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2015-01-18
Pave Program in Arts Entrepreneurship, Arizona State University;
This report seeks to answer the question "How is business training being delivered to artist across the U.S.?" Artists need to proactively manage the business side of their creative practice, often approaching their practice as an entrepreneurial endeavor, particularly as public funding for the arts has declined and funding for individual artists is especially difficult to find. To support their efforts, state and local agencies, artist services organizations, universities and others are providing training, resources, and technical services directly to artists. We have identified 163 programs or services offered by 79 different organizations or individuals that provide arts business training or resources of various types to individual artists and the leaders of small arts organizations.
1993-10-01
Americans for the Arts;
This particular monograph will focus on one unique arts community located in rural southeastern Utah. This community is comprised of a group of extraordinary individuals - known as Inside Images - presently incarcerated at the San Juan County (SJC) jail in Monticello, a county-owned facility which contracts with the state of Utah to house state prisoners.
2004-11-15
Performing Arts Workshop;
Over the course of three years, Performing Arts Workshop and evaluators measured five goals of the Workshop's Artists-in-Schools program. These goals were: to improve student critical thinking in the arts, to use the arts to positively impact academic performance, to identify problems in teaching at-risk youth, to use the arts to develop pro-social behavior, and to institutionalize arts and arts education in school settings to increase sustainability. The ability of the Artists-in-Schools program to meet these goals is examined through a quasi-experimental, mixed-method research design in the following reports.
2005-11-15
Performing Arts Workshop;
Over the course of three years, Performing Arts Workshop and evaluators measured five goals of the Workshop's Artists-in-Schools program. These goals were: to improve student critical thinking in the arts, to use the arts to positively impact academic performance, to identify problems in teaching at-risk youth, to use the arts to develop pro-social behavior, and to institutionalize arts and arts education in school settings to increase sustainability. The ability of the Artists-in-Schools program to meet these goals is examined through a quasi-experimental, mixed-method research design.
2013-01-01
Rockefeller Archive Center;
In my previous research, I examined the contributions of the Rockefeller Foundation (RF) to the development of the Japanese healthcare system during the post-World War II period. That work led me to the question of how the RF contributed to the development of Japan's cultural exchange with other countries during the same period. The role of philanthropy in areas of public policy, such as healthcare and international cultural exchange, has not been examined in great depth, although there has been research on the role of philanthropy in U.S. diplomacy. My research at the Rockefeller Archive Center (RAC) examined several aspects of the RF's contribution to international cultural exchange policy in Japan. In particular, I focused on: 1) the role of Charles Burton Fahs as the director of humanities at the RF 2) the role of collaboration between the U.S. State Department and the RF and 3) the role and profound involvement of John D. Rockefeller 3rd (JDR 3rd) in the creation of the International House of Japan, which in 1955 became the first international cultural exchange center in Japan.
2016-01-01
Rockefeller Archive Center;
World War II and the early Cold War brought the federal government and U.S. art museums together in new ways, readjusted the definition and status of art in America, and created a new kind of representational diplomacy involving the promotion of "national art exhibitions" that articulated the position of US cultural leadership in the world. This is the working thesis for my forthcoming dissertation "Re-designing the World: American Art Museums and Mid-Century Global Diplomacy." During the summer of 2016 I was privileged to spend four weeks at the Rockefeller Archive Center (RAC) in the Grant-In-Aid Program, working on an important piece of my dissertation that would focus on Nelson A. Rockefeller and his contributions to uniting American art museums and the U.S. federal government through the medium of national art exhibitions as a tool of diplomacy and goodwill.
2010-01-01
Rockefeller Archive Center;
In the summer of 2010, I spent two weeks at the Rockefeller Archive Center (RAC) as part of my preliminary dissertation research into the domestic and international activities undertaken by U.S. museums during World War II and its immediate aftermath. A core focus of this project, currently entitled "A Cultural Arsenal for Democracy: The War Work of U.S. Museums, 1930-1955," is the ways in which museum exhibitions contributed to the construction of national belonging, civic identity, conceptions of America's place in the world, and the public's relationships, as both citizens and consumers, to war and its technologies. Additionally, my aim is to situate the embodied ways of knowing, constructed by museums within the broader matrix of exhibitory practices pursued by government agencies, many times in partnership with museums.
2013-01-01
Rockefeller Archive Center;
The purpose of my research project at the Rockefeller Archive Center (RAC) was to provide an original analysis of the Indo-American artistic relationships during the second half of the 20th century, their nature, evolution and impact on the shaping of the contemporary Indian art scene. This research is part of my Ph.D. entitled "Geography of Contemporary Indian Art: Cities, Actors and Circulations," where I study the construction and organization of contemporary Indian art territories at different scales (art district, city, region, and country) and their insertion into the global art system. Particularly interested in the post-Independence context (after 1947), the social networks which contributed to the renewal of art spaces and practices in India and in the rise of a powerful art market, the dissertation aims to question more precisely the role of foreign funds and scholarships on the emergence of a contemporary Indian art scene. In other terms, to what extent did American patronage and cultural policies contribute to a new geography of contemporary art in India?
2010-01-01
Rockefeller Archive Center;
Looking at the modern history of U.S.-Japan relations, it can be said that the United States made tremendous contributions in support of Japanese libraries. Cases often cited include assistance for restoration of the Tokyo Imperial University Library after the Great Kanto Earthquake of 1923, and the establishment of the National Diet Library and the Japan Library School at Keio University after World War II. However, the U.S. Field Seminar on Library Reference Services for Japanese Librarians (USFS) has attracted less attention from historians of Japanese libraries or students of U.S.-Japan cultural relations, in spite of its influence on various aspects of library and information services in Japan and in the United States.
2016-09-01
National Endowment for the Arts;
As the demographics of our country shift, the population of artists is growing and diversifying, as are norms about who is considered an artist by the arts sector and the general public. Artists are working in different ways—in interdisciplinary and transdisciplinary contexts, as artists in non-arts settings, and as entrepreneurs in business and society. Bureau of Labor Statistics and U.S. Census national data sets on artists have become more refined in the past decade, but arguably do not capture information on the full range of artists working today. Artists that may be omitted from these data sets include those who may not seek income from their work and those who use their artistry as part of another occupation. As the nature of artistic practice evolves, many of the existing systems that train and support artists are not keeping pace. Artists are always influenced by larger socio-economic trends and respond to them in how they make their work and construct their lives. This research found four main trends influencing artists today:
Technology is profoundly altering the context and economics of artists' work. New technological tools and social media have influenced the landscape for creation, distribution, and financing of creative work. There are benefits for many artists, including lowered costs of creating and the ability to find collaborators and new markets. There are also significant new challenges, such as an increasingly crowded marketplace, copyright issues, and disruptions to traditional revenue models.
Artists share challenging economic conditions with other segments of the workforce. Making a living as an artist has never been easy, but broader economic trends such as rising costs of living, greater income inequality, high levels of debt, and insufficient protections for "gig economy" workers are putting increasing pressure on artists' livelihoods. Artists also face unique challenges in accessing and aggregating capital to propel their businesses and build sustainable lives.
Structural inequities in the artists' ecosystem mirror those in society more broadly. Race-, gender- and ability-based disparities that are pervasive in our society are equally prevalent in both the nonprofit and commercial arts sectors. Despite the increasing cultural and ethnic diversity of the country and the broadening array of cultural traditions being practiced at expert levels, the arts ecosystem continues to privilege a relatively narrow band of aesthetic approaches.
Training and funding systems are not keeping pace with artists' evolving needs and opportunities. Artist training and funding systems have not caught up to the hybrid and varied ways that artists are working today. Artist-training programs are not adequately teaching artists the non-arts skills they need to support their work (business practices, entrepreneurship, and marketing) nor how to effectively apply their creative skills in a range of contexts. Funding systems also lag in responding to the changing ways that artists are working today.
2003-07-01
Urban Institute;
Documents and analyzes the environment of support for individual artists. Provides a framework for analysis of various dimensions of the support structure, nationally and in specific sites across the U.S. Includes support programs and policy initiatives.
