The Getty Villa has dismissed all 350 of its volunteer docents, requiring them to reapply for newly restructured positions in what appears to be part of a broader trend among major art institutions to diversify their volunteer programs. The controversial decision has left longtime volunteers questioning whether they are being pushed out in favor of younger, more diverse candidates, similar to actions taken by the Art Institute of Chicago several years ago.
The dismissals came to light when a former docent contacted local media after the museum reopened in late June following damage from the Palisades Fire. The striking museum entryway welcomed visitors again, but notably without the guided tours that had been a hallmark of the Getty experience for decades. All docents received termination letters from Keishia Gu, the Head of Education at the Getty, officially ending their volunteer service.
In the dismissal letter obtained by media outlets, Gu explained that "the need for tours has decreased significantly over the past few years as visitors are increasingly relying on other methods to access information about the collection or seeking out specialty experiences more tailored to their individual interests." She noted that other art institutions have observed similar trends, leading to a fundamental restructuring of the docent program rather than simple modifications to existing practices.
The Getty's decision mirrors actions taken by the Art Institute of Chicago in 2021, which also terminated its entire volunteer docent program. At that time, museum equity consultants defended the move, arguing that traditional docent programs are outdated and create barriers to entry that result in demographics skewing toward wealthy, white women. Monica Williams, executive producer of The Equity Project, a Colorado-based diversity consulting firm, stated that "sometimes equity requires taking bold steps and actions."
Docents at major museums like the Getty undergo extensive training in art history, from ancient Greek and Roman artifacts at the Villa to contemporary works. They must complete intensive classroom sessions and shadow experienced docents before being allowed to lead tours independently. This comprehensive preparation process has historically created a corps of highly knowledgeable volunteers who interact directly with the public and serve as ambassadors for the institution.
All dismissed docents have the opportunity to reapply for the restructured program, with applications being reviewed and interviews scheduled for January. Those selected will undergo new training from March to May. According to Getty Media Assistant Director Alexandria Sivak, the reapplication process serves multiple purposes: it allows docents to understand expectations for the new program model and ensures they are prepared for the required level of training.
The new training program will expand beyond traditional art historical content to include specialty tours aligned with the Getty's strategic initiatives. Sivak explained that the revised model will incorporate "drawing-based tours, nature, movement and other interdisciplinary approaches," representing a shift toward more diverse educational offerings that cater to varying visitor interests and learning styles.
When asked why current docents could not simply receive additional training rather than being dismissed entirely, Sivak emphasized that the reapplication process provides an opportunity to recruit volunteers "who are open to learning new skills and teach from a visitor-centered perspective." This approach allows the institution to fundamentally reshape its volunteer corps while theoretically avoiding discrimination claims by applying the same process to all participants.
Several docents have expressed skepticism about the museum's stated motivations, with one telling media that tours were consistently well-attended and popular with visitors. This individual suggested that the restructuring is primarily aimed at replacing "wealthy white middle-aged women" with more diverse volunteers, using the blanket dismissal to avoid potential discrimination lawsuits that might arise from selective terminations.
Concerns about age discrimination have also emerged, though the Getty has been reluctant to provide specific demographic information about its volunteer corps. When asked for the average age of current docents, Sivak initially provided only a broad range, stating that the corps "includes individuals ranging from their 30s to retirement age." After being pressed for more specific data, the museum's Human Resources department declined to release statistical information, citing privacy concerns for volunteers.
The Getty plans to reduce the overall size of its docent corps, though the exact number of positions in the new program will depend on how many former volunteers reapply and how many are ultimately accepted. This reduction comes despite major international events like the World Cup and Olympics potentially bringing increased tourism to the Los Angeles area. However, Sivak noted that "cultural institutions do not benefit from audience bumps when these events occur."
For docents who choose not to reapply or who are not accepted after potentially decades of service, the Getty is offering modest compensation packages. These include a $100 gift certificate to the museum store, 10 complimentary tickets for friends, family, and colleagues that expire in 2030, and a free one-year membership to the North American Reciprocal Museum Association. Critics argue these parting gifts are inadequate recognition for volunteers who have donated countless hours and developed deep expertise over many years of service.
The Getty's actions reflect broader conversations in the museum world about accessibility, diversity, and the role of traditional volunteer programs in modern cultural institutions. While supporters argue that such changes are necessary to make museums more inclusive and relevant to diverse audiences, critics contend that dismissing experienced volunteers may diminish the quality of educational programming and alienate dedicated supporters of the arts.
