On the eve of its 30th anniversary, and a mega-gala to celebrate it with plenty of rock’n’roll dazzle, MAH staked its claim as the cultural concept and action center of Santa Cruz. Polishing its image, its welcome, and its reach, MAH now prospers under the leadership of Ginger Shulick Porcella, Executive Director and leading firecracker. Author, curator, transformative arts leader, workaholic, she brings degrees from Columbia University and DePaul University to her busy schedule. Porcella has been on the job for only one year. Her hair color changes with the tides, and her body decoration proclaims her unconventional optimism. Radiating energy and a pro-active spirit, Porcella charms everyone in her path. The results of her packed agenda are already creating a ripple effect, from lowering MAH’s deficits to ramping up its memberships. An award-winning communicator, Porcella tells her own story best in her own words.
How would you characterize the leadership style you bring to this arts organization?
GINGER SHULICK PORCELLA: One of my strengths in forming a vision for the MAH is first recognizing that it’s not just my vision, but rather the collective vision of the Santa Cruz community, distilled through deep listening and community engagement. The MAH is truly by and for the people it serves, and I would be remiss to state that my vision and my ideas are the best. I take my job as a civic leader very seriously, and only by embedding myself in this community and building trust can I lead the organization towards its North Star.
What strengths do you bring to the directorship of MH?
One of my strengths is in fostering empathy and bringing unexpected communities and audiences together who have been historically underserved to share and learn from each other. Museums thrive at the intersection of community and culture, and I saw that the MAH was already at the forefront of this work. The MAH has deep-seated relationships in the various communities it serves, whereas I see work at other museums being very transactional. I also have extensive experience in helping museums diversify and grow their fundraising streams and building audiences. These were two of the areas where the MAH was most in need of support.
What in your educational background and personal interests helped prepare you to direct non-profit organizations?
From a young age, I always knew that I wanted to be around people who thought differently about the world, so I always surrounded myself with artists, musicians, and people of different cultures, backgrounds, and belief systems. While I have a somewhat traditional educational trajectory, it is still rare that you find someone from my socioeconomic background at the head of a museum. I grew up incredibly poor but was able to go to high school and college on fully-funded academic scholarships. This upbringing shaped me indelibly, and I’ve made it my mission to use my privilege and platform to elevate and amplify the voices of those not well-represented in our nation’s cultural institutions.
I have been working since I was 11 years old, picking strawberries and doing manual farm work. I worked full-time through college and graduate school, and I think this work ethic prepared me for the day-to-day realities of running a nonprofit.
What was the big challenge you immediately saw in the MAH appointment?
While I’m drawn to big challenges, I knew that I wanted to stay in Santa Cruz long-term and didn’t need to fix everything overnight. None of the MAH’s “big challenges” were insurmountable. Many of the challenges facing the MAH are the same challenges facing the entire museum/library/university “industry” right now – federal funding cuts, evolving audience needs/interests, and relevancy in the face of AI. My biggest goal the first year was stabilizing the organization financially, building audiences, and reengaging with donors who hadn’t been cultivated through the COVID years. I’m happy to say that the MAH has only a minor amount of debt remaining to be paid, our attendance and donor base are on the rise, and people are feeling motivated and engaged with the museum’s programming.
Do you thrive on working miracles?
I love a big challenge, absolutely. The status quo simply doesn’t interest me. Why be average when you can be exceptional? I’ve always thought of my needs. My whole life has been a big challenge, and for the first time in a long time, I’m able to relax into a role that really feels tailor-made for me.
As a curator and arts leader, I’ve always said my job is to find a way to make the impossible possible. That’s why I love working with artists – give me the most bizarre idea, and I can make it happen. I’m a big picture thinker, but I understand every little detail that goes into making that vision happen. I look for the same in the staff I hire; I want people with great ideas, but who can also execute those ideas. I give my staff a lot of freedom to experiment and try new things in a supportive environment. That’s what psychological safety is in the workplace, and that’s the number one thing I try to impart to my staff.
How is Santa Cruz unique in terms of its social ecology?
Santa Cruz is unlike most places I’ve ever lived; aside from New York, Santa Cruz is the only place that has felt like “home” to me. I lived in NY for about 10 years, in Bensonhurst, close to Coney Island. I would spend a lot of my free time at Coney Island, cruising the boardwalk, riding the Cyclone, also built by Arthur Looff. I already have an annual pass to the Santa Cruz Boardwalk and I pop in all the time to play pinball, eat tortas, and of course, ride the Giant Dipper. But my favorite thing of all is the Cave Train. I think it’s the best art installation ever made.
But truly, I think I fit in in Santa Cruz because I don’t really fit in anywhere. It’s a place where its okay for the director of the museum to be a self-proclaimed art witch and have turquoise hair and tattoos. Plus, I grew up totally in love with the West Coast skate and punk scene, and some part of me always thought I’d end up in California. I believe you create the world that you want to live in, and the world I wanted to live in was Santa Cruz. It’s really got it all…maybe could use some better dim sum.
Your wish list for the MAH?
I want the MAH to be around for at least another 30 years, to continue providing awe-inspiring experiences and exhibitions that span art and history. The MAH is respected nationally and internationally as a pioneering museum with a co-curatorial model, and while I think our audiences feel what that means, they may not understand how rare or important that is. Unlike most museums with a singular, curatorial voice, the MAH co-creates its exhibitions and programs with our diverse community partners. And these are some of our most successful exhibitions – “Princes of Surf”, “Sowing Seeds”, and our current “Honoring our Relatives” are indicative of this.
The MAH is a small museum with an incredible impact, and I hope more people in our community would help invest in our future, which is truly the future of free and critical thinking in the age of AI. Centers of learning are under attack and we will only be successful if our community continues to visit, support, and donate.
What’s exciting on the horizon?
Oh jeez, we have so many exciting things on the horizon! We just celebrated our 30th Anniversary year with a huge gala with headlining artist DJ Spooky and Ben Stokes/Dimensional Holofonic Sound from Meat Beat Manifesto. Interactive art, installations, and music all night long!
Also, in 2027, I’ll be curating some of my first exhibitions at the MAH. In particular, I’ve been working on an expansive exhibition on occult and spirituality in Santa Cruz, spanning indigenous practices to practices of today. It’s part art, part history, interactive, program-heavy, and VERY Santa Cruz. ◼
