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Fall 12-15-2017

Applying Agile Project Management to ArtMuseums: A Proposal for Implementing aGeneralist Scrum MasterVincent Sulitvsulit@dons.usfca.edu

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Recommended CitationSulit, Vincent, "Applying Agile Project Management to Art Museums: A Proposal for Implementing a Generalist Scrum Master"(2017). Master's Projects and Capstones. 720.https://repository.usfca.edu/capstone/720

ApplyingAgileProjectManagementtoArtMuseums:AProposalforImplementingaGeneralistScrumMaster

Keywords:museumstudies,organizationalchange,agileprojectmanagement,scrummaster

by

VincentSulit

CapstoneprojectsubmittedinpartialfulfillmentoftherequirementsfortheDegreeofMasterofArtsinMuseumStudies

DepartmentofArt+ArchitectureUniversityofSanFrancisco

______________________________________________________________________________FacultyAdvisor:MarjorieSchwarzer

______________________________________________________________________________ActingAcademicDirector:CatherineH.Lusheck

December15,2017

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TableofContentsAbstract 2Chapter1:Introduction 3Chapter2:LiteratureReview 6 A:ChangeinMuseums 6 B:ChangeinthePrivateSector 10 C:DesignThinking 14 D:AgileProjectManagement 15 E:AgileinMuseums 16Chapter3:ProposalofaGeneralistScrumMaster 19Chapter4:ActionPlan 23Chapter5:Conclusion 26 AppendixA:AnnotatedBibliography 29AppendixB:ProjectStakeholders 34AppendixC:GlossaryofTerms 36SourcesConsulted 37

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Abstract Thiscapstoneprojectexaminesorganizationalchange,alongwithitschallenges,

throughcasestudiesinmuseumsandbusinessesintheprivatesector,subsequentlyprovidinga

possiblesolutionformuseumstoadapttothecurrentglobalmarketeconomythroughtheuse

ofAgileProjectManagement(Agile).Iciterecentcasestudiesofartmuseumsimplementing

Agilefordigitalproductdevelopment.ThisprojectproposalaimstointroduceAgileoutsideof

digitaldepartments,includingExhibitionsandEducation,withthegoalofdevelopingbetter

visitor-centeredofferingsfrommuseums.Thismaybeachievedthroughtheproposalofajob

descriptionforanewmuseumpositionofGeneralistScrumMaster,alongwithathree-year

strategyofimplementingAgileProjectManagementacrossvariousmuseumdepartments,

includingdigital,exhibitions,andeducation.

Keywords:museumstudies,organizationalchange,agileprojectmanagement,scrummaster

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Introduction Intoday’sfast-changingglobaleconomy,sometimesreferredtoasthe“sharing”

economy(BotsmanandRoo,2010,p.xv),companiesarevyingtodisrupt,ormorespecifically

useoridentify“disruptivetechnology,”inordertobecompetitive(Christensen,2016,p.xi).The

currentmarkethasallowedcompanieslikeAirbnbandUbertoemergeasleadersinmarkets

thatpreviouslydidnotexist.Duringthisprocess,thetraditionalbusinessmodelsforthehotel

andtaxiindustrieshavelostmarketshareandcustomers.Themuseumfieldisnoexceptionto

thecurrentandfutureeconomy.Inaneraof“ArtintheAgeofInstagram,”atermcoinedby

museumdigitalstrategist,JiaJiaFei(2016),contemporaryartmuseumsarefacingfierce

competitionfrompop-upinstallations,suchastheColorFactoryandtheMuseumofIceCream.

OnOctober27,2017,anarticleonWired.comstatedthatin2016,theMuseumofIceCreamin

NewYorkwassoldoutofits300,000allottedticketswithinthespaceof5days.OnNovember

29,2017,ARTnews.comrankedtheMuseumofIceCreamasthesixthmostInstagrammed

MuseumintheUnitedStates,justaheadoftheSanFranciscoMuseumofModernArt.Ibelieve

thatifmoretraditionalmuseumsdonotadapttothecurrentmarketplaceandthe

technologicalbusinessmodelsthatsupportit,theytoowilllosevisitorstootherattractionslike

theaforementionedpop-ups.Thiscapstoneprojectexaminesorganizationalchangethrough

casestudiesinmuseumsandbusinesses,subsequentlyprovidingapossiblesolutionfor

museumstoadapttothecurrentmarketandfocusondeliveringvisitor-centeredexhibitions

andprogrammingthroughtheuseofAgileProjectManagement.Iproposeajobdescriptionfor

anewmuseumpositionofGeneralistScrumMastertoleadAgileteamsthatworkinself-

sustainingandhorizontallystructuredteamsinorderformuseumstodevelopbetterofferings.

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Thetop-downorganizationalstructuretowhichmuseumshavetraditionallyadheredto

isnolongerrelevantintoday’seconomy.AsprominentbusinesstheoristandwriterHenry

Mintzberg(1996)states:“Theonlythingachiefexecutivesitsatopisanorganizationchart…

Themostprominentofallcorporateartifactsnevergetsdowntorealproductsandreal

services,letalonethepeoplewhodealwiththemeveryday.It’sasiftheorganizationexistsfor

themanagement”(HarvardBusinessReview,July1,1996).Mintzberg’sarticlecriticizingthe

organizationalstructureofcorporatemanagementwaswrittenwellovertwentyyearsago.

However,itisaccurateindescribingthecurrentstateofthemuseumfield.Whiletodaythe

corporatesectoradaptstothemarketandremainsagile,themuseumfieldstrugglestoadapt

tothebusinessenvironmentoftodayandtomorrow.

Thiscapstoneprojectfocusesonthewritingsbyprominentchangeadvocatesinthe

museumfield,includingRobertJanes,ElaineGurian,NinaSimon,andPeterSamis.These

authorscallattentionfortheneedtobreakawayfromtraditionalandoutdatedorganizational

businessmodels.Inwhatfollows,Icitecommonalitiesfromtheirresearchandmuseumworkto

supporttheneedforchangeinmuseums.Next,Icitecasestudiesoforganizationalchangein

thecorporatesector,providingevidenceofsuccessfulchangemeasuresapplicableto

museums.

Icompareandcontrastcurrentbusinessanddesignstrategies,includingDesignThinking

andAgileProjectManagement.Theseiterativeproductandservicedesignprocesseshaveroots

inthetechnology(tech)sector.Thetechsectorhasseentremendousgrowthoverthepast

quartercentury,especiallyinthewesternUnitedStates.Thisgrowthhasforcedbusinesses

outsideoftechtore-evaluatetheirbusinessmodels,orfacefailureinthemarketplace.Think

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abouthowcompanieslikeAmazon,Airbnb,andUberhavetransformedthemarket.Evensome

ofthecompaniesthatbusinessguru,JimCollins,oncetoutedas“great”companiesinhis

seminalbookGoodtoGreat(2001),suchasCircuitCity,havefailedtosurvivethechallengesof

anever-evolvingbusinessworldduetotheirinabilitytocompetewithnewermodelsofproduct

developmentanddistribution.

Inthefollowingchapter,Iwillcitea2015casestudyofNewYorkCity’sMuseumof

ModernArt(MoMA)implementingtheiterativeprocessofAgileasanevaluativemethodinthe

re-designofitswebsite.ThiscasestudyshedslightontheadoptionofAgilebyamajormodern

artmuseumandthepotentialforothermuseumstoconsiderimplementingAgileintothe

redesignofmuseumproductsandservices.Italsodrawscorrelationstotheexhibitionteam

approachthroughtheinclusionofthe“audienceadvocate.”Theexhibitionteamapproach,

describedbyElaineGurian,establishedanewwayofdevelopingexhibitionsattheBoston

Children’sMuseuminthe1970s(Gurian,p.163).Thisapproachwasconsideredradicalatthe

timebecauseitaskedmuseumstoconsidertheperspectivesofamuseum’saudience,as

opposedtosolelythepointofviewofacurator.Withsimilarintent,MoMA’scurrentuseof

“audienceadvocates”isto“provideanexcellentandaccessibleexperienceforarangeofusers

bysharingtheirknowledgeofMoMA’spublicandconductingusertestingofthewebsite

redesign”(Armstrong,p.393).

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LiteratureReview

A.ChangeinMuseums

NinaSimon,directoroftheSantaCruzMuseumofArtandHistory(MAH),describesthe

“paradoxofrelevance”throughtheanecdoteofusingtherightkeytoopentherightdoor

(Simon,p.31).Throughchangeinitiatives,Simonhassuccessfullyturnedaroundthefaltering

SantaCruzMuseumofArtandHistorybymakingthemuseumrelevanttoitscommunity.

OnechangeinitiativeimplementedatMAHrespondedtoanissueconcerningrelevance

tothemuseum’smission.InaddressingMAH’swell-attendedandfreeFirstFridayevents,

Simon(2016)states,“Peoplespentalltheirtimedancing,eating,andsocializingontheground

floor.Veryfewmadeitupstairstotheexhibitiongalleries”(p.46).Themuseumthusdecidedto

discontinuefreefoodforFirstFridays,sincethefreefoodhadnorelevancetothemuseum’s

missionto“ignitesharedexperiencesandunexpectedconnections.”Simondescribesthefree

foodasa“literalbarriertopeoplevisitingtheexhibitions,becausetheycouldn’tbringtheir

platesintothegalleries”(p.46).Aftereliminatingthefreefoodandsimultaneouslyaddingart

activitieswhichwererelevanttomissiontotheFirstFridayprogramming,attendance

ultimatelyincreasedthree-foldovertime.MAHsuccessfullyconnecteditscommunitytothe

museum’sart.Theaddedartactivitiesservedastherightanecdotaldoorstothemuseum’s

exhibitiongalleries.ThischangewassparkedfromtheconceptofrelevancetoMAH’s

community,inconjunctionwithSimon’sprogressivethinking.Butwhyelsemightmuseums

implementchange?

ThemuseumtheoristElaineGurian(1990)states,“Theychangebecausetheyfearthe

consequencesofnotdoingso,andonlythenarewillingtooverridethecriesofanguishfrom

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thediscomforted”(p.77).Gurian’slistofreasonsamuseummightchangeitsapproachand

operationsinclude:thecontinualchangeindemographicsofpopulation,discoveryofbiased

information,andeveninstabilityofthestockmarket.Theseexternalfactorsmayinduce

museumstochangeoradapttotheiraudiences,re-evaluatecontent,orre-examine

endowments.Gurianalsosuggeststhatmuseumscontinuallyreassesstheirmission

statements.

TheimpetusforchangeattheGlenbowMuseuminCalgary,Canada,wasinitiatedby

severecutsingovernmentfunding.Uponstartinghisrolein1989asExecutiveDirectoratthe

Glenbow,RobertJanesexperiencedtheineffectivenessofaverticalhierarchyfirst-hand.Janes

wasscoldedforspeakingdirectlywithadepartmenthead,withoutfirstspeakingwiththat

department’sassistantdirector(Janes,p.14).Thisillustratesthedisconnectofstaffthroughthe

layersofbureaucratichierarchy.Additionally,itexposesthedifficultyinimplementingchange

oforganizationalculturebecausepeoplefeelthattheyneedtoprotecttheirterritoryandeven

theirjobs.

Throughtheimplementationofseveralchangeinitiatives,theGlenbowwasableto

surviveitschallengingfinancialturmoil.Themuseumdevelopedacorporateplan,which

adoptedmanagementprinciplesemphasizingashifttoaproject-basedorganization,aswellas

anopencultureforcommunication.TheGlenbowaffirmeditsdesiretobecomefinanciallyself-

sustainable.Additionally,theGlenbowre-envisioneditsmissionstatementtobeinclusiveofa

“qualityfirst”perspective.Finally,themuseumdevelopedastrategicplanthatimplemented

performancemeasures.Janes(1995)states,“Thisisdoublyimportantasthecompetitionfor

publicandprivatefundingincreases,forcingmuseumstobeabletodemonstrateeffectiveness”

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(p.24).Subsequently,theGlenbowwasabletonegotiatefundingwiththeprovinceofAlbertaa

fewyearslater.

IndescribingJanes’preferenceoforganizationalform,socialanthropologistMichaelM.

Ames(1995)states,“Janesadvocatesahorizontalandparticipatorytypeoforganizationin

contrasttowhathedescribesasthemoretraditionalhierarchicalandcentralized

administrativesystems…Itcomesfromouranthropologicalexperience:thehuntingband,as

opposedtourbanbureaucracy…Leadersemergeaccordingtotheskillsrequiredforthetaskat

hand.Itistheclassicteam-basedorganization…”(Ames,inJanes,p.2).

TechnologistPeterSamis(2017)atteststothepotentialof,ifnoteventual,changeof

thehierarchicalmodel:“Mostmuseumshavelong-establishedandclearlydefinedprotocols

andhierarchies.Newwaysofworkingultimatelyshifttraditionalstructuresandmayendup

equalizingrolesorflatteninghierarchies”(p.6).Samis’visitor-centeredcasestudyoftheVan

AbbeMuseuminEindhoven,Netherlands,undertheleadershipofitsdirector,CharlesEsche,

depictsamuseumthatbreaksawayfromtraditionalmodesthrough“radicalhospitality”(p.

145).Theconceptof“radicalhospitality”issimilartotheapproachusedbyNinaSimonin

transformingtheMAHtobecomerelevanttothecommunity.

OneexampleofaradicalhospitalitychangeimplementedattheVanAbbefeatureda

counternarrativetoitsElLissitzkyexhibition.ByincludinggraffititextfromBulgarian

contemporaryartist,NedkoSolakov,theexhibitionallowedfortwocounteringnarratives,

allowingvisitorstotakeinartistperspectivesfromdifferentculturesanderas.Solakov’s

contentcounteredtheSoviet-erastatementsoftheexhibition’sprimarynarrativeinorderto

sparkanopendialogueforvisitors(Samis,p.149).

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AmoreparticipativevisitorengagementattheVanAbbearrivedviaLETS,orLive

EncounterTaggingSystem.ThroughLETS,visitorsareabletoapplytheirownwalllabelsnextto

objectlabelsinthemuseum’sgalleries,furthersparkingnew,visitor-centereddialogues.Samis

states,“Escheunderminedthetime-honored‘museumastreasurehouse’modeof

presentation”(Samis,p.145). Escheencouragedvisitorstotagtheirownlabels,asopposedto

relyingontheviewpointofoneexpert'sobjectlabel.Thesenewwaysofparticipativeinclusion

wouldnothavesurfacedunderthe “museumastreasurehouse”approach.

Inadditiontore-examiningtheVanAbbe’sapproachtocontent,Eschealso

implementedorganizationchangeinitiatives.Samisexplains:

Intheefforttobreakdownentrenchedsilosandmakethestaffitselfmorecollaborative,Escheinstitutednewteamprocesses,reshuffledreportingstructures,andcreatedanewposition—ExperienceDesigner—whosejobistobridgethegulfbetweentraditionalcuratorialandeducationrolesinawaythatisbothcleverabouttheartandattunedtothevisitors(p.145).

Eschedescribesorganizationalcharts“asanorientationdevice.Themoresecurityyoucangive,

themorecapacityforchangepeoplehave,actually”(p.153).Theorganizationalchange

initiatives,alongwithitsradicalhospitalityapproachtovisitors,haveenabledtheVanAbbeto

improveuponcollaborationbyconnectingwithaudiencesandbreakingawayfromatraditional

organizationstructure.

Thesynthesisofthismaterialsuggeststhatchangeisnecessaryformuseumstobe

sustainable,whetherit’sforreasonsoffinancialsustainabilityorfindingmoreparticipativeor

engagingapproachestoconnectingwithaudiences.Janes,Gurian,Simon,andSamisallcometo

theconclusionthatmuseumsmustshiftawayfromtraditionalhierarchies.Theirvernacular

utilizesphraseslike“relevance,”“audienceadvocate,”“visitor-centered,”“radicalhospitality,”

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and“participatory”(Simon,2016;Gurian,1990;Samis,2017;Simon,2010).Thesemuseum

leadersadvocateformuseumstorefocustheireffortsindeliveringmeaningfulcontentto

communities.

B.ChangeinthePrivateSector

Ihavementionedanumberofreasonswhymuseumsmayimplementchange,butnowI

willexplorewhatdriveschangeinbusinessworldoutsideofmuseums.HirotakaTakeuchiand

IkujiroNonaka(1986)state:

Changesintheenvironment–intensifiedcompetition,asplinteredmassmarket,shortenedproductlifecycles,andadvancedtechnologyandautomation–areforcingmanagementtoreconsiderthetraditionalwaysofcreatingproducts.Aproductthatarrivesafewmonthslatecaneasilyloseseveralmonthsofpayback(HarvardBusinessReview,January1,1986).

TakeuchiandNonakaresearchedJapaneseandAmericancompanies,suchasHondaand3M,in

advocatingforananecdotal“rugbyapproach”totheprocessofproductdevelopment.

TakeuchiandNonakaexplain:

Undertherugbyapproach,theproductdevelopmentprocessemergesfromtheconstantinteractionofahand-pickedmultidisciplinaryteamwhosemembersworktogetherfromstarttofinish.Ratherthanmovingindefined,highlystructuredstages,theprocessisbornoutofteammembers’interplay(p.138).

Thisapproachtoproductdevelopmentbyworkinginarugby“scrum”datesbackoverthirty

years.Inordertoimprovetheprocessofproductdevelopment,therugbyapproachchallenged

themodelofworkingintraditionalhierarchiesandsilos.TakeuchiandNonakadescribethe

rugbyapproachasa“holisticmethod…theballgetspassedwithintheteamasitmovesasa

unitupthefield…itisavehicleforintroducingcreative,market-drivenideasandprocessesinto

anold,rigidorganization”(p.137).Theauthorsemphasizethatcompaniesthatdonotadaptby

adaptingorchangingtheirworkmethodswillbecomeobsolete.

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TakeuchiandNonakaciteacasestudyoftheHondaCityprojectteaminJapan(p.139).

Thegoalofthisteamwastodevelopacarforyoungadults.Hondaplacedyoungengineerson

theteam,sincetheteamwouldbedevelopingthisproductfortheirowndemographic.This

approachdrawscomparisonstothe“audienceadvocate”intheteamexhibitionmodel,

discussedbyGurian.Audienceadvocatesareabletoprovideinsightsateachstepofthe

developmentprocessandthisisaninvaluableasset.

AsTakeuchiandNonakaexplain,“TheHondateam…consistedofhand-pickedmembers

fromR&D,production,andsales.Thecompanywentastepfurtherbyplacingawidevarietyof

personalitiesoftheteam.Suchdiversityfosterednewideasandconcepts”(p.140).Still

drawingparallelstothemuseumexhibitionteammodel,thisprocessofbuildingcross-

disciplinaryteamssuggeststhatthestatusquoofnon-crossdisciplinaryteamsthatrelyon

peoplewithasingularviewpointdonotbringaboutnewideas.

LikeMintzberg’s1996article,criticalofthetraditionalorganizationalchart,Takeuchi

andNonakaaddressedthenecessitythatcompaniesmustadaptandbecomeflexibledueto

challengesofthemarket,suchascompetition,theshortlifespanofproducts,andrapid

technologicalchanges,somedecadesago.Yet,asidefromahandfulofradical-ethosadopting

institutions,discussedintheprevioussection,museumsgenerallyremainreluctanttochange.

Anotherauthorcriticaloforganizationalcomplacency,JimCollins(2001),asksthe

question,“Canagoodcompanybecomeagreatcompanyand,ifso,how”(Collins,p.5)?In

2001,Collins’“goodtogreat”companiesincludedCircuitCity,Kimberly-Clark,Kroger,and

Walgreens.Thestudyobserved“goodtogreat”companiesovervarious15-yearperiodsof

stockgrowth,broughtuponbya“transitionpoint,”apointintimewhereasignificantchange

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occurred.Thesecompanieswerethencontrastedtodirect“comparisoncompanies”that

remainedjustgood.

Collins’casestudyofKimberly-Clarkillustrateswhatbroughtchangeatthepaper

productscompanyandhowKimberly-Clarkadvancedfromagoodtoagreatcompany.Ata

timewhenthecompany’sstockpriceunderperformedthemarketby36percent,Kimberley-

ClarkappointedDarwinE.SmithasCEO(p.17).Kimberly-Clark’sturnaroundstemmedfrom

Smith’sdecisiontosellthecompany’smills,whichaccountedforthecompany’s“traditional

corebusiness”ofcoatedpaper.Thecompanythenrefocuseditseffortstowardconsumer

paperproducts(p.20).Afterthechangeinleadershipandcompanydirection,Kimberly-Clark

outperformeditscompetitioninthepaperworldandoutperformedthestockmarketbyover

fourtimes,accordingtoCollins.Kimberly-Clarkbecameagreatcompanybyaddressingits

challengeofsignificantlyunderperformingthestockmarket.Itplacedaleaderinchargewho

wasnotreluctanttoimplementamajorchangetoitscorebusiness.Ultimately,thisishowthe

companywithstoodcompetitionfromrivals,likeProctor&Gamble,andenjoyedsuccessfor20

yearsafterits“transitionpoint.”

ThiscasestudydrawsparallelstoRobertJanesandtheGlenbowMuseum.Janeswas

appointedDirectorduringatimeofdrasticcutsofgovernmentfunding,inasimilarmannerto

Smith’sappointmentasCEOofKimberly-Clarkatatimeofdrasticdownturn.Radicalchange

initiativeswerenecessarytoaddressthefinancialchallengestheseorganizationsfaced.

Unfortunately,Collins’studyexcludesstartups,asmanystartupsatthattimedidnot

meetcriteriaforhisstudy.Sincemanyofcompaniesinthissampleweretraditionalbrick&

mortarretailersortraditionalspaces,thestudydidn’taccountforcompanieslikeAmazon.com,

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amongothercriteriaineligibleduetoitslackofafifteen-yearexistencein2001,that

transformedretail.CircuitCity,oneofCollins’“goodtogreat”companies,nolongerexists,

whichemphasizestheneedfororganizationstocontinuallybeadaptiveandflexibletosucceed

inthemarketplace.

Inordertobecomeaglobalautomotivecompetitor,FordMotorsstreamlinedvarious

regionaldepartmentsandfocusedon“horizontalintegration”inthemid-1990s(Carnall,p.47).

Thisallowedthecompanytoavoidoversupplytovariousmarketsunderitsoperations.

AccordingtoColinCarnall(2014),whoseworkfocuseson“changearchitecture,”“Ford

establishedfivevehiclecentrestotakelifetimeresponsibilityforthedevelopmentofall

vehiclesofagivenclassproducedandsoldanywhereintheworld.InadditionFordhascreated

asingleglobalunitfortechnologydevelopment”(p.47).Thestrategicchangestoits

organizationalstructureallowedFordtobecomemorecompetitiveintheglobalmarket,while

facilitatingitsvehiclecenterstobecomemoreresponsivetothechangedmarketundera

unifiedleadership.

Fordflatteneditshierarchiesthroughitshorizontalintegration,comparabletothe

mannersuggestedbySamisregardingthefutureofmuseums.Fordalsoeliminatedutilization

ofitssequentialprocessapproachtoproductdevelopment,whichdrawssimilaritiestothe

“sashimi”methoddescribedbyTakeuchiandNonaka.TakeuchiandNonakastate,“Sashimiis

slicesofrawfisharrangesonaplate,onesliceoverlappingtheother”(p.141).Thestraying

awayfromthesequentialapproachinfavorofanoverlappingmodelinFord’sproduct

developmentaddresseditspreviouschallengeofdisconnectbetweendesignersand

manufacturers,accordingtoCarnall.Thechangeprovidesforgreaterorganizationalefficiency.

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C.DesignThinking

Onedesignmethodthatthemuseumfieldhasrecentlyembracedis“designthinking.”

Earlyuseoftheterm,designthinking,datesbackto1987inPeterG.Rowe’sbookofthesame

name.Rowe’sbookexamineshumanproblemsolvingapproaches,primarilyinarchitectural

design.Rowe(1987)states,“Iamconcernedwiththeinteriorsituationallogicandthedecision-

makingprocessesofdesignersinaction,aswellaswiththeoreticaldimensionsthatboth

accountforandinformthisundertaking”(p.2).ThesequentialmodelspresentedbyRowe,

fromvariousauthors,alludetoearly,archaic,andcomplexprocessesofthedesignthinking

modelmostpeoplearefamiliarwithtoday.

Thephrase“designthinking”accordingtoTimBrown(2009),CEOofthedesignfirm

IDEO,is:“asawayofdescribingasetofprinciplesthatcanbeappliedbydiversepeopletoa

widerangeofproblems”(Brown,p.7).DesignideologyfromIDEOandStanfordUniversity’s

d.SchoolinPaloAlto,California,aresynonymousduetotheworkofDavidKelley,oneofIDEO’s

founders.DesignThinkinghasevolvedfromRowe’searlyexaminationofreiterativedesign

processesfromarchitecturaldesignerstoanempathy-basedprocessthatisnowcommonly

usedinavarietyofbusinesses,asdescribedbyBrown.Brownstates,“Frompediatricobesityto

crimepreventiontoclimatechange,designthinkingisnowbeingappliedtoarangeof

challenges…”(p.7).

DanaMitroffSilvers,formerHeadofWebattheSanFranciscoMuseumofModernArt

(SFMOMA),discussesstrategiestoembeddesignthinkingintomuseums.UsingtheDenver

MuseumofNatureandScience(DMNS)asacasestudy,DanaMitroffSilvers(2017)states:

Themuseum’sseniorleadershiphaskickedoffanew,cross-museuminitiativetoinvestigateandexplorewaystobuilddeeperandmoremeaningfulconnectionswiththe

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localcommunity.Andoneofthewaystheyhavesetouttodothisisthroughanewwayofworkingandcollaboratinginternally:designthinking(p.155).

TheprocessofembeddingdesignthinkingtomaketheDMNSmorerelevanttoitscommunity

involvedorganization-widestaffparticipationonnewexhibitions,empathytowardsDMNS’

audience,andthewillingnesstotrynewthingsinanewway.

DesignthinkingservedastheDMNS’changeinitiativetoaddresstheissueofrelevance

toitscommunity.ToreferenceNinaSimon’sanecdoteoffindingtherightkeytotherightdoor,

designthinkingmayhavebeentherightdoortobridgingthecommunitytotheDMNS.

TheproblemwithDesignThinkingisthatitlimitsitselftoa5-stepprocess.Every

companyandorganizationisdifferent,soa5-stepdesignthinkingprocessmaynotnecessarily

workforeveryorganization.Thisleadsmetosuggestmuseumsapplyamoresolidified

organizationalstrategy:AgileProjectManagement.

D.AgileProjectManagement JimHighsmith(2010),co-authorofearlyAgiledoctrines:ManifestoforAgileSoftware

DevelopmentandtheDeclarationofInterdependence,states,“Agilityistheabilitytoboth

createandrespondtochangeinordertoprofitinaturbulentbusinessenvironment.Agilityis

theabilitytobalanceflexibilityandstability”(Highsmith,p.13).LikeTakeuchi,Nonaka,and

Collins,Highsmitharticulatestheimportanceofflexibility.Thetermscrum,asin“scrum

master”ofanagileteamoriginatesfromTakeuchiandNonaka’s1986articlethataddressedthe

holistic“rugbyapproach.”WhileAgileProjectManagementhasitsrootsinsoftwareproduct

development,Agilehasbeenappliedtotheautomotiveindustry,amongotherfields.Agile’s

fastanditerativeprocessallowedBMWtoimplementseveralautomotivecrashsimulations,

reducingactualphysicalautomotivecrashesfortestingpurposes(p.7).

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Highsmithemphasizesreplacingtheoutdated“IronTriangle,”approachtoperformance

measurement,whichfocusesprimarilyonscope,thencostandschedule,withthe“Agile

Triangle,”whichfocusesprimarilyonvalue,thenqualityandconstraints(p.21).Highsmith

placesvalue/customersbeforetheconstraintsof“scope,schedule,andcost.”Theoriginal“Iron

Triangle”iscommonlyutilizedintraditionalprojectmanagementsettings.However,itfailsto

takeintoaccountvalue,orstakeholders,asillustratedinthe“AgileTriangle.”

HighsmithlistskeyobjectivesforAgileProjectManagement:Continuousinnovation,

productadaptability,improvedtime-to-market,peopleandprocessadaptability,andreliable

results(p.10).Theseobjectivesareapplicabletomuseums.Whiledesignthinkingmayspark

initialcreativityorinnovation,theiterativestructureofworkinginagilewithanagilecoachor

scrummastersuggestsgreatersustainability.

E.AgileinMuseums

Agilehasrecentlydebutedinthemuseumfield.Coincidingwithitsbuildingrenovation,

theMuseumofModernArtinNewYorkisredesigningitswebsite,withtheuseofAgile

evaluation.AccordingtoArmstrong(2017),MoMA“takesinputfromagroupof“audience

advocates”representingvariousdepartmentsatMoMA(includingDigitalMedia,Education,

Membership,VisitorServices,ManagementInformation,andMarketing.)”(Armstrong,p.393).

Thisteamofaudienceadvocatesmeetseverytwoweekstoassistwiththewebsite’sredesign.

TheaudienceadvocatesofMoMA’svariousdepartmentsdrawparallelstothe1970sprocessof

theexhibitionteamdesignattheBostonChildren’sMuseum.

AsGurianstates:“Topreventtheunbalancingoftherepresentation,eachadvocate

formallyactsonbehalfoffellowcolleaguesandadvisorsintheirfieldofconcern,allofwhom

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haveastakeinseeingthattheirinterestsareaddressed”(Gurian,p.163).ThisadoptionofAgile

asanevaluativemethodissignificantbecauseoftheamountofstakeholdersinvolvedinthe

redesignprocess.Thevariousdepartmentadvocatescanprovideinputfortheirdemographic,

similarlytotheHondaCityteamdesigningacarfortheirparticulardemographic.Although

Agile’susehereisprimarilyiterativefeedbackforadigitalteam,thecross-disciplinaryeffortsof

MoMAillustratetheadaptabilityofmuseumstafftoworkinanagileteam.

Inthenextchapter,IproposeajobdescriptionforanewmuseumpositionofGeneralist

ScrumMasterinamuseumsettinginordertoapplyAgileProjectManagement(Agile)to

traditionallyoutdatedorganizationalstructures,withanemphasisofaddingvalueand

relevancetomuseumvisitors.Curatorialdepartmentsinmajorartmuseumsaregenerally

structuredthroughatop-downhierarchy,withaHeadCuratorsupervisingoverAssociate

CuratorsandCuratorialAssistants.Therearesomeexceptionsinsmallermuseums,likethe

teamexhibitionmodeldescribedbyGurianthattakesintoaccount“audienceadvocates”and

museumsthathaveadoptedradicalethosofparticipatorycurating,suchasMAHandtheVan

Abbe.IseektoapplyAgileProjectManagementtothethreemuseumdepartments,including

Digital,Exhibitions,andEducation,inordertobringgreatervaluetomuseumstakeholders.My

proposaldescribesvariousaspectsofAgileProjectManagement,includingliftoffsandsprints.

Iintroducecounterargumentstootherdesignmethods(i.e.designthinking)that

museumshavecurrentlyembraced,includingNatashaJen’s2017presentation,DesignThinking

isBullshit,givenatthe99UConferenceinNewYorkCity,NewYork.Thesecounterarguments

willvalidatemychoiceofimplementingAgileoverDesignThinking.Iwillprovideevidenceof

trendsinmuseumsstartingtoimplementAgile,asinthecaseoftheMetropolitanMuseumof

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Art’srecenthiringofascrummasterforitsdigitalteam.Finally,Imakerecommendationsto

exploreotherdepartments,asidefromDigital,thatmaybenefitfromimplementingAgile

ProjectManagement.

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ProposalofaGeneralistScrumMaster IproposetodevelopajobdescriptionforanewmuseumpositionofGeneralistScrum

MasterwhocouldpotentiallyimplementAgileProjectManagementacrossvariousmuseum

departmentsandimprovemuseums’responsivenesstomarketsandaudiences.Agileemerged

fromthetechnologysectorforitsuseinsoftwareproductdevelopment.InMayof2017,the

MetropolitanMuseumofArtinNewYorkCity(theMet)postedapositiononLinkedIn.comfor

aScrumMasterforitsDigital(Software)Department.Thispostingprovidesevidencethat

museumsareinterestedinintegratingscrummastersintotheirdigitalproductdevelopment

processes.Thepositionwouldworkwiththreescrumteamsintheareasof“audienceoutreach,

theMuseum’scollection,andtransactionsystems(2017).”Thepostedpositionischaracterized

bya“servantleadershipstyle.”A“servantleadershipstyle”appliesateam-firstoutlookto

leadershipapproach.Otherattributeslistedinthisjobdescriptioninclude“self-organizing,”

“removingimpediments,”“improvingtransparency,”and“collaborativeproblemsolving.”

WhiletheMet’sScrumMasterfocusesonsoftwaredevelopmentacrossthesethreeteams,my

proposedGeneralistScrumMasterpositionfocusesonimplementingAgileoutsideofadigital

department,inordertoimagineadifferentorganizationalstructureinmuseumsthatwillbe

moreinclusiveofdiverseviewpoints,flexibilityintheworkplace,andfocusonaudience.

MyproposalenvisionsthataframeworkofAgileProjectManagementcanbeadapted

toindividualmuseumorganizations.IhavechosenAgileProjectManagementbecausea

CertifiedScrumMaster,whoutilizestheprinciplesandmethodsofAgile,possessesan

advancedskillsetinprojectmanagementandcancoachateamthrougha“servantleadership

style.”Thegoalofmyproposalistopositionthemuseumfieldtobettercompeteinafast-

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changingglobalmarketspace,throughinternalorganizationalchangethatmayresultin

providingvaluetomuseumaudiences.MyproposedGeneralistScrumMasterpositionwould

adoptthepreviously-mentionedethosofSimon,Gurian,Janes,andSamisof“relevance,”

“audienceadvocate,”“visitor-centered,”“radicalhospitality,”and“participatory,”inorderto

addvaluetomuseums’internalorganizationalstructuresandmuseums’primaryproduct,its

exhibitions.Inmyhypotheticalmodel,theproductowneristhemuseumvisitor.

AlthoughtheVanAbbeMuseum,abidingbyits“radicalhospitality”ethos,had

implementedanewmuseumpositionofExperienceDesignertoworkacrossmuseum

departmentsandoperations,adesignerdoesn’tnecessarilypossesstheprojectmanagement

prowessofaCertifiedScrumMasteroranAgileCoach.Adesigner“designs,”butmaynot

necessarilyseethroughallaspectsandphasesofaproject.Andunlikedesignthinking,which

accordingtoPentagramdesigner,NatashaJen,lacksacrucialcomponentofthedesignprocess

knownas“crit,”shortforcritique,Agileprovidesalong-termviablestrategytoproductor

servicedevelopment.Jen’s2017presentation,“DesignThinkingisBullshit,”advocatesfor

productsderivedthroughtheDesignThinkingprocesstobesharedwiththepublicinorderfor

thedesigncommunitytocritiquetheseproducts.

IenvisionthattheGeneralistScrumMasterwillhavebothexperienceindigitalproduct

orservicedevelopmentandsomeexperienceinnon-profitadministration.Thepositionwillcall

forAgileCoaching,initiallyworkingwithanartmuseum’sDigitalDepartment,asagatewayto

thefirstphaseofAgileProjectManagementimplementation.CurrentDigitalteammembersat

themuseumwillhavepreviousexperienceorfamiliaritywithscrum,allowingforasmooth

initialimplementationofadigitalscrumteamcollaboration.Asmentionedintheprevious

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chapter,MoMAiscurrentlyutilizing“AgileEvaluation”fortheredesignofthemuseum’s

website(Armstrong,p.393).Initialworkwithadigitalteamwillprovidefortangible

deliverablestobepresentedatfuture“liftoff,”orkickoff,meetingsfornewAgileteams,with

benefitsoftheAgileprocessexplainedtoindividualsnewtoprocess.

ThisinitialphasefortheGeneralistScrumMasterwilldoubleasaresearchand

discoveryprocessofmuseumdepartmentsoutsideofdigital.TheGeneralistScrumMasterwill

researchtheorganization’sCuratorial,Exhibitions,andEducationdepartmentsthrough

conductinginterviewsacrosstheseandothermuseumdepartments,withthegoalof

assemblingscrumteamsinthenextphaseoftherole.

ThissecondphasecallsforassemblingscrumteamsinthedepartmentsofExhibitions

andEducation.Forexample,itmaybebeneficialtohaveastaffmemberfromOperations

involvedintheExhibitionDesignprocessinordertoprovideinsightsintologistics,materials

budgeting,andsoon.Forexample,havingsomeonefromtheCollectionsDepartmentworking

withsomeonefromtheEducationDepartmentcouldbetterserveschoolgrouptours.An

additional“audienceadvocate”agileteamwillbeassembledtoevaluateproductsandservices

developedacrossthevariousagileteams,similartoMoMA’sagileevaluationteam.Thissecond

phaseincludestheGeneralistScrumMastersettingupliftoffmeetingforthethreenewly

formedscrumteams,whereinitialgoals,stakeholders,andchallengesarediscussed.

Afterthescrumteamsoutsideofdigitalhavebeenassembledandorganizedinthe

secondphase,thethirdphaseinvolvesscrumteamsbecomingsustainable,self-organized,and

developingproductsorservicesonabi-weekly“sprint”cycle.Thescrumteamswouldhave

deadlinesoftheirrespectiveproductsorserviceseverytwoweeks,whichistypicalofAgile

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teamsinsoftwaredevelopment.Thegeneralistscrummasterwouldworkacrossallteamsby

coachingtheteamsinscrumprinciplesmentionedabove.

Inwhatfollows,IhavecreatedanactionplanthatanewlyhiredGeneralistScrum

MasterinamuseumcouldpotentiallyfollowinordertosuccessfullyimplementAgileProject

Managementworkflowacrossvariousmuseumdepartmentsforthreeyears,orphases,upon

commencementofthisposition,assumingapprovalofthenewpositionbyHumanResources

andfundingforthepositionbytheBoardofTrustees.

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ActionPlan:GeneralistScrumMasterOverview-YearOne-ImplementDigitalScrumTeam

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GeneralistScrumMasterOverview-YearTwo-ImplementExhibitionHybridScrumTeam

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GeneralistScrumMasterOverview-YearThree-ImplementEducationScrumTeam

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Conclusion Thehypotheticalthree-yearstrategypresentedinthepreviouschapterpresents

opportunitiestoinformmuseumwidestaffmembersoftheGeneralistScrumMaster’sprogress

andcompleteddeliverablesduringquarterlyall-staffmeetingsandindividual/teammeetings

overthecourseofthethree-yearprojectplan.ProductsandServicesthatemergefromscrum

teamsshouldbepresentedatmuseumconferences,suchasAmericanAllianceofMuseums,in

ordertopresentresultstothegreatermuseumcommunity.Thethree-yearstrategyaimsto

provideaframeworkandtimetableforimplementingwhatmaybedescribedasradical

organizationchangeinthemuseumfield.However,withoutradicalthinking,prominent

museumchangeadvocatesandleaderslikeNinaSimon,RobertJanes,andCharlesEschewould

nothavebeenabletoimpactthecommunitiesoftherespectivemuseumstheyled.

Possiblemeasuresofsuccessofthishypotheticalmodelinvolveperformingcompetitive

analysiswiththeproductandserviceofferingsofotherequivalentartmuseums.Asurvey

featuringamixtureofquantitativeandqualitativequestionsshouldbepresentedtomuseum

visitorstoincorporatefeedbacktothemuseum.Traditionalmeasuresofmuseumsuccess

observeattendancelevels,whichcorrelatetoincreasedordecreasedrevenue,whilemore

currentmeasuresofmuseumsuccessmaybetoobservesocialmediainteraction.As

mentionedintheintroductiontothiscapstone,thisistheeraof“ArtintheAgeofInstagram.”

ThemeasureofsuccessfromanAgilepointofviewwouldaskthequestion:didtheproductsor

servicesdevelopedthroughtheAgileprocessaddvaluetomuseumvisitors,asdescribedbyJim

Highsmith’sAgileTrianglemodel?

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OnechallengetoapplyingAgileProjectManagementtodepartmentsinartmuseums

likeExhibitionsandEducationisthereluctancefromheadcuratorsandeducatorstoacceptthis

newmodel,asitmaythreatentheexpertiseofcuratorsandeducatorsbecauseitopenstheir

departmentsuptoinputfromothers.Anotherpotentialchallengeofpresentingamodel

focusedonaudienceisthenegativeimplicationofremovingthescholarlycomplexityof

exhibitionssinceacuratororexpertwillnotleadtheprocess.

Astimepasses,thecasestudiesofMoMAandtheMetwillhavedevelopednewdigital

productsthroughtheAgile/scrumprocess,whichwillmakeastrongcaseforotherart

museumstoadoptagileworkmethods.Currentlytheonlywaytomeasureanyprogressfrom

theMetorMoMAwouldbetocomparedigitalproductsofbothinstitutionsbeforeandafter

implementAgile.InthecaseofMoMA,itsmobileapphasrecentlychangedtoaudioguideonly.

Itpreviouslyhadservedseveralfunctions,includingexhibitioninformationandfilmscreenings.

ThechangemayhavebeenaresultfromovercomplicatedfunctionsofthepreviousMoMA

mobileapp.Timepermitting,Iwouldhavelikedtointerviewindividualsfromtheseteamsto

gaingreaterinsightstointotheirteamdynamicsandworkflowwithintheirdepartmentsand

withintheirorganizations.Additionally,itwouldbeinterestingtoinquireaboutthelong-term

goalsofthesedigitalteamsandthenatureofanyothercross-departmentalcollaborations.

In1990,ElaineGurianlistedachangeindemographicsasoneofmanyreasonsa

museummightimplementchange.Today,thepotentialimplementationofAgileProject

ManagementthroughaGeneralistScrumMasterandtheensuingAudienceAdvocatescrum

teamaddressestheneedforadaptingtothechangingdemographicsandsensibilitiesofthe

marketplace.ThegoalofproposingthisnewGeneralistScrumMasterpositionandjob

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descriptionistoaddressnecessaryorganizationchangeinartmuseums,andrecognizewhatis

happeninginthemarketoutsideoftraditionalartmuseums.IbelievethatapplyingAgile

ProjectManagementtoartmuseumsisaviablesolutiontoprovidingbettermuseumofferings

toreflectthechangesinthemarketplaceoftodayandtomorrow.

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AppendixA:AnnotatedBibliographyArmstrong,J.(2017).AgileEvaluation:UserTestingandtheFeedbackLoopfortheRedesignof

MoMA.org.InTheMuseumBlogBook(pp.392-395).Edinburgh,UK:MuseumsEtc. Thisdiversecollectionofblogpostsbymuseumprofessionalsprovidesinsightsinto

topicscurrentlyconcerningthemuseumfield.JackieArmstrong,AssociateEducator,describeshowMoMAisutilizingAgileEvaluationaspartofthemuseum’sprocessintheredesigneffortsforitswebsite.Across-departmentteamof“audienceadvocates”evaluatesiterations/prototypesofMoMA’sredesignedwebsiteeverytwoweeks,beinginclusiveoftheseaudienceadvocatesduringeachstepofprocess.WhilethiscasestudyisspecifictoAgileasamethodofevaluation,itillustratesamajormodernandcontemporaryartmuseumimplementinganaspectofAgileintoitsnormalorganizationaloperations.

Carnall,C.,&Todnem,R.(2014).ManagingChangeinOrganizations(6thed.).Harlow,UK:

Pearson. Carnallillustrates“changearchitecture”bywayofbenchmarking,discovery,andaction

plans.CasestudiesoforganizationchangerangefromNordicInsurancetoFordMotors.NordicInsurancedrasticallyaltereditsorganizationalmodelforhandlingclaimsbyincreasingcallcenterstaff,whilecompletelyeliminatingbackoffice“experts.”Duringthemid-1990s,inanefforttobecomeaglobalautomotivecompetitor,FordMotorsembracedahorizontalstructureofoperations.Asaresult,Ford’soperationsbecamemorestreamlined.ItpreviouslyhadvariousregionaldepartmentsinEuropeandNorthAmerica.Carnalldiscusseswaystoaddvaluetoorganizations.IwillexplorewhatwaysimplementingAgileProjectManagement,whichisawayofstreamliningprocesses,canaddvaluetomuseums.

Collins,J.(2001).GoodtoGreat,WhySomeCompaniesMaketheLeapandOthersDon’t.New

York,NY:HarperBusiness. Collinsandhisresearchteamfollowed“goodtogreat”companiesover15-yeartime-

framesduringvariouserasandcomparedthesecompaniestolesssuccessful“comparisoncompanies.”Collins’researchofgoodtogreatcompaniesprovideshistoricalcontextforwhatdefinesbreakoutsuccessforthesecompanies.Collins’casestudyofgrocerychain,Kroger,illustrateshowKrogerneededtochangeitsoutdatedbusinessmodeltobecomeagreatcompany.Thisleadsmetoaskthequestion:shouldmuseumsadapttheirbusinessmodelstomirrorsuccessfulcompaniesintheprivatesector?

Graham,B.,&Cook,S.(2010).RethinkingCurating,ArtAfterNewMedia.Cambridge,MA:MIT

Press.

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Grahamcitesthecasestudyofa2001newmediaexhibitionatSFMOMAentitled:010101.Thisexhibitionwascollaborativelycuratedbyfourdifferentcuratorialdepartments,withouta“leadcurator.”Theorganizationappearedtobeinconfusionoverroleswithinthedepartmentsofcuratorial,exhibitiondesign,andwebdesign.ThiscasestudyprovidestheframeworkofhowAgileProjectManagementcanbeappliedtointerdisciplinarycuratorialteams,throughtheimplementationofascrummaster,toavoidthe“blurring”ofindividualroles.

Gurian,E.H.(2006).Let’sEmpowerAllThoseWhoHaveaStakeinExhibitions,Abouttheuses,

meaning,andfailingsoftheteamapproach,1990.InCivilizingtheMuseum,theCollectedWorksofElaineHeumannGurian(pp.162-166).NewYork,NY:Routledge.

Guriandiscussestheexhibitionteamapproachconsistingofadvocacypositionsfor

content,design,andaudience.Sometimesteamshaveconflictwhenincludinganexternalcontractor.Thesecross-departmentalexhibitionteamswithaprojectmanagerdrawsimilaritiestoagileteamswithascrummaster.However,GurianliststheproductowneroftheexhibitionastheExecutiveDirector.Thisisusuallynotthecasewithagileteams.Outsideofexhibitionsandcurating,IwillexploreothermuseumdepartmentsthatmaybenefitfromAgileProjectManagement.

Hendrick,C.(2015).TheAgileMuseum:OrganisationalChangeThroughCollecting‘NewMedia

Art.’RetrievedfromUniversityofLeicesterResearchArchive.https://lra.le.ac.uk/handle/2381/36093.

Hendrick’sdissertationresearchestwocasestudiesinEurope,theHarrisMuseumand

ArtGalleryandtheVanAbbeMuseum,todetermineifcorrelationsbetweenmuseumscollectingnewmediaartandchangestotheirorganizationalstructuresexist.Hendrickconcludesthathercasestudiesprovideevidenceinstitutionscollectingnewmediahaveadoptedpracticesofagilityoforganization,curation,andculture.Hendrick’sresearchprovidessupportformyargumenttoimplementAgile,intheshiftfromtraditionalbusinessmodelstoprojectmanagementmethodsofoperation.

Highsmith,J.(2010).AgileProjectManagement,CreatingInnovativeProducts(2nded.).K.

Gettman(Ed.).UpperSaddleRiver,NJ:Addison-Wesley. Highsmith,co-authorofearlyAgiledoctrines:ManifestoforAgileSoftwareDevelopment

andtheDeclarationofInterdependence,providescomprehensivedescriptionsoftheAgileProjectManagementprocessthroughthecontextof“opportunities,values,frameworks,andpractices.”Highsmithemphasizesreplacingtheoutdated“IronTriangle”approachtoperformancemeasurement,whichfocusesprimarilyonscope,thencostandschedule,withthe“AgileTriangle,”whichfocusesprimarilyonvalue,thenqualityandconstraints.Highsmithplacesvalue/customersbeforetheconstraintsof“scope,schedule,andcost.”Aspectsofadapting,productreleases,andscalinguparealsomentioned.InproposingAgileProjectManagementinthemuseumsetting,itis

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importanttoidentifytheopportunitiesofinnovatingproductsandserviceswithrelationtothemuseum.Agileisaniterativeprocess.Curatingisaniterativeprocess.WillimplementingAgileintoCuratorialpracticeresultinmorevisitor-centeredexhibitions?

Janes,R.R.,(2013).MuseumsandtheParadoxofChange(3rded.).NewYork,NY:Routledge. Janes,formerPresidentandCEOoftheGlenbowMuseuminCalgary,Alberta,draws

uponhisexperiencesattemptingtoturnaroundamuseuminfinancialturmoilafterdrasticcutstofunding.Thisworkexplainsthechallengesofimplementingchangeinmuseumsandnon-profitorganizationsfromamanagementperspective.Glenbow’sprimarychallengeswereitsdependenceongovernmentfunding.However,otherissuesthatplaguedthemuseumincludedlayoffs,restructuringcosts,andrigidseniorstaff.Implementingmajororganizationalchange,suchasashiftfromaverticalhierarchytoamorehorizontalprojectmanagementapproachmaybedifficult.ThesechallengesfacingmuseumsmaybeadeterrenttoorganizationalchangeandimplementationofAgileProjectManagementthatshouldbeaddressed.

Larsen,D.,&Nies,A.(2016).Liftoff,StartandSustainSuccessfulAgileTeams(2nded.).K.Dvorak

(Ed.).Raleigh,NC:PragmaticBookshelf.

LarsenandNiesprovidestrategiesforlaunchingsuccessfulagileteamsfromtheinitialmeeting,alsoreferredtoasa“liftoff.”OnesuchstrategyincludesAgileChartering,inwhichexpectations,roles,andstakeholdersareidentifiedamongstteammemberspriortoandduringaliftoff.Thestrategiesdescribedhereprovidestep-by-stepguidelinesforimplementinganagileteamfromitsliftoff,whichprovidesthebasisofmyproposalforinitialimplementationofagileinamuseumsetting.Myproposalwilldefinerolesofascrummaster,teammembers,andstakeholderstoahypotheticalmuseumagileteamscenario,loosely-basedontheliftoffguidelineslistedbyLarsenandNies.

MitroffSilvers,D.(2017).FiveStepsforEmbeddingDesignThinkinginaMuseum.InThe

MuseumBlogBook(pp.154-163).Edinburgh,UK:MuseumsEtc. MitroffSilversexaminesthecase-studyoftrainingsshedeliveredattheDenver

MuseumofNature&SciencestodescribehowthemuseumembeddedDesignThinkinginordertobecomemorerelevanttotheDMNScommunity.DesignThinkingfacilitatesdesignprocessthathasbeenaroundfordecades,buthasonlyrecentlybeenadoptedbythemuseumfield.IwilldescribethedifferencesbetweenDesignThinkingandAgileforapplicationsinmuseums.

Paulini,P.,MitroffSilvers,D.,&Proctor,N.(2015).Technologiesforculturalheritage.InRizzo,

I.,&Mignosa,A.(Eds.).HandbookontheEconomicsofCulturalHeritage(pp.272-289).Camberley,UK:EdwardElgar.

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MitroffSilversdescribesSFMOMA’swebsiteanddigitaloperationsindetail.Certainaspectsofthewebsitesufferedfromlackoffunding,suchastheteachers’curriculumportal.Participationfromdepartmentsoutsideofthemuseum’swebteamincontentproductionincludedstafffromEducation,Marketing,Membership,andCollectionsInformationAccess.Themuseumoutsourcedseveralaspectsofwebproduction,includinguserexperiencedesign.HowwouldSFMOMAhavebenefittedfromanin-houseuserexperiencedesignerwithexperienceinagileorothercontemporarydesignapproach?WouldanagileteamdevelopingSFMOMA’swebsitehaveaninfluenceontheorganizationoutsideofdigital?

Ries,E.(2011).TheLeanStartup,HowToday’sEntrepreneursUseContinuousInnovationto

CreateRadicallySuccessfulBusinesses.NewYork,NY:CrownBusiness. AccordingtoRies(2011),LeanStartup“buildsuponmanypreviousmanagementand

productdevelopmentideas,includingleanmanufacturing,designthinking,customerdevelopment,andagiledevelopment.”(p.4)Riesdescribesmeasuresofsuccessinleanthinking,suchasvaluethatrendersallelseaswaste,asinadequateformeasuringsuccessinstartups.Riesemphasizes“validatedlearning”throughdatacollectionfromcustomers.LeanStartup’sBuild-Measure-LearnfeedbackloopdrawssimilaritiestoAgile’sprocessofdevelopmentthroughtwo-weekiterativesprints.ComparingLean,Agile,andDesignThinkingwillprovideforanoverviewofproductandservicedevelopmentmethodsthatmuseumscanusetodetermineifeitherwillhelpthefieldincreatinginnovativemuseumexperiences.

Samis,P.,&Michaelson,M.(2017).CreatingtheVisitor-CenteredMuseum.NewYork,NY:

Routledge. Thiscollectionofcasestudiessurroundingthetopicofchangethrough“visitor-centered

approach”inexhibitions,inordertoreachwideraudiences,and“structuralchange,”whereorganizationssteerawayfromverticalstructurestofacilitatebettercollaboration.TheVanAbbeMuseum,alsoacasestudyofCatharinaHendrick(seeabove),hasimplemented“radicalhospitality”toitsethos.SamisprovidesotherexamplesoftheVanAbbeeffortsofbecomingvisitor-centered,suchashiringanexperiencedesigner,creatinganimmersiveElLissitzyexhibition,andprovidingspaceforaudience/visitorcommentsonwalllabels.ItwouldbeinterestingtoseeifthereisacorrelationofinstitutionspracticingAgileProjectManagementandvisitor-centeredinitiatives.

Simon,N.(2016).TheArtofRelevance.SantaCruz,CA:Museum2.0. Simonsharespersonalstoriesandanecdotestodeliverherthoughtsonrelevance.

Simonquotescognitivescientists,DeirdreWilsonandDanSperber,asdefiningrelevanceto“yieldpositivecognitiveeffect.”Withregardstothisquote,Simonstatesthatforsomethingtoberelevant,ithastooffersomethingnew,andithastomatter.

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Simondescribesthe“paradoxofrelevance”throughtheanecdoteofhavingtherightkeytotherightdoor.It’ssimplynotenoughtohavecommunityinvolvementwiththemuseum,butthemuseum’scontentmustalsooffersomethingnewandmattertothatcommunity.SinceAgileProjectManagementplacesafocusonvalue(customers),wouldadoptingthisworkmethodologyrootedinsoftwareandproductdevelopmentrenderamuseummorerelevanttoitspatrons?Canmuseumexperiencesbedesignedfromsimilarmethodologiesutilizedinsoftwaredevelopmenttobecomemorerelevanttoamuseum’scommunity?

Verzuh,E.(2016).TheFastForwardMBAinProjectManagement(5thed.).Hoboken,NJ:Wiley. Verzuhprovidesanoverviewofbase-levelprojectmanagement,whileintroducing

projectmanagementmethodslikeLeanStartupandAgile.Topicscoveredincluderiskmanagement,scheduling,stakeholderroles,teamassembly,etc.BeforepresentingordiscussingAgileProjectManagement,itisimperativetomentionprojectmanagementinabroadercontext.ThistextwillallowmetointroducethefundamentalsofprojectmanagementbeforedivingheavilyintoAgileProjectManagementmethodsandterminology.

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AppendixB:ProjectStakeholdersAudienceAdvocates:Thesestakeholdersconsistofanamalgamationofdepartmentsthatisrepresentativeofthemuseum’saudience.ThisteamincludesstafffromMembership,Education,Marketing,etc.BoardofTrustees:ProjectrequiresBoardapprovaltoimplementnewposition.Curators:Curatorsmayormaynotfavorinitiatinganewexhibitionshybridteam.Dependingonthepersonalviewsofthecurator,theymaybereluctanttowelcomeateamthatdesignsexhibitionsinwhichthecuratorisnotthecentralauthority.DesignTeam:Designerswillbeembeddedinscrumteamstodevelopgraphicand/orvisualdesignforproductsandservices.EducationandPublicProgramsDepartment:ThisdepartmentwillworkinanAgilemethodofproductandservicedevelopment.Additionaltrainingwillberequiredofthisstaff.ExecutiveDirector:Theinstitution’sleaderneedstobeincompliancewiththegoalsofthisnewpositioninordertothe3-yearstrategytobesuccessful. ExternalVendors:Todevelopdigitalproducts,amuseumcontractssoftwareengineers.Theaccelerateddigital(website/mobileapp)updateswillrequireflexibilitywithsoftwareengineers.Currentvendorwillneedtobere-evaluated.ExhibitionsTeam:StafffromthecurrentExhibitionsTeamwillbeaskedtoparticipateandcontributetotheExhibitionsHybridTeam,organizedbytheGeneralistScrumMaster.GeneralistScrumMaster:ThisindividualisatthefocalpointofimplementingorganizationalchangetowardsanAgileprocess.HeadofDigital:TheGeneralistScrumMasterreportstotheHeadofDigital.TheHeadofDigitalwillensuretheGeneralistScrumMaster’sprojectsremaininlinewiththemuseum’smissionstatement.TheHeadofDigitalisresponsibleforsubmittingthejobproposalandattributesaresenttoHumanResources.HumanResources:HumanResourceswillscreenandvetcandidatesfortheroleofGeneralistScrumMaster.HumanResourceswilldeterminethesalaryofthisrolebasedoncomparablewagesandcandidate’sexperience.Marketing:TheGeneralistScrumMasterpositiondemonstratesashiftattheinstitution’sdirection.Thispresentsanopportunityforthemuseumtorebranditselfinprint/onlinepublicationsandmuseumconferences.

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Operations:StafffromOperationswillcontributetotheExhibitionsHybridTeamtoofferinsightsonbudgeting,installation,fabrication,etc.Visitors:Visitorsarethemainprojectbeneficiaries.Thescrumteamsaimtoprovideimpactfulvisitor-centeredexperiences.

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AppendixC:GlossaryofTermsAgileCoach:AnindividualtrainedinAgilemethods,butnotnecessarilycertified.AgileProjectManagement:Advancedprojectmanagementmethodthatcovers“opportunity,

values,frameworks,andpractices”(Highsmith,p.xxix).CertifiedScrumMaster:AscrummasterthatcompletedanofficialCertifiedScrumMaster

certification.ThesecertificationcoursesareavailablethroughuniversityextensionprogramsfromtheUniversityofCalifornia,BerkeleyandSanFranciscoStateUniversity.AnintroductoryprojectmanagementcourseisaprerequisitetotakeAgilecourses.

ChangeArchitecture:Theexaminationof“howchangeprogrammesareconstructed”(Carnall,

p.10).DesignThinking:A5-stepdesignprocess:“empathize,define,ideate,prototype,andtest”(Jen,

np).Disruption:Theuseofdisruptivetechnologytosupplantcompetitors(Christensen,p.xi).Empathy:Understandinghowsomeoneelsethinks(Young,p.vii).Empathy-basedprocess:Aprocessrootedinhowothersthink,inrelationtoyourproductor

service.Liftoff:Similartoa“kickoff”meeting,whereindividualscometogetherinitiallytocollaborateon

“initialintentions,approach,andplans”(LarsenandNies,p.xi).ServantLeadershipStyle:IntheLinkedin.comarticle,“ServantLeadershipinProject

Management,”byTanvirAhmed:“projectmanagersputtheteamfirstandstrikeabalancebetweenprojectparameters,businessobjectivesandinterestoftheteam.”

SharingEconomy:Synonymfora“CollaborativeConsumption”economy(BotsmanandRoo,p.

xv).Sprints:Adesignsprintwhereideasare“tested,built,andlaunched…”inahighlyaccelerated

environment(Knapp,p.6).

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MoMA.org.InTheMuseumBlogBook(pp.392-395).Edinburgh,UK:MuseumsEtc.Botsman,B.,&Rogers,R.(2010).What’sMineisYours:TheRiseofCollaborativeConsumption.

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Pearson.Christensen,C.(2016).TheInnovator’sDilemma:WhenNewTechnologiesCauseGreatFirmsto

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meaning,andfailingsoftheteamapproach,1990.InCivilizingtheMuseum,theCollectedWorksofElaineHeumannGurian(pp.162-166).NewYork,NY:Routledge.

Gurian,E.H.(2006).TurningtheOceanLinerSlowly,Abouttheprocessofchangeinlarger

institutions,1990.InCivilizingtheMuseum,theCollectedWorksofElaineHeumannGurian(pp.76-81).NewYork,NY:Routledge.

Hendrick,C.(2015).TheAgileMuseum:OrganisationalChangeThroughCollecting‘NewMedia

Art.’RetrievedfromUniversityofLeicesterResearchArchive.https://lra.le.ac.uk/handle/2381/36093.

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