The Dunning-Kruger Effect at Work in the Minnesota Masonic Heritage Center
I recently read an article called, “Why Expertise Matters” by Adam Frank. It was suggestive of the CEO’s actions throughout the planning and construction of the Minnesota Masonic Heritage Center, where many experts were included throughout the process and then ultimately dismissed; their advice largely ignored.
Frank expands on the cognitive bias of individuals who suffer from illusory superiority called the Dunning-Kruger effect. He cites Tom Nichols’ definition in, “The Death of Expertise: The Campaign Against Established Knowledge and Why it Matters.” Nichols writes:
“The dumber you are, the more confident you are that you’re not actually dumb. And when you get invested in being aggressively dumb…well, the last thing you want to encounter are experts who disagree with you, and so you dismiss them in order to maintain your unreasonably high opinion of yourself.” Not that the CEO wasn’t intelligent, but it certainly identified many of his decisions on unfamiliar subjects and how he treated experts in those fields.
Frank writes about individuals with extensive training and experience in specific areas whose credentials become a liability when working for those who demonstrate the Dunning-Kruger effect.
He further defines the characteristics of these experts:
“…being a true expert means having a healthy dose of humility. If you have really studied something and really gone deep into how it works, then you should come away knowing how much you don’t know. In a sense, that is the real definition of an expert — knowing the limits of one’s own knowledge.”
That summed up many of the consultants brought into the loop from 2014-2016 on the Minnesota Masonic Heritage Center project, including myself.
I had witnessed the CEO not only dispute experts, but also ignore their recommendations or make decisions actively going against their advice time and time again throughout the planning and construction of the Minnesota Masonic Heritage Center. Specifically, the initial research and design of the Ladd museum came to mind as the CEO’s personal theories about the history of Freemasonry and origins of the Craft supplanted those of nationally recognized experts, such as Art Arturo de Hoyos. He later selected local replacements willing to translate his own personal view of the Fraternity. Furthermore, during May 2016 the CEO explained to me that anyone could design and build a museum or set up a library; he didn’t need experts around to tell him how to do it.
I had repeatedly encountered his attitude in a variety of meetings, especially when his vision needed validation. The creation of the lodge room painting is one such example. As a Masonic scholar, art historian, and artist, I had extensively researched and designed a new version of King Solomon’s Temple. My designs and those of Joe Burns for the historic portraits were subject to review by primarily the CEO and not any fraternal scholars, historical architects, or other organized committee specifically assembled to review commissioned artworks. To be clear, there was no committee assembled to represent the consensus of the Fraternity in Minnesota. The Grand Lodge was curiously absent throughout many changes that occurred after initial approval by the Board of Directors.
Final design for King Solomon’s Temple painting in the Minnesota Masonic Heritage Center Lodge Room.Working on the fourth design for the Minnesota Masonic Heritage Center Lodge Room painting after another CEO review.
Those called upon to review any design changes and provide feedback were the Minnesota Masonic Charities staff, specifically the CFO, Director of Communications, the executive administrative assistant, and the general director of the Minnesota Masonic Heritage Center. Not a single one of these individuals had any training or background in fraternal history or art. All waited for the CEO to speak and then agreed with his edict, rubber-stamping his own personal opinion.
The CEO used a similar approach for the handling of the Fort Scott scenery, ignoring an expert’s advice, timelines, and safety concerns. For example, when addressing the health hazards of dusting color, the CEO explained that the pigments were inert and not harmful.
I am no chemist, but it is common knowledge that lead, cadmium and arsenic are common in historical dry pigments and those are harmful when inhaled.
Dry pigment in both the dry and paste form.Just a small sampling of the many dry pigments used in historical scene painting of theatrical scenery.
The CEO sought confirmation for his theory from a paint company in Duluth (who notably did not understand historical scenery or the dry pigment paint system). This company would not have any reason or history evaluating the chemical components of dry pigment used in the production of painted scenery. However, his individual consultation with another company, albeit an inappropriate one, provided him with a sense of legitimacy that could validate his future actions.
The CEO repeatedly questioned my scenery restoration process, suggesting alternatives to ensure that the collection would be hanging within a year. He advised me in an area that he knew nothing about; an area in which I was an expert. He clearly discounted my life’s work of almost thirty years studying historical scene painting methodology, paint application, and the use of dry pigment when creating Masonic scenery. In the end, I was just one of many experts dismissed so that the entire endeavor could solely remain the singular vision of the CEO.
As many would argue, this was intended as an edifice of one man’s vision, not the cumulative work of many Minnesota Freemasons.
I tried to leave sorrows behind me when I left the building at the Grand Opening of the Minnesota Masonic Heritage Center, understanding the significance of having been the only staff member who had not received a name tag. I wondered when I would get called into the CEO’s office for the termination of my employment. That weekend, I reflected on the Grand opening, and looked at the ceremonial program and museum program. I didn’t even want to share these with my children or parents. I was being officially erased from the center’s history.
Minnesota Masonic Heritage Center Grand Opening Program, 2016.Minnesota Masonic Heritage Center Grand Opening Program, 2016, picturing CEO and general director.
I hadn’t connected all dots since my return from Fort Scott last December 2015. It was crystal clear now and I felt like an idiot. What were the CEO’s future plans and what was he intending to do with the Fort Scott scenery? Then realization dawned. That’s why he delayed the scenery restoration too; he was looking for someone else to restore the scenes and finally found someone else to do it.
I recalled a meeting early that spring where I was discussing the selection and hiring of individuals for the restoration crew. At that time, the CEO asked why I couldn’t just train in a crew to restore the collection and walk away to do other things. “It’s not that easy,” I responded, “Every drop is different. There is not set way to restore every single scene.” I then went on to explain that each drop had developed a unique shape and overall condition throughout the course of its life. The fabric would stretch in odd ways, the binding could break down, the paint could loose its vibrancy, or many other things would alter the restoration process.
Furthermore, there was the netting dilemma. All of the theatrical suppliers in the United States purchased from the same looms. The netting that we now buy is nothing like what was used a century ago. The knots slip and have to be hand-checked prior to gluing to the cut center. If the slipping knots are not sewn to prevent movement, the entire scene can sag over the course of a few months. “THAT is a nightmare,” I exclaimed, “but it only ever happened once; I learned my lesson.”
I first noticed that knots that were slipping during netting projects at the St. Paul Scottish Rite in 2002.Attaching netting to a drop in 2002, Santa Fe, New Mexico Scottish Rite.
I was in the middle of two restoration jobs – Santa Fe and St. Paul during 2002. When I returned to St. Paul after doing a phase in Santa Fe, the entire treasure scene cut drop was sagging. The netting reminded me of silly putty. We had to re-net the entire scene, much to the detriment of the painted surface. I realized that it was the slipping knots. From that point on, I hand checked every single knotted intersection over yards and yards of netting. It is time consuming – but crucial to the restoration process. It’s not a problem for new scenery as there isn’t a single contemporary production that hangs for several decades.
On top of that, I expanded, there is a specific way to stretch the netting on a historic drop and it is not like stretching netting on a new piece of fabric; you have to gauge the thickness, the weave, the age – it’s hard. If you stretch it too tight, the painted surround puckers. If you don’t stretch it enough, the center sags.
Both the CEO and general director knowingly nodded at my description. “Well how do all the other restoration companies handle this problem?” they general director asked.
“Good luck finding another one,” I responded. “Most studios recommend replicas.” I explained that I was one of only two professionals specifically specializing in scenery restoration. I knew of only one other individual in the United States who was also a friend, Chris Hadsel, She specialized in small roll drops for Grange Halls or northeastern United States public halls. This was radically different that the dozens of counterweighted drops in Scottish Rite theatres that were my specialty.
“Look, “ I went on, “When Masons contact scenery companies or paint studios, the company representatives often explain that the drops are too far gone – the fabric is dry rotted. They offer to do a replica instead, but the composition NEVER looks the same as it is a different style of painting and paint medium.” I went on to give my standard speech explaining that exact replicas for these historical scenes are impossible due to the scarcity of dye and dry pigment colors, in addition to the rarity of artists well-versed in historical painting techniques. Contemporary scene painting methodology and paint application will never carry the same fluidity of motion, economy of brush stroke, or technical manner in which the original backdrops were painted; lacking the original artist’s sheer experience of working solely with the dry pigment paint system for his entire career.
A picture depicting dry pigment in both powder and paste stage.
A close approximation of the composition and painting techniques may be produced with certain accuracy, yet the technical expertise of contemporary scenic artists cannot compare with their predecessors. Contemporary scenic artists, no matter what their skill level or education, fail to deliver a product similar to scenic artists from the 1870s-1940s. Scenic artists often painted scenery 10-12 hours a day, six days a week, for 40-60 years. Their expertise is unequaled.
“Furthermore,” I went on to say, “This is why many scenic studios are unfamiliar with dry pigment painting to do a proper restoration. They recommend a painted replica, explaining that it will be cheaper than restoring the original.” I ended with, “If scenery restoration were cheap and easy, every Scottish Rite theatre across the country would have a restored scenery collection.”
“Can you replicate these historic scenes? “ the CEO asked. My first thought was, “What?!?” Then I promptly responded, “Of course I can, but even I don’t have the same experience as the original scenic artists.”
“You mean we could have painted new drops instead of restoring old ones?” The CEO insisted. Everything stopped. “Oh my God,” I thought, “he just missed the whole point of my conversation; furthermore, he has no idea that I am an accomplished scenic artist.”
I took a deep breath and calmly said, “Look, the whole point of designing a space to accommodate historic scenery is to have the paintings of Thomas G. Moses on display and not those of a contemporary scenic artist. We want to hang fraternal heritage for future generations to appreciate, not make a copy.”
I went back to my office where Jean Montgomery was working in the library. “I can’t believe it!” I shouted to down to the basement from the top of the stairs. Descending, I continued my rage, “They are looking for someone else to restore the scenery and they think I’m too stupid to realize it!”
I sat on the bottom step peering through the railing and said, “They actually think that there are a whole slew of people doing scenery restoration.” Then I sat up a grinned, “ Well, they’re going to have a hard time finding someone who knows what they’re actually doing.”
“Ya think?” Jean responded.
To be continued…
Touching up a small section at the Scottish Rite in Danville, Virginia, during a scenery restoration project in 2010.
Two for one day today as Grand Lodge is tomorrow! This is a long installment that I simply didn’t want to divide into two parts.
When I left for the Fort Scott on November 1, 2015, the six galleries for the Ladd Museum and majority of text panels were both finalized and approved. There were only a few museum meetings left and they were to focus primarily on some small details and the interactive exhibits. The museum team needed these meetings to end so that they could create and submit their final proposal; one that would include all the estimated expenses associated for the opening exhibit on June 24, 2016. The date that decisions had to be finalized was December 1, 2015. Until that time, the museum team remained on retainer as the scope of the project had yet to be finalized or agreed upon by both parties.
Here is the original museum team photo requested by Art De Hoyos in September 2015. The picture included Wendy Waszut-Barrett (Opening Exhibit Curator), De Hoyos (Masonic scholar for national and international content), Brent Morris (Masonic scholar for national and international content), Mark Campbell (Masonic scholar for local content), Terry Tilton (Masonic scholar for anti-Masonic sentiment area), Mia Schillace-Nelson (Exhibit Construction), Joel Woodward (Exhibit Designer), Steve Johnson (Exhibit Video), MMC Director of Communications (Script writer for videos and in-house text editor), the general director, and the CEO.
Jump ahead to March 16, 2016, when the part-time curator for the Minnesota Masonic Heritage Center emails me: “The objects planned for the exhibit galleries has changed pretty drastically and I have been spending all of my time cataloging the newly selected artifacts and developing new object lists for Mia and the preparators [sic].” Remember, the grand opening was June 24, 2016 – just two months away.
It is essential to understand the timeline for the initial exhibit design, artifact selection, thematic layout, and museum committee meetings from November 2014 until November 2015 in order to understand how continued changes jeopardized the entire endeavor and final deliverables.
When I was first hired as the historical consultant August 1, 2014, the CEO shared his dislike for all of the visuals that the museum team had presented to date during both the task force meetings and subsequent board of directors meetings. In November 2014, the CEO directed me to meet with Joel Woodward (Woodward Design) and Mia Schillace-Nelson (Outhouse Exhibit Services) to determine whether he should continue to retain their services or seek their replacement.
If we really needed to replace them, I needed to someone else to recommend for the design as we could not start a search from scratch. Therefore, I called Rick Polenek to see if he was available to work on the project, explaining my directive from the CEO. Rick was the designer for the 1996 touring exhibit “Theatre of the Fraternity: Staging the Sacred Space of the Scottish Rite, 1896-1929” and is a brilliant designer for a variety of venues, plus he was familiar with Masonic artifacts – a must.
However, during my meeting with the museum team, they explained that no one was providing any information about Freemasonry and they were solely “shooting in the dark.” It was at that point that I weighed all of my options and their enthusiasm, deciding to recommend that the CEO keep them on board, even though it would mean holding their hand throughout the entire process and assuming the role of Exhibit Curator myself. According to Schillace-Nelson, they were rapidly running out of time to design and build a six-gallery exhibit for a June 2016 opening.
By January 2015, I was working extensively as Exhibit Curator, creating timelines, mission statements, artifacts surveys, and thematic flow charts for each gallery. Schillace-Nelson and I spent long hours examining the entire Minnesota Masonic Historical Society and Museum collection; identifying potential exhibit artifacts, selecting and setting up a “staging area” for exhibit galleries, and recommending certain pieces for outside conservation work. Schillace-Nelson could not accomplish this work alone, nor select any appropriate artifacts as she was unfamiliar with Masonic memorabilia and the various fraternal organizations.
As previously posted in installment #40, I flew to Washington D.C. during February with the CEO, general director, and a local Scottish Rite Mason to present our project and select a Masonic Scholar to research and write all of the exhibit texts and object labels.
Picture of Art De Hoyos during a visit to the Minnesota Masonic Historical Society and Museum during March 2015. He is looking at rituals from the St. Paul Masonic Library acquisition, determining whether we should include any in the exhibit. During this visit he decided to join our crew as a museum text writer.Brent Morris during a visit Minnesota during March 2015. Here he is looking at the artifacts I selected for the galleries in the staging room of the Minnesota Masonic Historical Society and Museum. During the visit, he decided to join our crew as another writer for text panels and objects labels.
In April and May 2015, I wrote extensive thematic layouts for each gallery, identifying every item within a gallery and pairing objects together in specific areas.
Art De Hoyos and Brent Morris reviewed my drafts of thematic layouts and artifact selections for the Ladd Museum during spring 2015, making suggestions and occasionally adding content. Their recommendations were incorporated into the final outlines that were uploaded into drop box and then transferred to the the www.theladdmuseum.com website It was still up and running on April 7, 2017.This was my April 4, 2015 exhibit outline for the Ladd Museum Gallery. An expanded gallery outline was available for scholars to read in detail. I also created a summarized version to use during our weekly museum committee meetings called, “Museum Roundtables.” Each outline was submitted to the CEO, general director, Art De Hoyos, and Brent Morris for final approval prior to distributing to the remainder of the museum committee. Starting in June 2015, every Friday the museum committee met for a conference call to review a single gallery’s thematic flow, topic areas, artifact selection, and possible interactive displaysTwo of the artifacts that I selected during February 2015 that remained in the new design for the Ladd Museum that opened on June 24, 2016.Three artifacts that I selected to show ways that identified a Mason in different times and countries – all artifacts of the Minnesota Masonic Historical Society and Museum.Two of the artifacts that I selected during February 2015 that remained in the new design for the Ladd Museum that opened on June 24, 2016.This is my April 4, 2015 outline for the Ladd Museum Gallery 2 presented to the museum committee at our weekly conference calls titled, “Museum Roundtables.” Each outline was submitted to the CEO, general director, Art De Hoyos, and Brent Morris for approval prior to my finalizing the content. Starting in June 2015, every Friday the museum committee met for a conference call to review a single gallery’s thematic flow, topic areas, artifact selection, and possible interactive displays.This was a heading that I just fell in love with and selected for the entrance to Gallery 2: “From the dim light of the tallow dip, the screeching wheels of the Red River ox carts, and the cheery whistle of the Mississippi steamboat, our beloved Fraternity has worked to influence the lives and characters of good men, for the good of all people in bountiful Minnesota – The Land of Cloud-Tinted Waters.” This had been found in one of the books that I found in the St. Paul Masonic Library at the Scottish Rite during February 2015. It was perfect for Gallery 2 as it provided such a delightful visual – capturing a moment in the evolution of Freemasonry.
Other than myself, our assembled museum team included Art De Hoyos (Masonic scholar for national and international content), Brent Morris (Masonic scholar for national and international content), Mark Campbell (Masonic scholar for local content), Terry Tilton (Masonic scholar for anti-Masonic sentiment area), Mia Schillace-Nelson (Exhibit Construction), Joel Woodward (Exhibit Designer), Steve Johnson (Exhibiit Video), MMC Director of Communications (Script writer for videos and in-house museum text editor), the general director, and the CEO. I also intended to have one non-Masonic scholar who could look at the exhibit with fresh eyes as Campbell had recommended Janet Wolter, unfortunately she was never brought on board.
In June, July and August of 2015, I headed all of the weekly museum meetings. These “Museum Roundtable” meetings included a conference call for those unable to journey to Bloomington every week. At every meeting went over my artifact recommendations and thematic layouts for each gallery. My documents were posted to a website where all of the committee could view gallery information, objects, floor plans and graphic designs. After the meeting, I would condense the notes and include my minutes, emailing Schillace-Nelson for her to distribute my corrected documents. Our exhibit designer Woodward created a website to distribute and update information; it still appears to be up and running at http://www.theladdmuseum.com/index.php.
Joel Woodward created a website to post my outlines, resource material, his designs, timelines and other information. As some of us were “drop box challenged,” this was a wonderful way to instantly locate images and text during our weekly Museum Committee meetings.I created final outlines that assigned text panels to appropriate author for each gallery. Each scholar was assigned a topic area for text panels or object labels with specific word counts, based on standard formulas provided by Schillace-Nelson.The July project calendar posted at www.theladdmuseum.com where we scheduled meetings, assigned tasks, and created deadlines. On September 1, 2015, the scheduled event notes that the text for Galleries 1,2, and 3 “should be prepared and submitted to Wendy for early review in preparation for September 9 meetings with Art and Brent, on site in Bloomington.
After each gallery was approved, Woodward would then start to design the physical layout and stylistic appearance of each exhibit space to place objects in their specific topic area. Similarly, I would selected individual authors to write text panels and object labels, based on their past research and specialty.
The exhibit designer requested that I made “bubble diagrams” so that he would understand how much square footage should be designated to a specific topic within each gallery. After creating each gallery’ outline, I would then make bubble charts! These always made me giggle, but I completely understood why Joel Woodward needed them for a reference as the museum team was terribly unfamiliar with Masonic history in the beginning.
By September 2015, the entire museum team gathered together in Bloomington for a final meeting; there, we would all read and edit the text written by De Hoyos, Morris, Campbell, and Tilton. During that same visit, De Hoyos and Morris would also examine all objects so that they could start writing each object for Gallery 1 (History of Freemasonry), Gallery 3 (The Fanciful History of Freemasonry) and Gallery 6 (Extensions of Freemasonry). Tilton would write both the text panel and object labels for anti-masonic sentiment, whereas Campbell would write the object labels for Gallery 2 (History of Freemasonry in Minnesota) and Gallery 5 (Minnesota Masonic Charities). Johnson and Johns would assist Campbell with additional content for the Minnesota Masonic Charities gallery. Unfortunately, it was evident that the quality of writing among the scholars greatly varied. We asked our in-house editor to rewrite the text of Tilton and Campbell, attempting to unify their work with De Hoyos and Morris. To the group we announced that our in-house editor would “tweak everyone’s writing for uniformity” to avoid any hurt feelings.
Art De Hoyos’ text uploaded to the website for all to review during the Masonic Scholar visit.Just some of the massive amounts of paperwork printed out for the museum committee to review during the September 2015 visit when Art De Hoyos and Brent Morris were flown out to Minnesota.On my first day of work at Fort Scott, a 10:30 meeting was set for Design Reviews. For the 4th, a meeting was scheduled with the text editor and that was when the gallery designs began to alter. The last scheduled meeting for this museum committee website was planned for Monday, November 9, 2015.
Jump ahead to November 2, 2015. This was my first day working with the scenery in Fort Scott. This same week, the in-house text editor and CEO started to rearrange the placement of objects in various topic areas, even altering the written text by De Hoyos and Morris. The previously approved galleries began to change dramatically. For example, the Minnesota Masonic Charities Gallery swapped places with the Extensions of Freemasonry, putting it in the place of greatest prominence and ending the inclusion of a transitional space for touring exhibits.
By March and April of 2016, Schillace-Nelson and Campbell were still identifying new artifacts for the various galleries. I knew this, because Schillace-Nelson would stop by with daily updates, often parking her minivan in the driveway attached to my office/library processing facility due to continued construction.
It is crucial to note that the first “drop dead date” for artifact selection, text, and graphic images was June 1, 2015. The intent was so the production team could then estimate the expense with ample time remaining for construction. The museum team repeatedly explained, they needed an entire year to manufacture the exhibit. The June 1 deadline was then shifted to September 2015. After that, December 1, 2015; they didn’t meet that deadline either as the museum began the redesign process at that point. So when I entered the Ladd Museum on June 24, 2016, the exhibit appeared a mere shadow of its September 2015 vision; I was mortified for not only my sake but that of De Hoyos and Morris.
It was not until we left the building that my husband shared his indignation on my behalf; the museum brochure listed me as simply a historical consultant – nothing more. Furthermore he grew even more angry as he explained to Paul Jacob Roberts and myself, “And I counted seven – SEVEN – pictures of the CEO in the museum exhibit!” I shrugged and smiled at them both, “It might all be for the best as that exhibit is nothing that I had hoped it would be.” I simply couldn’t send the promised pictures of the museum to De Hoyos or the museum brochure that listed him simply as “historical consultant” and not a principle author for the exhibit text.
I then understood why neither Art De Hoyos nor Brent Morris had been invited to the Grand Opening; they would notice the substantial changes and possibly comment on them. There were only a few of us who notice the discrepancy between what had been approved in 2015 and what was actually built in 2016.
The story that I have told lives only in the minds of those who worked on the Minnesota Masonic Heritage Center museum exhibit from 2014-2016. The museum’s history was re-written on June 8, 2016 and is available as a Minnesota Masonic Heritage Center link: http://www.masonicheritagecenter.org/2016/06/muscle-making-museum/
Information posted by the Minnesota Masonic Heritage Center about the team that created the Ladd Museum, titled “The Muscle in Making a Museum.” Note that they address the redesign of the exhibit stating, “We went from a fairly collegiate-looking perspective to one that more closely represented our culture and history.” The “collegiate-looking perspective” would have been the version created by myself with Art De Hoyos, and Brent Morris. This article can be found in it’s entirety at: http://www.masonicheritagecenter.org/2016/06/muscle-making-museum/Please note that Art De Hoyos and Morris are credited with only consulting on “artifact selection and facts to include in the [the] narrative.” Tilton and Campbell are credited with helping “craft the narrative and content in our galleries.” This article can be found in it’s entirety at: http://www.masonicheritagecenter.org/2016/06/muscle-making-museum/ In the Ladd museum brochure handed out at the Grand Opening, Kelly O’Rourke Johns is credited as the sole “Writer” for the museum.
Please note that title credit of “Writer” is noted as Kelly O’Rourke Johns, the Minnesota Masonic Charities Director of Communications, and NOT De Hoyos, Morris, Campbell, or Tilton who provided all of the initial text. John’s initial role was only as script writer for Steve Johnson of Alacrity Productions museum exhibit videos.
Side by side, Art De Hoyos original writing for Gallery 1 display case and the same text used on a display case for Gallery 1, credited to “Kelly O’Rourke Johns, Writer” in the Minnesota Masonic Heritage Center brochure. De Hoyos’ original text document can still be found at: http://www.theladdmuseum.com/index.php/meeting-documents/text-panels/37-galleries-1-3-arturo-de-hoyos-first-draft-september-4-2015. I have to wonder at what point an author forfeits the intellectual rights to his work? Does he need to be informed that the words are no longer credited to him? How much of the original text needs to be altered for it not to be considered plagiarism? Why would you NOT want to credit Art De Hoyos or Brent Morris for their writing contributions?Picture of Minnesota Masonic Heritage Center with the display case text discussed in the previous picture. It is still available to examine in the online article about the Ladd Museum “Preserving the Past.” Here is the link: http://www.masonicheritagecenter.org/2017/03/preserving-the-past/As the token female “historical consultant” listed in the museum brochure, I bring up the rear! Notice that I am simply listed as “historical consultant for design and content. “ Furthermore, my professional affiliation is noted during the creation of the entire museum as the “principal of Bella Scena” and NOT the Curatorial Director for the Minnesota Masonic Heritage Center, having closed my company Bella Scena, LLC after I accepted the position of Curatorial Director at the on June 1 2015.
Eventually, we made our way to the Ladd Museum and Nelson Library during the grand opening for the Minnesota Masonic Heritage Center. The two staff members assigned to the space were wearing their new name tags. Both would become two of the three individuals to assume my responsibilities as Curatorial Director once my position was eliminated the next month. Theresa Norman had increased her position from an eight-hour-a-week freelance curator in the Minnesota Masonic Historical Society and Museum to Curator at the Minnesota Masonic Heritage Center. I wondered if she had left her full-time position at the Scott Historical Society yet.
Congratulating Theresa Norman at the grand opening. The flowers were an “opening night gift” from Viva Howard-Anderson of Cambridge, as I had told her about the Grand Opening.(Right) Wendy Waszut-Barrett, when I was still on staff as Curatorial Director for the Minnesota Masonic Heritage Center, with (Left) Theresa Norman who was listed as Curator for the Col. James B. Ladd Museum and in charge of Collection and Preservation at the Minnesota Masonic Heritage Center.
Smiling warmly as I congratulated Theresa on her the new position. She looked a little shocked and appeared very uncomfortable. I thought that her awkwardness might be from her continued insistence throughout the fall of 2014 and all of 2015 that she could never work for the Masons full-time, explaining, “They simply doesn’t understand how to run a museum!” She noted how the general director frequently offered her a full-time position, even after she repeatedly declined his offers.
My contributions reduced to historical consultant as history is rewritten by the CEO.
Since the fall of 2014, I had helped Theresa navigate the maze of fraternal organizations, even creating pamphlets that would help her identify the correct Masonic order as she catalogued a variety of objects, such as officer jewels, tracing charts, aprons, and a sundry of other Masonic memorabilia. You see, Theresa was completely unfamiliar with Freemasonry, its emblems, symbolism, regalia and paraphernalia; heavily relying on her two octogenarian volunteers to verify the name, purpose, organization, and other informational details about various artifacts.
Over the past eighteen months, we had engaged in extensive discussions about the library’s impending need for a separate software system as books should not simply be entered as artifacts in the current Past Perfect database. She explained that all books, with the exception of handwritten records, should be de-accessioned and processed as part of the new Nelson library.
During March of 2016, I emailed Theresa to continue our discussion on the increased volume of incoming acquisitions and where we could store books prior to processing as she was desperate for additional space. Many of the new book donations were directly dropped off at my office as members understood it was the library processing facility, although a few continued to be deposited in the MMHSM museum.
Teresa responded in an email,
“A high majority of the ‘books’ on the tables inside the entrance to the basement storage room are Lodge records (minute ledgers, financial ledgers, etc.). There are also a fair number of Bibles but those will most likely not be added to the historical collection – I just haven’t had a chance to go through them yet. There are grocery boxes underneath the tables on the right side that are filled with books [the general director] brought downstairs last year that I thought were meant for the library and, if so, they can be removed from the workroom.
I think the discussion concerning storage of ciphers and handwritten rituals can wait until after the new museum opens. The objects planned for the exhibit galleries has changed pretty drastically and I have been spending all of my time cataloging the newly selected artifacts and developing new object lists for Mia and the preparators.
I hope this helps. Please let me know if you need anything else.”
Around the same time that this email was generated, a visitor stopped by my office after interviewing with the general director and Theresa for a new position at the Minnesota Masonic Heritage Center. He was being hired to move the St. Paul Masonic Library from my office to the new facility and would directly report to Theresa. “But that makes no sense!” I exclaimed. “She only works eight hours a week and has been adamant that she wanted nothing to do with a full-time position or the incoming library.” It appeared fruitless to have someone supervise his handling of the books when she had never even seen the St. Paul Masonic Library contents.
I suggested to my visitor that Theresa must have finally agreed to a full-time position. Ironically, both the general director and CEO had asked my opinion earlier about her joining the MMHC staff. Obviously my suggestions had fallen on deaf ears; I insisted that it was imperative for the individual who would supervise the processing of Masonic artifacts be familiar with both Freemasonry and fraternal history. Theresa was not.
These same qualifications would apply to any future librarians who would process incoming books for the Nelson library.
We needed to find individuals like Heather Calloway or Mark Allen Tabbert; scholars who deeply understood the Fraternity’s material culture. Heather had worked at the House of the Temple in Washington for fourteen years and was now at George Washington College as their Archivist and Special Collections Librarian(https://www.washcoll.edu/live/profiles/8881-heather-k-calloway). Mark Tabbert was Director of Collections at the George Washington Masonic Memorial (an.org/video/?297214-1/george-washington-masonic-memorial).
Those handling the artifacts at the Minnesota Masonic Heritage Center needed direction from someone with the ability to identify specific Masonic emblems and understand the purpose of each ceremonial object.
My visitor then explained that he would not start his new position until June 1. “Why?!?” I asked. Shocked, I continued, “There is so much to do and I honestly don’t see how you can familiarize yourself with the collection, pack it up, transport it, and organize it on the shelves in that limited time. How will it ever be accessible to future scholars? “
To be continued…
Library and museum brochure handed out at the grand opening for the Minnesota Masonic Heritage Center.The Nelson Library at the Minnesota Masonic Heritage Center includes only two walls of books. I hope that someday they will add be more shelving to accommodate incoming acquisitions. The amount of shelving for the opening of the building could not even hold the original St. Paul Masonic Library acquisition in its entirety.
We had just exited the theatre when the graphic and exhibit designer, Joel Woodward, grabbed my hand and said, “Come here, come here!” He brought me to a spot near the entrance and faced me toward the stained glass window. “Look! Look at what we did!” he exclaimed. Then he began to recount all of our meetings when we redesigned the entire aesthetic for the building after the initial interior designer was let go – this was during January 2015. “Do you remember?” he said, shaking me by the shoulders, “All that time and everything we went through to get it just like this? It worked!!! The designs we made looked just like this!” I agreed, but still felt empty inside. However, I had a small feeling of relief; so Joel didn’t realize what was going on either.
Design created for the Minnesota Masonic Heritage Center “pre-function area” (Theatre Lobby) by MCM Interiors and submitted for construction bids during December 2014.This was the new aesthetic created by Joel Woodward and I during January 2015. We both had great concerns about what had been designed and what the Masons had requested throughout the fall of 2014. After numerous meetings, we presented this alternative aesthetic to the CEO. It was digitally rendered by Joel Woodward of Woodward Design. It was then tweaked and finalized for presentation boards at the Minnesota Masonic Charities gala, September 2015.
I extracted myself from Joel’s grasp, wishing that I could truly enjoy the opening. Grabbing my husband’s hand, I asked, “Are you ready to see my painting in the lodge room?” He nodded and we went up the steps, passing the Col. James B. Ladd museum. “Want to go in?” he asked.
Staircase leading to the Ladd Museum and Nelson Library.
“No, not yet,” I responded, intending to save the worst for last. I knew that it was nothing like the approved designs from September 2015. Reflecting on all of my work to select the artifacts, construct the thematic content, and run the museum meetings, I didn’t want to see what it had morphed into under the CEO’s curatorial direction. It was the visit to that particular space that I was absolutely dreading – well, that and the library.
We slowly worked our way toward the lodge room and entered the space. My eyes were immediately drawn to the glowing blue of the ceiling and I cringed; I hated that graphic and the lighting made it look even worse. The neon blue gave the entire lodge room a foreign discotheque feel.
Minnesota Masonic Heritage Center Lodge Room on Opening Day, June 24, 2016.Minnesota Masonic Heritage Center Lodge Room ceiling, June 24, 2016.
This ceiling graphic was the artistic vision of the CEO. He had selected the image and carefully guided Joel Woodward, our museum designer, to create the graphic. Joel had functioned as our digital interpreter for the entire project; the architects didn’t use the software that created the three-dimensional renderings. For the ceiling of the lodge room, the CEO wanted to replicate the painted one in Freemason’s Hall, London.
Ceiling in Freemasons Hall, London.
Unfortunately, square footage for the original ceiling was much smaller and surrounded by a gold and hand-painted décor. The CEO’s interpretation stretched this composition to over 40’ long in a barrel vault, surrounding it with white and cream coffers. This created an entirely different aesthetic. I had tried to add various trim colors to help blend the two aesthetics, but that much painted trim was deemed too expensive.
Minnesota Masonic Heritage Center, Bloomington, Minnesota.
At only one point the CEO sought my opinion, asking, “So, what do you think of it?” It radically departed from the remainder of the entire complex and I knew that nothing I could say would change his decision anyway, so I focused on two small details: the shape of the stars and their color. At the time, I recommended five-pointed Egyptian stars and metallic paint, not just the flat color gold. The placement of metallic stars on a barrel vault facilitated a traditional scenic illusion. This would make it a little more historical and allow the ceiling to “sparkle” in low-light conditions or when members moved throughout the room. Against my advise, the CEO selected large white pentagrams.
This choice reminded me of Marvel Comics and Captain America. All we needed was a little man with a cape, a Masonic apron, and top hat shouting, “Seek the Light!” in a word bubble.
This ceiling design had appeared mid-way through my own mural designs, and it became increasingly difficult to blend the two compositions. This graphic cheapened the effect of an otherwise grand room. All of my historical research pointed toward romantic skies depicting the appropriate constellations and planets, laid out as Pike had specified in his Middle Chamber lecture.
My recommendation of the ceiling aesthetic for the Minnesota Masonic Heritage Center. Source from the Santa Fe Scottish Rite, New Mexico.My recommendation of the ceiling aesthetic for the Minnesota Masonic Heritage Center. Source from the Santa Fe Scottish Rite, New Mexico.
I had struggled to integrate the mural aesthetic with this contemporary graphic one when a colleague asked, “Why are you trying to match ugly?” Then he smiled saying, “Just let the clash occur and people will realize why digital and hand painting are not one in the same.”
Full-scale graphic samples for the Minnesota Masonic Heritage Center Lodge room ceiling graphic and the first design for the lodge painting. I attempted to add some of the purple in the painted sky to blend with the color palette of the graphic.
Upon entering the lodge room, I realized that my colleague had been right; there was no point in trying to match the ceiling aesthetic, especially with the current lighting.
I then gave a congratulatory hug to the man who, as it turns out, would replace me as one of three individuals take on the responsibilities of Curatorial Director position. He was the newly retired Scottish Rite Secretary, who had accepted a position at the Minnesota Masonic Heritage Center, although neither he, nor the CEO would ever tell me what his actual job title was. I now know; he was my replacement as historical consultant for the center and their new Masonic scholar.
The first of many congratulatory hugs to the first of three individuals that would later assume of the my responsibilities as Curatorial Director.
He first appeared to be the local Masonic scholar for the museum and replaced me to survey the existing inventory and weed through artifacts at the Minnesota Masonic Historical Society and Museum. When the museum exhibit was redesigned during my absence while at Fort Scott, this same individual had been approached to identify new artifacts for the galleries.
He had also explained to me that spring, he was really the best candidate to “interpret” the CEO’s vision for the Ladd museum, plus he had been involved in most of the significant Masonic events over the past few decades. I thanked him for all of his hard work on the project and left the room. That would be my theme for the night, thanking everyone for all of their hard work and showing my sincere appreciation.
Once the neon blue ceiling was out of site, I remembered a quote by a Masonic author who said,
“The genius of Freemasonry is not our Masonic buildings and temples or trappings of our organizations. It is not our great charities or community activities. It is not our beautiful rituals or their teachings. It is the ‘practice of Freemasonry’ by Freemasons. Yet we cannot practice that which we do not know or understand. Thus Masonic education is the foundation of our Fraternity.” (by Michael L. Wiggins)
That was it, I realized. This was what I had been battling since my return from Fort Scott; the CEO couldn’t practice what he did not understand.
I drove to the Masonic Heritage Center for the Grand Opening. It was June 24, 2016, and a gust of hot air greeted us as I opened the driver’s door in the new parking lot. I had envisioned this day for two years, wanting to share it with my children and parents. Now, it was just my husband and Paul Jacob Roberts. I had requested that my folks and son stay home because of the heat and possible lack of seating.
We entered the Minnesota Masonic Home where Andrew quickly located his lodge, joining fellow lodge members to march in the processional. Paul and I wound our way through the crowds and I felt a hand grab my shoulder – it was the Grand Master of Minnesota, Bob Darling. “Here she is!” he exclaimed, “The woman who made it all possible!” and then he kissed me on the cheek. I smiled, gave him a hug, and introduced Paul Jacob Roberts. The Grand Master really doesn’t know what’s happening to me, I thought. That made me feel a little better.
Officers and Grand Master from the Grand Lodge of Minnesota during the procession for the opening of the Minnesota Masonic Heritage Center.My husband Andrew Barrett, and officers from Helios Lodge of Cambridge, Minnesota during the processional for the Grand Opening of the Minnesota Masonic Heritage Center.The opening of the Minnesota Masonic Heritage center on June 24, 2016.
When we were almost to the door, the CEO passed by and I took the opportunity to introduce him to Paul. I was curious to get Paul’s impression of the man. The final “nice to meet you” handshake reminded me of the moment from “It’s a Wonderful Life” when George Bailey shakes Mr. Potter’s hand; with a look of distaste, George wipes his hand on his suit coat as if to get the feel of Potter off of him. A similar moment occurred after Paul let go of the CEO’s hand and I realized that he felt it too. With an awkward “Well, enjoy the facility” the CEO dismissed us.
We left the Masonic Home and went to wait with a small group of women in the parking lot, including the Minnesota Masonic Charities staff and the museum team. Only a small canopy had been set up for the event to shade the elderly, but there obviously weren’t enough chairs. This puzzled me as I thought of all the Eldercare residents with fraternal ties. It was quite a small gathering and I realized that it was almost all Masonic couples – not the general public. I pondered why and was curious as to the reason why the Grand Opening had been to NOT been publicly advertised. Why wasn’t it televised as had been discussed for months?
The procession began and I watched the men dressed in full Masonic regalia slowly process to the main entrance – fully lit by the hot sun in the afternoon. It was a long ceremony, especially the speech given by the CEO and that given by A&P Construction. A&P noted that they still accomplished their goal even though the entire scope of the project had undergone significant changes. I knew that we were up to group number 44 for change orders when I last attended an OAC (Owner/Architect/Contractor) meeting that spring, but I had no idea of what the final percentage was; how much had this building really cost?
The speeches ended and the crowd was invited into the building. I was looking forward to answering questions as a member of the staff about the theatre space and scenery acquisition.
Grand opening of the Minnesota Masonic Heritage Center in the theatre. The three blank vertical spaces were intended to have hand painted murals. I had designed multiple compositions during fall 2014, including the personification of Faith, Hope, and Charity.The theatre at the Minnesota Masonic Heritage Center. During fall 2015, I was concerned that the carpet would appear “orange” when Nelson Design reduced the scale of the pattern. The pattern included colors that matched the seating and grand drapery colors, with a little gold highlighting the shapes.My view of the theatre from the balcony. Notice the area in front of the stage without seating that is used for degree work. I had brought this up in early architecture meetings as the original design had not included this crucial component for degree productions. The first few rows of seating are now removable to accommodate Scottish Rite degrees.The theatre at the Minnesota Masonic Heritage Center. The light walls on either side of the proscenium opening were to accentuate the complex had-painted murals on each side of the building. When the final colors were selected, I was concerned that the cream both here and in the lodge room would appear “white.”
As I walked down the house left theatre aisle, I spotted the general director. That’s odd, I thought, he should be in the banquet area with his new assistant – Lauren Ide. He looked at me and then turned to the crowd to ask if anyone had questions about the theatre. What?!?
I then got his attention and said, “I’m here to work. It just took me a while to get into the building.”
“Oh, That’s okay. You don’t need to be here, I’ll answer questions about the space.”
I stopped dead in my tracks. He had been the one who placed me and my painting assistant in this space, as “it was too big for a single person.” My assistant was to have been Annie Henley, but she had to cancel at the last minute. “It’s not a problem,” I responded, “I completely planned on working today.”
“No,” he said, “I got it.” He smiled and turned away. Oh, so it’s like that, is it?
I turned to leave the space and encountered a look of fury on my husband’s face. “Don’t let them do this to you!” he whispered to me, “Stand your ground!”
I sighed and shrugged my shoulders, attempting a smile. “Why, not?” I asked, “I am obviously not wanted here and don’t even have a name tag. No one will know who I am or even think of me as staff without one.” In the lobby, I saw the executive administrative assistant and asked if she had name tag for me too, as I had been scheduled to staff the theatre? She looked flustered and said, “Oh no. We are just using ones we already have– we didn’t make any new ones for this.” Not make any name tags for the staff who is greeting the public at the opening of a 30 million dollar building? How odd, especially since each name tag had the new logo.
I have lived much of my life thinking of the line from “On Golden Pond:” “Sometimes you have to look hard at a person and remember he’s doing the best he can. He’s just trying to find his way, just like you.” In hindsight, that philosophy made me an easy target for both the general director and CEO. It would take a lot for me to actually ascribe malice to their actions or call them on it.
The Grand Opening of the building was the beginning of my own end. I was purposefully being excluded, effectively silenced, and erased so that no one would notice when I was gone or ask questions. Unfortunately, Paul was there to witness every interaction and uncomfortable exchange. I was mortified. It is one thing to be treated horrendously by others, but it is an entirely something else to have both your spouse and a good friend be witness to it.
I desperately just wanted to go home, curl up into a ball, and cry until the next day from the sheer sense of betrayal. However, I am a fighter and was proud of my contributions to the center to date, so I grabbed my husband’s hand, smiled up at him and said, “Let’s go find some friends and look at my painting!”
As requested by the CEO to prove my experience and skill set, I submitted a thirty-seven page curriculum vitae. No response. The deadline for my departure to Europe was perilously close.
One May morning after Jean Montgomery showed up to work on the library, she asked, “Do you really want to keep working for these people?” Crestfallen, I looked at her and said, “Not really.” I believed that the work was too important to walk away from at that point, having labored so hard on the museum exhibits, library collection, theatre space, scenery collection, stained glass window, interior designs, color palettes, and everything else. How could I just walk away from the project and abandon the artifacts, especially Thomas Moses’ paint sweater with the flower petals, the Scottish Rite paint cap, and his paint brush? The scenery would have no guarantee of proper handling, or even survival. It began to appear as if everything I had accomplished had been done in vain.
In addition to Jean’s daily counsel, I sought the advice of many theatre colleagues and Masonic scholars nationwide. I desperately wanted to make an informed decision and gather their respected opinions. Everyone who heard about the CEO’s comment regarding my lack of skills reflexively laughed out loud, and then immediately sobered up, asking “What?!? Are you serious?” This was followed by the general comment, “get out while you can.” In my heart I knew that if I continued working for the people who now ran the Minnesota Masonic Heritage Center, it would destroy my and crush my spirit.
By the end of May, I had I received no response from the CEO in terms of a meeting to discuss my qualifications as listed in my curriculum vitae, my job description, and flow chart. Taking Jean’s advice, I had resubmitted the original 2015 versions. She explained that it was my employer’s job to redefine my position within the organization or eliminate it, not mine, even if I were directed to do so. My identifying a new position and submitting it for acceptance was ultimately renegotiating for a new new job and could possibly jeopardize my stance with the unemployment office if it weren’t accepted. Then I would be out a job and out any unemployment insurance.
On May 25, I requested a meeting with the CEO for my annual review and to discuss any future position. One was scheduled for June 1 and then cancelled by the CEO. Although I was available to meet the following week before my departure, the CEO was very busy. I left to present my paper on Masonic theatre in Stockholm without any knowledge of my future at the Minnesota Masonic Heritage Center.
I returned to Minnesota on June 22, just two days day before the Grand Opening. A friend from Chicago was coming into town for the event and I was to pick him up the afternoon of the June 23. That morning, I received an email from the CEO at 10:51AM stating, “I would like to meet with you in my office at 2:30 this afternoon (June 23). Please confirm.” No reason or context. “Well,” I thought with a sickening feeling in the pit of my stomach, “This could be it.” I then realized that I would have to pick my friend up on my way to the meeting. He would just have to wait in the lobby while I met with the CEO.
Once we arrived at the Masonic Home and entered the Minnesota Masonic Charities office hall, we encountered the executive administrative assistant. She explained that the CEO had just cancelled the meeting; she had personally just sent me an email. A half an hour earlier at 1:51PM, she had written, “Hi, Wendy! [The CEO] had several things come up with the Museum that he needs to deal with this afternoon so we won’t be able to meet with you. He would like to reschedule the meeting to Tuesday, June 28, at 2:30 pm.” I thought back to all of the late night and early morning texts from the CEO about various aspects of the project and was stunned that he couldn’t have texted me himself, knowing that I live almost thirty minutes away. My out-of-town friend summed up my thoughts immediately when he whispered, “Well, that was rude.” I agreed and we drove back to my house where I explained the whole saga over dinner and drinks.
My friend was a Masonic scholar who also had a background in theatre. We had known each other since he first volunteered for the St. Paul Scottish Rite Restoration Project in 2002, maintaining contact for over a decade. During the restoration project in St. Paul, a Scottish Rite member had hosted this young man. The young Mason was Paul Jacob Roberts and his Scottish Rite host was Jack Morehouse.
Here is where life becomes interesting and can circle back on itself. Jack Morehouse was currently one of only two volunteers at the Minnesota Masonic Historical Society and Museum and the other elderly volunteer was George Avis (a member of my husband’s Scottish Rite Class that spring).
Jack Morehouse and Paul Jacob Roberts during the 2002 scenery restoration at the St. Paul Scottish Rite.
It was at this museum in the basement of the Masonic Home where I selected all of the artifacts for the Exhibit. I had been pleasantly surprised at the time to reencounter Jack after almost fifteen years. You see, it was Jack and Larry Wert (then Secretary of St. Paul Valley) who had been the ones to feature me as guest speaker for the Feast of Tishri event, presenting on Scottish Rite scenery. During this event, I sat next to Peg and Jerry Oliver (current SGIG of Minnesota), meeting the couple for the first time and realizing that we had mutual friends in the Cambridge-Isanti area.
Larry Wert working on a cut drop for the “Rebuilding of the Temple” scene during the 2002 St. Paul Scottish Rite restoration.
But back to the story at hand, Paul was excited to reconnect with Jack Morehouse and also to see my work at the complex; I had been posting process photos for over eighteen months depicting my various contributions to ongoing projects. Paul had also been the subject of a recent conversation with the William J. “Bill” Mollere (President of the Scottish Rite Research Society and Sovereign Grand Inspector General of Louisiana). Bill had asked me whether my travels had ever brought me into contact with a fascinating young man – Paul Jacob Roberts. Bill and Paul had recently chatted over lunch in Baton Rouge and Bill immediately thought of me because of Paul’s theatre training.
On a side note, my continued emails with Bill stemmed from my work at the Fort Scott Scottish Rite when I was removing the scenery with a rigging crew. One of the riggers was interested in joining the Fraternity and was fascinated with the symbolism and legends incorporated into Scottish Rite degree work. We chatted about a lot of Masonic history while we were working. After my return to Minnesota, I contacted Bill to see if he could touch base with this young man to discuss Masonic options as they were both from the same region.
At the time, Bill also mentioned my continued work as a Masonic scholar and newly appointed position as Curatorial Director for the Minnesota Masonic Heritage Center. He ended one email, writing, “Please keep in touch and please continue protecting, collecting and maintaining some very valuable items that you obviously have been able to secure. How great that Minnesota Masons are thinking toward the future and finding the right person as Director. The very best to you.”
To be continued…
Making dinner with Paul when he arrived on June 23, 2016 – the day before the Grand Opening of the Minnesota Masonic Heritage Center.
Taking another selfie with Paul as it had been 14 years since we last saw each other!
For years, I have given individuals and organizations “the benefit of doubt.” This is who I am; I have an overtly optimistic look on life and people. It is hard for me to ascribe malicious intent to others, when I could not fathom taking such actions myself. Although I am able to identify challenges down the road in terms of work and come up with plans to trouble-shoot and problem solve, I cannot always do this with people.
This essence makes me who I am and is one of the reasons that I was initially drawn to the Fraternity as a whole. The Masonic messages, the degree instructions, the duties, and the obligations all struck a chord of truth with me. To believe that people took these oaths and acted with malicious intent seems unfeasible to me. I have often viewed organized religion with this same astonishment. Am I naïve? No, I just honestly believe that people mean well and try to be kind and decent individuals. The majority of Masons are amazing men, honorable and trustworthy. I knew there were some men who used Freemasonry for financial gain and power, but I never worked for one before.
I was unprepared when the CEO called me into his office, explaining that I would be let go after the opening of the building because I simply didn’t have the “skill-set” for the job as Curatorial Director. He stated that I was primarily a theatre practitioner and not a Masonic scholar, librarian, or museum expert; I just had been “learning on the job” since I started in August 2014. At the time he was explaining this to me, I gave the CEO the benefit of the doubt – maybe he really didn’t understand what I had accomplished over the past 18 months, let alone the past 28 years.
I took a deep breath to steady a surge of anger. “Well, that’s really unfortunate,” I said. Then I looked him in the eye and calmly began explaining my past experiences with museum exhibits, library archives, and my publications as a Masonic Scholar.
“But your resume only lists theatre restoration and art!” he insisted.
“Well,” I responded, “In July 2014, I reduced my curriculum vitae to solely support my role as historical consultant for the MMHC theatre space and future scenery collection.”
An the end of our conversation, he explained that he MIGHT be convinced to keep me on IF I could prove my history in working with museum, archives, and Masonic scholarship. I would think that my work over the past eighteen months had demonstrated my capabilities and my contributions to this entire endeavor. Regardless, he went on, there were some stipulations if he were to allow me to stay: I would no longer have the title of Curatorial Director, I would take a 25% pay cut, my new boss would be the general director, and I would greatly have to increase my workload.
The CEO had intended to hire a whole crew of interns, but if they kept me on, I would have to complete the majority of their anticipated workload myself. Furthermore, I would also have to rewrite my new job description, showing a flowchart and where I was placed below the general director. Then, I smiled at him from across his desk and requested a little time to come up with the paperwork. After all, I was in the final stages of completing the mural for the lodge room, finalizing the details for the start of the restoration project, and getting ready to leave on my trip to Europe.
“You can’t take longer than a week though,” he warned, “as I am in the process of hiring people for your job.” So, holding my head high, I walked back to my office and painted on the mural a bit to brighten my mood. I was heartbroken. The CEO was willfully ignoring all of my accomplishments to date. All of my hard work to be demoted and work the general director, someone who had yet to prove he could follow basic instructions and complete any task without an assistant. In hindsight, I realize that the CEO completely understood what he was doing and this was simply another attempt to break my spirit and have me work for even less money.
Fortunately for me, Jean Montgomery was still processing the library, so I sought her counsel. She had known me since the beginning of my academic career in 1987 when I first started at the University of Minnesota theatre department. She later was the editor for my doctoral dissertation, “Scenic Shifts upon the Scottish Rite Stage: Designing for Masonic Theatre, 1859-1929.” Now she was a friend. Jean was the best person to guide me through this entire process as she had worked extensively with contract negotiations at the university and elsewhere.
First of all, she explained, he has asked you to redefine your job description. Don’t do that! You could start with simply submitting your CV as part of your annual review, allowing him the opportunity to read it before beforehand. After all, your contract stipulates that your position will be reviewed annually, right? And he’s your supervisor? I nodded. At that point, I started updating my 37-page curriculum vitae, thankful to have Jean on my side.
It was quite therapeutic to look back at the age of 46 on my academic training, professional decisions, and the choices I had made up to that point in your life as I updated my CV. I would repeat the entire journey again in a heartbeat – even my participation in the Minnesota Masonic Heritage Center.
To be continued…
Beyond Masonic scholarship, the other half of my life is theatre design and scenic art. Since the 1990s, I have primarily focussed on historical scene painting techniques, the dry pigment method of painting, and scenery restoration. This is a photo of me restoring the Hades scene (18th degree) for the Minneapolis Scottish Rite. It was one drop from the Peoria Scottish Rite (Illinois) scenery collection that I rescued in 2010.Presenting my research for the Scottish Rite Research Society at the Biennial Session in 2003, “Theatrical Interpretations of the Indispensable Degrees: Masonic Legislation and the Theatrical Industry that Manufactured Them.”Scottish Rite Journal article on highlights of the Biennial Session 2003, the same year Ronald Seale was installed as Grand Commander.Martin Starr’s comments on the my 2003 presentation at the Scottish Rite Research Society meeting. “Theatrical Interpretations of the Indispensable Degrees: Masonic Legislation and the Theatrical Industry that Manufactured Them.”Starr’s article in its entirety.First notification of my being the guest speaker and presenting “Theatrical Interpretations of the Indispensable Degrees: Masonic Legislation and the Theatrical Industry that Manufactured Them.”First notification of my being the guest speaker and presenting “Theatrical Interpretations of the Indispensable Degrees: Masonic Legislation and the Theatrical Industry that Manufactured Them” – continued on final page.My paper, “Theatrical Interpretations of the Indispensable Degrees,” published in “Heredom.”Lance Brockman wrote and article about my UROP project for the U of MN Office of Educational Development journal “Focus” (Spring 1990, Vol. V, no. 2). Here is a picture from 1990, when I was invited to display my research on the Great Western Stage Equipment Company Collection at an academic event. A collection depicting scenery for the Ancient and Accepted Scottish Rite of Freemasonry.Detail from the U of MN Office of Educational Development journal “Focus” (Spring 1990, Vol. V, no. 2). Here is a picture from 1990, when I was invited to display my research on the Great Western Stage Equipment Company Collection at an academic event. A collection depicting scenery for the Ancient and Accepted Scottish Rite of Freemasonry.My doctoral dissertation for the University of Minnesota – 2009.My doctoral dissertation for the University of Minnesota – 2009.Table of contents for my doctoral dissertation for the University of Minnesota – 2009.
The CEO repeatedly asked, “What will it take to get you on staff?” during the first half of 2015 when I was his historical consultant. This question was followed by, “How do you envision your future role at the Minnesota Masonic Heritage Center?” As part of these ongoing discussions, the CEO directed me to create and submit a job description for myself. I already owned a business, Bella Scena, LLC, and this was not an easy decision for me to make. It would necessitate my walking away from a company that had taken years to create and gain a national reputation. The various projects for the Minnesota Masonic Heritage Center had consumed all of my time since August 2014, causing me to temporarily shut down my company until after the June 24, 2016 opening.
On June 1, 2015, I accepted the position as Curatorial Director for the Minnesota Masonic Heritage Center. Both the general director and I reported to the CEO. I was responsible for the collections management and the general director was responsible for facilities management. My duties included acquisitions, collections, and exhibits for the Museum, Theatre, and Library, whereas the general director’s duties included events management, building management and financial management. Although many of my responsibilities could not commence until the facility opened, as salaried staff I continued to function as the sole historical consultant for all of the planning and construction of the complex, including design, painting and scenery restoration.
At this same time, another opportunity appeared on the horizon. I was asked to present a paper on Masonic Theatre scenery in Stockholm as part of the OISTAT (International Organization of Scenographers, Theatre Architects and Technicians) Research Committee conference during June of 2016. The event was titled “An Open Window on Pictorial Performance Design.” (http://www.oistat.org/Item/list.asp?id=1440, being held to celebrate the 250th anniversary of Drottningholm’s Slottsteater with a meeting in Stockholm and Drottningholm dedicated to the legacy of painted scenery.
Presenting at the OISTAT Research Event in Stockingholm, Sweden.Front curtain at Drottningholm Slottsteater.
Rick Boychuk (author of Nobody Looks Up (http://www.counterweightrigging.com/), and I were scheduled to present the unique aspects of Scottish Rite scenery collections across North America. The Fort Scott Scottish Rite scenery at the Minnesota Masonic Heritage Center and the Masonic scenery from Winona, Minnesota were to be my primary focus. I intended this event to be part of a larger campaign to establish national and international connections with other professional organizations for future endeavors at the Minnesota Masonic Heritage Center. After all, my job description specified, “the arranging of loans between institutions.”
Once the conference dates were established, I asked the CEO’s permission to participate in the event. The conference was scheduled from June 10 – 11, 2016, and would not interfere with the intended timeline to either restore or hang the anticipated scenery for opening. I anticipated only leaving for a week after the restored scenery was hung. The CEO happily agreed and suggested that I take even more time as there was little I could do the week before the opening as “everything should be done by that point.” Therefore, we agreed that I would return just in time for the opening of the complex on June 23. For the opening I would be in the theatre with an assistant to answer public questions about the scenery, rigging, equipment, and décor.
As I finalized my itinerary, I emailed the Minnesota Masonic Charities and Minnesota Masonic Heritage Center staff on May 17 to remind them of my upcoming absence: “I will be in Europe from June 9-22, 2016. On June 11, I present a paper on Masonic design and scenery for OISTAT in Stockholm. This is the “Organisation Internationale des Scénographes, Techniciens et Architectes de Théâtre” (“International Organisation of Scenographers, Theatre Architects and Technicians). I was able to extend my stay a few days longer so that I can make connections with other Curatorial Directors specializing in Masonic History, Theatre, and Literature in Europe. This is a great opportunity to internationally promote the Minnesota Masonic Heritage Center as a destination location for scholars.
To date, my post-conference stops include:
1.) The exhibition of La Franc-Maçonnerie (French Masonry), at the Bibliotheque Nationale de France – Paris. This exhibit is only up for two months, so my timing is superb.
Visiting in Freemasonry exhibit in Paris, France.The Freemasonry exhibit in Paris at the Biblioteque Nationale.
2.) The Musée de la Franc-Maçonnerie (French Museum of Freemasonry)
3.) Cesky Krumlov Castle Theatre in the Czech Republic (oldest painted scenery before Drottningholm Castle theatre)
Cesky Krumov theatre and painted scenes in the Czech Republic.Cesky Krumlov theater’s painted scenes. Czech Republic.
4.) Freemasonry Museum in Linz, Austria (Schloss Rosenau).
Candidates preparation room in Schloss Roseneau, Austria. The Masonic aspect of the caste remained hidden until portions of a false ceiling fell. This revealed painted Masonic symbolism. This is one of the locations where some believe that Mozart became a Freemason.
Vienna and Budapest are also on the list of potential candidates, but I might not have enough time. I will have my Minnesota Masonic Heritage Center business cards, but would greatly appreciate a letter from the Grand Lodge verifying my position as Curatorial Director at the Minnesota Masonic Heritage Center during my travels. This will help overcome some potential barriers in speaking with museum staff who are masons.”
Three days before my departure, on June 6, I received the following email from the CEO:
“Your note indicates that you will be presenting information on our facilities as MMHC Curatorial Director. Please be advised that your activities at the conference do not come within the scope of your duties as Curatorial Director and will in no way be considered a part of your responsibilities. Your time spent presenting at the conference and subsequent touring is not within the scope of your employment and is purely an activity engaged in at your instance and is not directed by or approved by me on Minnesota Masonic Charities. Your time away from your duties is pursuant to our Paid Time Off policies for employees.”
And that’s when I figured out my entire position had been a scam. My position as Curatorial Director for the Masonic Center was in name only, allowing the CEO to secure my services for an entire year at a 40% discount. All of the pieces fell into place for me as I contemplated his email.
I had never been publicly recognized in my new staff role other than a short internal memo for a few Minnesota Masonic Charities and Minnesota Masonic Home staff members. It had been a struggle to have the OAC (Owner/Architect/Contractor) meeting minutes change my business affiliation from Bella Scena, LLC, to my new employer. The 2016 Minnesota Masonic Charities film at the Grand Lodge breakfast showed me, as “the national expert to restore the scenery,” but didn’t state that I was the center’s Curatorial Director. I had not been allowed to directly hire my painting assistant or library assistant; both hires were listed as working for the general director as “museum interns.” The entire staff had a credit card except me.
On paper, I had worked solely as an historical consultant since the beginning. Only my business cards and the initial job offer gave me the title of “Curatorial Director.” I am certain that the business cards were an oversight as I had asked the Director of Communications to order new ones with my correct title. Before I was on staff, they gave me “Historical Consultant” cards to use with vendors to make it “look official” as they didn’t want me handing out my Bella Scena, LLC, business cards.
I had been hired directly by the CEO without any search, interview, board approval, or public announcement. That is also how the general director was hired too so I thought little of it at the time. The CEO had (and may still have) sole hiring and firing power for everyone on staff without any real oversight or accountability. The crushing realization that I had been played to attain my services at a discount was devastating; forever changing the way that I view Minnesota Masonic Charities, the Minnesota Masonic Home, and Freemasonry in Minnesota.
