Change in Leadership at the Hockaday

When Liz Moss came to the Flathead Valley to take the job of executive director at the Hockaday Museum of Art, it was December 2009, the economy was crashing, and it was wintry cold.

A native Virginian, Moss was shocked by the chill in the Montana air, but was equally impressed by the warmth she found in the community. Now, nearly six years later, she’s heading back to the Shenandoah Valley and leaving a legacy of shepherding the Hockaday into a new era of outreach and programming.

Moss will be the executive director until May 29, and will move back across the country June 5. Barry Conger, who has worked as the museum’s development director for the past two years, will take over as the interim director.

“I’m excited,” Moss said, “but I’m sad to leave the valley. The community here has been amazingly supportive.”

As the museum’s director, Moss was responsible for captaining the direction of the Hockaday. When the economy crashed during the recession, a lot of funding for the museum dried up with it.

It was another challenge added to a to-do list Moss already had in her head of how to transform the Hockaday from a local art center to a regional art museum. That included outward signs of change, like bringing in more regional and national artists and exhibitions, but also internal organization, like developing the museum board and committee structures to be more efficient.

She was also at the helm when the first phase of the museum’s capital improvement campaign, which was started and developed before her tenure, became a reality, when in 2010 two houses near the museum were demolished and replaced with a parking lot and a pavilion.

The museum also added custom art racks while Moss was executive director, which may seem like a regular addition for art galleries, but at the Hockaday, the racks are part of a development plan to have the museum accredited with the American Alliance of Art Museums.

Only seven museums in Montana are accredited, Moss said, and having such credentials will bring the Hockaday closer to its eventual goal of being a regionally respected museum.

This also includes recent projects like installing new solar shades in the windows to protect the museum’s interior while also keeping the focus on the art; a technology upgrade, including new computers; and new LED lighting, which should save the museum about $3,000 per year.

Conger said Moss helped bring the Hockaday back to a solid foundation after the slippery time of the recession, and now there is a solid launching pad for the museum to expand horizons in the future.

“Part of the reason why I came here was to accept the challenge,” Moss said. “The Hockaday is an amazing organization that rightfully holds a place of honor and respect in the community. It’s been an honor and a joy.”

Back in Virginia, Moss hopes to enter a state of semi-retirement, pursuing her own art while also working as a consultant and curator.

For his part, Conger said he hopes to follow up on Moss’ momentum, and continue to focus on marketing and audience outreach. By the end of the year, the museum’s board will decide if his interim status should become permanent.

With its constant evolution, the Hockaday offers experiential art, where the audience can interact with artists and the art itself to gain a better understanding.

“It’s not just ‘I went in and saw some art hanging on the walls,’” Conger said. “It’s constantly changing and evolving.”

He stressed the importance of continuing to grow the education programs and bringing in shows and exhibits that will challenge the public, creating an atmosphere for dialogue and connection.

One of the easiest ways to support the Hockaday is to become a member, Conger said, and the money from that membership funds the museum’s future pursuits.

“The Hockaday has a phenomenal history and amazing standing in the community,” he said. “Our job is to try to share that with more people.”

For more information, visit www.hockadaymuseum.org.