Curatorial and

Metropolitan Museum of Art

Conservation Officer, National Gallery of

William C. Gautreaux, Managing Partner, MLP Holdings LLC Lynda Roscoe Hartigan, Rose-Marie and

Art, Washington, D.C. Carolyn Royston, Deputy Director for Engagement, Brooklyn Museum

Eijk van Otterloo Executive Director and

Anne Collins Smith, Xavier University

Chief Executive Officer, Peabody Essex

Art Gallery; Membership Chair

Museum Wolfram Koeppe, Marina Kellen French Senior Curator, European Sculpture and Decorative Arts, The Metropolitan Museum of Art Soyoung Lee, Landon and Lavina Clay Chief Curator, Harvard Art Museums Tanya Odom, Program Director, Equity and Inclusion, Walton Family Foundation Filiz Çakır Philip, Curator; Awards Chair

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AAMC Foundation

AAMC Foundation

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