While there is certainly great variability in the intensity with which the recession has influenced each city, the issues faced by arts organizations are remarkably consistent.
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Most arts organizations must really only influence 100-200 selected people in their communities to have a life-changing effect.
How to fill the gap between rising expenses and fixed earned income has been the challenge to every arts manager for centuries.
My 50 state, 69 city tour is almost over; I will make my last presentation on July 16 in Boise, Idaho.
The tour has been both inspiring and depressi...
The arts in Puerto Rico must survive; there's a tremendous love for music, dancing and the visual arts. But community leaders must create a new funding model to assure the vitality of the arts.
It was a joy to go back to New Orleans on my "Arts in Crisis" tour and to meet the many dedicated arts professionals who work there. I have been a st...
We ignore the power and potency of the arts if we assume that the only important work is happening in the big Northeast or West Coast cities.
At first blush, my Arts in Crisis tour stop in Grand Rapids seemed ill-timed. Yet I arrived at the first week of ArtPrize, an innovative new arts project that has electrified the city and the region.
The Kansas City Ballet is a classic example of an art-focused turnaround. The substantial community of arts sponsors came to think of the company differently.
At the beginning of this year, there were predictions that as many as 10,000 American not-for-profit arts organizations would go bankrupt as a result of this recession.
I will focus harder on my international arts management strategy. For six years, I have been working to train arts leaders across the globe.
Barney Simon was the founder and artistic director of the Market Theatre in Johannesburg, where for several decades, he produced and directed many of the most important works of indigenous South African theater.
Next time any government official in Washington or elsewhere says that the arts are elitist or that everyday people don't care about the arts, I am going to suggest they visit Kalamazoo, Michigan.
Audiences are not behaving the way they used to and given that the whole model for American performing arts assumes a predictable pattern of behavior, this is making us think.
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