Aldy Milliken, 59: A New Vantage Point

We don’t need words to communicate. Brushstrokes can say it all. Color can articulate emotions we can’t put into words. Sometimes, the juxtaposition of two materials suspended or arranged in an unlikely way can make us laugh or force us to reevaluate what we thought we knew. Aldy Milliken understands the power that art holds and sees it as the deepest form of communication. As the executive director of the Kimball Art Center, located in Park City, UT, he is more than just a leader. Aldy is an explorer, changemaker, and an educator first and foremost. 

Now, you may be thinking, Park City? Sure, it’s not widely regarded as an art mecca, but Aldy was drawn to the ski village for that very reason. It was an opportunity to tap into potential and shock visitors with exciting yet unexpected art offerings. Embracing and upholding a diversity of thought, being brave to push boundaries and approach controversy with curiosity, and finding ways to make art accessible to people of all ages in unlikely places is a driving force behind his mission. Notably, he is working to define museums as community spaces that not only house thought-provoking pieces but function as educational institutions where art and artistic practices are the core features of programs and outreach.

With a wealth of diverse experience in the museum and art gallery spaces, Aldy brings an innovative approach, one that champions bringing people together through collaborative museum management. From running a commercial gallery in Stockholm for over a decade to overhauling a museum in Kentucky, Aldy’s love of art has taken him to new places and driven him to take calculated risks. Leading from a place of passion as well as understanding and empathy, he’s embracing his age, his changing perspective, and the power of the unexpected from a new vantage point.

How old are you?
Fifty-nine in April.

Where are you originally from, and where are you currently based?
I grew up outside of Boston in the small town of Carlisle, MA, and live in Park City, Utah.

Why Park City?
I have been following the Utah visual art scene for years, and we have family in Moab and love biking, hiking, and exploring the backcountry. Park City, with the Sundance Film Festival and its proximity to a major urban center, offers a perfect balance of cultural experiences and outdoor activities. The Kimball Art Center board conducted a national search for a museum director in 2019–2020, and I applied for the role.

In an industry that often skews young, how has your perspective and leadership evolved with age?
I’m not sure the museum industry skews young. True, the contemporary art world values “discovery” which translates to the next, best youthful creative voice. I think this is changing overall with more diverse voices and therefore older, overlooked artists being acknowledged. On the other hand, the museum world appreciates experience, accomplishment, and dedication. My experience building institutions, whether the gallery or the museum, is currently relevant to Park City. Building strong institutions is about a commitment to having clear values and priorities and communicating those elements of success to as many people as possible. Age helps knowing what to push for, what to get upset about (or not). In this complex world, age and perspective helps to balance my ego. I see myself as an educator first and foremost.

What is the process like for picking artists?
This is important—I don’t pick artists. While I enjoy artists and have many artist friends, for me, the artwork itself and how it represents the artist’s voice is the most essential reference in building an exhibition program. A good relationship with artists is vital for the complex collaborations we aim to achieve. This comes from looking at literally thousands of artworks—I probably spend more time looking at art than doing anything else. I appreciate artists who grapple with human ideas, issues, feelings, identities, and histories. A good piece of art balances a conceptual framework—an array of ideas—while successfully articulating those ideas. In other words: What is the artwork trying to say, and how effectively does the artist communicate those ideas? Artists create languages and build visions of the world. The crucial questions are: How is the thing made, and how is the idea articulated?

What is the difference that you see between art in the U.S. and in Europe?
Art in Europe is less affected by the commercial market. Commercial galleries in the USA help drive the art world, whereas curators and institutions tend to influence the European art scene. Historically, there has been more public support for institutions in Europe, allowing more artists to “live” off grants and public funding. This fundamental difference in support structures shapes how art develops and which voices get prioritized in each region.

What is the difference between your approach to a gallery and a museum?
The approach is very close in many practical ways. A gallery is commercial by nature while a museum is educational, but these topline goals are bound by a personal philosophy that answers the question, What is a good piece of art?

A director of a gallery or museum discovers a good piece of art or meets an artist and becomes intrigued, wanting to see more artwork and creative research from that artist. A gallery determines an artist’s ability to consistently deliver good artwork for a gallery show. Galleries invest in artists who produce works for shows, art fairs, biennales, and other curated endeavors in the art world.

Galleries in general represent a singular creative perspective from the gallery owner or leadership team. A museum requires more collaboration that develops through the mission and vision and is actionable from the strategic plan generated by the director, senior staff, and board.

Museums define their yearly programs with an eye on developing their audiences. We ask questions like: What will resonate or be relevant to Park City at this time, and how do the shows work harmoniously throughout the yearly cycle? How can the educational programs ladder up and around the exhibition programs? We share artworks or, in the case of a solo show, artists who fit the chosen subject of the exhibition. I know that our program will not be appreciated and enjoyed by all people, at all times, but I know what it’s like to discover something really fresh and want to share that experience with as many people as possible. We connect to our audiences through programs, educational activities, texts, catalogs, and other means.

What advantages do you believe come with professional experience that younger colleagues might not yet appreciate?
I have had the privilege of working in nearly every facet of a museum or art gallery. After graduating from university, I began as a studio assistant at a community college, where I gained more insight into the challenges of making art. Over the years, I have worked as an elementary school teacher, integrating art into the curriculum; as a gallerist involved in artist collaborations, strategy, sales, marketing; as an art handler; and at the front desk. These diverse experiences have shaped my belief that leadership is rooted first in passion and then in understanding and empathy—recognizing that while we all come from different backgrounds, we are unified by a shared mission.

As a museum director, my role is to bring people together to achieve success across all these areas. I understand both the tactical and strategic challenges younger staff face, and I also recognize when we are on the right path, offering support and encouragement along the way. My personal philosophy is that we are a learning institution—inside and out—where growth, collaboration, and curiosity drive everything we do.

You’ve had a remarkable career in museum leadership. What initially drew you to museum management, and how did your path evolve?
I am a sum of many parts and stages in my career. After running a commercial gallery in Stockholm for 12 years, I had to acknowledge that many of the activities of the gallery were educational by nature. I wanted to program fashion shows or host intellectual discussions of art with writers and philosophers. I was drawn to the educational focus and burdened by the economic realities of selling art. It took me another three years to “close” the gallery in the right way regarding the legacy of the gallery, including considering the artists, collectors, and staff. Fifteen years running a gallery in Sweden was incredible. Ultimately, the artworks and my interests spoke to me and told me to evolve to the museum sector. I was offered a job in 2012 to rethink and overhaul a museum in Louisville, Kentucky, and I jumped at the chance.

Can you describe a pivotal moment in your career that fundamentally shifted your approach to museum leadership?
The Museum Leadership Institute (MLI), formerly the Getty Museum Leadership Program, was instrumental in shaping my approach to institutional frameworks, helping me see museums as organic entities that can respond to the opportunities and needs of their communities. My depth of knowledge and relationships in the art world allow me to deliver or facilitate exceptional art experiences to the public. MLI at the time provided the tools to articulate my professional goals and collaborate effectively with board members, staff, and donors to achieve them.

Additionally, guiding KMAC Contemporary Art Museum through the museum accreditation process from 2016 to 2019 provided valuable hands-on training in the complexities and core elements of museum operations. How do we strategically take vision and turn it into practice with limited resources? Engaging with other museum leaders through MLI (which unfortunately closed during COVID) and the American Alliance of Museums clarifies my perspectives, reinforcing the importance of adaptability and strategic leadership. 

As a leader who has worked to redefine museums as educational institutions, what do you see as the most critical transformation needed in cultural institutions today? Museums have been evolving over the past decade, adapting to the needs of their audiences while balancing collection stewardship and preservation. The Kimball, as a non-collecting institution, directs its resources toward exceptional exhibition programs and educational offerings, ensuring that what our audiences want to see and experience remains our top priority.

I am also an idealist when it comes to the role of museums as educational institutions. We must continue to expand and diversify the voices within our programs—out of a genuine commitment to multiplicity. Human beings are complex, and it is our responsibility to reflect the richness and diversity of the human experience in honest and meaningful ways.

You’ve been an advocate for art education through experiential learning. How do you believe museums can make art more accessible and engaging for diverse audiences?
Our roles as museum professionals are to build connections to the work, and I embrace any strategy that facilitates those connections to any research that builds knowledge. In Louisville, for example, I partnered with the Science Center Director to develop a concept for a new school during a visioning competition: the Metro Museum School—an innovative proposal for the Jefferson County public school system. Imagine a second grader attending participating anchor museums in the downtown urban center for their core curriculum.

This ambitious project symbolized how primary source materials—whether an artwork, a science experiment, a math problem, or a history lesson—are all interwoven through research, discovery, and knowledge. The students’ outcomes spanned multiple disciplines, but, more importantly, the project fostered an attitude toward learning that museums are uniquely positioned to cultivate. In the real world, math and science are not separate from art. In fact, art is the culmination of all disciplines. Museums reinforce this essential reality.

How has your understanding of museums and their role in society evolved throughout your career?
Throughout my career, my appreciation of museums and their role in society has evolved. More than ever, I appreciate the dedicated, passionate people who work in museums—individuals who deeply care about their institution’s subject matter, mission and vision. Their expertise and commitment are the driving forces behind the meaningful experiences museums provide.

I now believe that museums should take a more outspoken and active role in the educational journeys of our citizens. They are not just repositories of objects; they are dynamic spaces for learning, dialogue, and discovery. Museums have the potential to bridge gaps not often found in formal educational settings. We provide immersive, interdisciplinary experiences that foster critical thinking and creativity. By embracing this institutional attitude more fully, museums can be even more integral to our communities’ cultural and intellectual development.

How has your relationship with work, success, and personal fulfillment changed as you’ve gotten older?
Perhaps I am more patient about the work, understanding that we may need to modify our strategies and language to realize our goals. People are less likely to grapple with a world view outside their own experience. We live in an era when social media dominates dialogue, shaping—and frequently distorting—narratives. What does that mean for risk taking and pushing assumptions? How do we break through into the mainstream as an approachable resource? Artists, in particular, are critically at risk, as the demand for constant visibility often clashes with the need for thoughtful, personal creation. How do we serve our audiences and elevate the voices of artists?

What advice would you give to professionals who are worried about remaining relevant and impactful as they age?
This is going to be different for everyone. Being able to take calculated risks has been necessary for my career, and I think being older is about being more confident in your choices. Playing to your strengths and having the confidence to build a team that complements those strengths.

If being relevant is the metric, for me, it’s about maximizing your potential for desired results against a series of unanticipated risks. I am selective in choosing the right career opportunities because I have limited time to attempt a project, goal or situation.

Institutional opportunities that would have been more expected in coastal cities with more established art scenes are not as satisfying. Park City is unexpected. I love it when visitors come in and are surprised to see a work of art by Lee Mingwei, Judith Scott, Ravon Chacon, or Alex Prager in a ski town. We have an opportunity to make an incredible difference in the cultural community in the region. It’s so satisfying when the programming speaks for itself, despite the enormous amount of time I spend educating people about contemporary art as it relates to our institutional footprint. 

I also believe there is power in saying “NO” to opportunities that don’t align even if there are positives attached. I try to be true to my values as I bring people along. Art can be hard to understand or appreciate, but dedication, time, and perseverance almost always win.

In what ways do you think age has been an asset in your leadership approach?
Age is a number but experience is always an asset with the right attitude.

If you could reimagine the museum of the future, what would it look like?
A creative, welcoming place to hang out. As a result of our new building, I hope we produce the reimagined museum as a community center with high-level art and art experiences. A place that is responsive, diverse, and full of amazing content.

What are your current professional aspirations?
I want to leave a place better than I found it. Lifting people up as an educator or building up institutions as a museum director.

What are your three nonnegotiables in life (i.e., the things you can’t live without)?
1. People
2. Art
3. Nature

Editor’s Note: Some answers may have been condensed and edited for clarity.

Connect with Aldy Milliken: LinkedIn / Instagram (@artmill)

Visit the Kimball Art Center

Cover photo courtesy of Aldy Milliken