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Theatre Communications Group;
"Theatre Facts" is Theatre Communications Group's (TCG) annual report on the fiscal state of the U.S. professional not-for-profit theatre field. The report examines attendance, performance, and fiscal health using data from TCG Fiscal Survey 2014, for the fiscal year that member theatres completed anytime between October 31, 2013, and September 30, 2014. Theatres' artistry, the contributions they make to their communities, and their influence on the artistic legacy of the nation transcend the quantitative analyses that are described here. This report is organized into 3 sections that offer different perspectives:
The "Universe" section provides a broad overview of the U.S. not-for-profit professional theatre field in 2014.The "Trend Theatres" section presents a longitudinal analysis of the 118 TCG Member Theatres that responded to the TCG Fiscal Survey each year since 2010. This section provides interesting insights regarding longer-term trends experienced by a smaller sample of mostly larger theatres.The "Profiled Theatres" section provides an in-depth examination of all 177 Member Theatres that completed TCG Fiscal Survey 2014.
Presents findings from a 2002 Urban Institute survey of Washington-area residents' perceptions of and attitudes toward the performing arts.
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.
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.
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.
Craft Emergency Relief Fund (CERF+);
This report updates the 2004 study, "Voices From the Studio, National Craft Artist Research Project" The current survey results reported here complement focus groups and a literature review. The findings allow the CERF+ (Craft Emergency Relief Fund + Artists' Emergency Resources) board, staff, and other stakeholders to assess the needs of professional craft artists and inform decisions about CERF+'s programs and services.
The inquiry will also enlighten the craft field and arts sector as a whole about the needs, challenges, and opportunities craft artists face as they work to sustain their careers.CERF+'s 2013 survey of 3,500 American craft artists sampled attitudes about craft trends, sales and income, insurance, emergency preparation and recovery, and plans for their legacy.
Quantitative survey findings closely correspond with more nuanced, qualitative results of nine focus groups conducted by CERF+ nationwide in late 2012 and early 2013. Policy makers, funders, and service providers will find the summaries of both studies instructive.
Center for Social Media at American University;
Provides results from a survey of leading broadcasters, independent filmmakers, production houses, and distributors, in order to explore how stakeholders are negotiating the deals to marry public television content and online accessibility.
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.
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.
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.
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?