Company: The Ogden Museum of Southern Art
Timeframe: September 2005 to present
Museums and the PR surrounding special exhibitions have been the economic energy source for many cities. But in the six months since Hurricane Katrina wrecked New Orleans, a
local museum has used its PR to help rebuild both the economic and emotional health of its city.
In August 2003, New Orleans saw a new gem in its cultural crown with the opening of the Ogden Museum of Southern Art, an institution celebrating the multicultural
richness below the Mason-Dixon line. In the span of two years, the Ogden (which is owned by the University of New Orleans) had become a popular destination with locals,
tourists and school groups. But just in time for its second anniversary, the museum had a severely unwanted visitor: Hurricane Katrina.
The Ogden rode out Katrina's wrath thanks to a pair of fortunate happenings: Errol Barron, the architect for the five-story structure, designed it to withstand Category 5
hurricanes, and the museum was located in the city's higher-elevation Warehouse District. "We're part of what everyone calls the 'sliver on the river,' says Mary Beth Romig-
Haskins, public information officer for the Ogden. "The water stopped a few blocks from us."
The Ogden also enjoyed the good fortune of being spared from the looting that was prevalent in much of New Orleans after the hurricane. Romig-Haskins credits some of that good
fortune to the museum's lack of a food venue (the neighboring National D-Day Museum, which had a coffee shop, was broken into), and praises a security guard who remained in
the facility during the storm and its immediate aftermath.
"Our security guard heard a group of looters outside," adds Romig-Haskins. "One said: 'Let's go in there.' And the other said: 'No, man, that's a museum - there's nothing in
there!" (Romig-Haskins adds the "nothing in there" is actually an extensive art collection valued at tens of millions of dollars.)
After the Deluge
In the wake of Katrina, the Ogden senior management (who fled to safety in Baton Rouge) came up with a bold PR plan. Not only did they need to communicate with the Ogden's
core audience to assure them the museum was not damaged and would be coming back, but they also decided to use their PR determination to revitalize the damaged city, particularly
its culture-driven economy. Indeed, their first press release volley (issued two weeks after the hurricane passed) included a strongly worded statement of support for the city's
beleaguered municipal leadership.
"We communicated our plans to work with the mayor and civic officials to resume operations in the city," recalls Romig-Haskins. "We gave them a vote of confidence that we were
on board in any way we could be."
The first order of business was reopening, which took place on October 27; the Ogden was New Orleans' first museum to come back for business, which was a major emotional
booster for the city. But to restore a fuller sense of normalcy in the lives of its supporters, particularly in view of the recent catastrophe, was a PR challenge at first.
"We had to consider what would be the sensitive thing to do," says Romig-Haskins. "We decided to reinstitute our Thursday night 'Ogden After Hours' live music program. But we
had to think about that first: Was it professional, was it insensitive?"
Romig-Haskins anticipated a turnout of just 150 for the December 8 event, although she proactively pursued New Orleans' re-established media outlets (particularly morning and
afternoon talk radio programs) to spread the word. The turn out for the first musical night was more than 600 very enthusiastic people. "There was such a feeling of joy," she
adds. "People came up to us and said: 'Thank you for giving us something normal to do again."
Remembrance of Things Past
The next PR item for Romig-Haskins was to continue a project of particular irony: The publication of the Ogden's proposed book "Missing New Orleans," which offered rare photos
and new essays on the city's many once-grand but long-gone establishments. Romig-Haskins literally saved the book from being lost itself (she took the galleys with her when
evacuating the city). From a production standpoint, it was a challenge since her local printer did not reopen after Katrina and local paper supplies were nonexistent.
But perseverance paid off: Romig-Haskins wrote a new epilogue on Katrina and a printer was located who could publish the book with all due speed. "Missing New Orleans" was
ready by late November and it created a local sensation.
"This was another way to ride a train of PR momentum," says Romig-Haskins. "Over 1,200 people came for our book signing and to the new exhibition that accompanied it. We sold
out in four weeks, and the story was picked up by NPR's 'All Things Considered.'"
The NPR coverage was arranged via a New Orleans-based reporter, and Romig-Haskins has not experienced problems getting coverage locally. "I've never been more popular," laughs
Romig-Haskins about her newfound local media visibility.
Absence of National Media?
But getting national media coverage for the Ogden's endeavors has been another matter (this article is actually the first of its kind to appear in a national publication).
Romig-Haskins keeps stockpiles of Ogden press kits at the media center run jointly by the Convention and Visitors Bureau and the New Orleans Tourist and Marketing
Corp. and maintains an extensive e-mail list with the national travel media (her weekly "O-Gram" newsletters are e-mailed to 10,000 people). Yet the lack of national media
attention might be pegged to circumstances beyond her control.
"I've heard through other public relations people in the city and through contacts with the national press that they don't want to hear good news stories from New Orleans as
much," she says. "And I've heard from a number of people that they're tired of Katrina stories."
Oddly, the one national story that brought positive news from New Orleans, last week's Mardi Gras, was not helpful to the Ogden itself - the museum was closed during the
celebrations, since the streets surrounding the building were shut down.
And what has been the cost of Romig-Haskins' efforts? Considering the problems the Ogden continues to face (a loss of attendance due to the continued absence of tourists and
school groups, layoffs of half of its staff, even the uncertain future of the city as a whole), funding for PR has been on the tight side. "Let's just say it's very, very small,"
she answers, diplomatically, to a direct question on the Ogden's PR budget. "I've had to rely on grassroots PR coverage to get the word out there."
For the immediate future, the Ogden will push forward with a determined business-as-usual agenda. "We're continuing with a full exhibition schedule, with a new show opening in
April," says Romig-Haskins, who adds with more than a little rue: "But it's tough. It's tough."
Contact: Mary Beth Romig-Haskins, 504.539.9613, [email protected].