Philip DeBoer serves as a Partner in the Nonprofit Executive Search Practice at DHR Global. He has deep experience recruiting CEOs and other senior executives to nonprofit organizations. His industry expertise, strategic management, and vast, diverse network of established and emerging leaders have made him a highly sought-after consultant.
Philip holds a B.A. in Communication Arts & Sciences from Calvin University. In 2022, he completed the MMIAM program.
Are you an artist? How did you become drawn to arts and culture administration?
I’ve always been a dabbler. I think everyone has a creative side within them and I’ve always enjoyed engaging mine. My earliest creative exploits were influenced by my older brother, who is very artistically inclined and talented; I have fond memories of us drawing, painting, sculpting clay, and inventing stories and games. Later in my youth, I took piano and French horn lessons; I excelled in the French horn and continued playing through college. Along the way, I dabbled in drama, musical theater, choir, and some visual arts. In my immediate post-undergraduate life, I was the lead singer in a couple of rock bands and later dabbled in improv comedy, training at The Second City and IO—two famous centers for improv comedy—before spending a few years performing.
To answer the second part of your question, I was raised with very pragmatic values, so the idea of pursuing life as a professional artist was not considered a practical endeavor. And I never had “savant-like” abilities or a fixated obsession in any one artistic field; again, I’ve always been a dabbler. So, despite my general love of the arts, it never really made sense for me to be a professional artist. But eventually, I entered into arts management.
How did that come about?
I began my career as an admissions counselor for higher education institutions, first with my alma mater, Calvin University, and then with an internship-based, experiential learning program in Chicago. Recruiting wasn’t a passion of mine back then, it was just the first job I could get out of college. After seven years in higher education, I craved a career shift. A friend told me about executive search, which seemed like an interesting new way to apply some of my professional skills, and I began working with DHR Global, a large and reputable firm headquartered in Chicago. DHR has a designated practice group for consultants who work with nonprofit clients. After my first year in the firm, I started working with the founder and head of that practice, a consultant named James Abruzzo, whose clients were largely arts and culture organizations. I didn’t even realize organizations like symphony orchestras and museums and zoos used executive search firms until I met James. This was my “aha!” moment. I realized there was a way to marry my personal love and interest in arts and culture with a professional skill set that I’d been developing to make a long, fulfilling career. From then on, I aligned my work with James’ book of business and he became a mentor to me.
It sounds like you came into the MMIAM program having already had a lot of experience. Can you share what interested you in the program?
You’re right. I had a substantial amount of experience in the arts management world as a consultant. However, as much as I enjoyed my work and was learning a lot through hands-on experience, I wanted to compare what I’d been learning in the field with how arts management was being viewed and taught in academic settings. I also thought—from a professional development standpoint—that it would be beneficial to have an advanced degree, especially as I thought about next steps in my career. Mostly, I was just at a point in my life where I wanted to shake things up a bit. I’d spent a decade in Chicago and was ready for a new challenge and a change of scenery. My mentor, James, encouraged me to explore these feelings. He introduced me to three graduate programs, one of which was the MMIAM. He was actually on the program’s advisory board.
What drew me to the MMIAM was that, although a full-time commitment, it only required one year. I knew that leaving work was going to be a significant sacrifice, but the idea of fully throwing yourself into something new for a year – like a sabbatical – was appealing. I also liked the experiential, travel component of the program. I hadn’t had the privilege of spending much time outside of the United States before becoming a MMIAM student. So the idea of immersing myself in different cultures was very attractive.
Philip DeBoer in front of the Taj Mahal in 2022 during his MMIAM studies. Credit: personal archive.
How have you incorporated the knowledge you gained “in the field” with what you’ve learned in class?
I found that the academic teachings largely corroborated things that I’d been learning and observing first hand. What the program provided me was a lot of the associated theory and terminology for talking about what organizations and leaders were experiencing. And case studies! I now have so many mental data points that I’m constantly reminded of and referencing when encountering new situations. And in intangible, hard-to-describe ways, the rigor and cross-cultural engagement of MMIAM has provided me a new depth and breadth of perspective and confidence as a professional.
Can you talk a bit about what you’re doing currently at DHR?
Sure. Executive search is a professional service by an outside provider. An organization will hire this third party consultant to manage all aspects of recruiting and filling an open position on their leadership team. All of the positions that I recruit for are at the C-Suite level, meaning they’re either CEO/Executive Director or a position that directly engages with that person, like a Vice President or Director.
When I first joined the firm, I started as a research associate, meaning I supported a partner who was bringing in the business, leading the assignment, and handling a lot of the client-facing responsibilities. I was primarily in charge of finding candidates and vetting them. I rapidly grew my skill set and expanded my purview during my first six years and, by the time I graduated from the MMIAM, my firm hired me back as a partner, which is the highest position available for promotion. Much of the work is the same, but I have a new set of responsibilities; now I am the one winning my own business, interfacing with clients, leading strategies, and managing research associates. I am also able to provide clients other consulting services tangentially related to executive search, like contract negotiations, compensation studies, strategic planning, and organizational restructures.
What is the process for finding good candidates like?
The tactical mechanics of how you find a candidate, although important, are probably less interesting than the actual consulting and problem solving that you’re doing for a client. I consider myself a consultant first and foremost, not simply a “recruiter.” And although the service you’re providing—executive search— is essentially always the same, each client is different. So, there isn’t exactly one consistent, cookie-cutter solution we provide each client.
When we first take a client on, we perform what we call “due diligence.” This often looks like a series of confidential conversations with stakeholders—the board, senior staff, major donors or partners, etc.—we try to get a full picture of what the organization’s needs are.
A good consultant will be able to identify what the client’s real problem is (which can sometimes be different than what they originally thought), determine whether and how it should be fixed through executive search, and gain consensus amongst the decision-makers. So, the due diligence period has critical implications for what type of candidate you should look for and where to find them. Once I’ve gained consensus with my client, I’ll synthesize my learnings into a position specification, which serves as both a tool for marketing the opportunity and a standard against which to vet candidates. Then I’ll work with my team on developing a strategy for finding and recruiting this ideal candidate. I’ll then present my client the top candidates and guide them through the interviews, contract negotiation, and onboarding. And again, a good consultant will add value to his client throughout the process, reporting live on market conditions and advising on industry trends and norms. The entire process typically takes four months from start to finish.
Across the organizations that you work with, are there emerging desirable trends or qualifications for future organizational leaders?
Since every position and organization is different, I’m hesitant to declare any one universal qualification every leader must possess. I will say the post-pandemic years have been really tough (existential even) for most arts and cultural organizations. Audience patterns have changed; organizations are now competing with “the couch” (the ease of accessing entertainment from the comfort of one’s home via smart phones, video games, and streaming); there’s been tremendous turnover of staff and new norms, values, and attitudes toward work are prevalent; fundraising is ever-increasingly dire and competitive; organizations are reckoning with new ethical quandaries around DEI, censorship and cancel culture, pay equity, “dirty” philanthropy, etc.; and climate change is disrupting more and more businesses. Leaders today need to be increasingly strategic, forward-thinking, adaptable, ethical and judicious, and inspiring.
Philip DeBoer with the four other new Trustees appointed to the Miami City Ballet Board in 2024. Credit: personal archive.
Can you share one thing you’ve done this year, personally or professionally, that you’re really proud of?
I was invited—and have now been appointed—to the Board of Trustees for the Miami City Ballet. I’m really honored by this invitation. MCB is such a prestigious company and, humbly speaking, I don’t know that I’m the typical candidate they’d traditionally seek in a board member. But I think, in me, they saw someone who is genuinely enthusiastic and passionate about the company and art form, someone who is invested in the Miami community, and someone who brings fresh energy, perspective, and a high level of competency in arts management. I’m very excited to be serving the company in this manner.
As someone who is fully invested in the Miami arts and culture scene, what would you recommend people visit when traveling there?
Of course! I am very optimistic about the growth of arts and culture in South Florida. Historically speaking, arts and culture haven’t been a priority in this region, but we’re seeing that shift, especially in Miami Beach. Recent political leaders have sought to move away from the Spring Break or party city reputation and lean into a more sophisticated identity by funding the arts. South Beach alone boasts the New World Symphony, Miami City Ballet, Miami New Drama, the Bass Museum of Art, and the Wolfsonian-FIU.
And of course, Art Basel takes place in Miami every December. The arrival of Art Basel and the emergence of the Wynwood Art District 20 years ago have hand-in-hand played a huge role in putting Miami on the map as a destination city for art. The addition of the Adrienne Arsht Center for the Performing Arts, Pérez Art Museum, and Frost Science Center downtown have further cemented that identity. And exciting new projects like the Center for Arts and Innovation in Boca Raton are also on the horizon. So, I bring up all of these things to say that the future is bright for South Florida.
*Philip DeBoer’s headshot credit: personal archive. From the top of Monserrate with Bogota in the background.