Lucas Museum of Narrative Art in Los Angeles Lays Off 21 Employees Amid $1 Billion Project
Title: The Lucas Museum of Narrative Art Announces Layoffs Amid Structural Shake-Up
The Lucas Museum of Narrative Art, the ambitious billion-dollar institution spearheaded by George Lucas and Mellody Hobson, has announced significant staff cuts in a recent organizational overhaul. The Los Angeles-based museum, which is still under construction and slated to open in 2026, has laid off 14% of its full-time employees—15 people—as well as seven part-time staff members. The majority of the layoffs occurred in the museum’s Learning and Engagement and Museum Services departments.
Although the organization cited a need to “work more efficiently to bring the museum to life for the public,” it provided no detailed rationale for the cuts. The decision has raised eyebrows, especially in light of the museum’s stated commitment to public education and its location in a diverse community surrounded by over 400 schools within a five-mile radius.
The move places the Lucas Museum in the company of several other U.S. cultural institutions, including the Brooklyn Museum, the Guggenheim Museum, and the San Francisco Museum of Modern Art, all of which have recently undergone layoffs citing financial pressures. However, unlike these institutions, the Lucas Museum is privately funded by Lucas and Hobson, leading some to question the underlying reasons behind the sudden staffing changes.
A Scene of Uncertainty and Frustration
According to anonymous sources and reporting by the Los Angeles Times, the layoffs unfolded in a manner that left many staff feeling blindsided. Employees were reportedly summoned to meetings with Human Resources on the morning of May 15, and were instructed to exit the premises by 2 p.m. that same day.
One notable layoff was that of Bernardo Rondeau, the Curator of Film Programs, who learned of his termination while attending the Cannes Film Festival. Rondeau later revealed on LinkedIn that his position had been made redundant, stating his appreciation for the opportunity and his colleagues, despite the sudden dismissal.
Discontent appears to be widespread among affected staff. One former employee, speaking on the condition of anonymity, described the workplace as “incredibly dysfunctional.” The core issue, they say, lies in a fundamental discrepancy between Lucas’s vision of what a museum should be and what his leadership team envisions. “Lucas does not believe in museum education,” the former employee stated, highlighting concerns about future commitments to community engagement and learning.
Mission at Crossroads
The layoffs in the Learning and Engagement team are particularly concerning given the museum’s repeated emphasis on public education. The museum’s location in Los Angeles’ Exposition Park—a cultural hub already home to institutions like the California Science Center and the Natural History Museum of Los Angeles—underscores its potential as a major educational resource for the surrounding community.
The restructuring could also impact the museum’s inaugural programming. This February, founding director and CEO Sandra Jackson-Dumont stepped down after five years of leadership. Her duties are now divided between George Lucas, now guiding “content direction,” and interim CEO Jim Gianopulos, former head of 20th Century Fox and Paramount Pictures.
A Museum Like No Other
Despite these internal shake-ups, the Lucas Museum continues to move forward with construction and acquisitions. Designed by Ma Yansong of MAD Architects, the avant-garde, five-story design reflects a futuristic sensibility, resembling a sleek alien spacecraft hovering over landscaped gardens curated by Mia Lehrer.
Its vast and eclectic collection—estimated at 40,000 works—bridges traditional and popular art forms, from Edgar Degas and Frida Kahlo to Robert Crumb and set pieces from cinematic landmarks like Lucas’s Star Wars. Notable acquisitions include:
– Alice Neel’s “Fish Market” (1947)
– Frida Kahlo’s “Self-Portrait Dedicated to Dr Eloesser” (1940)
– Archives of Judy Baca’s “The Great Wall of Los Angeles” mural
– Artemisia Gentileschi’s “The Triumph of Galatea” (~1650)
– Robert Colescott’s “George Washington Carver Crossing the Delaware” (1975), purchased for $15.3 million at Sotheby’s in 2021
A Pivotal Moment
As it approaches its 2026 grand opening, the Lucas Museum of Narrative Art is at a crossroads. With a vision to reimagine storytelling through the lens of visual art and popular culture, the institution holds immense promise. However, its internal challenges—highlighted by unexpected layoffs and leadership vacuums—cast a shadow over its stated public education mission and broader institutional goals.
Only time will tell whether the restructuring will help streamline operations or compromise foundational values. For now, the art world watches closely as one of the most anticipated cultural projects of the 21st century negotiates its own narrative.
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