When the National Gallery welcomed its new director, Nicholas Penny, at the end of last year, many might have wondered why the trustees had felt the need to appoint a headhunter to find him. After all, as the former deputy director of the National Gallery and a favourite for the job last time round, he was a pretty obvious candidate.
Six years ago Penny missed out to Charles Saumarez-Smith, whose appointment was also the result of an expensive executive search. In that instance, headhunters had to travel all the way around the corner to the National Portrait Gallery to find him.
Nor is executive search limited to national directors' jobs. The Hepworth gallery in Wakefield recently used headhunter Odgers Ray & Berndtson to find Simon Wallis, its new director, while the Museums, Libraries and Archives Council (MLA) used headhunters to fill the new post of director of programmes for the Cultural Olympiad. Hedley Swain, already head of museum policy at the MLA, got the job.
Given the propensity of so many of these top jobs going to the usual suspects, it's hardly surprising that some might wonder what extra value the sector is getting from headhunters who typically charge organisations around a third of the postholder's salary for their services.
And more worryingly, if headhunters are encouraged to look outside the sector for candidates, where does this leave the career chances for existing museum professionals?
A wide net to cast
Headhunters are quick to point out their own worth. The expansion of executive search in the museum and cultural sector has improved the quality of recruitment, argues Nicky Oppenheimer, head of arts and cultural practice at Odgers Ray & Berndtson.
"We are providing more accountable recruitment systems and practices within the cultural world and this can only be to the benefit of museums and individual careers," she says.
Alex Stewart, a consultant at Saxton Bampfylde Hever, maintains that executive search is opening up the top jobs to a far wider and diverse field.
"We know a huge number of people, because that's the nature of the work. We are constantly speaking to people inside and outside the cultural sector," she says. "It is the museum trustees who make the decision, but we help them to see that the skills they are looking for can come in a variety of packages."
Significantly, headhunters can reach candidates who are not actively looking for their next move. Diane Lees, recently appointed as the incoming director of the Imperial War Museum, London, is a case in point. She says she would not for a minute have considered the post had not Stewart rung her up. "National museum directors tend to be a bit older than me. I thought I needed another job first," she says.
Lees believes headhunting plays an important role in encouraging talent within and into the sector. "It's their personal networks in the profession that make them good. I suspect that 80 per cent of the people they put forward for any job are the usual suspects, but it's the 20 per cent who aren't that add value."
Andy Bodle, director of operations and HR at the National Maritime Museum (NMM) and co-chairman of the National Museum Directors' Conference HR group, also believes that executive search is good practice when it comes to filling senior leadership posts.
"Headhunters can take a more objective view of the role and look across all sectors," he says. "They reduce the risk of nepotism, discrimination and an organisation's propensity to stick with what they have always done."
Bodle points to the appointment of Roy Clare as head of the NMM after a career in the Royal Navy as a major executive search success. "I do remember his appointment being considered risky at the time, but it worked," Bodle says. Clare proved that leadership skills gained outside the cultural sector were transferable.
Indeed, it is the expanding leadership aspect of many senior museum jobs that is encouraging trustees to use headhunters more frequently. Major capital projects, growing international profiles and multiple funding streams have made a museum director's role vastly more complex than it was 20 years ago. "If we relied on advertising and internal recruitment to fill these roles, we could be dealing with an ever declining circle of talent," argues Bodle.
None the less, he advises caution care when it comes to taking on a headhunter. Bodle only uses executive search to fill jobs outside his normal experience. It's vital that museums conduct a rigorous procurement process. "Interview at least three providers, make sure they have a track record in the sector and insist they present their ideas to you formally," Bodle says.
Accountability and leadership
Despite having been a beneficiary of executive search, Roy Clare, now chief executive at the MLA, is rather more sceptical of its value. If museums genuinely want to encourage external candidates for a job, then fine, but be prepared to manage the process closely, he insists.
"You cannot simply hand over responsibility for filling the job to the headhunter," Clare says. "You must be clear about your expectations and how widely you want the net to be cast. If diversity is the key issue for you, make sure this is top of your headhunter's list too."
A more worrying sideline of relying on headhunting to fill key posts is the possibility that museums and cultural organisations might abdicate responsibility for developing those sought-after leadership skills internally. "My instinct is that within an organisation you get a much better response from your team if you grow and promote from within," Clare says.
"There was a time when the sector felt that the only people who could do senior jobs in museums were those who had been there all their lives. Clearly this isn't so, but I do think that anyone who aspires to a leadership role should have the opportunity to learn about managing people."
The expansion of formal leadership training within the sector, through, for example, the Clore programme and the government's £12m cultural leadership scheme, suggests that more museum professionals are growing up in a culture that appreciates, values and recognises the importance of management and leadership.
"However, this will not make headhunting redundant. The increasing complexity of running a large museum and the public funding involved means that trustees cannot risk getting these appointments wrong; in their eyes executive search is simply good governance.
Perhaps more importantly, these senior roles are now high-profile jobs and hugely attractive to top performers from all walks of life. And it is in just such a dynamic market that headhunting thrives.
Lucie Carrington is a freelance journalist specialising in employment and training issues
Six years ago Penny missed out to Charles Saumarez-Smith, whose appointment was also the result of an expensive executive search. In that instance, headhunters had to travel all the way around the corner to the National Portrait Gallery to find him.
Nor is executive search limited to national directors' jobs. The Hepworth gallery in Wakefield recently used headhunter Odgers Ray & Berndtson to find Simon Wallis, its new director, while the Museums, Libraries and Archives Council (MLA) used headhunters to fill the new post of director of programmes for the Cultural Olympiad. Hedley Swain, already head of museum policy at the MLA, got the job.
Given the propensity of so many of these top jobs going to the usual suspects, it's hardly surprising that some might wonder what extra value the sector is getting from headhunters who typically charge organisations around a third of the postholder's salary for their services.
And more worryingly, if headhunters are encouraged to look outside the sector for candidates, where does this leave the career chances for existing museum professionals?
A wide net to cast
Headhunters are quick to point out their own worth. The expansion of executive search in the museum and cultural sector has improved the quality of recruitment, argues Nicky Oppenheimer, head of arts and cultural practice at Odgers Ray & Berndtson.
"We are providing more accountable recruitment systems and practices within the cultural world and this can only be to the benefit of museums and individual careers," she says.
Alex Stewart, a consultant at Saxton Bampfylde Hever, maintains that executive search is opening up the top jobs to a far wider and diverse field.
"We know a huge number of people, because that's the nature of the work. We are constantly speaking to people inside and outside the cultural sector," she says. "It is the museum trustees who make the decision, but we help them to see that the skills they are looking for can come in a variety of packages."
Significantly, headhunters can reach candidates who are not actively looking for their next move. Diane Lees, recently appointed as the incoming director of the Imperial War Museum, London, is a case in point. She says she would not for a minute have considered the post had not Stewart rung her up. "National museum directors tend to be a bit older than me. I thought I needed another job first," she says.
Lees believes headhunting plays an important role in encouraging talent within and into the sector. "It's their personal networks in the profession that make them good. I suspect that 80 per cent of the people they put forward for any job are the usual suspects, but it's the 20 per cent who aren't that add value."
Andy Bodle, director of operations and HR at the National Maritime Museum (NMM) and co-chairman of the National Museum Directors' Conference HR group, also believes that executive search is good practice when it comes to filling senior leadership posts.
"Headhunters can take a more objective view of the role and look across all sectors," he says. "They reduce the risk of nepotism, discrimination and an organisation's propensity to stick with what they have always done."
Bodle points to the appointment of Roy Clare as head of the NMM after a career in the Royal Navy as a major executive search success. "I do remember his appointment being considered risky at the time, but it worked," Bodle says. Clare proved that leadership skills gained outside the cultural sector were transferable.
Indeed, it is the expanding leadership aspect of many senior museum jobs that is encouraging trustees to use headhunters more frequently. Major capital projects, growing international profiles and multiple funding streams have made a museum director's role vastly more complex than it was 20 years ago. "If we relied on advertising and internal recruitment to fill these roles, we could be dealing with an ever declining circle of talent," argues Bodle.
None the less, he advises caution care when it comes to taking on a headhunter. Bodle only uses executive search to fill jobs outside his normal experience. It's vital that museums conduct a rigorous procurement process. "Interview at least three providers, make sure they have a track record in the sector and insist they present their ideas to you formally," Bodle says.
Accountability and leadership
Despite having been a beneficiary of executive search, Roy Clare, now chief executive at the MLA, is rather more sceptical of its value. If museums genuinely want to encourage external candidates for a job, then fine, but be prepared to manage the process closely, he insists.
"You cannot simply hand over responsibility for filling the job to the headhunter," Clare says. "You must be clear about your expectations and how widely you want the net to be cast. If diversity is the key issue for you, make sure this is top of your headhunter's list too."
A more worrying sideline of relying on headhunting to fill key posts is the possibility that museums and cultural organisations might abdicate responsibility for developing those sought-after leadership skills internally. "My instinct is that within an organisation you get a much better response from your team if you grow and promote from within," Clare says.
"There was a time when the sector felt that the only people who could do senior jobs in museums were those who had been there all their lives. Clearly this isn't so, but I do think that anyone who aspires to a leadership role should have the opportunity to learn about managing people."
The expansion of formal leadership training within the sector, through, for example, the Clore programme and the government's £12m cultural leadership scheme, suggests that more museum professionals are growing up in a culture that appreciates, values and recognises the importance of management and leadership.
"However, this will not make headhunting redundant. The increasing complexity of running a large museum and the public funding involved means that trustees cannot risk getting these appointments wrong; in their eyes executive search is simply good governance.
Perhaps more importantly, these senior roles are now high-profile jobs and hugely attractive to top performers from all walks of life. And it is in just such a dynamic market that headhunting thrives.
Lucie Carrington is a freelance journalist specialising in employment and training issues
Alex Stewart, consultant, Saxton Bampfylde Hever
"We lend neutrality to the process. So if a museum wants to attract Bloggs without any overt commitment, we can approach Bloggs without mentioning that the museum suggested we get in touch. We are a good go-between for people who could be very attractive to the museum but perhaps hadn't considered working there.
"Similarly we provide a soft space for people within the organisation who may be interested. They can talk to us about their career plans, but they might be reluctant to talk to their HR department."
Roy Clare, chief executive, Museums, Libraries and Archives Council
"It's right to look outside the sector because we need fresh blood. But I'm not sure the process of executive search is as good as it should be and I'm not sure the net is being cast with as much rigour as it should be by some headhunters.
"There is a tendency for many to lean on the usual suspects, which negates the whole process. If museums are going to invest in headhunters then it is incumbent
on us all to make sure we get value for money."
Gordon Watson, project director, Hepworth Wakefield
"We decided to involve headhunters because this is a new project and a very significant step up from the existing facility at Wakefield Art Gallery. We felt there needed to be a longer conversation with potential applicants than a simple job advertisement would allow.
"The project needed to be introduced and the context explained. We wanted to reach people who weren't actively job hunting and they needed to be excited by it and encouraged to apply. We used executive search to look beyond local authorities, and possibly beyond museums and galleries."
Diane Lees, director, Bethnal Green Museum of Childhood
"There is still an element of mystery about the way headhunters work. They ring you up, ask you if you know of anyone who might be a suitable candidate for such-and-such job. and you're wondering to yourself: 'Are they asking me if I'm interested?'
"I do give headhunters names. It's important, especially when you know there are talented people out there whom headhunters won't contact unless you give them a push in the right direction. For me, it's a way of ensuring the skilled museum professionals get a fair crack."
Nicky Oppenheimer, head of arts and cultural practice, Odgers Ray & Berndtson
"The real value of headhunting is that it provides fair and open competition. Headhunting has expanded in the cultural and arts sectors because of the need for greater accountability in
recruitment.
"It used to be that lots of senior appointments were made through the old boys' network, but we insist on a proper and open process. There are no little black books anymore."
Andy Bodle director of operations and HR, National Maritime Museum and chairman, National Museum Directors' Conference HR group
"Headhunting is one of the most expensive routes to go down and a third of a salary is a lot of money to pay. But a full-blown internal recruitment exercise can be just as expensive when you account for the cost of placing an advertisement and setting up at least two panel interviews.
"What's more, it's a highly competitive business, so you can always negotiate. As a charity, we never pay the going business rate."
"We lend neutrality to the process. So if a museum wants to attract Bloggs without any overt commitment, we can approach Bloggs without mentioning that the museum suggested we get in touch. We are a good go-between for people who could be very attractive to the museum but perhaps hadn't considered working there.
"Similarly we provide a soft space for people within the organisation who may be interested. They can talk to us about their career plans, but they might be reluctant to talk to their HR department."
Roy Clare, chief executive, Museums, Libraries and Archives Council
"It's right to look outside the sector because we need fresh blood. But I'm not sure the process of executive search is as good as it should be and I'm not sure the net is being cast with as much rigour as it should be by some headhunters.
"There is a tendency for many to lean on the usual suspects, which negates the whole process. If museums are going to invest in headhunters then it is incumbent
on us all to make sure we get value for money."
Gordon Watson, project director, Hepworth Wakefield
"We decided to involve headhunters because this is a new project and a very significant step up from the existing facility at Wakefield Art Gallery. We felt there needed to be a longer conversation with potential applicants than a simple job advertisement would allow.
"The project needed to be introduced and the context explained. We wanted to reach people who weren't actively job hunting and they needed to be excited by it and encouraged to apply. We used executive search to look beyond local authorities, and possibly beyond museums and galleries."
Diane Lees, director, Bethnal Green Museum of Childhood
"There is still an element of mystery about the way headhunters work. They ring you up, ask you if you know of anyone who might be a suitable candidate for such-and-such job. and you're wondering to yourself: 'Are they asking me if I'm interested?'
"I do give headhunters names. It's important, especially when you know there are talented people out there whom headhunters won't contact unless you give them a push in the right direction. For me, it's a way of ensuring the skilled museum professionals get a fair crack."
Nicky Oppenheimer, head of arts and cultural practice, Odgers Ray & Berndtson
"The real value of headhunting is that it provides fair and open competition. Headhunting has expanded in the cultural and arts sectors because of the need for greater accountability in
recruitment.
"It used to be that lots of senior appointments were made through the old boys' network, but we insist on a proper and open process. There are no little black books anymore."
Andy Bodle director of operations and HR, National Maritime Museum and chairman, National Museum Directors' Conference HR group
"Headhunting is one of the most expensive routes to go down and a third of a salary is a lot of money to pay. But a full-blown internal recruitment exercise can be just as expensive when you account for the cost of placing an advertisement and setting up at least two panel interviews.
"What's more, it's a highly competitive business, so you can always negotiate. As a charity, we never pay the going business rate."
