Dear Listers,

Thank you for the helpful responses.   Unfortunately, I could not make the
deadline which was January 21st (letters of recommendation, no applciation on
the web, etc.)so I'll wait until 2001.   But at least, I have the proper
contact information now.

Apparently, the MMI moved from the American Federation for the Arts in New
York to the Getty in Los Angeles, recently.

Next time I need to find something, I'll ask here first!   MuseumList is the
best!

Now, another question:    is the MMI worth attending for $3,300?  What kinds
of information might I learn there?   I'm not a novice in the field and I'm a
good fundraiser, program manager, and creative thinker.

The kind of information that would be most helpful to me  is in the area of
board/staff relationships.  For example, you want dynamic, wealthy people on
your board supporting the museum.   You want their money and their
participation in the museum. You want them to bring their friends as new
members.  You don't want them doing ad hoc things in the name of the museum
without telling the museum's professional administration.    I've noticed
that channeling their energy sometimes is tricky.   The kinds of people whom
you want on your board for power and prestige don't always listed to
professional staff members.   These powerful folk are retired mayors, CEOs of
large corporations, etc., who don't usually listen to other people.   They
think they know how to do it all, whether or not it is appropriate for the
museum.
This is not a serious problem where I work now, but i've seen it in the past.

So, what are your thoughts?  Would the MMI be helpful is solving that kind of
problem?   Is it mainly a networking tool?   I'm not interested in changing
jobs or leaving Georgia -- we Southerners are very rooted folk.   I'd like to
have some serious longevity in my current position.......  Networking is
useful for getting grants, though.  You never know who might turn out to be a
panelist and it's helpful if they've at least heard something positive about
the museum where you work.

I'm interested in your perspectives.

pamela sezgin

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