0 * museums survey report Digitized by the Internet Archive in 2015 https://archive.org/details/museumsusasurveyOOnati MUSEUMS USA: A SURVEY REPORT Research conducted by NATIONAL RESEARCH CENTER OF THE ARTS An affiliate of Louis Harris and Associates, Inc. under contract to the NATIONAL ENDOWMENT FOR THE ARTS For sale by the Superintendent of Documents, U.S. Government Washington, D.C. 20402 - Price $7.70 Stock Number 036-000-00025-2 Printing Office FOREWORD The National Endowment for the Arts gratefully acknowledges the support and participation of museum professionals throughout the country who helped make this report possible. It is hoped that these findings will provide a sound basis for future consideration not only of the role of museums, but all of this country's cultural organizations, the interrelationships between these institutions, and the groups and individuals concerned with their support, their vitality and their future. Museums USA: A Survey Report nas been prepared by the National Research Center of the Arts, Inc., which under contract to the Endowment undertook the research for this project. The Endowment itself has prepared and published Museums USA: Highlights , a pamphlet summarizing some of the key findings of this study, and Museums USA , a 200-page publication presenting detailed findings in narrative and graphic format. All three publications are available from the Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402. National Endowment for the Arts Washington, D.C. January 1975 TABLE OF CONTENTS Page LIST OF TABLES INTRODUCTION i CHAPTER I: THE FORMATION, CHARACTERISTICS AND DISTRIBUTION OF MUSEUMS I The Formation of Museums 3 Characteristics of Museums 7 Museum Classification 7 Museum Size 10 Governing Authority 13 Region 15 CHAPTER II: PURPOSES AND FUNCTIONS OF MUSEUMS 19 Importance of Purposes and Functions 22 Priorities Among Purposes 30 Art Museums 33 History Museums 35 Science Museums 37 Priorities Among Functions 39 Art Museums 41 History Museums 43 Science Museums 45 Implications of Purposes and Functions 47 CHAPTER III: PROGRAMS 49 Educational and Cultural Activities 51 People Who Conduct Educational and Cultural Activities 58 Cooperation with Schools 62 Joint Programs with Universities or Colleges 69 Publications 72 Level of Educational Activities 74 Level of Research Activity 80 CHAPTER IV: COLLECTIONS AND EXHIBITIONS 85 Special Exhibitions 95 Loans by the Museums 107 Rental of Objects 120 (continued) TABLE OF CONTENTS (continued) Page CHAPTER V: ACCESSIBILITY AND ATTENDANCE 125 Attendance 127 Interest in Larger Audiences 135 Efforts to Attract Specific Groups 140 Membership 144 Admission Policy 148 Accessibility of Museums 160 CHAPTER VI: PERSONNEL 173 Number of Full-time Personnel 175 Characteristics of Full-time Personnel in All Museums 180 Characteristics of Full-time Personnel by Museum Classification 183 Minority Employment in Professional Positions 185 A More Detailed Look at Salary Levels 189 Fringe Benefits and Perquisites Offered or Available to Staff. 191 Senior Personnel 196 The Museum Director 225 The Need for Additional Staff 254 Adequacy of Training and of Salaries 266 Part-Time Employees 276 Volunteers 281 Additional Tables 287 CHAPTER VII: TRUSTEES 293 Museums With Boards 295 Composition of Museum Boards 298 Representativeness of the Board 300 Occupations of Trustees 310 Selection of Trustees 312 Contributions Made to Museum by Trustees 315 Length of Service of Trustees 322 Meetings of the Board and Its Executive Committee 328 Participation of Staff in Board Meetings 332 Trustees' Involvement in and Knowledge of Museum Activities.... 336 Decision-making 341 CHAPTER VIII: FACILITIES 355 Ownership of Buildings and Space 369 Exhibition and Storage Areas 372 Storage Areas 384 Other Museum Facilities 391 Adequacy of Other Facilities 395 Revenue from Facilities 400 TABLE OF CONTENTS (continued) Page CHAPTER IX: FINANCES AND BUDGET 407 Income in Fiscal 1971-1972 410 Specific Sources of Private Support 417 Operating Revenues 423 Non-operating Revenues 430 Specific Sources of Support from the Public Sector 433 Operating Expenditures in Fiscal 1971 -1 972 439 Percentage Distribution of Income and Operating Expenditures.. 443 Summary of Income and Operating Expenditures in Fiscal 1971- 1972 445 Extraordinary Expenditures 452 Current Fund Balances 455 Percentage of Museums with Positive or Negative Current Fund Balances 459 Funds Other Than Current Funds 462 Fund Balances of All Funds Other Than Current Funds 464 Additions to Balances of All Funds Other Than Current Funds... 466 Deductions from Balances of All Funds Other Than Current Funds 468 Endowment Fund Balances 470 Additions to Endowment Fund Balances 473 Deductions from Endowment Fund Balances 475 Similar Fund Balances 477 Unexpended Land, Buildings, Equipment and Collection Funds.... 481 Museum Practices Related to the Budget 486 Endowment Fund Policies 493 Spending of Principal 497 Use of Capital Gains on Endowment Funds 499 Income Needs 504 Changes in Operating Costs Since 1966 510 Distribution of Current Operating Budget Among Program Areas.. 515 Adequacy of Current Operating Budget 517 Short-term Needs 520 Long-term Needs 524 Attitude of Board Towards Debt 534 Confidence in Sources of Income in Future 536 Support from the National Endowment for the Arts and Other Programs Museum Directors Believe Should Receive Support... 540 Importance of Various Income Sources in the Future 546 CHAPTER X: SUMMARY 549 APPENDIX I: QUESTIONNAIRE APPENDIX II: SAMPLING PROCEDURES INDEX LIST OF TABLES Page INTRODUCTION 1. Categorization of Museums by Classification, Budget Size, Governing Authority, Region and Size within Major Classifications xi CHAPTER I: THE FORMATION, CHARACTERISTICS AND DISTRIBUTION OF MUSEUMS 2. Year in Which Museum Was Founded 5-6 3. Classification of Museums 8 4. Budget Size of Museums 11 5. Distribution of Number of Museums by Budget Cateaory and Proportion of Total Operating Expenditures 13 6. Governing Authority of Museums 14 7. Regional Distribution of Population, Number of Museums and Total Attendance 16 8. Regional Distribution of Museums by Size and by Classification 17 CHAPTER II: PURPOSES AND FUNCTIONS OF MUSEUMS 9. Selected Purposes Considered Very Important by Museum Directors 23-24 10. Selected Functions Considered Very Important by Museum Directors 27-28 11. Directors' Evaluation of the Two Purposes Most Important to Themselves, to the Public and to Trustees; and Most Successfully Satisfied by Their Museums 32 12. Art Museum Directors' Evaluation of the Two Purposes Most Important to Themselves, to the Public and to Trustees; and Most Successfully Satisfied by Their Museums 34 13. History Museum Directors' Evaluation of the Two Purposes Most Important to Themselves, to the Public and to Trustees; and Most Successfully Satisfied by Thei r Museums 36 14. Science Museum Directors' Evaluation of the Two Purposes Most Important to Themselves, to the Public and to Trustees; and Most Successfully Satisfied by Thei r Museums 38 15. Directors' Evaluation of the Two Functions Most Important to Themselves, to the Public and to Trustees; and Most Successfully Satisfied by Their Museums 40 16. Art Museum Directors' Evaluation of the Two Functions Most Important to Themselves, to the Public and to Trustees; and Most Successfully Satisfied by Their Museums 42 LIST OF TABLES (continued) Page 17. History Museum Directors' Evaluation of the Two Functions Most Important to Themselves, to the Public and to Trustees; and Most Successfully Satisfied by Their Museums 44 18. Science Museum Directors' Evaluation of the Two Functions Most Important to Themselves, to the Public and to Trustees; and Most Successfully Satisfied by Their Museums 46 CHAPTER III: PROGRAMS 19. Frequency of Educational and Cultural Activities 20. Who Conducts Educational and Cultural Activities 21. Whether School Programs Were Prepared for Elementary or Secondary School Pupils, or Both 22. Whether School Programs Were Planned in Close Cooperation with School Authorities or Developed by Museum on Its Own and Then Offered 23. Whether School Programs Were Supplemented by Pre- paratory or Follow-up Activity in the Schools 24. Whether Museum Has Joint Programs, or Is Affiliated, with Universities or Colleges 25. Joint Programs Museum Has with University or College... 26. Materials Published by Museum during Fiscal 1971-1972.. 27. Most Important Educational Activities Regularly Scheduled by Museum 28. Whether Educational Activities Have Increased or Decreased since 1966 29. Areas in Which Additions Have Been Made to Educational Activities since 1966 30. Level of Research Activity in Museum 31 . Whether Museum Undertook or Sponsored Any Formal Research Projects during Fiscal 1971-1972 52-55 59-61 63 65-66 68 70 71 73 75 77 79 81 83 CHAPTER IV: COLLECTIONS AND EXHIBITIONS 32. Percentage of Permanent Collection That Is Museum's Own Property by Legal Title 88 33. Average Percentage of Total Permanent Collection Exhibited in Fiscal 1971-1972 89 34. Percentage of Total Permanent Collection Exhibited in Fiscal 1971-1972 90 35. Proportion of Collection That Was Not Exhibited in Fiscal 1971-1972 by Reason for Not Being Exhibited 92 36. Whether Collections in Storage Were Used for Research by Scholars Not on Museum Staff, Fiscal 1971-1972 94 37. Whether Museum Had Special Exhibitions in Fiscal 1971- 96 LIST OF TABLES (continued) 38. Whether Museum Would Like Special Exhibitions and, if So, Reasons It Is Unable to Offer Them 39. Number of Special Exhibitions Shown during Fiscal 1971- 1972 40. Aside from General Admission, Does Museum Ever Charge for Special Exhibitions 41. Number of Special Exhibitions Developed by the Museum in Fiscal 1971-1972 42. Number of Special Exhibitions Developed by Outside Sources in Fiscal 1971-1972 43. Sources of Special Exhibitions Received on Loan 44. Whether Museum Exhibited in Fiscal 1971-1972 Any Individual Objects or Specimens Borrowed on a Short- Term Basis 45. Sources of Individual Objects or Specimens Loaned to Museums 46. Whether Museum Sent Out Traveling Exhibitions in Fiscal 1971-1972 47. Number of Traveling Exhibitions Sent Out in Fiscal 1971 -1972 48. Where Museum Sent Traveling Exhibitions in Fiscal 1971- 1972 49. Whether Museum Made Objects or Materials Available on Loan to Storefront or Community-based Museums 50. Whether Museum Is Planning to Make Objects or Materials Available on Loan to Storefront or Community-based Museums 51. Reasons Why Museum Is Not Planning to Make Objects or Materials Available on Loan to Storefront or Community- based Museums 52. Whether Museum Is Engaging More or Less Frequently, Compared with 1966, in the Borrowing and Loaning of Objects and Collections 53. Reasons Why Museum Is Engaging Less Frequently in the Borrowing and Loaning of Objects and Collections 54. Importance in Exchange of Objects of Climate Control and Security in the Receiving Museum 55. Whether Museum Rented Objects to Outside Organizations or Individuals during Fiscal 1971-1972 56. To Whom the Museum Rented Objects during Fiscal 1971- 1972 57. Total Amount Received from Rental of Objects in Fiscal 1971 -1972 58. Whether Museum Has Plans for Renting Its Objects 59. Reasons Museum Does Not Have Plans for Renting Its Objects Page 97 99 101 103 104 105 106 107 108 109 110 112 114 115 117 118 119 121 122 122 123 124 LIST OF TABLES (continued) CHAPTER V: ACCESSIBILITY AND ATTENDANCE Paje 60. Ranges of Attendance in Fiscal 1971-1972 61. Attendance in Fiscal 1971-1972 62. Proportion of Total Attendance by Type of Attendance 63. Groups to Which Regular Museum Activities Are Primarily Directed 64. Interested in Seeing More People Come to Museum or Is Museum Unable to Handle More People Than Are Already Attending 65. Does Museum Use Advertising or Publicity to Attract Larger Attendance by General Public to See Permanent Col lection 66. What Is Museum Doing to Attract Larger Attendance by General Public 67. Made Special Efforts to Attract Particular Groups 68. What Specific Steps Have Been Taken to Increase Attendance Among Groups 69. Does Museum Have Paid Membership 70. Number of Paid Members, Both Individuals and Organizations 71. Membership Fee for Category Which Had Largest Number of Members 72. What Is Regular Museum Policy about Charging Admission.. 73. Admission Policies (Fixed Fee, Requested Donation) for Specific Groups 74. Is Museum Open at Least One Day a Week with No Charge... 75. How Long Has Museum Been Charging an Admission Fee or Asking for a Donation 76. Did Museum Conduct Any Research on Admission Fees Before Instituting Charges 77. What Type of Research on Admission Fees Was Conducted... 78. Directors' Evaluation of What Effect Charging Admission Fee or Asking for Donation Has or Would Have on Total Attendance at Museum 79. Do You Feel Charging Admission Has Changed, or Would Change, Composition of Your Museum's Attendance 80. Kind of Change in Audience Composition Charging Admission Would (or Did) Cause 81. Number of Months Museum Was Open to Public 82. Months of Year during which Museum Closed for at Least Two Weeks 83. Number of Hours Per Week, on Average, Museum Was Open to Publ i c 84. Whether Museum Was Open More or Fewer Hours in Fiscal 1971-1972, Compared with 1966 85. During Which Days of Week Was Museum Open before 6 P.M.. 86. Museums Open at Least One Evening a Week 87. During Which Evenings of Week Was Museum Open 88. Why Was Museum Not Open to Public Any Evenings 89. Has Museum Ever Tried Opening in the Evening 90. Why Did Museum Stop Opening in Evenings 129 130 133 134 135 137 139 141 143 145 147 148 149 151 152 152 154 154 156 158 159 160 161 162 163 164 166 167 168 169 170 LIST OF TABLES (continued) Page CHAPTER VI: PERSONNEL 91 . 92 . 93 . 94 . 95 . 96 . 97 . 98 . 99 . 100 . 101 . 102 . 103 . 104 . 105 . 106 . 107 . 108 . 109 . 110 . Ill . 112 . 113 . 114 . 115 . 116 . 117 . 118 . 119 . 120 . 121 . 122 . 123 . Number and Distribution of Permanent Full-Time Personnel Number of Full-Time Permanent Personnel Compared with Number of Museums Characteristics of Permanent Full-Time Personnel Characteristics of Permanent Full-Time Personnel by Museum Classifications Has Museum Made Any Special Efforts over Past Four or Five Years to Broaden Minority Employment in Professional Staff Positions Does Museum Have Adequate Representation of Minority Groups on Professional Staff Average Annual Salary - Full-Time Permanent Personnel.... Fringe Benefits Offered Full-Time Paid Personnel Perquisites Offered or Available to Any of Museum Staff.. Job Category of Senior Personnel Just below Director How Long Held Current Position: Senior Personnel How Long Held Current Position: Senior Personnel (by Budget Size within Major Classifications) Years of Experience in Museum or Related Work: Senior Personnel Years of Experience in Museum or Related Work: Senior Personnel (by Budget Size within Major Classifications).. Age: Senior Personnel Ethnic Group: Senior Personnel Sex: Senior Personnel Highest Grade of School Completed: Senior Personnel Formal Education that Directly Relates to Job: Senior Personnel Type of Formal Education That Directly Relates to Job: Senior Personnel Job Status: Senior Personnel Union Membership: Senior Personnel Annual Salary: Senior Personnel Average Annual Salary: Senior Personnel Average Annual Salary of Senior Personnel by Sex Average Annual Salary of Senior Professional Personnel by Sex How Long Held Current Position, and Years of Experience in Museum or Related Work: Director Age: Director Ethnic Group: Director Sex: Director Highest Grade of School Completed: Director Formal Education that Directly Relates to Job: Director. Type of Formal Education that Directly Relates to Job: Di rector 177-178 180 181 184 186 188 190 192 194 197 199 200 201 202 204 206 208 210 212 214 217 219 221 223 224 225 226 228 230 232 234 236 238 LIST OF TABLES (continued) 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. Pa^e Job Status: Director Union Membership: Director Annual Salary: Director Average Annual Salary: Director Average Annual Salary of Director by Sex Major Functions of Director Activity that Should Be One Most Important Responsibility of Director/First or Second Most Important Responsibility of Director Time Spent by Director on Various Activities Not Enough Staff in Different Job Categories Job Areas in Which More Staff are Needed -- Curatorial/ Display/Exhibit Job Areas in Which More Staff are Needed -- Education.... Job Areas in Which More Staff are Needed -- Operations and Support Job Areas in Which More Staff are Needed -- Administration Academic and/or Other Training Considered Adequate in Functional Categories; Salaries Considered Adequate Are There Job Categories It Would Be Difficult to Fill Because of a Lack of Trained or Experienced Personnel, Assuming High Enough Salaries Could Be Offered What Job Categories Would Be Difficult to Fill Because of a Lack of Trained or Experienced Personnel Whether Museum Has Formal Program for In-Service Training of Own Staff Training Programs for Museum Personnel Other Than Own Staff, and Number of Individuals Completing Those Programs in Fiscal 1971-1972 Number and Distribution of Part-Time Personnel Comparison of Number of Part-Time and Full-Time Paid Permanent Personnel Number and Distribution of Volunteers Number of Volunteers, Full-Time Paid and Part-Time Paid Personnel Characteristics of Permanent Full-Time Personnel -- Art Museums Characteristics of Permanent Full-Time Personnel -- History Museums Characteristics of Permanent Full-Time Personnel -- Science Museums Average Annual Salary -- All Personnel 240 242 244 246 247 248 250 252-253 256 259 261 263 265 267 269 270 272 274 277-278 280 282-283 285 289 290 291 292 CHAPTER VII: TRUSTEES 150. Museums with Board of Trustees or Equivalent Overseeing Body 151. Governing Bodies of Museums That Do Not Have Board of Trustees or Equivalent Body 297 LIST OF TABLES (.continued) Page 152. Characteristics of Members of Boards of Trustees 299 153. Whether Broadening Representativeness of Board of Trustees Is a Good or Bad Idea 301 154. Reasons Why Broadening Representativeness of Board of Trustees Is a Good or Bad Idea 303 155. Whether Changes Have Been Made since 1966 to Broaden Representativeness of Board of Trustees 305 156. Kinds of Changes Made since 1966 to Broaden Representa- tiveness of Board of Trustees 306 157. Whether Director Feels Board of Trustees Has Adequate Representation 308 158. Whether Museum Has Plans for Changes to Broaden Repre- sentativeness of Board of Trustees and Kinds of Changes Planned 309 159. Occupations of Members of Boards of Trustees 311 160. Reasons for Selection of Trustees That Apply to Current Board 313-314 161. Proportion of Private Contributions to Museums Made by Trustees in Fiscal 1971-1972, Compared with 1966 316 162. Degree of Influence on Selection of New Members of Board of Trustees 318-319 163. Methods of Choosing Trustees 321 164. Terms of Trustees on Board 323 165. Number of Terms Usually Served by Trustees 325 166. Length of Time Current Trustees Have Been Members of Board 327 167. Frequency of Regular Meetings of Board of Trustees 329 168. Existence of Executive Committee of Board of Trustees... 331 169. Frequency of Meetings of Executive Committee 331 170. Participation of Directors in Board of Trustees 333 171. Frequency of Attendance of Staff at Board of Trustees Meetings 333 172. Evaluation by Directors of Professional Museum Staff's Understanding of Functions and Responsibilities of Board of Trustees 335 173. Evaluation by Directors of Involvement of Board of Trustees in Non-Financial Programming Decisions 337 174. Evaluation by Directors of How Well Informed Board of Trustees Is about Museum's Financial Situation, Programs and Operations 339 175. Directors' Evaluation of How Well Informed Board Is about Programs and Operations of Museum, Compared with Evaluations of How Well Staff Understands Board 340 176. Responsibility for Determining Annual Budget of the Museum 342 177. Responsibility for Deciding How Much to Spend from Endowment 344 178. Responsibility for Determining Capital Improvement Needs and Organizing Capital Drives 346 179. Responsibility for Making Financial Judgments on Major Acquisitions 348 180. Responsibility for Making Quality Judgments in Selecting Objects for Acquisition 349 LIST OF TABLES (continued) Page 181. Responsibility for Planning 11a jo r Exhibitions and Programs 351 182. Responsibility for Setting Staffing Requirements 353 CHAPTER VIII: FACILITIES 183. Year in Which Primary Facilities Currently in Use Were Built 359-360 184. Year(s) in Which Other Separate Facilities Were Con- structed or Acquired 362-363 185. Year(s) in Which Major Additions to Existing Structures Were Completed 365-366 186. Year(s) in Which Major Renovations Were Completed 367-368 187. Owners of Buildings and Space of Museums Governed by Private Non-profit Organizations 370 188. Rent Paid by Private Non-profit Museums That Do Not Entirely Own Their Buildings and Space 371 189. Private Non-profit Museums Whose Owned Buildings and Space Are Mortgaged 371 190. Adequacy of Exhibition Area 373-380 191. Whether Museum Owns or Rents Any Mobile Units Sent Out in Fiscal 1971-1972 383 192. Adequacy of Storage Area for Museum Collection 385-389 193. Existence of or Need for Facilities 392-394 194. Adequacy of Other Facilities 396-399 195. Does the Museum Rent Its Facilities to Outside Individuals or Groups 401 196. Why Does Museum Not Rent Its Facilities to Outside Individuals or Groups 402 197. Does Museum Rent Only to Non-profit Organizations 403 198. Why Does Museum Rent Only to Non-profit Organizations.. 403 199. For What Purposes Does Museum Rent Its Facilities to Outside Groups 404 200. Are Alcoholic Beverages Regularly for Sale Within the Museum 405 201. Why Are Alcoholic Beverages Not for Sale in the Museum. 406 CHAPTER IX: FINANCES AND BUDGET 202. Total Income in Fiscal 1 971-1972 412-413 203. Sources of Private Support in Fiscal 1971-1 972 418-421 204. Operating Revenues in Fiscal 1971-1972 424-427 205. Non-Operating Revenues in Fiscal 1971-1 972 431-432 206. Support from the Public Sector in Fiscal 1971-1972 434-437 207. Operating Expenditures in Fiscal 1971-1972 441-442 208. Percentage Distribution of Income and Operating Expenditures in Fiscal 1971-1972 444 209 . Summary of Income and Operating Expenditures in Fiscal 1971-1972 446-447 LIST OF TABLES (continued) Page 210. Percentage of Museums with Positive or Negative Income Positions and the Dollar Amounts Inyolyed, Fiscal 1971- 1972 449-450 211. Extraordi nary Expenditures from Current Funds in Fiscal 1971-1972 453-454 212. Current Fund Balances in Fiscal 1971-1972 457-458 213. Positive or Negative Current Fund Balances, the Beginning and End of Fiscal 1971-1972, and Museums With Balances 460-461 214. Fund Balances of All Funds Other Than Current Funds in Fiscal 1971-1972 465 215. Additions to Fund Balances of All Funds Other Than Current Funds in Fiscal 1971-1972 467 216. Deductions from Fund Balances of All Funds Other Than Current Funds in Fiscal 1971-1972 469 217. Endowment Fund Balances in Fiscal 1971-1972 471-472 218. Additions to Endowment Fund Balances in Fiscal 1971- 1972 474 219. Deductions from Endowment Fund Balances in Fiscal 1971- 1972 476 220. Similar Fund Balances in Fiscal 1971-1 972 478 221. Additions to Similar Fund Balances in Fiscal 1971-1972. 479 222. Deductions from Similar Fund Balances in Fiscal 1971- 1972 480 223. Unexpended Land, Buildings, Equipment and Collections Fund Balances in Fiscal 1971-1972 482 224. Additions to Unexpended Land, Buildings, Equipment and Collections Fund Balances in Fiscal 1971-1972 483 225. Deductions from Unexpended Land, Buildings, Equipment and Collections Fund Balances in Fiscal 1971-1972 484 226. Directors' Evaluation of How Successful Museum Has Been in Controlling Costs 487 227. Does Museum Make Full Use of Various Business Techniques 489 228. Does Museum Have an Endowment 494 229. What, if Any, Proportion of Endowment Is Restricted as to Its Use 496 230. Can Principal of Any Amount Recorded as Endowment Be Expended upon Designation by the Trustees and, if So, What Proportion 498 231. On What Proportion of Endowment Principal Can Currently Realized Capital Gains Be Used for Current Income Purposes 500 232. Whether Capital Gains on the Endowment Were Realized During Fiscal 1971-1972 and, if So, Used for Current Income Purposes 501 233. Whether Director Approves or Disapproves of Use of Capital Gains as Part of Endowment Income 502 234. Reasons Director Approves or Disapproves of Use of Capital Gains as Part of Endowment Income 503 LIST OF TABLES (continued) Page 235. Directors' Evaluation of Attitude of Board of Trustees Regarding Use of Capital Gains as Part of Endowment Income 503 236. Necessity for Cutbacks in Facilities, Services or Staff since 1966 505 237. Cutbacks Necessary since 1966 507 238. Specified Cutbacks Necessary since 1966 509 239. Operating Costs Compared to 1966 51 1 240. What Has Been Percentage Increase in Operating Costs since 1966 512 241. Primary Reasons for Increase in Operating Costs 514 242. Percentage Distribution of Operating Budget Among Program Areas 516 243. Whether Current Operating Budget Enables Full Utiliza- tion of Resources 518-519 244. Ways in Which Funding Increases in Next Two to Three Years Would Be Spent 521 245. Quality of Service Over Next Few Years with Expected Budget 523 246. If Had Sufficient Funds for Any Improvements Over Next Five to Ten Years, in Which Two or Three Areas Would They Be Spent 525 247. Areas in Which the Need for Additional Money Is Felt to Be Very Serious 527 248. Mean Operating Expenditures for Security, Conservation and Climate Control in Fiscal 1971-1972 529 249. Mean Increase Needed in Operating Expenditures for Security, Conservation and Climate Control 531 250. How Conservation Work Is Accomplished at Museum 533 251. Preferred Way to Have Conservation Work Done 533 252. Attitude of Board Toward Assumption of Debt 535 253. How Sure That Income from Various Sources Will Achieve Projected Levels Over Next Few Years, By Private Non- profit and Educational Institution Museums 537 254. How Sure That Income from Various Sources Will Achieve Projected Levels over Next Few Years, by All Museums.. 539 255. The Two or Three Museums Programs Offered by the National Endowment for the Arts Felt to Be Most Beneficial to the Museum 541-542 256. Other Programs Museum Directors Believe Should Receive Financial Support 543 257. Applicable Programs Offered by the National Endowment for the Arts Felt to Be of Little Value to the Museum. 545 258. How Important Will Various Income Sources Be in Future 547 INTRODUCTION America's Museums: The Belmont Report* described itself as "a report on a priceless national treasure -- the works of art, the his- toric objects and the scientific collections in the custody of America's museums." This is a report on the custodians of that national treasure: the nation's museums and their personnel. The Belmont Report repeatedly lamented the lack of data avail- able on museums and on problems faced by museums. This lack of infor- mation has made it extremely difficult, if not impossible, for museum officials and the organizations, agencies and individuals concerned with museums to fashion solutions to museum problems. Over the past decade there have been a few fragmentary statistical studies: one survey cover- ing lightly the characteristics of museums and raising a range of issues involving museums, and a number of other interpretive or impressionistic accounts of museums and their needs. While these have been useful, particularly since they generally provided information where there was none before, there has remained a clear need for a comprehensive and reliable survey which would provide information in all the basic areas of museum operations: purposes and functions, programs, collections, exhibitions, accessibility, attendance, personnel, trustees, facilities, and finances and budget. The need for comprehensive information about museums has been intensified, in large measure, by growing pressures of our society. Recent years have been witness to a period of change and challenge for many institutions in the United States, including museums. Traditional ideas, traditional patterns, traditional services, traditional sources of support and even traditional audiences have evolved into a new mix that presents new problems as well as new opportunities. To what extent museums should or wish to serve as active, in- volved institutions in the community, in addition to being time capsules of our cultural and scientific heritage, has not been certain. Nor has there been any coherent documentation of the support sources and needs of museums, let alone any indications of what shifts in these areas have been occurring. Financial questions have particular significance for they touch on the relative and changing importance of private/public/self- generated sources of support. Financial needs and the areas in which these needs are felt most strongly can be evaluated only in terms of the museum's purpose and performance and community need. *The 1968 American Association of Museums Study Commissioned by the Federal Council on the Arts and the Humanities. In February 1972 the National Council on the Arts recommended that the National Endowment for the Arts conduct a thorough feasibility study, which would include in-depth consultations with museum profes- sionals, and in May 1972 on the basis of the results of the feasibility study recommended that the Arts Endowment undertake a major survey of museums. After more than a year of preparation and questionnaire develop- ment, testing, intensive field work, data processing and analysis, this report is an attempt to lay out the characteristics, the operations, and the finances of museums. It also attempts to show some of the areas of greater need. Its overall purpose is to supply the museum profession and those concerned about museums with solid information on the status of the na- tion's museums and on the general directions in which the profession is heading on the assumption that it is easier to move with confidence into the future if one has a better understanding of the present. People Who Worked on the Study A number of outstanding individuals from the museum field pro- vided invaluable advice and consultation to the National Research Center of the Arts staff at every stage of the survey, including final analysis. These individuals gave generously of their time and knowledge to make this study as practical and complete as possible. Each of those listed here deserves a very special note of thanks: William Alderson, Director - American Association for State and Local History, Nashville, Tennessee Charles Buckley, Director - St. Louis Art Museum, St. Louis, Missouri, and President of the American Association of Museums Mildred Compton, Director - Children's Museum of Indianapolis, Indianapolis, Indiana J.C. Dickinson, Jr., Director - Florida State Museum, Gainesville, Florida James Elliott, Director - Wadsworth Atheneum, Hartford, Connecticut Lester Fisher, D.V.M., Director - Lincoln Park Zoological Gardens, Chicago, Illinois, and President - American Association of Zoological Parks and Aquariums Edmund Gaither, Director - Museum of the National Center of Afro- American Artists, Elma Lewis School of Fine Arts, Dorchester, Massachusetts, and Special Consultant to the Boston Museum of Fine Arts Wilder Green, Director American Federation of Arts, New York, New York John Kinard, Director Anacostia Neighborhood Museum, Washington, D.C. Thomas Leavitt, Director - Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York George E. Lindsay, Director - California Academy of Sciences, Kyran McGrath, Director San Francisco, California American Association of Museums, Washington, D.C. fait Mil liken. Research Assistant - American Association of Museums, Washinaton. D.C. Carlos Nagel, Director Museum of New Mexico, Sante Fe, New Mexico Joseph Noble, Director Museum of the City of New York, New York, New York Gerald Nordland, Director - Frederick S. Wight Galleries, Los Angeles, California Frederick Rath, Deputy Commissioner for Historic Preservation - New York State Parks and Recreation, Albany, New York Charles van Ravenswaay, Director - Henry Frances du Pont Winterthur Museum, Winterthur, Delaware Frederick Schmid, Assistant Director - Museum Programs - Smithsonia’n Institution, Washinaton, D.C. Evan Turner, Director Philadelphia Museum of Art, Philadelphia, Pennsylvania Alexander Wall, President - Old Sturbridge Village, Sturbridge, Massachusetts Bradford Washburn, Director - Museum of Science, Boston, Massachusetts E. Lei and Webber, Director - Field Museum of Natural History, Chicago, Illinois Solan Weeks, Director Detroit Historical Museum, Detroit, Michigan IV Deanne Winokur, Museum Program Officer - National Endowment for the Humanities, Washington, D.C. Warren Wittry, Former Director - Cranbrook Institute of Science, Bloomfield Hills, Michigan, and 1971- 1972 President - Association of Science Museum Directors. The cooperation received from national museum associations was also a contributing factor to the success of the study. The associations that gave assistance and support are: American Association of Museums, American Association for State and Local History, American Association of Zoological Parks and Aquariums, American Federation of Arts, Associ- ation of Art Museum Directors, and Association of Science Museum Directors. The Smithsonian Institution and the National Center for Educational Statistics of the Office of Education of the United States Department of Health, Education, and Welfare are also to be thanked for their cooper- ation and advice. Because of the special problems associated with the financial and budget areas, the Research Center turned to the accounting firm of Peat, Marwick, Mitchell & Co. for assistance in this aspect of the study. The reputation of Peat, Marwick, Mitchell & Co. could not have been better sustained than in the outstanding job delivered by Messrs. Robert Landauer and James McDonough and their associates in aiding in the pre- paration of the financial sections of the data collection instruments and later in the review of financial forms and in the final analysis. The study could never have been accomplished without the leader- ship and encouragement of Nancy Hanks, Chairman of the National Endowment for the Arts. Special recognition is also due to John Spencer, director of the Arts Endowment's Museum Program, Ana Steele, director of the Endow- ment's Division of Budget and Research, her assistant Anne Clark and editorial consultant Judy Smith for never losing faith or focus and for their considerable advice and counsel throughout all stages of the research. I am particularly grateful to Michael Edison, senior analyst, Bernard Lacy, analyst and editor, and the many others on the staffs of the National Research Center of the Arts and the parent firm of Louis Harris and Associates for giving so much of their extraordinary sub- stantive and technical skills to this research. V How the Study Was Conducted The procedures followed in this study fall into four major areas (1) sample design and selection, (2) questionnaire development, (3) inter- viewing, and (4) data preparation and analysis. (1 ) Sample Design and Selection The first step was to develop criteria which would determine whether or not an institution qualified as a museum for purposes of this survey. On the advice of the panel of museum professionals certain criteria were decided upon. These criteria are consistent with the defi- nition of a museum program used by the American Association of Museums (AAM) for its accreditation program: "For the purposes of the accreditation program of the AAM a museum is defined as an organized and permanent non-profit institution, essentially educational or aesthetic in purpose, with pro- fessional staff, which owns and utilizes tangible objects, cares for them, and exhibits them to the public on some regular schedule." Museum Accreditation: A Report to the Profession, AAM, 1970, p. 6 This definition is also used generally by the National Endow- ment for the Arts in its Museum Program. The criteria for this study were: 1. The institution has permanent facilities open to the public on a regularly scheduled basis. 2. The facilities are open three months or more per year and a minimum of 25 hours per week during at least three months of the year. 3. At least part of the collection exhibited is owned by the institution, i.e., it does not exclusively exhibit materials owned by others. 4. The institution is a non-profit tax-exempt organization. VI 5. The institution has at least one full-time paid employee with academic training or special knowledge relating to the major subject(s) represented in the collection. 6. The operating budget (expenditures) for fiscal 1971-72 (excluding money spent on major equipment, capital improvements or acquisitions) averages a minimum of $1,000 for each month the museum is open, i.e., from a minimum of $3,000 for a museum open three months of the year to $12,000 for a museum open the full year. To qualify,an institution had to satisfy all six criteria. Using The Official Museum Directory of the American Association of Museums and lists of additional museums supplied by both AAM and the Smithsonian Institution, and past research (in particular, Museums and Related Insti- tutions , a 1966 study conducted by the Office of Education of the U.S. Department of Health, Education, and Welfare), a total of approximately 1,821 museums in the 50 states and the District of Columbia were identi- fied as meeting the six criteria. References to museums in this report, therefore, are made in terms of this universe of 1,821 institutions. From this universe of 1,821 museums, a sample of approximately 700 museums was selected. In total, 728 interviews were completed. The selection procedure was designed to represent accurately the distribu- tion of museums by classification (art, history, science, art/history, etc.),* by region (using the AAM's six divisions)* and by size, with the qualification that a disproportionate weight was given to larger museums. This "oversampling" of larger museums was then corrected through statis- tical weights applied to the data. The following table indicates the distribution of the universe and of the sample of museums by size of operating budget:** (1) (2) (3) Number of Museums in Sampl i ng Universe Sampl e Fraction Under $100,000 1,169 341 1 in 3.4 $100,000 - $499,999 488 223 1 in 2.2 $500,000 and over 164 164 1 in 1 1,821 728 1 in 2.5 As the third column shows, we conducted a census of the larger museums and interviewed approximately half of the middle-size museums and a third of the smaller museums. *The classifications and regions are defined on page viii and page x respectively. **A more complete explanation of the sampling procedure is included in Appendix I. (2) Questionnaire Development After an initial meeting with the panel of consultant museum professionals and the Arts Endowment staff to discuss the substantive areas to be covered in the survey, a draft questionnaire was developed. This draft, in part, drew on past research which had been done by the Research Center and other organizations (most notably the AAM and the Office of Education). The draft was then submitted to the consultants and the Endow- ment, revised and field tested among a number of museums. After testing, further revisions were made and discussions again held with consultants and staff members of the Endowment. The questionnaire was then ready for use among the sample of museums. The questionnaire used in the survey is reproduced in full in Appendix II. (3) Interviewing The interview was a multi-step procedure involving a number of contacts with the museum director who, in almost every case, was the primary respondent. A letter was sent by Nancy Hanks, Chairman of the Arts Endow- ment, to the museum directors prior to contact by the interviewer. The letter stated the purpose and procedures of the study, explained that all information collected would be kept strictly confidential and that a representative of the National Research Center of the Arts would call for an appointment. The collection of information -- which took place between October, 1972 and February, 1973 -- began with a personal visit by a member of the field interviewing team to obtain attitudinal and the simpler statistical data. Financial, personnel and trustee data were collected in two steps. First, forms were left with the museum director to allow sufficient time to answer the various questions. These forms were then picked up by interviewers who at that time asked an additional series of questions on budget and financial matters. Data in all areas were collected for the fiscal year 1971-1972, which was defined in the survey as the fiscal year ending in 1972, or in December 1971 if the fiscal year was the calendar year. The interviews averaged approximately three to four hours in length. This did not include the time the museums generously spent on their own, preparing the extensive financial, personnel and trustee forms Interviewers were briefed initially by NRCA on all aspects of the questionnaire. These briefings were supplemented with written instructions detailing the procedures to be followed. Interviewers in the field were directed by regional field super visors who kept track of all interviews and insured that the full quota of questionnaires was returned from the field. Each questionnaire was then checked not only for its completeness but also for the accuracy of its substantive responses. Peat, Marwick, Mitchell & Co. checked all financial data. Questionnaires not properly filled out were returned to VI 1 1 the field for further work by the interviewer or, if the problem was more complex, by a supervisor or if necessary by a member of the Research Center's executive staff. Hundreds of call-backs and major revisions were made. Supportive documentation such as annual audits, where avail- able, was collected at the time of interview as an additional check on accuracy and reliability. Cooperation from museum directors was extraordinary. Only one museum initially drawn in the sample refused to be interviewed, a remark- able completion rate in any kind of sample survey. (4) Data Preparation and Analysis After all of the questionnaires were edited and responses to open-ended questions -- which allow any type of answer the respondent wishes rather than providing a list of structured responses from which a choice is made -- were coded, the information was transferred to punched cards and then put onto magnetic tape. At this point an additional and extensive set of edit and internal logic tests were run on the data by computer, and any errors or discrepancies corrected. Once the final corrections were made, tabulations were run on the computer. All responses and all financial data were examined both in total and by a number of key subgroups. Definitions of the major sub- groups follow: Classifications : 1. ART - Museums which consider their collections exclusively or predominantly art. 2. HISTORY - Museums which consider their collections exclusively or predominantly history. History museums include historic sites and museum villages in addition to the more conven- tional type of museum. 3. SCIENCE - Museums which consider their collections exclusively or predominantly science. Among these are both natural history museums and the science technology museums, as well as zoos, aquariums, botanical gardens, and the like.* * 4. ART/HISTORY - Museums which consider their collections to have nearly equal emphasis on art and history. * The inclusive science classification was used in the 1966 U.S. Office of Education survey and by the American Association of Museums, and there- fore the same classification is used in this survey. The diversity of museums within this classification should be kept in mind when looking at the data, since the differences among science museums can cause difficulties in some areas. It is suggested that in future studies sub- categories of the science classification be analyzed separately where appropriate. IX 5. OTHER* - Museums which consider their collections to fit into one of the following categories: - nearly equal emphasis on art and science; - nearly equal emphasis on history and science; - nearly equal emphasis on art, history and science. Size: Museums are grouped by the size of their total operating budgets (expenditures) for fiscal 1971-72 (excluding acquisitions for the permanent collection, capital improvements, major equipment purchases and the value of contributed services). The operating budgets were divided into the following six groups: 1 . Under $50, 000 2. $50,000 - $99,999 3. $100,000 - $249,999 4. $250,000 - $499,999 5. $500,000 - $999,999 6. $1 ,000,000 and over Governing Authority : 1. PRIVATE NON-PROFIT - Museums whose governing authority (defined as the agency or organization which ultimately owns the assets, including collections and installations, though not necessarily the buildings and grounds) is either a non-profit organization administered in the public interest or a church, denominational group or affiliated organization. These museums are "private" only in terms of their governing authority. They are all public in that they are open to and serve the public. Their sources of support may be either private or public or a combi- nation of both. 2. GOVERNMENT - Museums whose governing authority is either: a. Municipal -county - Governing authority is municipal or county government. * The three classifications in the "other" group were not broken out separately because of the relatively small number of museums in each classification. X b. State - Governing authority is state government. c. Federal - Governing authority is federal government. 3. EDUCATIONAL INSTITUTIONS - Museums whose governing authority is either: a. Public - Governing authority is a public college or university or a public school district b. Private - Governing authority is a private school, college or university. Region* : 1. NEW ENGLAND (6 states) - Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, Vermont 2. NORTHEAST (6 states) - Delaware, District of Columbia, Mary- land, New Jersey, New York, Pennsyl- vania 3. SOUTHEAST (12 states) - Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, West Virginia. 4. MIDWEST (8 states) - Illinois, Indiana, Iowa, Michigan, Minnesota, Missouri, Ohio, Wisconsin. 5. MOUNTAIN PLAINS (10 states) - Colorado, Kansas, Montana, Nebraska, New Mexico, North Dakota, Oklahoma, South Dakota, Texas, Wyoming. 6. WESTERN (9 states) - Alaska, Arizona, California, Hawaii, Idaho, Nevada, Oregon, Utah, Washington. The size of each of these subgroups and the weighted percentages of the total universe are shown in the following table: * The six regions are those used by the American Association of Museums. Table 1 CATEGORIZATION OF MUSEUMS BY CLASSIFICATION, BUDGET SIZE, GOVERNING AUTHORITY, REGION AND SIZE WITHIN MAJOR CLASSIFICATIONS xi Actual Number in Sample Number in Universe (weighted) Percentage of Total (weighted) Total 728 1821 100% Classification Art 177 340 19 History 205 683 37 Science 151 284 16 Ar t/history 68 186 10 Other 127 328 18 Size Under $50,000 218 831 44 $50,000 - $99,999 123 338 19 $100,000 - $249,999 142 313 17 $250,000 - $499,999 81 175 10 $500,000 - $999,999 82 82 5 $1,000,000 and over 82 82 5 Governing Authority Private non-profit 407 1018 56 Government 239 623 34 Federal 47 112 6 Sta te 78 215 12 Municipal-county 114 296 16 Educational Institution 82 180 10 Public 44 98 5 Private 38 82 5 Region New England 82 241 13 Northeast 135 315 17 Southeast 135 334 18 Midwest 170 439 25 Mountain Plains 85 211 12 Western 121 281 15 Size within Classification Art - Under $50,000 42 114 7 $50,000 - $99,999 31 74 4 $100,000 - $499,999 52 100 5 $500,000 and over 52 52 3 History - Under $50,000 92 423 23 $50,000 - $99,999 38 114 6 $100,000 - $499,999 58 129 7 $500,000 and over 17 17 1 Science - Under $100,000 43 110 6 $100,000 - $499,999 52 118 7 $500,000 and over 56 56 3 XI 1 The categories showing size within classification are restricted to the major classifications (art, history and science), since the number of museums within other classifications was not large enough to permit these finer breakdowns. Similarly, the number of art and of history museums was large enough to allow only four budget breakdowns in those classifications; and, because there are fewer small science museums, only three budget breakdowns are made within science. The data for analytic subgroups are shown on the tables in ver- tical columns. Percentages add vertically, unless otherwise noted. For clarity and conciseness, results for each subgroup are not shown on every table. Regional breakdowns and the sizes within classi- fication, especially, are normally included only when the differences or lack of differences among the subgroups are significant. The Observations : The observations --which are clearly marked as being observations -- reflect conclusions drawn from the data by the National Research Center of the Arts and/ or the consultant museum professionals. The interviews were conducted with museum directors; this should be kept in mind particularly in the consideration of such areas as trustees, staff, finances and, especially, endowments and similar funds. The Research Center believes that the data provide a basis for a number of future studies of specific aspects of museum operations, and it is hoped that a continuum of research will be conducted on an ongoing basis into the museum field from the vantage point of various disciplines As one consultant remarked, "There are a hundred studies in this data alone." In this respect, a great deal has been learned about the process of researching this field that will be of great benefit to future studies There is no doubt that much of the data will have special mean- ing to individual museum professionals who may find information of value in the tables beyond the scope of treatment and analysis presented here. The study was designed to present as comprehensive a picture as possible of the state of the nation's museums at a fixed period in time. It has been suggested that comparisons be made between the museum field and certain other fields on such subjects as salaries and size of staffs. Although such comparisons can be interesting, a number of inherent problems make it difficult to insure validity and meaningful ness. The most basic of these is the choice of a comparable field. Higher education is most often mentioned in terms of comparisons with museums. If such comparisons are made, however, it must be kept in mind XI 1 1 that differences between the two fields are considerable indeed: The institutional structures of universities and colleges are different, the functions of the staffs are different, the basic goals are different. If, for example, college and university salaries were compared with those of museums, a determination would have to be made of which personnel levels were proper crossovers, such as whether the professional staff of institutions of higher education should be considered to begin with teaching fellows, instructors or assistant professors, whether pro- fessors should be compared with curatorial staff and administrative staff compared with directorial personnel, and how different hourly equivalents could be reconciled. Adjustments would also have to be made for differ- ences in proportions of administrative and of support staff between the two fields, and for differences in educational levels of staff members. Even if all the necessary determinations and adjustments could be made, the problem of obtaining data equivalent to the data of this study would still exist. This would require first that the data pertain to the same time period (fiscal 1971-1972) and, secondly, that the methodology used would provide information of the same depth and exact- i tude. Of course, those who wish to make comparisons and believe these problems of validity can be overcome are free to do so, but prudence and caution based on experience have prompted us to restrict our research to the operations of museums themselves. Finally, a personal note of tribute to the many outstanding, dedicated people who make up the museum field. It is hard to think of any group making a more important contribution to the quality of life than this nation's museum professionals. Studying these institutions during the past year has confirmed this beyond a doubt more than any other finding. Joseph Farrell President National Research Center of the Arts June 28, 1973 CHAPTER I THE FORMATION, CHARACTERISTICS AND DISTRIBUTION OF MUSEUMS 3 THE FORMATION, CHARACTERISTICS AND DISTRIBUTION OF MUSEUMS The Formation of Museums A museum appeared on the American scene even before this nation was founded. According to The Belmont Report , the first American museum was established in 1773 in Charleston, South Carolina, for the purpose of "promoting a Natural History" of the region. That museum was followed by others, and by 1900 one-fifth of the museums (20%) within the purview of this study had been established. During the first four decades of the twentieth century -- prior to World War II -- the establishment of today's museums occurred at a steadily growing rate, from 3% in the period 1900-1909 to 18% in the thirties. However, 10% of today's museums were founded during the war and postwar decade of the forties, rising to 16% each in the fifties and in the sixties. It is logical that more of the larger museums would have been in existence longer than the smaller ones. Indeed, a higher percentage of these larger museums were founded before 1900, with 41% of the $500,000 - $999,999 group and 39% of the $1,000,000 and over group established by that time. While by 1940, 84% of both these groups had been founded, fewer than half of the under $50,000 category were in existence. The early establishment of today's larger museums is true throughout the three major classifications; in the $500,000 and over size category 42% of art museums, 46% of history museums and 44% of science museums were established before 1900. The establishment of museums under private non-profit and educa- tional institutional authority has roughly followed the same pattern as that for the total of all museums, but significant differences can be seen among federal, state and local government museums. Museums now in existence that are run by municipal -county governments were established at a fairly constant rate of 16% - 18% in each of the decades between 1920 and 1959, but the rate fell sharply in the sixties when only 7% of today's municipal -county museums were established. The sixties, however, was the most active decade for the founding of current state museums (21%) and the second most active for current federal museums (19%). The founding of today's museums follows sharply different pat- terns in the six geographic regions. More than half the museums in New England today and almost half of those in the Northeast were founded 4 before 1930, but the most active periods of establishment in other regions came after that date. In the Midwest and Mountain Plains the most active decade was the thirties, but it was not until the fifties that the founding of museums reached its high point in the Southeast and Western regions. In the Southeast more than half the museums were founded in the 20 years from 1950 to 1969. A complete breakdown of the years in which museums that are now in existence were founded is shown in the following table: Table 2 YEAR IN WHICH MUSEUM WAS FOUNDED* (Base: Total museums) 5 Table 2 YEAR IN WHICH MUSEUM WAS FOUNDED (continued) 6 3 3 ® 3 6 c v* o 3 o '3 - c o I vO CM vO vO 00 I H H IS O') \£) <*"> 00 vO (M fs. vO 00 vO CO nO O o o • c 3 _) to > o o m o O 3* o V4 O CD O •3 * c o m ^ CM CM O CM m cm — « m oo cm 00 00 On I I c C G *H 3 -H 3 O 3 f— « X P« I X 5 I ■u a 3 3 O 3 C/1 I *3 3 00 C 3 C 3 Z U H •-< 2 H CM r—4 CM r—4 c Ul v. o < •- • r-4 U <3 (1) O u •H c o CO 00 o r—4 00 U-4 OJ $>2 r—4 r— 4 r—4 in r—4 •r-4 •H (O O CO cn cO • — < >■ a o vf ON ON CM ON •u 6-2 1—4 r—4 r-4 CM r—4 CO w u CM o o CO o m V-4 5-2 r— 4 CM CM CM r—4 r—4 < 0,000 Over 6-2 on o in r-^ CM n- $1,00 and CM r—4 o on o O'* o O'* 6-2 m CM ON r—4 iO r-s. •N o ' r— 4 CM CM r—4 o U ON o on in on -CO- | o on o on o ON 6-2 m 00 CO vO r—4 *•- o - r—4 CM r—4 CM o 4J ON LO ON CM -COi o ON o on on * O ' 6-2 ON ON CM CO CM m o A-» CT\ r— 4 CM CM r—4 o r—4 CM { o O'* o on o o on ON o r—4 CO CO vt •* ■U r— 4 f— 4 CM CM r—4 o on m ON •co- ( O ^ o QJ O co 00 m CO r^. HD - c o in S"2 »-4 T—\ r—4 CM r-^ r—4 | H CT3 6-2 CO r- oo in CM m •U i—4 r—4 r—4 CM r—4 o CO C ctf TO r— 1 C CU ctf AJ 4J r-4 w W c 00 cfl CO 4J •H c c CD 0) CD cO u w S= SI QJ u QJ u 4J 5 C •u :* u D T> 3 cn 0) o O •r—4 O 0» z 25 CO S £ 18 The largest proportion of big museums is in the Northeast, followed by the Midwest and the West. These larger museums naturally attract a larger audience, offsetting the relative numbers advantage of smaller regions like New England. The distribution by classification roughly parallels the total distribution, except for a higher than average proportion of art/history museums in the Northeast. However, the most important point is that, with the possible exception of the Southeast and the Mountain Plains states, access to and i se of museums approximates or exceeds the distribution of population. CHAPTER II PURPOSES AND FUNCTIONS OF MUSEUMS 21 PURPOSES AND FUNCTIONS OF MUSEUMS The purposes and functions of museums were examined from a number of viewpoints in this study. Museum directors were first given the oppor- tunity to express in an open-ended question the three or four major pur- poses they felt their museum served. They were then asked to rate the importance of specific purposes and specific functions from lists drawn up with the assistance of the consultants from the museum field. In addi- tion, the directors were asked which two purposes and which two functions on the lists they felt were the most important; which two they felt their museum satisifed most successfully; which two they felt the public would consider most important; and which two they felt the museum's board of trustees would think most important. Separate lists of purposes and functions were drawn up to dis- tinguish between the overall goals (purposes) of a museum such as "pro- viding educational experiences for the public", "conserving the cultural and/or scientific heritage" or "providing entertainment to the public" and the activities (functions) that are the means of fulfilling these goals such as "exhibiting the cultural and/or scientific heritage", "con- servation and preservation of objects" or "acquiring works and specimens". Making such a distinction provided not only a measure of the emphasis and priorities given by museum directors to various purposes and functions but also an indication of the functions selected by museums to fulfill the purposes chosen as important. Admittedly, there is overlap in the termi- nology used to describe the purposes and functions. This no doubt made it difficult at times for directors to choose from the lists. For exam- ple, the broader purpose of "providing educational experiences for the public" could be considered as enveloping the purpose of "interpreting the past or present to the public". Nevertheless, after considerable deliberation with our museum consultants and testing in the field, the terminology selected did seem sufficiently clear and distinguishable to provide workable lists from which the museum directors could choose. The series of questions sought, in effect, a composite opinion of the directors on the major purposes and functions of their museums. The results show a great deal of uniformity and a few interesting differ- ences in responses from the directors of the various types of museums. The directors responded in much the same way to the open-end questions as they did to the closed-end questions. Therefore, for con- sistency the tables considered in this chapter are based on the responses to the lists of specific purposes and specific functions presented to them. 22 Importance of Purposes and Functions The directors ranked the specific purposes and functions on a scale from "very important" through "somewhat important" and "of minor importance" to "not a purpose or function". Those items rated "very important" by the directors are considered here. The purpose rated very important by the highest percentage of the directors (92%) was "providing educational experiences for the public". The very important rating given to each purpose is as follows: SELECTED PURPOSES CONSIDERED VERY IMPORTANT BY MUSEUM DIRECTORS (Base: Total museums) 23 . w 0 U 0 35 oo 0 0 *H ■» Up 0 0 O..C U. 3 s 3 00 *a S *£ g. I Table 9 IS CONSIDERED VERY IMPORTANT BY MUSEUM DIRECTORS (continued) 24 > O o ^ u (U 00 X C 3 'A P. u 9) 9) y* x p- ■§ a •H U 2 o O UH £ 14 00 3 C 85 c a Ed 00 rA C X •H 3 T? O* 25 The educational purpose was rated very important by 92% of all museums and this purpose ranked first in every classification except history, and even among these museums the very important rating was a substantial 86%. Observation : The high ranking of the educational purpose is a reflection of the increasing importance of edu- cation and educational programs in museums. This importance of education is indicated in a number of ways in the various sections of this study. The purpose of "conserving the cultural and/or scientific heri- tage" was considered very important by 84% of museum directors, followed closely by "interpreting the past or present to the public", with 78% of the directors considering this a very important purpose. "Providing aesthetic experiences for the public" was rated very important by 49%, mainly from the weight of the art museum directors, 92% of which re- sponded that this was a very important purpose for them. The fact that 51% of the science museum directors considered aesthetics as important is less expected. "Providing entertainment to the public" was a very important purpose for 28% of the science museums compared with 16% of history museums and 9% of art museums. Observation : The inclusions of such museums as botanical gardens and zoos in the science classification is one prob- able factor in the high ranking given the aesthetic experience and entertainment purposes. History museums differ sharply from museums of other classi- fications in the ranking of the importance of purposes. Ninety- three percent of history museums considered "conserving the cultural and/or scientific heritage" as very important and an equal number rated "inter- preting the past or present to the public" as very important. These proportions are substantially higher than for art and science museums. 26 Observation : Experts in the history museum field have suggested that the variation in response by history museums is due to several important factors: the importance of historical preservation to the field, expressed here as "conservation"; the fear that seems to be felt most by history museums that their educational role could be misunderstood and in fact lost to the formal educational system, causing the choice of "interpreting the past or present to the public" over "providing educational experiences for the public"; the dominance of a school of thought among history museums that their vitality lies in their role of interpreting which sometimes means reenact- ing the persons, places and events of history. It seems quite clear from the responses that museums do not see themselves particularly as encouraging positive social change. This purpose was rated very important by a low 6% of history museum directors, with an overall average of only 17% of museum directors. The open-ended responses made this point even clearer; less than 3% of the museum direc- tors suggested any purpose even approaching the role of encouraging pos- itive social change. When we look at the specific functions museum directors con- sidered very important, the purposes chosen are generally reinforced but with a few interesting differences; Table 10 SELECTED FUNCTIONS CONSIDERED VERY IMPORTANT BY MUSEUM DIRECTORS (Base: T otal museums) 27 CM 00 *H 00 c*\ c"i vO c-> m o\ vO vO so sO •J CM 00 vO 0 >t C*» r-i sO OS sO rH CM r^. r* vO »A CO -J (=1 O CM CM rH CM fH fH cn CM .H *H CM OS vO Wi |M < I 00 o* vO »/> SO r-4 O r* m vo ^ 00 00 fH CM tH CM 00 CM 00 CM vO rH so m ^ CO O s© CO CM rH rH Ul O 1 ■3 Wi 3 0) *-» 00 3 3 U *H ■SS w» •h a xi a> a o ® a o a *H 0 •d o- o d Wi *H cu ® c 0) a ■H o ** u 4 4 2 •H WI •a <3 wi a u d a i WI O u o 3 4 » i ft Table 10 SELECTED FUNCTIONS CONSIDERED VERY IMPORTANT BY MUSEUM DIRECTORS (continued) 28 C *4-4 U U •H C a) <3 • U o 03 0 ) is 0) o (0 G iu 3 ° 00 00 c C 3 •H o > Si o jC M 4-» eu •H o > o c AJ G U 3 4 0 C 4 u 00 5 1 CO V 9) 00 4 3 0 •h a) II * 29 The museum function rated very important by the largest propor- tion of museum directors (84%) was "exhibiting the cultural and/or scientific heritage" followed by the 82% that rated "conservation and preservation of objects" very important. In Tine with the role of con- serving the heritage that history museums prized so highly, more than nine out of ten history directors (91%) chose "conservation and pre- servation of objects" as very important, and 88% rated "exhibiting the cultural and/or scientific heritage" very important. A different set of priorities was indicated by science museums. Among classifications, a high of 81% of science museum directors considered "providing instruction to the young" as very important, followed by "exhibiting the cultural and/or scientific heritage" (70%). This inter- est in "instruction to the young" remained high among science museums regardless of budget size. Observation : In the case of science museums it can be said that the heavy emphasis among functions on "providing instruction to the young" can be explained by a genuinely strong emphasis on teaching young people about the world of science. Nor do art and history museums neglect this function. Seventy-five per- cent of art museum directors consider "providing instruction to the young" as very important, rank- ing it second for them as a function. Although rated very important by two out of three history museums, it is relatively less important for them, it would seem, than both conservation and exhi- bition. Also significant is how little importance museums attribute to rendering assistance to smaller museums, with only 16% ranking it very important. Even among the largest museums of $1,000,000 and over, only 20% rated it very important. (The largest history museums -- $500,000 and over -- strongly break away here, with 41% rating rendering assis- tance as a very important function.) Perhaps even more significant is the little importance directors give to the role of their own museums in training museum professionals. Fourteen percent of all museum directors and a low 6% of history museum directors considered this a very important function of their museums. In the open-end questioning less than 2% of the museum directors gave any indication that their museums should be a training ground for pro- fessionals. 30 Observation: It is significant that most museum directors do not consider training an important function of their own institutions. Where such training should occur and the nature of that training are not questions covered in this survey; aspects of in-service and basic train- ing of museum professionals, however, are considered in the chapters on personnel and programs. Priorities Among Purposes The museum directors were then asked which two of the purposes and which two of the functions they considered most important for their museums. To obtain an even broader understanding of the museums' pur- poses and functions, the directors were also asked what they felt the public and their own trustees would consider the two most important pur- poses and the two most important functions, and finally the directors were asked which two purposes and which two functions they felt their museum has most successfully satisfied. "Providing educational experiences for the public", which ranked highest on the list of very important purposes, was cited as one of the two most important purposes by nearly seven out of ten directors (69%), followed by 58% of the directors who chose "conserving the cultural and/ or scientific heritage". The two purposes which were lowest in the very important rankings are again placed at the bottom of the list of prior- ities, with only 6% of the museum directors considering either "encourag- ing positive social change" or "providing entertainment to the public" as among the two most important purposes of their museum. The complete list of purposes and their ranking by percentage of directors (in paren- theses) who felt they were one of the two most important follows: Ranking % 1 Providing educational experiences for the public (69) 2 Conserving the cultural and/or scientific heritage (58) 3 Interpreting the past or present to the public (39) 4 Providing aesthetic experiences for the public (20) 5 Encouraging positive social change ( 6) 5 Providing entertainment to the public ( 6) 31 Observation : There seems to be little doubt that neither encourag- ing positive social change nor entertaining the public appeals to museum directors. While no doubt the recre- ational side of museums is recognized by museum direc- tors, the directors place much less importance on this. The directors' ranking of the two most important purposes takes on added meaning when we compare them with the directors' evaluation of what the public and the trustees would consider the two most important purposes, as well as their estimation of the two purposes the museum has most successfully satisfied. The order of ranking is shown first, with the percentage of museum directors in parentheses: 32 'TD o lO CO <* w o CTJ v£> CO CM H H 3 CO Cfx- 'w' V-' s-/ V-*' X— ' CO (0 n r—i CM CO i D in Pi u T“^ c H CO r— < CO o a Pi O C_i £ < O M ►J g S H O H CM ro vo *n w CO tD g 13 ►J ai O /-\ /-V /-x /-X ns W M -r-' S' c 00 in in vD CM xO £g W H rH m CO V-/ CO v-^ CM w V-/ CO v^- 53 cO *— < co co in xD CM H >* PQ P-J Pi o H Q W £-i 1 — I Cn CO Z < Q) H M 3 r-H OS H h u X-/ hJ 1— < H d CO 5-' c CO Z 4J •r-i cO O fn o O as s to H CO CO U • • w c_> cd g > H u r- “t id <— 1 a »-j 8 O S 3 4-i <2 Q Z < /*s /-s /~s /*s co CN r— 1 *0* co r— t >-✓ 'w' Vs^ N-/ w CN CO <* m m CJ P g ex w CD d) o /-s $>2 /^v /*“N /-\ /-s ■u N-^ 00 vD r— t CN 00 CD 3 Jd a vO v-/ co S-/ H s-/ V-/ A H 4 ctf H CN CO vO m i-J S /— \ W H CD CO £ JE >< 3 CJ /-N /~N /^v x-s W M 0> •H /-N 00 CN CN 00 CN CN £C CD »— t 6-2 in m CN »— 1 co H Q 3 JO v-/ >*✓ v-/ V/ v— ' v-/ W 6 3 Jd O M Pi C r-J CN in vO CO H Pn r— t cq CO r-4 H M cO 2 H < < 4-t hw o O >< 6>2 (X! X O' CD CN s ■ J rH At r— 1 W P o /*\ /-s /■> P II 4~t ✓“ N ^T r-H CN m 00 i—4 -/ V-/ W v-/ Xi o w 6 A Jd CO X 0 3 *H C r-4 CN CO <± in VD H u P- At CO •H AJ w X c P O •H r—t CL •H •H u •H AJ 3 AJ CO u AJ At CO •H X TJ T> At CL At •H •H 0) At 3 •H H > > CD Q) O > Pi O O c AJ CJ o «£ At P o c C At P IX o M w CL 35 A slightly higher percentage of art museum directors (74%) than of directors of all museums felt that one of the two most important pur- poses is "providing educational experiences for the public". Seventy- one percent of the art museum directors chose "providing aesthetic expe- riences for the public". "Conserving the cultural and/or scientific heritage" is third, dropping to slightly below a third of the art museum directors (32%). Art museums seemingly give less significance to placing aesthetic objects in historical perspective (despite the period rooms in many larger art museums or the descriptive labels next to works on display) since only 15% of the art museum directors considered "interpreting the past or present to the public" one of the two most important purposes. "Providing entertainment to the public" is a priority of relatively fewer art museum directors (1%) than of science and history museum directors. When art museum directors select what they feel to be the public's own priorities, shifts are immediately apparent. Providing educational experiences and aesthetic experiences stay at the top of the list for a majority of art museum directors but at a lower 58% and 52% respectively. "Providing entertainment to the public" -- lowest among the directors' own priorities -- rises to third position, and "conserving the cultural and/or scientific heritage" drops ten percentage points to fourth place. Art museum directors feel the public is even less interested in the muse- um's encouraging social change than are the directors themselves, with only 2% feeling the public would assign it a priority place. Finally, art museum directors generally reflect their own pri- orities when they rate their trustees' priorities and the museum's suc- cess in satisfying its purposes. The order and weight of each is nearly identical with the priorities of purposes the directors established for their museums. History Museums Directors of history museums see their museum's main role to be "conserving the cultural and/or scientific heritage" (70%), followed by "providing educational experiences" (61%) and "interpreting the past or present" (60%). Encouraging positive social change ranks lowest (1%) as one of the two most important purposes of history museums. HISTORY MUSEUM DIRECTORS' EVALUATION OF THE TOO PURPOSES MOST IMPORTANT TO THEMSELVES , TO THE PUBLIC AND TO TRUSTEES 36 T> I d) /-s /X /x /^N /-\ /X. d) cn xt m ON vO r— 4 4J rx in in 05 s-/ 'w' V N—' X/ X/ 3 Li d t— 4 co CM xf in vD CO H cO s Pi w CO X — \ CD 05 3 B 3 3 - r—4 3 Jai PD cO PL d cn r-L i“ 4 CL CL § H JO < 4-4 4J d> f- • O a i-4 1-4 3 •r4 CO 4J 4J O 4-J 0) 4-J 0) •H CO _d V4 _c 05 d> o 4J CD 4-J O JC 3 4-4 05 CL 4J TJ 00 d CD D d o CO 00 00 •r-4 d c 00 4J 00 00 i-i •H d CL) d d 00 > •r-4 L» •H •r-4 CO Li T5 CL "O T5 Lt 0) i-4 U •H 1-4 3 05 > 0) > > O c o 4J O o O o L. d u u d CJ CL, h-4 p* Cu w 6^ in o * Less than 37 No purpose was cited by a majority of the history museum directors as one of the two most important in the mind of the public. Again as with art museum directors, the directors of history museums (which include his- toric sites and museum villages) feel that the public puts a relatively high priority on being entertained in comparison with their own selection of priorities. Also, as in the case of art museums, history museum directors consider the priorities of trustees and the success of fulfilling the purposes of their museums very much in line with their own priorities of purposes, in contrast to their estimation of the public's priorities. Science Museums A higher percentage of science museum directors (92%) than of art and history museum directors score "providing educational experiences for the public" as one of the top priorities. Science museum directors feel this to be a purpose of primary importance in the eyes of their trustees in approximately the same numbers (93%). The following table does show some important differences beyond this: Table 14 38 CO w B CO X I 0) X CO M H CO 4-4 O CO B p O ■U y-s /■N /—s. /^v /-v d CO /*s CM »— 4 o o in Q CO CO o^2 00 cn CM CM cn ' 'w' N— ' V-/ V-/ CO 1 — 4 d r—4 CM in 5 ON CO r— 4 CM CM Crt CO s-/ V-/ V— ' N-/ v-/ 'w' v-*' Ed CO d > y CO d H CM m <* cn X Z 5 a H CO w w X CO CO * o i— 4 r— 1 r—4 cn X < CQ X V S-/ V_x S-/ 'w' 'W H d X es Q X (X c H 'd' m cn CM X o W iM cO cu M a: s X II M CO M CO H H g CO < 3 O CO 0) Z CO CO >* d M CO X a O /""V /—V Ed X M ✓~N CM VO in CM CO 5 0) U S'S ON »— 4 r—4 r—4 r—4 o x o *✓ (X, CO d L4 X p£ CO 0) •H d t— 4 CM cn in X 5 w -M O cO Ed o o on u CO o X 3 CO rM CD P cO 60 H M o CO M CO O •H M Ed o H r—4 •H o o p £ X u •H •H • • d CD f— 4 r—4 Id Q 0) CO M CL d w o d CO CO d M CD CD CD X CD r—l O X C4 CD O Ed CD r-^ o CL JJ o ed CO X d CO w H u 4J CD CD Q CO d CO a CD c 4J CO O d > *y o r—4 CL •H •H •H Z *r-4 d M CO M Ed M o o CD M •H CO CO X X Cl CO Z o CD 4J M CD O s d X CO M X "O 4J 60 CD c Ed CD C CO CD 60 O 60 •M d Z 60 d M 60 60 *r-4 Ed c CD d C 60 M •M > •M CO U M CL "O 'O u CO •H CD M •H d > CO CD > > o O d M o o o u o d M u C x u M X X w 39 Approximately half of the science museum directors (51%) feel the public places importance on the museum's providing entertainment, and one in four of the directors (25%) see their trustees as interested in this purpose. Priorities Among Functions Turning now to the top priorities among the museum functions listed, the museum directors placed the selection in the following order of priority (the number in parentheses indicates the percentage of direc- tors who responded on each function): Ranking % 1 Exhibiting the cultural and/or scientific heritage (60) 2 Conservation and preservation of objects (40) 3 Providing instruction to the young (30) 4 Providing a scholarly and information resource (24) 5 Acquiring works or specimens (16) 6 Conducting research (11) 7 Attracting tourists to the community ( 8) 8 Serving as a center for community activities ( 7) 9 Rendering assistance to smaller museums ( 1) 9 Training museum professionals ( 1) When these responses by the directors are compared with the directors' assumptions about the public's and trustees' attitudes to- ward the same functions, and then the directors' assessment of the suc- cess of their museums in fulfilling these functions, the results are as follows: Table 15 DIRECTORS 1 EVALUATION OF THE TWO FUNCTIONS HOST IMPORTANT TO THEMSELVES, TO THE PUBLIC AND TO TRUSTEES; AND MOST SUCCESSFULLY SATISFIED BY THEIR MUSEUMS (Base: Total museums) 40 c n in u-j 4 in •— i O *“4 2 ^ ww o a OJ OS O X 00 CM vO CO CNI CM in cn •H o -r4 £ 4J 0) 4J 3 c c O O (1) X o 4J CO cn -H o 6C *r4 •H 3 O C 4J c Jn 6 in 14-4 3 cO 3 4J o O p | •H U U >N J-t c c CD o c O U-t p O 3 T“ ^ cn o V cn u £ r4 r-4 i-4 j: C £ CO CO p 4J 4J o (1) O E P CO cO E X u in o > o 1— ■ i-* 4J 1-4 t— • ■U £- CO o bl O in 33 •r4 X cn u O o r— ' cx. 4J cO f— 4 bi o 4J CD c b. 2 O O bl cn 4J CO CL O nD 3 o CO i-i P 4J c X in •H •t— ( *r4 4J 4-) OO -r4 c •H J-i 'D o o p bl 1-4 X 0) •H •H 1-» 3 CO i-4 ID c •H in > > 2 *3 bl > no i4 X C o o CT P 4-1 b. P CO X o *4 b. o o 4J 0> o w u Pu Cb < o < cn « C-C Less than 0.57, 41 The directors feel that the public and the trustees agree with them that "exhibiting the cultural and/or scientific heritage" is the most important function for a museum. However, there are differences below the top priority. "Providing instruction to the young" is felt to be the second most important function to the public (32%) ahead of "con- servation and preservation of objects" (26%). "Conducting research" is of relatively little importance to trustees (6%) and of practically no importance (2%) to the public, according to the directors. "Attracting tourists to the community" and "serving as a center for community activ- ities" are felt to have somewhat more importance to the public (22% and 15% respectively) and the trustees (15% and 10% respectively) than to the directors themselves (8% and 7% respectively). In addition to looking at the functions directors consider most important, it is important to consider those functions that are evaluated as being of least importance. Lowest among the given museum functions were "rendering assistance to smaller museums" and "training museum pro- fessionals". The lowest number of directors also felt that these func- tions would be considered among the two most important to the public and by the trustees: Observation : It is not surprising that none of the museum directors felt the public would consider "rendering assistance to smaller museums" one of the most important functions, but the less than one percent of directors who felt trustees would choose this function might indicate a belief by the directors that trustees tend to think only in terms of their own institutions rather than of the museum field as a whole. Art Museums The evaluations of the two most important functions by art museum directors were as follows: 42 CO w e CO :=> x i CO <4-4 0) (O o a ^ 4-4 O L» /-S /-s /^S /~N ✓~N /*~n Q 3 (0 /-s in ON vO o> -/ V-/ N-/ N—' v-/ 1J > J^2 u CO r—4 C r—4 CM CO m vt vO 00 On O' O CO H 3 hJ Pa C H CM CO m CO cd PQ H O /*v /“V ✓— N /~v y-s /^s /■N 2 H i—4 •H S vf 00 vt X in r—4 r—4 CM 1 1 < t— 4 T— 4 r— A X co r—4 co r—4 r—4 H CO JO V-/ V-/ -w’ V-/ V-/ W W V— ✓ w es >< 3 JS o PQ 4-4 P-4 c r—4 CM n- CO X 00 in ON ON &4 o c0 s Q PS M w $>S M ON vO H Pa r—4 r—4 cn CO O M II 0) 2 H r—4 < CO CO JO cn CO a Pa CO 2 3 o /*\ /*> /-V /~N vD Pa CO •H <11 1-4 E AJ •*o AJ c 3 c X O o >3 a> (1) o CO i-i AJ CO •H PC AJ 1-1 3 O cr 4-4 CO c £ CO 3 O AJ E 3 o •H Pa g Pa Pa >3 c C O E 0) o o 3 4-4 O r—4 CO a CO •r*4 g c O i— A r—4 X X C AJ E 1-1 eg CO c 4J 0) CO O a> E c CO 6 > o X X CO o o •H u c AJ •H r—4 AJ u 4-1 JJ a Pa Pa X CO o o r—4 AJ Pa PO •H AJ AJ 1-4 c •H X Pa P< c X U u Pa 1-4 X i-4 ■H 0) 1-4 1-4 3 CO 3 CO > > X Pa X 1-4 X o cr c Pa o e AJ C CO X u o O ^ c CM 'd- CM V-/ vt cn cn o CM X vO a> |X f— 1 r- rX On 1 tx i— • 8^ \D CO rX CM CO H «: » x Xl w N-/ N-^ W V V-'' N-*- Z i-i rX d Jxi < w cd CL C »X CM uo CO 00 vO o 00 H EE cd rX pi H 4A c* o o Oi S- S PQ g^O M Q m r—* H W CO M It CO 00 o H E« E a cd T— • u tJ PS CO •X a tA E X CD c X d c •«“> o > O CD (1) X •X AJ cd CO •X O XJ 00 •H d O eg c c Ss e CO c o AJ •H •H T— 1 x cd AJ o u O CO cd •rA •H AJ •rA AJ 00 •X p •X x *d *d a >J o c X •H X CD •rA •H cd •H d •H > u d TJ > 'd •H X C o o AJ cr C X C CC X O l-l AJ u o CD CD X w u a. Pa < < u CD PC H in o Less than 45 As with art museum directors, the function considered one of the two most important by the largest proportion of history museum directors was exhibition (64%). Conservation, the function cited by the second largest proportion of history museum directors (54%), was not felt to be as important to the public (39%) although it was still ranked second. Attracting tourists to the community ranked third (31%) in the public's mind, according to directors. Science Museums Finally, in the case of science museums the most important find- ing is that the directors' top priority was "instruction to the young" with 48% of the science museum directors rating it one of the two most impor- tant functions. SCIENCE MUSEUM DIRECTORS' EVALUATION OF THE TWO FUNCTIONS MOST IMPORTANT TO THEMSELVES , TO THE PUBLIC AND TO THE TRUSTEES; AND MOST SUCCESSFULLY SATISFIED BY THEIR MUSEUMS (Base: Total science museums = 167« of all museums) 46 T> 1 CO H d r-^ CM CO uo in 00 r-* on o »-— ( cd X 3 Pi 4-4 co •H r—4 5-2 on m vD in CO CM m f— 4 »— 4 o r- 4 CM r— 4 m r— 4 1 1 X) 3 V-/ w V-/ V-/ v_^ V—' V— ✓ C4 d cd Pi f—4 CM CO CO vD on ON co u o n ✓-N n /-S /—V /-N /*N 4J /— N 00 00 in ON r-** vO CM r— 4 o d- s_x o O t5 - i o O' O O' O O' - O ' O -P O' O O' un O' o> tt n£4 O CM rH CO N O vO CM rH rH 00 rH CO CM 00 3- m Art NS4 o h on cm H 3- rH 3 -P O NS4 en o cm co o m co h rH 00 rH co co co 00 <3- 00 CM CO CO 00 00 <3- rH CO -3- CD CO u U CL n | o 3 3 *— — * rH a NH rH O f— ^ 3 o rH (j J_l *H a & CO 00 Q a 0 3 00 IH 3 3 rH CO a- CO ’3 CO (U CO CO 3 >N 3 u ►> CO p, o £ CO i — ( CO 3 r— 1 cc 3 3 rH rH c rH rH cfl o CO AJ CO >N 3 rH CO CD CO rH —J u c 3 CO rH 3 CO H 00 rH 3 CO r-3 u 00 3 c3 3 U O 3 u o O CO rH CO •H AJ O H CO •H AJ AJ tn C O rH CO CO AJ O rH CO CO CO T3 O 3 tt) •H H 00 O H aj o 3 u o tfl O Di O 2 n x: u a co co 3 (I) T3 OO U H 3 CO 3 U O TD ^ Pi O 2 *H i — I 3 3 O aj a 3 3 U T3 3 0) C 3 ,-j co 3 >n 3 rH C H o 3 H AJ rH CD 3 3 3 oo o aj 3 o o HpiOZ 3 3 AJ > 3 S' *H 3 rH rH O i — 1 rH CO rH rH o H fN 3 rH C >s 3 rH 00 rH e 3 O rH C 3 H V-i o *H H o O »H CO *H AJ AJ 3 *H AJ 4H o rH 10 3 3 rH 3 3 o 3 3 AJ 3 3 CO x: OO U aJ C 00 u AJ P- o 3 u o 3 3 o O 3 CO PS o 2 CD O 2 3 H a. (continued) FREQUENCY OF EDUCATIONAL AND CULTURAL. ACTIVITIES (continued) (Base: Total museums) 53 o SH o O o > o t<\ M3 ON in o CO o ■35 xa q o> 3 o CT> 0) o OM o o OM 6^1 c - o CM m (O a; O -P O r>. CM •H o OM O f — -zT c n <& o u o 0) o "d i^| 00 m c o M3 CM to o o o - o o fH O Td 0 i M3 'A £ > CTx CO 6 h o o OS P o CT' CO o o CA •H ~ -p rH CM w o CA n- rH H o OM T — J <& o aV o ON o o CA ~ -p r ^s| CO rH XA CT> o (X fH o 0 r 6^| o\ r-» "3 o si XA £> o o O - g fH O 3 c l ) e^l MD | 'd- o > Cd. XA 6 «> O (A o OM o o CA - -p r O) o «H o OM CM o CA £ % — -3 o CN o a> o o CA ~ -p » ^5| d co M 3 M 3 co m N H CM r-. cm cm m co oo on co vO H CM CO CM CO O) CM O) 'd- nr oo cm o \£> r — co co co cm co co O H ON n * co o cm in co h rH 00 r-l CO CO CO oo d co oo oo d cm co co h cn d nd u cn 0 no u 0 D T3 H -H U 3 0 O rH u >N 03 o IH p CH 0 3 rH O rH o £ fH U 3 0 cn 3 >N id ga al g cn 0 03 rn S cn rH 0 rH h cn co co cn 3 cn rH c o o •H fH H 0 co O p H U cn cn p o 3 *H H rH cn co 3 JO 00 U -u 0) o o a: o 2 : _ P to CD c ... cn (D rO CO rH p 3 o co 00 p o H (0 *H H o th cn co H 3 CO 00 U H cn (D u n ^ ^ o z *H H 3 CO O H «0 ^ C CO - cn -3 0) 3 p u cn oo 3 cn H CD H ’ — I U 3 3 0 G T3 rJ CO CO cn co co O H u o O 2 CD >» "3 3 u cn cn r3 3 «H u cn 0 cn cn CO rH u 4J o 0 c CD P *3 cn rH 3- 50 H 3 rH J3 O fH O P >n 3 oo «h e P P o O *H CO H H O *H CD 0 3 3 cn jg oo u CX CJ CD O 3 cn e£ o o P C 00 -H O 2 O o o CD J-J 3 >•» rH CD fH rH C r*'. 3 rH O rH C 3 *H P O H cd H U 3 H cn 3 •U 3 3 C tc (J u CD CO CM to o m m CN H vO m m o rH CO m vo o O O' O O' O O' -O' O +» O' O O' m cr> * mom cn cn vj vo CO H < O H O' CM CM m rH 00 rH •H CM vo on m vo CM vO o O' o o> o o> - o - o -p o> ■LfN O', C\J _CT ©> rH ON o cm cm m vO vO 00 CM rH m »H m O O'* O O' - o - O -P> O' in o' CO N£4 CM 00 O rH CN VO rH VO CO «H rH N cm m co rH 00 CO o c- cn * O O CN 00 o M § 03 - =ct o 1-0 to *f> NS4 O S (O H H fv VO CO rH *H 00 r»* on 00 H N CM rH 00 CM N H rH 00 Ot- her N£4 CO H VO CM CO M' cm . i a •H Ol w +>| N£4 ov 00 CO i — { VO CO rH tH 00 MVOO ON rH CO VO rH 00 cm m co rH 00 Art NS4 00 00 M- rH rH VO 00 CO ON CM CM vf vo m on rH CM m vo - vo CM CM rH 00 03 Pd O Z «> U *H U 03 u o 03 0) *3 03 U cd cu % AJ 3-t rH M cd H H OJ CL >» OJ H 03 H C 00 U MO C d 03 *H AJ -H rH CO 03 6 CO 3 03 M C £ PO U 4J 0 0 3 0 0 0 lM *H 03 pd O Z M AJ 10 0) 03 3 Pa, AJ g X 03 O 3 oO O >* H rH P- g rH rH 3 cd rH 03 a rH a cd u co P o cd 3 cd *H AJ H S rH C/3 cd oo 3 cd o 03 OC o AJ p X 0) u o CL AJ Pd o z -O 0) o 3 XJ o Cu Sh CO r-l § £ rH cd 3 >n cfl M O «H 3 fcO CO P O O 3 03 *H U B rH CO CL 3 03 Q) 00 U o x o) o •H U Pi O «0 ^ OS X O z t \° m o c 3 CO CO O X * 55 O M O O °«$ o O m 2 iO *«l m m H M v£) cn n- O cn cn m Q) O CT> O o cn c - o - M H O c kJ 3 C3 H ►Jt-n 3 ra o § § w fev o >• o z W t3 O' s 111 <*! 8>«l +» • « O CP •H O CP CO V- w m CTi i — 1 O CP o O CP O O CP - -p - O CP VT\ CP O fH O Q) - O C VO T5 o O Td o § Si o o> o cn o o cn •* -p - o cn ,o cn IT- o cn o cn o o cn -p • o cn VPv cn **l 6^| ^1 6^| ^2| CN H N h nm OV O H rH »— i vO CO vO oo o ' — < t — t r — N- N O, rH n* vo rH CO rH 00 CO CO NT rH 00 cd P o H ^°l ^ st vo O rH CN VO HHN VO CN CN rH 00 N- ON N rH n* co O n** cn P 1 a> CO CO c -3 c e c Q) P CO o T3 CO O «H *H a; (0 >6 rH CO P p p •H O >v co a rH O v cO rH p >T CO rH p p >T CO rH X. CO o rH G cd a s rH c CO p CO rH C CO o o P O D P o cd ex P o m Ip CO •H p CO 0J CO *H P e> cO *H P O T3 rH CO cO <0 CO i — i (0 cO 60 p rH CO cd 'O c 3 cO •H 3 3 cd £ 3 CO co 6 p vp •H <0 60 P *H rH P P CO U a) p •H CO tfj •* o o o X o a *> P • — 1 co- o Cn o cn o cn * o O u cn o o cn o cn o m * o *■ o aj cn m cn CM o cn o cn o cn * o «* o aj cn o mt rH CM co- co- o cn o cn o o cn * u o cn n cn CO- co- O u o CD o no e o n CO- , Jh 1 AJ P o JS | \ 1 >s| ■u in d 1 Cj •— J < K Hi 1 P •H U o c CO (1) 1 >, CO d *H o EG aj aj d < CM VO vO 00 LO O rH vo i — I N CO 00 vf 00 ON Mi- en CM co m m cn o % P d r-H r-H Jh o Jh X d •rl O o P 60 O g-s° P •rH 5^ cj •rH 60 r\ <4H cn AJ CM P aj r— 1 r-H CO vO CO 4J vO 04 P o X X P X p CO X O X CO U o •r-l d Jh •r4 CO Q, •fH * d •rH aj JZ p P P P CO P P CO P mh P C0 4S 03 o <4H to- co d 4H CL CO p O p 4h a CO JO CO CL CO d CO 4H d CO a> 4h Jh r-H Jh p 4h Jh p d p 4H Jh u o /■V P on P d 60 P AJ P a 60 p P 4-J P r-H p CQ P AJ P 0 £ u 4_) o a P cn 4J CJ P CQ 4J u P o Jh AJ o P o P o cn CO P AJ o Jh 00 CO P 4J * En w "5 p 4J X CO p AJ 4-1 X vm cn 'h d 4-1 O d d CO X Jh d * r-H Li d 4-J p VM X 4J p p p X 4J P CO • H CO X 4J P X u £ a r-H X •»H d rH u 4-J CO •rl C rH p jd •rH d rH p o P p p o o P CO CJ P o o P CO 4-1 P o o CO o CL P o o XI a co PL o > X CO Ph o > 4J r-H PH o > CO P Oh CJ > •rH X C0 P •iH r-H p O X P p Jh o 0 c P CQ p P CO P d X rH O Jh o P £ o AJ v -'' i-J p p a UH 60 (continued) WHO CONDUCTS EDUCATIONAL AND CULTURAL ACTIVITIES (continued) (Base: Percentage of museums conducting such activities regularly or occasionally) <0 o CJ o 7> r O o o no o c +■ Cd f — 1 o ON o ON o ON * o •» O u ON o ON m ON o ON o ON o O' - o O AJ o in o CM o o o o o o - o r- O U ON o t — 1 CM o o o ON o o ON * aj •v o ON m ON •CO o u o > CO u •rl o X AJ U if* < I o H 00 CM on 00 CO cm m m o m on co cn o * co ON CM O vO vt O r-l On 00 CM 00 CM * 4 c * cm rC u AJ co CJ nO 5^ 1 — 1 CO d vO >> o cd m X o c X cd co no /N o o r— 4 CJ 5^ co r— < cd CJ Jj O •r-l co cd cn 4-> no r— 1 ^4 cd X) d* TJ cd •rl o CJ CQ T-l CJ T-l cd o AJ cd u cd CO 4-4 a CO X cd 4-4 a CO a o 4-4 CL CO C 4-4 u o e 4-1 J-4 10 4-1 }-l O cd u Q) CO CO cd 4-J ai CO cd cd AJ CJ •r-l ^2 u o CJ r— 1 d 4J o CJ CJ CQ AJ CJ CJ 4-1 O co cd 4-1 no cd O CO cd U •r-l N-r CO cd AJ cd n j-i e CJ •r4 •H d u Jj d 4J no AJ 3 N o 4-J no 4-J 3 CJ no AJ 3 c •r4 c I— 1 •r-4 CJ a •H c r— 1 CO e •r-4 d i-4 0) o cd o o c a CJ cd o o 3 cd o o CO r o CL, o > cd CO 1—4 Oh CJ > 6 CJ Ph u > CD Cd oo r— 1 CO U CQ Vj 4-| o 3 X > — / C o o p4 E no t-l cd 4-1 CL CO 4-1 u cd AJ CD AJ O CJ CO cd Jj c no AJ 3 •r-4 c i—4 cd o o CL, CJ > * Base too small. ** Base too small for breakdown by categories. (continued! Table 20 WHO CONDUCTS EDUCATIONAL AND CULTURAL ACTIVITIES (continued) (Base: Percentage of museums conducting such activities regularly or occasionally) 61 CO V. o 0 O > 0 o o nj o c • CO 1—1 o ON o ON o ON •* o «■> O u ON o QN m CN o ON o ON o ON • o •* O AJ ON • • m ON CD CM * *H (/) o ON o ON o ON - o O u ON o rH CM 0 3-4 0 cu 0 no ** 0 s ? c 0 3 m 1 3-4 0 o -C c V. 1 o AJ CO 3-4 |^5 .^■4 1.1 —4 0 VJ < 33 AJ 03 O 1 <0 *H •H O 4-4 o C3 •H c/d CD UD 0) 1 >. 03 Cfl 3-4 r~~i •H 0 u 3 : aJ AJ I 3-4 < o m co o .—I ON ON O' r— l vO sJ- CO ON o co cm O CM VO CO 00 CM 00 I o 00 CM N CO N ON oo oo m 00 i-J CM 00 CM ON «— » H CO . co on i cm CM CO CO 00 i— I o vt ON r-i co m on i vo oo CM co i— t in ON i-l * * * n m cm 00 1—1 O CM VO 00 CM co vf in oo co o co on ON r-l m co cm oo CM n co >n s-5 X> CM JO CO CD CM O no 0 (D *r-4 AJ CL, 0 > (D no > -c 03 >. H ^ JO *Base too small 62 All of the listed educational and cultural activities are con- ducted wholly or partly by paid staff in at least two-thirds of the museums which schedule them, with the number reaching 80% or more in every category except presentations at schools (76%) and performing arts presentations (66%). Volunteers, however, are also very active in these educational programs. At a third or more of the museums offering such programs volunteers are involved in performing arts presentations, guided tours for school classes, presentations at schools, guided tours for general groups and classes and clubs for children. Art museums generally rely more heavily on volunteers in these areas than museums of other classifications. For example, volunteers conducted guided tours for children in 67% of art museums compared with 39% of the total, and presentations at schools were made by volunteers in 59% of art museums compared with 36% of the total. Contract paid personnel are less frequently involved in these activities, except in performing arts presentations (14% of museums with such presentations), lectures and classes for adults (9%), classes for children (6%) and film series (6%). Observation : Although paid staff are, as one would expect, involved in educational and cultural activities in the great majority of museums, it is perhaps more interesting to consider the number of museums in which they are not involved at all, especially in the instances where contact paid personnel are minimal and the entire responsibility falls upon volunteers. For example, in 19% of museums guided tours for school classes are conducted without paid staff and in 24% of museums paid staff are not involved in presentations at schools. Volunteers not only play a large part in educational and cultural activities; in many cases they are the sole source of manpower, and it is likely that a significant number of museums would not be able to schedule many of these educational activities without volunteers. Cooperation with Schools The school programs of museums (guided tours, special lectures and/or demonstrations at the museum for school classes, presentations at schools, and organized school loan service) were planned for both elemen- tary and secondary school pupils by eight out of ten museums. The programs were directed only at elementary pupils in 15% of the museums and only at secondary school pupils in 3%: Table 21 WHETHER SCHOOL PROGRAMS WERE PREPARED FOR ELEMENTARY OR SECONDARY SCHOOL PUPILS, OR BOTH (Base: The 937. of museums with school programs) 63 (Q u ^ CO O O r-l 00 H CM 3 W S § I J3 U O (O 5 3 0 8 0) 64 To ascertain the degree of cooperation between schools and muse urns, the directors were asked whether the school programs for elementary school pupils and for secondary school pupils were planned in close coop eration with the schools or were developed by the museum on its own. Either through necessity or voluntarily the majority of museums with elementary school programs (56%) and of those with secondary school pro- grams (57%) developed the programs on their own and then offered them to the schools. Among the classifications, however, a majority of the art museums with programs did cooperate closely in planning with elementary schools (55%) and with secondary schools (51%). Although cooperation with schools varied with the governing authority, being lower in government museums than in the private non- profit and educational institution museums, the widest variations were among museum sizes. Cooperation with schools in planning programs is approximately twice as frequent in the $1,000,000 and over category than in the smallest budget sizes; 70% of the largest museums cooperate with elementary schools and 69% with secondary schools*. WHETHER SCHOOL PROGRAMS WERE PLANNED IN CLOSE COOPERATION WITH SCHOOL AUTHORITIES OR DEVELOPED BY MUSEUM ON ITS OWN AND THEN OFFERED (Base: Percentage of museums with programs) 65 o on «-• to «•* »JvO I CO on O CM co m m cm to CO VO VO CO H m ^ NCO I CO NO r* CM m oo oo ^ CM vO »-l m CM vO CM st m o rs n & O 0 o o a. vm jc o o — • « SK X o cj "J 81 O/ U o i 4 01 •d •• co .. w a v h O oo jz U O CQ U o' v cq u w ^ J a O 3 a * WHETHER SCHOOL PROGRAMS WERE PLANNED IN CLOSE COOPERATION WITH SCHOOL AUTHORITIES OR DEVELOPED BY MUSEUM ON ITS OWN AND THEN OFFERED (continued) 66 % 05 I 4> 05 3 E U-4 O 4) 00 qj U C v o 0) cu 4) QO (9 CO • T3 O C O tO O • o O 4J I OT3 U * C 4> O OJ > O O * O - O WON O O' Vi O o o O T3 W •CO) O <9 > O O O V* O 0 ) o *3 - 1 M 4 I CO NO cm m co CO NO NO I no ci o 00 CM NO CO r-4 r- CM m >4 no m on *4 *4 co c O CO h oj: c cfl • v -o 4) 4) 4> a a w 4) O O 3 C O f-1 to coo cd > u rM 4» O Q Z CM 00 I NO Cl ^4 -4 CM *4- m 00 O CM cm O O I m m »-« On I Cl NO NO on 1/1 CM NO O O I ci O O I *4 NO O Cl -4 m 60 3 H ogo v» o Q.»M XL O *4 o c* .. DO QJ T> C w O <9 X 6C O (0 u o C/1 :* a «d 'O W 4) <9 4i a w a o 3 o h a o ® o > u o o Q 55 67 When museums were asked if school programs were supplemented by preparatory or follow-up activity in the schools, slightly more than half of the museums reported that the programs were supplemented with in-school activity. There was comparatively little variation among classification and governing authorities. However, size again was significant: programs of 76% of the $1,000,000 and over museums were supplemented in the schools, compared with 53% of the under $50,000 group and 41% of the $50,000 - $99,999 group: WHETHER SCHOOL PROGRAMS WERE SUPPLEMENTED BY PREPARATORY OR FOLLCW-UP ACTIVITY IN THE SCHOOLS 68 ® 6 <8 U 00 O u D. O o -C o ® ® TJ c o o 0 ) ® u o ® E 3 V ® 3 E o r— * O' « SI H 8 c rl, O *d • C O CO > O O cry on o * o O U On o cry t/> O CT\ O ON O ON O - O *J ON o u o o» o TJ * cry CO r-l VO CM o\ -4 u-> cm »-i On vO -4 CO r-l CM rs. r-l r* CM O CO CM *4 V}- r-l ON r-l O CO CM m co cm IT* CO r-l -4 CM CM *4 NO -4 0 N© CM r-l r>- vo co co cm S 3 a u ft CO >N a u u > a *n >N O U 3 CO d a 3 ? d 5 a «•* u o o X 4 69 Observation : The value of museum educational programs for children could almost surely be enhanced through closer cooper- ation with schools. The reasons for the low level of cooperation are unclear, but some consultant museum directors have indicated that efforts by museums to obtain greater participation by school systems were to little or no avail. In any case it is to be hoped that some means can be found to insure a closer work- ing relationship on all levels. Joint Programs with Universities or Colleges In addition to the 9% of museums under the governing authority of a university or college*, 30% have joint programs with universities or colleges. Museums in the art and science categories are most often allied with higher educational institutions, with 21% of art and 16% of science museums under colleges and universities, and another 38% of art and 42% of science having joint programs. More than half the museums with budgets of $250,000 and over have joint programs with universities and colleges; the proportion rises to 70% of the $1,000,000 and over group compared with only 16% under $50,000. The following table shows the distributions of museums that have such joint programs: *Ten percent of the total museums are under the governing authority of educational institutions, but these also include schools below the university/college level. WHETHER MUSEUM HAS JOINT PROGRAMS, OR IS AFFILIATED, WITH UNIVERSITIES OR COLLEGES (Base: Total museums) 70 \ I u 00 u o o (0 rH 3*3 u o 00 o u U o o. ■H CO O U •*“» < 3 > 31 o 3 § 4 0) a « u o a> a •n > 3 •h 9 J d a - s Vi « 3 ** •HUH 2 8 8 71 The museums that have joint programs or are affiliated with colleges and universities were asked which of a list of programs were conducted jointly with those institutions. The program conducted by the largest number of museums was work experience without credit , with other programs declining in occurrence to training programs for professional museum workers : Table 25 JOINT PROGRAMS MUSEUM HAS WITH UNIVERSITY OR COLLEGE (Base: The 39% of museums that either have joint programs with universities or colleges or are university or college museums') Total % Work experience without credit 61 Research at undergraduate level 58 Research at graduate level 55 Work experience for credit at undergraduate level 47 Credit courses taught in museum’s facilities 45 Collection items loaned to colleges 42 Observation o r participation in museum activities by teacher-trainees 37 Credit courses taught away from museum by museum professional staff 36 Work experience for credit at graduate level 29 In-service courses for classroom teachers 27 Training program for professional museum workers 24 Other 15 Aside from the joint programs with universities, only 24% of the total number of museums reported that they had programs for training professional museum workers. (These programs will be discussed in more detail in a later section.) 72 Observation : Considering the value of museums in higher education, especially as a source of research and work experience, it is perhaps surprising that only four in ten museums are affiliated with a university or college either through governing authority or joint programs. This indicates that much more might be done to the probable benefit of both students and museums. Publ i cations Publications are another means through which museums conduct educational activities, and museums were asked which of a list of edu- cational materials were published during the year. Almost half of the museums (46%) published an annual or biennial report, and approximately one in three published popular books, booklets or pamphlets (33%) and regular periodicals (30%). Sixty-one percent of art museums published exhibition catalogues, compared with only 8% of history and of science museums. Observation : Consultants have indicated that one reason exhibition catalogues are published less often by history museums is the lower frequency of borrowing of objects by his- tory museums for exhibitions, making it less necessary to document an exhibition with a published catalogue. Exhibition catalogues are also less applicable to certain types of science museums, such as zoos and botanical gardens. Budget size affected every type of publication, with much higher percentages of the large museums publishing materials. Among governing authorities the government museums were lower in every category. The following table contains breakdowns of the type of materials published: Table 26 MATERIALS PUBLISHED BY MUSEUM DURING FISCAL 1971 - 1972 * (Base: Total museums) 73 O ^ V. * *-» Is* o H o ® go • o. o o 14 o 14 0 3 u 1 u 8 3 CHAPTER IV COLLECTIONS AND EXHIBITIONS 87 COLLECTIONS AND EXHIBITIONS Despite the diversity of collections among different museums and the specific problems that may be associated with each, certain factors pertain to all museum collections, such as ownership, exhibition, borrow- ing and loaning. In 56% of museums the entire permanent collection is the legal property of the museum. Twenty-nine percent of museums own from 90% to 99% of the collection and another 10% own from 50% to 89% of the collec- tion. Among classifications the percentage of museums owning at least 90% of their collection is highest in science (95%) and lowest in art/ history (78%). Among budget sizes the percentage owning at least 90% of their collection ranges from 93% of the $500,000 - $999,999 group to 82% of the under $50,000 group, and among governing authorities from 88% of government museums to 83% of private non-profit museums. Table 32 IRCENTAGE OF THE PERMANENT COLLECTION THAT IS MUSEUM'S OWN PROPERTY BY LEGAL TITLE 88 89 Wide differences are present, however, in the percentage of the total permanent collection exhibited during fiscal 1971-72. Among educa- tional institution museums an average of 45% of the collection was exhib- ited compared with an average of 65% of the collection that was exhibited in government museums. The average percentage exhibited was lower in museums with budgets of $100,000 and over, and the lowest average of any budget size was in the $250,000 - $499,999 group (47%). Art museums exhibited the lowest average of any classification (50%), but art/history museums exhibited the highest (71%). The average percentage of the total collection exhibited is shown below, with breakdowns by ranges of ten percentage points on the following page: Table 33 AVERAGE PERCENTAGE OF TOTAL PERMANENT COLLECTION EXHIBITED IN FISCAL 1971-1972 (Base: Permanent collections in total museums) 7» Total 62 Classification Art 50 History 68 Science 63 Art/History 71 Other 55 Size Under $50,000 68 $50,000-$99,999 63 $100,000-$249 ,999 54 $250,000-$499 ,999 47 $500, 000- $999, 999 55 $1,000,000 and over 55 Governing Authority Private non-profit 63 Government 65 Educational institutions 45 PERCENTAGE OF TOTAL PERMANENT COLLECTION EXHIBITED IN FISCAL 1971-1972 (Base: Total museums) 90 1 ^ •u a) O X p X 1 >» o U ^ •H M -H O *-> C * Cd O 1 Q> *H •H U U-4 O C *H (-0 0) CO CO i cd CO V-< 1 — 1 •H O u 3d 4-» iJ . < rH cd 4-1 o H S-J'd’ff'MNNHOinCOPI i — I i — 1 Osl vtor'HNioni/i'OHNci i— I i— l cm O'MCDl'lMO'NI/lHvfOO T * t < *“ I CM OccoommoorocsioocnocM _l r— l t— I CN1 C P X m • o c cd -C d) u 3 O' O' O' O' O' O' O' O'' ’O' CO HCsir^sJ'^vDf^CO^^ I I l I I • I i • o -»-* oooooooooo o HNcovJ'invDr^ooo'His 91 Observation : It should be remembered that all, or almost all, of the collection will be exhibited in certain types of science museums, e.g., zoos, aquariums, etc; in other types of science museums such as natural history museums only a very small portion of the collection may be exhibited. There are a number of reasons why every item in the permanent collection is not displayed during the year. First, not every object should be displayed. For example, many items such as textiles and water- colors would deteriorate by being exposed to light. Prints and other objects can sometimes be better examined by interested viewers if brought out for inspection on print tables rather than exhibited in the usual manner. Also, objects that may be of the highest quality can still dupli- cate other objects and to exhibit them would be a misuse of existing space. Part of a museum's collection may not have been exhibited for some or all of the above reasons. The survey concentrated on six other specific reasons for not exhibiting objects. Directors were asked what percentage of the collection not shown was not exhibited for each reason. Since more than one reason could apply to any portion of the collection, the percentages can add to more than 100. Lack of space prohibited the exhibiting of the largest propor- tion of the collection not shown. It remained the most important reason in each of the classifications, budget sizes and governing authorities. Among the various categories, the reasons affecting the next largest pro- portion of the collection not shown did vary. Insufficient staff ranked second in the list for total museums. But the fact that the works or specimens not shown are of secondary interest or importance was ranked second in art museums, in museums above $500,000 budget size, in fed- eral museums and in private educational institution museums. The fact that a portion of the items not shown represented research collections not suitable for exhibition was the second most important reason for non- exhibition in history museums* Table 35 PROPORTION OF COLLECTION THAT WAS NOT EXHIBITED IN FISCAL 1971-1972* BY REASON FOR NOT BEING EXHIBITED (Base: The 787. of museums Chat exhibited less than 1007. of the permanent collection)** 92 93 In approximately two-thirds of the museums with items in stor- age, the storage collections were used for research during the year by scholars not on the museum staff: WHETHER COLLECTIONS IN STORAGE WERE USED FOR RESEARCH BY SCHOLARS NOT ON MUSEUM STAFF, FISCAL 1971-1972 (Base: The 80% of museums with items in storage) 94 C o 00 U U) W 0 3 a i ■M O > u < I W) U I 0) -C I 50 u o r* S'? i •H a C/3 I (A 30 V u c CL) 50 J-i o aJ S'? S'? 0> I V4 t 4 u c O *-* Li ca o u -h O TJ c c • 03 • o ~ o u o\ O Os O O' - o • O u OS o u o (U o Tl - c o \ i m >4 5 U u ?! 102 Most of the special exhibitions were developed by the museums where they were shown rather than by an outside source. Only 7% of muse- ums with special exhibitions developed none of them, while 44% of the museums with special exhibitions developed all of them. Complete break- downs of the number of special exhibitions developed by the museum and developed by outside sources are shown in these tables: NUMBER OF SPECIAL EXHIBITIONS DEVELOPED BY THE MUSEUM IN FTRCAL 1971-1972 (Base: The 68 % of museums that had special exhibitions in fiscal 1971 - 1972 ) 103 3 « UJ l — 1 CC I o"N> > ! co lo^e i cocmoncococmvoonco CM CO r-H O MD 00 in On On CM cMr^-* co I < 1 > I ^ 4 --* 3 O TO O U MD * o o O T3 o c * CT3 r—i ON o o o * o O U ON O on O ON o on o ** O -*-» O On O CO o o on * 4-1 O cr> m cr» co- cocor^ ♦H *H u 6-5 o co ON vO T— < CO co CO 1 U c T— 1 r— 1 CO i — • *H CO 0) C/3 U3 1 >> 03 03 v-i 6-5 O oo CM o o m i r— l r-H •H o r-H CM r— 1 * — 1 CM u 32 XJ XJ J-i 6-5 m m vO CO oo ON CM co co i“H < co r-H i— i r-H OJ r-^ CO ON co oo CM ON ON r-H XJ 6-5 T— 1 CO V c o o CM I vO O CM c 3 03 Q) u o 2 o 2 c ctf si NUMBER OF SPECIAL EXHIBITIONS DEVELOPED BY OUTSIDE SOURCE IN FISCAL 1971-1972 (Base: The 68% of museums that had special exhibitions in fiscal 1971-1972) 104 1 U os CO ON rA CO m r— 1 i CM CM u o CO r— 1 o c N i CM CO vO co CM co 1 m o 4-r c fi V-» vO •H S-4 •rH o AJ < X ■U cti CJ 1 ■U CM m CM H CM CO < CM r— 1 co r-H CO m CO in T— 1 co co 03 U ^5 *“M i — i o o> a o 2 r-< CM CO § 73 t-4 Q "O •h Q 107 The relative importance of the various sources for such bor- rowed objects was identical to that for the special exhibitions: Table 45 SOURCES OF INDIVIDUAL OBJECTS OR SPECIMENS LOANED TO MUSEUMS (Base: The 38% of museums that did exhibit loaned objects in fiscal 1971-1972) Total % • • Private collectors, organizations, etc. artists, service 89 Other museums 38 Government agencies other than museums 22 Commercial sources 21 Loans by the Museum The other side of the exchange of exhibitions -- loans by the museum to other museums, schools, etc. -- was also examined. Only a third of the museums sent out traveling exhibitions in 1971-1972, but among classifications this percentage rose to 55% of art museums which loaned exhibitions compared to a low of 19% of history museums: 108 \0 aJ »H >* H 2 3 s a q <0 0 ) *h u §•3 * 0) U H J J=> td d cO 5 3 a 113 Of the 58% which did not make objects or materials available on loan, only 21% said that they were planning to do so: WHETHER MUSEUM IS PLANNING TO MAKE OBJECTS OR MATERIALS AVAILABLE ON LOAN TO STOREFRONT OR COMMUNITY-BASED MUSEUMS (Base: The 587. of museums that did not make objects or materials available in fiscal 1971-19721 114 l u A *-> % a 3 1 124 The reasons why museums are not planning to rent objects are Table 59 REASONS MUSEUM DOES NOT HAVE PLANS FOR RENTING ITS OBJECTS* (Base: The 97% of the museums that did not rent objects that have no plans to rent their objects = 89% of total) Total % Collection unsuitable, too specialized for renting 19 Loan/exchange on no-charge basis only 18 Possibility of loss or damage 15 Lack of demand 14 Government owned, rental not authorized 13 Policy does not permit 10 Entire collection needed or used by museum 8 Never considered 6 No facilities for renting 5 Collection too valuable to rent 4 Lack of staff 4 Museum is against commercialization 3 Not a responsibility of museum 3 Improper to rent public-owned objects 2 Museum has nothing to rent 1 Other 5 Not sure 1 * Percentages add to more than 100 because multiple responses were possible. Observation : The renting of objects is far from a common practice in museums and is not a significant source of revenue even in most museums that do rent. Although renting has been suggested as a means of reaching new publics and of obtain- ing revenue, indications are that little will be done in this area in the foreseeable future. CHAPTER V ACCESSIBILITY AND ATTENDANCE 127 ACCESSIBILITY AND ATTENDANCE In Chapter lion purposes and functions, "providing educational experiences for the public" ranked first as a very important purpose of museums and "exhibiting the cultural and/or scientific heritage" as a very important function. Although measuring how well this purpose is met and this func- tion is performed is not a simple task, one element in judging success is the number of people reached by the country's museums. In this chap- ter we turn to this question and examine the size and composition of museum attendance, the interest of museums in expanding their audience and the accessibility of museums to the public in terms of when and how long they are open, their membership levels and policy on admission char- ges. Attendance Museum attendance is one element in determining how well muse- ums are meeting their obligation to the public, but there is little hard data available on actual attendance levels. In our questioning on attend- ance figures, only about 30% of museums were able to base their responses on actual counts rather than on estimates. While this proportion moves steadily upward from 25% of museums with budgets under $50,000 to approx- imately 50% of museums with budgets of $1,000,000 or more, the keeping of accurate attendance figures does not appear overwhelmingly strong for any category of museum. Observation : The implication of this lack of accurate data for the museum field is serious. Accurate data, both in terms of attendance size and composition, can provide the basis on which better, more effective exhibitions and programs can be designed. One might assume that far too often exhibitions are designed with an audience in mind which may bear only a marginal relationship to the museum's actual audience. Just as important, it is likely that attendance at many museums is drawn from throughout the states in which they are located and often from across the country, although their funding may be derived only from local sources. Their case for state and fed- eral funding and for support from national founda- 128 tions (and those whose programs are primarily regional in nature) could be significantly strengthened if they could document the non-local character of their audi- ence in some consistent way. To obtain more complete information on museum attend- ance will require better recordkeeping by museums as well as further research not only into the numbers of those attending but also into the basic demographics and motivational and behavioral patterns of audiences. The low proportion of actual audience counts means that the statistics presented here essentially represent the estimates of museum directors. Although one might assume that in estimating there would be a natural tendency to inflate attendance figures, these estimates actu- ally seem to be rather conservative compared with other figures that have appeared. Each director was asked for the "total attendance, both paid and free, at your permanent facilities in fiscal 1971-1972" and was handed a card that indicated which elements of attendance to include and which to exclude in the total figure.* * Included in the total attendance: Not included: - General attendance by adults - General attendance by children - Attendance at special exhibitions, if not calculated in general attendance - Attendance by school class groups - Attendance at workshops and classes - Attendance at performing arts presentations, films, etc. that are organized and run by the museum - Attendance at any circu- lating exhibits away from your permanent facilities 129 Almost one in three museums (30%) had a total attendance in fiscal 1971-1972 of 100,000 or more: Table 60 RANGES OF ATTENDANCE IN FISCAL 1971-1972 (Base: Total museums) Attendance Under 5, 000 9 5,000 - 9,999 8 10,000 - 24,999 19 25,000 - 49,999 19 50,000 - 99,999 15 100,000 - 499,999 23 500,000 - 999,999 4 1,000,000 and over 3 The following table shows the total attendance in fiscal 1971- 1972 for the various categories of museums and the average attendance per museum in each category: 130 Table 61 ATTENDANCE IN FISCAL 1971-1972 (Base: Total museums) Average Proportion To,»;a,l. Attendance Attendance of museums # X If *}j Total 308,205,000 100 169.000 100 Art U3, 024,000 14 127,000 19 History 714,876,000 24 110,000 37 Science 117,039,000 38 412,000 16 Art/ History 17,506,000 6 94,000 10 Other 55,760,000 18 170,000 18 Under $50,000 35,068,000 11 42,000 44 $ 50,000-99,999 214,900,000 8 74,000 19 $ioo,ooo-2U9.999 52,819,000 17 169,000 17 $250,000-1499,999 57,929,000 19 331,000 10 $500,000-999,999 35,1147,000 11 429,000 5 $1,000,000 and over 102,3142,000 34 1,248,000 5 Private Non-Profit 127,1430,000 42_ 125.000 56 Govt . 170,782,000 55 274.000 34 Federal 147,2142,000 15 422,000 6 State 142,329,000 14 197,000 12 Municipal-county 81,211,000 26 274,000 16 Educational Institution 9,993,000 3 56.000 10 Public 7,038,000 2 72,000 5 Private 2,955,000 1 36,000 5 New England 114,1496,000 5 60,000 13 Northeast 89,067,000 29 283,000 17 Southeast 146,1413,000 15 139,000 18 Midwest 714,661,000 24 170,000 25 Mountain-Plains 26,716,000 9 127,000 12 Western 56,852,000 18 202,000 15 Art Under $50,000 1,916,000 1 17,000 7 $50,000 - $99,999 2,838,000 1 38,000 4 $100,000 - $499,999 11,174,000 4 112,000 5 $500,000 and over 27,096,000 8 521,000 3 History Under $50,000 18,997,000 6 45,000 23 $50,000 - $99,999 8,614,000 3 76,000 6 $100,000 - $499,999 39,961,000 13 310,000 7 $500,000 and over 7,304,000 2 430,000 1 Science Under $100,000 8,159,000 3 74,000 6 $100,000 - $499,999 41,341,000 13 350,000 7 8500,000 and over 67,539,000 22 1,206,000 3 131 Over 300 million visits* were made to the universe of 1,821 museums in fiscal 1971-1972, an average of almost 1.5 for every person living in the United States and 169,000 visits per museum. Four in ten of these visits (38%) were made to science museums**, 24% to history museums, 14% to art museums, 6% to art/hi story museums, and 18% to "other" museums. These proportions are particularly interesting in terms of the number of museums of each type in the country (see the last column of Table 61 ). The 38% of attendance in science museums is accounted for by 16% of the country's museums; the 24% of attendance in history museums by 37% of the country's museums; and the 14% of attendance in art museums by 19% of the country's museums. These variations are partly a result of the average budget size differences between museum types. (Based on average operating budgets science museums are largest, followed by art museums and history museums.) The data make clear the impact of the larger museums. Representing only 5% of all museums, those museums with budgets of $1,000,000 or more ac- count for 34% of total attendance; the 44% of museums with budgets under $50,000 account for only 11% of total attendance. Noticeable variations appear when attendance is broken down by budget size within the three major classifications of art, history and science. In all three classifications museums with budgets under $100,000 account for a higher proportion of the total number of museums than of total attendance. In the $100,000 - $499,999 group, the proportion of art museums is still sliqhtlv hiqher in terms of number (5%) than in terms of attendance (4%). But the relationship is reversed in history and science museums: in these two classifications museums of $100,000 - $499,999 represent only 7% of all museums but account for 13% of total attendance. The percentage of total attendance at museums of $500,000 and over is higher in all three classifications than the proportion of museums represented, with the widest difference in the science classi- fication where only 3% of all museums accounted for 22% of total attend- ance. One of the most interesting aspects of the above table is that a majority of the total attendance (55%) occurred at government museums, with just under half of this amount coming from muni cipal -county museums * It should be pointed out that these numbers represent visits and not visitors. Even if accurate counts were kept, it would be impos- sible to keep track of the number of repeat visits to a museum by an individual. ** The higher attendance at science museums may be partially accounted for by the large attendance figures at such museums in this classi- fication as zoos, etc. 132 and the rest split almost evenly between federal and state museums. Fed- eral museums, however, have the highest average attendance per museum of any governing authority -- an average of 422,000 visits n er museum. Museums run by educational institutions have the lowest attend- ance relative to their number. Only 3% of visits were made to these muse urns although they represent 10% of all museums. Although private educa- tional institution museums are not smaller in size (as measured by total operating expenditures) than museums run by public educational institu- tions, they have significantly fewer visitors -- an average of 36,000 per museum compared with 72,000 for the public educational institution museums . Eighty percent of the total attendance came from general attend ance (including attendance at special exhibitions); 15% from elementary and secondary school classes; and the remaining 5% from attendance at per forming arts presentations (3%) and adult workshops and classes (2%): PROPORTION OP TOTAL ATTENDANCE BY TYPE OF ATTENDANCE (Base: Total museums) 133 X • N U ® U U 'r4 O < X U c 3 <9 ® X frJU <9 *T3 O §C *0 ® a <* (9 r-4 u 3 8 0 JS N •S* '4' o CM s0 CO sO CO CM s© O sO CM O CO CO CO CM CO CM CO o\ CM a CO o o rs CO O H 9 9 s 3 ■9 a u i ■D 9 u 8 8 138 While, except in federal museums, there is little variation among all categories in interest in attracting more people to the museum, there is some spread in the proportion of museums of different types and sizes which are actively publicizing or advertising themselves. Art museums are most heavily involved in such activities (79% compared with 71% for science museums and 66% for history museums). The likelihood of a museum using publicity or advertising increases with museum size (al- though in the middle budget size of $250,000 - $499,999 a low of 66% of museums advertise or publicize). Not only do federal museums show less interest in attracting larger audiences, but among those federal museums that are interested less than four in ten (38%) use publicity or advertising. The highest use of publicity or advertising by governing authority is found among museums run by public educational institutions (80%), compared with the 56% of private educational institution museums, which is lower than all others except federal museums. Although it is hard to make a precise division, it appears that the bulk of these activities should be labeled "publicity" rather than specifically "advertising": Table 66 WHAT IS MUSEUM DOING TO ATTRACT LARGER ATTENDANCE BY GENERAL PUBLIC* (Base: The 637. of museums that are interested in more people attending and that are using advertising or publicity) Total % Press releases, news stories, features, etc. 72 Public service announcements in media 17 Brochures 17 Collections, special exhibits publicized 17 Billboards, road signs 16 Flyers sent to hotels, chambers of commerce, etc. 15 Ads in travel guides, tourist publications 13 Mailers sent to individuals 11 Talks made to civic & other groups 10 Ads in magazines 6 Ads in professional or scholarly journals 6 Newsletters 5 Active public relations department 5 Other 17 * Percentages add to more than 100 because multiple responses were possible. 140 The dominant approach to publicizing a museum is through press releases, news stories and features, etc. The museums which use adver- tising (even including billboards and road signs) are in a clear minority. Observation : Cost is most likely a major factor in restricting the use of advertising, but consultants noted that a pri- mary cause may be a traditional inhibition against advertising as something "just not done", similar to the practices in the legal and medical professions. The apprehension has also been expressed that the use of paid advertising might cause a diminution in the free space and publicity given to museums. Indi- cations are, however, that the use of advertising may be increasing, and some museums have found it an excellent means not only of increasing attendance but also of reaching a more heterogeneous audience. Efforts to Attract Specific Groups Interests in larger audiences and efforts to attract them have not, in any great measure, taken the form of appeals to special groups. The directors were asked about five particular groups -- senior citizens, blacks, Spanish-Americans, other minority groups and the economically disadvantaged -- and less than a third of the country's museums has made a special effort to attract any one of these groups to the museum: MADE SPECIAL EFFORTS TO ATTRACT PARTICULAR GROUPS* (Base: Total museums) 141 O JC. v* * o n m n o CO CM CO CO in o co o> CM CM CM r-4 r-l r* co m cm O CM CM r-l r-l CO CO r-l Oi CM ^ CM CM r-l CM ^ O' O' sj CO CO St r-l CM CO •— i oi \o oo r*** CO CM r-l rM CM 3 O « r^ CO •o * 1 2 E <0 0 ) :* C C -h 3 n q) O cfl H 71 u pu jC u U (0 3 cfl O « V -4 Cfl 0 © 2 1 T 3 3 oo c a c co 2 U H a •D T 3 • <0 « H CO .O V 00 ® a s 0 a • o • u u £ i * Economically disadvantaged 142 Art museums appear to have been more active in directing spe- cial appeals to these groups than either history or science museums. In particular just under half (49%) of art museums have made special efforts to attract blacks to the museum. Efforts to attract each of the groups are more prevalent among larger museums than among smaller museums. (The one exception is that the highest appeal to senior citizens is found among museums with operat- ing budgets between $250,000 and $499,999.) Government museums, particularly state and municipal -county museums, have less often made such efforts than have private non-profit museums. Museums run by public educational institutions have made spe- cial efforts to attract these groups less frequently than have museums run by private educational institutions, with the gap particularly sharp for blacks (18% public, 56% private). The appeal to blacks and Spani sh-Ameri cans matches to some extent the regional distribution of these groups' population. Museums in the Northeast and Southeast are most likely to have made special efforts to attract blacks, and museums in the West are most likely to have made special efforts to attract Spaini sh-Ameri cans. The table shows the specific steps taken to increase attend- ance among these groups: 143 Table 68 WHAT SPECIFIC STEPS HAVE BEEN TAKEN TO INCREASE ATTENDANCE AMONG GROUPS* (Base: The percentage of museums which have made special efforts to Increase attendance among particular group) Total Z Senior Citizens (Base: 31%) Free or reduced admission 24 Tours 21 Special programs, events 21 Been in touch with them through organizations 20 Provide transportation, special conveniences 13 Special exhibitions 9 Encourage them to attend our classes 9 Publicity, advertising 5 Mobile-neighborhood programs 4 Other 8 Blacks (Base: 297. ) Special exhibitions 42 Been in touch with them through organizations 23 Special programs, events 17 Tours 9 Have community relations staff 8 Cooperate with government programs 8 Publicity, advertising 8 Encourage them to attend our classes 5 Free or reduced admission 4 Mobile-neighborhood programs 3 Other 10 Spanish Americans (Base: 167.) Special exhibitions 31 Been in touch with them through organizations 19 Special programs, events 19 Bi-lingual brochures, labels, etc. 16 Tours 9 Publicity, advertising 8 Have community relations staff 6 Encourage them to attend our classes 5 Mobile-neighborhood programs 4 Free or reduced admission 3 r '*her 15 Other Minority Groups (Base: 187. ) Special exhibitions 47 Special programs, events 29 Been in touch with them through organizations 23 Tours 7 Publicity, advertising 6 Cooperate with government programs 5 Encourage them to attend our classes 4 Free or reduced admission 3 Bi-lingual brochures, labels, etc. 3 Mobile, neighborhood programs 3 Other 8 Economically Disadvantaged (Base: 277.) Free or reduced admission 35 Special programs, events 22 Encourage them to attend our classes 16 Tours 16 Cooperate with government programs 13 Been in touch with them through organizations 10 Special exhibitions 7 Provide transportation 6 Mobile, neighborhood programs 4 Have comnunity relation staff 3 Other 5 * Percentages add to more than 100 because multiple responses were possible. 144 For the most part the steps taken emphasize special exhibitions special programs and events, contacts with group organizations as well as some particular actions for specific groups such as free or reduced admis sion for senior citizens and the economically disadvantaged, tours for senior citizens and bi -lingual brochures and labels for Spam* sh-Ameri cans Observation : The question as to whether the level of special appeal being made to these groups is adequate is not one we are about to tackle. Even with the best will in the world, problems of location, facilities, staff and funds could inhibit the ability of many museums to make special appeals. In any case, if one thinks of efforts to attract these groups to museums in greater numbers as part of a muse- um's active community involvement, the level of these efforts is consistent with museums' views of the impor- tance of "encouraging positive social change" (17% considered this purpose very important) and "serving as a center for community activities" (20% considered this function very important). Membershi p Considering the positive effect that an active membership can have on attendance, contributions and general support of a museum, it is interesting that only 51% of the country's museums do have a paid member- ship: Table 69 DOES MUSEUM HAVE PAID MEMBERSHIP (Base: Total museums) 145 Vi 1 1 l A a i a •H (0 CU 3 X •o D. 146 Clearly the sharpest determinant of whether or not a museum has a paid membership is its governing authority. While 75% of private non-profit museums have a paid membership, only 29% of educational insti- tution museums (with a sharp split between public (22%) and private (38%) educational institutions) and only 18% of government museums have a paid membership (4% in federal museums, 13% in state museums and 28% in munic- ipal-county museums). Size is also a factor, with the proportion of museums with paid memberships generally increasing with museum size. Reflecting the in- fluence of size and governing authority, art museums have the highest per- centage with a paid membership (78%) followed by art/history museums (56%), science museums (53%), "other" museums (44%), and history museums (40%). Observation : To what extent there are legal restrictions on paid membership programs in government and educational institution museums was not determined. But some of these types do have paid memberships, and those which do not may be missing out on a valuable source of community support, both in terms of income and involvement. Membership income, however, should be considered only in net terms, i.e., after deducting all costs of obtaining memberships and of services offered to members. In these terms, it is likely that in a number of museums, memberships serve more of an educational purpose increasing community in- volvement than a revenue-generating one. It should also be noted that in some instances a museum may not have a paid membership, but may be affiliated with a membership organization, such as a historical society. This may be a reason for the lower percentage of history museums with a paid membership. size: The number of paid members is most closely related to museum 147 Table 70 NUMBER OF PAID MEMBERS, BOTH INDIVIDUALS AND ORGANIZATIONS (Base: The 517» of museums with paid membership) Size : Total Under $50,000 $50,000 to $99,999 $100,000 to $249,999 $250,000 to $499,999 $500,000 to $999,999 $1,000,000 and over % % % % % % % Under 100 4 0 5 - 2 2 - 100-499 30 48 35 18 8 10 5 500-999 29 31 40 31 18 11 9 1,000-4,999 24 14 15 35 38 50 33 5,000 or more 13 1 5 16 34 27 53 Over one in three museums (37%) with paid memberships have 1 ,000 or more members, with the proportion rising steadily from 15% among museums with annual operating budgets under $50,000 to 86% among museums with budgets of $1,000,000 or more. In fact, in this top budg- et category, over half (53%) of the museums with paid memberships have 5,000 or more members. Just under nine in ten (89%) museums with paid memberships set different fees for different categories of membership. When asked what was the membership fee for the category in which they had the largest number of members, over one in four (29%) indicated this fee was $15.00 a year or more and 35% responded that this fee was $10.00 - $14.99. 148 Table 71 MEMBERSHIP FEE FOR CATEGORY WHICH HAD LARGEST NUMBER OF MEMBERS (Base: The 89% of museums with paid memberships which have different fees for different categories of members = 457, of total) Size : Total Under $50,000 $50,000 to $99,999 $100,000 to $249,999 $250,000 to $499,999 $500,000 to $999,999 $1,000,000 and over % % % % % % % Under $5.00 11 22 8 4 - 4 - $5 . 00-$9 . 99 25 36 23 21 13 9 6 $10. 00-$14 . 99 35 28 47 29 58 38 17 $15. 00-$24 . 99 24 13 18 40 26 42 54 $25.00 and over 5 1 4 6 3 7 23 Lar 9er museums not only have more members, but also charge them higher fees. In the under $50,000 budget category, only 14% of the muse- ums charged a fee of $15.00 or more for the largest category of member- ship compared with 77% in the $1,000,000 or over budget category. Admission Policy One key element affecting accessibility of the museum to the public may well be whether or not a visitor is charged to enter the muse- um^. Currently, a majority (59%) have free admission at all times, while 37% charge an admission fee and only 4% ask visitors for a donation. Table 72 WHAT IS REGULAR MUSEUM POLICY ABOUT CHARGING ADMISSION (Base: Total museums) 149 3 44 fl O u 3 •3 U o 44 M 3 a o u a 4 150 Among classifications art museums have the highest proportion that are free all the time (84%). However, the proportion declines from 96% of art museums with budgets under $50,000 to 63% of those with budg- ets $500,000 and over. Among the three major classifications (art, history, science), history museums have the highest proportion that charge admission or ask for a donation. In fact, a majority of history museums and of art/history museums charge an admission fee. Science museums charge or ask for a donation less often than history museums. But the largest science museums are as likely as the largest history museums to charge and in both of these groups about twice as many museums have some type of admission fee as do the largest art museums. Observation : Certain types of history museums, such as historic sites and museum villages, traditionally charge admission fees, while other types of history muse- ums are less likely to charge. Among governing authorities, 85% of educational institution museums are always free, followed by government museums (66%), parti- cularly municipal -county museums (70%), and private non-profit museums (51%). As the next table indicates, in those museums which are not always free, almost all groups must pay, with the exception of members and, to a lesser extent, school classes: 151 Table 73 ADMISSIONS POLICIES (FIXED FEE, REQUESTED DONATION) FOR SPECIFIC GROUPS (Base: The 41% of museums now charging fee or asking for donation) Average Total 7 Fixed Fee College Students /o Fixed fee 80 $ .60 Donation 6 Free 11 Not sure 3 Adults 16 Years of Age or Older Fixed fee Donation Free Not sure School Class Groups (per child) Fixed fee Donation Free Not sure Children Not in Class Groups Fixed fee Donat ion Free Not sure Members (if have ) Fixed fee Donation Free Not sure Senior Citizens Fixed fee 72 $ .68 Donation 7 Free 18 Not sure 3 15 Base 5 too 77 Small 3 65 $ .35 9 25 1 44 7 47 9 $ .32 87 $ .68 9 3 1 152 Among museums which do charge admission or ask for a donation, only 12% indicated there was at least one day of the week on which this was not done. The range is rather sharp -- from 8% in history museums to 22% in art museums and 26% in science museums. Table 74 IS MUSEUM OPEN AT LEAST ONE DAY A WEEK WITH NO CHARGE (Base: The 41 % of museums now charging fee or asking lor a donation) At least one day with no fee or donation Charge fee or ask for donation every day Charging to enter a museum is not a new policy. For 73% of those with some type of admission charge or donation, this policy has been in effect for more than five years*. Table 75 HOW LONG HAS M'JSEUM BEEN CHARGING AN ADMISSION FEE OR ASKING FOR A DONATION (Base: The 41% of museums now charging fee or asking for donation) Classification: Fee Policy Total Art History Science Art/ History Other Admission Fee Donation % % % % % % 'f a 1 Less than 1 year 7 11 6 6 5 8 4 27 1-2 years 9 11 6 16 9 12 9 8 3-5 years 10 15 10 18 - 8 10 8 More than 5 years 73 56 77 60 86 72 76 57 Not sure 1 7 1 1 * It is also possible that a museum may have charged in the past and has discontinued its admission fee, but the survey did not determine if any museums had, in fact, done so. Total % Ar t % History % Science % Art/ History % Other % 12 22 8 26 7 8 88 78 92 74 93 92 153 Of the 37% that charge an admission fee, 76% have been doing so for more than five years and 4% for less than one year. Asking for a donation is a more recent practice. Of the 4% that ask for a dona- tion, 57% have been doing so for more than five years, while 27% have been asking for a donation for less than one year. Art and science museums not only charge less often than history museums, but among those which do charge, this policy is more likely to have been introduced within the last five years than is the case for history museums. Considering the possible impact of admission charges on attend- ance as well as on income, it is interesting that less than half (43%) of the museums which now charge or ask for a donation conducted any research into whether a charge should be made, the optimum amount to charge and the most effective way to do it before instituting the fee policy: DID MUSEUM CONDUCT ANY RESEARCH ON ADMISSION FEES BEFORE INSTITUTING CHARGES (Base: The 41% of museums now charging fee or asking for a donacion) 154 c 3 o 43 o > * o o o X G 3 * o o O O' O cn * o ■- O 4J CTi o Ob LA OA Cl) o O' o On - o O W Ob • • m cr» 03 04 N o O' O O' O O O' ~ 4J o O' uO O' o u o 43 o X * 3 o 33 LA LA 05 04 LA CO r-4 »-« v£> co v£> 04 r-H » <0 3 r — 1 r-. 04 •rH o r-4 31 4-> H 3 v£> vO CO < CO r— 4 r>* til H Jl cj H CT3 4-> O H CO VO r-j vf rH Si o 3 cd o CJ X 3 co cd <5 ^2 0) 43 C/3 ^ W W 43 pS4 GO 3 2d -> H H a » o >> 3 4-^ 43 43 3 C/5 o > X > 43 3 4J 3 X ■U 3 *H 3 3 O vO CO ^ CO O J5 * Percentages add to more than 100 because multiple responses were possible. 155 Observation : Clearly financial need often dictated a change from a policy of free admission to one of charging, but, even it museums were forced to charge, it would seem that the wiser course would have been first to at- tempt to measure the effect of charging on their own audience and their overall financial picture. It should be noted here that an inhibiting factor against instituting an admission charge may be the fact that those museums that might otherwise be eligible to receive material under the Federal Prop- erty Disposal Act would become ineligible if an admission fee were charged. When museum directors were asked what effect they thought charging admission or asking for a donation would have on total attend- ance at their museum (or did have, if museum does not have free admis- sion), more than one in three of the total (37%) felt it would decrease attendance significantly and an additional 21% felt it would decrease attendance somewhat: 156 M 00 H G < 3 Z 4) O W Q 3 £ oo 06 1“" O *-i q) ^ s ii H in 0 3 « 157 The numbers in parentheses at the bottom of each column repre- sent the proportion of museums which now charge admission or ask for a donation. As this proportion increases, the proportion which would ex- pect (or have experienced) a significant decrease in attendance declines. This is seen most clearly in the last three columns of the table. Among those now charging an admission fee only 17% said they experienced a significant decrease in attendance; among the small group now asking for a donation the proportion is 26%. Among the 59% of museums which are always free, a majority of 51% feel charging admission would lead to a significant decrease in attendance. Observation : One must be careful not to assume that charging has only a minimal effect on attendance. First of all, attendance statistics at most museums are not very good. Second, it is not at all unlikely that some directors would want to rationalize their museum's policy -- for they are sincerely interested in opening up their facilities to more people -- and consequently may deny some of its consequences. But even these explanations cannot account for the wide disparity in attitude between those museums that charge an admission and those that are free. Clearl} there is the need for more dialogue, experimentation and research in this sensitive and important area. On the question of whether charging admission changes the com- position of the museums' audience, there is still disagreement, although not as sharp as on the question of audience size: Table 79 158 -]■ x i — I cd -p o Eh TRI o% t — t- vr\ J- X o O CO a nj 159 Overall, almost six in ten (59%) felt admission charges would (or did) change the composition of their audience. While this propor- tion stands at 70% of museums that are free, 44% of museums that now charge a fee and 50% of those that now ask for a donation responded that a change had occured. Those who felt there would be (or was) a change in audience com- position were next asked what kind of change would (or did) occur: Table 80 KIND OF CHANGE IN AUDIENCE COMPOSITION CHARGING ADMISSION WOULD (OR DID) (Base: The 597» of museums which feel charging changes composition) Fee Policy Total % Free % Charge or Donation % Attract people really interested in coming, keep out those not interested 24 13 50 Deter students, young people 23 29 10 Deter poor 22 26 13 Deter children 18 23 5 Keep out loiterers, vandals 16 5 42 Deter family groups 7 8 4 Deter school groups 5 8 * Deter senior citizens 2 2 1 * Less than .05%. The split between those who never charge and those who do charge is sharp. Those now charging emphasize the positive aspects of the pol- icy -- attracting people really interested and keeping out loiterers and vandals. These aspects are severely downgraded by those who do not char- ge; they in turn emphasize the expected deterring of students and young people, the poor and children from attending the museum. None of these changes are perceived as serious by those who now do charge. Observation: Who is right? 160 Accessibility of Museums Easy access to the collection obviously requires that a museum be open a good deal of the time.* In this section, we examine this ques- tion of access. Just under 8 in 10 (79%) were open during all 12 months of the year, with the proportion slipping to 71% of art museums, but rising to 95% of science museums: Table 81 NUMBER OF MONTHS MUSEUM WAS OPEN TO THE PUBLIC (Base: Total museums) Classification : j — Art/ Total f % l Art % History % Science % History % Other % 12 months 79 71 79 95 79 76 11 months 8 15 5 1 8 16 9-10 months 3 11 2 - - 2 6-8 months 6 2 9 3 9 2 Less than 6 months 4 1 5 1 4 4 Mean number of months 11.2 11 4 10.9 11.7 11.1 11.3 * By definition, all of the museums in the study were open to the general public on some regular schedule for at least 3 months of the year and for a minimum of 25 hours per week during at least 3 months of the year. 161 When asked whether there were any months during which the muse- um was closed for at least two weeks, 80% said there was' not (the slight discrepancy from the 79% open 12 months is the result of a few museums open duri ng each of the 12 months but closed at least 2 weeks during at least one of the months): Table 82 MONTHS OF YEAR DURING WHICH MUSEUM CLOSED FOR AT LEAST 2 WEEKS * (Base: Total museums ) Classification : Total % Art <’ % History % Science % History % Other % January 10 3 15 4 15 7 February 8 2 13 4 13 7 March 7 1 11 4 13 6 April 5 1 7 1 9 4 May 1 - 3 - - 1 June 1 6 - 1 - - July 3 12 - 1 - 5 August 8 29 3 2 3 5 September 1 4 - - 2 3 October 3 1 4 1 1 5 November 7 1 11 4 10 6 December g 3 12 4 15 r K) None 80 66 81 93 79 81 Art/ * Percentages add to more than 100 because multiple responses were possible. 162 May, June, July, September and October are the months during which the highest proportion of museums are open (at least 97%). In August, 29% of art museums are closed for at least two weeks while for other types of museums the proportion ranges between 2% and 5%. Just under one in four museums (24%) are open 56 hours or more per week, with the median being 46.3 hours per week: Table 83 NUMBER OF HOURS PER WEEK, ON AVERAGE, MUSEUM WAS OPEN TO PUBLIC (Base: Total museums) Classification: Total j Art History Science Art/ History Other % % % % % % 8-24 hours 2 2 4 - - 3 25-40 hours 31 44 33 13 42 23 41-55 hours 43 41 39 48 37 51 56 hours or more 24 13 24 39 21 23 Median number of hours 46.3 U 2.0 4 5.6 52.1 43.6 47.5 Science museums, in addition to being open the most number of months of the year, are also open the most hours per week -- a median of 52.1 hours. Conversely*, art museums are least likely to be open all year, and are open the lowest median number of hours per week (42.0 hours). While a majority of museums (65%) indicated that they were open about the same number of hours in fiscal 1971-72 as in 1966, 24% were open more hours. This was more than twice as many as the 11% that were open fewer hours: Table 84 WHETHER MUSEUM WAS OPEN MORE OR FEWER HOURS IN FISCAL 1971-1972 COMPARED WITH 1966 (Base: The 967. of museums that were open In 1966) 163 o H 1 164 Generally, the pattern holds for all categories with two excep- tions: Museums with budgets between $500,000 and $999,999 and federal museums have higher proportions that are open fewer hours now than are open more hours (although in each of these groups majorities said they were open about the same number of hours as in 1966). Fewer museums, particularly in the art classification, are open on Monday than on any other day: Table 85 DURING WHICH DAYS OF WEEK WAS MUSEUM OPEN BEFORE 6 P.M.* (Base: Total museums) Classification: Total Art History Science Art/ History Other % % % % % % Monday 66 45 59 90 66 78 Tuesday 98 98 97 100 97 100 Wednesday 99 100 99 100 100 100 Thursday 99 100 100 99 100 100 Friday 100 100 100 100 100 100 Saturday 84 83 87 85 77 82 Sunday 84 86 84 88 88 77 Percentages add to more than 100 because multiple responses were possible 165 Only two-thirds (66%) of museums are open Monday, and among art museums the proportion stands at 45%. On Saturday and Sunday, when one might expect most museums to be open to accommodate visitors who cannot attend during the work week, only slightly more than eight in ten (84%) are open. Practically all of the museums are open Tuesday through Fri- day. Only one in five (20%) museums indicated they were open at least one evening a week, although the proportion among art museums is 37% and among science museums is 28%. The proportion of museums open at least one evening increases with size -- from 15% of museums with budg- ets under $50,000 to 35% of museums with budgets from $500,000 to $999,999 and 32% of those with budgets of $1,000,000 or more. Thirty-two percent of educational institution museums are open in the evening compared with 18% of government museums and 19% of museums run by private non-profit organizations: MUSEUMS OPEN AT LEAST ONE EVENING A WEEK (Base: Total museums) 166 c o u CO O T-t « 10 CO i — < o ^ h OO CM r-* 00 r* cn t—4 00 00 CM cm r* ON rM O aj r» cn vj ^ m no < CO O O U .M CM 00 O H (3 > 9 3 O u 3 9 5 3 167 As the next table indicates, no one evening of the week is espe- cially popular as a time for the museum to be open, although Tuesday through Friday seems somewhat more popular than either Saturday, Sunday or Monday: Table 87 DURING WHICH EVENINGS OF WEEK WAS MUSEUM OPEN* (Base: Total museums) Classification: Total % Art % History % Science % Art/ History % Other % Evenings Monday 8 10 4 12 10 10 Tuesday 12 20 4 17 13 14 Wednesday 12 19 5 15 13 14 Thursday 12 19 6 16 14 14 Friday 10 12 3 20 10 12 Saturday 7 4 2 16 10 9 Sunday 6 4 3 14 9 6 None 80 83 91 72 83 82 * Percentages add to more than 100 because multiple responses were possible 168 Among the 80% of museums not open any evening, the primary reason offered for not having evening hours is lack of funds for staff (72%) followed by expected low attendance and little demand (24%) : Table 88 WHY WAS MUSEUM NOT OPEN TO PUBLIC ANY EVENINGS* (Base: The SOL of museums not open to public in evenings) Classification : Total % Art : % History % Science % Art/ History % Other % Lack of funds for staff, particularly security 72 87 76 70 72 54 Low attendance, no demand 24 21 26 20 19 26 Inadequate lighting for night display 15 5 18 26 26 5 People afraid to go out at night 7 : 6 8 5 10 8 It's not good for the animals 2 - - 11 - 1 Other 16 15 16 18 9 20 * Percentages add to more than 100 because multiple responses were possible. 169 ? ver a third of the museum s that do not have eveninq visit- ing hours have actually tried opening during the evening, with the propor- o^rnorer^ 1 ^ ^°° ^ museums and ^6% museum s with budgets of $500,000 Table 89 HAS MUSEUM EVER TRIED OPENING IN THE EVENING* (Base: The 80% of museums not open to public in the evening) Classi fi cation Have tried opening in evening Z Never tried opening in evening Not sure Z Z Total 35 64 Art 50 46 4 History 30 69 1 Science 34 64 2 Ar t/History 27 73 - Other 39 60 1 Under $50,000 28 70 2 $50,000 to $99,999 41 57 2 $100,000 to $249,999 41 58 1 $250,000 to $499 , 999 38 60 2 $500,000 to $999,999 46 54 - $1,000,000 and over 46 54 - k Percentages should be read horizontally. 170 These museums dropped their evening visiting hours primarily because of lack of funds for staff (45%) and low attendance, no demand (43%) : Table 90 WHY DID MUSEUM STOP OPENING IN EVENINGS* (Base: The 357=. of the museums not open to the public in the evening that have tried opening in the evening = 287. of total) Lack of funds for staff, particularly security Low attendance, no demand Inadequate lighting for night display People afraid to go out at night Other Total ' $ h6 h3 10 7 11 * Percentages add to more than 100 because multiple responses were possible. 171 Observation : The average museum in the country is open over 11 months of the year and over 40 hours a week, clearly enough time to provide easy access to the public. Although this is enough time, the question is whether it is the right time. With so few museums open during the evening, it is likely that a majority of people -- adults especially -- must limit their visits to weekends, and the crowding which often results, especially in cities, may well be inhibit- ing and holding down total museum attendance. Although a substantial number of museums that tried open- ing in the evening and stopped cited low attendance as a reason, it is impossible to know what efforts were made in these cases to alert the community to late openings. Pilot programs in which evening hours are coordinated with efforts to make the community aware that museums are open in the evening would be of great value as a guide to future planning in this area. CHAPTER VI PERSONNEL 175 PERSONNEL The 1,821 museums represented in this study are staffed by 30,400 full-time personnel. In addition, 18,700 part-time personnel work in muse- ums and 64,200 volunteers contribute their time and services. All full- time and part-time personnel referred to in this chapter are paid person- nel . This chapter examines this manpower pool of more than 110,000 individuals. It begins with a discussion of the characteristics of full- time personnel and then turns to a more detailed examination of the muse- ums' key personnel, with particular emphasis on the director. After this discussion the focus shifts to an examination of part-time and volunteer personnel and the adequacy of the staff in terms of numbers, training, minority representation and salary levels. Number of Full-time Personnel As indicated in the next table, the largest proportion of full- time personnel (45%) work in the operations and support area, followed by administration (23%), curatorial, display and exhibit (17%), education (9%) and research (6%)*: *The definitions used for classification purposes are as follows: A. Type of Personnel 1 . Permanent paid full-time employees All employees who are hired to work a minimum of 20 hours per week for the entire year or during the entire part of the year the museum is open. 2. Part-time paid employees All employees hired to work less than full-time or to work only during limited peak periods of activity. 3. Volunteers Individuals who contribute their time to perform jobs that otherwise would have required hiring of paid personnel. 176 B. Job Categories 1 . Administrative Staffs of all administrative and financial departments, member- ship departments, public relations, publications, libraries, etc. 2. Curatorial, Display and Exhibit Staffs of all curatorial departments (excluding education and research), display and exhibition departments; staff working in cataloging, conservation, horticulture, animal nutrition, etc. 3. Education All staff whose primary concern and responsibility is education, such as directors of education, docents, instructors of children and adults, workshop leaders, etc. 4. Research All staff whose primary concern and responsibility is research, such as research curators, research associates, laboratory technicians, archeologists, etc. 5. Operations and Support Such personnel as custodians, security and sales forces, foremen, packers, preparators, installers, food handlers, animal attend- ants, etc. N.B. If an employee's job covered more than one category, he was to be classified in the category in which the largest portion of his time was spent. C. Professional vs. Non-professional within Category 1 . Professional Comprises those positions requiring specialized training or experience, such as a curator, librarian, public relations writer, designer, lecturer, etc. 2. Non-professional Pertains to such positions as secretary-stenographer, clerk, sales help, guards, gardeners, attendants, etc. N.B. The professional/non-professional break must be viewed with some caution as the distinction is not always very clear cut, and what is considered a professional position in one museum may be considered non-professional in another. NUMBER AND DISTRIBUTION OF PERMANENT FULL-TIME PERSONNEL (Base: Total museoms) 177 O o u O 01 • > 8 ° O *0 • c r-« < r^| m o o O O ON co -* ON I l co oo vO * i • ^ r* in vO >0 I-" O ro o o u tu O' m i CM VO r-« * rH r^r^^oo— • * ca o m in n c o U -M Z CU m § . 001 vo m m vo r-* «a COO ; u -m z cu ®| I* I § . cmIs'S m vO m § „ 4 h n n n o CM I o M O 4) CA 75 • O' O' i O' O' > O' « O' «o • H O' I I o o o o o o * * o O' O' O' O' O' O' •O CM (7 lA lA r-* CM v> §8 • IA U fA 0 Z * Lees than 0.5% 182 1. SEX Almost two out of three (63%) full-time personnel are men, with slightly higher proportions of men among professionals than among non-professionals. However, this overall uniformity masks sharp differences by job category. A majority of administrative and education personnel are women, but only because such a high pro- portion of the non-professionals are women (84% and 75% respec- tively). For all job categories, a majority of professionals are men (with the division closest to 50-50 in the education category). The highest proportion of men (both professional and non-profes- sional) is among operations and support personnel. 2. ETHNIC GROUP* The breakdown of total personnel by ethnic group matches the national pattern fairly well (if one distributes the 3% "not sure" category, whites would be at 83%, blacks at 12% and other at 5%). Neither in total nor for any of the five job categories does the proportion of professionals who are black or who are members of other ethnic groups rise above 6%, with the proportions lowest among administrative and curatorial/display/exhibit professionals. The only place where blacks and other ethnic groups (mainly Spanish-Americans) rise above the average for all employees is among operations and support non-pro- fessionals. 3. UNION MEMBERSHIP The question on union membership evoked a high level of "not sure" (15%). Whether this is because of a reluctance on the part of the directors to discuss unions, a problem in defining what is and what is not a union, or some other reason, we are not sure. Nevertheless, it is clear that only a small proportion (16%) of full-time museum personnel are union members and, except for operations and support personnel, this membership is almost totally concentrated among non- professionals. 4. EDUCATION There also is a high level of "not sures" in response to the education question (largely centered in the operations and support category). But the patterns are still clear. Almost one in three (31%) pro- fessionals have advanced degrees (above a B.A.) while 26% have less than a B.A. Among non-professionals, over seven in ten (71%) have less than a B.A. and only 1% have an advanced degree. *" Ethnic group" is a somewhat imprecise term. The categories we asked about were both racial and ethnic. Specifically, personnel were clas- sified as white, black, Puerto Rican/Spanish-American, American Indian, oriental and other. 183 Focusing on professionals, the highest proportion with advanced degrees is found in the research category (51%), followed by curatorial/display/ exhibit (36%), administration (33%), education (27%) and operations and support (3%). Research professionals have almost as high a proportion of doctorates as the other categories (excluding operations and support) have master's and doctorates combined. 5. SALARY A majority (56%) of the permanent full-time personnel earned between $5,000 and $9,999 during fiscal 1971-1972, with the average salary of all full-time personnel being $8,500. There is a sharp difference in the salaries of professionals and non-professionals. Fifty-one per- cent of the professionals earn $10,000 or more compared with only 7% of non-professionals. The average salaries are $11,500 for profes- sionals and $6,800 for non-professionals. (If the 3% that were "not sure" were distributed, it would raise slightly all these percentages, but not the average. ) Research professionals and administration professionals have the high- est average salaries - $13,100 for each group - and education non- professionals have the lowest average - $5,800. Operations and support professionals are the lowest paid ($9,000) pro- fessionals of any category, although they are not too far behind edu- cation professionals ($9,700) who are the only other professionals with an average salary of less than $10,000. Characteristics of Full-time Personnel by Museum Classification The next table shows the characteristics for employees in each of the three major museum classifications compared with those of total employees. (An appendix to this chapter has the same information for the various job categories within each of the major museum classifications.) 184 iz; o M H < O M Pn M W cn >h (D PQ P P O U 4 co 2 ^ ^ G o a. c /3 ptf a) w 6 PL. *iH ro H H 3 1 <+-) H hJ r-t 3^ « fH 4J O H H Iz: ^ “ cm ho o o r-H m co co m C E G a o •H c PD U o G ON ON ON u t-H G ON ON ON 0 ) G G G ON ON ON ON ON G JO CO G ON ON ** > >N £ ”a G y> ON ON O u in u CD cO no to o •» *> 1 < CM cn CO • CD £ JO G o G in o •* *» >H CO •H XJ XJ CO ^o O 03 o XJ U no r\ I' o in m in XJ G 03 c O O O G cO a o o co 3 CM in r — 1 r-H CM cn o > G ZD 3 co Q pp 1 — l P 0 < hJ 'G co cn 185 In general the overall variations by museum classification are not great: - Science museums are most heavily male dominated, at both the professional and non-professional level, while history museums, at least in terms of numbers, have the best bal- ance between the sexes. - History museums are least likely to have non-white employees, either as professionals or non-professionals. - The only substantial union enrollment is among non-profes- sionals in art and science museums. - Educational differences among the full-time personnel of the different museums are not great, although the per- centage with less than a bachelor's degree is somewhat higher in history museums. - Average salary levels in art and science museums are higher than in history museums, with the highest level among science museum professionals ($12,700). Minority Employment in Professional Positions The proportion of blacks and other minority groups in professional positions is below the national proportions of these groups. The direc- tors were asked whether they had made special efforts over the past four or five years to broaden minority employment in professional staff posi- tions and whether or not they felt their museums had adequate represen- tation of minority groups in these positions. One in four (25%) said they had made special efforts over the past four or five years: Table 95 HAS MUSEUM MADE ANY SPECIAL EFFORTS OVER PAST 4 OR 5 YEARS TO BROADEN MINORITY EMPLOYMENT IN PROFESSIONAL STAFF POSITIONS (Base: Total museums) 186 C o <0 u CO CD CO r—i u I u O \ I 4J CO U -H U <1> x. U o -i < CO 00 CM VO m cm cn cm r* £ d CD ■H C CO *H AJ (0 d rH 3 CU o X M <0 2 • d ^ * » u o <0 T3 <0 a 0) Vi 3 O z spec 187 Although a lower percentage of history and art/history museums have made special efforts to broaden minority employment in professional staff positions than any other museum classification, the differences by classification are not particularly striking. By size and governing authority there are sharp differences. The proportion of museums that have made special efforts increases with size, from 16% in the under $50,000 category to 67% in the $1,000,000 and over category. Government museums (33%) and educational institution museums (36%) have made more special efforts than museums run by private non-profit organizations (19%). Among government museums, it is primarily at the federal level (69%) that efforts have been made. Museum directors split on the question of whether or not their museum currently has adequate representation of minority groups on the professional staff. Forty-four percent feel representation is adequate; 45% feel it is not adequate (11% are not sure): Table 96 DOES MUSEUM HAVE ADEQUATE REPRESENTATION OF MINORITY GROUPS ON PROFESSIONAL STAFF (Base: Total museums) 188 \ I JK u o 5C « in u-> o* © -D 3 I u £ 189 There is a tendency for those museum categories which are most likely to have made special minority hiring efforts to be less satisfied with their minority representation than those Which are less likely to have made special efforts. This is seen most clearly by size, where the feeling that minority representation is adequate declines from 52% among the smallest museums to 33% among the larger museums. Observation : The results shown in the last two tables do not neces- sarily suggest indifference on the part of smaller muse- ums to adequate minority representation. Smaller muse- ums have fewer staff positions to fill and are more likely to be outside major urban centers where most minority populations live. Even with the best will in the world there might be little they could do to in- crease minority employment. A far more important point can be made based upon these results. Larger museums, which employ the majority of museum personnel are, indeed, dissatisfied with current levels of minority employment and, according to their own reports, have been making special efforts to in- crease the proportion of minority professionals on their staffs. A More Detailed Look at Salary Levels The following table presents a more detailed look at average salary levels for professionals and non-professionals within different groupings of museums (the appendix to this chapter provides even more detail, breaking down average salaries by job category within the dif- ferent groupings): 190 Table 97 AVERAGE ANNUAL SALARY - FULL-TIME PERMANENT PERSONNEL (Base: Total full-time personnel) Total Professional Non-professional Total $ 8,500 $ 11,500 $ 6.800 Art 8,900 11,900 7,200 History 7,000 9,700 5,500 Science 9,000 12,700 7,200 Ar t/history 7,400 10,100 5,900 Other 9,100 11,700 7,200 Size Under $50,000 6,300 8,100 4,400 $50,000 - $99,999 7,300 9,200 5,300 $100,000 - $249,999 8,100 10,400 6,500 $250,000 - $499,999 8,600 11,200 6,800 $500,000 - $999,999 8,300 11,400 6,900 $1,000,000 and over 9,300 13,600 7,300 Governing Authority Private non-profit 8,000 10,900 6,400 Cover nmcn t 9,100 12,400 7,400 Federal 11,700 16,500 8,500 Sta te 8,400 11,000 6,500 Munici pal- county 8,300 10,700 7,400 Educational Institutions 9,700 12,300 7,200 Public 9,600 12,900 7,000 Private 9,800 11,700 7,500 Classification - Size Art Under $50,000 7,100 8,400 4,600 $50,000 - $99,999 7,800 9,600 5,600 $100,000 - $499,999 8,000 9,900 6,600 $500,000 and over 9,300 13,100 7,500 History Under $50,000 5,800 7,500 4,200 $50,000 - $99,999 7,400 9,700 5,700 $100,000 - $499,999 8,200 10,700 6,600 $500,000 and over 6,400 11,900 4,900 Science Under $100,000 7,400 8,900 5,300 $100,000 - $499,999 8,700 11,000 7,000 $500,000 and over 9,300 14,100 7,400 191 Budget size of museums is the clearest determinant of salary levels. In total and for each classification of museum, average salary levels increase for professionals and for non-professionals, with the one exception that the salaries for non-professionals in history muse- ums with budgets of $500,000 or more are lower than those in history museums with budgets between $50,000 and $499,999. By governing authority, educational institution museums have the highest overall salary levels, despite the fact that both profes- sional and non-professionals have slightly lower average salaries than in government museums. (This results from the fact that a higher pro- portion of the total personnel in educational institution museums are professionals than in government museums.) The highest salary levels of any governing authority type, for both professionals and non-professionals, are found in federal museums. Fringe Benefits and Perquisites Offered or Available to Staff Employee compensation goes beyond salaries; in most businesses, it includes some form of fringe benefits and often certain perquisites, particularly for senior personnel. Each director was first asked the extent to which his full- time salaried employees were covered by health and medical insurance, a retirement or pension plan, and life insurance: 192 -J U3 00 Ov > o o o o « > -* I fl 2 O o < to 55 •o "O I 0 • I »4 U | 4) A I > > O O > o o < w : M 193 Health and medical insurance exists for all or some of the em- ployees in three out of four (75%) of the museums. Practically all of the employees in museums with budgets of $100,000 or more are covered, but the proportion drops sharply with a decrease in size of museums, and in more than 4 in 10 (42%) of the smallest museums none of the employees are covered. Retirement or pension plans cover all or some of the employees in almost two-thirds (65%) of the museums, with the proportion again de- creasing from 98% in the largest museums to 50% in the smallest. Life insurance is offered less frequently. In only half (50%) of the museums are all or some of the employees covered, with the pro- portion decreasing from 85% in the largest museums to 32% in the smallest. Among museum classifications, the highest percentage of museums providing coverage for all three types of benefits is in science; the lowest percentage is in history, except that art/hi story is lowest for life insurance. Not only are average salaries higher in federal museums, but these museums almost unanimously offer their employees each of the three types of coverage. Their coverage levels, particularly for health and medical and life insurance, are far higher than those of anv other aovernina authority type. Museums run by private non-profit organizations have the lowest coverage levels. Observation : The adequacy of insurance coverage and pension plans was not included within the scope of this survey. Since the provisions of the various plans were not examined, it would be impossible to make any quality judgments on them. However, it is significant that some museums do not have even these basic benefits, with small museums in particular not offerina them to any great extent. The directors were next asked which of a list of ten perquisites were offered to any of the museum's staff. In almost half (47%) of the museums none of the perquisites were offered: PEROUISITES OFFERED OR AVAILABLE TO ANY OF MUSEUM STAFF* (Base: Total museums) 194 3 *H|«* P- r-*| vO CS f* *3 C4 O <»> 195 "Free or reduced cost housing" (22%) leads the list, followed by "paid sabbatical or research leave" (19%). In total, no other per- quisite was available in as many as 1 in 10 museums. Size is again the most relevant variable, with the proportion of museums offering no perquisites declining from 52% in the smallest museums to 23% in the largest. Looked at by governing authority, 60% of federal museums and 56% of municipal -county museums offer none of the perquisites compared with 18% of private educational institution museums. This low percentage of private educational institution museums is ex- plained primarily by the high proportion which offer "paid sabbatical or research leave" and "tuition for family members" (64% and 65% respec- tively) . Observation : Certain of these perquisites may sound like a free ride, but in almost all cases they exist to provide ultimate benefit for the museum. "Paid travel for individual benefit", for example, often includes tours of other museums, or to conferences, which aid in the profes- sional improvement of the staff. For the most part, according to these directors, these perquisites are offered primarily to the director and senior staff. Other staff members were usually not included, except in the case of free or reduced-cost housing. One other point: The question was worded in terms of perquisites being " offered " to the staff, but some of the responses indicated that personnel were using avai 1 - able services and calling them perquisites. According to our panel of consultants, for example, "legal and accounting services" are not offered to employees of federal museums although 8% of the directors said they were. What is most likely happening is that staff members take advantage of their contacts with the legal or accounting staff for free advice. Although not formally offered, this practice does seem to count legitimately as a perquisite. 196 Senior Personnel The survey examined museum senior personnel (based on respon- sibility, not longevity) in some detail, covering number of years in their current job, total museum experience, formal education and museum related education, age, sex, ethnic group, salary and union membership. Defining what positions were to be included in the senior per sonnel category was left to the director. He was first asked for the titles of the most senior personnel other than his own. These titles were then classified into the job categories shown in the next table: JOB CATEGORY OF SENIOR PERSONNEL JUST BELOW DIRECTOR* (Base: The 897, of museums with senior personnel other than the director) 197 o o O O O' u o \ £ 0) c 60 ro X *-> X u x> cj rj u x u x OX OX O W U U &: u qj 4 <0 CO 0) ?S JO O <0 u u 0) <3> >% >n 5s ON m ON >4 CM CO § a CO co ® £ mo>H 1 • • >% 0 fH CM 3 - 6 - 10 20 30 «• 5 200 By classification the longest average tenure is found in sci- ence museums (7.8 years), the shortest in art museums (5.7 years). When art, history and science museums are broken down by budget size, the picture is somewhat different: Table 102 HOW LONG HELD CURRENT POSITION: SENIOR PERSONNEL (BY BUDGET SIZE WITHIN MAJOR CLASSIFICATIONS) (Base: Total senior personnel) Mean number of years Total 6.6 Art 5.7 Under $50,000 4.9 $50,000 - $99,999 4.5 $100,000 - $499,999 6.0 $500,000 and over 7.5 History 6.2 Under $50,000 5.6 $50,000 - $99,999 6.8 $100,000 - $499,999 6.6 $500,000 and over 9.6 Science 7 . 8 Under $100,000 7.1 $100,000 - $499,999 8.4 $500,000 and over 7.5 For art museums and especially history museums, tenure of senior personnel in their current job increases with museum size. For science museums the differences by size are less significant and, in fact, senior personnel in the middle-size science museums have the longest tenure. (2) Length of Museum Experience As indicated in the next table, 50% of the senior personnel have had 10 or more years experience in museum or related work (only 23% have been in their current job this long), with the proportion rising to 58% in science museums and 66% among museum directors: 201 3 O X H H “ U « Z « N IT) OO CM f-4 O' I H * CM © U Js 2 3 x CM 3 * o m « i 44 0 u 1 I n 202 The longest average years of experience of senior personnel are in science museums (14.4 years). Among job categories museum directors have the longest average years of experience (16.7 years). The shortest average experience is found among education professionals, a group which has a somewhat younger average age than other groups and represents a more recent addition to museum personnel. When years of experience are broken down by budget size within each museum classification, it can be seen that average experience in- creases with museum size: Table 104 YEARS OF EXPERIENCE IN MUSEUM OR RELATED WORK: SENIOR PERSONNEL (BY BUDGET SIZE WITHIN MAJOR CLASSIFICATIONS) (Base: Total senior personnel) Average years of experience Total 12.9 Art 12.6 Under $50,000 10.7 $50,000 - $99,999 10.1 $100,000 - $499,999 13.0 $500,000 and over 17.2 History 11 q7 Under $50,000 9.8 $50,000 - $99,999 12.1 $100,000 - $499,999 14.7 $500,000 and over 16.6 Science 14.4 Under $100,000 11.3 $100,000 - $499,999 15.0 $500,000 and over 18.2 Observation : What is interesting is that science museums with larger budgets now show the same pattern as large art and history museums of increasing years of experience for senior personnel, a pattern that did not hold for years the senior personnel had been in current position. This means that the current jobs of senior personnel in larger science museums represent a smaller proportion of their total museum experience than is true of senior personnel in other museums. 203 (3) Mi More than one in three (36%) of the senior personnel are under 40 years of age, while less than one in five (18%) are 60 or older. The average age for senior personnel is 44.7 years: Table 105 AGE: SENIOR PERSONNEL (Base: Total senior personnel) 204 o O tJ « ’i-* 3 ^ U P« W J, _ u | u c *n ~ w o o c n. O u m *' '' M IV. in u '*-i r: w O O o 54 •*-< CC P. M I < ffl Cl O C **4 D O O *0 *r4 Vl v» U U Ae qj a. t* *4 r. Va U W JC O O 3 o *H X >* (_) U o u Pi m I » o • > I in H c c: ai t-i *r4 u o m ri B VI \ ^ u O Jl 4-1 <4 W •H « 5^ m c-i * r-t r-l 9 u 4 205 By museum classification the lowest average age level of sen- ior personnel is found in art museums (41.4 years), followed closely by science museums (42.3 years). History and art/history museums have the highest average age levels (47.6 and 47.8 years, respectively). Direc- tors are older than other senior personnel (an average of 48.8 years). The youngest average age levels are found among education and research professionals (39.2 and 40.1 years, respectively). (4) Ethnic Group As the next table indicates, the senior personnel are almost exclusively white: Table 106 ETHNIC GROUP: SENIOR PERSONNEL (Base: Total senior personnel) 206 in c o 3 m C 03 C o <*> o\ vO O* tN* u u << CM CM o\ vO CM CM * 14 <0 o Less chan 0.5% 207 Of the various job categories, only among research and oper- ations and support professionals does the non-white proportion reach one in ten (9% and 10%, respectively). In federal museums the proportion of non-white senior personnel reaches 12%, compared with 4% of total govern- ment museums, 6% of educational institution museums and 2% of private non profit museums. (5) Sex Overall, senior personnel are predominantly male (62%), partic- ularly in science museums (81%), among operations and support employees - both professional (90%) and non-professional (77%) -- and among directors (72%) : SEX: SENIOR PERSONNEL (Base: Total senior personnel) 2C8 -« o «o o c o *-» I I J=> o 3 -hI.^ CU —4 I 1—4 1 | ^ C C C- 3 3 -H O SI O U 3* t-t I *C *s» Q. to a a , 3 U-t V* t/5 O. T3 o e eg Du 4J c O *-* tg o v* •»-* ^ cu _e e o o v« aj O o o • O ' i O u O' O' • o * i DUO' o aj.CC ■rU X " U w o Wi o a) o -o - a a o 3 tn (0 u-t -H O C O x \ I >v I >» CO U •H o X 6 o • 8 209 In history and art/history museums and in the smallest museums the sexes are largely in balance. As museum size increases, the propor- tion of women in senior positions drops substantially. In the largest museums, only 8% of senior personnel are women. Among governing authorities, government museums are the least balanced, with federal museums having the lowest proportion of women of any governing authority type. Observation : The low percentage of women in senior positions in federal museums is perhaps surprising, especially when compared with the relatively high percentage of non-whites in such positions in federal museums. (6) Education Turning to the education of senior personnel, approximately one in three (32%) indicated they had some degree above a bachelor's: Table 108 HIGHEST GRADE OF SCHOOL COMPLETED: SENIOR PERSONNEL (Base: Total senior personnel) 210 oj m cn n » O' o « 0) (U a: U x> o I i to —• on o a c 3 0 0 0 •O 14 vl td u Du oo nj *H a. -r-4 M c U U W Si O G 3 O ^ X U CJ AJ Q W (V, v) lT» vO m O' ci O d ZOO O' O' CO O • *r4 > (/) »”4 C v4 (!) fl) C E qj o O •O )4 ^ t) < U U) vO vj- O' »n O' c o *1-4 c 3 4-4 O c O -r4 c 3 44 0 H <0 x> e 1 o z c o t 4 e 3 44 O >4 0) S a> X e O *t4 c 3 44 O O z 220 Only 6% of paid senior personnel are union members, with this proportion largely accounted for by the 14% of operations and support professionals and the 12% of operations and support non-professionals who belong to unions. As the governing authority break indicates, this union membership is most frequent in state and municipal -county museums. (9) Salaries Turning to the annual salaries paid senior personnel, 19% of full-time or part-time staff earn $15,000 or more a year, while 20% earn less than $5,000. The average annual salary for this group is $10,600*: * It should be remembered that these were salaries for fiscal 1971-1972 and that the average salaries in some groups may be decreased somewhat by the inclusion of larger percentages of part-time personnel. ANNUAL SALARY: SENIOR PERSONNEL (Base: Full-time or part-time paid senior personnel) 221 ON vo o m H N M CO * O o V© o CO- 8 m CM o> u V ■a & ON Ov O' CO- I 8 m CM co- on O' O' O' * O o & o XJ c c * d 1—i o (Tv o Oh o (Tv * o - O U C/> o ON o CTv o (T - o O -u (Tv m CTv CM o cn o CT o CTv - o •V O tJ (Tv o rH CM o CTv o CTv o o CTv ~ U o CTv m CTv o u o 0) o 03 c o in ■co- 1 v-. 1 ■U 0) o 1 \ 1 4-» U) u U *H o < a .u t ■> (0 •H o 4-> ^5 00 CO co (T CNj m CM CM CM CM CM o CM CO CM O CM CO m co co CM CM CM O CO 4 J U < I vO m CM c 00 00 c •U d *H d •H C d c •H O •H d c o d u o u V-i u •H d 4J •U CO u d •U •» X 0) u CO o X u d CO •r-j u CO * o o o o no e c O •— i o o cr. o c> - a O 4-> o^ o o LTi o Os o Os o o. - o •* O «A a> CNi o ctn o o CTn - o O AJ o> o o Os o OS o o Os ~ 4-1 ** o CA Os O Vi o 0) o no *> c o 3 LA , Vi 1 4-> a o ~ 1 S 1 pa 4-> (/) Vi U -H o < ~ 4J 1 a> •H u U C in a) i pa 0) >-< •H o X 4-1 4-) Vi < Os Os O O r^ Os o o vO Os Os \0 o OS CA \0 Os CM 00 OS CO vO Os sO vO 00 <0 a> a a Pa Pa O O H H Vi Vi a a a) a n e 0) <0 V a ■U ■u c C LA no no D 3 • •rl r— 1 O C0 CO o 0 X a. > > c c0 a a a a X £ £ £ £ 4J •rl •f4 ♦rl •r^ ■U U 4J 4J W \ 1 \ i W r— 4 4J r-* 4J c *-> 1 ■— 33 u! u s2 o . T3 1 *i > 1 r-H G C TD 03 1 o C CJ G 3 o U- G r— 1 , ON r— 4 To ta ON 1 > G 1 1 4-4 cn r^. •H 4-4 c o *-> ON V- 03 a 3 *H u. C- o o i G O 3= r— 4 ON c i >> CO 97 O •u C/3 3 •*— < •H O •u < 33 03 O •H 1 G •H U 93 4-( a c •H CC G 1/3 W 03 1 >, W 4- <1- 96 H •H O u X *-» ■u Us? CO 97 m ON c o e 3 o 4-4 c o 3 Vj 4-1 CM CO 00 CO «-• CM CM CT* CM 00 O 00 ^ N O' CO 00 vO vO N vO (*) B C 0 9 O O U ’H O U *4 U O H W* 9 9 O - O o •H 4J -r* ^ O *H *-> C O GO c o 35 4) Q <*4 60 •rH ® O U ^ q « •H 3 O-fiO > u o C v4 U O *H 0*^.0 ax ^ « £ (35 t) > tj o ® 4> g ^ 2 f o 6- ^ s o ec X *H AJ u «W -o fl *0 U C 3 aj * 3 to u CO n to O V 41 o^o o © U O C •h co U 00 q 4J *H 3 «H C « > o r-i ^ U U U O o oo o P u a a a*H 3 0 3 q W U w i •H X r-« ^ 44 iJ O 00 «r4 O D V- 2 V4 O 44 £ 44 60 O C x ® P u i-* O ^4 X q y ^4 U U 00 00 t4 C c ® o SL? s 5 00 q a* 4 a o ^4 a < _i f-4 UHHH U U •H 3 o « o w • <8 • *H 3 0) ® V4 X u w* o *r4 3 XJ 44 o a 5 3 V p u O v4 O Vi 0 60 3 O x 5 q t 0 ’C8 ® wh*J • q a«H4>q u > q • •H ) O U flOOr^X S £ 3 £ O q *-< > a t>o u U -4 £ «2 9 v- x • q • • *4 Percentage, edd to more than 100 because multiple responses were possible 249 At the top of the list is administrative and office work (50%), generally important in all museums but highest in history museums (58%), somewhat more important in the larger museums and least important in ed- ucational institution museums (39%). Next on the list is "complete re- sponsibility for everything" mentioned by 44%. "Responsible for maintain- ing relations with the community or city" ranked third (40%), a function which is seen as somewhat less important in the largest museums (31%) and educational institution museums (27%). Fourth on the list is another administrative function - "supervising staff" (34%). The first function which clearly focuses on the subject areas of a museum - "construction and display of exhibits" - was ranked fifth (30%). It is, however, considered as important as administration and office work in art museums (45%); and in educational institution museums it is considered as important as "acquisition of collection" (44%). (The last function is also considered important in art museums - 36% compared with the overall level of 22%. ) "Construction and display of exhibits" becomes a less important function for the director as museum size in- creases. (This is also true for "maintenance and care of collection", which is considered a major function by 24% of the directors but ranges from 28% in the smallest museums to 13% in the largest.) One in four (25%) said that "supervising educational work" was one of their major functions, with the proportions highest in science and art museums (37% and 33%, respectively) and educational institution museums (39%). "Liaison with trustees and donors" is considered a major func- tion by 22% of the directors, and "raising funds, maintaining relations with donors" is considered a major function by 13%. Both of these func- tions are considered more important by directors of art and art/hi story museums than of any museum classification. The importance of these func- tions increases with museum size, reaching the peak in museums with budg- ets between $500,000 and $999,999. Directors were next asked to choose from a list of eight activ- ities the one they felt should be their "most important responsibility" and the one they felt should be their second most important responsibility. The top half of the next table shows for each of the eight activities the percentage of directors selecting that activity as the most important. The bottom half of the table shows for each of the activities the propor- tion choosing that activity as either the first or second most important: 250 Table 130 ACTIVITY THAT SHOULD BE ONE MOST IMPORTANT RESPONSIBILITY OF DIRECTOR/ FIRST OR SECOND MOST IMPORTANT RESPONSIBILITY OF DIRECTOR (Base: Total museums) Governing Authority Total Art Classification Art/ His- Sci- His- tory ence tory Ot- her Private Non-Profit Govern- ment Educational Institutions : To- Pub- Pri- tal lie vate One Most Important Administrative and staff % % % % Z % % % Z % % responsibilities Policy and planning for collections and ex- 62 47 j 63 5 75 63 64 61 68 51 68 30 hibitions Work on collections and 20 41 14 11 20 17 19 16 35 21 52 exhibitions Dealing with trustees, 6 5 10 » 6 3 2 1 6 5 8 8 9 advisory committee Work in own museum-related 5 4' 4 4 8 6 5 2 3 1 specialty 4 - 5 4 6 5 3 4 3 - 7 Fund raising Personal participation in 2 1 2 3 4 4 4 1 community activities Participation in outside * * - * - - - professional organizations - - - - - - - - - _ - Not sure 1 2 - * 1 1 1 1 1 - 1 First or Second Most Important Administrative and staff responsibilities 78 Policy and planning for collections and exhibitions 57 Dealing with trustees, advisory committee 21 Work on collections and exhibitions 17 Work in own museum- related specialty 10 Fund raising 8 Personal participation in community activities 4 Participation in outside professional organizations 1 Not sure 4 * Less than 0.5% 251 "Administrative and staff responsibilities" dominates the list of the activities that should be the most important responsibility, chosen by 62% of the directors. It is followed by "policy and planning for col- lections and exhibitions" (20%). Only in the small number of private edu- cational institution museums do directors feel that this second ranked activity should be more important, while in art museums it approaches the importance of the first ranked activity. When the activities that should be first and second most impor- tant are combined (bottom half of table), the major priorities of the di- rectors generally remain the same. Observation : Clearly, directors see their functions ranging over a wide area, covering, with varying degrees of importance, all phases of a museum's activities. What is particularly interesting, though, is that admin- istration emerges at the top of the list of functions (this was seen quite sharply in the preceding table) and substantive involvement with the collection toward the middle of the list. At the same time the formal job- related education of the directors is concentrated much more heavily in substantive than in administrative areas. Whether or not this divergence between education and function adversely affects the director's ability to per- form his job cannot be assessed. The divergence, however, certainly does exist. Whatever their training and interests, it is clear that directors in almost all museums believe that their most important responsibility should be in the area of admin- istration and staff. In contrast to what they believe their most important responsi- bilities should be, directors were next asked how much time they actually spent on each of the eight activities: Table 131 TIME SPENT BY DIRECTOR ON VARIOUS ACTIVITIES (Base: Total museums) 252 •h e u o 03 p U u _ ® & 0 ^ t "O < vA (Q U T 3 *-* W 'Tl < w as P AJ O «H UH £> •H sn «ri fjJ C "D (0 P £ * « -o c u S <*• < D -P -P CO \«4 NO vO to to Hi H| h| H| h| H| H| o r -1 co cm to <0 N «} O' 'J m fs N vO m i/) vO H vO H xo rs rs n fs O »n ci vo to to to O cm to on xO N C> on •— i on ^ < ^ n o n Ul N ui N i/> vO nO lA nO vO co cm .h to no vo ui lO r-4 O ^ ^ vO Ml N vO Ml t-i cni oo O nO «t vO Ml 4-4 4-4 cd p CO X u 3 o c <1) P 5 * Percentages add to more than 100 because multiple responses were possible 257 The need for additional staff is strongest in the curatorial/ display/exhibit area. Just over six in ten directors (61%) mentioned this area, followed by education (57%), operations and support (53%), adminis- tration (52%) and research (47%). Observation : Research, as noted in Chapter III, is considered a primary or major activity in only 33% of the museums. Relative to this current level of research, interest in additional research personnel appears high, sug- gesting that museums are interested in creating or expanding their research departments. Art museums see their needs as almost equal in curatorial /display/ exhibit (66%), administration (66%) and operations and support (65%). Of the three major classifications, history museums express the lowest level of need in each area; but in terms of its own priorities, its needs are greatest in the curatorial/display/exhibit area (55%) and education area (52%). Science museums see their needs primarily in education (67%), cura- torial/display/exhibit (66%) and operations and support (63%). The patterns of need by size of operating budget are not very sharp except that the smaller museums (under $100,000) generally have less need for additional personnel in each area. When size within classifica- tion is examined the patterns appear more complex. For art museums the need for additional personnel in research increases steadily with size but for curatorial/display/exhibit, operations and support, and administration, the need increases up to the $100,000 - $499,999 category and then drops off for the largest museums. This same pattern holds for the curatorial/ display/exhibit area in history museums and the education and operations and support areas in science museums. By governing authority, the need for additional personnel in muse- ums run by private non-profit organizations looks very much like the total of all museums, except that there is a somewhat higher than average need in the administrative area. In government museums, the level of need is below average except in education. Additional education personnel are most needed in federal and municipal -county museums. Curatorial/display/ exhibit personnel are most needed in state museums. The need for addi- tional administrative personnel among all categories is at its lowest lev- el in state and muni ci pal -county museums. The needs of public and private educational institution museums appear quite different. In public educational institution museums the need is greatest for additional curatorial /display/exhibit personnel fol- lowed by operations and support personnel and research personnel. Private 258 educational institution museums, on the other hand, have the greatest need for additional administrative personnel, greater than that of any other governing authority. Aside from administration and education, private edu- cational institution museums have significantly less need for additional personnel than do public educational institution museums, particularly in curatorial /display/exhibit and research. However, in every category at least half of all private and public educational institution museums ex- pressed the need for additional personnel. Observation : Despite the multitude of variations in needs which exist between museum types, the basic fact to be remembered is that, overall, approximately 50% or more of the country's museums feel they need addi- tional staff in each of the five job areas. Those directors who said they needed additional staff in each category were next asked in what specific job areas the staff were needed. The next four tables present the responses for the different categories. (Research is excluded because the responses were not sufficiently spe- cific to permit useful divisions into specific jobs.) In the curatorial/display/exhibit category, it is the exhibi- tion and display area where the need is greatest (61%), particularly in history museums (70%), museums with budgets between $250,000 and $499,999 (80%) and state museums (78%) : Table 133 JOB AREAS IN WHICH MORE STAFF ARE NEEDED -- CURATORIAL/DISPLAY/EXHIBIT * (Base: The 61% of museums which need more curatorial/display/exhibit staff) 259 O o 9 5-s s • «t 264 In the administrative category, there is need for additional staff in a number of areas. Five different jobs were mentioned by more than 20% of the directors who felt more administrative staff was needed JOB AREAS IN WHICH MORE STAFF ARE NEEDED — ADMINISTRATION * (Base: The 52% of museums which need more administrative personnel) 265 fs IT) fO sj CM 266 Public relations staff (36%) and publications chief (29%) are in the top two positions, with the public relations staff need strongest in state and municipal -county museums. Twenty-two percent of museums need a financial officer or busi- ness manager, with the proportion reaching 40% in museums with budgets between $250,000 and $499,999, 39% in state museums and 36% in museums with budgets of $1,000,000 and over. Adequacy of Training and of Salaries Aside from focusing on the need for additional staff, we were also interested in finding out if the directors felt the academic and/or other training of their full-time staff other than senior personnel was adequate, and if the salaries paid this staff were adequate or "too low to attract the kind of people your museum needs". As the next table in- dicates, for each of the five major job categories, the directors feel training is more adequate than are salaries: Table 137 ACADEMIC AND/OR OTHER TRAINING CONSIDERED ADEQUATE IN FUNCTIONAL CATEGORIES; SALARIES CONSIDERED ADEQUATE* (Base: Museums with full-time employees other than senior personnel primarily assigned to category) 267 I Ml -P 01 O 431 cm |m m|ON m o\1cm fH CM|0O 00 I CO CO cm |v0 m vo| vr|vo >3- j. On cmjvo m m|<3 r» «H|ON oo I m m|x o a in 0 l vflcM » vo|vO m a si NS) so|o\ m iH I CO VO r**|cM o On vO $1 COlvO CM '•3’|00 'I'D N silco m ■)|00 m '•I'* . ■)|oo I mlr^ cm m|oo ^ V V A) ■UP ml co o cm | oo %n 0 3 3 5 0 3 3 0 3 3 a cr cr ,2 D o 0 > •H 0 *H 0 fH P 0 > 1 £ ft3 z P 0 0 H n T< P P o « 00 0 0 3 U V 0*0 • X 0 ® u C >* O O P *H u q U 73 0 0 0 ® 3 c cr 00 *o •H fl >N » q y 0 0 0 >N 3 o c r >*0 0 *-* 3 73 -4 cr 0 V- o 0 73 0 e 0 x -H P P 00 NM C VM >r4 f-4 0 0 0 P P C ffl u C o 0 0 (0 Exp i-t p 0 H O H 45 0 0 X 0 *o X 3 £ U H O O *H 0 C 42 *H -H 0 O 0 00 U E 0 3 p © 0 c 0 ffl 0 c 3 0© E v* 0 ©

a p 0 0 4= a u jc clts P 0j r-l X 3 0 O O P * c ® 0 *H >N 0 X i-4 0 P X P 0 CL fl X fl vl O P P P CL O 0 C u -H »-« -H r-* P 0 73 © o c X 0 p *o 0 0 0 ® > > 0 0 3 0 X O O 0 0 3 *H 73 P 73 0 0 P X r-l E0O 3 C O CCU o 0 0 0 X Vi ^ 0 CL 0 0 0 «H U 0 X 0 P O 0 X P x p o -gl X P 0 O

Vi M O Vi a 0 c •5 5 1 at i 275 A higher percentage of the largest museums (40%) than of the smallest museums (7%) offer programs for training museum personnel other than their own staff. Educational institution museums (26%) have such programs more often than government museums (15%) and museums run by private non-profit organizations (12%) but the 26% level is not very high considering their affiliation. Even where such programs do exist, they appear to be relatively small. In more than half (56%), fewer than 10 individuals completed the program in fiscal 1971-1972. Observation : Even this modest training level may be overstated. Some of our museum consultants felt the proportions were too high and suggested that some directors may have included programs to train volunteers for muse- um work (which was not intended in the question). But even if the numbers are overstated, they clearly indicate the low priority museums assign to formal training programs within their institutions. (No information was gathered on directors' opinions on the value of training programs in other museums or in other types of insti tutions ,such as colleges and universities.) Consultants have indicated that this may also be a reflection of the realization by small museums that they are not qualified to offer train- ing programs, since many of these have indicated the importance of training through such actions as help- ing their staff attend seminars given by museum as- sociations* 276 Part-Time Employees* More than eight in ten (84%) of the museums employ part-time personnel, ranging from 77% of the smallest museums to 93% of the larg- est. Almost half (48%) of the 18,700 part-time employees work in the operations and support area, almost exactly the same proportion as for full-time personnel: * Part-time employees include all paid employees hired to work less than full-time or to work only during limited peak periods of activity. NUMBER AND DISTRIBUTION OF PART-TIME PERSONNEL (Base: Total part-time personnel) 277 o o u O 01 * > §° O tJ • c r-« < M * r* o| h o» * o 00| O'! to | i s 00 1 | w 00 ^ M o o O O crs M m| o u o o o §1 f? H r- cm) w | N 30| 00 ^ 00| r-*| H * §1 5 § & c c o 10 M a 9 u m s s. 2* cu m ^ > -« X CO W JO 0 U CO 3 t 4 O Q § S «H 44 3 2 4S f- SI CO « 0 CO O 0 •H S 2 2 f- SI U1| rH ^ g § 3 1-1 *• <§i § 3 «H 44 S 2 | p- ii than 0.5X | | (continued) Table 142 NUMBER AND DISTRIBUTION OF PART-TIME PERSONNEL (continued) (Base: Total part-time personnel) 278 of tr» *1 *4 © © to <33 © 4J B 5 « o 1 u « © u CL. © ^ o. o a u o Cl. Z jr X M © O © M © CX 8 ° O -T3 O <7* o o\ O O O' o o O O O' 00 1 * vO I .-l -*l o\ 00 00 CM I -f: CM vOl CM ml | w* m voi o vo ml *-* cm — *| •* *-• St| CM CM m| OI n Hi ♦ rH oi CM 0 o (4 3 05 Cl CC o £ 8 H 3 5 Non-professional Table 144 NUMBER AND DISTRIBUTION OF VOLUNTEERS (continued) (Base: Total volunteers) Governing Authority: 283 o I m vo I h m n| r-t vo ^ m | i m m | oi n | m r-i| * h oil m \© l * 21 tN fJl r ' 1 M M r~ ■ 4 | h n *2 »■* «l * cm r-i| * co -cl » cm I I ■“* rn u i U O qj U > CU *H I u c CU o z °°J ^ 51 ™ 5 M cm m r^l CM m cmi r-i h »- < | *-< cnl r» cm ' M O' O' 4 ^ ^ o O • «HNrt O vt O' *o 0 • III© CM I I © OQOQU O O Q O O o 3 wioooooo m © U"t O • • • • »0 • »0 IAIO »ft U pNlAHHNn 0 SB 3 « 3 t Chan 0.5% Table 147 lCTERISTICS OF PERMANENT FULL-TIME PERSONNEL -- HISTORY MUSEUMS (Base: Total history museums) 290 4-4 O u 9 0 3 S M U (0 U 0 •H 0 J3 W £H *3 O SfQOZ a *h d z as g ■s 00 0 O 41 £ « r O o 3 2 Vl 0 00 0 0 Vi •O 00 0 (0 *0 CO o si HNM O ■ U £ 41 O U U •-> to 4> M 41 £ B T3 U 3 3 2S a CO *-* 31 O' O' O' O' O' O' O' O' O' O' • • O' O' ^ 4 o • O O' i/y ify • I I *o tn I *J> *J> 8 § & m in . • 1 * Less than 0.5% AVERAGE ANNUAL SALARY - ALL PERSONNEL (Base: Total museums) 292 O u 0) H O «H o p si u *•» ft) ^ ft) U ui o u u w O' • * * O O' O' O' O' • O' O' T3 O O' ■ eft O ■ • I I I Q O I o *J> O Q O O * O O O O Q M O • • • O ft) ^QOOO •O O O *A Q • p l?i H • eft «H V- « O ft) 4J >*4 •S 3 § h«9C « o u 3 9 IS s 2 Coo small CHAPTER VII TRUSTEES 295 TRUSTEES Museum trustees constitute an important and influential force in the museum world, often being the primary molders of policy and pro- grams. In any consideration of the purposes of museums and their services to the community, it is essential to study boards of trustees as a core element in determining how these purposes will be fulfilled and which services will be provided. Therefore, the survey investigated which muse- ums have boards, the size, composition and representativeness of these boards, how they are selected and the members' length of service, the fre- quency of meetings of the board and its committees, relationships between boards, directors and staffs, and the relative decision-making responsi- bilities of the board and staff. The evaluations and opinions concerning trustees are those of the museum directors who were interviewed. Trustees were not interviewed. Museums With Boards Approximately three of every four museums (76%) have a board of trustees or an equivalent body. It is among the private non-profit muse- ums that boards are most prevalent; 93% of all private non-profit museums have boards. In contrast, only 23% of federal museums have boards. The proportion rises to 59% in state museums and 72% in municipal -county muse- ums, or 59% of all government museums. Forty percent of the educational institution museums have boards -- apart from the board of the school, col- lege or university. The differences in other categories, as shown in the following table, are primarily due to differences in governing authority. Science, the classification with the lowest percentage of museums with boards, also has the lowest percentage of private non-profit museums, while the sizes ($500,000 - $999,999 and $1,000,000 and over) and region (New England) with the largest percentage of museums with boards also have the largest percentage of private non-profit museums: 296 Table 150 MUSEUMS WITH BOARD OF TRUSTEES OR EQUIVALENT OVERSEEING BODY * (Base: Total museums) Has board of Has neithe: trustees or other board nor overseeing bodv overseeing % % Total 76 24 Classification Art 79 21 History 76 24 Science 66 34 Art/history 86 14 Other 76 24 Size Under $50,000 78 22 $50,000 to $99,999 68 32 $100,000 to $249,999 72 28 $250,000 to $499,999 82 18 $500,000 to $999,999 85 15 $1,000,000 and over 87 13 Governing Authority Private non-profit 93 7 Government Total 52 41 Federal 23 77 State 59 41 Municipal - county 72 28 Educational Institutions Total 40 60 Public 33 67 Private 48 52 Region New England 85 15 Northeast 72 28 Southeast 75 25 Midwest 79 21 Mountain Plains 84 16 Western Classification-Size 63 37 Art Under $50,000 69 31 $50,000 to $99,999 69 31 $100,000 to $499,999 90 10 $500,000 and over 92 8 History Under $50,000 79 21 $50,000 to $99,999 54 46 $100,000 to $499,999 83 17 $500,000 and over 88 12 Science Under $100,000 66 34 $100,000 to $499,999 60 40 $500,000 and over 79 21 * Percentages should be read horizontally. 297 Almost half of the museums without boards are under the juris- diction of some type of federal, state, city or county department or agency (48%), while one in four (25%) are governed by universities or colleges. Historical societies constitute the governing body of 9% of the museums without boards, accounting for the majority of those private non-profit museums that do not have their own boards: Table 151 GOVERNING RODIES OF MUSEUMS THAT DO "OT HAVE BOARD OF TRUSTEES OR EQUIVALENT BODY (Base: The 24 °L of museums that do not have board of trustees or equivalent body) Total % Universities/colleges 25 Federal parks departments 14 Other federal 4 State parks departments 8 Other state 5 City or county parks departments 7 Other city or county 10 Historical societies 9 Other 17 Not sure 1 298 Composition of Museum Boards Among those museums that do have boards, the average number of members per board is 19, rising to 23 among art museums and falling to 16 in history museums and the "other" category. Larger museums have larger boards, with average memberships of 28 and 27 in the $500,000 - $999,999 and $1,000,000 and over categories, respectively. The private non-profit museums have much larger boards -- averaging 23 members -- than the edu- cational institution museums (14 members) and government museums (11 mem- bers). A museum trustee is very likely to be a white, middle-aged man. Seven out of ten (69%) museum trustees are male, and that proportion rises to 78% among science museum trustees. An even sharper rise occurs with the increase in museum size, from 62% of trustees in museums under $50,000 to 82% in the $1,000,000 and over museums. Government and educational institu- tion museums also have more men (76% and 78%, respectively) than the pri- vate non-profit museums (67%). The percentage of trustees who are not white is negligible. Only 3% of trustees were reported as being black or of some other racial/ ethnic group such as Oriental, American Indian, and Mexican American/ Latin American/Puerto Rican. No significant differences in this propor- tion occurred among the different types of museums. Of those trustees for whom ages were given, approximately two in three were 50 years of age and older, and in every type of museum the great majority of trustees were in this age group: Table 152 CHARACTERISTICS OF MEMBERS OF BOARDS OF TRUSTEES (Base: The members of boards of the 76% of museums that have board of trustees or equivalent overseeing body) 299 CM co 00 CM cm O'' 1 »-H vO CO co r"» o TO" (M OH 00 00 00 CM CM 00 00 H CM O'' 00 in CM H CM 00 r-4 ■K m co h m CM CO H ■jc co m in co r-H CO CM CM •}c in h vo r^ cm co * CM 00 CM CO to H CO CM CM cm m in cm cm CM CO f— 4 CM o H on| r — 1 vO CM r-H r— < H r-H CM UO vO CO 00 r-' CM CO fH CM u~ O UO U • TO o J2 c. xj XJ a 3 o TOD u O TOD C 3 O c XJ SI oc TO J-l UO O TO XJ c b 0 ) Vh O CM >-• O nc 0 ) o 3 a no 3 CX w to to TH 0 ) U w TO U 5 to| TO TO XJ i jr r—< XJ o C uo UO o tn O < c ^1 2 U* w cc O IS < Cl CD CM CO UO v 3 2 -)c 300 Representativeness of the Board A set of questions similar to those asked about employees was asked on the representativeness of the board in terms of community groups, minority groups, blue collar workers, youth, etc. The directors of three out of five museums with boards (59%) felt that broadening the representa- tiveness of the board is generally a good idea. The proportion was high- est in art (68%) and lowest in art/history (46%), but in all cases at least a plurality felt it was a good idea: Table 153 WHETHER BROADENING REPRESENTATIVENESS OF BOARD OF TRUSTEES IS GENERALLY A GOOD OR BAD IDEA (Base: The 767. of museums that have board of trustees or equivalent overseeing body) 301 «H C CQ o C *rl O *-> t-I 3 3 S > 0> I v* *H *-* C O *-* V» rj o vi r- S' cu C V. o - o o O -o o c • to rH o o O O O' Vi O 0) O TD - c o I Vi U 0) O J= \ I >> 0) v* U *H o < I iJ I <1> ■rl U U C CO 0) o c-> M3 CM rH nO CM CM vO CM rM '■O vO 00 •A CM rM CM VO r* rH CM r-l « •ag S 3 0 S. 309 Table 158 WHETHER MUSEUM HAS PLANS FOR CHANGES TO BROADEN REPRESENTATIVENESS OF BOARD OF TRUSTEES AND KINDS OF CHANGES PLANNED (Base: The 44% of museums with boards that are not felt to be adequately representative = 33%, of total) Total % Has plans for changes 38 Seek representation of minority groups 32 Add Blacks 5 Add Asian-Americans 3 Add Mexican-Americans/Latin-Americans/Puerto Ricans 1 Revise methods of selecting members 19 Increase number of members 15 Seek representation of community and community groups 14 Seek representation of youth 14 Seek representation of art community 3 Seek representation of women 1 Seek representation of business community 1 Seek representation of university and scientific community 1 No plans for changes 53 Not sure 9 310 Observation : Regardless of whether broadening the representativeness of the board of trustees is a good or bad idea, the pressures in this direction being felt in many aspects of life and business today are likely to have an impact on the museum world. The composition of museum boards is such that museums may be particularly vulnerable to accusations of a lack of representativeness. However, more than seven in ten museums with boards (73%) either believe their board is now adequately representative or have plans to broaden the representativeness of the board. Occupations of Trustees The world of business is the primary area from which museum trus- tees are drawn. Almost one in four members of boards of trustees (24%) is a business executive, with an additional 7% listed as bankers, accountants or financial experts and another 7% as lawyers. One in five trustees (21%) is an active volunteer in civic affairs not otherwise employed, followed by 7% who are educators and 4% who are public office holders. No significant differences in the occupations of trustees occur among the different types of museums, except for a higher percentage of educators (13%) in educational institution museums, a somewhat higher pro- portion of public office holders (8%) in government museums, and a lower than average proportion of active volunteers not otherwise employed in edu- cational institution museums (9%): Table 159 OCCUPATIONS OF MEMBERS OF BOARD OF TRUSTEES 311 O) CD 3 e U -4 O S'* v£> v si U4 o \ I U to Va *H < X r- r> h H H vo r* m CM 00 V© 00 H CM CO «-» >0 m Cl 4 N H CM CM C"> C*> CM CM on ^ ** CM r-« * m cm cm on h r-« vj m h n CM ^ CM •o u qj O X M -4 o u <0 ■g « aj <0 OQ on CM m cm m cm CM CM * CM r—i r-» r^» ^ on on cm CM CD 0) > CD CD 0) c CD 3 « U «*M > o •o 9) 5 £ u o s c CO CO V- AJ 0) M II i4 o U 0 •H v-* •“* O O 0 •H CO CO *r4 A &. O • ,2 S- £2 K O 0 2 AJ * 312 Selection of Trustees A strong relationship can be seen between the high proportion of businessmen among trustees and the reasons for their selection. When di- rectors were asked which of a list of reasons for selection applied to any of the current trustees, the fact that the trustees were expert in admin- istrative areas of value to the museum ranked highest (72% of museums with boards) except for the somewhat broad and all-encompassing reason that the trustees had shown significant interest in the museum aside from contribu- tions (83%). The proportion of museums for which expertise in administra- tive areas was a reason remained relatively even throughout all categories, except for a high of 86% in the $500,000 - $999,999 budget category and a low of 52% in government museums. The fact that trustees have political influence was a reason for selection in a larger proportion (57%) of gov- ernment museums than was administrative expertise (52%). The ability of trustees to raise or to contribute funds -- which sometimes has been thought of as a major factor in the selection of trus- tees -- was given as a reason in only approximately one in three museums. In the private non-profit museums, where fund-raising would be of greater significance, this proportion rose to 43% mentioning "good fund raisers" and 40% "large contributors" as reasons for selection. However, more than half of the art museums (55%) gave being good fund raisers as a reason. Among size categories 59% of the $500,000 - $999,999 and 50% of the $1,000,000 and over museums said being good fund raisers was a reason, and 63% of the $500,000 - $999,999 and 51% of the $1,000,000 and over cited being large contributors. The entire list of reasons and breakdowns by categories are shown in the following table: Table 160 REASONS FOR SELECTION OF TRUSTEES THAT APPLY TO CURRENT BOARD* f Base : the 767. of museums that have board of trustees or equivalent overseeing body) 313 V- to o u o • o O iJ O' m m cn m m ro co co CM O' CO if) Vw E V* *T3 o o o ^ <1> U (BO 3 C <0 O 44 ,-4 o O) ^ U o >s u u 3 -*4 -O Vi •§ 3 44 a 1 a s u g 3 i: u r4 v4 ^4 V. . ... S -8 6o h ® f-4 > o u 3 *3 Vi s s d 4 0) Vi U Vi CO ® a 3 0) « 0) 00 3 a • Si £ * Table 160 REASONS FOR SELECTION OF TRUSTEES THAT APPLY TO CURRENT BOARD (continued) (Base: the 76% of museums that have board of trustees or equivalent overseeing body) 314 CO O' OO lO *0 CO CO CO t-« On 00 N m CO N N r-» r-» x W aj 44 co O O (U o o a» u v u co o Va 4J 3 44 d o a D > 3 ® cu 14 VJ *4 c < o & *r4 V4 JO 0) r4 ® a ti T3 14 a wi o o C M u c © © > E (O ^ I vO vO I H o N -)c N • • ^ I -* CM vt <* »-* I o O ' i O *-* O'' CM CM CM O V* o © o -a - c c o ,% , % t H r-4 U li) Vj U -r-i Q < S v£> *-< II ■>* I H ! o 44 00 o ® ts © © © {-> o © Ki U © «H 4J Q) (0 «H O CO O 3 a to O 44 u © a» ® 44 4J © © o O a t 2 X U M U *3 X ^ ^ — © *3 *0 *3 *3 *3 *3 © X © « © \ >N ^ O *3 40 3 *3 *3 CO 44 44 O O 0 *H «H © © © © C © U U U U © U 2 2 3 a 1 3 © © © © U *3 U U U U c © c a a o •H tl Vl M Tl U n -o o « U « > o u o ® V 4> 3 U U -4 O •o Vi 4 O J3 4) > <0 _c 4 a i 4) ® 3 s o H vO 4> s: H 05 CM 00 lA vO O vO ♦ « I— I *— I CO f—* r~* ■jt n oo h o n h i N 4 H H O O H N O * I r-t i-i IT> r* w-* 04 1 O on r- * fs| h h in N CD 41 O r- 1 ® ® 4) 4 « ® ® « ® 4 tS PKJC 9 V4 Vi Vi Vi Vi Ps V» 44444 (AO 4-> 4lil4IV4lOHN00 ►> >N Ps Ps • Ifc «M I r-i vO O **4 XhI 3 « 324 Equally as important as the length of a term is the number of terms a trustee can, and usually does, serve. In only a very small per- centage of museums with boards (5%) are trustees ineligible to serve more than one specified term, compared with 72% in which trustees can serve two or more consecutive terms and the remaining 23% with either a lifetime or unspecified term. In those museums in which trustees are eligible to serve more than one consecutive term, 44% report that trustees do serve as long as they wish or are able. Only in the government museums is this pro- portion substantially lower (32%) : Table 165 NUMBER OF TERMS USUALLY SERVED BY TRUSTEES (Base: The 76% of museums that have board of trustees or equivalent overseeing body) 325 31 Si A £l in| *>| Ov| 31 K| « E > 0 ) U H 0 > o r-t Q) Xi O •H •H M <§ co < eg* « « 0 4J 4-1 O 0 ) 5 CD® O 4 ££E| D D D 4J WWW© > t- Vi ® *o b0 ® 26 M c u 0 326 Despite the fact that trustees in more than half of the museums with boards serve no specified term, a lifetime term, or as many terms as they wish or are able, only one in ten of the current trustees (9%) has served more than ten years. Approximately half the trustees (49%) have served between three and ten years, and one in four (26%) have served less than three years. However, the number of years on the board was not re- ported for 16% of the trustees: Table 166 LENGTH OF TIME CURRENT TRUSTEES HAVE BEEN MEMBERS OF THE BOARD (Base; Members of boards of the 767. of museums Chat have board of trustees or equivalent overseeing body) 327 •H C CO O C -H O u u C O flj O U T* y. G V- o • o o o -o G C • CO Vs O 0) o T3 - a C o 00 00 GO vO vO ^ v< 0 CO « 0 J= >N - § ® I I 3 - « 2 S * 5 O V g « £ 328 Observation : In light of the large number of museums in which trustees serve lifetime or unspecified terms or "as lonq as thev wish or are able", the small proportion of trustees who have actually served for more than ten years is perhaps sur- prising, especially since consultants have indicated that entrenched boards are felt to be a problem to many direc- tors . Meetings of the Board and Its Executive Committee One indication of the activity of the board is the frequency of meetings, and the directors were asked how often the full board meets on a regular basis. Almost half the boards (48%) meet at least once a month, but this proportion is lower among the art/history museums (31%), the $1,000,000 and over museums (36%), and the educational institution museums (28%). Wide variations also can be seen regionally, with 39% of museum boards in New England meeting at least once a month compared with 68% of the boards in the West. The number of boards that meet least frequently -- less than once a quarter -- is a relatively low 17%, but the proportion rises as high as 38% in educational institution museums and 40% in history museums of $500,000 and over. On the other hand, in the West only 5% of the boards meet less than once a quarter: Table 167 FREQUENCY OF REGULAR MEETINGS OF BOARD OF TRUSTEES (Base: The 76% of museums that have board of trustees or equivalent body) 329 O JZ \ I 4-r U) u U T4 o < X u m vt •4- r-* CM r* •rM 2 u 3 « u < I 9 J 330 Since an executive committee, rather than the full board, is often the means for conducting some of the most important business of the board, the study determined how many boards have an executive committee and how often that committee meets. Two of every three boards (66%) have executive committees. A higher proportion of boards of private non-profit museums have an executive committee (76%) than those of government (45%) or educational institution museums (40%). More than half of the executive committees (55%) meet only on special occasions. (Such special occasions could be very frequent or very infrequent depending on circumstances within the museum.) Of those exec- utive committees that do meet regularly, three in four (74%) meet at least once a month and 5% meet less than once a quarter: Table 168 EXISTENCE OF EXECUTIVE COMMITTEE OF BOARD OF TRUSTEES (Base: The 76X of museums that have board of trustees or equivalent overseeing body) 331 u < cm v£> NO n 0) o» V u > NO U > 5J3 u e § a> a: o S © o *4 JZ -3 U C 2 u u u O <9 4 41 q) U H 1) Q. Oi a H r— < c o cn C o CD <0 o o o 03 •*-« CJ 0) o CD c o O < o < o < • O -i O *-» O' o iA On ON r-4 <7\ lA 1-^ sO 04 V4 O 0 ) o 13 - J C O 3 *A <7\ nO OJ O vO 04 1 1 U 4J S B 0 0 ■a i P D 336 Trustees' Involvement in and Knowledge of Museum Activities In addition to the financial areas which have traditionally been considered a major responsibility of the board of trustees, museum direc- tors were asked to evaluate the degree of involvement of the board as a group in non-financial programming decisions relating to exhibitions, col- lections and acquisitions. In the great majority of cases directors seem satisfied with their boards' activities in these areas: 83% of the direc- tors evaluated the boards as being involved to approximately the right extent. Boards were considered too little involved in only 11% of the museums, and only 4% of the boards were evaluated as too much involved: Table 173 EVALUATION BY DIRECTORS OF INVOLVEMENT OF BOARD OF TRUSTEES IN NON -F INANC LAL PROGRAMMING DECISIONS 337 >s 3 3 3 m O' vo CM OO O ^ vO ON vO H CO ^ i-t cn cm i i ft O 338 Directors were also asked how well informed they thought the board was in two areas: the financial situation of the museum and the programs and operations of the museum. Slightly less than two-thirds of the museums with boards (62%) felt the board was very well informed on the financial situation of the museum, with the proportion dropping to 55% in the history and science museums and 47% in the $250,000 - $499,999 size group. However, only 8% of the museums with boards felt that the board was poorly informed and the percentage never rose above the 11% in the $250,000 - $499,999 size group and in educational institution museums. A smaller number of museums felt that the board' was very well informed about the programs and operations -- 47% of the total of museums with boards and 36% of science museums, the latter probably reflecting the more technical nature of many of the programs. Only 11% felt the board was poorly informed about programs and operations, but this proportion rose to almost one in five (19%) of the $500,000 - $999,999 group: Table 174 EVALUATION BY DIRECTORS OF HOW WELL INFORMED BOARD OF TRUSTEES IS (Base: The 767. of museums that have board of trustees or equivalent overseeing body) 339 CO ON 00 I O CM rM cm in vc O' i m co m 'O co h m co 00 00 I m co O' O' CM I (OH no O' in i n h 00 O CM * v* rH U < Mnoo v£> CM (O >J O I 'J'JH CM O' 00 NO CM CM * Vf rH u D S B ■o o 8c C *t3 O CD C H C ■h o o ) U-4 •h d HUH * 1 * m •o O C CO • i 3 o V< 00 W o c Vi O a *h 4J 4J CO 3. V- a is- o 44 rH a *-4 CO d <*4 9 is u rH 9 Vi o VI o o * SB « 0 d 1 ,s « 340 Observation : The relationship between directors and boards seems, in many areas, to be a good one. Most directors participate in the meetings of the board, and to a large extent they feel the board is knowledgeable about the museum and in- volved to the right degree. However, the survey did not consider whether the director approves or disapproves of the decisions of the board. The understanding between board and staff, while naturally on a lower level, still seems substantial, with directors of 64% of museums with boards feeling their staff under- stands the functions and responsibilities of the board. Matching the directors' evaluations of how well informed the board is against their evaluations of the understand- ing of the board by the staff gives us an indication of two-way communications in museums: Table 175 DIRECTORS' EVALUATION OF HOW WELL INFORMED BOARD IS ABOUT PROGRAMS AND OPERATIONS OF MUSEUM COMPARED WITH EVALUATIONS OF HOW WELL STAFF UNDERSTANDS BOARD (Base: The 767, of museums that have board of trustees or other overseeing body) Total % Board very well informed about programs and operations Staff understands board very well 38 Staff understands board somewhat well 8 Staff understands board not at all well 1 Board somewhat well informed about programs and operations Staff understands beard very well 20 Staff understands board somewhat well 19 Staff understands board not at all well 2 Board poorly informed about programs and operations C o "P • i n 4 r\ ■*— p f- ^ r\ /A o K « o T7QV*if nfl 11 A tj coi.i. dauui. jLauuj w vu.i. u v j Av-i.*, w Staff understands board somewhat well 2 Staff understands board not at all well 3 Not sure 1 In 38% of museums with boards, the communications and understanding between board and staff is on a very high level, with the director feeling that the board is very well informed about programs and operations and that the staff understands the board very well. 341 Decision-making To delineate the comparative roles of the board and staff in decision-making, each director was asked who was involved in and who had the final responsibility for seven major types of decisions applicable to the museum. In determining the annual budget of the museum , 79% of museums reported that the director/staff and/or the board/officers/committees of the board were involved. However, the final decision was the responsibil- ity of the board in 64% of the museums, compared with 21% in which the director/staff had the final responsibility. The board had final respon- sibility for determining the annual budget in at least half of the museums in all categories except government museums (38%) and educational institution museums (48%) where the final responsibility in a substantial number of cases was held by such other groups as government agencies, university departments, etc.: Table 176 RESPONSIBILITY FOR DETERMINING ANNUAL BUDGET OF THE MUSEUM (Base: The 987. of museums with boards that make such decisions - 74% of total) 342 O' O' O' T-* * lO O •D Qi V4 it § O 03 349 v- 0) X >N u Q N d> O c Qt >> V- O u Um <1 n r» O O'* i—4 r—4 On oo O' CM O 00 vO •“* f» f-* o a* » CM r-* 00 r-4 oo *n vO CM v£> O CM ^ oo OO vO CM m O m cm cn oo m cn cm m cm 350 The planning of major exhibitions is a decision of the director/ staff, which is involved in 91°/ of the responding museums and has final responsibility in 79%, compared with 25% in which the board is involved and 16% in which the board has final responsibility: Table 181 RESPONSIBILITY FOR PLANNING MAJOR EXHIBITIONS AND PROGRAMS (Base: the 96% of museums with boards that make such decisions - 73% of total) 351 m m i OO r-4 m ^ r-4 h h h n 00 r-4 O r-l O' 00 r-4 O' oo m 00 00 O CM 00 r-4 r-4 m SO r- cm • N r- cm O' CM m oo CM 352 In almost two out of three of the responding museums (63%), the director/staff also has final responsibility for setting staffing require- ments , but this drops to approximately half of the museums under $50,000 (47%) , history museums (50%) and government museums (54%) : 353 55 oo O 3 s u o x u o < c u 0 ) > o o vO N •—* O' <$ •-* 00 00 vO co «-• m rv oo vD N 0) I v« -H u c o Vi (Q o Wi pu 5 ^ &« o o o o o o Vi o T 3 C <0 cm *0 oo on 00 CO On CM vO CM CM vO CO On ^ I r* cm o o o o o m ON on on * M ON ON ON r-» O ON CO H r* r* no h- H O O O ON ON ON ' ^ ON ON ON ON ON ON CM r- r* o on CM c-i 00 NO vO ON CO vo f". *-* co co -$■ r>. cm o o o o m o> ON ON ON ON On O CM NO ON CO N O ON ON CO in r-t oo ON'OHxJ4 -* CO i i i (N n n n O' i co i n vj n n i ox i minin^r'vO'An^invO'rtN^Nnnlt n O <0 X — « r-l CO > fl) I ^ -H 4-* C O M V- Ifl O u -Tt C~ 5C P-. voinr*'Ofl 04 't^(MN^nn>jn^«ncM 4 °OrM O M O • o o O T 3 c c • CO H O O' O ON o cr> • o - O M C> o ov m o» VI a> o O' o on o o ^ m o iO 3-vOvOOO<0<00\COOO CM H vOHtO'rtirt^vOvOflonOHiniA^ino'rtH coco COCOOOCONOOvOH^mcMOinNNst'-'N (sjinr^vA\or^nvtNn\ 0 'A'Onn>tvjH(M '■o »- i r-* .M CO r>.mcomiocMr-i^cocorvr-c^cor-*^cocM>i- vO o (0(OMAr^(00(OOOCMNvomio<* ' o « CM Q) o 1 pa SB Percentages add to more than 100 because multiple responses were possible Less than 0.5% Table 184 YEAR(S) IN WHICH OTHER SEPARATE FACILITIES WERE CONSTRUCTED OR ACQUIRED (continued) (Base: Total museums) 363 364 Museums were also questioned on any major additions and major renovations of facilities, apart from the acquisition or renovation of historic sites. The single most active year for major additions was 1972, with 7 % of museums completing additions in that year, followed by 1971 (5%). 1972 was also the most active year for the completion of ma- jor renovations; 11% of museums completed renovations in that year. Al- though this is due largely to the continuous founding of museums up to 1972 and the consequent existence of a greater number of museums, there is still some indication that additions and renovations are on the rise. Table 185 YEAR(S) IN WHICH MAJOR ADDITIONS TO EXISTING STRUCTURES WERE COMPLETED* (Base : The 65% of museums that do not Include historic structures) 365 o Q. « Vi -i l ^ o c C C- 3 3 -H O *-» O U cMr^^mcMc^»-* • o o O TD o c NN^MnnvOMXMnHHNHHH I I I o o - O u ov - o * O U s (0 u •H O X *-» v£>r^mmmcnvfv£>r^r-«^r-)CMCM i i cm *■* O I IOvOIvONNHvOHvOI I I I I I r—4 r—4 H inconoocO'OvOvOHn i I -t • N • • • Hrsvo4cnnvoNo\m i i h h i h i i J rH * Hv£)vON4HCMmN>}J N I MhJ H I I o • NO c cn m H u O 3 c • ® o to Z K O “N ■o • - O O O no m cn 1 1 CM 1 1 1 1 1 o c CM * CO fH 0,000 to 9,999 oo vO CM 1 CM 1 1 1 CM 1 O cn m on ' r>» f— A O ON O ON O ON i i co - o CM vO CM 1 CO 1 1 O AJ ON m on cm o on o ON o on i i in o * ^2 in o 1 CO CO 1 1 O LI ON o rH CM r-A O ON O ON O O ON * aj - 6^ ON 1 co i—l 1 — 4 r—i H i i i O ON m on o M O G o no vD CM ^2 CM vO i m AJ G in CO f— 1 CO CM 1 CM 1 i i o s: in CO \ 1 ^ ■U C/) P cn CM CM CM CM NO CM , 1 1 i-l M *H O < PC aj \ G •H U in v£> 1 CM 1 CM CM CM 1 •—* 1 O C CO 0) vO CM 1 S»N W P a* CM oo CM CO 1 1 1 1 *H O X AJ vO |rJ AJ V4 |^2 o vO r-A P>* 1 * 1 CO r-A 1 CM < »—• vO 00 CM N vO *— 4 * * cn no G - u G AJ 0 cn •H •H X CL C cn 3 So •H Ja O AJ g <0 u •H AJ TO c 00 cn •H co AJ u cn *A 1—4 Q) U c CO CO > G O •*-» o- c AJ f-i > •h cn o o C •H aj G A-l u •H •H 3 c co c o AJ L< 3 N < D g CO AJ Li AJ *H AJ g AJ c c cn O >-4 c c c 0 c o AJ •r-4 tJ O G co -H o cn c E no CD E £sg 00 0) E U (1) o 00 G C m u g > C g E c T— 4 CD OO Jj o *H o >a CL C CD o i - ^ G G o 1— 1 00 G P no o f—4 t-a > AJ JO > r-A CD X o 1—4 O c •H 3 f-A O CT3 > P G G o 00 cO 14-1 CL CO 00 3 O O cn G X O CL X) 00 G f—4 AJ P (1) >s •H X G AJ G CO • 0- X o AJ > 0) g •H CO t-4 u L4 cn 1 AJ *H c •fJ AJ L r-J > r— 4 G G to c c 3 no CO 3 X •rA X •3 X G O P 2 O C AJ X 3 H 3 G AJ X z: *h 23 U M CO V CL Pj CL pH O * 371 The buildings and space of those private non-profit museums that do not own their facilities are in the great majority of cases either do- nated to the museums or made available to the museum for a token rent: Table 188 RENT PAID BY PRIVATE NON-PROFIT MUSEUMS THAT DO NOT ENTIRELY OWN THEIR BUILDINGS AND SPACE (Base: The 34% of private non-profit museums that do not own their buildings and space = 19% of total) Total % No rent or only a token rent 92 Rent based on market value 8 In only a small percentage of the private non-profit museums that do own their buildings and space, are these facilities mortgaged: Table 189 PRIVATE NON-PROFIT MUSEUMS WHOSE OWNED BUILDINGS AND SPACE ARE MORTGAGED (Base: The 66% of private non-profit museums that own their buildings and space = 377, of total) Are mortgaged Are not mortgaged Not sure Total % 15 82 3 Observation : Although a substantial number of private non-profit museums do not own the buildings and space, these facilities are provided without cost in almost all cases. Those museums that do own the buildings and space usually own them outright without a mortgage. Although these museums may not have the burden of rental or mortgage costs, this does not take into account any funds that must be spent for utilities, maintenance, repairs and remodeling, all of which may necessitate substantial expenditures by the museum, no matter who the legal owner of the prop- erty is. 372 Consultants have also noted that in some cases the buildings of private non-profit museums are located in such areas as city parks and are thus technically owned by the city, but the museums have the right to their total and perpetual use. Exhibition and Storage Areas Because of the importance of exhibition and storage areas to museums, the survey examined these in detail. Directors were asked to rate the adequacy of ten aspects of exhibition and storage space, using a scale ranging from "fully adequate" through "somewhat adequate" and "barely adequate" to "not adequate". Except for the available exterior space, a minor consideration in most museums, less than half of the muse- ums for which the items were applicable rated any aspect of exhibition or storage space as fully adequate. Since fully adequate facilities are basic in the fulfillment of a museum's purposes and functions, obviously much must be done toward the expansion and/or renovation of exhibition and storage areas in most museums. Even combining the "fully adequate" and "somewhat adequate" ratings indicates that a large proportion of American museums appear to fall below minimum standards in these cru- cial areas. Ten aspects of the exhibition area were rated by museums for which the items were applicable: tables: 1 . Available 2. Available < 3. Lighting 4. Protection of tempera 5. Protection 6. Protection 7. Protection 8. Protection 9. Protection 10. Protection The responses on I owi ng 373 Table 190 ADEQUACY OF EXHIBITION /VREA (continued) 374 I cm m oo m i 3 i c r >> "O ^ a) a> h a u ^ 3 O «0 O & to CQ Z T3 3 <0 O' Q> 5N •v I J w tf <• « 3 a* 0) 3 "O cr *• 4) 3 *j m 3 • O' u I 2 u J? o «5 o *3 I r-l ,0 « (0 • <+4 O AJ ■§> 3 ■ a rt x a J vtl < SS 375 Table 190 ADEQUACY OF EXHIBITION AREA (continued) 376 o o o G * *o © o c > H o © O m to o V. O © o XJ .M c o 3 o o o O T 3 g • G © 54 O © > O o m o ON o O' o O' • o w O AJ ON o ON H -4 >> G O o ON AJ o ON in o o ON *H • AJ 54 5 C o ON m ON o g o © o •o 54 c o m ) ;o o o ~o G • c © 54 o © > o O in o ON o ON o ON * o 54 O AJ O' o ON aj > — t -4 g < o ON o ON o ON • o 54 O AJ ON m ON i c © G 54 © © 3 © 1 G C G •H 54 3 ft © O © H X AJ tx 1 AJ •o © © 54 • • s C o 1 -H sz AJ ot AJ © © 3 © 54 IX O © CO AJ AJ © 54 G © o © 2 1 T 3 J 40 G 54 © G © 55 W H CM CO O m 4 fO rl H 4 O' H CO CO CM m ici 4 vo 4 NHH vt cm 4 n m r— I CM N 4 vO CO CM CO CO O' O' CO O' >4 H H rM O co to 4 CM (O H CO 4 cm O' m CO CM CO O r-t *3 to CM CO H CO nO ft O CO CM CM ft 4 mcoiOH CM CO CO “O © 3 C 4 O' m CM CO CM CO vO to vO CO CO ft ft CO 43 00 O vO CO CM H CM M) 4 CM CO 4 CM ft ft 00 ft 4 r* CO CO CM >4 O 00 00 no CM M3 N O fN CO CM ft CM 4 co oo m vt CM CM CO CM ON NO lO CM ft to ft On in CO CM H CM r-* co no *4 CM co ft CM oo ft «4 CM ft CM CO NO CO CO oo CO CM CO H O' co rs CM CM OCONO CO CM H CO NO O CM CM CM CM r-t 4 oo O m CO CM ft CM m O' co co 4 H H CM m 'O oo ft 4 ft ft CM 4 CM 00 vO in cm ft CM O CM NO CO CM H (O CO CO O 4 CO CM H CO oo o m CO CM r-t CM NO O 00 NO >4 CM CM co so 4 -4 CM CM r*^ in r-t -4 CM CM m o r^. oo CM CM CM CM C"£) N O CM CM r-t CO on in o no CM CM CM CM >4 r-t o m CM CM CM CO m 00 r-t vO CM CM r-t CO 00 CO 00 r-l CO CO CM . r-t CO CO CM r-t CM 6 *4 2 ■o M « § u •• u 41 41 to £ 35^ £ co co co s** U n - © fs 9 H r u 4) OJ 5 3 8* HIM 3 44 CO « r aj ft i © U U Q Q H a a co x .o ^ «rl ^ iJ to 3 B CO 44 0 © K 3 co T 3 ON o ‘S ?j | o Table 190 ADEQUACY OP EXHIBITION AREA (continued) 377 "A -P O ^1 \at- on\a cr\ t - Q 4» Table 190 ADEQUACY OF EXHIBITION AREA (continued) 378 ^ H o H at © 4J J3 o o u o •H N *9 3 r-t © r-» © © H fl P U 3 O © O £ wtfz >4 © 53 I s o > © H 0 M>A © © Os U •H ■ a © O 43 4J •H 4 Jr- 4 .fi 4J © © O •• 44 © © © «H © © © 3 4J 4J qr © © © 9 • 3 © 0*41 ©• © © © © *0 9 *9 4J © qr © © • >»•§ m "3 «2Sa£ 379 c o o Table 190 ADEQUACY OF EXHIBITION AREA (continued) 380 u pq jz a 381 -- Twenty-eight percent of museums felt that available interior space was fully adequate. Interior exhibition space seems to be an espe- cially critical problem in science museums; 20% felt interior exhibition space was fully adequate, and even including those science museums that felt interior space was somewhat adequate brings the proportion to only 44%. Size does not seem to be a significant factor in the adequacy of interior space. The problem of space is more severe in municipal-county museums and in the Midwest and Western regions, with half or less of the museums in each case rating this aspect as either fully or somewhat ade- quate. -- Available exterior space is not a major problem in museums; 62% rate it fully adequate and 15% somewhat adequate. In fact, only in the $250,000 - $499,999 size did less than half the museums feel exterior ex- hibition space was not fully adequate, and in that group the lower per- centage was partially offset by a 35% somewhat adequate rating. -- The lighting of exhibition space also seems a relatively less serious problem. Although less than half the museums felt lighting was fully adequate, 70% rated it either fully or somewhat adequate. In none of the breakdowns did that proportion fall below 50%. -- Thirty-four percent of the museums felt that protection against fluctuations and extremes of temperature and humidity was fully adequate, with an additional 20% rating it somewhat adequate. Although this item does not seem to be as critical as others, in several of the categories less than half the museums felt it was either fully or somewhat adequate. For example, forty-nine percent of history museums rated such protection somewhat or fully adequate, and that proportion fell to 43% in the under $50,000 history museums. Forty-three percent of public educational insti- tution museums rated this item fully or somewhat adequate. -- Thirty-three percent of the museums felt that protection against air pollution was fully adequate, but a relatively high 32% rated it not adequate. Protection against mold and mildew was rated fully adequate by 39% of the museums and somewhat adequate by 27%, but more than a fifth of museums felt such protection was not adequate. -- The same percentage of museums felt that both protection against pests and protection against fire was fully adequate (45%) or somewhat ade- quate (31%jL These areas are of less concern to most museums; however, more than a fourth of the art museums under $50,000 and more than a fifth of the science museums under $100,000 felt that protection against pests was not adequate. At least one-fifth of state museums, museums in the Mid- west and history museums under $50,000 and between $100,000 - $499,999 felt that protection against fire was inadequate. -- Protection against theft was considered fully adequate by 32% of museums and somewhat adequate by 33%. Although much of the publicity sur- rounding museum thefts has been associated with art museums, 44% of art 382 museums rated protection against theft fully adequate. Only 11% of art museums rated such protection not adequate, compared with 23% of science, 25% of art/history and 22% of the "other" classification. -- Vandalism seems to be a major concern in many museums. Twenty- three percent felt that protection against vandalism was fully adequate, and this was only partially offset by the 42% that felt it was somewhat adequate. Only 4% of private educational instutution museums, 13% of municipal -county museums and 14% of public educational institution museums considered protection against vandalism fully adequate. Fourteen percent of "other" museums and 18% of science museums considered this aspect fully adequate. Observation : Although some aspects of the exhibition areas of museums are far less adequate than others, in no aspect -- except, perhaps, available exterior space -- is the current situ- ation considered to be remotely satisfactory. When a sub- stantial percentage of museum directors feel that every item is not adequate or barely adequate, it seems likely that much must be done to improve exhibition space. Additional exhibition space can be gained -- and in many cases a new and different public reached -- through mobile exhibitions, defined in the survey as exhibitions "of objects within a wheeled vehicle espe- cially designed to transport such an exhibition to locations removed from the museum". However, very few museums have facilities for such exhibi- tions. When asked if the museum owns or rents a mobile unit, 7% of museums responded positively: Table 191 WHETHER MUSEUM OWNS OR RENTS ANY MOBILE UNITS SENT OUT IN FISCAL 1971-1972 (Base: ToCal museums) 383 ■s — s - 3 384 Only in the $250,000 - $499,999 category did as many as one- quarter of the museums own or rent mobile units, and the percentage fell as low as 1 % in the art/hi story classification. Observation : Mobile units have been considered a way of reaching out to the community, but their use is not yet wide- spread enough to judge their effectiveness. Seemingly most museums now feel that funds currently available can be spent to better use in other areas. Storage Areas Museums were asked to rate the adequacy of the same ten items listed for the exhibition area with regard to the storage space for the collection. The pattern of responses was similar to that for the exhi- bition area: Table 192 ADEQUACY OF STORAGE AREA FOR MUSEUM COLLECTION « 385 <3 ® O O. 3 O « B v* ^ o> o\ C 0) 6 do 8 aj & H ^ 3) CM 4J vO X a> q> • a> H Table 192 ADEQUACY OF STORAGE AREA FOR MUSEUM COLLECTION (continued) 386 o H x >**o ►n & -* • • — 1 QJ a> Table 192 ADEQUACY OF STORAGE AREA FOR MUSEUM COLLECTION (continued) 387 *r-< 4-J CD CO 73 O > *o >> 3 r-* 9 H ^ 41 f< S M U 3 O <0 O pu to pa % 9 . x 4J (0 ‘ 1 U t4 < 3C n O n ia n n N h n co co N CA 4 (M H H U *4 < I 00 ON CO o m cm t+ CM CO r-1 <7\ vO CM o o ^4 4 CM H H O h cm 4COHH 4J VW CO ® o <0 C , I* ■h &4 eg m © O a ^ 4> *0 3 s © o a -v 4* *0 +» 4* "S 8 fe & © o 4* *0 *S g 0) 5 8 395 The greatest need was expressed for facilities for the preser- vation, restoration or reconstruction of the collection . Thirty-three percent of museums did not have such facilities but needed them, with a high of 44% of art museums needing these facilities. Among budget sizes the highest percentage needing the facilities was in the $50,000 - $99,999 group (43%), but otherwise the need was inversely related to size, declin- ing from 35% in the under $50,000 group to 12% in the $1,000,000 and over. An almost equal need was expressed for separate exhibitions or galleries for children and for an audi tori um/theatre , with 32% of museums reporting that they did not have but needed each type of facility. Sci- ence museums reported the greatest need for an auditorium (42%), compared with 29% of art and art/hi story museums. The need for children's galleries was relatively even throughout the breakdowns, except that low percentages of educational institution museums reported either the existence of or the need for these facilities. Classrooms, lecture rooms and studios were also high on the list of needed facilities (29%), with a greater need among history museums (34%) and state museums (45%). Other facilities which at least one-fifth of museums do not have but need are workshop (24%), members' facilities (22%), public parking (20%), a field research station (20%), and a separate labo- ratory operation (20%). The storage area was also included in this question, and 15% of museums reported that they had no storage area but needed it. The other facilities which the largest number of museums do have are administrative offices (84%), storage space (80%), 1 ibrary (75%), shop/ sales desk selling museum-related items/books (75%), and public parking (74%). Adequacy of Other Facilities Those museums that do have these other facilities were asked to rate the adequacy of the facilities on the scale of fully adequate, some- what adequate, barely adequate or not adequate: Table 194 ADEQUACY OF OTHER FACILITIES (Base: Percentage of museums that have such facilities) 396 >. ■ ^ oo oo r>. H ^ H H vOO^O ^ n h h H h* Kt CO CO ^ < vO vO vO M n n (N h CO O nJ CO CO H vONON 4 (Or»H co n 4 iri 4 NHH rs m h o\ vj n h CO I s H 4 N n N H n h vo o (O H H 'O N 00 4 CO m N f) n M H N CO N H N CO r -I O' ■)[■>•>* CO ^ rM CM O' CO vO CO CM CM f-* m >} H H CM H r-i n y cr aj •8 3 4 cr *-* © © U aj © O « z H 41 ^ Us M 0 AJ © ^ Ui 00 J 2 AJ or AJ ■8 3 © cr v 50*0 < © *-• © © H fl b AJ >» * s 3 © AJ aj cr « 3 © 3 © -o cr aj cr © © © © *0 3 -o aj cj cr © © © X >% TJ >% 5 •-* © r-< © © n S u aj 3 0 © O (ju (0 (P Z IS 73 © 4£ c-^ H 1 2 Table 194 ADEQUACY OF OTHER FACILITIES (continued) (Base: Percentage of museums that nave such facilities) 397 CO *-> o H m co N in m H H H CO O' vO N cn N H rH no on «- 1 vono 4NHH CM f-l u o 00 <0 o >* x> u r-° a cm co ® 3 aj cr 3-8 a* co 0) •O aj * 2 >N * r-C Q) 21,2 cr aj S 3 ° g 1 >n T3 f-< eg ® 14 AJ o Z £ cO .D h3 •o aj CO cj Csl* d ® cr aj •8 3 co cr 0) >N T3 •-* co ® £ w 2 ® ss 3 a ti ^ o o .o 13 d « cr aj •3 3 co cr 0) >N T> r-4 (0 « « 3 AJ AJ cr rt co o o o • o O *-» O' u~» - N * o • O *J O' O O Vi O 4 O *3 - C O 3 m m n m cm h n oo h co vO H H O' —I vO in n H N O' O 4 in i—i h i-^ NvOtnN m CM .-I o n n iONH o o JO c >1 o 4 |S 3 0) v) aj cr 4 4 a> 3 3 *3 3* • cr co 4 o *3 *3 aj 4 4 4 X >%' >n 3 r- 1 H flj « H 0 w 2 w 3 3 3 3 4 cr aj i a> 4 •3 3 4 a* 4| 3 | 2 2 v) <3 as 4 3 aj cr 4 4 4 3 4 $ >S 5 s a _ 2 co 2 __ 4 cr aj 4 4 *3 3 4 cr 4 >> T3 •“< 4 4 Vi AJ 0 Z cr aj 5 3 14 S *o H 4 :a| *j cr 3-8 cr 4 4 *3 AJ __ _ 4 4 4 JG >s T3 Ssli -i 4 -14 4 ^ a ^ u z 2 V) 2 ** Eases too small for breakdowns by categories Table 194 ADEQUACY OF OTHER FACILITIES (continued) (Base: Percentage of museums that have such facilities) 399 O JZ „ • >A a <0 4 £ w (2 3 4> cr u •S 3 « ST 4) kl 4J o 55 o» 3 « u cr 4 3 0 9 0 ■o cru O* 4 Of 4 4) •o 3 ■X3 AJ c« &• <0 4 ,« w -2 ^ *q r-« 4) O h 9 b u £ w 3 3 ! • 8 2 I 400 Facilities for the preservation, restoration or reconstruction of the collection -- the item needed by the largest number of museums -- was also the item which the fewest museums that have such facilities felt to be fully adequate (28%). Thirty-two percent felt they were either not adequate or barely adequate. Approximately one-third of the museums with classrooms, lecture rooms and studios , with a separate laboratory operation , and with a 1 ibrary also judged these facilities not adequate or barely adequate. The adequacy of a library is of special importance. A relatively high 75% of museums report that they have libraries and 38% of these con- sidered the libraries fully adequate. Forty-five percent of museums with libraries rate them less than adequate; 17% rate them not adequate. This may cause shortcomings in a number of other areas of museum activity, such as research and education. Observation : The lack of essential facilities can place upon museums handicaps that are impossible to overcome. With approx- imately one-third of the museums in this country express- ing the need for facilities such as special galleries for children and facilities for the preservation of the collection -- and with some of these facilities not fully adequate in a substantial proportion of those museums that do have them -- the situation is certainly a serious one. Revenue from Facilities Because of the great need for funds in many museums, efforts are being made to develop new sources of revenue. It has been suggested that renting facilities could provide additional income. In response to a ques- tion on rental, slightly more than one-quarter of the museums (27%) in- dicated that they do rent out their facilities. However, in many cases rental charges apparently are made simply to cover the museum's cost, and some directors indicate that a loss is actually incurred. In these cases the renting of facilities would appear to be an additional service offered by the museum rather than a source of revenue. Table 195 DOES THE MUSEUM RENT ITS FACILITIES TO OUTSIDE INDIVIDUALS OR GROUPS (Base: Total museums) 401 cs r* co r* a 9 u m % Q C3 <0 u u s 402 The 44% of art museums that rent facilities compared with the 19% of history museums may be because the space in art museums is more suitable for a variety of functions. The low percentage of government museums (14%) and educational institution museums (13%) renting facili- ties is probably due either to their availability without charge or to government policies. These were all among the primary reasons given why museums do not rent facilities: Table 196 WHY DOES MUSEUM NOT RENT ITS FACILITIES TO OUTSIDE INDIVIDUALS OR GROUPS (Base: The 737, of museums which do not rent facilities) Total % Not practical, not usable space 33 Facilities available free of charge 25 Government policy, museum policy 23 No demand 10 Objects, collections might be damaged 6 Lack of security 5 Inappropriate, not proper to rent such a facility 5 Lack of staff to handle details 4 We are non-profit 3 Other 5 403 Among the 27% of museums that do rent facilities, approximately half rent only to non-profit organizations: Table 197 DOES MUSEUM RENT ONLY TO NON-PROFIT ORGANIZATIONS (Base: The 27% of museums which rent facilities) Tocal 7o Rents only to non-profit organizations 49 Rents also to individuals or profit-making organizations 51 The reasons given for renting only to non-profit organizations stress the desire of museums to serve the community and those organizations with interests related to those of the museum: Table 198 WHY DOES MUSEUM RENT ONLY TO NON-PROFIT ORGANIZATIONS (Base: The 49% of the museums that rent facilities which rent only to non- profit organizations = 13%, of total) Total 7o We are non-profit, serve community 33 Like to rent to groups with special interests related to museum 21 Profit-making organizations don't need our facilities 14 Government policy 9 Profit-making organizations require service staff we don't have 9 Might get out of hand 8 Other 20 Don ' t know 3 404 Museums that rent both to non-profit organizations and to indi- viduals or profit-making organizations were asked the purposes for which their facilities were rented. Except for social getherings, the purposes given do not seem very different from those that would be expected from museums that rent to non-profit groups only: Table 199 FOR WHAT PURPOSES DOES MUSEUM RENT ITS FACILITIES TO OUTSIDE. GROUPS (Base: The 14% of museums which rent facilities both to non-profit organi- zations and individuals or profit-making organizations) Total % Meetings, conferences 45 Social gatherings -- weddings , receptions , picnics , etc . 42 Music, films, performing arts events 18 Lectures 14 Exhibitions and museum related events 9 Bazaars, auctions, fashion shows, etc. 4 Other 14 405 Another source of revenue that has been mentioned is the regular sale of alcoholic beverages within the museum. Only a small proportion of museums (3%) regularly sell alcoholic beverages, but the percentage does rise as high as 17% in the $1,000,000 and over category: Table 200 ARE ALCOHOLIC BEVERAGES REGULARLY FOR SALE WITHIN THE MUSEUM* ** (Base: Total museums) Alcoholic beverages for sale % No alcoholic beverages for sale % Total 3 97 Art History Science Art/history Other 7 2 2 1 ** 93 98 98 99 100 Under $50,000 1 $50,000 to $99,999 1 $100,000 to $249,999 2 $250,000 to $499,999 5 $500,000 to $999,999 6 $1,000,000 and over 17 99 99 98 95 94 83 * Percentages should be read horizontally. ** Less than 0.5% 406 The reasons given for not selling alcoholic beverages are: Table 201 WHY ARE ALCOHOLIC BEVERAGES NOT FOR SALE IN THE MUSEUM (Base: The 97% of museums which do not regularly sell alcohol in the museum) Total % Illegal, against the law 32 Inappropriate, out of place 16 Have no license 14 No food or beverages of any kind sold 14 Against museum policy 17 Lack of proper facilities 13 No demand, unnecessary 13 Concern for safety of exhibits 4 Other 1 Observation : Rental of facilities and, to much less a degree, the sale of alcoholic beverages, are activities in only a small proportion of museums. Apparently, the muse- ums that do not engage in these activities either believe they cannot do so or feel it would be con- trary to their purposes and/or policies. Thus it appears unlikely that such activities will be under- taken by these museums in the near future. CHAPTER IX FINANCES AND BUDGET 409 FINANCES AND BUDGET In this chapter the budgets and finances of museums are ana- lyzed from a number of viewpoints. The first section discusses current funds for fiscal 1971-1972, with a breakdown of income by sources; ordi- nary expenditures such as payroll and other direct expenses; extraordi- nary expenditures such as acquistions of land, buildings, equipment or collections; and the unexpended balances at the beginning and end of the year. Funds other than current funds -- endowment funds, funds simi- lar to endowments, unexpended funds for land, buildings, equipment or col- lections, and other special funds -- are then considered, with the addi- tions to and deductions from funds and the balances of funds at the begin- ning and end of the year. The use of certain basic business practices by museums is next examined, followed by a consideration of the policy and practices concerning endowment funds as a part of the overall financing of museums. Finally, this chapter probes into the real financial condition of museums beyond the mere budget outline of disposition of funds: cut- backs resulting from financial pressures, the adequacy of current operat- ing budgets and the need for additional funds, the fund increases needed to undertake improvements in operations and what these improvements might be, the degree of expectation museums have in obtaining funds from various support sources, and the perceived importance of these different support sources in the future operations of museums. A number of special characteristics of museums should be kept in mind when considering the data in this chapter. First of all, museums are not designed to be profit-making or even self-supporting operations. This may seem too obvious to mention, but museums' budgets are often judged in business terms with the emphasis on bottom-line figures. This view misses the point of budgets in the total fiscal picture of museums. Rather than representing profit or loss statements, museum budgets are valuable as an itemized report of the inflow and outflow of funds and are so treated here Despite an overemphasis on the bottom line in accounting, the public does seem well aware of the basic not-for-profi t and public trust character of museums. In a study of a substantial cross section of the American people conducted in early 1973 for the Associated Councils of the Arts by the National Research Center of the Arts, it was found that barely 15% of the Dublic believe that anv kind of museum is mostly self- supporting. In fact the vast majority of people are aware that either philanthropy or government furnishes most of the funds available to muse- ums. The financial data in this section verify this belief, revealing, for example, that earnings from all museum operations and investment prop- erties amount to less than half (42%) of total income. 410 Another factor that should be kept in mind is the imposition of certain legal and other requirements on a great number of museums, espe- cially government museums. In some cases, for example, these museums are not permitted to operate with a deficit or a surplus, but must begin and end the year with a zero balance. Based on a budget request by the muse- um and an estimate of revenues and income that may be generated from other sources, an amount is appropriated for the year's operations. If the museum does generate more income than anticipated, it is legally re- stricted from spending it and the sum reverts to the government treasury. In other cases the amount is carried over as a cash balance by the museum into the next fiscal year, thus forcing the museum into a false "surplus" position since the "surplus" is deducted from the following year's appro- priation. The practices of private non-profit museums are generally quite different, according to consultants, but the results are often similar. Private non-profit museums usually estimate budgets for the coming year, then make efforts to meet these anticipated costs with income. If the fund-raising effort does not succeed, there is an income gap. If it ex- ceeds expectation, there is a cushion for the following year. Overall, private non-profit museums seem to carry a balance forward each year suf- ficient to cover the first fifth of the following year's operation, even if this requires drawing from funds other than current funds, if available. Finally, any judgments on the soundness of museums' finances or on their fiscal policies and practices must take into account their pur- poses and functions and overall plans of operation. There is no inten- tion here to make quality judgments on the purposes and functions of any museum or on the museum's success in fulfilling these purposes in terms of income or expenditures. However, some judgments are made on the abil- ity of museums to handle their accounting and a number of suggestions are made on how museums might better communicate their real financial posi- tions and requirements. Income in Fiscal 1971 - 1972 Total income received in fiscal 1971 - 1972 by the 1,821 museums was $513,341,000.* * This amount does not include gifts-in-kind, objects on loan for display or any other similar enhancement of museum assets from private or public sources. 411 Sixty-three percent of this total amount was received as income from the private sector* -- private support, operating revenues and non- operating revenues -- and 37% as income from the public sector. Income from the private sector totaled $326,745,000, the sources of which were: - private support, $109,290,000 (21% of total income). This includes contributions and donations from individuals, corporations and foundations, member- ship funds, allocations from colleges and univer- sities, and amounts raised by affiliated organi- zations and United Funds. - operating revenues, $150,090,000 (29%). This in- cludes such earned income as admission fees, tuition, sales from museum shops, revenues from parking lots and restaurants, etc. - non-operating revenues, $67,365,000 (13%). This amount represents income and gains or losses on investment properties and other fixed assets re- ported as part of current funds. Support from the public sector totaled $186,596,000, and rep- resents all funds received di recti v from local, state and federal aov- ernments. throughout the examination of income, the phrase " income from the private sector " refers to private support, operating revenues and non-operating revenues combined. " Private support" refers only to contributions, mem- berships, allocations from colleges and universities, and amounts raised by affiliated organizations and United Funds. Tfiile 202 TOTAL INCOME IN FISCAL 1971-1972 (Base.; Total museums) (Dollar amounts in thousands) 412 o u o o> §° O 73 O O' o cr> O O O' m>|o' »-« o ■ Ovlo O m|CM CO iO NO O m|m CO iO ICO O r r r r 3 I vO iO CO ^ mfmjco r ^ * ml O' co| 00 CO O' CM m vO CO CM CO 00 m o r. u E 14 O hi a 0,' u a) AJ s 04 9m u § «• P V» 0 * p $p ff tA 0 o O . o < o *o si o o O O O' . o rs. O' CM o CM O' w-* o cm m O' > £ co ^ *4- O vO CM O 3 2 CM CM 3^ NO »-* CO f-* vO (Base: Total museums) (Dollar amounts In thousands) 419 Table 203 SOURCES OF PRIVATE SUPPORT IN FISCAL 1971-1972 (continued) (Base: Total museums) 420 3 2 U c/> c w £ o m cn in m cn m CM Mt o m CM vO CM cn vO vO * cm vO CM CM cn r-l r-t cn CM cn cn vo cm cn vO r-* ON O' CM r- cm ON 00 o ON CM O'- O 9 3 (continued) 421 O t/i 422 Classification -- The major portion of total private support of art museums ($51,128,000) was received from individuals (46%); the $23,191,000 from individuals to art museums was larger than individual contributions to history and science museums combined. The next largest portion of private support to art museums was the $11,905,000 from foun- dations (23%), which was more than half (53%) the total amount supplied by foundations to all museums. Although the $6,176,000 received from individuals by history museums was far lower than that received by art museums, it accounted for a higher 65% of history museums' total private support. In the science, art/history and "other" classifications, individual support amounted to 43% of total private support. Budget size -- Individual support was more than half (58%) of total private support in museums of $1,000,000 and over, and remained the major single portion of private support in all other sizes (ranging from 45% of the $50,000 - $99,999 museums to 36% of the $100,000 - $249,999 museums). Foundations accounted for the second largest portion of private support in museums $250,000 and over. Allocations by colleges and univer- sities accounted for the second largest proportion in museums under $250,000, a reflection of the larger number of educational institution museums in the smaller budget size groups. Governing authority -- More than half of private support was accounted for by individuals in private non-profit museums (52%) and in government museums (51%); however, total private support of the latter group was a minor percentage of income overall. Conversely, educational institution museums relied heavily on funds from the parent school (75% of private support), with the proportion reaching 82% in the public edu- cational institution museums. Region -- The largest percentage of private support was accounted for by individuals in New England (66%), compared with a low of 26% from individuals in the Mountain Plains. Although in the Northeast the major portion of private support was received from individuals (45%), a sub- stantial 31% was derived from foundations; the $10,556,000 in foundation support was almost as much as that received from foundations in all other regions combined. Budget size within classification -- The proportion of contrib- utions from individuals was more than half of total private support in the largest museums of all three major classifications (53% in art and science, 79% in history). Support from individuals accounted for at least a plurality of private support in all budget sizes within classifi- cations except for the $100,000 - $499,999 art museums, in which founda- tions funds represented 30% of total private support. 423 Operating Revenues The income generated from operations of all museums was $150,090,000, with the largest percentages derived from admissions for general and special exhibitions (30%) and from sales of articles and materials from museum shops and sales by other means (26%) : Table 204 OPERATING REVENUES IN FISCAL 1971-1972 (Base: Total museums) (Dollar amounts in thousands) 424 O o o 1° O T) vo m co cm f-C CM m rs. oi a) o \ "2 ' c o Zd \n m o £> O CM O a 9 « • . CO U <0 9 9 i Br *4 44 .O 08 *D 44 H 0 0 4 4 •H CO P CO CD js a §• g J5 g-g s -H « J* « Ki 4 « r-C *2 •D C 79 « £3 *2* AJ v 4 «r 4 U • q) 85 &« 0 Table 204 OPERATING REVENUES IN FISCAL 1971-1972 (continued) (Base: Total museums) (Dollar amounts in thousands) 425 ID O m CM NO CM vO ON o ON ON <**> •4- H o ON o o in ® o c § CO CO I a o & o u o. u 9 X co co •-* a <0 <0 ^ a) £ 0 *-» M §| •o o 9 5s x CO 4) 73 *-« a o ® U CO wi a 9 O ® 9 31 CO *o AJ 9 a u 9 9 U rM 9 9 3 *• a *o 9 a « 9 co 9 9 9 9 O 9 C 9 9 O 2 g 9 3 Table 204 OPERATING REVENUES IN FISCAL 1971-1972 (continued) (Base: Total museums) (Dollar amounts In thousands) 426 to r>* ON -sj - o 00 CM cm o cm m CM CM nO cm m r- CM o to CO 0 «-* c O (0 Vi 00 o Vi a Vi 0 x o - i 0 0 «-< CO i (0 *o 0 c 0C 0 Total operating revenues 1S0.090 15,352 39,582 36,970 33,081 6,097 19,008 Table 204 OPERATING REVENUES IN FISCAL 1971-1972 (continued) (Base: Total museums) (Dollar amounts in thousands) 427 o H in o r-* cn CM co cn oo on in O r-< vo m O' -o o o O O TD * C < CO CS ON ON * r». oo vO 1 o Vi S' (DO'' •O - c c O oo oo CO ON CO CN O 32 1 O • Vi U . < on 00 O ON O r-l r-* ON CO S e o *o c ON V0 « « g d «H O «H U Vi *0 cn4j Q) O # 0 0. M ® 0 *H o d u *+* H O ft '-'■H Vi ii U © ^ fjfl o 0 a 5 qo.fi •3 43 S 1 > I S’ o. ® COW o v. 01 a « /-N oo QUO 2 C 0^*0 cl' ° > .0 VI 0 *H © «h jr © 44 4J o o o * Less then 0.5T (continued) Table 205 NON-OPERATING REVENUES IN FISCAL 1971-1972 (continued) (Base: Total museum a) (Dollar amounts in thousands) 432 1 vO vt f~i O' cs 'O O' vO vn vO r-> r- vO <0 O c © > 3 C o *o 0 AJ © © 4J •H U 73 0) (X © C O XI O U © CL © > © © XI © « 0 O 0) 73 r-« 6 © ^ X» X © T-l Xi © «XI o > C X. C -H © T"l JC 03 XI O O O 0 §* " OX.® © xi © « 0 O © 73 r*. ® 0 2 0 M 0 «H « *3 4,5 o o o H # o 3 §5 5 8 5 § Jf « * 433 Art museums generated more funds from investments than all other classifications of museums combined ($33,310,000 for art museums compared with $29,906,000 for all others). Correspondingly , the overwhelming ma- jority of investment income is earned by private non-profit museums -- $57,028,000 -- with $3,880,000 earned from investments by educational in- stitution museums (almost entirely accountable to private educational institution museums) and $2,308,000 bv aovernment museums, the bulk of which is earned by federal museums. Specific Sources of Support from the Public Sector Of the total $186,596,000 received by museums from the public sector, 49% ($90,042,000) was from local (municipal and county) govern- ment. Nearly half (48%) of local support -- $42,993,000 -- went to munic- ipal-county museums, but almost as much -- $41,608,000 — went to private non-profit museums. The second largest proportion of support from the public sector (32%) was from the federal government. Of the total $60,778,000 in fed- eral funds, all but $13,521,000 went to federal museums; private non- profit museums received $10,083,000. Support from the public sector -- broken down by local government, state arts council or commission, other state government, specific federal agencies and departments, and other federal government -- was as follows: Table 206 SUPPORT FROM THE PUBLIC SECTOR IN FISCAL 1971-1972 (Base: Total museums) (Dollar amounts In thousands) 434 o o u O 8 ° O T3 | 3 ,1 5 3v| U O On O O' O O O' CO ^4 H H 'O CM O o O o O' o o O o O' o Vi O \ P vn vo vo r-l CM O' o m 32 00 r* vO m H in O' co »-• m oo m oo CM r* on vo vO O O CO oo CM O' 3* O >3- vO uo 8 8 •H « CO u to u a 8 r* * <* co 0 • 0 u a a 1 3 fl no to CO 435 o H CM Q\ o o on o ^ vo «n CM IT* r-4 co .4- r- co CM m * r>. n- * co h cm co v© r- CM NO * CO NO r-* * <* co »— < ON o 00 o nO co m ON in CM CO m vO CO o Table 206 SUPPORT FROM THE PUBLIC SECTOR IN FISCAL 1971-1972 (continued) (Base: Total museums) (Dollar amounts In the thousands) 436 a i > o 00 <0 o 3 X) c w CO 55 u o c a) I o c w c o *o c: 3 O tn <0 O c a> o C/l 4J 437 438 Observation : The amounts listed for the government agencies cited in these tables may not correspond exactly with fig- ures reported as grants by the agencies for their 1971- 1972 fiscal year. First, the fiscal periods of the agencies and the museums are not necessarily the same. Furthermore, a portion of the grant money may not be attributed to the 1971-1972 fiscal year in some cases. Finally, some of the grand totals reported by the agencies as distributed in 1971-1972 under a museum program may include grants that were for the benefit of museums but were not made directly to museums. It should also be noted that fiscal 1971-1972 was the pilot period of the National Endowment for the Arts museum program. In comparison, $4,615,000 was granted to museums by the Arts Endowment in fiscal 1972-1973. Classification -- Art museums received the largest percentage of their public support from the local government (62%); science museums and the "other" classification also received more than half their public support from local government (55% and 51%, respectively). However, in total dollar amounts science museums received the largest local govern- ment support, $37,612,000, compared with $24,184,000 to the "other" clas- sification and $20,136,000 to art museums, and $6,604,000 to history muse- ums and $1,506,000 to art/history museums. Science museums also received in total dollar amounts the larg- est federal support ($25,685,000) compared with $9,057,000 to art museums. Total public support to science museums ($67,845,000) was slightly more than twice that to history museums ($32,203,000) or to art museums ($32,528,000); however, the number of science museums with a local, state or federal governing authority is more than three times that of art muse- ums. History museums derived half their public support from state governments, 9% from state arts councils or commissions and 41% from other state government sources. Art/history museums received a plurality of 41% of public support from the federal government. In fiscal 1971-1972 the bulk of the $715,000 received by museums from the National Endowment for the Arts went to art museums ($595,000), but Arts Endowment grants were distributed to museums in all classifica- tions. Funds from the National Endowment for the Humanities went to all classifications except science. The National Science Foundation distri- buted funds to museums in all classifications except art and history, with the major portion given to science museums. U.S. Office of Education 439 money was also concentrated in science, with a smaller amount to art/ history museums, less to history and "other" museums, and none to art museums. Funds from state arts councils or commissions -- which are in part derived from grants from the National Endowment for the Arts to the councils -- went to all classifications, with the largest amounts to his- tory, art and the "other" classification. Budget size -- The proportion of local government support was relatively even (ranging from 42% to 53%) except in the $500,000 - $999,999 museums, which received 69% from local governments. The propor- tion of state government support was highest in the museums under $50,000 (35%), $100,000 - $249,999 (36%) and $250,000 - $499,999 (35%), and lowest in museums of $1,000,000 and over (10%). (This is almost certainly a re- sult in part of the large proportion of state support to history museums, which tend to be smaller museums.) Conversely, the proportion of federal support was highest (47%) in the largest budget category. Region -- The largest dollar amounts of public support went to areas where the largest museums are located: the Northeast ($85,381,000), the Midwest ($34,548,000) and the West ($28,253,000). Museums in the West, Mountain Plains and Midwest obtained the largest proportions of local government support, ranging from 68% to 73%, while local governments accounted for more than half the public support to Southeast museums (55%) and a plurality of 41% to New England museums. The Northeast (which includes Washington, D.C. ) received the largest proportion of public support from the federal government (57%). The largest percentage of public support from all state sources was in the Southeast (31%). The state arts councils, however, provided a higher proportion of public funds to museums in the Northeast and in the Mid- west (6%) compared with 1% or less in other regions. Operating Expenditures in Fiscal 1971-1972 Observation : Although museums across the country did manage, with considerable effort and good will, to itemize the sources of income, they were not able to do likewise with expenditures because of differing accounting methods which incorporated expenditures under de- partmental breaks or various netted figures. Muse- ums were able to report personnel expenditures and sufficient line item breaks to establish the accu- racy of total operating expenditures but this was not sufficient for an analysis of the data on a line item basis. Operating expenditures are, there- fore, broken out by: (1) salaries, fringe benefits 440 and payroll taxes and (2) all other expenditures. Only by a major move toward some uniformity in accounting practices on the part of museums could thorough breakdowns of expenses for the entire museum field be obtained. Total operating expenditures for museums in fiscal 1971-1972 were $478,912,000. (This amount does not include extraordinary expend- itures, such as acquisitions for collections or acquisitions of land, buildings and equipment.) Fifty-nine percent of operating expenditures ($281,842,000) was accounted for by salaries, fringe benefits and pay- roll taxes and 41% ($197,070,000) by all other expenditures: Table 207 OPERATING EXPENDITURES IN FISCAL 1971-1972 (Base : Total museums) (Dollar amounts In thousands) 441 o u O 0) • > O o i £ < O T3 • c -4 < o o O o O' i o u o 0) O . r«- on u 2 T3 e s u o 3 * a CO (continued) Table 207 OPERATING EXPENDITURES IN FISCAL 1971-1972 (continued) (Base: Total museums) (Dollar amounts In thousands) 442 C 9 ■° • 9 0) 00 X c « t4 M-l *~ 4 r-* • o co £ « b «rJ CO *4 O* tc s c V o u 9 CU The difference in the percentage of museums shown here and the total museums covered in the study represents those museums shoving a zero position In fiscal 1971-1972, 451 The amount of unexpended income in the 55% of museums with an excess of income over expenditures was $49,738,000, or approximately 10% of total income received by museums nationwide. The 21% of museums with an excess of expenditures over income had an income gap of $15,309,000, or 3% of total operating expenditures nationwide. Classification -- The percentage of museums with unexpended in- come ranged from 64% of art museums to 50% of art/hi story museums. Art/ history museums, conversely, had the highest percentage with an income gap (26%) compared with 18% of history museums. The largest income gap in dollar amount, however, was in the 23% of art museums -- $6,518,000. Budget size -- A greater percentage of the larger museums than of the smaller museums closed the year in the black; the proportion of museums with an excess of income over expenditures ranged from 50% of those in the under $50,000 category and 49% of the $50,000 - $99,999 group to 76% of museums of $1,000,000 and over. Museums of middle-budget size had the highest percentage with an income gap; 25% of the $50,000 - $99,999 and of the $250,000 - $499,999 groups and 23% of the $100,000 - $249,999 had excesses of expenditures over income. The impact of budget size is perhaps best illustrated by aver- aging out the dollar amount of uncovered expenditures by the number of museums represented in each size category, since there are obviously dif- ferent numbers of museums in different budget sizes. Seen from this perspective, the 25% of museums in the $50,000 - $99,999 category with an income gap averaged $11,000 in uncovered expenditures, a range of ap- proximately 10% to 20% of total budget. The 21% of the $1,000,000 and over museums that had an income gap had excesses of expenditures aver- aging $589,000, a considerable sum to try to cover for even the largest museums with well over million dollar budgets. Governing authority -- Private non-profit museums accounted for $34,855,000 or 70% of the total unexpended income of museums with un- expended income, and for $14,591,000 or 95% of total expenditures not covered by current income. The average income gap of the 28% of private non-profit museums with uncovered expenditures was $51,000 compared with an average of $7,000 for the 10% of government museums. Observation : Government museums are not necessarily in a better position merely because they have a smaller income gap. As mentioned previously, government museums are often forced to a zero position or a minimum of unexpended income and because of this may be severely limiting their operations. 4 52 Region -- The size of the income gap also varied considerably by region. In the Northeast, the region with the highest percentage of large budget museums, 20% of the museums had an income gap averaging $144,000; 29% of museums in the Midwest and 17% of museums in the West, the regions with the next highest proportions of large museums, had ex- cesses of expenditures over income averaging $19,000 and $7,000, re- spectively. Museums with income gaps in New England (22% of the museums), the Southeast (19%) and the Mountain Plains (12%) -- regions with larger proportions of small museums -- had high average income gaps of $22,000, $27,000 and $31,000, respectively. Observation : It should be pointed out that though figures in these tables are quite accurate, there is the possibility, especially in museums on a cash accounting basis and in cases of restricted income, that excess of income or expenditures could include expenditures in fiscal 1971-1972 that were, in fact, covered by income in a prior year or years (not including capital expendi- tures or expenditures covered by special funds); or, in turn, could include unexpended income that may be carried over to cover expenditures that will become due in future fiscal years. Extraordinary Expenditures The extraordinary expenditures -- expenditures attributed to current funds but not considered part of general operating expenditures -- are grouped in this study as essentially acquisitions of land, buildings and equipment and acquisitions of collections. Although the acquisitions reported by museums as deductions from current funds or from transfers from other funds are included here with other changes in current fund balances, these acquisitions represent only a portion of the total acqui- sition picture of the museum field; major expenditures also are made directly from special non-current funds set aside for these purposes. Extraordinary expenditures from current funds totaled $37,730,000 in fiscal 1971-1972, $26,386,000 for acquisitions of land, buildings and equipment and $11,344,000 for acquisitions of collections. (Expenditures for acquisitions from all funds other than current funds, which are dis- cussed later in this chapter, amounted to $50,045,000 for a total of $87,775,000 for acquisitions. Acquisitions of land, buildings and equip- ment accounted for $36,286,000 from other funds for a total of $62,672,000; acquisitions of collections amounted to $13,759,000 for a total of $25,103,000.) EXTRAORDINARY EXPENDITURES FROM CURRENT FUNDS IN FISCAL 1971-1972 (Base: Total museums) (Dollar amounts In thousands) 453 O TJ o c., o o* O O O' • u o o\ o» o o O O ON 1* O <0 o * c o CO- 00 co O Other Art/ story CO- ac Science fc o 4J to SC Art 1 g J I 3 * 3 - |3 Si 3 m 2l ^ u 3 X S3 c a vO rs CM 3 vO 1 u to 0> > o u c g to 0) o 03 Table 212 CURRENT FUND BALANCES IN FISCAL 1971-1972 (continued) (Base: Total museums) (Dollar amounts In thousands) Region: 458 459 Classification -- Current fund balances at the end of the year were higher than at the beginning in art, history and art/hi story museums, but in each classification transfers from other funds into the current funds were at least partially responsible for the increase with the trans- fer of $5,001,000 in art/history museums being far greater than the $135,000 increase in the year-end balance. Despite transfers of $3,877,000 from other funds, science museums had a net change downward of $1,450,000 in their current fund balance. The "other" classification also had a net change downward of $1,840,000, but this occurred after a transfer of $2,098,000 to other funds. Budget size -- The largest museums transferred $6,842,000 from other funds for an incrase of $893,000. Museums with budgets of $100,000 - $249,999, the only budget size with a lower year-end balance, transferred $1,396,000 to other funds and had a negative net change of $125,000. Region -- The Southeast had the largest net gain during the year, $3,153,000, after a transfer from other funds of $4,328,000. In the Northeast $6,823,000 was transferred from other funds with a resulting rise in the current fund balance of $1,077,000. The Midwest and New Eng- land had lower year-end balances after transfers to other funds. Governing authority -- On an average, museums carry forward ap- proximately one-fifth of the total income for the following year. How- ever, this amount varies considerably among governing authorities. The current fund balance at the end of fiscal 1971-1972 in private non-profit museums ($78,019,000) was 23% of total income received during the year, compared with a current fund balance in government museums ($12,058,000) that was only 8% of total income (dropping as low as 5 % in federal muse- ums), and a current fund balance in educational institution museums ($2,566,000) that was 9% of income (as low as 4% in public educational institution museums). Percentage of Museums with Positive or Negative Current Fund Balances The museums that had positive or negative current fund balances at the beginning and end of fiscal 1971-1972 are shown separately on the next table. Forty-four percent of museums had a positive current fund bal- ance at the beginning of the year totaling $95,929,000. Five percent of the museums entered the year with an accumulated negative balance totaling $8,795,000. Fifty-one percent had a zero balance, and most of those were government museums; only 13% of all government museums and 6% of federal museums had either a positive or negative balance. Among private non- profit museums, however, 67% had positive balances at the beginning of the year amounting to $86,265,000 and 9% had negative balances amounting to $8,613,000: POSITIVE OR NEGATIVE CURRENT FUND BALANCES, THE BEGINNING AND END OF FISCAL 1971-1972, AND MUSEUMS WITH BALANCES (Base: Total museums) (Dollar amounts in thousands) 460 O U O g. a o 5. •o ' o c o S tn SS (Base: Total museums) (Dollar amounts In thousands) 461 The difference In the percentage of museums shown here with the total of 100)i of the museums covered In the stddy represents those museums showing a zero balance at the beginning or the end of fiscal 1971*72 462 Although only 5% of museums had a negative balance at the begin- ning of the year, 11% closed the year in that position. The proportion of museums with a negative balance was higher at the end of the year in each classification, with the sharpest increases occurring in science (from 4% of science museums at the beginning of the year to 16% at year's end) and art/hi story (12% to 21%). However, the number of museums with positive balances also rose, from 44% of all museums with positive balances at the beginning of the year to 59% at the end of the year. This increase was also reflected in each classification. (Increases in the number of museums with negative and with positive balances occur in all other categories as well.) Despite the rise in the number of museums with negative balances, and a $1,172,000 increase in the aggregate negative balance to $9,967,000, the average negative balance dropped from approximately $90,000 per museum with a negative balance at the beginning of the year to $52,000 per museum at the end. The average negative balance showed a decrease in most of the categories. Among budget sizes, for example, the average negative balance was lower at the end of the year than at the beginning in museums below $250,000 and those $1,000,000 and over. In the $250,000 - $499,999 group the average negative balance was approximately $60,000 at both the begin- ning and end of the year, but in the $500,000 - $999,999 museums there was a substantial rise in the average negative balance from approximately $51,000 at the beginning of the year to approximately $81,000 at the end. Funds Other Than Current Funds This section examines the changes in all funds other than current funds in fiscal 1971-1972. These other funds include endowments, funds that are similar to endowments ( i . e . , funds designated by governing boards to function as endowments), unexpended funds for the acquisition or replace ment of land, buildings and improvements thereto, equipment and collections and miscellaneous other special funds. Endowment funds were defined for the purposes of this study as "all assets provided under a stipulation by their donor that they be in- vested, and that only the investment income be used, for general or for specified purposes, until a specified time or the occurrence of a specified 463 event, or in perpetuity".* Similar funds were defined as "all assets des- ignated bv the board and manaaement of the museums to be invested i n income-producing assets and administered as if they were endowments". Many of those museums with endowment funds and similar funds had difficulty distinguishing one from the other, and considerable effort was put into distinguishing these two funds in the collection of data. As a result, a substantial degree of accuracy has been achieved, but in some cases the task was impossible and where there was a question the museums more often than not treated the fund as endowment. Observation : There were several reasons for the difficulty in trying to distinguish endowment from similar funds. In a number of cases there is an accumulation of donations over a long period of time which has been treated by the museums as endowments. Whether the funds were so considered at the will of the donor, or as the fulfillment of a traditional way of han- dling donations or even just the exercise of a board's decision is difficult to determine at this time. In some cases it could even mean tracing back 40 to 50 years. This was not prudent, espe- cially in cases where the individual sums were not large. Another difficulty in examining such funds is that over the years in some museums the income (dividend, interest, capital gains) and principal of a fund have become so intermeshed that the museum can no longer distinguish between them. Accuracy in designating and handling the various funds will almost certainly become more important with increasing public interest in museum oper- ations and increasing support from the public sector. * Although no authoritative literature exists on financial reporting by museums specifically and some museums do apply alternate and less stringent definitions of endowment funds, the definition chosen for the purpose of this study is the definition enjoying the weight of authority in literature on the subject of financial reporting for non-profit organ- izations, e.g., College and University Business Administration (American Council on Education, 1968), Standards of Accounting and Financial Report- ing for Voluntary Health and welfare Organizations (National Health Council and National Social Welfare Assembly, 1964), Audits of Colleges and Uni- versities (AICPA Committee on Colleges and Universities Accounting and Auditing, 1973), and Audits of Voluntary Health and Welfare Organizations (AICPA Committee on Relations with Non-Profit Organizations, 1967). 464 Fund Balances of All Funds Other Than Current Funds This section examines first the balances of all funds other than current funds at the beginning and end of fiscal 1971-1972, and second the changes that have occurred in those balances during the course of the year. The tables include data on all museums broken down by classification, bud- get size and region. The usual governing authority breakdowns are not use- ful and not given since, with few exceptions, funds other than current funds are found only in private non-profit museums. Also, breakdowns of museums by budget within classifications reduce the bases too low to be workable statistical ly . The total fund balance for the entire museum field of all funds other than current funds was $1,471,003,000 at the beginning of fiscal 1971-1972 (accounted for by 38% of museums) and $1,549,121,000 at the end of the year (accounted for by 40% of museums). This represents a net change of $78,118, 000 , or 5% for the year. Observation : It should be pointed out that this total amount is not expendable by museums, since a large part is accounted for by endowments, on which only the in- terest can be spent. Furthermore, those amounts that are expendable are to a large extent restricted for specific purposes only. FUND BALANCES OF ALL FUNDS OTHER THAN CURRENT FUNDS IN FISCAL 1971-1972 (Base: Percentage of museums with funds other than current funds) (Dollar amounts in thousands) 465 -5 3 8 U O N» O O \ H . cm oo co CO e-M O vO vt CM C-I at N o o o o m CM O' ON vO CO CO O ^ CM O' O' O O' AJ • O' CM r* co 00 m r* r>. CM v. 0) ur u O m m o co CM r-< CO CO CM CM CO •— < vO rH CM 00 O' v© CM V© CO CM in m vo CO 9-4 CM O' m VO CM CM CM in O 00 rM CM 5 vO CM CO r-t CO m m CM r-* a a co C o T5 "O aJ 4J O H G aj u 00 •© 0 o AJ 3 C o* O <0 U jO u o cd o m CM O' 1 O' I osition of investments 468 Contributions accounted for the largest proportion of additions to non-current funds in every group of museums witli the sole exception of museums in New England, where 52% of the additions was from gains on the disposition of investment properties, compared with 42% from contributions. Among classifications, contributions represented the highest pro- portion of additions in science (71%) and the lowest in history and art/ history (44% each). However, the 54% of total additions of $74,041,000 accounted for by contributions in art museums was naturally much larger than the 71% increase of total additions of $13,410,000 in science museums. Similarly, among budget sizes contributions accounted for a low of 47% of additions in the $1,000,000 and over museums, but the actual dol- lar sums were far larger than any of the other budget sizes. Deductions from Balances of All Funds Other Than Current Funds The greatest proportion of deductions from non-current funds was accounted for by acquisitions of land, buildings and equipment, represent- ing 64% of total deductions of $57,997,000. Acquisitions for collections represented only 23% of that amount. (As noted previously, the amount spent on the acquisitions of land, buildings and equipment from both current funds and non-current funds totaled $62,672,000; for acquisitions for collections, $25,103,000.) DEDUCTIONS FROM FUND BALANCES OF ALL FUNDS OTHER THAN CURRENT FUNDS IN FISCAL 1971-1972 (Base: Total museums with funds other than current funds) (Dollar amounts in thousands) 469 o *o • c -« < u o TO o -o c o ZD m c o •H w TO •L) TO TO 3 *rl 2 1_) to TO TO JZ u u o z T3 C 5 TO TO Z C£ C UJ m CM vO 8^ co co vO CM r-l in ro r^> co CO- ON CM On in r- 1 CM 00 00 ON r^- <©■ CO r-l VO cm ON o *-i O 00 CM CO r-l u C - TO ■g £ TO *r* t— I 3 o* IM TO o TO o CO CO 1. 473 Art, the classification with the largest proportion of museums (41%) that have endowments, also had the largest endowment balances, $484,940,000 at the beginning of the year and $505,660,000 at the end -- more than half the total balances of endowment funds for all museums. Sixty-four percent of art museums with endowments increased their funds during the year and only 9% decreased their funds, but the average dollar increase overall was a relatively low 4%. On the other hand, the 20% of history museums that have endowments had a net gain of 5%, even though 16% of those museums decreased endowments during the year. As with total non-current funds, the largest budget size museums have substantially larger endowments. Their $614,882,000 endowment fund balance at the end of the year (an increase of $29,900,000 from the begin- ning balance of $584,982,000) represented an average of approximately $14,600,000 per large museum with an endowment and was 66% of the total of all endowment funds. Although there was an overall dollar gain of 5%, 14% of the $1,000,000 and over museums with endowments decreased their funds during the year. In the under $50,000 museums, the endowment bal- ance decreased during the year, down $151,000 from $46,548,000 to $46,397,000. Regionally, the highest proportion of museums with endowments is in New England (63%). But the largest balances of endowment funds, as with total non-current funds, are in Northeast museums. The greatest percentage rise in endowment fund balances occurred in the West, where the relatively modest fund balance of $56,360,000 at the beginning of the year rose by 18% to $66,235,000. Additions to Endowment Fund Balances Looking at the additions to endowments during the course of the year, contributions, grants, bequests, etc. were secondary to portfolio changes. Contributions accounted for 39% of total additions of $62,291,000, and gains on disposition of investment for 53%. Investment income was only 7% of total additions. ADDITIONS TO ENDOWMENT FUND BALANCES IN FISCAL 1971-1972 (Base: Total museums with endowment funds) (Dollar amounts In thousands) 474 O o u O d * > O o O < O T3 • c ^ < o o o o on o o O o ON i Vi O d O •O - C O w t s c V* d O' CN o 3 •-* O Ok X si rv. nO •4- oo •4 1 cn ■It VO O <•'» m 4 N N oo 5 <0 d Z w c/> O r-4 r-l § •o 9 00 4 JO 9 Vi 4 oo 2! 0. I 475 Among classifications, science museums derived the largest per- centage of additions to endowments from contributions and other forms of philanthropic support (57%) and art museums the largest proportion from disposition of investments (58%). The middle budget sizes — $100,000 - $249,999 and $250,000 - $499,999 -- also had additions primarily from con tributions (59% and 77%, respectively). Regionally the West and Midwest had the highest percentage of endowment additions from contributions (77% and 78%, respectively), and the Northeast and New England the highest per centage from gains on dispositions of investments (85% and 70%, respec- tively) . Deductions from Endowment Fund Balances The small amounts that were deducted from endowments were gen- erally not for new acquisitions of any kind but for various adjustments and losses in portfolio positions and certain other non-current fund ex- penses. Acquisitions accounted for only 15% of total deductions of $1,204,000, 8% for land, buildings and equipment and 7% for collections: DEDUCTIONS FROM ENDOWMENT FUND BALANCES IN FISCAL 1971-1972 (Base: Total museums with endowment funds) (Dollar amounts in thousands) 476 I co| c u a u V) o 3 c o M <13 06 W) a 5 2 CO CM O' co CO uo — « * CO so 0) N o o o o I/O CM OS OS O OS AJ - Os Os *Jr CM Os CM CM o os r>. O Os O OS O O Os ~ AJ \ O Os i/O Os cm * h in CM CM U O m CM co 6-S CM vO Os CO CM CO CO u 01 X AJ O CO vO in o co co CM CM co * < m co 5-S 00 r-i CO CO CM SO S>? CO c O XI X ) CO •H C CO 01 O B C o •ft ec cu P2 c Va 01 •u CO 01 c *H co CO ai 5 X 2 : CO CO ai X u o 2 X c 3 <3 01 2 M C w m CM CM CO 00 vO SO VO CO CM c o •rl X X d co aj CO - m *3- CM vO 00 m * r"» co rv* m O c co X CO 01 * Investment income DEDUCTIONS FROM SIMILAR FUND BALANCES IN FISCAL 1971-1972 (Base: Total museums with similar funds) (Dollar amounts in thousands) 480 • > § c o -T5 lO| S'S U O < ^ B < o 81 100 100 48 100 481 Similar fund balances rose during the year in every category except science. In science museums, similar funds decreased $1,045,000, a result of a transfer of $3,092,000 out of similar funds, a substantial proportion of which went to current funds. Sixty percent of the additions to similar funds were from con- tributions, grants, beguests, etc. However, gains on the disposition of investments accounted for more than half the additions to similar funds in art museums (61%), museums with budgets of $500,000 - $999,999 (64%) and museums in New England and the West (86% and 76%, respectively). Unexpended Land, Buildings, Eguipment and Collection Funds Balances at the beginning of fiscal 1971-1972 in the remaining substantial category of non-current funds -- the unexpended land, build- ings, equipment and collection funds -- totaled $136,345,000, increasing by 9% to $148,133,000, or 10%* of all non-current funds: * As previously noted, 60% of funds other than current funds was accounted for by endowments and 29% by similar funds. Miscellaneous other funds constitute the remaining 11%. (Base: Total museums) (Dollar amounts In thousands) 482 o o o _ • > §° O T3 * C r-l O On O ON O o ON • U • O ON O On m ON co- co- m ON CM CO CM U~V ON 3 < CQ O Vi O N r- * * oo -< o 0) o > •» o o o x> G c * n3 rH o on o O' o on . o O M on O ON m On o ON o ON o ON * o O M ON in ON CM o ON o ON o ON « o O m ON o <3- CM o ON o ON o o ON #. M o ON uo ON o u o CD o nj ♦> c o 3 in -co- 1 m I m 0) o X 1 \ i >> M (0 u M iH o < X 4J i (1) *H u U c C/0 0) 1 Po CO M *H o X ■u 4J M < O CTn CT\ r—< « v£> CM O r^. cm I vO cn m cn i cm in co co vD CM O CO ON .M CM vO CM oo m in vO CM <1* On CM CO CM r - " r— I n- co vO CM CM vO CM ON CM v£> m co O O ON * rM vD co CM f* vX? CO CO I CO 00 vO CM f- J vO CM 3 cm cn CO T— 1 CD 3 o CM o CO 3 r— < CO CO 3 CD CM u CO o H M CO 3 4J 3 CO o 33 2 488 The directors were then given a list of fourteen basic business techniques for cost control and better management and asked whether the museum used each technique fully, partly or not at all. The responses of full use are shown on the following table: DOES MUSEUM MAKE FULL USE OF VARIOUS BUSINESS TECHNIQUES (Base: Total museums) 489 490 Controls over vacation, sick days and overtime are fully used by the largest number of museums (71%, 69% and 66%, respectively). Among classifications those proportions rise to 83%, 82% and 74%, respectively, in science museums. Next in importance is the maintenance of detailed records of fixed assets and collections, with 64% of all museums using this technique fully. Six out of ten museums (60%) and nearly three out of every four art museums (74%) employ monthly or bimonthly cash flow statements. Fifty- nine percent of the museums rely on independent audits by public account- ants for double checking their financial records. This percentage is much higher among private non-profit museums (70%) and lower among government museums (45% of total government museums and only 23% of federal museums turn to outside audits as a rule). Slightly more than half (51%) of the museums periodically evalu- ate the adequacy of their insurance; among classifications this proportion rises to 66% of art/history museums. Exactly half of the museums period- ically check their inventory against the records, but the proportion drops among classifications to 40% in art/history museums compared with 57% in art museums, and among governing authorities to 37% in private educational institution museums compared with 75% in federal museums. The large museums are consistently higher in the percentage fully using all the listed business techniques. Encumbrance controls -- to know when a budget item has been ex- ceeded -- are fully used by 45% of museums. Thirty percent of museums re- ported they used an accrual basis of accounting, and 46% of museums of $1,000,000 and over have accrual accounting. When asked about short and long-term budget plans, only 19% said they extended their planning five to ten years. The largest budget size museums again had a higher than average proportion that make full use of short-term planning (24%), but 37% of the $250,000 - $499,999 museums use fully short-term planning strategies. Larger museums show up moderately better on long-term planning, but still only a relatively small 22% of them say they make full use of such planning. Only federal government museums indicate any strong long-term budget planning activity (46%). 491 Observation : This critical and unfortunate lack of short and long-term planning must be kept in mind when consideration is given in a later section of this chapter to the responses given by museum directors on the future income needs of museums and where funds might be most effectively employed, if available. Two points very much related to this section on budget and finances are worth considering. The first concerns the museum field's ability to account for itself and the second pertains to the methods museums appear to employ to com- municate their financial needs. When designing the forms for this financial portion of the study we realized that not every museum would keep its books in a manner identical to that of the forms. Nevertheless, from our tests and from the counsel of our consultants and accountants we sought to field a data collection instrument which would give museums as little difficulty as possible in making conversions. What we discovered, however, was that a large proportion of museums had great difficulty re- porting their budgets, not because their system was differ- ent but because their records were deficient. As noted earlier, data concerning income were more complete than ex- penditures but even on the income side, record keeping was mixed. It would seem fair to say that at this time the museum field collectively -- even though there are many outstanding exceptions -- is not prepared to make a proper financial accounting of itself. Perhaps the museum field should aim for uniform accounting practices. This does not necessarily mean standardized public accounting since there are many good reasons why each museum should have its own opportunity to account for itself, and this may differ a good deal from one type of museum to another. But at least certain steps should be taken to create common internal accounting practices that would permit a uniformity and comparability of reporting among museums, if for no other reason at least to facilitate important research aimed at gaining a better understanding of the field in the future. Perhaps what is more important to observe here, however, is that the present methods of communicating financial needs, often revolving around the museums' public account- ing practices, are almost totally inadequate, and in fact may be harmful to museums in their best efforts to get on with the public service they seek to render. 492 For the most part it would seem that the budget, and there- fore the operation, of a museum are strictly controlled by the expectations of income. Whether the line of expendi- tures estimated in its budget fulfills the full services or even adequate services that the museum was created for is certainly a budgetary consideration usually, but not the controlling factor in the deliberation. Instead of measuring planned purposeful needs, the budgets and therefore the muse- ums' operations are constructed on a formula of "this is what we may get and this is what we have to spend". These figures most often seem to fall short of what a full service use of present assets would cost. After all the additions and subtractions of auditing are completed at the end of the year, the museum, more often than not, tries to represent its performance and communicate its needs by this accounting. There is a great deal of talk about so-called "deficits" and "income gaps" and "cutting into endowments" and so on. The target was to come as close to breaking even as possible or, better yet, ending with a slight margin of unexpended income in the conservative tradition of running a tight ship. Meanwhile many of the proper costs of a reasonable full- service long-term museum operation have not been taken into consideration. This is not to say that strict practices of accounting should not be adhered to. Quite the contrary, the field needs to have much more professionalism in its accounting, particularly if it wishes to make a strong case for increased public and private support. At present, the public accounting by museums is only a narrow instrument to say where the money for the year came from and where the money went. It does not say what the museum should be doing that it does not now do; it does not give the cost of im- proved working conditions; it does not provide the means by which the museum can renew itself physically in the future; and does not show what level of support it really should be seeki ng. One suggestion worth considering is to have a kind of dual accounting system where, in addition to the strict item- ization of income and expenditures, there is also developed a full-service budget for the same year that would reflect the expenditures that should be made. This is not the same as budget projections over future years, although planning would certainly be improved by this technique. Nor is this to encourage pie-in-the-sky figuring, but a controlled, realistic budget for a full-service operation of a museum. It is possible to set up such a full service budget at the beginning of the year at the same time as the basic budget. At the end of the year the year-end reports would repeat the contrasting situation between the basic and full- 493 service picture. The full-service budget might include the cost of plant renewal over an extended period of time, salaries at levels commensurate with the job and covering a staff adequate to meet the museum's program demands, costs for better maintenance and upkeep to keep all the spaces or other facilities fully operat- ing, the cost of consultants as advisors to increase the professionalism of the museum, etc. These are, of course, just a few items that might be part of the full-service budget. Guidelines and pro- cedures would have to be drawn up, but what is impor- tant for museums to consider is just how well the financial needs of the institution are communicated in dollars and cents terms that support sources and the concerned public can understand and respond to. Basic accounting practices are faulty, therefore accountability is not what it should be. But equally as important, the constructive message about finan- cial needs in the museum field is not made clear. Endowment Fund Policies In addition to the budgetary figures on endowment fund balances, the policies and practices of museums concerning their endowment funds were also examined. It was first determined whether a museum has an endow- ment fund, and 27% of total museums indicated that they did have endowment funds meeting the study's definition of "assets provided under a stipulation by their donor that they be invested, and that only the investment income be used, for general or for specified purposes, until a specified time or the occurrence of a specified event, or in perpetuity": DOES MUSEUM HAVE AN ENDOWMENT (Base: Total museums) 494 \ l 00 U < X cm r-* 495 The museums with endowments are almost entirely private non- profit or educational institution museums. Only 5% of government muse- ums have endowments, compared with 33% of educational institution muse- ums (and a higher 50% of private educational institution museums) and 39% of private non-profit museums. Among the classifications, the proportions of art museums (41%) and art/history museums (36%) that have endowments are much higher than the proportions of science museums (28%) or those of history and of the other classification (20% each). The proportion of museums with endow- ments is also higher among the larger museums, ranging from 16% in the under $50,000 size to approximately half of the $500,000 - $999,999 and of the $1,000,000 and over museums (53% and 51%, respectively ) . Looking at sizes within classifications, the largest art muse- ums show the greatest percentage of museums with endowments; 83% of the $500,000 and over art museums have endowments. Almost two in three New England museums (63%) have endowments, a reflection of the high percentage of private non-profit museums in that region. In no other region does the proportion rise above the 29% in the Northeast and it is as low as 16% in the Mountain Plains and 17% in the West. To ascertain whether museums can spend income from endowment as they choose or must apply these funds toward specific projects or activ- ities, the study asked if any part of endowment income was restricted as to its use -- for example, to support only acquisitions, research, etc. In more than half the museums with endowments (56%) at least part of the income is restricted, including 14% of museums with endowments in which all such income is restricted as to its use: IF ANY, PROPORTION OF ENDOWMENT IS RESTRICTED AS TO ITS USE (Base: The 27% of museums with endowments) 4Q6 o u O 0) o > • o o O no c c * CO rH O O' o O' O O' o - O 4-> O' o o* m O' -CO- CD O' O O' O O' o - O 4-» O' m o» cn O O' O O' o O' o * o -u O' o CM CO- O O' O O' O O O' * 4J - o O' m O' o u o u o'! —■1 00 CM < CSl| '-'I »— 4 H H CM CM O o 51 \d\ J *H H in cm| CM .-<1 in cm o m| H r-l CM «n| CO| C' 00 r-l CM io| cn cm m| cmL cm * cn Mf | CM 'Ol c \ f >> o 4-> CO u ON 1 ol 1 1 CO CM — 1 1 -i — ' r\ cm! id! CM rr\ XJ < « U 1 G u Mfl CO cn vD U-i a c ON| vOl r-l m H vD in M 1 <*l r—4 CM cm! Cn[ in ON cn CM on| a o O O p p 2 C CJ X X E G xs o o U r CJ a o XJ c x: x> XT u u c C O P 4-> c CTN c P u -C CN u r? 14-1 c; c> 10 p 4-J 1 1 4-» V- i U xj G o c: o o C G »- c p r— < *— 4 m p c ID tr 1 o t: XJ 07, c CO O 499 Observation : As was noted earlier in the examination of endowment fund balances and similar fund balances, there is a great deal of confusion among museums between endow- ment funds and funds similar to endowments. The so-called endowment funds whose principal can be expended upon designation by the trustees are actu- ally funds similar to endowments , even though a museum may lump them together. Use of Capital Gains on Endowment Funds To determine policies relating to capital gains realized on en- dowment funds, museums were asked on what proportion of endowment princi- pal can currently realized capital gains be used for current income pur- poses. Thirty-seven percent of museums with endowments reported that currently realized capital gains on at least some part of endowment princi- pal can be used for current income purposes, including 17% of museums with endowments who said that all of the currently realized capital gains can be so used (32% were not sure if part of the endowment could be used in this manner) : Table 231 ON WHAT PROPORTION OF ENDOWMENT PRINCIPAL CAN C' TOR ENTLY REALIZED CAPITAL GAINS BE USED FOR CURRENT INCOME PURPOSES (Base: The 277o of museums that have endowments) 500 o u O 0) o > * o o O ro c q * CO *— i ■co- CD cr> o o> o cr> o - O 4-J O'* O O'* a* O CJN O O' o o'* o - O 4-J LO cm o c^ o o CJN o - O 4-1 o o O ON O O ON ~ 4J ~ o o> m o'* •co- o q o 0) o T3 ~ q o id m -CO- 31 SI o CM S'! ° cn| SI SI SI H SI 00 CM O CM CM CM CT. CM CO CO vO CM CM col 4J CO 3 3 X <13 "JS TD U (D 3 q W B CD 3 o D s «H O r- 1 S.TJ -§ « «h a 5 g CJ fe 0 .0 «H U O *A4 i-» .o u o JZ u y 0 O **■4 o >* CO 4J * u o 0 0 > .0 0 U o 3 O O 0 44 0 O <9 x> SI 0 0 r-l 2*3 3 ^ u o § 2L " 0 « r o jt u § 0 4J cr > u >ii H S ^>4 I Ch»n 0.5Z 508 Directors were then given a list of eight specified activities and asked whether cutbacks had been made in any of these since 1966 be- cause of financial pressures. Again staff reductions were most prevalent, with one in five (20%) replying that cutbacks had been necessary in the non-professional staff and almost that proportion (19%) saying cutbacks had been necessary in professional staff. Reductions in maintenance again followed staff cutbacks, with 16% of museums saying reduced maintenance had been necessary. Although cutbacks in publications were previously mentioned by only 1% of museums, when this item was among the list of activities 14% replied that the quality and/or quantity of publications had been reduced. Twelve percent noted that the hours open to the public had been reduced: SPECIFIED CUTBACKS NECESSARY SINCE 1966 (Base: Total museums)* 509 o CM OV 44 44 o 44 V- 2 4) ® X 4> *H x ® 4> c 44 *H o u m a o i s § W 0 3 3 *J C ® 0 >% ® O 5 3 O 44 ® o X ^ iJ ^ 4> 2 O •-* 3 4) 73 X 5 gs 4) x o u 0 4) S’ « W« 3 O X 4) O 3 •O £ **4 s X g J* o 41 fl 3 >4 4) O W* ® « ® V Kt > r4 O 4) X e o 44 o o u X (9 3 O. 0. 4> a» « x O *J r4 4) « *-> a) <0 O U O. 3 O 4) 0 0 4. C ^ 0 41 WOO <0 u u 4> ® 0 04 CO 0) 5 4) X • W 73 4» ^ O > 4) <9 «0 t4 X X 44 U 3 ® r-l O 4) «9 00 O 4) a 0 o 44 O O ^4 ® o - a. J • > ^ V u ^ X X 0 O o t4 • 44 S fr° 3 3 2 cr ® 3 41 AJ 4)0 0 e Si 510 Except for reductions in the number of hours open to the public, cutbacks were generally more prevalent in museums with budgets of $250,000 and over than in smaller museums. For example, cutbacks in non-professional staff were made by 33% of the $250,000 - $499,999 museums, 28% of the $500,000 - $999,999, and 33% of the $1,000,000 and over museums, compared with only 16% to 20% of the smaller museums. Since the larger museums nat- urally have larger staffs and conduct more programs of the types specified, cutbacks are more possible and thus more likely. As noted previously, a higher than average proportion of federal museums have made cutbacks since 1966. But the percentage of federal muse- ums reducing maintenance and repairs below adequacy was far higher than average (40% compared with only 16% of total museums) as was the propor- tion of federal museums cutting back the professional staff (37% compared with 19%). On the other hand, only 6% of federal museums reported a re- duction in the quality and/or quantity of publications, compared with 14% of total museums and a high of 26% of private educational institution museums. Observation : The substantial number of museums in which financial pressures have caused cutbacks is another indication of the emphasis upon the bottom line in museum budgets, resulting in staff, services, and other areas vital to the fulfillment of purposes being reduced because of limited income. Changes in Operating Costs Since 1966 Not surprisingly, when asked whether operating costs were higher, lower or about the same in fiscal 1971-1972 as in 1966, nine in ten museums said that costs had increased: 511 Table 239 OPERATING COSTS COMPARED TO 1966 (Base: Total museums) Higher Lower About the same Museum not operating in 1966 Total % 90 1 5 4 In the 90% of museums with higher operating costs than in 1966, the median increase was 39%. This increase did not vary significantly among categories of museums except for a high 52% median increase in the "other" classification: j WHAT HAS BEEN PERCENTAGE INCREASE IN OPERATING COSTS SINCE 1966 (Base: The 907. of museums with increased costs) 512 513 Higher salaries and inflation were the two main reasons for the increases in operating costs. Almost half the museums (47%) that experi- enced rises in operating costs since 1966 reported increased salaries and wages as a reason, with inflation/cost of living increases reported by 43% of the museums. A high of 65% of art/hi story museums mentioned in- creased salaries as a reason for rising operating costs. Eighteen percent of the museums reported an increase in size of staff as a primary reason for increases in operating costs: 17% mentioned higher cost of materials and equipment; and a like 17% mentioned higher cost of maintenance. Expansions and improvements in programs, facilities and collections were also mentioned by a substantial number of museums: 17% responded that expanded programs and increased activities were a rea- son for increased operating costs, 15% the expansion or improvement of buildings and facilities, and 9% the expansion or improvement of collec- tions and exhibits. More than one in four art museums (26%) cited ex- panded programs compared with only 13% of history museums: PRIMARY REASONS FOR INCREASE IN OPERATING COSTS* (Base: The 90% of museums with increased costs) 514 o u O * o o O TS O P • CO *—4 ON o to m CM o ON o ON o ON •> o - S'? o CO o AJ ON m in r—4 o ON uo ON o ON o ON o ON r o - CM co CM o AJ On co CO m ON CM o ON o ON o ON * o - CM o- NO o AJ ON m r— 1 o <0- t— 4 CM O ON o ON o O ON 0> AJ •* vO ON CM o ON CM m ON o Vi O (1) O TD - *4- i— 4 CO m v£> ON * * 1 <*• <1* 4J U c m in T— 4 CM r-4 1—4 r—4 •H CO <1> C/D CO CO 1 (0 LT in CO CO CO 00 CO CO i— • •H o •o CO CL •H 1—4 cO i-4 AJ 1-4 CD 3 o D L* cr CO X 03 O CD 0) p TD 4-1 00 i-4 CD (1) O cO 4-1 o CO £ 00 4-1 CO p CO AJ p co 1—4 CO CD c ns 1-4 aj CO c U 0) c > CO •H CD o E CO 1-4 u 4-1 e CO O AJ 1-4 o 0) 4-4 CO CO CO u CO i-4 O CD e B 6 & (I) u N CO E i-4 CO AJ 1-4 4-1 lw u 1-4 0J r-4 CO CO o O 00 1-4 CO O o }-i 1—4 CO O P AJ 4J u o 1-4 1-4 CO CO CL O no P O O p CO CO Ll u nS CO TD 0) CO CD CD CD c c c U 1—4 U X X CO CO co o 4-1 O 00 00 p- p- p P P •r4 1-4 •x X 4-4 M 4-4 X X w W V- o "O P •H c O AJ CO 1-4 o AJ 0) CD CO 1—4 JJ o i—4 -H 3 o 4-4 P ns o 4-4 o 1-4 > o p o u 4-4 CO 4-4 J-A CL O CD ns o & B CO Q) P E •H 4-1 AJ X CD AJ •H 1-4 CO CO AJ CO e U X o AJ AJ o o La o 1-4 o cO o 1-4 O CO X r-4 AJ E c X ns r-4 ns ns o P co o 0) <1) o CD CD CD O Li 1-4 CO J-< CO CO 1—4 •rl 00 CO CO CO CO 1—4 CO o e C CD CO 0) 0) o P La c0 cO J-4 CL V4 G CO CL CL u O o CL K p c p X W 4-4 4-1 4-4 w u 0) X AJ c * Percentages add to more than 100 because multiple responses were possible. ** Less than 0.57, 515 Observation : Although expansions in programs and services were cited by a significant number of museums, it seems obvious that rising costs, especially in salaries, are a major problem facing museums and making it necessary to increase income levels if full service is to be maintained. It should be noted, also, that a number of museum directors, especially in government-run museums, indicated that salary in- creases were mandated, causing a continual rise in operating expenditures. Distribution of Current Operating Budget Among Program Areas To determine the distribution of the operating budget among the museums' program areas, directors were asked the proportion of the budget spent in each of the five broad areas discussed in Chapter VI (adminis- tration, curatorial/display/exhibit, education, research and operations and support). Administration and operations and support were the two areas accounting for the largest percentage of budgets, 28% and 27% re- spectively: PERCENTAGE DISTRIBUTION OF OPERATING BUDGET AMONG PROGRAM AREAS (Base: Operating budgets of total museums) 516 UD .H C CQ o C O *-» Tr r 't vO O' vt in vo CO u w CM — • CM H f—4 a 5 u C o 1 > o o * o • o *-» cr O O' m CM CM 35 20 12 11 O O' O O' O O' cn CO v* rs. m o 4J O' CM CM CM H H $100,000 to $249,999 27 27 22 o H H O O' O O' O O O' - 4-1 o O' in O' 30 25 17 17 11 o Under $50,00 31 27 20 14 8 1 v- |oc r- cn m m o O X CM CM CM H H C X • ^ u oo u vO ^ O cn o ■H U *H o CM cn cm H H <0 t X o O O' vo cn o c CM cn h H H CD 03 00 U SM CM 00 oo 13 9 u x 3 ii < CM CM H g 5 M I 2 i 517 Among classifications, art, history and the "other" classifica- tion spent a larger proportion on administration (32%, 32% and 27% 9 respec- tively), than on operations and support (23%, 28% and 23%, respectively) . On the other hand, science and art/history museums spent a larger propor- tion on operations and support (30% and 31%, respectively) than on admin- istration (20% and 26%, respectively). Size was an especially critical factor in the distribution of the total operating budget between administration and operations and sup- port areas. The smaller museums spent more on administration and less on operations and support. The percentage spent on administration declined steadily as the budget size increased, and in the $1,000,000 and over cat- egory 34% was accounted for by operations and support, compared with only 18% for administration. Equal percentages were spent on administration and on operations and support in museums of $100,000 - $249,999 (27%) and in museums of $250,000 - $499,999 (23%). One-fifth of the total museums' budgets (20%) was spent on cura- torial/display/exhibit, compared with 15% on education and 10% on research. These proportions remained relatively even throughout all classifications and sizes. However, in educational institution museums research accounted for a higher 16%, compared with only 9% in private non-profit and 10% in government museums; and curatorial /display/exhibit accounted for a slightly higher 24%, compared with 19% in private non-profit and 21% in government museums. A somewhat lower than average percentage of operating budgets was spent by art museums on research (7%) and a higher than average percentage by science museums (15%). Operations and support was 19% in educational institution muse- ums, compared with 26% in private non-profit and 32% in government museums. Adequacy of Current Operating Budget The study investigated the adequacy of current operating budgets in terms of all areas of museum activities, and the directors were asked whether their current budget levels enable them to utilize fully the fa- cilities, exhibits, collections, staff and other resources of the museums. Two in three museums (66%) replied that the current operating budget does not enable full utilization of their resources and that a median increase of 45% was needed for full utilization: WHETHER CURRENT ’OPERATING BUDGET ENABLES FULL UTILIZATION 'OF RESOURCES (Base: Total museums) 518 (continued; OPERATING BUDGET ENABLES FULL UTILIZATION OF RESOURCES (continued) (Ease: Total museums) 519 O — o ■ o o o 1 A O m O © o O T* ia g Cu O o> o o> o o> ~ O - O -P O' O CT> O U O 0) O t3 - C ° r=> o ^1 s & s$. G> O o> • -P - o> o> -3 o> o cr> > cr> o u 8 § ©1 o cr. o o> o o o> - -p • 8 o> o> T“ -zj o a> o a> o o o> •* -p • o CA U\ <0 O O u o © • nO o a ia {z> *$1 a>| I 00 vD I co I 00 00 I 00 i| s| C7> vD LO co O CO © -P © c © a> 3 CM © co c AJ o u o t? CD c q © H 00 CD t> 0) o o Q o o u © TJ C D S'? >0- o ♦— I S'? S'? a» o c O) >> u o S'? S'? u < O CM On in in cn O co i** -4 4 «4 H H H N <4 *4 no cn cm t—* cn no O ON oo 00 >4 on cn h in n H cn *4 cncnmr-i-jc * .-< * on * * * cm r^oocncnoocM^co ON <4 CM cn cn r-< I ION >4 4CMcnjHCMCMON ON -4 on i — vo co CO NO in *4 >4cncncMCMCMCMO 00 a> 00 c o ex 00 o u 3 e 0> 00 3 fl IS c •-* > 03 a o c c 5 1-3 c ® qj (X •*-< AJ *T3 u C O <0 x> ® e 0) 01 4-1 «H 0 O XI •H »c 0) r-1 C o a> c ® *-* AJ 01 «0 AJ 0) > o u cx 4j JO X) o >4JO*HX»OOMO^ 0) (Q 00 4-1 t-r •H ^VMrX-H O »- ® 4 j CJ »-• O 3 O C O ® O 03 *0 AJ o 0) O u x U W U (X u AJ T3 ^ C C M r-< W. U *H ® ® X) J3 U O ® -H *H 3 C a O P- 4) *H tJ AJ 3 ^ OH 4 ® a> o a) HU>< a <8 O h C eo p C ^ O 0-0 3 ■H »0 ^ U • « >n t 4 Cfl B W <0 > O fll H AJ I V) U < O c <« _c M g o -o <0 3 * t 526 Collections/acquisitions, which ranked fifth in long-term needs of total museums, was second in art museums (37%) and in private educa- tional institution museums (43%), the latter reflecting the large propor- tion of art museums in that group. One in four history and art/history museums (24% and 25%, re- spectively) would spend funds over the long-term on improvement and reno- vation of facilities, compared with 19% of total museums; 26% of $1,000,000 and over museums and 27% of state museums cited improvement and renovation of facilities among their priority long-term needs. Higher than average proportions that would spend funds on educational programs (16% of total museums) were found in the science classification (24%) and in the budget size groups of $50,000 - $99,999 (22%) and $500,000 - $999,999 and $1,000,000 and over (23% each). Conservation and preservation of the collection and research were mentioned by relatively low percentages of museums. The 8% of total museums which cited conservation as one area in which funds would be used for improvements over the next five to ten years rose significantly only in the larger budget categories (15% of the $1,000,000 and over group) and in federal museums (15%). The 6% of total museums mentioning research and scholarship rose to 9% among science museums and 13%, 11% and 16% in the $250,000 - $499,999, $500,000 - $999,999 and $1,000,000 and over sizes, respectively. Improvement in publications, cited by only 3% of total muse- ums, seems a greater concern to public educational institution museums, 11% of which said that funds would be spent in this area. For an additional perspective on the financial needs of museums, the directors were given a list of 14 areas of museum operations and asked to rate the seriousness of the need for additional money in each area on a scale from "very serious" through "serious, but not very serious" and "only somewhat serious" to "not serious at all". The following table shows the percentages of museums that rated each item as "very serious", thus indicat- ing the areas of most pressing need. More than half the museums responding (51%) said that the need for additional money for major new construction was very serious, followed by 38% of responding museums that rated as very serious the need both for curatorial/display/exhibit staff and programs and for education staff and programs : AREAS IN WHICH THE NEED FOR ADDITIONAL MONEY IS FELT TO BE VERY SERIOUS* (Base: Percentage of museums for which area applies) 527 QO m cn oo m cn r^- >} P) H o \£> CM CM CO m n n n n nnn h •o O ecu O *0 Cl •H >N "O O to e 3 H a! v- a u* u a) *m ca to * t 4 4-1 u m C 13 fl « B u C ® M ® O u c c o « ■H O w 0) X H « id n U O «8 > X TO V u £ O <0 K o C o -r-i m a> o <0 c 1 (4 3 T3 0) X o w PH *-» i~* t* a» a) a> o CO *H at B u U H u o. C o -4 u >> 3 v( -h cr 8i o •h u cr *-» u •** u PO)4) f-i *n OC^a»C>e««DK - 3 w U 5s O Z < ec H < ce > 1 u *H oo « o o V-* 4 1 CL S?£ •H «H C •o *o 4 9 « oo 3 ♦ 528 The need for additional money for major new construction was considered very serious on the scale of need in a high proportion of sci- ence museums (62%), muni ci pal -county museums (62%) and public educational institution museums (64%). The need for curatorial /display/exhibit staff and programs was also assigned a priority ranking of very serious in a greater than average percentage of museums of $500,000 - $999,999 and private educational institution museums (51% and 54%, respectively) ; but the need was substantially less among federal museums (14%). The per- centage of federal museums rating needs as very serious was, in fact, below average in all areas except for training programs, in which the need for funds was rated very serious by 21% of federal museums compared with 12% of total museums. Art and private educational institution museums again ranked new acquisitions higher than average, with 45% of the art museums and 49% of private educational institution museums saying the need was very seri- ous for additional money for acquisitions compared with 29% of total muse- ums . Observation : Museums seem to see little difference between their short-term needs and long-term needs. Whether look- ing ahead for two to three years or for five to ten years, museum directors give high priority to needs among staff, exhibitions and facilities. Thirty-seven percent of the responding museums expressed a very serious need for additional funds for climate control for the protection of the collection, 34% a very serious need for funds for security, and 33% a very serious need for funds for conservation. Additional investigation was made into these three important areas, and directors were asked the museums' operating expenditures, in- cluding both direct costs and personnel costs, for each of the areas. The average operating expenditures for the museums for security were $18,000, for conservation $12,800, and for climate control for the pro- tection of the collection $5,400. Average expenditures are naturally greater in the larger budget museums and in those categories with higher proportions of large budget museums. However, the relative amounts do vary among categories. Art museums spend much more on security (a mean of $48,900) than on climate control ($13,100) or conservation ($8,900). On the other hand, conservation accounts for a larger amount of expend- itures in science museums ($46,700) than does security ($19,600) or cli- mate control ($9,200): 529 Table 248 MEAN OPERATING EXPENDITURES FOR SECURITY, CONSERVATION AND CLIMATE CONTROL IN FISCAL 1971-1972 (Base: Percentage of museums able to specify or estimate expenditures in these areas) Mean operating expenditures Security (537. of Conservation Climate control museums (47% of museums) (28% of museums) $ $ $ Total 18,000 12,800 5,400 Classification Art 48,900 8,900 13,100 History 6,500 6,000 2,500 Science 19,600 46,700 9,200 Art/history 9,000 4,200 2,700 Other 11,400 6,900 2,000 Size Under $50,000 1,400 1,500 500 $50,000 to $99,999 4,700 2,000 1,700 $100,000 to $249,999 9,000 6,900 3,600 $250,000 to $499,999 15,700 23,100 7,200 $500,000 to $999,999 61,800 34,300 23,800 $1,000,000 and over 230,000 147,700 58,500 Governing authority Private non-profit 20,800 14,000 6,500 Government 14,500 12,800 3,600 Federal 40,000 16,500 9,500 State 11,100 12,100 2,500 Municipal- county 10,900 12,300 2,900 Educational institutions 11,400 5,500 4,300 Publ ic 11,700 6,400 5,000 Private 11,200 4,700 3,700 530 In the great majority of museums the expenditures for climate control, security, and conservation are not adequate to meet needs. Di- rectors reported that an average increase of 58% in operating expenditures for conservation should be made immediately to meet museums' needs, and this increase rose as high as 116% among the private educational institution mus auras . Similar increases were felt necessary in security (an average 48% increase in expenditures) and climate control (an average 46% increase in expenditures): 531 TaDle 249 MEAN INCREASE NEEDED IN OPERATING EXPENDITURES FOR SECURITY, CONSERVATION AND CLIMATE CONTROL (Base: Percentage of museums able to specify or estimate needed increase) Mean increase in operating expenditures Security (65% of Conservation Climate control museums) ( 6 5% of museums) (60% of museums) Total % 48 % 58 % 46 Classification Art 56 58 38 History 50 67 51 Science 36 36 32 Art/history 46 5 : 41 Other 52 61 57 Size Under $50,000 47 60 47 $50,000 to $99,999 35 50 41 $100,000 to $249,999 58 57 60 $250,000 to $499,999 58 61 31 $500,000 to $999,999 46 61 32 $1,000,000 and over 48 71 58 Governing authority Private non-profit 50 63 49 Government 40 40 36 Federal 23 23 26 State 56 39 27 Municipal county 34 47 45 Educational institutions 69 88 63 Public 61 64 64 Private 79 116 63 532 Among the classifications, the average percentage increase need- ed in science museums was consistently lower in all three areas, 36% in security and conservation and 32% in climate control. Art museums ex- pressed the need for the greatest increase in expenditures for security (56%), history museums the greatest for conservation (67%), and the "other" classification the greatest increase for climate control (57%). For each of the three items, directors of educational institu- tion museums reported the largest percentage increase needed in operat- ing expenditures of any governing authority, particularly among private educational institutions which reported a need for a 79% increase in expenditures in security, 116% in conservation, and 63% in climate con- trol. Increases needed were lowest in government museums, particularly federal museums which expressed the need for a 23% increase for security and for conservation and 26% for climate control. Finally, in the examination of this aspect of museum activi- ties, directors were asked how conservation work is accomplished at the museums and what the preferred way would be if sufficient funds were available. In more than two out of three museums (69%), conservation is accomplished at least in part by the museum staff. (More than one method may be used in any museum.) However, if sufficient funds were available for any type of conservation program, slightly less than half (46%) of museums would prefer the museum staff to do the conservation work: HOW CONSERVATION WORK IS ACCOMPLISHED AT MUSEUM* (Base: The 847. of museums which have conservation work done) 533 S t a <9 H g •H 4J s ® g * 534 In the art classification, a higher percentage of museums have the conservation work done by private conservators (54%) than by the muse- um staff (43%) or by another museum conservation laboratory (33%). Because more than one method may be used, the percentages add to more than 100. On the other hand, 97% of science museums have conservation work done by their own staff and only 6% use private conservators. The use of another museum conservation laboratory is relatively unimportant in every classi- fication except art. Even further differences can be seen in the sizes within classi- fications. The use of private conservators is more prevalent among small- er art museums, particularly in the $50,000 - $99,999 category, where 74% use private conservators compared with only 34% of art museums of $500,000 and over. The use of museum staff for conservation work is most prevalent among the smallest art museums of under $50,000 (51%) and the largest of $500,000 and over (66%). The proportions are lower among the middle-sized art museums: 25% of the $50,000 - $99,999 group and 35% of the $100,000 - $499,999 category use the museum staff for conservation work. The use of private conservators increases with size in history museums, rising from 34% in the under $50,000 group to 75% in the $500,000 and over. In every size category of science museums, conservation work is done almost exclusively by the museum staff, the percentage never falling below 95%. A plurality of art museums (37%) would prefer that conservation work be done by another museum conservation laboratory; this plurality holds in all sizes of art museums except in the $500,000 and over group where the proportion is 10%. In all other classifications, the highest proportion of museums prefers that conservation work be done by the muse- um staff, although this proportion reaches a majority only in science museums, the largest art museums and museums in the "other" classifica- tion. Attitude of Board Towards Debt To investigate the possibility of museums raising money through the assumption of debt, directors were asked the attitude of the board towards the museum entering into debt. Almost half of museums with boards (46%) reported that the board is opposed to incurring debt. Four percent said that it is against the law to incur debt, another 2% that all funds were derived from government appropriation and 6% that the situation never arose. Approximately one in four museums (27%) reported that debt is possible: It is most often approved only for major capital outlay (13%), limited use of debt (6%), only in cases of immediate need (4%), for pro- grams (1%), or with no specified restrictions (3%). 535 Table 252 ATTITUDE OF BOARD TOWARDS ASSUMPTION OF DEBT* (Base: The 767« of museums that have board of trustees or equivalent overseeing body) Total % Opposed to incurring debt 46 Will incur debt only for major capital outlay 13 Limited use of debt 6 Situation never arose 6 Will incur debt only in cases of immediate need 4 Against the law to incur debt 4 Favors assumption of debt 3 All funds derived from government appropriation 2 Will incur debt for programs 1 Board is financially conservative 1 Other 4 Not sure 10 536 Confidence in Sources of Income in Future Concerning future sources of income, directors were asked how sure they were that income from private and public sectors and operating revenues would achieve projected levels over the next few years. Four in ten of the private non-profit and educational institution museums (40%) which receive private contributions were only slightly sure or not sure at all that contributions from the private sector for operating support would achieve projected levels and 53% were only slightly sure or not sure at all of restricted contributions from the private sector for specific programs. Even less confidence was expressed in achieving projected lev- els of government support of general operations and government grants for specific programs: 69% and 68% of applicable museums, respectively, indicated that they were only slightly sure or not sure at all of such support and grants. Projected earned income is seen as more certain, with only 35% of responding museums only slightly sure or not sure at all of this type of income: Table 253 HOW SURE THAT INCOME FROM VARIOUS SOURCES WILL ACHIEVE PROJECTED LEVELS OVER NEXT FEW YEARS, BY PRIVATE NON-PROFIT AND EDUCATIONAL INSTITUTION MUSEUMS (Base: The percentage of private non-profit and educational institution museums which receive funds from source) 537 o H H O CO H ^ r— i o on co h co m m o m co cm vj m > u. o 0J «d C > ^ 6 to -U cd P a> & o p o O u< 6 •u cd ^ o 538 The lack of confidence in achieving projected levels of govern- ment support is true in all classifications of museums, with at least three out of five museums in each classification only slightly sure or not sure at all of government support of both general operations and specific programs. Among size groups, the larger museums expressed slightly more confidence in future government support, but even among the $1,000,000 and over museums where confidence was strongest at least half the museums were only slightly sure or not sure at all of such support. Lack of confidence in future government support is similarly high in both private non-profit and educational institution museums. How- ever, private non-profit museums have greater confidence than educational institution museums in achieving projected levels of contributions for operating support: 63% of the private non-profit museums are either very or fairly sure compared with only 39% of the educational institution muse- ums. Private non-profit museums also seem more certain of earned income: 68% are very or fairly sure of achieving projected levels compared with 48% of educational institution museums. The responses from all museums -- including government museums, the resDonses from which indicate some contusion in ans^erina this question -- indicate that a somewhat larger 45% of those receiving private contributions were only slightly sure or not sure at all that such contributions would achieve projected levels. HOW SURE THAT INCOME FROM VARIOUS SOURCES WILL ACHIEVE PROJECTED LEVELS OVER NEXT FEW YEARS, BY ,,T TYPES OF MUSEUMS* (Base: The percentage of museims which receive sums from sources) 539 o o x-s 4H to u W V. e-M CQ 0) u *-) 3 *-* (0 CO U M Or-* U-l CD 03 o 3 — 1 Vi ® ® O 3 r-l ® (0 3 — < TO cO >s *-> U >N -U >% >s <1) *-) M r** (y u j_i Q) 4J o Q) 4J i_) 0) 4-» r-l CO 0) 4J 0) 3 00 U CO Vi to i-* 3 O u s tO 0) 3 •-< to ® W >, CD 3 —i ro oo ® w 3 t— i m E w >s to O 3 r-l CO w ^ m ^ O "2 1 1 •— i g y qj U >s O C C •— 1 4J (J * o c ►> g V <0 C O a-* G > O >h co co > O § -u HI to C Vi *H «— i C one w* > u M ® ^ O C ® C v. 0) > (** o 0) W O > 0) > o h os ^ a o o o a M Responses from government museums Indicate some confusion in answering this question; however, the table is included for the sake of completeness. 540 Support From the National Endowment for the Arts and Other Programs Museum Directors Believe Should Receive Support In the examination of government grants for specific programs, all museums were asked which two or three of the programs offered by the National Endowment for the Arts they felt to be most beneficial to their museums. The support of special exhibitions was chosen by the largest proportion of museums (45%), closely followed by making museum resources more widely available to a broad section of the public (44%), conservation program for emergency needs and for long-term programs in conserving col- lections, establishing regional conservation centers and training con- servators (43%) and renovation program for climate control, security and * storage aimed at preserving collections (42%). The top ranking given to special exhibitions was primarily due to the 71% of art museums which selected this program as one of the two or three most beneficial. The highest proportion of science museums (57%) selected making museums' resources more widely available, while the largest number of history (51%) and art/history museums (54%) chose the renovation program. When asked about other programs they believe should receive financial support, some directors repeated the programs offered by the National Endowment for the Arts, but building programs were ranked highest by 22% of directors. THE TOO OR THREE MUSEUM PROGRAMS OFFERED BY THE NATIONAL ENDOWMENT FOR THE ARTS FELT TO BE MOST BENEFICIAL TO THE MUSEUM* (Base: Total museums) 54 ] CU U 0) rH E O H (fl 01 u rH C I O O TJ H to U *H C O c to nj u-1 O to CU C U co e r>5 i- H O > to a) u C n C a) ^ -d u 5 CD (_) OC D. L) CJ O -H rH 3 u <5 H to >30 B nj AJ I— I AJ o D. iH <1) CU-HC U & C o *-* co o c A-» 0) 3 ck; b — O M *j C- CO -H CO 4-1 Wi aj 3 3 m £ -H 1) X> O VA co .c u a) C H > a S co a. co cu CO c o a. CO a> Cl) CL 3 E a) 3 <0 o 0) X) o o c CTj x: 00 ^ O O *-> X> U O U G V *-> O -H U 0) C (D O O B s o C *— 4 *H rl OJ U ^ x> o (Tj *H- Hi r > o< ^ 10 u c c o C Oj • i-t *H W. CO 4-4 3 *H U 4) iH O Q> rH C 0) > O 0 U CO J-i O *H Q> a O G U 4-4 CL CO U 0 G «TJ O 10 U U -G o ^ ^ rH _ O B XJ to 6 0 ) c o z OTHER PROGRAMS MUSEUM DIRECTORS BELIEVE SHOULD RECEIVE SUPPORT* (Base: Total museums) 543 04 O' 00 04 04 Oi 04 > iJ U i-> pq w H a w a < a.o ■c «5 o T) C c o O -H a- -u CO 05 0) a) v- D cr 0) ** Less than 0.5% 544 When asked which of the applicable programs offered by the Na- tional Endowment for the Arts were felt to be of little value to them, the largest proportion (28%) mentioned museum fellowships ("mini -sabbaticals" ) of one to three months , f ol 1 owed by training of museum personnel (20%), and visiting specialists as consultants (19%) : APPLICABLE PROGRAMS OFFERED BY THE NATIONAL ENDOWMENT FOR THE ARTS FELT TO BE OF LITTLE VALUE TO MUSEUM* (Base: Total museums) 545 tO cfl B •H 70 C W W C a; £ -h co M (0 H U V- JO W .4 V) AJ C CO o a B o V-< 70 3 tO O O (O Vj 0 ) JO >- to CO) 3 0) E i-J O O ^1 00 C O to to o o > c o o c c (0 C -H H oi) 10 > (0 C to O) 00 M HI O OC (0 U V-- J-i C *h tO AJ t: >»-• c r—t *h (u wi cu o c jr cn •*-< 3 O 0) O j X; E > o 5 :coa uco^-aj p- to 546 Observation : The relative lack of interest in conducting training programs reflects attitudes expressed in Chapter II on training as a purpose of their own museums and in Chapter VI on the adequacy of the training of staff and reinforces the idea that training is not a major issue in the minds of museum directors. Importance of Various Income Sources in the Future Finally, in the examination of sources of income the directors were asked to judge how important various sources will be in the future. Almost half the museums (49%) felt that the federal government would be- come increasingly important, rising to 64% of art museums and 70% of museums with budgets of $1,000,000 and over (which includes a large pro- portion of art museums). Forty-four percent of museums felt individuals will be an in- creasingly important source of income. Again a larger proportion of art museums (64%) and $1,000,000 and over museums (61%) felt individuals will be increasingly important, as did 61% of private educational insti- tution museums. Foundations were seen as increasingly important by 38% of muse- ums, state government by 33%, corporations by 31% and local government by 28%: Table 258 HOW IMPORTANT WILL VARIOUS INCOME SOURCES BE IN FUTURE (Base: Total museums) 547 la la cm -O co i - vO CA CM A- CM A- CM ON I CM •H u C O *-» U CO O ^ -H ON H CA 00 On LA O H CM O LA vC A* CM 00 nO •— CA CM A no »- w cq - qj *h CJ W t= *-> C u > w E p ^ •»-« O CO -H C G O -H 0 ) •«-!(/) i-> u AJ M tr cd - 0 ) cd O tn E *-» C >-* no wE ^ k. *h > CD *H C G WE G* G. t 4 •H CD *h c G co *H C G U w E -u C G •— C 0 > to C «D CD O O p H iJ K 2 Q t O CJ C 0 > OJ O O CD h >J K 2 O o G « I" to ^ c 3 a> o w e *j c C 0) 0) o o H K 2 O Less than 0.5% 548 Substantially higher proportions of art museums and of large museums look to the increasing importance of foundations and corporations: 57% of art museums and 60% of the $1,000,000 and over group expect foundations to be increasingly important, and 60% of art and 66% of the $1,000,000 and over museums expect corporations to be an increasingly important source of income. Art is the only classification in which a majority of museums expect any of the sources to be increasingly important except for the 54% of the "other" classification that expects the federal government to be increasingly important. Among governing authorities, more than half the private educa- tional institution museums expect the increasing importance of foundations (62%), individuals (61%) and the federal government (55%), and 52% of total educational institution museums expect that foundations and that individuals will be increasingly important sources. Sixty-five percent of municipal-county museums look to local government as an increasingly important source, and 64% of state museums expect the increasing impor- tance of the state government. Individuals were the only source expected to be increasingly important by more than half of the private non-profit museums (57%). Observation : From the museums' viewpoint, the federal government and individuals are the most important factors in providing the support necessary to fulfill their purposes and functions during the coming years. However, although various agencies and departments of the federal government have in recent years in- creased support to museums, the museums expressed little confidence in future support from govern- ment. Although greater confidence was expressed in future contributions from the private sector, even here two in five museums were doubtful that projected levels would be achieved. As a result, museums seem to be in a difficult position con- cerning their financial future, seeing an increas- ing importance in sources of support from which they actually have little confidence that necessary funds will be forthcoming. CHAPTER X SUMMARY 551 SUMMARY America is a land of museums. From the smallest county histori- cal society to the largest repository of art treasures, this nation is fill- ed with an abundance of museums of every type and size in every part of the country. Of the 1,821 museums that met the criteria* for inclusion in this study, the largest number are the history museums which include many historic sites and houses as well as museums villages, in addition to more conventional types of museums. In fact, more than one of every three museums is a history museum. Art museums are the next most prevalent classification**, with almost one in five museums being an art museum. Approximately one in six museums is a science museum, and that may be a natural history museum, a technology museum, a zoo, an aquarium, or a botanical garden. There are also combinations of these three major classifications, with some museums that are almost equally art and history, or art and science, or history and science, or even all three together. (Art/science, history/science, and art/history/science are grouped together in this report as "other" museums.) Considering the large number of museums around the country, it is not surprising that small museums predominate, basing the size on the amount of their budget (operating expenditures). In fact, almost half the museums had budgets under $50,000 for the fiscal year 1971-72, and most of these were history museums. At the other end of the scale, only one in ten muse- ums had a budget of $500,000 or more, and most of these were either art or science. The governing authority -- that agency or organization that ulti- mately owns the assets and collections but not necessarily the buildings and grounds -- is a private non-profit organization in more than half the museums, while one in three museums is under a federal, state or local government, and one in ten is under the governing authority of a college, university or school. Most of the private non-profit museums are history or art; the government museums are predominantly history or, to a much lesser extent, science; and the educational institution museums are more likely to be art or science. Regionally, the distribution of museums throughout the country roughly parallels the distribution of population, varying by not more than four percentage points except in New England, which has only 5% of the nation's population but 13% of the museums. *The criteria are described on page V, Introduction. **The classifications are defined on page IX, Introduction. 552 The characteristics and distribution of the museums are graphi- cally depicted below and on the following page: BUDGET SIZES OF MUSEUMS 553 REGIONAL DISTRIBUTION OF MUSEUMS 554 PURPOSES AND FUNCTIONS OF MUSEUMS Despite the great diversity in classification, size, governing authority and location, museums have in common a number of basic goals or purposes, and education is felt to be the most important of these by far. From a list of six purposes drawn up in consultation with a panel of muse- um professionals, "providing educational experiences for the public" was rated a "very important" purpose by more than nine out of ten museum direc- tors (92%) and was selected as one of the two most important purposes of their museums by more than two- thirds of the directors (69%). The order of ranking of the six purposes -- which was the same for both the "very important" ratings and the selection of the two most important purposes -- was: 1. Providing educational experiences for the public. 2. Conserving the cultural and/or scientific heritage. 3. Interpreting the past or present to the public. 4. Providing aesthetic experiences for the publ ic. 5. Encouraging positive social change. 6. Providing entertainment to the public. The relative importance of purposes varies naturally among the different classifications of museums. Not unexpectedly, aesthetics ranks higher in art museums than in other classifications, and "providing aes- thetic experiences for the public" was second on the list of the two most important purposes of art museum directors. Directors of history museums -- where the preservation of the historic heritage is naturally a paramount goal -- raised the overall second-ranked purpose of "conserving the cultural and/or scientific heritage" to first place. While the ranking by science museum directors paralleled that of the entire museum field, the first- ranked "providing educational experiences for the public" was selected by a much higher than average 92% as one of the two most important purposes. Interesting variations can also be seen when the directors' own ranking of purposes is compared with the evaluations of the purposes the public and the trustees would consider the two most important, as well as the two purposes they feel the museum has most successfully satisfied. The directors believe the public would also choose education first, but they believe the public would move "providing entertainment to the public" from their own ranking of last to the second position. 555 Generally, directors believe that their trustees' ranking of the two most important purposes would parallel their own, with only minor vari- ations, except that science museum directors feel their trustees would also rank entertainment higher at third place in comparison with their own lower ranking of fifth. Furthermore, directors believe that the purposes they feel are the most important are also the purposes that their museums have most successfully satisfied; again only minor variations occur in the rank- ing, except that the entertainment purpose is ranked slightly higher by the total museum directors and science museum directors as one of the two pur- poses most successfully satisfied. Functions of Museums When directors were asked to evaluate the importance of museum functions -- the means through which the purposes are fulfilled -- the top priority was given to exhibition and conservation, with 84% of directors rating "exhibiting the cultural and/or scientific heritage" as "very impor- tant" (and 60% putting it among the two most important of a list of ten functions) and 82% of directors terming "conservation and preservation of objects" very important (and 40% as one of the two most important). The order of ranking -- again the same for both the "very important" ratings and the selection of the two most important functions -- was: 1. Exhibiting the cultural and/or scientific heritage 2. Conservation and preservation of objects 3. Providing instruction to the young 4. Providing a scholarly and information resource 5. Acquiring works or specimens 6. Conducting research 7. Attracting tourists to the community 8. Serving as a center for community activities 9. Rendering assistance to smaller museums 10. Training museum professionals However, directors of art museums -- when selecting the two most important functions -- gave higher priority to "providing instruction to the young" and "acquiring works or specimens" (ranking them second and third, respectively) and to "serving as a center for community activities" (fifth among art museum directors). Science museum directors -- who had overwhelmingly chosen the educational purpose -- placed "providing in- struction to the young" first, while the rankings by history museum direc- tors varied only slightly from those of directors overall. 556 PROGRAMS The implications of the importance accorded the various purposes and functions are very great in determining the internal and external affairs of museums, the personnel needs, adequacy of facilities, the fin- ancial needs, and, especially, the museums' programs, in particular the educational and cultural activities. These activities are conducted in some cases specifically for children, in others for adults or general groups, both in the museums and in schools and outreach programs such as mobile units and storefronts, as well as through the media of radio and television. A list of ten specific activities -- in addition to the basic, and perhaps the most important, educational activity of exhibition per se -- was drawn up, and museums were asked if they scheduled each activ- ity regularly, occasionally or not at all. More than nine out of ten museums had guided tours, special lectures and/or demonstrations given at the museums for school classes '(73% regularly, 20% occasionally). Large numbers of museums also had educational activities for children who came to the museum not in class groups and also for children in their schools. More than half the museums scheduled classes, clubs and study groups for children not in school groups (28% regularly, 34% occa- sionally) and presentations at schools (18% regularly, 38% occasionally), with history and art/history being the only classifications in which less than half the museums scheduled these activities. Although the remaining activity for children, organized school loan service of special material and collections , was scheduled by fewer museums, more than one third did provide this service (14% regularly, 22% occasional ly) . The pattern of the scheduling of guided tours and gallery talks for general groups was similar to that for school classes, except that approximately 10% fewer museums had tours (53% scheduling this activity regularly, 30% occasionally). More than two thirds of museums (31% reg- ularly, 38% occasionally) scheduled lectures, classes, clubs and study groups for adults , with significantly higher proportions of art museums (86%) and science museums (83%) conducting such lectures, classes, etc. The use of the broadcast media is not widespread in the museum world -- most likely because of the high costs involved -- and only 23% of museums produced radio programs (3% regularly, 20% occasionally) and TV programs (4% regularly and 19% occasionally). Films and the performing arts tend more to be activities of art museums than any other classification. While only 30% of all museums offered film series prepared by the museum , the proportion rose to 51% 557 of art museums; a low 18% of museums overall scheduled performing arts pre- sentations prepared by the museum , but a much higher 41% of art museums did so. The budget size of the museum was a significant factor in the scheduling of all of these activities, with the proportion of museums con- ducting the activities always lowest in the under-$50,000 group, the sharpest difference occurring with film series, which are scheduled by only 19% of the under-$50,000 museums compared with 64% of the $1,000,000- and-over group. All these educational and cultural activities are conducted wholly or partly by paid staff in eight out of ten museums, except for presenta- tions at schools (paid staff involved in 76% of museums) and performing arts presentations (66%). Volunteers, however, are also very active in these educational programs, involved at a third or more of the museums in performing arts presentations, guided tours for school classes, presenta- tions at schools, guided tours for general groups, and classes and clubs for children. When museums were asked to describe the two or three most impor- tant educational activities regularly scheduled, the responses covered a wide range of activities, the most prevalent being classes and lectures (among the most important educational activities of approximately one in four museums), guided tours for visiting school groups (also cited by ap- proximately one in four museums) and general tours of exhibits and facil- ities (approximately one in five museums). In regard to the entire scope of educational activities, museums were asked whether such activities had increased or decreased since 1966. Slightly more than half the museums (51%) reported that educational activ- ities had increased, and only 1% reported a decrease. Among the classifi- cations, only in history and art/history did less than half the museums experience an increase. Size again was significant, as 78% of the $1 ,000,000-and-over museums reported increases compared with 39% of the under-$50,000 group. Cooperation with Schools and with Colleges and Universities Either through necessity or voluntarily, the majority of museums with the school programs noted above (guided tours, special lectures for classes, presentations at schools, and school loan service) developed these programs on their own and then offered them to the schools, although cooper- ation in planning programs was more prevalent among the art museums and museums with budgets of $1,000,000 and over (with approximately seven out of ten of the largest museums planning the programs in close cooperation with schools). Budget size was also a major factor in whether the school programs were supplemented by preparatory or follow-up activity in the schools. Slightly more than half the museums (53%) reported that programs were supplemented with in-school activity, but the proportion rose to 76% of the $1 ,000,000-and-over museums. 358 Joint programs with universities or colleges were also more preva- lent among the largest museums. While 30% of all museums in the study have joint programs (and another 9% are under the governing authority of a uni- versity or college), a high 70% of the $1 ,000,000-and-over groups have such programs. Among the classifications, art and science museums are more often allied with higher educational institutions, with 38% of art and 42% of science museums having joint programs with colleges and universities and another 21% and 16%, respectively, under their governing authority. Work experience without credit, research at the undergraduate level, and research at the graduate level are the most common of these, being conducted jointly with colleges or universities by more than half of the museums that have joint programs. On the other hand, in only one in four of the museums with joint programs (24%) was a training program for professional museum workers one of these programs. Research Activity The comparatively low ranking given to research by museum direc- tors in the evaluation of the importance of museum functions was reflected in the fact that two out of three museums (65%) reported that research is a minor activity or is not intended to be an activity at all. However, more than half of the museums with budgets of $500,000 and over and the museums under the governing authority of educational institutions consider research to be a major function. (It should be pointed out that, among the science classifications, the natural history museums tend to be strong- ly research oriented, while the science/technology centers emphasize ex- hibition with minimal or no research.) Slightly more than a third of the museums (35%) undertook or sponsored formal research projects during the year, but again the propor- tion was significantly higher in the $1 ,000,000-and-over museums (78%) and educational institution museums (50%). COLLECTIONS AND EXHIBITIONS The collections in museums are, of course, radically different among the different classifications and even among the different types within classifications. Despite this diversity and the specific problems that may be associated with each, there are certain consistent factors pertaining to all museum collections, such as ownership, exhibition, bor- rowing and loaning, etc. The permanent collections of the nation's museums are to a very great extent -- an average of 92% — the legal property of the museums, with only minor variations in the percentage of the collection owned by 559 museums among the different classifications, budget sizes and governing authorities. Wide differences are present, however, in the percentage of collections exhibited during fiscal 1971-72. Among classifications, for example, the proportion of the collection exhibited ranged from 50% in art museums to 71% in art/hi story, and among governing authorities from 45% of collections in educational institution museums to 65% in govern- ment museums. Lack of space prohibited the exhibiting of the largest propor- tion of that part of the permanent collection that was not displayed, with the second major cause being insufficient staff. However, the fact that the works or specimens not shown are of secondary interest or impor- tance was ranked second in art museums, museums above $500,000 budget size, federal museums and private educational museums, while the fact that a portion of the items not shown represented research collections not suit- able for exhibition was the second most important reason for non-exhibition in history museums. Special Exhibitions More than two thirds of the museums (68%) had special exhibitions in fiscal 1971-72, reaching a high of 98% of the art museums compared with a low of 51% of history museums (the latter including many historic sites and structures that are, to a large extent, inappropriate for special exhibi- tions). More than half of the museums (53%) that did not have special exhibitions would have liked to offer them but could not, primarily be- cause of lack of space and lack of funds. Most of the special exhibitions shown in fiscal 1971-72 were developed by the museum where they were shown rather than by an outside source. Only 7% of museums with special exhibitions developed none of them, while 44% of the museums with special exhibitions did not show a single one from an outside source. Primary outside sources for special exhibitions were private collectors, artists, service organizations, etc., and other museums. Thirty-eight percent of museums exhibited individual objects or specimens (in addition to special exhibitions) that were borrowed on a short-term basis, and again the primary sources for these were private collectors, artists, service organizations, etc., and other museums. Loans by Museums An examination of the other side of the exchange of exhibitions -- loans by museums to other museums, schools, etc. -- indicated that only a third of the museums (34%) sent out traveling exhibitions in 1971-72. The pattern of special exhibitions was repeated: art museums had the highest 560 proportion (55%) sending out traveling exhibitions and history museums the lowest (19%). However, although the 36% of science museums sending out traveling exhibitions was lower than art, the science museums sent out a high average of nine such exhibitions compared with an average of five sent out by art museums. "Other" museums were generally the most important location to which traveling exhibitions were sent, 54% of total museums sending traveling ex- hibitions there and a high 77% of art museums doing so. However, elementary schools were the most important location for traveling exhibitions from history museums (56%) and both elementary schools and community centers for exhi- bitions from science museums (58% of which sent exhibitions to each loca- tion). In addition to traveling exhibitions, museums were asked whether they had loaned objects or materials to storefront, small neighborhood or community-based museums during fiscal 1971-72. Although a perhaps surpris- ingly high 42% did make such objects available, the great majority of these (81%) did so only occasionally or rarely, and the loan could, of course, consist of a single object. Only one in five of those museums that did not make objects available on loan to storefront, small neighborhood or community-based museums has plans to do so in the future; primary reasons given why the remaining museums are not planning to do so were that the character of objects are not suitable for lending (29% of museums without plans for loans), lack of demand (26%), inadequate security (18%) and against museum policy (10%). In comparing the frequency of both the borrowing and loaning of exhibitions and objects with 1966, more than one in four museums (29%) reported borrowing and loaning more frequently, while less than one in ten (9%) reported a decrease. Among the small number that experienced a decline in exchange, the primary reasons given were too much risk of dam- age or loss, the high costs involved, and the fact that the museums were making better use of their own collections. The importance of the risk of damage or loss is reflected in the response to the question of the importance in the exchange of objects of climate control and security in the receiving museums. Almost nine in ten museums report that climate control and security are very important (70%) or somewhat important (17%) in the exchange of objects. ATTENDANCE AND ACCESSIBILITY Approximately 308,205,000 visits (counting, of course, repeat visits by an individual) were made in fiscal 1971-72 to the universe of 1,821 museums, an average of 169,000 visits per museum. Four in ten of these visits (38%) were made to science museums, 24% to history museums, 14% to art museums, 6% to art/hi story museums, and 18% to "other" museums. These proportions are significantly different from the percentages noted earlier of the number of museums accounted for by each classification. These differences can be seen in the following graphs: 562 The impact of budget size on attendance is a partial cause of these variations among classifications (based on operating budgets, sci- ence museums are largest, followed by art museums and then history muse- ums). While representing only 5% of all museums, those with budgets of $1 ,000,000-and-over accounted for 34% of total attendance; at the other end of the scale, the 44% of museums with budgets under $50,000 accounted for only 11% of total attendance. More than half the visits to museums (55%) were made to govern- ment museums (although they represent only 34% of museums), with almost half that amount to municipal -county museums and the remainder evenly split between federal and state museums. Federal museums, however, had the highest average attendance per museum of any governing authority -- an average of 422,000 visits per museum. On the other hand, museums run by educational institutions had the lowest attendance relative to their number, with only 3% of visits made to these museums, although they rep- resent 10% of all museums. Eighty percent of the total attendance was from general atten- dance (including attendance at special exhibitions) and 15% from elemen- tary and secondary school classes, with the remaining divided between attendance at performing arts presentations (3%) and adult workshops and classes (2%). Among classifications, art museums derived a lower pro- portion of attendance from elementary and secondary school classes and a higher proportion from performing arts presentations, while among budget sizes there is a clear tendency for general attendance to repre- sent a higher proportion of total attendance with increased size of budget and for elementary and secondary school classes to represent a lower proportion. Federal museums have the highest proportion of gen- eral attendance (89%) of any category, and government museums of all types have a higher proportion of general attendance than either museums run by private non-profit organizations or those run by educational in- stitutions. More than half the museums (56%) direct their activities pri- marily to all ages equally, with one in four (24%) directing activities primarily to adults and the remaining one in five (20%) mainly to child- ren and/or youths. A much higher than average 46% of art museums are primarily directed toward adults, while high averages of 34% of science museums and 32% of "other" museums are directed toward children and/or youths. Activities to Increase Attendance Ninety percent of the directors reported that they were inter- ested in seeing more people come to their museum, and this large propor- tion remained relatively even through classifications and size, dropping as low as 77% only in federal museums. 563 Furthermore, a significant majority (70%) of those interested in attracting a larger attendance indicated they were actively pursuing more people through advertising and publicity, aside from promoting special ex- hibitions. Art museums are most heavily involved of the classifications in such activities (79%), while the highest proportion of any category occurs in the $1 ,000,000-and-over museums (87%). Conversely, not only do fed- eral museums show less interest in attracting larger audiences, but among those federal museums that are interested less than four in ten (38%) use publicity or advertising. Somewhat surprisingly, the highest use of pub- licity or advertising by governing authority is found among museums run by public educational institutions (80%), sharply different from the private educational institution museums, whose 56% is lower than all others except federal museums. Although it is difficult to make a precise division, it appears that the bulk of these activities should be labeled "publicity" rather than "advertising", with the dominant means being press releases, news stories, features, etc. Interest in larger audiences and efforts to attract them have not, in any great measure, taken the form of appeals to senior citizens, blacks, Spanish-Americans , other minority groups or the economically disadvantaged. For none of these groups has as many as a third of the country's museums made a special effort to attract them to the museum. A higher proportion of art museums have made such appeals -- just under half the art museums (49%) have made special efforts to attract blacks -- and there is a tendency for efforts to be higher among the larger museums than among smaller ones. Gov- ernment museums in general have less often made such efforts than have pri- vate non-profit museums, but this lower level is found mainly in state and municipal -county museums rather than federal museums. Museums run by public educational institutions are also less likely to have made special efforts to attract these groups than those run by private educational institutions. As might be expected, the appeal to blacks and Spanish-Americans matches to some extent the regional distribution of these groups' popula- tion, with museums in the Northeast and Southeast most likely to have made special efforts to attract blacks, and museums in the West to attract Spanish-Americans. For the most part, the steps taken to attract all the various groups emphasize exhibitions, special programs and events, contacts with group organizations as well as some particular actions for specific groups, such as free or reduced admissions for senior citizens and the economically disadvantaged, tours for senior citizens and bilingual brochures and labels for Spanish-Americans. Membershi ps Although only half the museums (51%) have a paid membership, the proportion rises to 75% of private non-profit museums with a paid member- ship compared with 29% of educational institution museums and 18% of gov- 564 ernment museums. Size is also a factor, with the proportion of museums, with paid memberships (as well as the number of members) tending to in- crease with budget size. Reflecting the influence of size and governing authority, art museums are by far the most likely to have a paid member- ship (78% of them do), followed by art/history museums (56%), science muse- ums (53%), "other" museums (44%) and history museums (40%). Just under nine in ten museums with paid memberships (89%) set different fees for different categories of membership. In more than one in four of these museums (29%) the membership for the category with the largest number of members was $15 a year or more, while in 35% the fee for the largest category was $1 0-$l 4 . 99 . The larger museums not only have more members, but also charge them higher fees. In the under-$50 ,000 budget category, for example, only 14% charged a fee of $15 or more for the largest category, compared with 77% of the $1 ,000 ,000-and-over museums. Admission Policy Admission is always free to a clear majority of museums (59%), but a substantial 37% do charge an admission fee, with only 4% asking vis- itors for a donation. Art museums are the most likely of any classifications to be free all the time (84%), while art/history (40%) and history (44%) are the least likely. By governing authority, 85% of educational institution muse- ums are always free, compared with 66% of government museums and 51% of private non-profit museums. Among museums that are not always free, the great majority (77%) do allow members in free, and almost half (47%) do not charge children in school class groups. For other groups, the average fee in those museums that have a fixed fee is $.68 for adults, $.60 for college students and $.35 for children not in class groups. ADMISSION REQUIREMENTS FOR SPECIFIC GROUPS IN THOSE MUSEUMS THAT NOW CHARGE ADMISSION FEE OR ASK FOR DONATION 565 it c o •i-l ■IJ cd C o Q s-s 0 ^ •sj> o o o O o o r-l 00 CM • 0) CO XJ CO ^ r-l W >, o r— I d vo x> X! r-l C < cd CO CL' -LI w d CO QJ --I X) ■—i d O u CJ CO D M cd )-l o > cd o jj xd •.a i— i c cd > co cd O CD O J-J -j cd r-l o d CO o Cd r-l P3 cd cj sumasnui jo r- r r job For most museums, charging to enter is not a new policy and, in fact, almost three in four (73%) of the museums with some type of admis- sion charge have had the policy in effect for more than five years, al- though among art and science museums admission charges are more likely to have been introduced in the last five years than among history museums. Effects of Admission Charges More than one in three museum directors (37%) believe that charg- ing admission or asking for a donation decreases total attendance -- or would decrease total attendance, if the museum now has free admission -- to a significant degree, and an additional 21% feel it decreases attendance somewhat. However, among those now charging an admission fee, only 17% report experiencing a significant decrease, and among the small group now asking for a donation the proportion is 26%. A much higher 51% of museums that are now always free believe that charging admission would lead to a significant decrease in attendance. A similar disagreement exists, although not as sharp, over the effect of admission charges on the composition of museums' audiences. Overall, approximately six in ten (59%) feel admission charges would (or did) change the composition of their audiences. A higher 70% of museums that are now free believe the composition would change, and a lower, but still sizeable, 44% of those who now charge a fee and 50% of those who now ask for a donation. However, those who are now charging tend to emphasize positive changes in composition ("keep out those not interested", "keep out loiterers, vandals"), while those now free emphasize negative changes ("deter students, young people, poor, children, family groups, school groups, senior citizens"). Accessibility of Museums A museum's accessibility to the public obviously depends, to a large extent, on the months, days and hours that the museum is open. By definition, all museums in the study were open to the general public on some regular schedule for at least three months of the year and for a minimum of 25 hours per week during at least three months of the year. Eight in ten of the museums meeting these criteria (79%) were open during all 12 months of the year (and a higher 95% of science museums), and only 4% were open less than six months (and a lower 1% each of art and science museums) . Museums that are closed during one or more months are likely to be closed during the winter. At least 97% of the museums are open in May, June, July, September and October, with the drop in August due to the 29% of art museums closed during that month. 567 Science museums, the most likely to be open all year, are also open the most hours per week -- a median of 52.1 hours compared with a median of 46.3 hours for all museums in the scope of the study. Con- versely, art museums are the least likely to be open all year and also have the lowest median number of hours per week, 42.0 hours. Approximately two in three museums (65 %) were open about the same number of hours in 1971-72 as in 1966, and twice as many (24%) were open more hours than were open fewer hours (11%). Only museums with bud- gets of $500,000-$999 ,999 and federal museums have higher proportions that are open fewer hours now than are open more hours, but even in each of these groups the great majorities are open about the same number of hours as in 1966. Practically all museums are open Tuesday through Friday, but on Saturday and Sunday -- when one might expect most museums to be open to accommodate visitors who cannot attend during the work week -- only slightly more than eight in ten (84%) are open. A low 66% of museums are open on Monday, and among art museums the proportion drops to only 45%. Very few museums may be visited after 6 p.m. Only one in five (20%) is open at least one evening a week, but a higher 37% of art museums and 28% of science museums have evening hours at least once a week. Edu- cational institution museums are also more likely to be open in the eve- ning (32% are open at least one evening) than government museums (18%) or private non-profit museums (19%). For the museums that are open in the evening, Tuesday through Friday is again the most popular period, with fewer museums open on Satur- day, Sunday or Monday evenings. Lack of funds for staff, particularly security, is the over- whelming reason given for not opening in the evening (mentioned by 72% of museums that do not open after 6 p.m.), followed by expected low attendance and no demand (24%). The same reasons predominate among the more than a third of museums (35%) that actually tried opening during the evening and stopped. Forty-six percent of those museums cited lack of funds for staff, particularly security, and 43% low attendance, no demand. PERSONNEL The 1,821 museums are staffed by more than 30,000 full-time per- sonnel. In addition, approximately 19,000 part-time personnel work in the museums and 64,000 volunteers contribute their time and services. The largest proportion of full-time personnel (45%) work in the operations and support area, followed by administration (23%), curatorial, display and exhibit (17%), education (9%), and research (6%): 568 DISTRIBUTION OF FULL-TIME PERSONNEL BY JOB CATEGORY 560 The proportion of full-time permanent personnel in administration decreases as size of operating budget increases, while the proportion in operations and support increases; the proportions of personnel in curatorial/ display/exhibition and in education do not vary, however, with museum size. Art museums and science museums, reflecting their generally larger size, have somewhat higher proportions of operations and support personnel than other museum classifications, and this higher proportion is offset in science muse- ums by a lower than average proportion of administrative full-time personnel and in art museums by a lower than average proportion of research personnel. Municipal-county museums also have a significantly higher proportion of oper- ations and support personnel than other governing authorities, with a cor- respondingly lower proportion of other categories of personnel. The size of museums is also a key determinant in the proportion of total full-time permanent personnel. The under-$50,000 museums, which account for 44% of the museums have only 9% of the full-time personnel, while the 5% of museums that have budgets of $1,000,000 and over employ 45% of the full-time personnel . Characteri sties of Full-Time Employees Almost two out of three (63%) of full-time personnel are men. unly in the administration and education areas do women outnumber men, and that is only because of the high proportion of women in non-professional jobs (84% and 75%, respectively). Approximately eight in ten full-time staff members (82%) are white, and among professional positions the proportion of whites rises to 91%. Only one in six full-time staff members is a member of a union, and union members are predominantly in the operations and support area. The average salary of all full-time personnel was $8,500 -- with professionals receiving an average of $11,500 and non-professionals an aver- age of $6,800. Research professionals and administration professionals have the highest average salaries ($13,100 for each group), and educational non- professionals the lowest ($5,800). Budget size is the clearest determinant of salary levels, with much higher salaries in the largest museums, an average of $9,300 in the $1 ,000,000-and-over museums compared with $6,300 in the under-$50,000 group. The highest salary levels of any governing authority for both pro- fessionals and non-professionals are found in federal museums, professionals receiving a top average of $16,500 and non-professionals $8,500. Federal museums also almost unanimously offer employees health and medical insurance, life insurance and retirement or pension plans, while private non-profit museums tend to be lowest in providing such fringe benefits. 570 Minority Employment in Professional Positions The proportion of blacks (3%) and other minority groups (3%) in professional positions is far below the national proportions of these groups, and directors were questioned about special efforts to broaden minority employment in professional positions and the adequacy of current minority representation in these positions. One in four museums (25%) has made such special efforts during the past four or five years, but this proportion increases dramatically with size from 16% of the under-$50,000 museums to 67% of the $1,000,000- and-over group. Government museums (33%) -- especially federal museums (69%) -- and educational institution museums (36%) are significantly more likely to have made special efforts than the private non-profit museums (19%). However, directors were evenly divided on whether their museum had adequate representation of minority groups on the professional staff. Forty-four percent feel representation is adequate, 45% feel it is not (and 11% are not sure). Those categories that are most likely to have made special minority hiring efforts also tend to be less satisfied with their minority representation; this is clearly seen in differences among budget sizes, where the 52% of the smallest museums feeling minority rep- resentation is adequate declines to 33% of the largest. Senior Personnel The senior personnel of museums -- including the director and those staff members with the highest levels of responsibility just below the director -- are more likely to be white than all full-time personnel, with 96% of senior personnel white, 2% black, and 2% other ethnic groups. The proportion of white rises as high as 98% in history museums and 99% in state museums. The proportion of men among the senior personnel is at the same high level -- 62% -- as it is for total full-time personnel, but as museum size increases, the proportion of women in senior positions drops precipitously, with only 8% of senior personnel being women in the largest museums. Government museums are the least balanced, especially federal museums in which senior personnel are 79% male, the highest of any governing authority. The average annual salary of the senior personnel is $10,600. Among classifications, senior personnel in science museums earn a higher average of $13,200, compared with the low $8,500 in history museums. The average salary increases with museum size, from $6,700 in the small- est museums to $23,900 in the largest. 571 Salaries of men in senior positions are clearly higher than those of women, with the average salary of $12,900 for men compared with only $6,900 for women. A sharp difference is seen in each budget cate- gory, and in the $1 ,000,000-and-over museums senior personnel who are men earn an average of $24,700, but those who are women earn an average of only $15,100. Two out of three (65%) senior personnel have college degrees, and approximately one in three (32%) has received a master's or doctorate. Art museums have the highest proportion of senior personnel with advanced degrees (45%), but science museums have more individuals with doctorates (16%) than any other classification. In addition, senior personnel have an average of almost 13 years of experience in museums or related work, the average number of years of experience rising to 14.4 in science museums. Again budget size is a major factor. In each of the three major classifications, the average experience increases with the size of museums, and in science museums of $500,000 and over is a high 18.2 years. The Museum Director Museum directors are almost exclusively white, only 1% being black and less than 0.5% any other ethnic group. There are a significant number of non-white directors only in federal museums (9% black) and pri- vate educational institution museums (4% black, 3% other). Almost three in four directors (72%) are men, the proportion rising to at least nine out of ten in science museums and museums with budgets of $100,000 and over. The average annual salary of directors is $14,100. Art and science museums directors have higher average salaries of $16,600 and $17,900, respectively, but this is primarily a result of their being generally larger than other classifications. Size is the most important determinant of salary, and directors in the largest museums earn an average $33,200 compared with an average annual salary of $9,000 in the smallest museums. Again, men earn significantly more than women: male directors receive an average of $16,000, women an average of $8,800. Almost eight in ten directors (77%) are college graduates, and approximately half have advanced degrees (33% master's degree, 16% doctor- ate). Again, size is a factor; the proportion of directors with advanced degrees increases from 36% in the smallest museums to 72% in the largest. Directors have an average of almost 17 years of experience in the field, and have held their present jobs an average of just over eight years. Art/history museum directors have the longest job tenure (11.2 years) and directors of "other" museums the most experience (20.6 years). Despite the relatively high average length of experience, more than one in four directors (27% are under 40 years of age, with an overall average 572 age of 48.8 years. The youngest directors are, on average, in art museums (44.7 years) and the oldest, by a slight margin, in art/history museums (50.9 years) Functions and Responsibilities of Museum Directors In the directors' own descriptions of the functions of their posi- tion, administration and office work was cited most often (50%), followed by a catch-all "complete responsibility for everything (44%). "Responsible for maintaining relations with the community or city" ranked third (40%) and "supervising staff" fourth (34%). The first function which clearly focuses on the subject areas of a museum -- "construction and display of exhibits" -- was fifth, mentioned by 30% of directors. It is, however, con- sidered as important as administration and office work in art museums (45%), and in educational institution museums it ties with "acquisition of collec- tion" (44%) for first place. Other functions mentioned included liaison with trustees, organizing service activities, research, fund raising, etc. In choosing from a list of activities those they felt should be their most important responsibility, directors chose, by a large majority of 62%, administrative and staff responsibilities. It was followed, at a weak second of 20%, by "policy and planning for collections and exhibitions". Even lower percentages selected "work on collections and exhibitions" (6%), "dealing with trustees, advisory committee" (5%), "work in own museum- related specialty" (4%), "fund raising" (2%) and "personal participation in community activities" (less than 0.5%). When asked how much time they actually spent on the activities listed, directors indicated that they are generally spending the most time on those areas which they feel should be the most important. Eighty-four percent of directors, for example, spend a great deal of time on adminis- trative and staff responsibilities (and another 14% some or little time), followed by 53% who spend a great deal of time on policy and planning for collections and exhibitions (and another 43% some or little time). The Need for Additional Staff Most museums in the United States reported a need for additional staff. Sixty-one percent of museums indicated that more staff was needed in the curatorial/display/exhibit area, especially exhibition/display staff, curatorial staff, cataloguers and conservation/preservation staff. The need for education staff was expressed by 57% of museums, with instructors and teachers being the primary needs in this area. The 53% of museums which need more operations and support personnel most often specified security guards and custodians and other building mainte- nance personnel. Public relations and publications staff, cl erical /secre- tary staff, librarians and financial officers/business managers were the primary needs of the 52% of museums which felt that the administration staff was not adequate. More research staff is needed by 47% of museums, with no specific areas within research dominating. 573 Adequacy of Staff Training and Salaries The training of the current staff is generally considered to be adequate, but staff salaries are felt to be inadequate in most museums. For every job category, a significant majority of all museums with full- time personnel primarily assigned to that job category feel the training o'" the staff is adequate, ranging from 72% in operations and support to 87% in administration. At the same time the proportion that feel salaries are adequate ranges only from 42% for administration (which had the highest level of training adequacy and consequently the largest gap of 45 percentage points) to 58% for research. By job category this gap between training adequacy and salary adequacy was smallest in operations and support (24 per- centage points) and research (23 percentage points). The sense that lack of training is not a major problem was re- flected in the fact that only 34% of directors felt that any job categories would be difficult to fill because of a lack of trained or experienced per- sonnel. Also, only 27% of museums have formal programs for the in-service training of their own staff, and only 14% have any formal planned programs specifically designed for training museum personnel other than their own staff. Part-time Employees and Volunteers More than eight in ten (84%) of the museums employ part-time per- sonnel numbering 18,700 in all, nearly half of whom (48%) work in the oper- ations and support area (almost exactly the same proportion as for full-time personnel). More than one in four (27%) work in the education area, while relatively few work in administration (10%), curatorial/display/exhibit (10%) or research (5%) . There are 64,200 volunteers contributing their services, and they are found in 60% of the museums (and a higher 72% of private non-profit muse- ums compared with 41% of government museums). A slim plurality (38%) of volunteers are in education, closely followed by operations and support (37%). Sixteen percent of the volunteers work in administration, 7% in curatorial/ display/exhibit and only 2% in research. BOARDS OF TRUSTEES Approximately three of every four museums (76%) have a board of trustees or similar equivalent body. As would be expected, it is among the private non-profit museums that boards are most prevalent, and in fact almost all private non-profit museums (93%) do have boards, compared with 59% of government museums (and a low 23% of federal museums) and 40% of educational institution museums. 574 Men far outnumber the women as members of boards of trustees. Seven out of ten (69%) of the trustees are male, with the percentage of men rising with increases in museum size to 82% of the $1,000,000 and over museums. Only 3% of trustees are non-white, with no significant differ- ences by categories of museums, and approximately one-half are 50 years of age and older. Almost one in four (24%) is a business executive, with an additional 7% being bankers, accountants or financial experts, and another 7% lawyers. Representativeness of the Boar d In questions relating to the representativeness of the board in terms of community groups, minority groups, blue collar workers, youth, etc., directors of three out of five museums with boards (59%) felt that broaden- ing the board's representativeness is generally a good idea. The most prev- alent reasons given were the importance of having a broad representation of people the museum serves, the fact that diverse opinions and viewpoints broaden the range of interests of the board, and that a good cross section better serves the varied needs of museum visitors. On the other hand the directors who believe that broadening the board's representativeness was a bad idea primarily felt that specialized knowledge needed for operations of the museum must take precedence and that people in question lack qualifications or experience. Most museums have not made any changes in the last five years to broaden the representativeness of the board. Approximately one in three of the museums with boards (35%) has made such changes, these changes center- ing on adding members from minority and ethnic groups, youth and women. Although a slight majority of the directors of museums with boards (56%) believe the board of trustees has adequate representation, a substan- tial 44% said the board does not have adequate representation. Among this latter group, only slightly more than one in three (38%) have plans to make changes to broaden the representativeness, these plans primarily directed towards increased representation of minority groups. Selection of Trustees The most prevalent reasons given for the selection of the current board of trustees — aside from the broad and all-encompassing one that the trustees had shown significant interest in the museum aside from contri- butions -- was the fact that they were expert in administrative areas of value to the museum (a reason in 72% of the museums with boards). The abil- ity of trustees to raise or contribute funds was given as a reason by approx- imately one-third of museums, and the percentage of the private contributions that are made by the trustees is substantial. Directors reported that an average of 16% of the nrivate contributions made to their museums was received from the trustees. 575 The committees and officers of the board have the greatest in- fluence in the selection of new trustees, especially the nominating com- mittee, the chairman of the board, and the executive committee -- all of which are influential in selecting new members in at least eight out of ten museums in which they exist. Other major influences are the director (at least some influence in 73% of museums with boards), the membership of the museums (59% of museums with members) and the advisory committee (51% of museums with such a committee). The actual methods of nominating and electing vary greatly, but in the majority of museums trustees are nominated or recommended by the nominating committee (41%), the board (12%) or the chairman of the board (1%), and the actual appointment or election is also done primarily by the board (37%) or its chairman (5%). However, the membership of the museum elects new trustees in a substantial 27% of museums with boards. Length of Service of Trustees Three major factors in the length of time a trustee serves are: whether a specified term is set, how long that term is, and whether a trustee can serve more than one consecutive term. In four out of five museums with boards (79%), some sort of specified term is set, the most popular length being three years. Furthermore, in 72% of museums with boards, trustees can serve two or more consecutive terms, and in 44% of those museums trustees actually do serve as long as they wish or are able. Nevertheless, only one in ten of the current trustees (9%) has served more than ten years. In addition to the financial areas which have traditionally been considered a major board responsibility, trustees are, in the evaluation of the great majority of directors (83%), involved to approximately the right extent in the non-financial programming decisions relating to ex- hibitions, collections and acquisitions. However, although directors of almost two- thirds of the museums with boards (62%), felt the board was very well informed on the financial situation of the museum, only 47% felt trustees were very well informed about programs and operations. Decision-making Mix The division of responsi bi 1 ity between the board, its officers and committees and the director and staff were determined for seven major types of decisions. The final decision for determining the annual budget of the museum was made by the board in 64% of museums that have boards and that make such decisions, compared with only 21% in which the director/staff has the final responsibility. (In 15% of the museums responsibility for the final decision lies elsewhere, such as a government agency, etc.) 576 Deciding how much to spend from the endowment is even more clearly a decision of the board, with the final responsibil ity being the board's in 86% of museums. In more than half the museums that have boards and that make such decisions, the final responsibility lies with the board in deter- mining capital improvement needs and organizing capital drives (71%) and making financial judgments on major acquistions (57%). However, the di rector/staff has the final responsibility in almost three in four muse- ums (73%) for making quality judgments in selecting objects for acquisi- tion. The planning of major exhibitions is even more decisively a decision of the director/staff, which has final responsibility in 79% of the responding museums. In almost two out of three museums (63%) the director/staff also has final responsibility for setting staffing require- ments. In all these decisions there is a great deal of interlocking in- volvement of responsibility. Nevertheless, the major responsibilities of the boards do seemingly lie in the financial areas, while matters pertain- ing to the collection and exhibitions are more in the hands of directors and staff. FACILITIES The physical facilities of a museum -- its buildings and space, galleries, storage areas, offices, classrooms, etc. -- determine, to a great extent, just how well it can fulfill its purposes and serve its public. The primary facilities of most of the museums in this country (51%) are at least two decades old, and one in five has primarily facilities more than half a century old. However, the majority of museums have also constructed or acquired separate facilities, and in the great preponderance of cases this construction or acquistion occured since 1950. In addition 41% of museums (excluding historic sites) have made major additions to facilities and 47% have completed major renovations. The adequacy of the facilities was examined, with special atten- tion given to the exhibition and storage areas. The adequacy of ten aspects of each was rated by museum directors on a scale ranging from "fully ade- quate" through "somewhat adequate" and "fairly adequate" to "not ade- quate". The ten aspects were: available interior space, available exterior space, lighting, protection against fluctuation and extremes of temperature and humidity, protection against air pollution including dust and gases, pro- tection against mold and mildew, protection against pests, protection against fire, protection against theft, and protection against vandalism. 577 Except for available exterior space, a minor consideration in most museums, less than half of the museums for which the items were applicable rated any aspect of exhibition or storage space as fully adequate. In the exhibition area, available interior space was considered fully adequate by less than three out of ten museums (28%). Interior ex- hibition space seems to be an especially critical problem in science museums a low 20% felt interior exhibition space was fully adequate, and even includ ing those that felt interior space was somewhat adequate brings the propor- tion to less than a majority of 44%. In the exhibition area, a low 23% of museums felt protection against vandalism was fully adequate, while a fully adequate rating was given by less than four in ten museums to protection against theft (32%), protection against air pollution (33%), protection against fluctuation and extremes of temperature and humidity (34%), and protection against mold and mildew (39%). In the storage area, available interior space was again a major problem with only 26% of museums with interior storage space rating it fully adequate. The aspects of the storage area rated fully adequate by the next smallest proportions of museums were protection against fluctuation and ex- tremes of temperature and humidity (32%) and protection against air pollu- tion (34%). In addition to exhibition and storage areas, the existence of or need for other types of facilities was determined. The greatest need was expressed for facilities for the preservation, restoration or reconstruction of the collection, with 33% of museums needing such facilities. Almost equally as great a need was expressed for separate exhibitions or galleries for children (32%) and for an auditorium/theatre (a like 32%). Classrooms, lecture rooms and studios were also high on the list of needed facilities (29%), and at least one-fifth of museums need a workshop (24%), members' facilities (22%), public parking (20%), a field research station (20%), and a separate laboratory operation (20%). The facilities for the preservation, restoration or reconstruction of the collection was also the item which the smallest proportion of museums that have such facilities (28%) felt to be fully adequate. Less than four in ten museums that had such facilities rated classrooms, lecture rooms and studios (34%) or a library (38%) as fully adequate. FINANCES AND BUDGET Income The museums within the scope of this study received $513,341,000 in total income in fiscal 1971-72. Sixty-three percent of this amount was 578 received as income from the private sector* and 37% as support from the public sector. However, almost two-thirds of the support from the public sector was given to government-run museums. Income from the private sector totaled $326,745,000, the sources of which were: -- private support*, $109,290,000 (21% of total income). This includes contributions and donations from indi- viduals, corporations and foundations, membership funds, allocations from colleges and universities, and amounts raised by affiliated organizations and United Funds. -- operating revenues, $150,090,000 (29%). This in- cludes such earned income as admission fees, tuition, sales from museum shops, revenues from parking lots and restaurants, etc. -- non-operating revenues, $67,365,000 (13%). This amount represents income and gains or losses on investments reported as part of current funds. Support from the public sector totaled $186,596,000, including all funds received directly from local, state and federal governments. Sixty-three percent of this support from the public sector -- $118,138,000 -- was received by municipal -county , state and federal museums. Approximately one-third -- 34% or $63,341,000 -- went to private non-profit museums, and a low 3% -- $5,117,000 -- to educational institution museums. Furthermore, support from the public sector accounted for a high 78% of the total income from all sources that was received by government museums (and for an even higher 89% of total income received by federal muse- ums). Public support accounted for only 19% of the income to private non- profit museums; educational institution museums received only 18% of total income from public support, with private support alone accounting for more than half (58%) the total income of educational institution museums. (However, a considerable part of funds that the public educational institution museums received in allocations from the educational institutions were in turn received from government sources, particularly state governments, and therefore puLlic sector support of educational institution museums was certainly greater in terms of both direct and indirect support.) *" Income from the private sector" refers to private support, operating revenues and non-operating revenues combined; "private support" refers to contributions, memberships, allocations from colleges and univer- sities, and amounts raised by affiliated organizations and United Funds . 579 SOURCES OF TOTAL INCOME TOTAL MUSEUMS ($ 513 , 341 , 000 ) Operating revenues 37% INCOME f^OM THE PRIVATE SECTOR Private support \ 26 % / / / SUPPORT FROM THE PUBLIC SECTOR / \ 19% / Non-operating revenues 18% PRIVATE NON-PROFIT MUSEUMS ($ 333 , 360 , 000 ) 580 SOURCES OF TOTAL INCOME (continued) GOVERNMENT MUSEUMS ($ 152 , 232 , 000 ) Private support 58% / ✓Operating / revenues INCOME FROM THE PRIVATE SECTOR 9% SUPPORT FROM THE PUBLIC SECTOR 18% EDUCATIONAL INSTITUTION MUSEUMS ($ 27 , 749 , 000 ) 581 Among the classifications of museums, those in the "other" clas- sification received a high 59% of their income from the public sector, followed by history museums (48%) and science museums (44%), compared with a lower 21% of income derived from the public sector by art museums and an even lower 11% by art/hi story museums. Although public support was the largest single source of income in the history and the science museums, a substantial 30% of income in each classification was derived from operating revenues. Art museums received the largest portion of total income from private support (32%), and art/history from operating revenues (a high 61%). Most of the support from the public sector went to government museums, with smaller amounts to private non-profit museums. Thus, the 39% of science museums that are government-run received 60% ($40,783,000) of the total public support of $67,845,000 to science museums. Similarly, in the classifications receiving the next highest amounts of public support, "other" museums received $47,213,000, 71% of which ($33,435,000) went to the 41% of "other" museums under a local, state or federal government, and history museums received $33,203,000, 78% of which ($25,987,000) went to the 44% government-run. An even sharper difference is seen in the art classification, where $15,691,000, or 48% of total public support of $32,528,000 went to the only 10% that are government museums. Specific Sources of Private Support Of the total amount of $109,290,000 received in private support, $50,123,000 (45%) was contributed directly by individuals in donations, membership, etc., $6,322,000 (6%) by corporations, and $22,676,000 (21%) by foundations, with the remaining private support being derived from inter- mediate fund-raising sources such as United Fund organizations, special fund- raising events or the parent college, university or school. Contributions from individuals accounted for a high 65% of private support of history museums, compared with 46% of private support to art museums and 43% to science, art/history and "other" museums. However, in dollar amounts the $23,191,000 received by art museums from individuals was far higher than any other classification. Similarly, the $11,905,000 received by art museums from foundations was a greater amount than that given by foundations to all other classifications combined. Individuals and foundations were the primary sources of private support (52% and 23% respectively) of the private non-profit museums, while allocations from colleges and universities accounted for 75% of total pri- vate support of educational institution museums. Private support of govern- ment museums was, as noted above, only a minor source of income, and derived primarily from individuals (51% of private support). 582 Operating and Non-operating Revenues The income generated from operations of all museums amounted to $150,090,000, 30% of which was derived from admissions for general and special exhibitions, 26% from sales of articles and material from museums' shops and sales by other means, and 23% from restaurants and parking facil- ities and related activities, with minor percentages coming from admissions to lectures, films, performances, etc., tuition and other program charges, service fees and miscellaneous operations. (Income from shop sales and revenues from restaurants and parking facilities are gross figures which do not indicate the profitability or unprofitability of these operations.) General and special exhibition admissions accounted for more than half of operating revenues in history museums (52%) and for a plurality of operating revenues in science and "other" museums (41% and 36%, respectively). However, sales of articles and materials constituted the largest proportion of operating revenues in art museums (35%). The proportion of operating revenues collected in admissions was higher in government museums (40%), particularly state government museums (60%), than in private non-profit museums (29%) and in educational institu- tion museums (14%). The educational institution museums earned the largest percentage of operating revenues from sales of articles and materials (43%), while private non-profit museums collected a nearly egual 29% from admissions and 27% from sales. Of the non-operating revenues* generated by museums from invest- ments and disposition of investment properties and other fixed assets, in- vestment income accounted for a high 94% with only 6% being derived from the net of gains and losses. Art museums generated more funds from invest- ments than all other classifications of museums combined ($33,310,000 for art museums compared with $29,906,000 for all others). Correspondingly, the overwhelming majority of investment income is earned by private non- profit museums -- $57,028,000 -- with a much lower $3,880,000 earned from investments by educational institution museums and $2,308,000 by government museums . Specific Sources of Support from the Public Sector The dominant source of support from the public sector was local (municipal and county) government. Local government support totaled $90,042,000, 49% of the $186,596,000 received from all government sources. Nearly half (48%) of local support -- $42,993,000 -- went to municipal- county museums, but it is significant that almost as much -- $41,608,000 -- was received by private non-profit museums. *Non-operating revenues discusseo here include only interest income and gains (or losses) on disposition of investment properties and other fixed assets that a’ e reported in current funds. 583 Next in importance, with an overall total of $60,778,000 (32% of all government support), was support from the federal government. All but $13,521,000 of this amount went to federal museums, with private non-profit museums receiving $10,083,000 of that difference. Support from state governments totaled $35,776,000, 19% of total public support. Art museums received by far the largest percentage of their public support from the local government (62%), and science museums and the "other" classification also received more than half their public support from local government (55% and 51%, respectively). History museums derived half their public support from state governments, while art/history museums received a plurality of 41% of public support from the federal government. 584 SOURCES OF SUPPORT FROM THE PUBLIC SECTOR HISTORY MUSEUMS ($ 33 , 203 , 000 ) 585 SOURCES OF SUPPORT FROM THE PUBLIC SECTOR (continued) FEDERAL 29 % STATE 20 % 586 Operating Expenditures Total operating expenditures for museums in 1971-72 were $478,912,000. (This amount does not include extraordinary expenditures, such as acquisitions of collections or acquisitions of land, buildinqs and equipment.) Fifty-nine percent of operating expenditures ($281,842,000) was accounted for by salaries,* fringe benefits and payroll taxes and 41% ($192,070,000) by all other expenditures.** The ratio between payroll expenditures and all other expenditures remained close to 60%/40% in all classifications, with art museums having a slightly lower than average 56% payroll expenditures, and history museums and the "other" classification a slightly higher 62%. Private non-profit museums paid out a lower than average 55% of total operating expenditures in salaries, fringe benefits and payroll taxes, compared with 65% accounted for by payroll expenditures in government museums and 66% in educational institution museums. Comparison of Income and Operating Expenditures The total income in fiscal 1971-72 for all the museums was, as noted previously, $513,341,000 and operating expenditures $478,912,000, resulting in a net income over operating expenditures (before deductions of extraordinary expenditures) of $34,429,000 or 7% of total income. The percentage of income unexpended before deductions of extra- ordinary expenditures ranged from 10% in art museums to 2% in art/hi story museums. However, although 64% of art museums had unexpended income, 23% actually had an excess of expenditures over income for an income gap totaling $6,518,000. (The remaining 13% had a zero balance.) A higher 26% of art/history museums had an income gap (compared with 50% with un- expended income), although the dollar amount was a lower $1,751,000. Among governing authorities, the percentage of unexpended in- come was 6% in private non-profit museums, 8% in government museums and a like 8% in educational institution museums. Sixty-one percent of the private non-profit museums had unexpended income, but a relatively high 28% had an excess of expenditures with an income gap totaling $14,591,000. Only 10% of government museums had an income gap ($419,000) and 46% had unexpended income, while 17% of educational institution museums reported an excess of expenditures ($299,000) and 52% unexpended income before deduction for extraordinary expenditures. *Budget items were collected as gross figures to keep reporting as uniform as possible; netted figures, which have often been used in past reports, would tend to increase the proportion of payroll expenditures. **Differences in accounting procedures made it impossible for museums to itemize expenditures other than payroll in sufficient detail and with sufficient accuracy for analysis of the data on a line item basis. 587 Extraordinary Expenditures From Current Funds The extraordinary expenditures reported from current funds totaled $37,730,000 in 1971-72, $26,386,000 for acquisitions of land, buildings and equipment and $11,344,000 for acquisitions of collections. (These amounts represent only a small portion of total expenditures for acquisitions, most of which were made from funds other than current funds; total acquisitions are described later in the discussion of other funds.) Current Fund Balances The current fund balance at the end of fiscal 1971-72 — calculated by taking the beginning balance, adding unexpended income after operating expenditures, deducting extraordinary expenditures and accounting for trans- fers to or from other funds — was a total of $92,643,000, in all museums, an increase of $5,509,000, or 5%, over the beginning current fund balance of $87,134,000. Current fund balances at the end of the year were higher than at the beginning in art, history and art/history museums, but in each classification transfers from other funds into the current funds were at least partially responsible for the increase, with the largest transfer of $5,001,000 in art/ history museums resulting in only a modest $135,000 increase in the year end balance. Despite transfers of $3,877,000 from other funds, science museums had a net change downward in their current fund balance of $1,450,000. The "other" classification also had a lower year end balance of $1,840,000, but this occurred after a transfer of $2,098,000 to other funds. Eleven percent of total museums ended the year with a negative current fund balance, 59% with a positive balance and 30% with a zero bal- ance. Among classifications, the proportion of museums with a negative year- end current fund balance ranged from 5% of history museums to 21% of art/ history. Thirteen percent of private non-profit museums had a negative bal- ance at the end of fiscal 1971-72, 6% of government museums and 10% of edu- cational institution museums. Funds Other Than Current Funds Forty percent of museums had funds other than current funds with a total balance of $1 ,471,003,000 at the beginning of 1971 -72 and $1 ,549,121 ,000 at the end of the year, an increase of $78,118,000 or 5% for the year. (These funds are, to a large extent, a phenomenon of private non-profit museums only, with private non-profit museums holding 87% of all funds other than current funds. ) Most of this amount was in endowment funds, held by 27% of museums. Endowment funds totaled $886,069,0(50 at the beginning of the year and $933,560,000 at year's end, a rise of $47,491,000 or 5%. 588 Art, the classification with the largest proportion of museums (41%) that have endowments, also had the largest endowment balances, the $484,940,000 at the beginning of the year rising by 4% to $505,660,000 at the end -- more than half the total year-end balance of endowment funds for all museums. Endowment balances at the end of the year totaled $133,909,000 in science museums, $108,050,000 in "other" museums, $107,340,000 in history museums and $78,601,000 in art/history museums; balances were higher at the end of the year in all classifications, the increase over the beginning balance ranging from 3% in science and art/history to 17% in the "other" classification. Similar funds -- those funds similar to endowment funds but which the board of trustees has the discretionary power to dispose of as they see fit -- totaled $429,527,000 at the beginning of the year, increasing by 4% to $447,837,000 at year's end. The majority of the similar funds also were in art museums ($225,669,000 at year's end), followed by science ($117,916,000), art/history ($67,733,000), "other" ($18,605,000) and history ($17,874,000). Similar fund balances rose during the year in every category except science, where the decrease of $1,045,000 was a result of a transfer of $3,092,000 out of similar funds and primarily into current funds. Balances at the beginning of the year in the remaining substantial category of non-current funds -- the unexpended land, buildings, equipment and collection funds -- totaled $136,345,000, increasing by 9% during the year to $148,133,000. Art museums not only had the great majority of these funds ($99,383,000) but also increased the balance by a substantial $10,048,000 to $109,431,000 at year's end. Science museums, on the other hand, had a decrease in such funds of $984,000, with "other" museums also having a de- crease amounting to $402,000. Total Acquisitio ns As noted earlier, acquisitions of land, buildings and equipment from current funds amounted to $26,386,000, and acquisitions of collections from current funds $11,344,000. However, acquisitions were primarily made from non-current funds, from which $36,286,000 was expended for acquisitions of land, buildings and equipment for a total of $62,672,000. Acquisitions of collections from non-current funds amounted to $13,759,000 for a total of $25,103,000. Amounts expended for acquisitions of land, buildings and equipment were far higher than for acquisitions of collections in all classifications except art, in which nearly equal amounts were expended. Acquisitions of land, buildings and equipment in art museums totaled $21,756,000 ($4,421,000 from current funds and $17,335,000 from non-current funds) compared with $20,656,000 for collections ($7,827,000 from current funds and $12,829,000 from non-current funds). These were the highest expenditures for acquisitions made by any classification. The second highest expenditures for acquisitions were made by science museums; acquisitions of land, buildings and equipment totaled 589 $18,081,000 in science museums ($11,307,000 from current funds and $6,774,000 from non-current funds) and acquisitions of collections only $1,524,000 ($1,257,000 from current funds and $267,000 from non-current funds), far below the amount spent by art museums for acquisitions of collections. Endowment Fund Policies In more than half the museums with endowments (56%) at least part of the income from the endowment is restricted as to its use — for example, to support only acquisitions, research, etc. and in 14% of museums with endowments all such income is restricted as to its use. Restrictions on endowments are more prevalent in science museums (74% of science museums with endowments have at least part of endowment income restricted) and art museums (71%), with a high mean of 40% of endowment income restricts in 0 f these two cl assifications . Thirty-seven percent of museums with endowments reported that cur- rently realized capital gains on at least some part of the endowment prin- cipal can be used for current income purposes, including 17% of museums with endowments in which all of the currently realized capital gains can be so used. The proportion of museums in the different classifications that can use capital gains on some part of the endowment principal for current income purposes is relatively even (ranging from 36% to 46%), except for a very low 18% of science museums that can use capital gains in this manner. Directors of 44% of museums with endowments approve of this use of capital gains, the primary reasons being that it provides needed income, is museum policy, is good on a limited basis, and provides greater flexibility and effectiveness. Reasons given by the 27% of directors who disapprove in- clude the fact that capital gains are needed as an inflation cushion, that it would jeopardize the endowment fund or would sacrifice future income, and that they prefer to seek operating income elsewhere. Effects of Financial Pressures Financial pressures have made it necessary to cut back facilities, services or staff in the past five years since 1966 in more than one-in- three museums (36%). The proportion of museums in which financial pressures caused cutbacks was highest among classifications in the art museums (42%), and rose among budget sizes to 52% of the $250,000 - $499,999 museums. Edu- cational institution museums had a similarly high 52%, compared with 33% of private non-profit museums and 36% of government museums in which financial pressures caused cutbacks. The most prevalent types of cutbacks necessary since 1966 were reductions in staff (made by one in four of all museums), cutbacks in building maintenance and reductions in equipment, reductions in the quan- tity and/or quality of publications, and reductions in hours or days open to the public. 590 Not surprisingly, nine in ten museums reported that operating costs had increased since 1966, with the median increase 39%. Higher salaries and inflation were the two main reasons for the increases in operating costs, followed by increase in size of staff, higher cost of materials and equipment, higher cost of maintenance, and expanded programs/ increased activities. Distribution and Adequacy of Current Operating Budget More than half (55%) of current operating budgets of museums was spent in the administration and operations and support areas (28% and 27% respectively). Size was an especially critical factor in the distribution between administration and the operations and support areas. The smaller museums spent more on administration and less on operations and support, but the percentage spent on administration declined steadily as the budget size increased, and in the $1,000,000 and over category 34% was accounted for by operations and support, compared with only 18% for administration. One-fifth of the total museums' budgets (20%) was spent on curatorial/display/exhibit, compared with 15% on education and 10% on research, and these proportions remained relatively even throughout all classifications and sizes. However, in educational institution museums research accounted for a higher 16% and curatorial/display/exhibit a slightly higher 24%, with operations and support dropping to 19%. Two in three museums (66%) reported that the current operat- ing budgets do not enable full utilization of resources, with a median increase of 45% needed for full utilization. A somewhat lower proportion of museums in the art/history classification (55%) have current operating budget levels that do not enable full utilization of resources, but little variation occurs among budget sizes. However, a high 83% of educational institution museums have current operating budgets that do not enable full utilization, compared with 55% of government museums and 70% of private non-profit museums. Among museums with operating budgets that do not enable full utilization, the median increase needed is also highest in educational institution museums (56%). If the needed increases were obtained, half the museums (50%) whose current budgets do not enable full utilization would spend increased funding over the next two or three years for additional staff. Four in ten museums (41%) reported that increases in operating budgets would be spent on exhibitions and displays, and one in five (21%) mentioned educational pro- grams as one of the areas toward which increased funding would go. When directors were questioned about long-term needs and plans over the next five to ten years, approximately half the museums (49%) again mentioned staff as one of the two or three areas in which, if sufficient funds were available, improvements would be made. In second place among the long-term needs was new building/more space (41%) followed by 34% mentioning exhibitions/ display. 59 } A somewhat different emphasis was evident when directors were given a list of 14 areas and asked to rate the seriousness of the need for additional money in each area, on a scale from "very serious" through "serious, but not very serious" and "only somewhat serious" to "not serious at all". More than half the museums (51%) said that the need for additional money for new construction was very serious, followed by 38% rating as very serious the need both for curatorial/display/exhibit staff and programs and for education staff and programs. Although the need for additional money for new acquisitions was considered very serious by only 29% of museums which make acquisitions to the collection, a higher 45% of art museums and 43% of educational institution museums rate this need as very serious. Thirty-seven percent of the responding museums expressed a very serious need for additional funds for climate control for the protection of the collection, 34% a very serious need for funds for security, and 33% a very serious need for funds for conservation. In terms of current operating levels, directors believe that a 46% increase in operating expenditures should be made immediately for climate control, a 48% increase for security and a 58% increase for conservation. Among classifications, the percentage increases needed was consistently lower in all three areas in science museums, while history and "other" museums expressed the need for the greatest in- creases for climate control (51% and 57%, respectively) , art museums the greatest increase for security (56%), and history museums the greatest for conservation (67%). Confidence in Sources of Income in Futur e When directors of private non-profit and educational institution museums were asked how sure they were that income from the various sources would achieve projected levels over the next few years, four in ten museums (40%) which receive private contributions were unsure ("only slightly sure" or "not sure at all") that contributions from the private sector for operat- ing support would achieve projected levels and an even higher 53% were un- sure of restricted contributions from the private sector for specific pro- grams. Even less confidence was expressed in achieving projected levels of government support of general operations and government grants for specific programs, with 69% and 68% of applicable museums, respectively, indicating that they were unsure of such support and grants. Projected earned income was seen as more certain, with only 35% of responding museums only slightly sure or not sure at all of this type of income. However, when the directors of all museums were asked to judge how important various sources of income will be in the future, almost half (49%) felt that the federal government would become increasingly important. Forty-four percent of museums believe individuals will be an increasingly important source of income in the future, while foundations are seen as increasingly important by 38% of museums, state government by 33%, cor- porations by 31%, and local government by 28%. 592 From the museums' viewpoints, the federal government and indivi- duals are the most important factors in providing the support necessary to fulfill their purposes and functions during the coming years. However, although various agencies and departments of the federal government have in recent years increased support to museums, the museums do not seem certain of achieving projected levels in future support from government. Although greater confidence was expressed in future contributions from the private sector, even here two in five museums were doubtful that pro- jected levels would be achieved. As a result, museums seem to be in a difficult position concerning their financial future, seeing an increasing importance in sources of support from which they actually have little con- fidence that necessary funds will be forthcoming. APPENDIX I QUESTIONNAIRE NATIONAL RESEARCH CENTER OF THE ARTS 1270 Avenue of the Americas New York, New York 10020 Study No. A004 0MB 1 28-S72002 FOR OFFICE USE ONLY — DO NOT FILL IN Questionnaire No. 5-6-7-8 FORM 5 (11- October 1972 Approval expires January 1973 Zip Code 12-16 Interviewer's Name: City/Town: County: State: Name of Museum Address City State Zip Telephone Number Name of Person Interviewed Title I am from the National Research Center of the Arts. We are conducting, a national survey of museums for the National Endowment for the Arts, and we would appreciate it if you would answer a series of questions about various aspects of your museum. 1 want to emphasize that any information you give will be held in the strictest confidence and will be released to no one. All data will be released only in aggregate form with no identification of individual museums . Appendix I 4 Section I Qualification CARD I First, I would like to ask you a few questions to help develop a general description of your museum, la. Does your museum have permanent facilities which are open to the general public on some regular schedule? Does have ( 17 ( -1 (ASK lb) Does not have zl (TERMINATE INTERVIEW) lb. (IF "DOES HAVE" IN la) What were the dates of your fiscal year ending in 1972 -- or in December 1971 if your fiscal year is the calendar year? _ to (month) (day) (year) (month) (day) (year) 18 19-20 21 22 23-24 25 lc. It is that fiscal year, which we shall call fiscal 1971-72, to which we will refer throughout the questionnaire, and we would like you to answer all questions in terms of that period. Approximately how many months were your facilities open to the general public on some regular schedule during fiscal 1971-72? Please give the number of months of the facility that is open the longest time. ness than 1 month 1 month 2 months 3 months' 4 months 5 months 6 months 7 months 8 months 9 months 10 months 11 months 12 months (26 ( zl z2 -3_ -4~ -5 . . . . -6 ^7 Z§_ zH -0 -(TERMINATE INTERVIEW) -(ASK Id) Id. (IF 3 MONTHS OR MORE IN lc) During the time your museum was open to the general public on a regular schedule, approximately how many hours per week, on average, was it open? Less than 8 hours .... ( 28 ( 8-24 hours 25-40 hours 41-55 hours 56 hours or more — -(ASK le) —(SKIP TO 2) -5 le. (IF LESS THAN 25 HOURS IN Id) During a ny three-month period of fiscal 1971-72 was your museum open at least 25 hours Der week? Open at least 25 hours per week for 3 months . . . ( 29 ( (ASK 2) Not open 25 hours per week for 3 months -2 (TERMINATE INTERVIEW) 2. (IF 25 HOURS OR MORE IN Id OR le) Does your museum own collections of objects or specimens, or docs it exclusively exhibit materials which are notewned by your museum? Own col lect ion(s)- CO ( -1 (ASK 3a) Exclusively exhibit materials not owned zl (TERMINATE INTERVIEW) - 1 - 5 CARD I 3a. (IF "OWN COLLECTIONS" IN 2) Is your museum non-profit or a profit-making institution? Non-profit ( 31 ( -1 Profit-making -2 3b. Is your museum tax exempt under provisions of the Internal Revenue Service, or not? Tax exempt (32 ( -1 (ASK 3c) Not tax exempt zl (TERMINATE INTERVIEW) 3c. (IF "TAX EXEMPT" IN 3b) Did your museum qualify last year as a publicly supported charity under section 170(b) of the Internal Revenue Code of 1934, as amended, or did your museum not qualify under this section? Qualified (33 ( -1 Did not qualify -2 Not sure -3 4. Does your museum have any paid full-time emoloyee(s) who works a minimum of 20 hours per week and whose field of academic training or special knowledge relates to the major subjects represented in your collection's), or doesn't your museum have any such employee(s)? Has paid full-time employee(s) with special training or knowledge ( 34 ( -1 (ASK 5a) Does not have paid full-time employee (s) with special training or knowledge -2 ~*| No paid full-time employee ~ ~ j— (TERMTNATE INTERVIEW) 5a. (IF "HAS PAID" IN 4) What was the total operating budget for your museum in the fiscal year ending in 1972 -- or in December 1971, if your fiscal year is the calendar year? Please do not include any money spent on major equipment, capital improvement, or on acquisitions for the permanent collection. 5b. What was the equivalent amount for the same period for contributed services for which there is a cc borne by someone else, such as main- tenance, guards, utilities, etc. Do not include volunteers or the value of the premises occupied. (ADD 5a AND 5b FOR TOTAL) Total § 35-43 $ 44-52 $ 53-61 INTERVIEWER NOTE: IF INSTITUTION WAS OPEN FOR: 3 4 5 6 7 8 9 10 11 12 MONTHS DURING FISCAL ’71-72 & TOTAL OF 5a AND 5b M H H H II II II It II II II II II If If II II M II II II II II II It II II II II It II II II II II II II II II II If II II II II II II II II II It II II It II * II II II II II If II II II II II II II II II •I II II II II II II II II II II II II II II II II II II II IS LESS THAN $3,00^ $4,000 $5,000 $ 6,000 $7,000 $ 8,000 $9,000 $ 10,000 $ 11,000 $i2,oooy V TERMINATE 'INTERVIEW IF TOTAL OF 5a AND 5b EXCEEDS ABOVE AMOUNTS, ASK QUESTION 6a - 2 - Appendix I 6 CARD I 6 a. Is your museum an affiliate or department of another institution, society, business or organization? Is affiliate (_62( -l (ASK 6 b) Not affiliate : -2 (SKIP TO 7a) 6 b. (IF "IS AFFILIATE 1 11 ' IN 6 a) IThat is the name and address of this other institution, society, business or organization? Name Address City State Zip Telephone Area Code 7a. (ASK EVERYONE) Which c&s of the descriptions on .this card best describes the empha- sis of your collection(s)? (HAND RESPONDENT CARD "A") 1. Exclusively, or predominantly art (f,i( -1 2. Exclusively or predominantly history TJ 3. Exclusively or preciominantiy science TJ A. Nearly equal emphasis on art and history I 4 " 5. Nearly equal emphasis on art and science TJ 6 . Nearly equal emphasis on history and sciencq Ig" 7. Nearly equal emphasis on art, history and science I 7 7b. Which of the types on this card best describe your museum? (HAND RESPONDENT CARD "B") Please indicate as many as you feel are applicable. ^MULTIPLE RECORD) 1. Aquarium (£^( ~i_ 2. Art association -2 3. Art museum -3 4. Art center. -4 5. Botanical garden -5 6 . Children's museum -6 7. Historic site -7 8 . Single historic structure -8 9. Group of historic structures -9 10. Historical society -Q 11. History museum - x 12. Industrial museum — y 13. Natural history museum ( 65 ( -1 14. Nature center -2 15. Planetarium -3 16. Science and technology museum .... -4 17. Zoo -5 18. Other (SPECIFY) _ . . -6 - 3 - CARD I 8 . Which of the agencies on this card describe(s) your museum's governing authority — that is, the agency or organization which ultimately owns the assets, including collections and installations, but not necessarily the buildings and grounds? (HAND RESPONDENT CARD "C") (MULTIPLE RECORD IF NECESSARY) 1 . Municipal government (f>f> ( ~1 2. County government zL 3. State government ~3 4. Federal government 5. Public school district -5 6. Private elementary or h’gh school -6 7. Public college or university -1 8 . Private college or university -8 9. Non-profit organization adriniaterci ir. the public interest... -9 10. Church or denominational group, or affiliated organization, . . -0 Appendix I 8 SECTION II: Purposes CARDS I, II 1. We would now like to obtain some information on the broad, overall purposes of your museum. What do you feel are the three or four major purposes that this museum serves? ( 70- ( 71- (72- 2a. We would now like you to look at two lists of purposes and functions some other museum directors have indicated are important, realizing that there are necessary overlaps on the two lists. Would you first look at this list of purposes (HAND RESPONDENT CARD "D") and tell me, for each one, if you feel it is a very important purpose of your museum, a some- what important purpose, of minor importance as a purpose, or not a nurpc c e at all? (READ LIST OF PURPOSES, RECORDING ANSWER BELOW FOR EACH PURPOSE) 2b. Which two do you feel are most important? (RECORD BELOW) 2c. Which two do you feel your museum has been most successful in satisfying? (RECORD BELOW) 2d. Which two do you feel the general public thinks are most important? (RECORD BELOW) 2e. And, finally, which two do you feel the Board of Trustees thinks are most important? (RECORD BELOW) 2.i . Sone- Of Not 2c. vliat Ml nor A 2b. Success- 2d. 2o. Very In.por- U’por- Pur- Hoi Most fully General BoarJ of Important Cant lance pose Sui « Important Fn i is f ed Publ ic irusti os 1. Providing aesthetic experience s for the public ■ •ax -i -2 -3 -4 -5 (79: -i eoc -i (12 -i 13 ( -l 2. Providing cnt< rtci r neof to the publi c-(74( -2 -3 -4 -5 -2 -2 -2 3. Providing educct loan). expci icnc°s i for the f»nb Me .( 7S( -1 -2 _ •> - « -3 -3 -3 -3 A. Cont-crving thf cultural and/or scientific heritage -2 -3 -4 -5 -A -A -A 5* Interpreting I he past or present to t lie i-.uMXc • •(271 -i -2 -3 -4 -5 -5 -5 -5 r.iKouraping positive 3ocicl change.. ..(78( -l -2 -3 -5 -6 -6 -6 - Not sure -7' -7 -7 -7 - 5 - 9 CARD II 3a. Would you now look at this list of functions (HAND RESPONDENT CARD "E") and tell me, for each function, if you feel it is a very important function of your museum, a somewhat important function, of minor importance as a function, or not a function at all? (READ LIST OF FUNCTIONS, RECORDING ANSWER BELOW FOR EACH FUNCTION) 3b. Which two do you feel are most important? (RECORD BELOW) 3c. Which two do you feel your museum has been most successful in satisfying? (RECORD BELOW) 3d. Which two do you feel the general public thinks are most important? (RECORD BELOW) 3e. And finally, which two do you feel the Board of Trustees thinks are most important? (RECORD BELOW) Some- Not 3c. what Minor a 3b. Success- 3d. 3e . Very Impor- Impor- Func- Not Most fully Genera 1 Board of Important tant tance t ion Sure Important Sa t is f led Publ ic Trus tees 1. Acquiring works or specimens.. 2. Exhibiting the cultural and/or (14( *1 -2 -3 -4 -5 (24( -l 123 -i 26 ( -i <27( -l scientific heritage 3. Serving as a center for comnun- (15( -i -2 -3 -4 -5 -2 -2 -2 -2 ity activities (16( -l -2 -3 -4 -5 -3 -3 -3 -3 4. Rendering assistance to smalle museums (17C -l -2 -3 -4 -5 -4 -4 -4 -4 5. Conducting research (18( -1 -2 -3 -4 -5 -5 -5 -5 -5 6. Providing a scholarly and information resource OJX -l -2 -3 -4 -5 -6 -6 -6 -6 Providing Instruction to the young C2.0C -l (lw -i " -2 -3 -4 -5 -7 -7 -7 -7 S. 'Xraii'iir.g mus-.-um professionals. -2 -3 -4 -5 -8 -8 -8 -8 9. Attracting tourists to the (2 2c -l conmunitv .• -2 -3 -4 -5 -9 -9 -9 -9 10. Conservation ;-nd pivsei- l vation of objects (23: -i -2 .7 • ^ — - 5 — -0 — -°I “=°| TO Not sure . . 1 * x 4a. Because of financial pressures, have you found it necessary to make any cut-backs in facilities, services or staff over the past 4 or 5 years -- since about 1966? Has been necessary to make cut-backs ... (28 ( -1 Not necessary to make cut-backs -2 Not sure -3 } (ASK 4b) (SKIP TO SECTION III) 4b. (IF "HAS BEEN NECESSARY TO MAKE CUT-BACKS" IN 4a) What type of cut-backs have been necessary since 1966? Any others? (29- (30- 4c. Specifically, because of financial pressures have you found ITEM ON LIST) over the past 4 or 5 years -- since about 1966? WITH LIST) Have it necessary to (RECORD BELOW AND Have Not Done Done (READ FIRST CONTINUE Never a Museum Activity 1. Reduce hours open to the public . . . (31( -1 -2 2 . Close part of facilities open to the public ...(3?( -1 -2 3. Cut back in the number of professional staff ...(33 ( -1 -2 4. Cut back in the number of non-professional staff.... . . . (34 ( -1 -2 5. Reduce quality a nd/or quantity of publications ...( 3 *( -1 -2 -3 6. Reduce maintenance and repairs below adequacy -1 -2 -3 7 -i -2 -3 8. Reduce services to researchers and scholars • - - ( 38 C -1 -2 -3 - 6 - Appendix I 10 CARD II Section III: Management and Personnel Now I'd like to ask you a few questions about (yourself /the executive director), and some of the other key people in the museum. 1. First, would you briefly describe the major functions of (your/the executive director's) position? i ( 42- < 4 > 2a. Now, would you tell me those who are at the level just below the top — that is., the titles of the most senior positions other than (yours/the executive director's)? By senior, we are referring to senior in responsibility, not in longevity. A. B. C. D. E. x'44- F. (45- 2b. (IF MORE THAN THREE POSITIONS NAMED IN 2a) For reasons of time, we would like to concen- trate on just three of these positions. Which three do you feel are the most important to your museum? 46- A. (47l 48- B. (49-_ .50- C. (ill - 7 - 11 2c. (ASK EVERYONE) Would (FIRST POSITION NAMED IN CONTINUE WITH LIST) CARD II you briefly describe the major responsibilities or lunctions of the 2b, OR IN 2a IF THREE OR FEWER POSITIONS NAMED)? (RECORD BELOW AND A. ( 52- (53- B. ( 54- (53- C. ( 56- ( 57- INTERVIEWER: ASK FULL SERIES OF NEXT POSITION. QUESTIONS 3- 10b ABOUT EACH POSITION BEFORE GOING ON TO THE Executive Sr. Posi Director t ion A Sr. Posi-|Sr. Posi- tlon B tior, C 3. How long has the ( )held his/her position at this museum? less than 1 year 1 year 2 years 3 years 4 years 3 years 6 years 7 years 8 years 9 years ».. 10- 14 years .... 15-19 years . . . . 20-24 years 25-29 years .... 30 years or more Not sure 4. What is the highest grade of school that the ( ) has completed? 8th grade or less Some high school High school graduate .. Some college 2-year college graduate 4-ycar college graduate Postgraduate (Masters). Postgraduate (Doctorate legal and medical).. Not sure , including -8 - 8 - Appendix I 12 5a. Has the ( ) had any formal edu- cation that directly relates to his/her job? Has had (ASK 5b) Has not. Not sure 5b. (IF "HAS HAD" IN 5a) Would you please describe this formal education? 3 (SKIP TO 6) 6. (ASK EVERYONE) How many years of ex- perience, including the present position, has the ( ) had in museum work or other work -- either at this museum or at some other place -- which directly relates to his/her current job 6 7 Include the number of years in the current job. 1 year 2 years 3 years 4 years 5 years 6 years 7 years 8 years 9 years 10-14 years 1 5-19 years 20-24 years 25-29 years 30 years or more Not Sure CARD II, III 13 CARD III 7 . In what age group is the ( )? (HAND RESPONDENT CARD "F") Just call off the letter sf the category that applies. If you don't know for certain, please estimate. Executive Director Sr. Posi- tion A Sr. Posi t ion B A. Under 25 B. 25-29 C. 30-34 D. 35-39 E. 40-44 F. 45-49 G. 50-54 H. 55-59 I. 60-64 J. 65-69 K. 70-74 L. 75 and over 8. What is the sex of the ( )' Male .. Female . . I ’" c — * a full-time paid employee whc ^ S _!_T- nimUm 0f , 20 h0urs P er a part-time ^ or a part- paid employee, a full-time volunteer’ time volunteer’ ’ Full-time paid ... Part-time paid J (iSK 9b > Full-time volunteer *> . Part-time volunteer ' (SK1P T0 10a) 26 ( (30 ( 27 ( (31 ( 28 ( (32 ( 9b. (IF PAID EMPLOYEE IN 9a) In what cate- gory is the ( )’s annual salary before taxes for services performed for this museum? Just call off the letter of the cate- gory that applies. (HAND RESPONDENT CARD "G") A. Under $2,500...., B. $2, 500- $4 , 999 ... C. $5,000-$7,499 D. $7,500-$9,999 E. $10, 000-$14 , 999. F. $15,000-$19, 999. , G. $20, 000- $24 , 999. , H. $25, 000-$29,999 I. $30,000-$34,999. J. $33,000-539,999. K. $40,000-$44,999. L. $45,000-549,999 M. $50,000-559,999 N. $60,000 and over i6( - 32 L Sr. Posi tionC 25 ( -1 29 ( - (33 ( < 4 £( ' (£l( - 10 - MHV! >! O'OCOslOMlni'UMH -P* W N> t-» NJt-* X OiOCOMO'Vf-UN Appendix I 14 10a. ( 10b. (ASK EVERYONE) To what ethnic group does the ) belong? Executive Sr. Posi Director tion A White (42( Black/Negro Spanish American (Puerto Ricai\Mexican, Latin American) American Indian Oriental Other Is the < ) a member of a union, or not? Is member of union. . Not member of union Not sure ( 46 ( -1 '-2 "-3 '-4 '-5 '-6 -1 (43 ( (47 ( -1 "-2 '-3 '-4 '-5 "-6 -1 card *: Sr. Posi- tion B (44 ( -1 -2 -3 -4 -5 -6 (43 ( -1 -3 I Sr. Po s 1 - tion C (45 ( -1 -2 -3 -4 -5 -6 (49 ( -1 -2 -3 (NOW GO BACK TO Q.3 FOR SENIOR POSITION A, THEN B, THEN C) 11a. Of this list of activities (HAND RESPONDENT CARD "H"), which one activity do you feel should be the most important responsibility of (yourself/ the executive director)? (RECORD BELOW) lib. And which one do you feel should be the second most important responsibility of (yourself/ the executive director)? (RECORD BELOW) 1. Fund raising 2. Dealing with trustees (or advisory committee if there is no Board) 3. Administrative and staff responsibilities 4. Policy and planning for collections and exhibitions. 5. Work on collections and exhibitions 6. Work in your own museum-related specialty 7. Participation in outside professional organizations. 8. Own personal participation in community activities.. Not sure (50 ( -1 lib. 2nd Most TmnnrtHnL (51 ( -1 11c. We would like to know how much of (your/the executive director's) time is actually devoted to these activities. How much of (your/the executive director's) time is devoted to (READ FIRST ITEM ON LIST) -- a great deal o f some but not a lot, only a little, or no time at all? (RECORD BELOW AND CONTINUE WITH LIST! 2. Dealing v;ith trustees (or advisory committee if Work in your own museum-related specialty. So. re, No Great ’nO t c* t'iil" a T ime No t Deal rot Little At All So re (52 ( -1 -2 -3 -4 -5 (53 ( -1 -2 -3 -4 -5 (54 ( -1 -2 -3 -4 -5 (55 ( -1 -2 -3 -4 -5 (56 ( -1 -2 -3 -4 -5 (57 ( -1 -2 -3 -4 -5 (58 ( -1 -2 -3 -4 -5 (5±( _1 -2 -3 -4 -5 15 CARD III lid. Now we would like to obtain some information on all the other museum personnel. First we would like to find out how many employees and volunteers there are in various categories, but to make it more convenient for you I will leave a form on which these numbers can be entered at a later time. I will pick the form up when I return for tie second phase of the interview. 12a. We would like you to think about the staffing of your museum in terms of the various departments or areas that most closely correspond to the categories listed on this card. (HAND RESPONDENT CARn "I") Do you have enough staff in (READ FIRST ITEM ON LIST) to meet the present needs of your museum, or not? (RECORD BELOW AND CONTINUE WITH LIST) 12b. (FOR EACH AREA "NOT ENOUGH" IN 12a) In which particular job areas in ( area "not enough" in_12a) could you use more staff? Any others? (RECORD BELOW FOR EACH APPLICABLE AREA) 12a. Not Not Enough Enough Sure 12b. Job Areas A. Administration (^q( -1 -2 -3 (65- B. Curatorial/ Exhibition (.61. ( ”1 -2 -3 (67- (EEF C. Education (~62( -1 -2 , -3 (69- (-7tr D. Research *((Ll( ”1 “2 "3 (71- (72- E. Operations and Support (64.( ”1 “2 -3 ( 73- Appendix I 16 CARD III, IV 13. (ASK EVERYONE) Aside from the top level staff whom we have already discussed, do you have any full-time staff primarily assigned to administration? Have full-time staff.... (_L5( "1 (ASK 14a) No full-time staff -2 (SKIP TO 16) 14a. (IF "HAVE FULL-TIME STAFF" IN 13) In general, do you feel that the academic and/or other training of the administrative staff is adequate to your museum's needs, or not? Adequate . . . (_76( -1 (SKIP TO 13a) Inadequate -2 (ASK 14b) Not sure. -3 (SKIP TO 15a) 14b. (IF "INADEQUATE" lit 14a) For which particular administrative job areas do you feel better academic or other training would be helpful? Any others? (RECORD BELOW) 14c. (FOR EACH JOB AREA MENTIONED IN 14b) What kinds of training would be most helpful for (a rea mentioned in 14b )? (RECORD BELOW) kind of people your museum needs? Adequate (12( -1 (SKIP TO 16) Too low -2 (ASK 15b) Not sure -3 (SKIP TO 16) 15b. (IF "TOO LOW" IN 15a) In which particular administrative job categories do you feel there is the greatest need for higher salaries? Any others? ( 13- (]4j_ 16. (ASK EVERYONE) Aside from the top level staff previously discussed, do you hove any full-time staff primarily assigned to curatorial/exhibition? Have full-time staff (1_3_( -1 (ASK 17a) No full-time staff -2 (SKIP TO 19) - 13 - 17 CARD IV 17a. (IF "HAVE FULL-TIME STAFF" IN 16) In general, do you feel that the academic and/or other training of the curatorial/exhibition staff is adequate to your museum's needs, or not? Adequate (16 ( -1 (SKIP TO 18a) Inadequate -2 (ASK 17b) Not sure *3 (SKIP TO 18a) 17b. (IF "INADEQUATE" IN 17a) For which particular curatorial/exhibition job areas do you feel better academic or other' training would be helpful? Any others? (RECORD BELOW) 17c. (FOR EACH JOB AREA MENTIONED IN 17b) What kinds of training would be most help- ful for (area mentioned in 17b)? (RECORD BELOW) 17b. Job Area 17c. Type of Training (17- (-5- (?-- 18a. (IF "HAVE FULL-TIME STAFF" IN 16) In general, do you feel the salaries for the full-time curatorial/exhibition staff are adequate. or are they too low to attract the kind of people your museum needs? Adequate (?i ( -1 (SKIP TO 19) Too low _ 2 (ASK 18b) Not sure -3 (SKIP TO 19) 18b. (IF "TOO LOW" IN 18a) In which particular curatorial/exhibition job categories cb you feel there is the greatest need for higher salaries? Any others? 19. (ASK EVERYONE) Aside from the top level staff previously discussed, do you have any full-time staff primarily assigned to education? Have full-time staff (24 ( -1 No full-time staff “2 (ASK 20a) (SKIP TO 22) -14 Appendix I 18 CARD IV 20a. (IF "HAVE FULL-TIME STAFF" IN 19) In general, do you feel that the academic a.J/or other training of the education staff is adequate to your museum's needs, or not? Adequate (25 ( -1 (SKIP TO 21a) Inadequate -2 (ASK 2Cb) Not sure -3 (SKIP TO 21a) 20b. (IF "INADEQUATE" IN 20a) For which particular education job areas do you feel better academic or other training would be most helpful? Any others? (RECORD BELO'.’) 20c. (FOR EACH JOS AREA MENTIONED IN 20b) "hat kinds of training wo ild be most helpful for (area mentioned in 20b )? (RECORD 3EL0U) Adequate (30( -1 (SKIP TO 22) Too low - 2 (ASK 21b) Not sure -3 (SKIP TO 22) 21b. (IF "TOO LOU" IN 21a) In which particular education job categories do you feel there is the greatest need for higher salaries? Any others? (Jlln (J2n. 22. (ASK EVERYONE) Aside from the top level staff previously discussed, do you have any full-time staff primarily assigned to research? (22 (. -i -2 Have full-time staff No full-time 6taff ., (ASK 23a) (SKIP TO 25) 19 CARD IV 22a. (IF "HAVE FULL-TIME STAFF" IN 22) In general, do you feel that the academic and/or other training of the research staff is adequate to your museum's needs, or not? Adequate (^( -1 (SKIP TO 24a) Inadequate . -2 (ASK 23b) Not sure <-3 (SKIP TO 2? a) 23b. (IF "INADEQUATE" IN 23a) For which particular research job areas do you feel bet- ter academic or other training would be most helpful? Any others.' (RECORD BELOW) 23c. (FOR EACH JOB AREA MENTIONED IN 23b) What kinds of training would be the iost helpful for (area mentioned in 23b) ? (RECORD BELOW) 23b. Job Area 23c. Type of Trainin', ( 35- 06 - 24a. (IF "HAVE FULL-TIME STAFF" IN 22) In general, do you feel the salaries for the full-time research staff are adequate, or are they too low to attract the kind of people your museum needs? (37- ( 38- Adequate.-. (39 ( -1 (SKIP TO 25) Too low -2 (ASK 24b) Not sure -3 (SKIP TO 25) 24b. (IF "TOO LOW" IN 24a) In which particular research job categories do you feel there is the greatest need for higher salaries? Any others? 25. (ASK EVERYONE) Aside from the top level staff previously discussed, any full-time staff primarily assigned to operations and support? (40- (*E do you have (4 2 ( -1 (ASK 26a) .... -2 (SKIP TO 28a) Have full-time staff No full-time staff.. - 16 - Appendix I 20 CARD IV 26a. (IF "HAVE FULL-TIME STAFF" IN 25) In general, do you feel that the academic and/or other training of the operations and support staff is adequate to your museum's needs, or not. Adequate (_43( -1 (SKIP TO 27a) inadequate -2 (ASK 26b) Not sure -3 (SKIP TO 27a) 26b. (IF "INADEQUATE" IN 26a) For which particular operations and support job areas, do &ELOuf Cl that better acadetnic or other training would be most helpful? Any others? (RECORD 26c. (FOR SACK J03 AREA MENTIONED IK 26fc) 'Chat kinds of training would be the most helpful for ( area mentioned in 26b )? (RECORD BELOV.’) 26b. 26c. Job Area Type of Training f4- *6- (4 5- 27a. 'IF "HAVE FULL TIME STAFF" IN 25) In general, do you feel the salaries for the full- time operations and support staff are adequate, or are they too low to attract the kind of people your museum needs? Adequate (_48( -1 CSKIP TO 28a) Too low -2 CASK 27b) Not sure -3 (SKIP TO 28a) 27b. (IF "TOO LOW" IN 27a) In which- particular operations and support job categories do you feel there is the greatest need for higher salaries? A.ny others? (49- (50- - 17 - 21 CARD IV 23a. (ASK EVERYONE) Thinking of your entire museum staff now and assuming that the salaries that could be offered would be high enough, are there any job categories you feel would be difficult to fill to your satisfaction because of a lack of trained or experienced personnel? Some jobs difficult to fill ( 51( -1 (ASK 28b) No jobs difficult to fill ~. -2 (SKIP TO 29a) 28b. (IF ’'SOME J03S DIFFICULT TO FILL" IN 28a) Which job categories do you feel it would be difficult to fill to your satisfaction because of a lack of trained or experienced personnel? 0.2 . ( s V 29a. (ASK EVERYONE) Are there any persons with specialized skills whom you sometimes need to use on a consulting basis that you find it difficult to hire on a consulting basis? Are persons difficult to hire ( 54 ( -1 No persons difficult to hire -2 No need for persons on a consulting basis(vol.) -3 (ASK 29b) 1 (SKIP TO 30a) 29b. (IF "ARE PERSONS DIFFICULT TO HIRE" IN 29a) Which types of skilled persons do you find it difficult to hire on a consulting basis? (RECORD BELOW) 29c. (FOR EACH TYPE MENTIONED IN 29b) Why dc you feel that it is difficult to hire ( Type mentioned in 29b )? Any other reason? (RECORD BELOW) 29b. Type of Skilled Person 29c. Why Difficult To Hire ( 55- ( 56- ( 61- ( 62- ( 57- ( 58- ( 63- ( 64- ft°- ( 60- ( 65- (iic - 18 - Appendix I 22 CARD ’V, V 30a. (ASK EVERYONE) Next we would like to know what Cringe benefits you offer your full- time salaried employees. Are all of your employees, some of your employees, or none of your employees covered by (READ FIRST ITEM ON LIST)? (RECORD BELOW AND CONTINUE LIST) 5(b. (r'JR EACH ITEM 1 SJ.'Ji COVERED IN 30a) Is ( item in 30a ) ic'cved to your professional personnel? By "professional" we mean those positions requiring specialized training or experience, such as a curator, librarian, public relations writer, designer, lecturer, etc. (RE CO AC BELOV FOR EACH APPLICABLE ITER) 20c. (FOR EACH ITEM "SOME COVERED" IN 30a) Is ( item in 30a ) offered to your non-professional personnel? By "non-professional" we mean such positions as secretary-stenographer, clerk, sales help, guards, gardeners, attendants, etc. (RECORD BELOW FOR EACH APPLICABLE ITEM) 30d. (FOR EACH ITEM "ALL COVERED" OR "SOKE COVERED" IN 30a) Approximately what percentage of the cost of (item in 30a) is contributed by employees? (RECORD BELOW FOR EACH APPLICABLE ITEM) 30a . All Some None Cov- Cov- Cov- ered ered eret! 1. Health/medical Insurance- (67 ( - 1 -2 -3 2. Life insurance (&£_( -1 -2 -3 3. Retirement, pension plan.....(69( -1 -2 -3 30b. Pro fess ional Of- Not 2 re E Offered SBi (72 ( -1 -2 "-2 -2 3Cc. Non- Pro fess ional Of- Not fercl Offered (73 ( -1 -2 CZ5IC -i H-2 (75(_-l __-2 75- 50- 25- 1- Not 100:4 997- 74/. 45/- 241 None Sure (76 ( -1 -2 -3 -4 -5 (zx( ”1 -2 -3 -4 -5 (73 ( -1 -2 -3 _-6 -7 _-6 -7 -f -7 31a. (ASK EVERYONE) Are any of the prequisites on this list (HAND RESPONDENT CARD "J") offered to any o f the staff of your museum? (MULTIPLE RECORD BELOW) 31b. (FOR EACH ITEM "OFFERED" IN 31a) Who receives (item "offered" in executive director, senior 6taff members, or others? (MULTIPLE RECORD 31a. 2. Paid sabbatical or research leave..... 3. Paid travel for individual benefit, (rather than for official business) 4. Spouse’s travel expenses. .... 5. Extended vacation beyond usual staff allowances 6. Free or reduced-cost housing 7. Non-accountable enter tainr.ient allowance* 8. Luncheon or country club dues 9. Free legal or accounting services. 10. Tuition for family members , None Not sure 31a) -- the FOR EACH APPLICABLE ITEM) 31b. -1 Executive Director (SO ( -1 Senior Staff Members -2 Others (SPECIFY) -3 -2 (12 ( -1 -2 -3 -3 (l 3 ( -1 -2 -3 -4 (14 ( -1 -2 -3 -5 ( 15 ( -1 -2 -3 -6 (l 6 ( -1 -2 -3 -7 (17 ( -1 -2 -3 -8 (l 8 ( -1 -2 -3 -9 (in ( -1 -2 -3 -0 (?n ( -1 -2 -3 -X -y - 19 - 23 CARD V 32a. CASK EVERYONE') Has your museum made any special efforts over the past 4 or 5 years, since about 1966, to broaden employment among minority groups in professional staff positions 7 Has made special efforts (21 ( t _>2b) Has not made special efforts -2 f Not sure -3[ (SKIP 10 33a > 32b. (IF "HAS MADE SPECIAL EFFORTS" IN 32a) What kinds of special efforts have been made? Any other special efforts 7 ( 22 - ( 23- 33a. (ASK EVERYONE) Do you feel that your museum has adequate representation of minority groups on your professional staff 7 Has adequa te representation (24 ( -1 (SKIP TO SECTION IV) Not adequate representation -2 (ASK 33b) Not sure . . . . . -3 (SKIP TO SECTION IV) 33b. (IF "NOT ADEQUATE REPRESENTATION" IN 33a) Are there any plans for your museum to broaden the representativeness of minority groups on your professional staff? Are plans to broaden representativeness No plans to broaden representativeness. Not sure 33c. (IF "ARE PLAN.') TO BROADEN REPRESENTATIVENESS" IN 33b) What kinds of plans are there for broadening the representativeness of minority groups on your professional staff? Any others? • C 2 5 ( -1 (ASK 33c) (SKIP TO SECTION IV) (26^ - 20 - Appendix I 24 CARD V Section IV: Trustees I'd now like to ask you some questions about your Board of Trustees, and I want to empha- size again that all of your answers here, as in all other parts of the questionnaire, will be held in the strictest confidence. la. Does your museum have a Board of Trustees or equivalent overseeing body with direct responsibility for museum policy and programs, or not? Has Board of Trustees. (3£( (SKIP TO 2) Has other overseeing body -2 s Has neither Board nor overseeing body -B (ASK lb) lb. (IF "HAS NEITHER BOARD NOR OVERSEEING BODY" IN la) Who or what are the overseeing governing bodies or officials of your museum? (SKIP TO SECTION V .PAGE 27) (111 (111 2. (IF "HAS BOARD" OR "HAS OTHER OVERSEEING BODY" IN la; OTHERS SKIP TO SECTION V , Page 27). We would like to know how many of your current trustees there are in various categories. Again, to make it more convenient for you, as in the case of our personnel questions, I will leave a form on which these numbers can be entered at a later time. I will pick up the form when I return for the second phase of the interview. 3a. Are 'you/the executive director) a member of the museum's Board of Trustees, or not? Member (33 ( -1 (SKIP TO 3c) Not membe.p -2 (ASK 3b) 3b (IF "NOT MEMBER" IN 3a) Do (you/the executive director) attend trustee meetines regularly, occasionally, or not at all? Regularly (lA( - 1 Occasionally -2 Not at all -3 3 C> (ASK EVERYONE - * In general, do other staff members of your museum attend trustee meetings regularly, occasionally, or not at all? Regularly . . . Occas iona 1 ly Not at all.. -? 1 - 25 CARD V 4. How often does the full Board of Trustees meet on a regular basis -- at least twice a month, once a month, a couple of times a quarter, once a quarter, or less often than once a quarter? At least twice a month., ( 36 ( -1 Once a month -2 Couple of times a quarter. -3 Once a quarter -4 Less than once a quarter. -5 3a. Is there an executive committee of the Board of Trustees, or not? Is executive committee (J^( -1 (ASK 5b) I s no t . .. • .. . ... . .... ........... .. .... ......... .. . ~~ 2 (SKIP TC 6 a ) 5b. (IF "IS EXECUTIVE COMMITTEE" IN 3a) Does the executive committee meet on a regular basis or only on special occasions? Meets on regular basis ( 38( -1 (ASK 5c) Only on special occasions -2 (SKIP TO 6 a) 5c. (IF "KcETS ON REGULAR BASIS" IN 5b) How often does the execu tive committee meet on a regular basis -- at least twice a month, once a month, a couple of times a quarter, once a quarter, or less than once a quarter? At least twice a month ( 3 ?( Once a month .T7. Couple of times a quarter..., Once a quarter....... Less than once a quarter -1 '-2 "-3 -4 -5 6 a. (ASK EVERYONE) Do trustees serve a specified term on the board, or not? Specified term (40 ( -1 (ASK 6 b) No specified term -2 (SKIP TO 7) 6 b. (IF "SPECIFIED TEWI” IN 6 a) How long is this specified term? 1 year or less (4T ( -1 > 2 years -2 I 3 years. -3 / 4 years -4 j 5 years -5 \ 6-10 years -6 ?(ASK 6 c) 11-15 years -7 16-20 years . -8 < More than 20 years -9 J Lifetime -0 (SKIP TO 7) 6 c. Are trustees eligible to serve more than one consecutive term, or not? /ire eligible (42( -1 (ask 6 d) Arc not eligible -2 (SRIP TO 7) - 22 - Appendix I 26 CARD V 6<1. (IF "ARE ELIGIBLE" IN 6 c) How does it actually work out in practice -- do most trustees serve only one term, do they serve a few terms, or are they effectively on the hoard as long as they wish and/or are able to serve? Serve one term (4i( “1 Serve few terms -2 Serve as long as wish/able -3 Other (specify) -4 7. (ASK EVERYONE) How are new trustees chosen? Please describe all the different formal selection procedures used at your museum, including whether trustees are appointed or elected, by whom, whether there are ex-officio trustees, etc. (44- ( *5- 8 . In selecting new members for the Board of Trustees, how much influence do the people on this list have? (HAND RESPONDENT CARD "K" ) How much influence does (READ FIRST ITEM ON LIST) have In determining who will be selected -- a great deal, some but not a great deal, only a little, or no influence at all? (RECORD BELOW AND CONTINUE WITH LIST) Some, But No Intlu- 1. Yourself /the executive director... 2. The staff of the museum ( 4 7 ( 3. The chairman of the Board of Trustees. (58 ( 4. The executive committee of the Board of Trustees , 3. The nominating committee of the Board (50 ( -1 6 . Advisory conmittec to the Board or museum (51 7. The membership of the museum,. ( 52 8. Civic e-nnps (S3_( 9. Acfivf.'l community groups Great Not b Only A ence Not Don't Deal Great Dea 1 Little At All Sure Have ,(46 ( -1 -2 -3 -4 -5 -6 (57 ( -1 -2 -3 -4 -5 -6 (58 ( -1 -2 -3 -4 -5 -6 <42_( -1 -2 -3 -4 -5 -6 (50 ( _i -2 -3 -4 -5 -6 (51 ( -1 -2 -3 -4 -5 -6 (52 ( -1 -2 -3 -4 -3 -6 (53 ( -1 -2 -3 -4 -5 ^ r (54 ( -1 -2 -3 -4 -5 - 23 - 27 CARD V 9a. I'd like to show you this list of reasons for selecting trustees. (HAND RESPONDENT CARD "L") Thinking of your museum's current board, would you first tell me which of the reasons listed apply to any of the current trustees? (MULTIPLE RECORD BELOW) lb. And, if you had to choose, which two or three on this list would you say were the mosi predominant in the selection of your museum's current Board? (MULTIPLE RECORD BELOW) 9a. All reasons Which AP P . 1 )’ 1. Are large contributors of funds or serve as security on loans and notes... (55 ( -1 2. Are good fund raisers -2 3. Are representative's cC special interest groups in the community -3 4. Possess expertise in subject fields of the museum -4 5. Are experienced museum administrators -5 6. Are expert in administrative areas of value to the museum (lawyers, publicists, etc.) -6 7. Have political influence -7 8. Are major collectors -8 9. Are friends of board officers and/or board members -9 10. Have shown significant interest in the museum in the past aside from contributions -0 11. Have a well-known name and celebrity status -x 12. Other (SFECIFY) -y Not sure ; 9b. 2 or 3 Most Predominant (56 ( -1 -2 -3 -4 -3 -6 -7 -8 -9 -0 -x -y 0 _ 7 _( ~ l 10a. Approximately what percentage of private contributions members of the Board of Trustees in fiscal 1971-72 (or in the 1971, if your fiscal year- is the calendar year)? Under 10% (58( -1 10-19% -2 20-29% -3 30-39% -4 40-49%. -5 30-59% -6 60-69% -7 70-79% -8 80-89% -9 90% or higher Not sure... to your museum was made by fiscal year ending December 10b. Compared to four or five years ago, since about 1966, do you find the Board of Trustees now contributing a larger proportion of the private contributions you receive, a smaller pro- portion, or about the same proportion as four or five years ago -- as in about 1966? Larger proportion Smaller proportion About the same.... Not sure.. -24- v Appendix I 28 CARD V 11a. I'd like to ask you about some different kinds of decisions which may have to be made by your museum. For each decision, please tell me every person or group of people on this list (HAND RESPONDENT CARD "M") who may be involved. Nov, in the decision-making process of (READ FIRST ITEM ON LIST), who are involved? (MULTIPLE RECORD BELOW AND CONTINUE WITH LIST) lib. (FOR EACH ITEM IN 11a WHERE MORE THAN ONE CATEGORY IS INVOLVED) Who has the final responsibility for making the decision on ( item with more than one category involved )? (RECORD BELOW FOR EACH APPLICABLE ITEM) 11a. Involved 1. Determining the annual •u o u » — i n a 03 •o o 03 -0 0 u CQ O CO u » «VJ *H «* 03 0 CD o E H O CD 0 0 aj 1) « o CX AJ 1) CO 0 o U u O- O 4) M V aj u U-l CO 4) AJ 4) u CD X P CD U~l 3 AJ 1) u *r-( U-J P ■*J 4) Q U-l U t 0 Q U-J Vj 4 ; C3 H U -I AJ 2 : H u_i aJ <1) V O AJ AJ 0 AJ > m u_i T-i 4) 0 > CD U-l •rl J-i o u P U Q 0 u E 3 4J U 4) 3 AJ 4) E CD P O O o 00 AJ 3 0 'O O 0 i-4 u "H o 4) • O •M u 4) 4) *u C3 U-l X AJ d 4J -0 <0 CM jC O X c O U~< u AJ o O X c O u-l U AJ C3 C3 0 o O Q to 03 CO 0 O O lib. Final Responsibility budget of the museum (60 ( -1 -2 -3 -4 «5 (67( -1 -2 -3 -4 2. Deciding how much to spend from endowment (if have one) (61 ( -1 -2 -3 -4 -5 ( 6 8 ( ”1 -2 -3 -4 3. Determining capital improve- ment needs and organizing capital drives . (62( -1 -2 -3 -4 -5 (12 (. -1 -2 -3 -4 4. Making financial judgments on major acquisitions to the collections (63( -1 -2 -3 -4 -5 (70( -1 -2 -3 -4 5. Making quality judgments in selecting objects for acquisitions to the collections (64( -1 -2 -3 -4 -5 (_ZI< -1 -2 -3 -4 6. Planning major exhibitions and programs related to the collections ( 6 5 ( -1 -2 -3 -4 -5 (22 (. -1 -2 -3 -4 7. Setting staffing requirements • ( 66 ( -1 -2 -3 -4 -5 (7 3(_ -1 -2 -3 -4 12a. When it comes to non-f inancial programing decisions relating to exhibitions, the collections and acquisitions, is it your impression that the Board of Trustees, as a group, is too much involved in these decisions, too little involved, or involved about the right amount? 12b. Too much . . , Too little , About right Not sure . . . rASK 12b) (SKIP TO 13a) (IF "TOO MUCH" OR "TOO LITTLE" IN 12a) Why do you 6ay that? Any other reason? - 25 - (_Z5_i (J£l 29 CARD V, VI 13a. (ASK EVERYONE) In general, how well informed do you feel the Board of Trustees actually is about the financial situation of yourmuseum -- do you feel they are very well informed, somewhat well informed, or poorly informed? Very well informed -1 Somewhat well informed -2 Poorly informed -3 No t sure 1 -4 &3b. In general, how well informed do you feel the Board of Trustees actually is ebout the programs and operations of yourmuseum -- do you feel they are very well informed, somewhat well informed, or poorly informed? Very well informed.... -1 Somewhat well informed -2 Poorly informed -3 Not sure . -4 1:4. In general, how well do you think your professional museum staff understands the Sanctions and responsibilities of the Board of Trustees -- does your staff understand them very well, somewhat well, or not at all well? Very well -1 Somewhat well..... -2 Not at all well -3 Not sure -L 15a. Recently there has been increasing pressure on many institutions to broaden the representativeness of the ir Board of Trustees to include, for example, members of com- munity or neighborhood groups, minority groups, blue collar workers, youth, etc. Do you feel that broadening the representativeness of a Board of Trustees in this way is generally a good idea or a bad idea? Good ( B0( Bad Not Sure * 13b. (FOR ANSWER IN 15a) Why do you say that? Any other reason? (Ill (13- - 26 - Appendix I 30 CARD VI 15c. Has your museum made any changes in the last four or five years, since about 1966, to broaden the representativeness of the Board of Trustees to include members of community or neighborhood groups, minority groups, blue collar workers, youth, etc.? 1 5d. Has made changes ,...(j_4( -1 Has not made changes -2 Not sure -3 (ASK 15d) (SKIP TO 15e) (IF "HAS MADE CHANGES" IN 15c) What kinds of changes have been made? (Li: (liL: 15e. fASK EVERYONE) Do you feel that your Board of Trustees has adequate representation of community and neighborhood groups, minority groups, blue collar workers, youth, etc.? Has adequate representation (jL 7 ( -1 (SKIP TO SECTION V) Not adequate representation -2 (ASK 15f) 15f. (IF "NOT ADEQUATE REPRESENTATION" IN 15e) Are there any plans for your museum to make any (additional) changes to broaden the representativeness of the Board of Trustees to include members of community or neighborhood groups, minority groups, blue collar workers, youth, etc.? fASK 15g) (SKIP TO SECTION V) lag. (IF "ARE PLANS" IN 15f) What kinds of changes are planned? Any others? Arc plans (j^(_ No plans Not sure. - 27 - 31 Section V: Facilities and Exhibitions CARD VI la. In what year was your museum founded? (RECORD BELOW) lb. In what year were the primary facilities currently in use constructed or, if historic in nature, acquired? (RECORD BELOW) 2a. In what year(s) were other separate facilities constructed or, if historic in nature, acquired? (MULTIPLE RECORD BELOW) 2b. (DO NOT ASK FOR HISTORIC STRUCTURES) In what year(s) were major additions to existing structures completed, not including the construction of new buildings! (MULTIPLE RECCRD BELOW) 2c. (DO NOT ASK FOR HISTORIC STRUCTURES) In what year(s) were major renovations completed? (MULTIPLE RECORD BELOW) lb. 2a. 2b. 2c. la. Primary Separate Major Major Founded Facilities Facilities Additions Renovations 1972 (25 ( -1 C-1 ( -i ( 21 ( -1 (31 ( -1 (33 ( -1 1971 *... -2 -2 -2 -2 -2 1970. -3 -3 -3 -3 -3 1969 -4 -4 -4 -4 -4 1968 -5 -5 -5 ' -5 " -5 1967 -6 -6 -6 -6 -6 1966 -7 -7 -7 " - 7 -7 1965 .. -8 --8 -8 -8 -8 1960 to 1964. -9 -9 -9 -9 -9 1955 to 1959 -0 -0 -0 -0 -0 1950 to 1954. -x -X -X -X -X 1S45 to 1S4S ■y -y -y -y 1940 to 1944 (?£ ( -1 (?fif -1 nn( -i (3? ( “I f3A( -i 1935 to 1939 2 -2 -2 -2 -2 1930 to 1934 -3 -3 -3' -3 -3 1920 to 1929 -4 -4 -4 -4 -4 1910 to 1919 -5 -5 -5 -5 -5 1900 to 1909 -6 -6 -6 -6 -6 Before 1900 (SPECIFY) -7 -7 -7 -7 -7 Not sure -8 -8 -8 -8 -8 None -9 -9 3a. Does your museum itself own the buildings and space you occupy, or are the buildings or space owned by someone else? Museum owns ( 35( Owned by someone else Partly owned by museum and partly owned by someone else " (SKIP TO 4) (ASK 3b) 3b. (IF "OWNED BY SOMEONE ELSE" OR "PARTLY OWNED BY MUSEUM AND PARTLY OWNED BY SOMEONE ELSE" IN 3a) Who on this list other than the museum owns the buildings or space? (HAND RESPONDENT CARD "N") 1. Municipal government ( 36( -1 2. County government -2 3. State government -3 4. Federal government . . -4 5. Public school district -5 6. Private elementary or secondary school -6 7. Public college or university . -7 8. Private college or university -8 9. Non-profit organization administered in the public interest -9 10. Church or denominational group, or affiliated organization -0 11. Individual person or partnership -x Other 'SPECIFY) ~~ -y - 28 - Appendix I 32 CARD VI 3c. Are the buildings or space donated to your museum either ment of a token rent -- or dees the museum pay a rent related property? Donated or token rent (37( Rent based on market value totally or based on the pay to the market value of the (SKIP TO 5a) 4, (IF "MUSEUM OWNS" IN 3a) Are your museum's facilities or not? Mortgaged ; (_38( -1 Not mortgaged -2 Not sure...... -3 buildings and space mortgaged , 5a. (ASK EVERYONE) Does your museum have space devoted chiefly to exhibition of the collection(s)? Has exhibition space (39 ( -1 (ASK 5b) No exhibition space 77. -2 (SKIP TO 5c) 5b. (ir HAS EXHIBITION SPACE IN 5a) Do you feel that the exhibition area for your museum's collection is fully adequate, somewhat adequate, barely adequate, or not adequate as far as the items on this list are concerned? (HAND RESPONDENT CARD "0") Just call off the number of each item and the degree of adequacy that applies to it (RECORD BELOW FOR EACH ITEM ON T.IST) Fully Adeauat Somewhat Adequate Barely Adequate Not Adequate Not h' ot Sure Applicable . C40 < -1 _ 9 _ q -A -5 ifcrf -1 -2 -3 -4 -6 3. Lighting ‘ . (a£( -1 -2 -3 -4 -5 -6 4. Protect ior. .'.gair.se fluctuation and •extremes of temperature and humidity . .(4i( -1 -2 -3 -4 -5 -6 5. Protection against air pollution . (44 ( “i - 2 -3 “4 -5 -u 6. ProccctJon *»vav»ibt :nola and • (45. ( -1 -2 -3 -4 -5 -6 7. Protection against pests such as SCths. -.DOC beetles, rats, etc. ..... .(46( -1 -2 -3 -4 -5 -6 S. Protection against firu ......... • (47 (— -1 -2 -3 -A -5 -6 9. Protection against chef t ........ . • (4 8 ( -1 -2 -3 -4 -5 -6 1C. Protection against vandalism .... .(49( -1 -2 -3 -4 -5 -6 5c. (ASK EVERYONE) In addition to exhibition areas, we'd now like to know about the facilities listed here. (HAND RESPONDENT CARD "P") Do you have (READ FIRST ITEM ON LIST), or not have but feel you should, or not have and feel that you do not need? (RECORD BELOW AND CONTINUE WITH LIST) 5d. (FOR EACH "HAVE" IN 5c) Do you feel that the ( "have" item) is fully adequate for your museum's needs, somewhat adequate, barely adequate, or not adequate? (RECORD BELOW FOR EACH APPLICABLE ITEM) Kiwa’c b. t W jvo Ne< ds 1. Facilities for the preservation . restora- tion dt reconstruction of the collection ( 50 C -1 -2 1. 'strati ve offices t . m . . . ( r -1" -2 3. Classrooms, lecture root-.s and studios* X -r - -2 . .. : j / -.or ir.v.uic* • • • » i -l 5. aua:;[ or cafeteria ( f A ( -l -2 - ]_ -2 7. Shop or sales desk selling cuseion- related items cr boohs . (56 ( -l -2 8. Fubllc parking ( 57 ( -l -2 9. Accessibility by paalic cransno. - -l -2 -l -2 11. Ccpar.-.tc exhibitions or galleries designed especially lor children. ...... (6.Q.( Zp 12. A field research staCion • (fJL > jl Zp 13. Separate laboratory operation. ..... (W ( K. '.’or .shop (.67. CZ} z\ 15. Storage space for the collccticn . ...(64,\ 1 ' -20 haven ; , Not Needed -3 Fully Adequate (65 ( Somewhat barely Not Not Adequate Adequate Adequate Sure -1 -2 -3 - -4 -5 -3 (66 c - 1 -2 -3 -4 -b -3 (57 ( -1 -2 -3 -4 -5 - J -1 -2 -i ' -4 -5 -3 (£■' ( -1 -2 -3 -4 -5 -3 (70 ( -1 -2 -3 -4 -5 -3 (71 ( '1 -2 -3 -4 -5 -3 (77 (_ -1 -2 -3 -4 -5 -3 (73 ( -1 -2 -3 -4 -5 -3 (Zi( -1 -2 -3 -4 -5 -3 (75 ( -1 -2 -3 -4 -5 -3 (76 ( -1 -2 -3 -4 -5 -3 m_ -1 -2 ' . _ 3 -4 -5 -3 ( / 6 ( -1 -2 -3 -4 -5 -3 (77? -1 -2 -3 -*4 -5 33 carl vn 6. (IF "HAVE" STORAGE tausaum's collection is as far as the items on off the number and the SPACE, ITEM 15 IN 5c) Do you feel that the storage fully adequate, somewhat adequate, barely adequate, this list are concerned? (HAND RESPONDENT CARD "0" degree of adequacy, (RECORD BELOW FOR EACH ITEM ON area for your or not adequate AGAIN) Just call LIST) 1. Available interior space......... Fully So. Adequate Ad • (l 2 ( -1 zeuhat equate -2 Barely Adequate -3 Not Adecuc te -4 Not Kot Sure A P>' Hci:b; -5 -6 2. Available exterior space "=1 -2 -3 -4 -5 -6 -1 -2 -3 -4 -5 -6 4. Protection against fluctuation and extremes of temperature and humidity. • • (15 ( -1 • 2 -3 -4 -5 -6 5. Ftotcctlcn :•* i nr t air pollution iiic uus i an- gases ••••«•«•••• .(16( -1 -2 -3 -4 -5 -6 6. Protection arair.st nold and taildev. • (l 7 ( -1 -2 -3 -4 -5 "-6 7- ?rot£ction against pests such as nahs, voovl beetles, rats, etc. .(18( -1 -2 -3 -4 -5 -6 6. Protection a aJr.sc fire -1 -2 -3 -4 -5 -6 9. Protection against theft ml -1 -2 -3 -4 -6 1C, Protection against vandalism..,,. .(2? ( -1 -2 -5 -4 -5 -6 ?'a, (IF "HAVE" LIBRARY, ITEM 6 IN 5c) Is the library open at regular hours for use by the genorsl public? Open at regular hours , . . (22 ( “1 (SKIP TO 8a) Not open at regular hours -2 (ASK 7b) 7b. (I? ''NOT OPEN AT REGULAR HOURS" IN 7a) Is the library open by appointment to any interested person? Is open by appointment (2 3 ( -1 Not open by appointment -2 8a. (ASK EVERYONE) Compared to four or five years ago, since about 1966, was your museum open to the public in fiscal 1971-72 more hours than it was then, fewer hours, or about same number of hours 9 (Again, if your fiscal year is the calendar year, consider here the year ending in December 1971.) More (24. ( -1 (ASK 8b) Fewer -2 (SKIP TO 8c) About same -3) Museum not open five years ago , . .. -4A(SKIP TO 9a) Not sure -5) 8b. (IF "MORE" IN 8a ^ Why was your museum open more hours 9 Any other reasons? 8c. (IF "FEWER" IN 8a) Why was your museum open fewer hours? Any other ( 25- (26- reasons? (27- (28- - 30 - Appendix I 34 CARD VII 9a. (ASK EVERYONE) Approximately what percentage of the permanent collections at the end of fiscal 1971-72 was your museum's own property by legal title? (RECORD BELOW) 9b. Approximately what percentage of the total permanent collections in your museum's posses- sion, whether or not owned by the museum, was exhibited in the museum in fiscal 1971-72? 9a. Own Less than 107. 10-19% (30 ( _^1 20-29% 30-39% -4 40-497. _ c 50-39% -A 60-69% -7 70-797. -8 80-89?; Q 90-997. 100% Not sure — ry 9b. Exhibit 9c. Of that part of the total permanent collections in your museum's custody and not exhibited in fiscal 1971-72, what percentage was not shown in the museum for the reasons on this list? (HAND RESPONDENT CARD "Q") ( READ LIST, RECORDING PERCENTAGE FOR EACH ITEM) (PERCENTAGES SHOULD TOTAL AT LEAST 100%, BUT CAN ADD TO MORE) 1. Lack of space 2. Collection not in good condition.,., 3. Insufficient staff A. Works or specimens are of secondary importance or interest 5. Research collection not intended or suitable for exhibition" 6. On exhibit away from museum 7. Other (SPECIFY) 9d. Have collections in storage been used for research by acholars, aside from your museum staff, during the past year? (31,32- ( 33,34- ( 33 ^ 36 - (2Z2EI (39,40- ( 41,42-" (43,44- Have been used (45 ( -1 Have not been used -2 10a. Did your museum have special exhibitions in fiscal 1971-72, either developed by the museum or obtained from an outside source? By exhibitions we mean organized shows of materials or objects with a common theme or subject, not individual objects or specimens. Had special exhibitions (46 ( -1 (ASK 10b) No special exhibitions -2 (SKIP TO lOf) INTERVIEWER: TURN QUESTIONNAIRE OVER AND CONTINUE. - 31 - 35 CARD VII 10b. (IF "HAD SPECIAL EXHIBITIONS" IN 10a) Approximately how many special exhibitions were shown in your museum during fiscal 1971-72? (RECORD BELOW) 10c. How many of those special exhibitions were developed by your museum? (RECORD BELOW) lOd. How many of those special exhibitions were developed by an outside source, such as another museum, private collectors, artists, service organizations, etc., or commercial sources, or government agencies? (RECORD BELOW) 10 b. Shown 10 c. Developed By Museum lOd. Developed By Outside Source None (47 ( -1 (48 ( -1 (49 ( -1 2 -3 -2 -2 -3 _ 3 INTERVIEWER: 3. -4 -4 _ 4 ANSWER IN 10c -5 _ 5 +ANSWER IN lOd 5-10 - 6 -6 _ 6 SHOULD = ANSWER 11-15 _7 -7 _ 7 IN 10b. 16-20 _q -8 -8 More than 20 _ 9 -9 -9 Not sure _0 -0 -0 10e. (IF MORE THAN NONE IN lOd) Were any of the special exhibitions developed by an outside source during fiscal 1971-72 loaned to you by (READ FIRST ITEM ON LIST)? Attain, we are thinking of organized shows of materials or objects, rather than individual objects or specimens. (RECORD BELOW AND CONTINUE WITH LIST) 1. Cither museums 2. Private collectors, artists, service organizations., etc 3. Commercial sources 4. Government agencies other than museums.. 10f . (IF "NO SPECIAL EXHIBIT™*" tv i 0 a ~ OTHERS SKIP TO 11a) Would you like to have special exhibitions in your museum but are unable to offer them? Loaned Not Loaned Not Sure P h » ►— * -2 . -3 cue -2 -3 -2 -3 -2 -3 Would like special exhibitions but unable to offer.. Would not like special exhibitions Not sure 10 8 -, "WOULD LIRE SPECIAL EXHIBITIONS BUT UNABLE TO OFFER" to o icr special exhibitions 7 Any other reasons? (54( -1 (ASK lOg) -2 \(SKIP TO 11a) — IN lOf) Why are you unable ( 55- (56- 11a. (ASK EVERYONE) During fiscal 1971-72, did you exhibit any individual objects or specimens -- as opposed to complete exhibitions -- that were loaned to you on a short- term basis? (ASK lib) (SKIP TO 124) Did exhibit • . . • Did not exhibit Not sire -“ 12 - Appendix I 36 CARD VII lib. (IF "DID EXHIBIT" IN 11a) Were any of the individual objects or specimens exhibited in your museum during fiscal 1971-72 loaned to you on a short-term basis by (READ FIRST ITEM ON LIST)? (RECORD BELOW AND CONTINUE WITH LIST) Loaned Not Loaned Not Sure 1 . Other museums -1 -2 -3 2 . Private collectors, tions, etc artists, service organiza- ..(59( -1 -2 -3 3. Commercial sources., • < (60 ( -1 -2 -3 4. Government agencies other than museums ..(£>!( -1 -2 -3 12a. (ASK EVERYONE) During fiscal 1971-72, did you have traveling exhibitions -- that is, organized exhibitions you developed and sent elsewhere -- which were shown away from the museum at other museums, schools, or other places? Do not include here any mobile units you may have. Did have (62( -1 (ASK 12b) Did not have " 2 ? (SKIP T0l2d) Not sure -3) 12b. (IF "DID HAVE" IN 12a) How many different traveling exhibitions were shown away from your museum in fiscal 1971-72? 1 2 3 L 5-10 !! 11-15 16-20 More than 20 Not sure . . . , 12c. In which of the following places have you shown your traveling exhibitions in fiscal 1971-72? (HAND RESPONDENT CARD "R") (MULTIPLE RECORD BELOW) 1. Elementary schools (64( -1 2. Secondary schools 3. Colleges or universities TJ 4. Other museums in this area Z 4 " 5. Other museums in other parts of the country T^ 6 . Storefront, small neighborhood or community-based museums Ig" 7. Other community centers -7 8 . Other (SPECIFY) -g 1 2d . CASK EVERYONE) Tn general, compared to ^our or live years ago -- to about 1966 *- is your museum engaging more frequently in the borrowing and loaning of objects and collections, engaging less frequently, or about the same? More frequently -1 (SKIP TO 121 ) Less Frequently -2 (ASK 12e) About the sane -3 (SKIP TO 1 2 f ) Does not engage in borrowing or loaning -4 (SKIP TO 13a) Not sure -5 (SKIP TO 12 f) - 33 - f-o U> U) 37 CARD VII 12e. (IF "LESS FREQUENTLY" IN 12d) Why is your museum engaging less frequently in the borrowing and loaning of objects and collections’ Any other reasons’ ( 66 - (il: 1 2 f . (ASK EVERYONE EXCEPT THOSE WITH "DOES NOT ENGAGE IN BORROWING OR LOANING" IN 12d) How important a factor in the exchange of objects do you feel the climate control and security of the receiving museum is -- is it very important, somewhat important, of minor importance, or not important’ Very important (6J3( -1 Somewhat important -2 Of minor importance -3 Not important -4 Not sure -5 13a. (ASK EVERYONE) Do vou own or rent any mobile units -- for example, self-sufficient vans or trailers -- which were sent out during fiscal 1971-72, or not? Own or rent mobile units (69 ( -1 (ASK 13b) Do not own or rent mobile unite - 2 (SKIP TO 13b. (IF "OWN OR RENT MOBILE UNITS" IN 13a) For what purposes are the mobile units used? Anything else? (70- (ZZ 14a. (ASK EVERYONE) Did you make any of your objects or materials -- other than traveling exhibitions -- available on loan to storefront, small neighborhood or community based museums during fiscal 1971-72, or not? Did make available ( 72 ( -1 (ASK 14b) Did not make available....,,..,....., -2 (SKIP TO 14c) 14b. (IF " DI D MAKE AVAILABLE" IN 14a) Did you do this frequently, occasionally, or only rarely? Frequently ( 71 ( -1 J Occasionally -2 > (SKIP TO 15a) Only rarely -3 V 14c. (IF "DTD NOT MAKE AVAILABLE" IN 14a) Are you planning to make any of your objects available on loan to storefront, small neighborhood or community-based museums? (74. ( (SKIP TO 15a) zl (ASK 14d) Planning to make available . . . . Not planning to make available -' 4 - Appendix I 38 14d. (IF "NOT PLANNING TO MAKE AVAILABLE" IN 14c) Why are you not your objects available on loan to storefront, small neighborhood or Any other reasons'’ CARD VII, VIII planning to make any of community-based museum: ’ ( 75- ( 76- 15a. CASK EVERYONE) Did your museum rent any objects to outside organizations or individuals during fiscal 1971-72? Did rent..... (_77( -1 (ASK 15b) Did not rent -2 (SKIP TO 16a) 15b. (IP "DID RENT” IN 13a) Were any of your objects rented to (READ FIRST ITEM ON LIST)? (RECORD BELOW AND CONTINUE WITH LIST) Not Not Rented Rented Sure i.« Corporations (7R ( -1 -2 -3 2. Individuals (79 ( -1 -2 -3 3. Exhibition services.... (SO ( -1 -2 -3 4. Other museums -1 -2 -3 5. Other (SPECIFY) (13 ( -1 -2 -3 15c. What was the total amount received from the rental of objects in fiscal 1971-72? $ (14; (SKIP TO SECTION VI) (III 16 a .(IF "DID NOT RENT" IN 15a) Does your museum have any plans for renting out its objects? Does have plans (^_( -1 (SKIP TO SECTION VI) Does not have plans -2 (ASK 16b) 16b. (IF "DOES NOT HAVE PLANS" IN 16a) Why does your museum not have any plans for renting out its objects? Any other reasons'’ ( 17- (1£l 35 - 39 Section VI: Audience CARD VIII, IX Now I'd like to ask you about attendance at your museum during fiscal 1971-72. (Again, if your fiscal year is the calendar year, then consider the year ending December 1971.') 1. What was the total attendance, both paid and free, at your permanent facilities in fiscal 1971-72? Please look at this card (HAND RESPONDENT CARD "S") for the components that should be included in the calculation of the total attendance. 19-27 2a. Now, would you try to break down that total figure into the groups on this list. (HAND RESPONDENT CARD "T") What was the total attendance in fiscal 1971-72 of (READ FIRST ITEM ON LIST)? (RECORD BELOW AND CONTINUE WITH LIST) 2b. (ASK FOR EACH ITEM WITH A NUMBER IN 2a) Is the figure for ( item with number ) based on an actual count, an estimate, or a combination of both? (RECORD BELOW FOR EACH APPLICABLE ITEM) 2a. 2b. 1. -Elementary and secondary school classes Number Don't Not Have Sure Actual Count Esti- mate Combi- nation Not Sure (35 ( -x -v (60( -1 -2 -3 -4 2 . Adult workshops and classes...... 28-35 (43 ( -x -y ( -5 -6 -7 ■ -8 3. General attendance (including attendance at special exhibitions).. 36-43 61 ( -x -Y (61 ( -1 -2 -3 -4 44-51 4. Attendance at performing arts presentations, films, etc., organized and run by museum, if calculated separately (59 ( -x -y ( -5 -6 -7 -8 52-59 2c. Are you able to break down the general attendance figure into general attendance by adults and young adults 16 and ever, and general attendance by children 15 and under? Can break down (Jj3( -1 (ASK 2d) Cannot break down -2 (SKIP TO 2e) 2d. (IF "CAN BREAK DOWN" IN 2c) What was the total general attendance by adults 16 and over and the general attendance by children 15 and under? Number 1 . 2 . Adults 16 and over 64-72 Children 15 and under....... 12-20 i (SKIP TO 2f ) 2e. (IF "CANNOT BREAK DOWN" IN 2c) Could you estimate the total general attendance by adults 16 ,->nd over and the attendance by children 15 and under? Estimated Not Number Sure 1. Adults 16 and over (21( -1_ 2. Children 15 and under -2 - 36 - Appendix I 40 CARD IX 2f. (ASK EVERYONE) To which of the groups on this list would you say that your regular museum activities were primarily directed? (HAND RESPONDENT CARD "U") 1. Children (through elementary school),. 2. Youths (secondary school) 3. Children and youths equally A. Adults (including university/college students), 5. All ages equally Not sure ( 22 ( 1 3a. Does your museum have a paid membership, or not? Do not include ticket subscribers to performing arts presentations here. Has paid membership (23 ( -1 (ASK 3b) No paid membership -2 (SKIP TO Aa) 3b. (I? "HAS PAID MEMBERSHIP" IN 3a) In fiscal 1971-72, how many paid members, both individual and organizational, did your museum have? Under 50 (24. ( -1 50-99 -2 300-499 ^3 500-999 -4 1.000- 4,999.- -5 5.000- 9,999 -6 30.000- 19,959 ^7 20.000- 29,999 -8 30.000- 49,993 -9 50,000 and over -0 iwt surc ( ••••••«••• *'a 3c. Did you have one fixed membership fee in fiscal 1971-72, or did the fee vary with the type of membership? Fixed fee (25.( ^1 (ASK 3d) Varied. -2 (SKIP TO 3e) 3d. (IF "FIXED FEE" IN 3c) What was the membership fee charged in fiscal 1971-72? J ( 26- 3e. (IF "VARIED" IN 3c) What was the membership fee for the category in which you had the largest number of members? J ( 27- 4a. (ASK EVERYONE) Is it your regular museum policy to charge an admission fee for general attendance, to ask for a donation from visitors, or are visitors always al- lowed to enter free of charge? Admission feo (28 ( -O ^ AS( , ^ Donation -2j Free -3 (SKIP TO 6a) 4b. (IF "ADMISSION FEE" OR "DONATION" IN 4a) How long has your museum been (charging an admission fee) (asking for a donation)? Less than 1 year. 1-2 years 3-5 years More than 5 years Not sure (? 9 ( -1 -2 - 3 •4 - 37 - 41 CARD DC 4c. Did your museum conduct any research on admission fees before (charging a fee) (asking for a donation)? 4d. Conducted research Did not conduct research.; Not sure (IF "CONDUCTED RESEARCH" IN 4c) (30 ( -1 ::::=S (ASK 4d) (SKIP TO 4e) What kind of research did the museum conduct? ( 31- (32- 4e. (ASK EVERYONE CHARGING MISSION FEE OR ASKECG FOR DONATION) Did your museum experi sr.ent with other systems of admission charges before implementing the current system? Did experiment (33 ( -1 (ASK 4f) Did not experiment -2" ) (SKIP TO 4e) Not sure -3j 4f. (IF "DID EXPERIMENT" IN 4e) With what other systems of admission charges did your museum experiment? 04- (35- 4g. (ASK EVERYONE CHARGING ADMISSION FEE OR ASKING FOR DONATION) Is your museum open at least one day a week on which no admission fee is charged or no donation asked for? At least one day open with no fee or donation No day with no fee or donation 4h. Specifically, for general admissions do (READ FIRST ITEM ON LIST) pay a fixed admis- sion fee, is a donation requested, or are they admitted free of charge? (RECORD BELOW AND CONTINUE WITH LIST) 4i. IFOR "FIXED FED" IN 4h) What was the amount of the fixed fee admission charged for (item in 4h ) in fiscal 1971-72? (RECORD BELOW FOR EACH APPLICABLE ITEM) School c lass groups per child.. Children not in class groups.. Senior citizens. . Others (SPECIFY)' 4h. Not 4i. Fixed fee Donation Free Sure Amount of Fixed Fe< (37 ( -1 -2 -3 -4 $ ( 44 - ( 3 8 ( -1 -2 -3 -4 $ (45- (2Z( -1 -2 -3 -4 $ (46- (^0( -1 -2 -3 -4 $ ( 47 - (4 1 ( -1 -2 -3 -4 $ ( 48 - (4 2( -1 -2 -3 -4 $ ( 49 - (4 3( -1 -2 -3 -4 $ (50- tS SKIP TO 6a) What was the average donation made by visitors for admission to the museum in fiscal 1971-72? $ ( 51- 38 Appendix I 42 CARD IX 6a. (ASK EVERYONE) In general, vhat effect do you feel charging admission or asking for donations has or would have on total attendance in your museum -- do you feel that charging admission fees or asking for a donation decreases total attendance significantly, somewhat, or hardly at all? Decreases significantly. . . (32 ( -1 Somewhat -2 Hardly at all -3 Not sure -4 6b. Do you feel that charging admission changes or would change the comoosition of your museum's attendance. — that is, the kinds of people who might come to the museum? Changes Does not change Not sure } (ASK 6c) (SKIP TO 7a) 6c. (IF "CHANGES" IN 6b) What kind of change? Any other kind? (54- (55- 7a. (ASK EVERYONE) Aside from general admissions, do you ever charge for admission to special exhibitions? Charge for special exhibitions. ... (56 ( -1 (ASK 7b) Never charge for special exhibitions.. -2 (SKIP TO 8) 7b. (IF "CHARGE FOR SPECIAL EXHIBITIONS" IN 7a) How many special exhibitions for which you charged were held in fiscal 1971-72? 1 65 7 < 2 ' 3 * 4 ‘ 5-10 ' 11-15 ' 16-20 ] More than 20 Net sure -1 -2 -3 -4 -5 -6 -7 -8 -9 - 39 - 43 CARD IX 8. (ASK EVERYONE) To gain access to your exhibited collection, is it necessary to be accompanied by a guide, or is unaccompanied access permitted? Guide necessary (58 ( -i Unaccompanied access 77. _2 Not sure -3 9a, Are you interested in seeing more people come to your museum, or is the museum unable to handle more people than are already attending? Interested in more people (59 ( -1 (ASK 9b) Enough people already -2 (SKIP TO 10a) 9b, (IF "IN HIKE 3 TED IN NO RE PEOPLE" IN 9a) Aside from promoting special exhibitions, does your museum use advertising or publicity to attract larger attendance by the general public to see the permanent collection, or doesn't your museum do this? Advertise, publicize ( SO ( 1 (ASK 9c) Does not advertise, publicize _2 (SKIP TO 10a) 9c. ([I? "ADVER.71SE, PUBLICIZE" IN 9b) What are you doing to attract larger attendance by the general public? Anything el6e? ( 61- (62- - 40 - Appendix I 44 CARD IX 10a. (ASK EVERYONE) Have you made any special efforts to increase general attendance at your museum among (READ FIRST ITEM ON LIST), or not? (RECORD BELOW AND CONTINUE LIST) 10b. (FOR EACH "SPECIAL EFFORT" IN 10a) What specific steps have you taken to increase attendance among ( special effort group )? (RECORD BELOW FOR EACH APPLICABLE GROUP) - 41 - 45 CARD IX, X 11. (ASX EVERYONE) During which months of the year is your museum closed for more than two weeks? (INDICATE "NONE" IF MUSEUM IS OPEN EVERY MONTH) January February March -1 -2 -3 April -4 May -S June -6 Julv -7 August -R September -9 October -0 November ............. -X Decenbe r -V None . (79 ( -1 I2a> During the period when your museum is open, on which days of the week — i.e., before 6:C0 p.m, -- is it usually open to the public? We would like lie re the schedule that is in operation for the longest period during the year. (MULTIPLE RECORD BELOW) 12b. On vtsich evenings -- i.e., after 6:00 pm -- is your museum usually open to the public? Again, consider the schedule that is in operation for the longest period during the year. (MULTIPLE RECORD BELOW) 12c. (IF 12a. 12b. Evenings Open Open Sunday (80 ( -1 (12. ( -l'N Monday -2 -2 Tuesday -3 -3 Wednesday -4 -4 Thursday -5 - 5 1 Friday -6 -6 Saturday -7 -V None .......... -8 "NONE" IN 12b) Why is your museum not open to the public a (SKIP TO 12f ) (ASK 12c) dll. (14- 12d . lias your museum ever tried opening in the evening at any time? lias tried opening in the evening.. ,(15( -1 Never tried opening in the evening ^2 Not cure m3 (ASK 12e ) (SKIP TO 13a) - 42 - Appendix I 46 CARD X 12e. (IF "HAS TRIED OPENING IN THE EVENING" IN 12d) Why did your museum stop opening in the evening after trying it? ( 16 - (SKIP IQ -Ua3 — 12f . ( IF ONLY "MONDAY", "TUESDAY", ’VEDNESDAY" AND/OR "THURSDAY" EVENINGS IN 12a) Why is the museum only open on evenings during the week and not on weekend evenings? ( 18 - (T9T 13a. (ASK EVERYONE) Does the museum rent its facilities to outside individuals or groups? Does rent. (20 ( -1 (SKIP TO 14a) Does not rent -2 (ASK 13b) 13b. (IF "DOES NOT RENT" IN 13a) Why does the museum not rent its facilities to outside individuals or groups? ( 21 - ( 22 - CSKLE.lCLl.5aj 14a. (IF "DOES RENT" LN 13a) Does the museum rent only to non-profit organizations or does it also rent to individuals or profit-making organizations? Rents only to non-profit organizations (23( -1 (ASK 14b) Rents also to individuals or profit-making organizations -2 (SKIP TO 14c) - 43 - 47 CARD X 14b. (IF "RENTS ONLY TO NON-PROFIT ORGANIZATIONS" IN 14a) Why does your museum rent only to non-profit organizations? Any other reasons? (24- | SKIP TO 15a | — JAc. (IF "RENTS ALSO TO INDIVIDUALS OR PROFIT-MAKING ORGANIZATIONS" IN 14a) For what purposes does the museum rent its facilities to outside groups? (26- (27- 15a. (ASK EVERYONE) Are alcoholic beverages regularly for sale within the museum? Alcoholic beverages for sale (28( -1 (SKIP TO SECTION VII) Not for sale -2 9ASK 15b) 15b. (IF "NOT FOR SALE" IN 15a) Why are alcoholic beverages not for sale in the museum? (29- (30- - 44 - Appendix I 48 Section VII: Programs CARD X Now I'd like to ask you about the programs scheduled at your museum in fiscal 1971-72. Again, if your fiscal year is the calendar year, then please consider here the year ended December 1971. la. How frequently were each of the educational or cultural activities on this list (RAND RESPONDENT CARD "V") scheduled by your museum during fiscal 1971-72 -- were they scheduled regularly, occasionally, or not at all during fiscal 1971-72? (READ LIST OF ITEMS, RECORDING ANSWER FOR EACH ITEM) lb. (FOR EACH ITEM SCHEDULED "REGULARLY" OR "OCCASIONALLY" IN la) Were ( regularly /occasionally item ) generally conducted by paid staff, contract-paid individuals, or volunteers? (RECORD BELOW FOR EACH APPLICABLE ITEM -- MULTIPLE RECORD IF NECESSARY) Regu- larly 1. Guided tours, special lectures, and/or demonstrations at. the museum fee school classes . 1,34 ( 2. Presentations at schawls .(35_( 3. Organis'd school loaa service of special master ia Is and cvi-i lectio ns .(3 6 ( 4. Classes, clubs, and study grovnps for children (not school, groups') . .07 ( 5. Guided tours and gallery talks for general groups...... 6. Lectures, classes, clubs, and study groups for adults . . 7. Radio programs produced by the museum 8. TV programs produced by the museum. . 9. Performing arts presentations la . Occa- Not sion- at Not ally All Sure 10. Film series prepared by the -1 -2 -4 .=1 __-A _n2 Paid Staff lb_ Con- tract Paid Vol- un- teers Not Sure (44( (45( (46(_ (47( -1 -2 '-2 -2 -3 ’-3 -4 [-4 _-4 -4 .(38 ( — 1 -2 -3 -4 (4S( -1 /> -XL -3 /. £39 ( -4 (49( -1 -2 -3 -4 (40 ( -1 -2 -3 -4 ( 50( -1 -2 -3 -4 .(4 1 ( -1 -2 -3 -4 (51 ( -1 -2 -3 -4 <42 ( -1 -2 -3 -4 (52 ( _-l -2 -3 -4 £3 ( -1 -2 -3 -4 ( 5 3 ( -1 -2 -3 -4 'HER ’REGULARLY" OR " OCCAS ION ALLY " IN la -- OTHERS SKIP 2a. (IF ITEMS 1, 2, OR 3 ARE Eli TO 3a) Were your school programs prepared for elementary school pupils, secondary school pupils, or both? Elementary (54 ( -1 (ASK 2b, 2d) Secondary "2 (ASK 2c, 2d) Both -3 (ASK 2b, 2c, 2d) Not sure -4 (SKIP TO 3a) 2b. (IF "ELEMENTARY" OR "BOTH" IN 2a) Were the programs for elementary pupils planned in close cooperation with school authorities, or did you pretty much develop the pro- gtans on your own and then offer them to schools? Close cooperation (55 ( -1 Developed then offered -2 Not 6ure *3 - 45 - 49 CARD X 2c. (IF "SECONDARY" OR "BOTH" IN 2a) Uere the programs for secondary school pupils planned in close cooperation with school authorities, or did you pretty much develop the programs on your own and then offer them to the schools? Close cooperation (56/ -1 Developed then offered -2 Not sure -3 2d. (IP "ELEMENTARY',’ "SECONDARY" OR "BOTH" IN 2a) Were your school programs supplemented by any preparatory or follow-up activity in the schools to give them more continuity? Supplemented by preparatory or follow-up activity (57 ( -1 No preparatory or follow-up activity -2 Not 6ure -3 3a. (ASK EVERYONE EXCEPT UNIVERSITY AND COLLEGE MUSEUMS. FOR UNIVERSITY AND COLLEGE MUSEUMS, SKIP TO 3b) Does your museum have joint programs with any colleges or universities , or not s Does (58 ( -1 (ASK 3b) Does not -2 (SKIP TO 4a) 3b. (IF "DOES" M 3a OR IF A UNIVERSITY OR COLLEGE MUSEUM) Would you look at this card and tell me which of the following programs you have with a college or university? (HARD RESPONDENT CARD "W”) (MULTIPLE RECORD) 1. Research at graduate level 2. Research at undergraduate level 3. Work experience for credit at graduate level 4. Work experience for credit at undergraduate level 5. Work experience without credit 6. Observation, or participation in museum activities by teacher- trainees, 7. In-service courses for classroom teachers 8. Training program for professional museum workers 9. Collection items loaned to colleges 10. College credit courses taught in your facilities 11. College credit courses taught by your professional staff in any other location 12. Other (SPECIFY) Not sure (59 ( 4a. (ASK EVERYONE) Could you briefly describe two or three of the most important educational activities regularly scheduled by your museum? ( 61- ffll. ■ 46 - t - 1 V X OOOJMOlVC-WlOH Appendix I 50 CARD X 4b. Have your educational activltiee, other than formal training programs for museum workers, increased over the past four or five years — since about 1966 decreased, or remained about the same? Increased (63( -l Decreased -2 Remained about the same -3 Not sure -4 } (ASK <4c, (SKIP TO 4d) (SKIP TO 5a) professional -- have they 4c. (IF "INCREASED" IN 4b) What additions have teen made in your educational activities? Any others? (64- | SKIP TO 5a~] (65- ' 4d. (IF "DECREASED" IN 4b) What has been cut out from your educational activities? Any- thing else? ( 66 - (67- 4e. Why were they cut? ( 68 - (iH 51 CARD X 5a. (ASK EVERYONE) Does your museum have any formal, planned programs specifically designed for training museum personnel other than your own museum's staff? Has -1 Has not -? Not sure -3 (ASK 5b) (SKIP TO 5d) 5b. (IF "HAS" IN 5a) What kinds of training do these programs offer? 5c. Hov? many individuals completed any of those programs during fiscal 1971-72? (21 1 (72-. binder 10 <73 (' *"\1 10-24 -2 25-49 -3 50-99 -4 100-199 -5 200 or more -6 Sat sure. ....... „ -7 5d. (ASK. EVERYONE) Does, your museum have a formal planned program for in-service training of the museum's own staff? Has in-service training (_74_( -1 (ASK 5e) No in-service training -2 (SKIP TO 6a) 5e. (IF "HAS IN-SERVICE TRAINING" Hi 5d) What kinds of in-service training are offered? (2*z. GE - 48 - Appendix T 52 CARD X, XI 6 a. (ASK EVERYONE) Did your museum during fiscal 1971-72, or not? undertake or sponsor any formal research projects Undertook or sponsored ... (77 ( -1 -s (ASK 6 b) Did not do this -2 ( .(SKIP TO 6 c) Not sure -3 6 b. (IF "UNDERTOOK OR SPONSOR£D"IN 6 a) Could you briefly describe some of the major subjects of the research? ( 78- Olr_ 6 c. (ASK EVERYONE) Which oneof the statements on this card (HAND RESPONDENT CARD "X") best describes the level of research activity in your museum? 1. Research is the primary function and activity at this museum... (80 ( -1 2. Research is a major function and activity at this museum, but not the primary one -2 3. Research is- only a minor activity at this museum -3 4. Research is not intended to be an activity at this museum -4 Not sure .5 7a. During fiscal 1971-72 did your museum nublish any of the materials on this list (HAND RESPONDENT CARD "Y“) , or not? (READ LIST OF ITEMS, RECORDING ANSWER FOP EACH ITEM) 7b. (FOR EACH ITEM "PUBLISHED" IN 7a WITH AN *) How many different (^published item) did you ^publish in 1971-72? (RECORD BELOW FOR EACH APPLICABLE ITEM) 7c. (IF "PUBLISHED" ** ITEM 7) fiscal 1971-72? (RECORD BELOW) 1 . 2 . *3. *4 . * 3 . * 6 . **7 , Exhibition catalogues with extensive annotations (as opposed to 1 i sts) Catalogue of collection(s) . Scholarly or technical boo! and papers Popular books, booklets or pamphlets (excluding mem- bership flyers, etc.) Regular periodical ( s) (magazines, journals, 8. Other (SPECIFY) How frequently did you put out regular periodical (s) during 7a. Pub- Not Pub- Not 7b. lished lished Sure Number .(12( -1 -2 -3 •Q3(_ ^1 -2 -3 .(W( -1 -2 -3 (20,21 • <15( -1 -2 -3 (22,23 *s .<16( -1 -2 -3 (24,25 7c. • (JLZ( -1 -2 -3 Once Oncer* a Bi- Quar- Twice Once Other a <1 (sjiec- Ycar Year i fy) (26, 27 Month Monthly ter • ( 18( -1 -2 -3 ( 28c -1 -2 -3 -5 -6 (19( -1 -2 -3 - 49 - 53 Section VIII: Budget The remaining sections of the questionnaire concern the budget and finances of your museum. For your convenience, I will leave a form on which to record the museum's income and expenditures for fiscal 1971-72. When I pick up the form, I will also at that time ask the remaining questions on the museum's finances. We would also appreciate it very much if you would attach an audited financial statement with the budget form, if one is available. I will call you next week to see if all the forms are complete and make an appointment to pick them up and finish the questionnaire. 50 - Appendix I 54 CARD XI Section IX: Finances I would now like to ask you a few questions about the financial picture of your museum. la. Does your current operating budget level enable you to utilize fully the facilities, exhibits, collections, staff and other resources of the museum , or not? Does enable (32 ( -1 (SKIP TO 2) Does not enable -2 (ASK lb) lb. (IF "DOES NOT ENABLE" IN la) Thinking about the next 2 or 3 years--in other words, the short-term outlook-- what percentage increase in the operating budget would be necessary to utilize fully your presently existing facilities, exhibits, collections, staff and other resources ? Under 10''. (33 ( 10-247. ‘ 25-497. 30 - 747 . 75-997. ' 100-1497. ' 150-2007. ^ More than 200%. Not sure .' -1 -2 -3 -4 -5 -6 -7 -8 -9 lc. In which two or three areas would you most want to spend the funds realized by this percentage increase? ( 34 - ( 35 - 2. (ASK EVERYONE) Now, thinking about your needs and plans over the next 5 to 10 yearsllin other words, the long-term outlook--if your museum had sufficient funds to make any improvements you' felt necessary on facilities, exhibits, collections, staff and other resources, in which two or three areas would you most want to spend those funds? ( 36 - ( 37- 3a. Compared to 1966, would you say your operating costs are now higher, lower, or about the same as they were then? Higher .* ( 38 ( Lower - About the same Museum not open in 1906......... (ASK 3b) (SKIP TO 3d) 55 CARD XI 3b. (IF "HIGHER" IK 3a) What has been the percentage increase in operating costs between 1966 and fiscal 1971-72? Less than 1G7 3 . 10 - 247 . 25-497. 50-747. 75-997. 100-1497. 150-2007. More than 2 0 07. Net sure 3c. What are the primary reasons for this increase? ( 40- ( 41- 3d. (ASK EVERYONE) We would like to know how your operating costs in fiscal 1971-72 were divided among the various areas or departments of your museum. While we realize that there must fee overlap, would you think in terms of these broad areas (HAND RESPONDENT CARD "Z") and estimate the percentage of your operating budget that is spent for each to reach a total of 100 percent for all five areas? (WRITE Iff PERCENTAGE FIGURE FOR EACH AREA. MAKE SURE TOTAL COMES TO 1007.) 1. Administration. .. Z_(42, 43 2. Curatorial/exhibition (44 , 45 3. Education «, A_ ( 46 , 47 4. Research ( 48, 49 5. Operations and support ‘4 ( 50, 51 Not sure (51 ( 4. On the basis of the operating budget you actually expect to have over the next few years, do you believe you will be able to maintain the quality of service provided by your museum at its current level, improve the quality, or is the quality likely to decline because of a lack of funds? Maintain current level (52( -1 Improve quality -2 Quality likely to decline -3 Not sure -4 - 52 - Appendix I 56 CARD XI, XII 5a. Specifically, we would like to know how serious is your need for additional money in the areas on this list. (HAND RESPONDENT CARD "AA") How serious is the need for additional coney for(READ FIRST ITEM ON LIST) -- very serious, serious but not very serious, only somewhat serious, or not serious at all? (RECORD BELOW AND CONTINUE WITH LIST) Serious, Very Serious But Not Very c ' , .rious Only Somewhat Serious Not Serious At All Does Not Apply 1. Administrative staff (53 ( -I -2 -3 -4 -5 2. Curatorial, display and " exhibit staff and programs. (54 ( -1 -2 -3 -4 -5 3. Education staff and programs. (55 ( -1 -2 -3 -4 -5 4. Research QBE Cl- 1 -2 -3 -4 -5 5. Operations and support (not including securitvl 6. Auxiliary activities, e.g. , -2 -3 -4 -5 museum store . (58 ( -1 -2 -3 -4 -5 7. Training program. . (59 ( -1 -2 -3 -4 -5 8. New acquisitions . (60 ( -1 -2 -3 -4 -5 9. New equipment . (61 ( -1 -2 -3 -4 -5 10. Kaior new construction ....... . (62 ( -1 -2 -3 -4 -5 11. Renovation or remodeling of T facilities for reasons other than preservation or conservation of object:. •(63( -1 -3 -4 -5 12. Conservation .<6£( -1 -2 -3 -4 -5 13. Climate control for the pro- tection of the collection . (65 C -1 -2 -3 -4 -5 14. Security . (S6 ( -l -2 -3 -4 -5 5b. We would now like to pick out for special consideration those last three areas -- con- servation, climate control for the protection of the collection, and security. What were your museum's operating expenditures, including both direct costs and personnel costs, during fiscal 1971-72 for (READ FIRST ITEM ON LIST)? (RECORD BELOW AND CONTINUE WITH LIST) 5c. (FOR EACH ITEM WITH "EXPENDITURES") Is the figure given for (item with expenditures) an estimated figure or are you able to Dreak out an actual amount from your operating budget? (RECORD BELOW FOR EACH APPLICABLE ITEM) Expenditures Not Sure Estimated Actual Amount Conservation (30 ( -1 ( 31( -1 -2 Climate Control..... 67-75 -2 (32 ( -1 -2 Security 12-20 $ -3 * (33( -i -2 21-29- - 53 - 57 CART XII 5d . Were any of your costs for (READ FIRST ITEM ON LIST) borne by an outside organization -- for example, a city government or university -- or did all your expenditures in this area come from your own operating budget? (RECORD BELOW AND CONTINUE WITH LIST) Borne by others Own Budget Not Sure Conservation ( 34 ( -1 - 2 -3 Climate control (35 ( -1 -2 -3 Security (36 ( -1 -2 -3 5e. What if any capital expenditures do you feel must be made over the next five years to meet your museum's needs in (READ FIRST ITEM ON LIST)? (RECORD BELOW AND CONTINUE WITH LIST) Expenditures Not Sure Conservation $ (64 ( -1 37^45 Climate Control $ -2 46-54 Security.... $ -3 53-33 5>£. Aside from capital expenditures and amortization, what percentage increase in current operating expenditures for (READ FIRST ITEM ON LIST) should be made immediately to meet your museum's needs? (RECORD BELOW AND CONTINUE WITH LIST) Conservation . . . Climate Control Security % Increase Not Sure Ca5-.._. (68 ( -1 -2 (67- -3 5g. How is conservation work accomplished at your museum -- is it done by your museum staff, contracted to another museum conservation labora.ory, or contracted to private conservators? (MULTIPLE RECORD, IF NECESSARY) By museum staff By another museum conservation laboratory By private conservators Other (SPECIFY) * ‘ * No conservation work at museum (ASK 510 (SKIP TO 6a) - 54 - Appendix I 58 CARD XII 5h. CIF ANY ANSWER OTHER THAN "NO CONSERVATION WORK AT MUSEUM" IN 5g) If you had sufficient funds for any type of conservation program, how would you prefer that the conservation work be accomplished -- by your museum staff, contracted to anotner museum conservation laboratory, or contracted to private conservators? By museum staff . . . . (70( -1 By another museum conservation laboratory -2 By private conservators -3 Combination of above (vol.) -4 Other (SPECIFY) -5 51. Why is that? Any other reasons? (71- (72- 6a. (ASK EVERYONE) In general, how successful do you feel your museum has been in controlling costs — do you feel it has been very successful, somewhat successful, only slightly success- ful, or unsuccessful? Very successful ( 73( ^_1 Somewhat successful -2 Only slightly successful -3 ITnsuccessful ^4. Not sure -5 - 55 - 59 CARDS XII-XIII 6b. What do you feel are the most serious pressures your museum faces that make it difficult to control costs? ( 74- (75- 7. Would you look at this list of business techniques (HAND RESPONDENT CARD "BB’.')and tell me if your museum uses each technique fully, uses it partly or not at all? (READ LIST OF ITEMS, RECORDING ANSWER FOR EACH ITEM) Uses Uses Not Fully Partly At All Not sure 1. Accrual basis accounting • (76 ( -1 -2 -3 -4 2. TSwo- to- three-year budget plan .... . (77 ( -1 -2 -3 -4 3. Five- to-ten-year budget plan . (78 ( -1 -2 -3 -4 4. Monthly or bi-monthly cash flow /_ „ / _ 1 _ A s t a 'cements 5. An encumbrance line to know when exceeding a line of budget 6. Maintenance of detailed records of fixed assets and collection 7. Periodic inventories of items shown in fixed assets and collection records 8. Competitive bidding for goods and services 9. Evaluation of adequacy of insurance 10. Financial advisors 11. Independent audits by CPA's or public accountants 12. Fidelity bonds for people handling valuables or monies 13. Contrc Is over payroll in terms of: Overtime Vacation Sick days 14. Profit ratios on concessions to guard against pilfering 8. I'd like to ask you r.ow about your museum endowment funds or not? By that we mean assets provided under a stipulation by their donor that they be invested, and that only the investment income be used, for general or for specified purposes, until a specified time or the occurrence of a specified event, or in perpetuity. J ° 1 eoj -1 -2 -3 -4 (i£(_ -1 -2 -3 -4 (13 ( -1 -2 -3 -4 (14 ( -1 -2 -3 -4 (15 ( -1 -2 -3 -4 (16 ( -1 -2 -3 -4 (17 ( -1 -2 -3 -4 (18 ( -1 -2 -3 -4 (19 ( -1 -2 -3 -4 (20 ( (Ed -1 -1 -2 -2 -3 -3 -4 -4 (22 ( -1 -2 -3 -4 r.dovment . First, does your museum Has endowment (23( No endowment -1 (ASK 9a) ’-2 (SKIP TO 17a ) - 56 - Appendix I 60 CARD XIII 9a. (IF "HAS ENDOWMENT" IN 8) Is any part of the income from the endowment restricted as to its use — for example, supporting only acquisitions, maintenance of a building research, or such? Is restricted (24( -1 (ASK 9b) No restrictions -2 (SKIP TO 10) Not sure ................. . » ... . -3 f 9b. (IF "IS RESTRICTED" IN 9a) What percentage of the total endowment principal is restricted as to the use of its income? (25 ( -1 -2 -3 -4 -5 -6 .... -7 .... -8 -9 .... -0 . . . . -x — -y Under 107. 10-197. ... 20-297. . , 30-397. 40-491 . . 50-597. . . , 60-697. . . , 70-797. . . , 80-897. . . , 90-991 .., 1007. Not sure , 10. (ASK EVERYONE WITH ENDOWMENT) Can the nr jncioai of any amount recorded as endow- ment in the museum accounting records be expended upon designation by the trustees or the governing board? Can be expended ( 26( Cannot be expended Not sure -1 -2 -3 } (ASK 11) (SKIP TO 12a) 11. (IF "CAN BE EXPENDED" IN 10) What percentage of the principal recorded as endow- ment may be expended upon designation by the trustees or the governing board? Under 107. 10-197. .. 20-297. .. 30-397. .. 40-497. .. 50-597. .. 60-697. .. 70-797. .. 80-894 .. 90-9S7. .. 1007. Not sure . - 57 - 61 CARD XIII 12a. (ASK. EVERYONE WITH ENDOWMENT) It is legal In some states to use a portion of previously realized capital gains for current income. Do you happen to know whether under the law of this state you are able to use a portion of previously realized capital gains for current income? By realized capital gains we mean net gains received through disposition of investments on hand. Can be done (28( -1^ ^ (ASK 12b) Cannot be done -2 )(SKIF 10 13a) Not sure ;... “3 T 12b. (IF "CAN BE DONE" IN 12a) Are any of the assets in the endowment capital gains realized before fiscal 1971-72? Are capital gains realized before fiscal 1971-72 . .... (29 ( -1 (ASK 12c) No capital gains realized before fiscal 1971-72 -2 (.(SKIP TO 13a) Not sure -3 J 12c. Have you used any portion of capital gains realized before fiscal 1971-72 for current income purposes? Have used..... Have not used Not sure 13a. (ASK EVERYONE WITH’ ENDOWMENT) Can any part of the capital gains realized in the 1971-72 fiscal year be used for current income purposes? Part can be tested (31( -1 No part can be used -2 Not sure....... -3 (ASK 13b) (SKIP TO l^a) 13b. (IE "PART CAN BE USED" IN 13a) On vhat percentage of the total endowment principal can currently realized capital gains be used as current income? Under 107. (32( 10-197. ' 20-297. ‘ 30-397. ‘ 40-497. ' 50-597. ' 60-697. 70-797. ' 80-897. ' 90-997. ' 1007. Not sure (SKIP TO 13d) 13c. (IP l.ESS T:’*N 100% IN 13b) Is the exclusion of capital gr.inc as current income on part of the endowment due to (READ FIRST ITEM ON LIST) or not? (RECORD BELOW AND CONTINUE WITH LIST) Is due to Not due to Specific grantor instructions .. State law Mur.eu . policy from grantor or legal restrictions (33( -1 ( 3i( -1 ( 35( -1 - 58 - Appendix I 62 CARD XIII 13d. Have you realized any capital gains on the endowment during fiscal 1971-72? Have realized capital gains (36 ( -1 (ASK 13e) Have not realized capital gains -2? (SKIP TO 14 a) Not sure -3_\ 13e> (IF "HAVE REALIZED CAPITA! GAINS" IN 13d) Was any part of the capital gains realized during fiscal 1971-72 used for current income purposes in that fiscal year? Was used (22_( ”1 Was not used , -2 14a. (ASK EVERYONE WITH ENDOWMENT) Ignoring any possible grantor or legal restrictions, how would you feel about your museum including all or a portion of capital gains as part of endowment income rather than as a contribution to capital — do you strongly ap- prove of this idea, somewhat approve, somewhat disapprove, or strongly disapprove of this idea? Strongly approve (_38( -1 Somewhat approve -2 Somewhat disapprove -3 Strongly disapprove -4 Not sure -5 14b. Why do you feel this way? Any other reason? (39- (40- 15. What is the attitude of the Board of Trustees as regards the museum including all or a portion of capital gains as part of endowment income rather than as a contribution to capital -- dot-s the board strongly approve of this idea, some-., hat approve, somewhat disapprove, or strongly disapprove of this idea? Strongly approve (41 ( Somewhat .approve Somewhat disapprove Strongly disapprove . ... Not sure -1 -3 -4 -5 - 59 - 63 CARD XIII 16a. (IF "PART CAN BE USED" IN 13a -- OTHERS SKIP TO 17a) On that portion o f the endow ment on which currently realized capital gains can be used for current income, do you have a spending rule or not? By spending rule we mean a fixed percentage of the value of that portion of the endowment that can be spent each year for museum purposes? Have spending rule. (42 (_ -1 (ASK 16b) Have no spending rule -2 (SKIP TO 17a) 16b. "(IF "HAVE SPENDING RULE" IN 16a) i V. r hat is that percentage? 0.97, (nine-tenths) or less (43( -1 1.0-1.97. -? 2.0-2.97. -3 3.0-3.97. -4 -5 4. 5-4. 9% -6 5.0-5.47. -7 5.5-5.97. -8 6.0-6.47. -9 6.5-6.97. -0 7.0-7.47. -X -y 8.07, and over -i Other (SPECIFY) -2 Not determined -3 16c. If the combination of dividends, interest and capital gains does not yield this percentage, is it a policy of your museum to use a portion of the principal to make up the difference? Yes (45 ( -1 No -2 - 60 - Appendix I 64 CARD XIII 17a. (ASK EVERYONE) Are there any funds already committed and earmarked for future operations by the donor which have not been recorded on Form "3", but are recorded by you in a deferred income account? Yes (46 ( -1 (ASK 1™) No -2 (SKIP IS) 17b, (IF 'YES" IN 17a) What is the amount of the funds already committed but earmarked for future operations which have not been recorded on Form "3"? i &7-55 18. (ASK EVERYONE) What is the attitude of the Board of Trustees toward the assumption of debt? That is, in what areas, if any, does the Board feel it is permissible to raise money by incurring debts? (56 - (57- 19a. Do you receive municipal or county financial support? Yes (58( -1 (ASK 19b) No -2 (SKIP 20) 19b. (IF ‘YES" El 19a) Do you expect this financial support to increase substantially, increase somewhat, remain the same, decrease somewhat, or decrease substantially in the next few years? Increase substantially (59( -1 Increase somevhat -2 Remain the same -3 Decrease somewhat -4 Decrease substantially -5 Not sure ^6 20. (ASK EVERYONE) How sure are you thi t the income from these sources (HAND RESPONDENT CARD "CC") will achieve the levels you are projecting for the next few years? Do you feel very sure, fairly sure, only slightly sure, or not sure at all? (READ LIST OF ITEMS, RECORDING AN S E'ER FOR EACH ITEM) Very Sure Fairly Sure 1. Contributions (private sector) for operating support (60( 2. Restricted contributions for specific progra s ( 61( 3. C-jvcrr.—.cr.t svonort o. general -1 -1 -2 -2 Only Slightly Sure -3 -3 Not Sure At All -4 -4 Not Applicable -5 -3 ope rat ior.s ( 62( -1 -2 4. Government "rants for specific programs ( 63( -1 -2 3. Earned income ( 64( -1 -2 -5 -5 -5 - 61 - CARD XIII 21'. Do you feel that (READ FIRST ITEM ON LIST) will become increasingly important as a source of financial support for your museum over the next few years, less important, or remain the same? (RECORD BELOW AND CONTINUE WITH LIST) Don’t Receive Less Remain Now/ Increasingly Import the Not Don't Expect Important tant Same Sure to Receive The federal government -2 -3 -4 -5 The state government -2 -3 -4 -5 Local governments -2 -3 -4 -5 Foundations Corporations -2 -3 -4 -5 -2 -3 -4 -5 Individuals -2 -3 -4 -5 22a. Niow I'd like you to look at this list of museum programs offered by the National Endowment for the Arts. Which 2 or 3 on this list do you feel would provide the mos-i. benefit!: for your museum if you were to participate in them? (HAND RESPON- DENT CASH "DD" } (MULTIPLE RECORD BELOW) 22b. 'Wlvich of the programs, if any, that are applicable to your museum do you feel would be of little value to you ? (MULTIPLE RECORD BELOW) 22a. Most 22b. Benefit Little Value 1. Purchase of works by living American artists (7l( -1 2. Special exhibitions _2 3. Making permanenft museum collections more readily available through innovative installation or publication of catalogues.... -3 4. Conservation program for emergency needs and for long-term programs in conserving collec- tions, establishing regional conservation centers, and training conservators -4 5. Training of museum personnel -5 (72 ( -1 -2 -3 -4 -5 6. Visiting specialists as consultants -6 7. Museum fellowships ("mini-sabbaticals") of one to three months -7 8. Maying museum resources more widely avail- able to a broad section of the public -8 9. Renovation program for climate control, security and storage aimed at preserving collection(s) -9 None -0 Not sure -6 -7 8 -9 -0 -x -x Appendix I 66 CARD XIII 22c. Aside from that list of programs, what other programs of maximum benefit to your museum do you think should receive support from either the public or the private sector? Any others? (73- (74- - 63 - 67 Name of Museum Form #1 - A004 MUSEUM PERSONNEL 5-8 On this form we would like you to provide information on all of the museum's per- sonnel INCLUDING the e?:ecutive director and the next three too positions a 1 rp ?dy covered in the interview . Your answers to the questions should describe the museum's personnel as of the close of your business year, fiscal 1971-72 (or at the end of 1971, if your fiscal year is the calendar year), unless the museum was not open at that time. If the latter is the case, your answers should describe the personnel as of the close of your regular season. The questions cover three different types of personnel: 1. Permanent full-time employees . All employees who are hired to work a minimum of 20 hours per week for the entire year or during the entire part of the year the museum is open. 2. Part-time employees . All employees hired to work less than full-time or to work only during limited peak periods of activity. 3. Volunteers . Individuals who contribute their time to pet form jobs that otherwise would have required hiring of pa(d personnel. The questions also refer to five different categories of employees according to the department or area within the museum in which they work. If you have employees who do not fit into these categories, please count them in the category most closely related to their work. If an employee's job covers more than one category, please count that employee only once, in the category in which the largest portion of time is spent. The categories are: A. Administrative . Staffs of all administrative and financial departments, membership department, public relations, puhl ioar ion-s, libraries, etc, B. Curatorial, Di s play and Exhibit . Staffs of all curatorial departments (excluding education and research), display and exhibition departments, cataloging, conservation, horticulture, animal nutrition, etc. C. Education . All staff whose primary responsibility is education, such as docents, instructors of children and of adults, workshop leaders, etc. D. Research . All staff whose primary concern and responsibility is research, such as research associates, laboratory technicians, archeolo- gists, etc. E. Operations and Support . Such personnel as custodians, security and sales forces, foremen, packers, preparators, installers, food handlers, animal attendants, etc. Finally, within these categories, the staff is further divided into professional and non-pro fessior.al . pro se ssional comprises those positions requiring specialized training or experience, such as a curator, librarian, public relations writer, cc-si, i't, lecturer , etc.: ~ ■ pertains to such positions a? secretary- stenographer, clerk, saler hr lp, guards, gardeners, attendants, etc. For each type of employee, questions are first asked concerning loial numbers within r.n c.ite. -riot, • eparsic-d into professional and non-professional. Any further breakdowns rc-queate : (c.g., sex, ethnic groups, salary brackets) should always add up to the total number given. For example, if there is a total of nine permanent aemnistrut i vc non-professional employees, the number of men plus the number of wren in this -roup must equal nine, the numbers f ' ‘ e ' ■ lovees in vai'.o.is salary brae .;ei$ must total mac, etc. (Please ingnore the figures printed below some response spaces; these are computer numbers to be used by the data processor) . The interviewer will collect this form when the conduct ed . final phase of the interview is Appendix I 68 FORM 1 (111 Kane of Museum Fora f 1 - A004 KJSEUM PERSONNEL As Of 1. Permanent full-time em-ilovecs Q-* 5-8 Please fill in the number of permanent full-time employees, by Job category and divided into professional and non-professional, in each of the classifications described. CARD 1 Total nu-her (d) of employees Ad-ninl s t r? : i vc Prof. Non-o. 15-18 19-22 Curatorial Prof. I’on-o. jL^ wt a-iloa P- rc. 1.011-0 01-26 27-JO .11-34 35-38 Rese arch P rof, ,.on-p. 39-42 43-46 Operations Pro : . Non-p. 47-50 Slr54 Sex # o f men f of wore Educa tion t with less than bachelor^ degree # with bachelor's degree 6 { with master '8 degree 7 # with doctorate 6 Don't hnov 15-18 19-22 23-26 27-30 31-34 35-38 39-42 43-46 47-50 51-54 9 10 11 12 13 14 15 S alar y t in each salary bracket: Under 52,500 52,500-54,999 55.000- 59,999 510.000- 514,999 515.000- 524,999 525.000 - 534,999 $35,000 and over 15-18 19-22 23-26 27-30 31-34 35-38 39-42 43-46 4 7- 50 51-54 Ethnic froups # in each group: 16 White 15-18 17 Black — 18 Puerto Kican/ Span! sh - Arc r lean American /Ted inn 19 20 Oriental 71 ft * v i c • — Union r.cnbrrs 72 4 of union Kieabcrt mie 23 # of non-renbers of unions :3-26 27-30 31-34 35-38 39-42 43-46 .7-50 51-54 — 2 3-26 2 7-30 31 -34 35-38 19-42 4J-46 .7-50 51-54 69 NAME CARD 24 25 26 27 28 29 30 n 32 33a OF MUSEUM FORM #1 - A004 2. Part-tine employees Please fill in the number of part-time employees by category and divided into profes- sional and non-professional. Also, please calculate the total .number of hours worked by each part-time employee during the year and indicate the number of part-time employees in each range of hours. 11 Administrative Prof. Non-p. Curatorial Prof. Non-p. Fducation Prof. Non-p. Research Prof. Non-p. Operations Prof. Non-p. Total number (#) of part-time employees 15-18 19-22 23-26 27-30 31-34 35-38 39-42 43-46 47-50 51-54 Hours worked during year If of employees who worked: Less than 176 hours 176-527 hours 528-1, 056 hours Mote than 1,056 hoars 15-18 19-22 23-26 27-30 31-34 35-38 39-42 43-46 47-50 51-54 3. Vol unteers Please fill in the number of volunteers by category and divided into professional non-professional. Also, please calculate the total number of hours worked by each teer during the year and indicate the number of volunteers in each range of hours. and volun- Total number (f) of Administrative Prof. Non-p. Curatorial Prof. Non-p. Education Prof. Non-p. Research Prof. Non-p. Operations Prof. Non-p. volunteers 15-18 19-22 23-26 27-30 31-34 35-38 39-42 43-46 47-50 51-54 Hours worked during year i f of volunteers who worked: Less than 176 hours 176-527 hours 523-1,056 hours More than 1,056 hours 15-18 19-22 23-26 27-30 31-34 35-38 39-42 43-46 47-50 51-54 4. Number of employees in in A 6 Total number of full-time employees at end of fiscal year 33b. 71 FORM tn - A004 OA 5-8 Name of Museum: On this form we would like you to provide information on the members of the museum's Board of Trustees or equivalent overseeing body, as of the close of your business year, 1971- 72 (or at the end of 1971, if your fiscal year is the calendar year) . For each category, please place an "x" under the column indicating the number of trustees in that category. For example, if there are 18 trustees on the Board, the "x" would be placed in the "15-19" column on the Total Number line. (Please ignore the other numbers and letters next to the response spaces; these are computer numbers to be used by the data processor.) The information desired concerns: 2a. The total number of trustees on the Board 2b. and 2c. The number of men and the number of women on the Board 2d. The ethnic groups to which the trustees belong 2e. The age groups in which the trustees fall 2f. The religious groups in which the trustees fall 2g. The length of time the trustees have been on the Board 2h. Occupations of the trustees (or former occu- pations, if retired) FORM 2 (11' MUSEUM TRUSTIES NAME OF MUSEUM As of CARO I Appendix I 72 CARD I i It 73 «rt m «rt sol co; cl *£> *& o N N N J JJJ JJJ Si Si *n m «n cn o *>»>% \ ' ' ' 1 ' l 1 1 ' ' ' 1 1 ' 1 ' ' 1 1 X X X X X X X X X X X X X X X X X 1' 1 • ‘ « ' 1 ‘ ‘ 1 1 ■ ' 1 1 ■ ■ ‘l o o o o o o o o o o o o o o o o o 1 o IT ‘ 1 • 1 ' ' k ■ • ■ 1 1 1 ' ' 1 ' 1 1 1 1 1 *1 ”l *1 I I I I I I I I I CO CO 3 w v D « c r> i o >♦< u 3 f^U( FORM #3 and #4 - A004 FINANCIAL STATEMENT AND MAJOR INDEBTEDNESS FORMS On these forms we would like you to provide information on the museum's in- come and expenditures and changes in fund balances during the fiscal year ending in 1972 (or at the end of 1971, if your fiscal year is the calendar year!, and on any major indebtedness of the museum at the close of the fis- cal year. Full instructions are given for each form, but if you should wish any point clarified, please notify the interviewer who will contact someone who can assist you. The interviewer will collect these forms when the final phase of the inter- view is conducted. Please attach an audited financial statement, if avail- able, cr, if not available, copies of the museum's internal reports used to prepare the forms. Thank you. Appendix I 76 Form 3. EXHIBIT A: STATEMENT OF CURRENT FUNDS INCOME AND EXPENDITURES AND CHANGES IN FUND BALANCE This form should provide a total picture of the museum's income and expenditures during the fiscal year ending in 1972 (or at the end of 1971, if the fiscal year is a calendar year). In order that the entire scope of the museum's operaticns be shown, please include in this form funds actually expended on behalf of the museum by other organizations such as a municipality or university. These funds — even though they may not be a part of the operating budget of the museum — should be included both as income from the appropriate source assd as expenditures for the applicable item. For example, if the museum is part of a university which — in addition to allocating funds for operations — also maintains the museum's facilities, the cost of this maintenance should be entered as part of the income "allocated by colleges and universities" (line °) and as part of expenditures for "main- tenance" (line 47). However, donated services provided by volunteers should not be reported on these forms. I. FUNT> COLUMNS All items of current funds income and expenditures should be entered both under "Total Current Funds' 1 (column 1) and under the funds into which the money was received or from which ie was expended — "Current Funds, General" (column 2) and/or "Current Funds, Restricted by Loner" (colassn 3). Column 1 must equal the total of the amounts in columns 2 and 3. The Funds 0 0 n 0 r s 1 n c otid r i s 0 s sll ssssts 2 vs 1 1 3 b 1 0 for and used in the rsoseum's regular activities, entirely at the discretion of its board and management (for any lawful purpose of the museum). Appropriations, set-asides, or other designations by the museum's board of funds for special programs or activities remain, despite the earmarking, as part of the "Current Funds.General". "Current Funds, Restricted by Donor" comprise all assets available to meet current expenses but only in compliance with restrictions specified by their contributors . II. INCOME Support from the private sector -- Received directly: Lines 1-3 : "Contributions and memberships" — all contributions and membership fees received by the museum from individuals, corporations, and foundations and trusts. Admission donations, required or requested by the museum, should not be included here but should be reported as part of "general admissions", line 25. Line 4: "Special fund-raising events — All revenue derived from such special fund-raising events as dinners, dances, theatre parties, etc. The total amount of money raised before deductions for expenses (gross) should be reported. The expenses should appear in the appro- priate categories of expenditures. - 2 - 77 Form 3. Line 5: "Other" — All other funds received directly by the museum from the private sector, with the source (s) specified. Line 6: "Total received directly" — Sum of lines 1-5. Received indirectly : Lines 7 and 8: "Collected by fund-raising organizations" — All monies received from other fund-raising organizations (e.g., federated fund- raising drives, associated organizations raising funds to support the museum) should be reported on line 8, with the organization (s) speci- fied. Line 9: "Allocated by colleges and universities" — All funds received from a college or university, whether an affiliate of the museum or not. Grants, from colleges or universities to individual members of the staff to support work that is part of the museum's programs should be included in this total. Line 10: "Other" -- All other funds received indirectly by the museum from the private sector, with the source (s) specified. Line 11: "Total received indirectly " — Sum of lines 7-10. Line 12: "Total received from private sector" — Sum of lines 6 and 11. Grants arid fees from government agencies Lines 13-22: All grants and fees received from government agencies. Funds received from municipal, county, and township governments should be reported on line 13. All funds from state arts councils and com- missions should be reported on line 14; and from any other state agency on line 15, with the agency specified. Funds from any of the federal government agencies listed in lines 16-21 should be entered on the ap- propriate lines. Funds from any other federal government agency should be reported on line 22 with the agency /agencies specified. Line 23: "Total received from public sector " — Sum of lines 13-22 Line 24: "Total support" — Sum of lines 12 and 23. Operating reve nue Lines 25-28: "Program service fees" — All monies received for general and special exhibit admissions, including donations made for admission to the museum, should be entered on line 25; monies received for lectures, films, performances, etc., on line 26; and for tuition for classes and workshops on line 27. Funds derived from any other type of program ser- vice fees should be entered on line 28, with the type of fee specified. - 3 - Appendix I 78 Form 3. Line 29: "Sales of exhibits and collections" -- All funds received from sales of exhibits and/or collections, whether to individuals, museums, or other purchasers. Lines 30-32: "Sales of supplies, catalogues, reproductions and re- lated articles in museum shops", "Restaurants and parking lots and related activities", and "Services provided to other institutions" -- All income received in the respective categories before deductions for expenses. Expenses should be recorded in the appropriate cate- gories under expenditures. Line 33: "Investment income" -- Funds received as interest, dividends, etc., on investments of current funds or endowment and similar funds where such income does not have to be added to endowment principals per debars 1 instructions . Lines 34 and 35: "Gain or (loss)" -- Gains made in the current reporting period -on disposition of investments of current funds (line 34) or on sale of other fixed assets inline 35). If a loss was incurred, the amount should be entered in brackets. For example, if a contribution of common stock was received and recorded at market value and sold later in the reporting period at a higher or lower price, the gain or loss would be reported here. Line >6: "Miscellaneous revenue" -- All other funds received as operating revenue before deductions for expenditures. Such items might include rental of equipment, collections, displays, and facilities; royalties and related fees, etc. Line 37: "Total operating revenue" — Sum of lines 25-36. "Total income" (line 38): Sum of lines 24 and 37. III. Expenditures Personal services Line 39: "Salaries" — All salaries and wages earned by the museum's employees, including full-time, part-time, and temporary. Line 40: "Fringe benefits and payroll taxes" — All fringe benefits paid for by the museum, such as health and retirement plans, and all payroll taxes, such as F.I.C.A, unemployment insurance and disability insurance. Other than personal services Line 41: "Scholarly publications, bulletins, and exhibition catalogues" -- Costs of publication design, plates ,. photographs , printing, paper, postage, etc>> f or scholarly publications issued by the museum. Lire 42: "Advertising, promotion, printing" — Cost of art work, plates, photographs, printing, paper, postage, etc., for advertisements, films, brochures, etc., used to promote the museum and its programs, as well as for such miscellaneous publications as annual reports. - 4 - 79 Form 3. Line 43: "Transportation and shipping of objects" -- All costs in- curred in the shipment of exhibitions, collections, supplies, etc., either to or from the museum. However, any insurance costs should be entered on line 45 or line 46. Lines 44-47: "Occupancy" — Costs arising from the museum's occupancy and use of land, buildings and offices, broken down into rental costs (line 44), insurance on facilities and equipment (line 45), insurance on collections (line 46), and maintenance (line 47). Line 48: "Amortization of indebtedness on land, building, equipment and collections" -- Amount paid for amortization of any indebtedness on facilities, equipment or collections. Line 49: "All other expenditures" — All other expenditures of an operating nature incurred by the museum during the fiscal yean Total Expenditures (line 50): Sum of lines 39-49. Excess of income over expenditures (line 51): Total income (line 38) minus total expenditures (line 50 ), when total income is greater. (OR) Excess of (expenditures) over income (line 52) : Total expenditures (line 50) minus total income (line 38). when total expenditures is greater. This figure should be entered in brackets. Lines 53 and 54: "Acquisitions of land, buildings and equipment" and "Acquisitions of collections" — Costs of all equipment, facilities and collections acquired by the museum where current funds were used to make the purchases. Where current funds were transferred to the land, buildings, equipment and collection funds and such funds were then used for the pur- chases, the amounts should not be recorded on this line, but should be shown as a transfer on line 56 (Exhibit A) and line 72 (Exhibit B) . Note: All amounts entered on line 53 and 54 should be shown in brackets. Balance (deficit) at beginning of yea r (line 55) : Balance of current funds at begin- ning of fiscal year. If there is an accumulated deficit from prior years, it should be shown in brackets. The amounts entered should agree with museum's financial statements . Transfers (to) from other funds (line 56): A transfer identifies the authorization for a specific change in the use of funds and the transfer of such funds from one fund group to another. The amount transferred from current funds to other funds is shown as a bracketed figure on line 56 (Exhibit A) and a positive figure on line 72 (Exhibit B) . Conversely, a transfer of funds £o current funds from other funds would be shown as a positive figure on line 56 (Exhibit A) and a bracketed figure on line 72 (Exhibit B). N ote: The ’amounts reported - on line 56 (Exhibit A) must be identical to the amount reported on line 7 2 (Exhibit B) ■ with one amount e» tered as a positive figure and the other as a bracketed f i gure . - 5 - Appendix I 80 Form 3. Balance (deficit) at end of year (line 57): Balance of current funds at end of fiscal year. The amounts entered should agree with the museum's financial state- ments and should be a total of the positive and negative (bracketed) amounts in lines 51-56. If there is an accumulated deficit at the end of the year in current funds, it should be shown in brackets. - 6 - 81 Q.# (Name of Museum) STATEMENT OF CURRENT FUNDS INCOME AND EXPENDITURES AND CHANCES IN FUND BALANCE (Dollars only - exclude pennies) Months ended . 197 5-8 Current Funds Income Support from the private sector: Received directly: Contributions and memberships Fine (excluding admission contributions): 4 Card) 1 • Individuals 2. Corporations (including company foundations) 3. Private foundations and trusts 4. Special fund raising events (gross) 5. Other (SPECIFY) Total Current Funds i t Restrictec General i By Donor (1) [Sum of Columns V-3) (2) i (3) i i 15 .23 ? Zj J3 l 4 1 l l 1 1 i 1 1 1 1 1 6. Total received directly f 1 Received indirectly: Collected by fund-raising organizations: 7. United Arts Funds 8. Other (SPECIFY) 1 1 1 1 9. Allocated by colleges and universities 10. Other (SPECIFY) 1 1 11. Total received indirectly 1 12. Total received from nrivate sector 1 Grants and fees from government agencies: 13. Local Government 14. State arts councils or commissions 15. Other state government (SPECIFY) 1 1 1 1 1 16. National End.ownent for the Arts 17. National Endowment for the Humanities 18. National Science Foundation 19. National Institutes of Health 20. National Museum Act 21. U.S. Office of Education 22. Other federal government (SPECIFY) 1 1 1 1 i i i 23. Total received tron public sector | i 24. Total support i i Operating revenue: Program service fees: 25. General and special exhibit admissions (including admission contributions) 26. Admissions to lectures, films, perform- ances, etc. 27. Tuition 28. Other (SPECIFY) i i i i i i i i 29. Sales of exhibits and collections i - 7 - (cont inued) Appendix I 82 FORM 3 Ml' Exhibit A (continued) (Name of Museum) STATEMENT OF CURRENT FUNDS INCOME AND EXPENDITURES AND CHANGES IN FUND BALANCE (continued) (Dollars only - exclude pennies) Months ended , 197 30. 31. 32. 33. 34. 33. 36. 37. Sales of supplies, catalogues, reproduc- tions and related articles in museum shops (gross) Restaurants and parking lots and related activities Services provided to other institutions Itsvestrsent income (interest, dividends, etc.) G>ain or (loss) on disposition of investments fiCain or (loss) on sale of fixed assets Miscellaneous revenue Total operating revenue 38. Expenditures Jgjtal income 39. 40. 41. 42. 43. 44. 43. 46. 47. 48. 49. reriouai services: Salaries Fringe benefits and payroll taxes Other than personal services: Scholarly publications, bulletins, and exhibition catalogues Advertising, promotion, printing Transportation and shipping of objects Occupancy: Rental of facilities Insurance on facilities and equipment Insurance on collections Maintenance Amortization of indebtedness on land, buildings, equipment and collections All other expenditures (except for amounts reported on lines 53 and 54) 50. lttLa.l_c:vB£ad i tuxes 51. Excess of income over expenditures (or) 52. Excess of (< xpendi turo lever i pc me 53. Acquisitions of land, buildings and 54. Acquisitions of collections 35. * V i 1 "ice i - ' . • : . c ■' * ' • : • - o f v 56. i : .. • : ui .. it . t l:cr . 57. * Balance (dciicit) at end oi year Total Current Funds — 1 Restricted General 1 By Donor (1) (Sum of Columns 2+31 (2) 1 (3) i i i I j 23 25 33 35 43 1 l l i l i 1 i i i 1 1 1 1 1 1 1 \ 1 1 i l 1 l | t I \ l 1 1 1 1 i 1 < 3 i 1 ( > i ( ) ( ) i t ) 1 ( ) ( ) i r -1 ( r I i £ i *Thcse amounts should agree with Museum's financial statements at beginning and end of yea respectively. _g_ 83 Form 3. EXHIBIT B: STATEMENT OF CHANGES IN ALL OTHER FUND BALANCES (OTHER THAN CURRENT FUNDS ) This form should provide a total picture of the changes in all other fund balances other than the current funds accounted for in Exhibit A, except Custodian Funds and Equity in Land, Buildings, Equipment, and Collections as described below. I. FUND COLUMNS All items or changes in fund balances must be entered both under "Total" (column 1) and under the funds in which additions or deductions were made. Column 1 must be the total of the amounts in columns 2, 3, 4 and 5. Def ini tion of funds "Endowment Funds” (column 2) comprise all assets provided under a stipulation by their donor that they be invested, and that only the investment income be *ised, for general or for specified purposes, until a specified time or the occurrence of a specified event, or in perpetuity. Amounts in this column should refer only to endowment principa l . Endowment income should be reported under "Current Funds, General" if unrestricted or under "Current Funds,Restricted by Donor" if the income may only be used for purposes specified by the denor, line 33 of Exhibit A. ‘Similar Funds" (column i) comprise all assets designated by the board and manage- rucnt of the museum to be invested in income-producing assets and administered as iLf they were endowments . "Unexpended Land, Buildings, Equipment and Collections" (column 4) comprise all assets (either contributed to the museum or designated by its board and management ) for acquisition or replacement of land, buildings, improvements thereto, equipment, and additions to the collection for use by the museum in its regular activities (as opposed to investment for production of income). Other funds (Column 5) -- Please indicate the name of any funds included here. Equity in Land, Buildings, Equipment, and Collections" compromises the value of l.ind , buildings , other improvements in addition to buildings, equipment, and collections owned by the museum and used in its regular activities. Note that thi s fur.d i s -v» f to h-- r- "nrt<. on the attached forms . ' (ustodicin cr nev 1 anus comprise all assets held by the museum on of anothei orren i z at ion or person and which may be disbursed only upon of instructions from and on behalf of that organization or person and behalf of the museum. Accordingly these funds are not to be reported attached forms . behalf rece ipt not on on the - 9 - Appendix I 84 Form 3. II. CHANGES IN FUND BALANCES Balances (deficit) at beginning of year (line 58): Balance of funds other than current funds at beginning of fiscal year. If there is an accumulated deficit from prior years, it should be shown in brackets. The amounts entered should agree with museum's financial statements. Additions: Line 59: "Contributions, grants, bequests, etc." -- All contributions received by the museum which were added directly to funds other than current funds. Line 60: "Gains or (losses) on disposition of investments" -- Gains made on sale or other disposition of investments of all funds other than current funds. If a loss was incurred, the amount should be entered in brackets. Line 61: "Investment income" -- Interest, dividends, etc., received as income on investments of all funds other than current funds which were added directly to those funds. Line 62 and 63: "Other" -- All other additions to funds other than current funds. F'lease specify the source of svch additions. Line 64: "Total additions" -- Sum of lines. 59-63. Deductions: All deductions are shown as bracketed figures Lanes 65 and 66: "Acquisition: of land, buildings and equipment" and "Acquisition c-.f collections" -- Expenditures for all equipment, facilities and collections where furads other than current funds were used to make the purchase. Lines 67-70: "Other" -- All other deductions from funds other than current funds, such as monies returned to grantor, payments to annuitants or, beneficiaries q § x| O -H x e a -h w oo O ^x o q x X £-< wo X r: tj uw o o rj H s < i-j CO r J *q q q < < o q l- cc^: x c*o X ^ c * o e in c o - q CO O 4-> X CO *-> C *H D CO cr o c a, .jd CO X q CD X * X CO x> C c o C3 q ^ to (0 o * CO CO to to C O -u O x q D .£> oo a X X D X q a q q o q .1 5 ! oj c a r u u u C" U CO !/3 C/0 CO c O rJ . o o o o cr d cr u < V- L< i.4 O o J O O Hi ~ x: x: x: u u u < o o o o m x