Arts Link Spring 2011

IN THIS ISSUE: Making the Case with New Data | Webinars for 2011 | What’s the Big Idea? | Tech Tools You Need to Know Now | Volunteerism | Community Revitalization through the Art s | Annual Convention

Americans for the Arts

THE SOURCE FOR ARTS PROFESSIONALS IN THE KNOW

LINK

arts

SPRING 2011

LINK

arts Arts Link Mission

Delivered quarterly to the professional membership of Americans for the Arts, Arts Link’s mission is to help you meet your professional goals and do your job better by bringing you the latest trends, resources, tools, and ideas in the field of local arts agencies and arts professionals. By sharing the aspirations, challenges, and solutions of your peers and leaders in the field, Arts Link aims to educate, inspire, and equip you

AMERICANS FOR THE ARTS 2011 CALENDAR JUNE 16–18 2011 Annual Convention Hilton San Diego Bayfront San Diego, CA www.convention.artsusa.org

with the means to create a world in which the arts can thrive.

Arts Link Staff

OCTOBER

Elizabeth Van Fleet, Editor Arts Link Editorial Committee Amanda Alef

National Arts and Humanities Month www.AmericansForTheArts.org/NAHM

Valerie Beaman Ben Burdick Molly Coyle Kate Cushman

Creative Conversations www.AmericansForTheArts.org/go/CreativeConversations

Graham Dunstan Allison Gilden Timarie Harrigan Tim Mikulski Laura Kakolewski Justin Knabb Jaclyn Wood Arts Link Design

5 The BCA 10 The Central Park Boathouse New York City

Studio e2 Tell Us What You Think At Arts Link, we value the input of our readers and are always interested in hearing your comments about what you’ve read or topics you would like us to feature. By telling us what you think, you help us deliver a publication that better meets your needs. Please e-mail your ideas, recommendations, and remarks to ArtsLink@ artsusa.org. We look forward to hearing from you.

Advertising Opportunities Arts Link is now accepting advertising. For

www.AmericansForTheArts.org/go/BCA10

17 National Arts Awards Cipriani 42nd Street New York City www.AmericansForTheArts.org/go/NAA

Graham Dunstan at gdunstan@artsusa.org.

NOVEMBER 12–15

Copyright 2011, Americans for the Arts.

National Arts Marketing Project Conference

information about rates, schedules, and discounted advertising packages, please contact Director of Marketing and Communications

Printed in the United States.

Marriott Louisville Downtown Louisville, KY www.ArtsMarketing.org/conference

ON THE COVER: Elemental Landscape by Laura Haddad and Tom Drugan. This project was selected as part of the Public Art Network 2010 Year in Review. Don’t miss this year’s Year in Review presentation—and preconference keynote speaker author Erika Doss—at the 2011 Americans for the Arts Annual Convention Public Art Preconference, June 15–16, 2011 in San Diego, CA. Register before April 29 at www.convention.artsusa.org for early-bird savings!

SPRING 2011

10

14

03

NOW ONLINE

Join Us Connect with Americans for the Arts on our blog, Facebook page, and Twitter feed for even more news, resources, and updates on the arts nationwide. n

http://blog.artsusa.org

n

http://on.fb.me/ americans4arts

n

www.Twitter.com/ Americans4Arts

www.AmericansForTheArts.org

15

contents

FEATURES

DEPARTMENTS

02 From the President

03 Working for You

Honoring the memory and legacy of Phil Hanes.

04 The National Arts Index: Understanding Impactful Trends Find out how this landmark data can help you in your work and community.

10 T op Technology Trends: What You Need to Know Now Don’t be left in the dark—with technology changing every minute, learn what to focus your attention on in the coming months.

Americans for the Arts News

1,000 of your friends, 500 arts advocates on Capitol Hill, dozens of webinars any time

08 MemberCenter

You Belong Here

Milwaukee’s revelation, the NEA’s new addition, what we’re reading

14 Leadership in Practice

Inspiring Leadership through Example

Major changes in San Diego, a pleasant surprise for Wyoming, an adventure with the Altar Boyz

16 The Toolbox

Information to Help You Succeed

Online resources for grantwriting, what’s new with microgiving, mentorship tool kit, leveraging volunteers

SPRING 2011 | ARTS LINK | 1

From the President

W

ith the passing of field founder Phil Hanes, we remember his legacy and look forward together to imagine a new future for the arts in America.

n

How Are We Doing?

MORE THAN 50 YEARS AGO, Phil Hanes was one of

While we spread our message on Capitol

eight visionaries who founded our organization.

Hill in April, we’re relying on you to bring that

As always, we

As a young businessman in Winston-Salem, NC,

message to Main Street, city council, and the

welcome your

Phil was instrumental in the establishment of

local school board in your community. Our 2010

one of the first local arts councils in the nation.

National Arts Index, released in January, is just

Phil’s efforts on behalf of the arts were lifelong,

one of those tools that you can use to help make

and his particular legacy is understanding the

your case for the arts.

feedback on everything we do. For 50 years, Phil Hanes was never shy about

value of creating the necessary infrastructure

I hope you can all join us for one of the

providing his ideas!

to foster and nourish all of the arts in communi-

hallmarks of Americans for the Arts—the Annual

Please feel free to

ties nationwide. Phil’s strong persuasive skills,

Convention. Learn from and engage with field

contact Americans

wry humor, passion, and storytelling helped lay

leaders and your peers from across the country

for the Arts with

the groundwork for some of the great cultural

in beautiful San Diego, June 16–18, 2011. I’ll see

your thoughts

leaps we have enjoyed in the last half century. His

you there!

and comments on

passing is keenly felt not only by the board and

what resources

staff of Americans for the Arts, but also by the

and assistance you

arts leaders guiding the now more than 5,000

need from us.

local arts councils that have come into being during the last five decades. His legacy reminds us all that a call to action is only impactful when backed by solid and effective resources.

In today’s political and economic climate, resources and our advocacy efforts on Capitol Hill are more crucial than ever. During this year’s Arts Advocacy Day, I was able to testify before the House Appropriations Subcommittee on the Interior, alongside Alec Baldwin and several other notable artists. Americans for the Arts is honored to have this opportunity to make the case for the arts before our national decision-makers, and I hope you can join in the effort by contacting your congressperson to tell him or her how important the arts are to our country. Please visit the Arts Action Fund website at http://ArtsActionFund.org to find ways to get involved.

2 | ARTS LINK | SPRING 2011

The Source for Arts Professionals In the Know

AMERICANS FOR THE ARTS NEWS

WORKING FOR YOU

NEWS SNAPSHOT

Advocacy NEWS SNAPSHOT

HUNDREDS OF ARTS ADVOCATES joined

ANNUAL CONVENTION

Americans for the Arts for Arts Advocacy Day in Washington, DC, April 4–5, 2011. Attendees participated in lobbying workshops and learned how to best make the case for the arts

ON JUNE 16–18, AMERICANS FOR THE ARTS will host the best professional

on Capitol Hill. Passing a federal budget has

development opportunity for leaders working to advance the arts—the 2011

proven to be the 112th Congress’s biggest chal-

Annual Convention. Adding to the success of the 2010 Half-Century Summit

lenge, and numerous arts and culture agencies

in Baltimore, this year’s annual convention in San Diego will bring more than

and programs depend on federal funding to

1,000 arts leaders together to design a creative tomorrow through innova-

fulfill their mission and goals, like the National

tion, leadership, and the convergence of ideas.

Endowment for the Arts and the Arts in Educa-

Keynote speaker Susan Smith Ellis, CEO of (RED), will also share some of her secrets to success. Named one of Fast Company’s top 100 most creative people in business, her leadership of (RED) has brought the arts to the forefront—assembling street artists, painters, illustrators, photographers, and sculptors to artistically broadcast (RED)’s message worldwide.

tion program at the Department of Education.

Our advocates at Arts Advocacy Day and nationwide informed their representatives that an investment in the arts is an investment in creativity and innovation. For a complete recap of this important work and how you

Join us in our sunny, beautiful host city for professional development in local

can continue to be involved year-round, visit

arts development, advancement, and policy, and connect with local, state,

www.AmericansForTheArts.org/AAD.

regional, and national arts leaders. Public artists and administrators are also invited to join the Public Art Network and other public art leaders for the Public Art Preconference, June 15–16, 2011.

We also encourage all our members—that’s you!—to begin the conversation on the advancement of the arts in rapidly changing American communities today by participating in our free webinars this spring.

SAN DIEGO

Register Visit www.

NEWS SNAPSHOT

Professional Development IN AN HOUR AND A HALF, you can gain tools

convention.

and insights from field leaders to help you in

artsusa.org before

your day-to-day work as well as your long-

the April 29 early-bird deadline to save $175 on registration!

term career. We are pleased to offer you more than a dozen live learning opportunities in 2011, as well as our library of more than 30 on-demand webinars—all at your fingertips and all for free to you, our professional members. Visit www.AmericansForTheArts.org/go/ webinars for a full schedule. Here are just a

few topics we’ll be covering this year: n

Making an Impact on Local Arts Education: Testifying Before Boards of Education

n

Walking Figures by Magdalena Abakanowicz. Photo courtesy of San Diego Commission for Arts and Culture.

Public Art Administrators: Knowing Your Neighbors in City Hall

n

Working with the Private Sector

n

Foundation Support for

n

Audience Building

Leadership Development n

The Partnership Movement, an arts and business visibility campaign

www.AmericansForTheArts.org

SPRING 2011 | ARTS LINK | 3

n

Washington National Opera’s Opera in the Outfield at Nationals Park in Washington, DC. Photo by Scott Suchman.

You know how the arts are doing in your community, but the Americans for the Arts National Arts Index gives you that nationwide glance at your colleagues from Anchorage to Honolulu, from Boston to Miami. Read on for ways to put this national data to work for you.

H

ere at Americans for the Arts, the National Arts Index has 2001– 2007 been five years in the making.

Its 2007– 2009 12-year span and 81 indicators result in thousands of data points. These national-level indicators, like copyright applications or state arts agency funding per capita, help form the aggregate Index score—calculated much in the same way that The Conference Board tracks consumer confidence.

Prior to this research initiative launched in 2010, there had never been a quantitative measure of the health and vitality of the arts nationwide.

AVERAGE ANNUAL PERCENT CHANGE IN EMPLOYMENT Source: Johns Hopkins University Center for Civil Society Studies

3.9

4.1

4.2

4.6

4.9

3.3

1.4

Nursing Homes

1.8

.87 .66

.4 Membership Organizations

.92.75 .88

Colleges & Universities

Hospitals

.85

1.5

1.4

.83

Social Assistance

Arts & Entertainment

Ambulatory Health

Primary & Secondary Schools

Fields in which Nonprofits Active

All Fields

.75 .81

.75

1.7

2.0

2.4

2.3

2.4

2.3

2.4

2.3

2.5

.74

.84

NATIONAL ARTS INDEX: 1998–2009 Lowest Index Score Benchmark Year

103.9

101.3

97.7

’06

’07

’08

’09

’05

102.9

101.5

’03

’04

100.0

’02

100.9

100.9

’01

’00

103.1

102.7

’99

’98

103.9

101.4

And as anyone who has ever asked for funding knows, you need quantitative, measurable facts that illustrate your point. The Index is the perfect tool to help stimulate local dialogue about the value of the arts in your community, providing vital information to help improve governmental, corporate, and philanthropic policy and decision-making in your own backyard.

The 2010 National Arts Index is also the first comprehensive look at the most recent recession’s impact on the arts and culture sector. Not surprisingly, the Index shows that the arts follow the country’s business cycle. The Index rises with consumer confidence and the gross national product. The arts were booming when the economy was. In the past decade, nonprofit arts organizations have grown 45 percent, a greater rate than all nonprofit organizations, which grew 32 percent. There are now more than 100,000 nonprofit arts organizations, 550,000 other arts businesses, and 2.2 million artists in the workforce, a steady 1.5 percent of the total civilian workforce.

Recession Period

THE NATIONAL ARTS INDEX

Understanding Impactful Trends

by Amanda Alef and Tim Mikulski, Americans for the Arts

www.AmericansForTheArts.org

SPRING 2011 | ARTS LINK | 5

THE NATIONAL ARTS INDEX: UNDERSTANDING IMPACTFUL TRENDS BRINGING THE DATA HOME

QUICK LOOK

Using national data to make a local argument can seem daunting, but the National Arts Index offers a valuable platform to 109,00 registered arts begin a conversation about the nonprofit organizations arts and their value to commu 2.2 million artists in the nities. By offering a consistent workforce (1.5 percent of the total civilian way to measure change over workforce) time, the Index makes it easier 20 percent of all SAT to talk about why the change is takers reported four occurring, where things may years of arts or music curriculum in high school be going in the future, and how the arts remain vital in our ever-changing society.

Here are just a few examples of how you can use the Index to strengthen the arts in your community.

Vital Signs n

0.94

0.95

1.06

1.11

1.07

1.04

0.90

1.00

Advocate for More Arts Education in All Schools HIGH SCHOOLERS’ ARTS PARTICIPATION UP BY ONE-THIRD During

’09

’08

’07

’05

’06

’04

’02

’03

’01

0.77

’99

’00

’98

the past decade, the number of collegebound seniors with four years of arts and music courses in high school grew by one-third—from 15 to 20 percent of all SAT test takers. Simultaneously, colleges and universities are granting more and more arts degrees—from 75,000 in 1999 to 127,000 in 2009. Despite drastic 0.83

0.90

PERFORMANCE OF SAT TEST TAKERS WITH FOUR YEARS OF ART OR MUSIC

n

Source: TBD

n

PERFORMANCE OF SAT TEST TAKERS WITH FOUR YEARS OF ART OR MUSIC 2003=1.00

0.94

0.95

1.06

1.11

1.07

1.04

1.00

0.90

’09

’08

’07

’05

’06

’04

’02

’03

’01

0.77

’99

’00

’98

0.83

0.90

6 | ARTS LINK | SPRING 2011

budget cuts, these findings show the demand for arts education is still alive and well. Use these stats in conjunction with surveys of top business executives that say creativity and innovation is the key to success in the 21st century—like The Conference Board’s Ready to Innovate, IBM’s 2010 Global CEO Study, and Ernst & Young’s Connecting Creativity to Profit study—and you have a sound argument for the arts in schools.

Look for New Ways to Engage Your Community in the Arts ARTS ATTENDANCE DOWN BY 22 PERCENT While

attendance numbers at artistic institutions have remained relatively flat during the past decade, the percentage of the U.S. population attending these arts events is shrinking, and the decline is noticeable. Between 2003 and 2009, the percentage of the population attending art museums and performing arts events both decreased (-19 percent and -22 percent, respectively). Arts organizations must take this statistic to heart when considering how to bring themselves into 21st-century arts participation. Maybe it’s time to alter your budget for productions, adjust your outreach techniques to include more in-community performances, or reimagine your traditional presenting methods by creating new ways for audiences and individuals to engage in the arts both in public and at home. For example, both the Washington National Opera in Washington, DC and the San Francisco Opera simulcast one performance each year to their local professional baseball stadiums. Last summer, the Washington National Opera’s annual simulcast

The Source for Arts Professionals In the Know

AVE

Sourc

.74

.75

.75 .81

.83

.85

.92.75 .88

.87 .66

.84

VOLUNTEERING FOR THE ARTS 2003=1.00

installation. Photo

by Scott Beseler.

individuals who volunteer their time for the arts has increased by 11.6 percent and the number of individuals engaged in art making or performing music has increased 5 percent. That’s more art in people’s daily lives than ever. Most often when you think of arts volunteers, you think of ushers at a ballet performance or board members of a local museum, but there are many other types of volunteer opportunities in the arts, including pro bono help with marketing and strategic planning. Start a campaign to align volunteers to support the arts organizations in your community. Ensure that church and

www.AmericansForTheArts.org

’09

colorful visual art

Raise Awareness that the Arts Are Everywhere—and Could Disappear Without Your Help ARTS VOLUNTEERISM UP BY 11 PERCENT Since 2005, the number of

0.98

a vibrant and

’08

city streets into

0.93

half-mile of center-

’07

transformed a

0.93

participants

’06

where 1,500

0.94

Paint the Street,

’05

and sponsored

0.88

Cincinnati, organized

’04

ArtsWave in

attracted 20,000 fans who not only sat in the seats and on the field, but also paid for transportation to and from the show, purchased food and other goods, thereby also contributing to the local economy on a day that the ballpark would be closed otherwise.

0.93

participants,

’03

’02

Local Arts Index

1.00

0.91

n

community choirs make the connection that they are arts volunteers, too.

No matter what threatens the arts in your community—poor attendance, funding cuts, slashed curriculum in schools—the National Arts Index can help you put your community, your issue, in the larger, national context.

QUICK LOOK

Resources 4 To

view the full report and the executive summary, visit www.AmericansFor TheArts.org/go/ArtsIndex.

4 Our

research staff is here to help you with any questions you might have on the Index or any other of our research projects. Call us at 202.371.2830. n

Vice President of Research and Policy

Randy Cohen rcohen@artsusa.org n

Senior Director of Research Services

Ben Davidson bdavidson@artsusa.org n

Research Associate Amanda Alef aalef@artsusa.org

SPRING 2011 | ARTS LINK | 7

YOU BELONG HERE

MEMBERCENTER What’s been the most surprising aspect of your new job?

The sheer volume of activity around the NEA is astonishing…I thought I knew that research was an important function of the NEA’s work, but I didn’t fully grasp the magnitude of the NEA’s ongoing commitment to understanding our field, such as the recently released groundbreaking research on festivals and the ongoing study of public participation in the arts.

What do you see as the greatest challenges or opportunities for local arts agencies in the coming years?

I’ve always believed that local arts agencies are on the front lines of innovation.

I still believe that. In some ways, the federal agencies are only now catching up with local practice, at least so far as interagency cooperation is concerned.

MEMBERCENTER

So, What Do You Do? Local Arts Leader Moves to the National Stage

What are some new challenges you face

For those working at the local level,

as a director at the NEA?

this has been standard practice for

This is an exciting time to join the NEA. “Art Works” is a dynamic organizing principle for our work under Chairman Landesman’s leadership. I’m very proud to be part of this alignment and new direction, all backed by a very clear strategic plan—one of the best I’ve ever read. I am very impressed by the agency focus on meaningful outcomes. NEA applicants are now asked to choose from

NAME: Michael Killoren

one of four outcomes: the creation of

POSITION: Director of Local Arts Agencies

lifelong learning in the arts, and livabil-

and Challenge America Fast Track

new work, public engagement with art, ity or strengthening community in the

ORGANIZATION: National Endowment for

arts. Essentially, these describe what a

the Arts (NEA)

local arts agency does on a daily basis.

ROLES AND RESPONSIBILITIES: I’m responsible for the oversight and management of the local arts agency and Challenge America Fast Track grants program areas, in alignment with the new strate-

There is no doubt in my mind that this new direction will help the NEA and the American people better understand the impact of NEA programs on the artistic vitality of our nation.

many years. But as I look at research reports, I think the biggest opportunity for local arts agencies to embrace, in a meaningful and authentic way, is the demographic shifts happening in communities. It may be counterintuitive in this fiscal environment, but local arts agencies need to figure out how to expand—not shrink—their portfolio to be ever more inclusive. Perhaps the best place to start is to make sure that the board and staff are an honest reflection of their community, in every way.

The local arts agency field is comprised of some of the most resilient, optimistic, and creative people I know, and they play a critical role in sustaining a healthy arts and culture sector. Local arts agency leaders are able and willing to adapt to the changing environment, and I look forward to doing what I can in my new role to be a helpful partner in those

gic direction under the NEA’s new “Art

efforts. To read the full interview with

Works” guiding principle.

Michael, please visit ARTSblog.

8 | ARTS LINK | SPRING 2011

The Source for Arts Professionals In the Know

MEMBERCENTER

What We’re Reading “ Seth Godin parses his book, Linchpin: Are You Indispensible?, into easily digestible paragraphs, and affirms that the most valuable workers are creative thinkers who can solve probChristine Harris, Executive Director of the Cultural Alliance of Greater Milwaukee. Photo by Alysha Schertz, Biz Times.

lems no one else can solve. It is a reminder not to fear change, to reward our most

MEMBERCENTER

WHAT’S THE BIG IDEA

The Cultural Alliance of Greater Milwaukee

forward-thinking members, and that a good leader is someone who hires an innovative team and then empowers them to make decisions.”

—Deborah Vaughn, Arts Education Coordinator,

SOME MIGHT SAY APPLYING FOR A FEDERAL GRANT is the furthest thing from a

Oregon Arts Commission

big idea, but not so in Milwaukee. It’s all part of a bigger picture for Executive Director of the Cultural Alliance of Greater Milwaukee Christine Harris.

“We are trying to provide a new lens with which to communicate the value of the creative industries,” she said.

In 2008, several organizations partnered together to form the

“ With anecdotes, a few statistics, and brutal honesty, Robert Egger provides a way to make our commu-

Creativity Works! project—a study that found Greater Milwaukee’s

nities better by focusing

seven-county region’s economy is host to 70,000 individuals and 4,000

on audience development,

businesses involved in creative industries. Using this data, Harris set out on a mission: “We can’t just keep making a vague ‘support the arts’

outcomes measurement,

argument.” Armed with economic impact data, the Alliance applied for

taking programs to the

a federal grant—from a program that works to repair economic damage

next level, and manag-

caused by natural disasters.

ing change effectively in

Horrible storms devastated the region in 2008, displacing many people. The Alliance argued that those in the creative sector—the fastest growing sector in Greater Milwaukee—are highly mobile individuals

Begging for Change: The Dollars and Sense of Mak-

and could easily relocate to another area. The Alliance proposed the

ing Nonprofits Responsive,

need for funding so a plan could be developed to retain these indi-

Efficient, and Rewarding

viduals and give them more tools to improve creative economic growth.

Eventually, the Economic Development Agency awarded a grant of $146,250, the first of its kind to an arts organization.

Harris attributes the EDA’s grant, and the growing arts and business partnership, to a unique campaign. “Getting businesses involved was like pushing water uphill. Now, we’ve lost count of how many have come to us and said, ‘How can I help?’”

www.AmericansForTheArts.org

for All. He also offers a concise “Rules for Nonprofits” section with practical advice for nonprofits, businesses, volunteers, and donors.”

—Ken Busby, Executive Director & CEO, Arts & Humanities Council of Tulsa

SPRING 2011 | ARTS LINK | 9

TOP TECHNOLOGY

TRENDS WHAT YOU NEED TO KNOW NOW

by Amelia Northrup, Research and Development Assistant, Center for Arts Management and Technology at Carnegie Mellon University

In this tough economy, most of us have encouraged ourselves and others to look ahead to brighter times. But what exactly lies ahead in the next year for us?

How can we make the most of our future?

One thing is becoming clear—technology has a part to play.

L

ast year, technology influenced our field tremendously. We saw ticketing software evolve, mobile apps take off, and crowd sourced funding emerge with sites like Kickstarter—the list goes on. Some trends that were expected to take off in 2010 fizzled, and many dark horses, like Ask A Curator and group discount sites, unexpectedly flourished. According to Twitter, it hosted 100 million tweets in the first quarter of 2008. At the close of the second quarter of 2010, the website was seeing about 65 million tweets per day. Technology is moving at the speed of light, and innovation is around every corner. So here are some insider tips to get you ahead of the curve on the top trends poised to take off in 2011.

SPRING 2011 | ARTS LINK | 11

“

TOP TECHNOLOGY TRENDS: WHAT YOU NEED TO KNOW NOW GO MOBILE

According to Twitter, it hosted 100 million tweets in the first quarter of 2008. At the close of the second quarter of 2010, the website was seeing about 65 million tweets per day.

QUICK LOOK

Google for Nonprofits In March, Google launched a special suite of programs and services called Google for Nonprofits at www. google.com/nonprofits.

Through products and services, Google is aiming to help nonprofits better leverage the power of the Internet. Eligible nonprofits will receive benefits like: Grants: Free AdWords advertising to promote your website on Google

n

Google

n

Google

Earth Outreach

Grants: Free licensing for

Google Earth Pro, Google SketchUp Pro, and Maps API Premier n

G oogle Apps for Nonprofits: Free version

of Google Apps for Nonprofits with fewer than 3,000 users, or a 40 percent discount ($30/ user/year) on Google Apps for Business for organizations which have more than 3,000 users

12 | ARTS LINK | SPRING 2011

”

GROUP DISCOUNTS AND PRICING

Group discount sites like Groupon and Living Social exploded in popularity in 2010. While many organizations have a group sales manager or special deals for groups, these sites offer major discounts available to anyone, but that will only be valid if a certain number of people sign up—encouraging buyers to sell the deal to their friends. Groupon now boasts 35 million subscribers and 18 million Groupons sold in North America.

Recently, Groupon has introduced its G-Team, a community outreach initiative that brings communities together to do good, have fun, and make an impact. The Arts Council of New Orleans, Groupon, and Evacuteer have all partnered together to support the creation of a groundbreaking public art and emergency preparedness project in New Orleans. The arts council matched all donations through Groupon up to $20,000 to fund art installations denoting the 17 evacuation pick up areas around the city.

In 2010, Wired reported that “the web is dead,” meaning that the way people use the Internet is shifting away from web access on a desktop or laptop to mobile applications on portable devices, accessing and sharing information 24/7. Arts organizations have started asking themselves if their website and e-mail campaigns or newsletters are mobile-friendly and, along with partner companies like InstantEncore and Pop Media, have started to develop apps.

CloudTix.com, one such example, sells tickets in real time through mobile apps and allows users to download scanable tickets to their device.

Bill Predmore of Pop Media advises organizations to begin to look into all three: apps for both Apple and Android platforms and mobile websites. “Things are changing rapidly, and it’s difficult to know what’s going to be there a year from now. For this reason, many organizations are reluctant to make an investment. But patrons are going to expect you to be there and if you’re not, there’s a problem.”

CHANGING MEDIA CONSUMPTION

Just as moving images revolutionized photography, more affordable access to high-quality video and faster Internet speeds are revolutionizing online video.

In the past several years, performing arts organizations have started taking their performances outside of the theater and concert hall with initiatives like the Met’s Live in HD, San Francisco Opera’s Opera in the Ballpark, and most recently, L.A. Phil Live. In 2010, we also saw a shift of focus to online streaming

The Source for Arts Professionals In the Know

QUICK LOOK

Guide to Mobile What’s Hot Now iPhone Apps n

iPhone was the original

and has been the most popular platform for apps. With iPhone now on Verizon, the iPhone’s popularity is not likely to wane anytime soon.

Android Apps n

Despite iPhone’s

popularity, Android phones have recently overtaken iPhone in terms of market share.

Developing apps for both has become the industry standard.

video. Websites like Tendu.tv and ClassicalTV.com are aggregating video of performances from many different organizations. Streaming of live events has become more commonplace thanks to platforms like Livestream. Recently YouTube announced that it would offer live streaming to its content partners, several of which are arts organizations, ranging from the Museum of Modern Art to the Anaheim Ballet to Pilobolus Dance. Any organization can apply to become a content partner at www.youtube. com/nonprofits.

RISE OF LOCATION-BASED SOCIAL MEDIA

Here’s something to do right now. For free. Really. Go to www. google.com/places and add Mobile Website your organization to appear Organizations who on Google’s maps of your area. can’t invest in apps are Now that we’re on the map, no making an often minimal investment in making discussion of current arts and their website easy technology trends would be to view and navigate complete without mentioning on smartphones. location-based social media plat How to create a mobile website: http://mashable. forms like FourSquare, GoWalla, com/2010/12/16/createFacebook Places, and Google Latimobile-site-tools/ tude. Location-based social media usually involves a user “checking in” to a particular place, telling all their friends where they are, and, in some cases, winning promotions.

Arts organizations, most of which position themselves as serving local communities, are starting to understand the potential for hyper-local platforms like this. Additionally, location-based social media is increasingly attracting young, urban influencers with disposable n

n

www.AmericansForTheArts.org

n

QR codes are scanable links that smartphone users are utilizing more and more. Download one of the many apps and scan this code to visit ARTSblog and share your thoughts on the top tech trends this year.

income—precisely the audience many arts organizations are trying to attract. So, which platform will win out?

Independent companies like GoWalla and FourSquare, or platforms emerging from established networks and services like Facebook and Google?

What do you think are the biggest trends for technology in 2011? Go to ARTSblog at blog.artsusa.org to join the discussion! www.emarketer.com/docs/webinars/eMarketer_Key_ Digital_Trends_2011.html http://pr.webroot.com/threat-research/cons/socialnetworks-mobile-security-071310.html www.jiwire.com/downloads/pdf/JiWire_Mobile AudienceInsightsReport_Q32010.pdf www.wired.com/magazine/2010/08/ff_webrip/all/1

SPRING 2011 | ARTS LINK | 13

INSPIRING LEADERSHIP THROUGH EXAMPLE

LEADERSHIP IN PRACTICE LEADERSHIP IN PRACTICE

COMMITTING TO THE ARTS NELTJE, former Wyoming State Arts Council Board Member, abstract expressionist artist, and the founder of the Jentel Artist Residency Program, continued her commitment to the arts and pledged the entirety of her estate to the University of Wyoming to enhance its national arts presence and provide students exposure to once-in-a-lifetime arts education opportunities. “I think

Broadway cast of Altar Boyz.

Photo courtesy of Davenport Theatrical Enterprises.

the arts are vitally important as an educational entity... My hope is that kids will learn that whatever is important to them is important, that it’s about individual beauty.” At a time when universities across the country are cutting their

LEADERSHIP IN PRACTICE

fine arts programs and de-accessioning their art museum collections, Neltje has allowed the University of Wyoming to do just the opposite.

Teaching Moments

“

Ken Davenport, Broadway producer PRODUCERS FACE ALL SORTS OF CHALLENGES, from raising millions of dollars to coming up with marketing plans to make sure we can sell enough tickets to recoup those millions of dollars. But honestly, one of the greatest challenges I’ve faced in my career was much simpler. It involved a white stretch limo and the Altar Boyz.

I had planned a huge press event for

the signing of the cast recording of Altar Boyz, the second Off-Broadway show that I produced. Now, I’m a bit of a “stuntman” when it comes to press. And for our signing, I challenged the Backstreet Boys to a “Boy Band Battle” and invited them to show up at the Virgin Megastore to see who the better boy band really was. My challenge involved taking out ads, sending them faxes, and at one point, even sending them a rubber chicken.

For the day of the signing, I hired 100 girls to stand nearby in Times Square to greet the Boyz when they arrived. I had fake fans, fake paparazzi, and even fake security. I had everything. Except…the white stretch limo.

14 | ARTS LINK | SPRING 2011

The Source for Arts Professionals In the Know

LEADERSHIP IN PRACTICE

Change Agent President of Legler Benbough Foundation Pete Ellsworth WHEN PETE ELLSWORTH STARTS TALKING about The Village at Market Creek Plaza, it’s hard not to get caught up in his enthusiasm. And there is quite a lot to be excited about. As the president of the Legler Benbough Foundation, Mr. Ellsworth is deeply involved in a long-term effort to revitalize the Diamond District in southeastern San Diego. What was once a divided community bereft of economic opportunity is now defined by The Village at Market Creek Plaza, a 40-acre site that boasts the Joe and Vi Jacobs Neighborhood Revitalization Center, a new elementary school, library, amphitheater, green space, grocery store, and space for both industrial and retail business.

In an area defined by eight ethnicities, learning how to communicate I waited for the limo with the Boyz five

and relate to one another was the first step toward coming together to uplift

blocks away, where it was supposed to meet

the neighborhood. “They needed a common currency,” says Ellsworth. “They

us. But it was late. 5 minutes. 10 minutes.

needed a way to connect with one another.” By sharing their various cultural

15 minutes. Very late. When I called the com-

arts, residents were able connect

pany, they couldn’t even locate the driver. I

in fundamental ways. The com-

was about to run home, call my mom and tell

munity worked with an architect

her I was doing what she wanted and going

to create a design for the com-

to law school. But I didn’t.

munity center and business

I looked around for some sort of trans-

plaza that reflects the richness

portation. Cabs? Horse-drawn carriages?

and cultural diversity of their

The Naked Cowboy? No, no, definitely no.

community. Residents are proud

And then I remembered that this was Times

that their culture is represented

Square. This was New York City. Certainly

in mosaics and design elements

there had to be…

throughout The Village.

And I started running up and down

In an effort to prevent van-

the streets looking for people who were

dalism, community leaders also

driving any kind of fancy car. I started flag-

brought together graffiti taggers

ging them down like I was pregnant and my

from rival groups to develop

water just broke. The third car that stopped

a program, Writerz Blok, that

was a white stretch limo. The driver had

addresses both the defacing of

an hour to kill before an airport run. He

property and youth violence by

agreed to help. And he didn’t even want

channeling talents and creativity

the $100 I promised him. My Boyz jumped

of the participants. Every week,

in the back—they had no idea the original

as many as 250 kids visit the

limo didn’t show—and we made our grand

13,000-square-foot space in the center of The Village to participate in art

entrance with 100 screaming teenage girls

activities run by volunteers and staff. “It’s about respect,” says Ellsworth,

with signs proclaiming their love for Altar

who was involved early in the project. “We respect them for what they are,

Boyz behind us and about 500 people who

and that is talented artists.”

walked in just because of the commotion.

The challenge of producing shows—

Photos courtesy of the Jacobs Center for Community Innovation.

“When you are really involved with a community, you don’t need reports or proposals identifying problems,” says Ellsworth. “You know what is hap-

producing anything—is that half the time,

pening, what needs to be done, and what is working because you are there,

things don’t go the way you plan. But for

you are part of it.” Being part of the process, not only was the neighborhood

me, that’s when things get fun.

transformed but lives have changed as well. Not least of which is Ellsworth’s, “I’ve gotten far more than I have given,” he says.

www.AmericansForTheArts.org

SPRING 2011 | ARTS LINK | 15

INFORMATION TO HELP YOU SUCCEED

THE TOOLBOX

THE TOOLBOX

Now Online: Mentoring Resources

THE TOOLBOX

Did You Know?

THE AMERICANS FOR THE ARTS Emerging

Microgiving

and information on how to grow and nurture

Leaders Network is host to great resources your career, but we realize you can’t learn everything from a book or a website—some-

YOU’VE PROBABLY HEARD OF THE RECENT TREND of microgiving—small donations often made in large quantities through websites, social media, texting, and even some phone applications. With the economy still sluggish and the use of new technology on the rise, microgiving has struck the perfect balance as a low-cost, interactive way to support causes as varied as the audiences. Last year, people donated more than $10 million via text messages for relief efforts in Haiti after its massive earthquake, mostly in $5–$10 increments. With that kind of success, it’s easy to see why new avenues for microgiving are appearing all the time.

In late 2009, Shopkick, Inc. launched the CauseWorld phone application, allowing users to donate funds provided by sponsors to the cause of their choice. Here’s how it works: iPhone and Android users download the free application and then “check in” to stores or restaurants via the phone’s geolocoation to collect “karma” points that they can then donate to a participating nonprofit at no cost to them.

While each “karma” equals just one cent, more than $1 million was donated through CauseWorld in 2010, including more than $23,000 to arts organizations.

times you need a mentor. In our recent survey of our emerging leader stakeholders, 85 percent indicated they were either somewhat or very interested in mentorship programs. As a result, the Americans for the Art Emerging Leaders Council partnered with the Arts Alliance Illinois and the Emerging Arts Leaders of Los Angeles to develop a Mentorship Tool Kit. The Mentorship Tool Kit offers an overview of mentoring FAQs and provides comprehensive resources for emerging leaders looking for a mentoring relationship—from publications, websites, and tools on mentoring and being mentored to steps for developing a mentorship program. We invite you to share this tool kit with your colleagues, community, and networks. www.AmericansForTheArts.org/ go/MentoringToolKit

Like all technology trends, microgiving is evolving quickly. Just two months ago, Philanthroper.com launched an innovative idea, very similar to “daily deal” sites like Groupon.com.

Instead of highlighting a deal of day, Philanthroper highlights a nonprofit of the day, creating a sense of urgency and excitement heightened by a clock that shows how much time is left to donate down to the second. Donors can only give $1 a day, and can do so in just one click. Philanthroper only accepts nonprofits with yearly revenues under $1 million and gives 99 percent of all donations to the nonprofits within a week of being featured. Make sure to check out more tech trends on page 11.

16 | ARTS LINK | SPRING 2011

MYTHOLOGY

Mentor Mentor was an adviser whom Odysseus put in charge of his son, Telemachus.

Book illustration for Fenelon’s Adventures of Telemaco pictured.

The Source for Arts Professionals In the Know

THE TOOLBOX

THE TOOLBOX

STEP BY STEP

Leveraging the Power of Volunteers SURROUNDED BY SHRINKING BUDGETS and downsized staff, the power of volunteers has never been more important. Fortunately, the business world has embraced volunteerism—making many skilled individuals available for pro bono consulting. Here are a few tips for working with a pro bono consultant: 1 Assess the needs of your organization. Determine with your board the

first steps to solving the challenge. While better marketing might appear to

E-Resources: Grantwriting WHETHER YOU’RE A VETERAN grantwriter or a novice looking to write your first proposal, here are online resources available for nonprofit arts organizations, artists, and educators who are seeking help with grantwriting. n

be the challenge, it may be that you need to complete some strategic plan-

Local and state arts agencies are a great place to go for grant assistance,

ning before moving on to marketing. Buy-in of the board is crucial since you

and the Iowa Arts Council’s website

will be bringing in an “outsider.”

offers 18 tips, plus a writing exercise, to help generate your proposal.

2 Provide the potential volunteer with adequate background information

so they can make an informed decision about the project and your organi-

www.IowaArtsCouncil.org/funding/

zation and be as specific as possible in defining the project in terms of

grant-writing-tips.shtml

scope and time.

n

3 Develop and agree upon a non-binding written agreement between the

via its free on-demand webinars like

volunteer and your organization to document expectations on both sides.

Grantwriting Basics and Grantwriting

This document is sometimes a result of fine-tuning the project between

Basics for Individuals in the Arts.

both parties. Remember that volunteers are management consultants first

http://FoundationCenter.org/getstarted/

and volunteers second.

4 Assign a key contact/project manager for the volunteer and schedule

training/webinars/ n

regular meetings between the contact and the volunteer.

opportunities for this year. This online presentation covers all you need to

on both ends, that partnership and many others are in your future.

know in just a few minutes.

The Business Volunteers for the Arts® (BVA) Program is active in 13 cities

www.arts.gov/grants/apply/GAP-

across the country. If there isn’t a program in your city, check out

presentation.html

TaprootFoundation.org, VolunteerMatch.org, or CatchAFire.org, or consider TheArts.org/sc/BVA for more details and information.

The National Endowment for the Arts has realigned some of its funding

5 Recognize and celebrate your volunteers! If the experience is positive

starting a BVA program to serve your community. Visit www.AmericansFor

The Foundation Center provides an enormous amount of training and information

n

GrantProposal.com hosts best practices for writing letters of inquiry and a list of questions to answer when writing your proposal. www.GrantProposal.com/funders.html

www.AmericansForTheArts.org

SPRING 2011 | ARTS LINK | 17

1000 Vermont Avenue NW 6th Floor Washington, DC 20005 T 202.371.2830 F 202.371.0424 ArtsLink@artsusa.org www.AmericansForTheArts.org

Mixed Sources Product group from well-managed forests, controlled sources and, recycled wood or fiber. www.fsc.org Cert n. XXX XXX XXXXX Š 1996 Forest Stewardship Council

A M E R I C A N S

F O R

T H E

A R T S

2011 ANNUAL CONVENTION JUNE 16-18, 2011 SAN DIEGO, CA