We caught up with the brilliant and insightful Amy Cavanaugh a few weeks ago and have shared our conversation below.
Alright, Amy thanks for taking the time to share your stories and insights with us today. It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.
I have been the Executive Director at Maryland Art Place (MAP) in Baltimore City for a decade as of this year 2022. When I first took the job in 2012 I was told by my Board that we were to sell our property across the city because it was deemed and burden to the organization financially. They weren’t wrong. MAP’s beautiful west side building needed a lot of attention at that time, and our leasing initiatives were barely getting us to even.
With all that said, and because I come from a pseudo-economic development background, it was clear to me that this gorgeous building, with so much potential that was also MAP’s original home was located in a neighborhood destined for revitalization. It became evident that we needed to keep the property, even with the losses. And later in the decision making process I learned that our property would now be part of a state designated Art & Entertainment District. We moved back in December of 2013. I’m so happy we took the risk. It is so important that artists have a home and representation in an area where commerce is growing. While the move was extremely risky, Im proud to say we have a fully leased building full of mission-aligned creatives..people are creating museum shows here, producing music, videos and much much more.
As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?
I was born in Washington DC in the 70’s. Last of four kids and a bit of an accident. My father worked for the CIA like many in DC and my mom was an artist and home-maker. Her older brother, James Hilleary, was an extraordinary painter, and while not officially part of the Washington Color School, by my standards he could have easily been an official part of that movement. At nine I began playing the cello which became the center of my world for many years to come. It took me to college which afforded me the opportunity to play around the world (even for the Pope!) Music continued on to working in rock bands and subsequently the recording industry, but each year at Christmas I returned to my uncles house-obsessing over these large-scale colorful paintings. I suppose it shouldn’t have been a surprise that I ended up working in galleries and supporting artists. And while I don’t play my cello as much today I take pride in the fact that Im able to support so many through Maryland Art Place (MAP).
When I officially got off the road from playing my friend’s father offered me an entry level position at his non profit ARCH (Action to Rehabilitate Community Housing) and ARCH Development Corp. Mind you I had zero professional working experience and barely knew how to use a computer (the rise of the internet) at that time. He took a chance on me, groomed me, taught me many lessons, good and bad. Eventually I found myself a good grant writer and was raising money to develop cultural facilities in Anacostia, DC (east of the river). There, we opened a new gallery, Honfleur which is still there today and thriving. My time at ARCH really prepared me for my ED role at MAP today. Also, in colleges today they have curatorial practice programs and robust Arts Admin programs. My training was in the field and at my home; it was laying on the floor at Christmas listening to my mom and uncle talk, staring at paintings, it was very organic.
Over the last decade MAP has become my baby. The organization has such and important history in Baltimore & Maryland-it was sort of the establishment that paved the path for all creative place-making to come. MAP’s founders and original leaders were true visionaries. MAP was established in 1981 at a time when local museums were less interested in living artists and in 1987 MAP’s Board purchased the building we’re in today. This gave artists a professional grade exhibition space in which to show their work, something larger,…something they could call their own. It’s an honor to be a quarter of MAP’s history now and to have been entrusted to care for such an important institution.
I think the thing I’m most proud of at MAP is moving us back to our original building in 2014 (there was a departure in the 90’s). It was not an easy move and also not wholly supported at that time. I’d be lying if I said there wasn’t adversity, in addition to a hefty lien with the city of Baltimore. Securing that building was by far one of the most challenging moments of my career, riddled with social politics and disgruntled stakeholders. It was worth it.
Over the last 10 years I’ve helped re-establish the MAP brand as well as expand our services. Through the building we’re able to help artists working in many disciplines. We’ve started a small fiscal agency program focused on creatives of color and an affordable art sale under my watch. Under my leadership we also created an art sale, UNDER $500, to encourage the purchase of original artworks during the holiday as opposed to more traditional commercial gift giving. Buying a present for someone that is handmade is so much more special. The sale also encourages new and aspiring patrons to learn more about the art world and artists in a non scary, white box elitist way. I think the art world has often projected an air of “not for you” – we try to demystify that. Art is for everyone, even high end fine art.
Has your business ever had a near-death moment? Would you mind sharing the story?
In 2013 I had only served at MAP for a little over a year. My Board was led by great people, but the organization itself was at the end of its second life cycle. Many of MAP’s Trustees had served on the Board for too long and there was not a healthy rotation of Board members. MAP was also not fiscally solvent. Nothing new for a non profit; however the organization needed a facelift and to consider that older ways of approaching philanthropy weren’t going to cut it in perpetuity. MAP needed to lean to make money outside of the kindness of donors. It seemed there was a bailout each year and while this was great, it was not sustainable.
Very quietly at the end of 2013, I asked my staff to pack everything up. We ordered a truck and a few workers over the Christmas holiday and moved all of MAP back to the building at 218 West Saratoga Street. We were going broke and the move was not completely supported by the Board. A few Trustees stayed and I began to pave my way to the new MAP with a small amount of capitalI had raised (which retrospect) saved our life. With that money we renovated. our gallery so we could operate. I scheduled off site shows and tried to make sure the move was peaceful and quiet.
By 2015 however we were going broke. Everything about the way MAP was operating had to be analyzed. How could such and important institution be in this position? I laid all staff off with the exception of one, mostly part time employee who I was thankfully able to keep with the support of the Maryland State Arts Council (also one of MAP’s founding partners). I was also able to knock my building managers hours down to hardly nothing, but I could at least expect someone had their eye on the facility.
That year, 2015 was tough. Our budget was a quarter of what it should be. Also that area of town was still seen as unsafe by many-attracting tenants was difficult, especially ones that paid. I often found myself sleeping at MAP when things broke down just to make sure everything was ok. Tripped fire alarms, iffy elevator etc..I missed 3 payroll cycles in August just so I could get my staff paid. MAP had become personal. I could not let it fail on my watch. I was terrified it was going to be a career breaker for me if it did. Thankfully, with a handful of committed Trustees, we were able to weather the storm. By 2018, MAP began to stabilize.
Any thoughts, advice, or strategies you can share for fostering brand loyalty?
From the start I knew relationships are everything and that I as MAP’s leaders was to set the stage for what that was supposed to look like. Anyone, I mean anyone who writes a check or donates to MAP will get a letter from me at a minimum. But really at the end of the day its about spending actual time with people, listening to their feedback, course-correcting and continuing that work even when painful. When the building was empty I thought I was crazy to stay and when I started in 2012 the community input I was receiving was that MAP was not for working artists anymore-it was seen as an organization that had become a project of wealthy interest. While not wholly true, perception is reality. I really needed to reposition MAP, I needed our constituency to believe in us again. I needed artists to understand that MAP was created for them. Artists needed to know MAP is reliable and accessible. I think we’re getting there today and I’ve finally enough the budget to hire help which is really great. We can ramp up our services as a result-we can continue our mission and more.
Today we keep in touch with our artists and patrons through mailchimp, social media platforms, online sales platforms and meetings-LOTS of meetings. I love talking to people, but more often than not artists. I’m inspired by what they create and the work that it takes to make their projects happen. To me brand loyalty is reciprocal-we also have to be loyal to our clients/constituency or otherwise.
Contact Info:
- Website: www.mdartplace.org
- Instagram: @marylandartplace
- Facebook: MarylandArtPlace
- Linkedin: linkedin.com/in/marylandartplace
Image Credits
E. Brady Robinson J.M. Giordano Tedd Henn