ARTSblog

Jonathan Tuchner

If you visit Tate Modern during the next few days, go down the ramp and turn right into The Tanks. On the opposite wall you will find images and notes celebrating thirteen years of the Unilever Series at the Turbine Hall.

It is a quiet celebration; a gentle place to reflect on what has arguably been the most significant arts and business partnership over the past decade or so. Many will forever recall the glow of Ólafur Elíasson’s The Weather Project, the thrill of Test Site by Carsten Höller, or the structure of Rachel Whiteread’s 2005 Embankment. Unilever’s money made all this happen.

Tino Sehgal’s These Association is the final work in the Unilever-sponsored series, which has attracted almost 30 million visitors over the past dozen years. Unilever says “It was planning a change of direction in its sponsorship programme, which is more focused on sustainability and the environment.” Where does that leave the arts?

Between 2000 and 2012, Unilever provided £4.4 million sponsorship in total, including a renewal deal of £2.2 million for a period of five years which was agreed in 2008. This is big money for arts partnerships and it created huge public interest and media profile for Unilever.

Unilever has had a long and important relationship with the arts over many years. This has ranged from the creation of the Lady Lever Art Gallery in Port Sunlight through to in-house amateur dramatics in the 1960s and an astonishing programme called Catalyst which ran over much of the last decade using the arts to inspire and engage their staff.

Their relationship with Tate began when Niall Ferguson was in charge and I recall him early on saying it was his passion for art that drove the investment. Clearly there was passion but what was the business case? Read the rest of this entry »

Two years ago I went on my first trip to Toronto and fell in love with the city and their all-night arts event Nuit Blanche. Projects like Kim Adams’ Auto Lamp made me vow to come back again:

It was a good resolution!

This year, I made my way up on September 28, driving 5.5 hours from Pittsburgh with my bike on the back of my car. Toronto is a bike-friendly city, with dedicated bike lanes, bike racks, and bike shops. Once I parked my car on Friday night, I did not see it again until it was time to drive home on Sunday afternoon.

Many of my trips tend to be a bit of a busman’s holiday, and this one was no exception. I had a list of Nuit Blanche projects to see as well as some permanent pieces commissioned by Jane Perdue through the Percent for Public Art Program. Biking gave me the chance to avoid traffic, explore more of the city than I could have on foot, and enjoy the fantastic fall weather.

Nuit Blanche started at 7:03 pm on September 29 and lasted until sunrise on September 30. This is a sleepless night of a diverse crowd of tens of thousands of people. There were over 150 projects to explore in three zones. Read the rest of this entry »

Marla Sincavage

About 18 months ago, my boss informed me that they had decided to shut down the New York City branch of my division and, as the saying goes, “my position was being eliminated.”

I saw this as my big chance to do something different. Just exactly what that was I had no idea; I just felt very strongly that I was meant to use this opportunity to make a career change. I had spent fifteen years working in finance, and there were things about it I liked, but I never LOVED it.

I didn’t have to think too hard to recognize that I love music. So my first logical thought (because I am a very logical person) was to look for a finance job at a music company, like Universal Music or Steinway pianos. Unfortunately, even though almost every company has a finance function of some sort, I didn’t find a plethora of finance jobs at music companies that fit my background.

But I still had this strong pull toward music, and was determined to “think outside of the box.” I must have been going on about all this to my piano teacher one day, when she said to me, “I have a friend that works at Carnegie Hall, do you want to meet with him?” Are you kidding me?? CARNEGIE HALL? As in, the Mecca of Music? YES PLEASE!!

So I met with this young man, who was very nice, and asked him on a very basic level, “what would someone with a background like mine do at a place like Carnegie Hall?” He thought development would probably be a good fit.  Read the rest of this entry »

(Editor’s Note: This post was originally published on September 25, 2012 as part of Michael Granberry’s regular Dallas Morning News column.)

The Business Council for the Arts has been around for 25 years, building “corporate investment and opportunities in the arts.” It became apparent [September 25] that its new partner, Mayor Mike Rawlings, shares that mandate.

In his state-of-the-city address, Rawlings touted his “business/arts initiative” as “an opportunity to forge ‘friendships’ between small, medium and large business and local arts organizations.”

The mayor called the arts “one of the most powerful economic generators for the community,” noting that during the 2009 fiscal year, arts and cultural organizations contributed more than $1.06 billion “in economic impact to the North Texas economy.”

Katherine Wagner, the CEO of the Business Council for the Arts, calls it “a win-win situation,” applauding the mayor for believing “that every business that makes its home here and makes its money here also has a responsibility to foster the city’s culture.”

Gold Metal Recyclers, she says, is an example of a local business already committed to the partnership. It’s teaming up with Creative Arts Center of Dallas, Wagner says, to merge the materials sold by the business with the talents of those at the center. Read the rest of this entry »

Stephanie Smith

Last week, we packed out a partially restored 1930s single-screen movie house in our town’s up-and-coming downtown area. How did we do it? Three simple words: Arts Mean Business.

We, being East End Arts, a nonprofit community arts organization out in eastern Long Island, operating a School of the Arts, an art gallery, and presenting a variety of events and programs to promote the arts year-round.

“Arts Mean Business” was a forum that we presented for the region’s arts and business leaders: we invited business owners, artists, local government, arts organizations, community leaders, nonprofit organizations, and community members to the seminar with keynote presentation and panel discussion by notable arts and business leaders demonstrating the value of partnering with the arts to strengthen the economic vitality of Long Island.

We weren’t so sure how the community would respond to this sort of forum, but the immediate responses to our first marketing efforts proved that it would be a successful venture and indeed it was.

“Arts Mean Business” completely sold out—we were thrilled to learn that our local community wanted to know what we had to say about a very important topic: partnership between the arts and business communities of all shapes and sizes.

The group of 150 attendees represented a great sample of the people we were hoping to reach. It was really a 50/50 crowd of arts people and business people, with a few government officials in the mix.

We are so grateful that our friends at the Suffolk Theater agreed to host us in their space. The 1930s art deco-style theater has been closed since the 1980s, but is in the process of being restored with the goal to open by the end of 2012.

Guests were excited to see the majestic and historic space and meeting there really spoke to the creative process—and the endless possibilities for the future of our downtown area on the rise, and for the economic strength of all of Long Island.  Read the rest of this entry »

KRIS Wine Art of Education contest

It’s a favorite time of year for students, teachers, and parents as the weather finally cools, leaves begin changing, and pumpkins pop up on every corner. Oh, and students across the country make the daily trek back to school.

For 16 lucky schools, those students and arts teachers can add a little more bounce to their steps. Last fall, consumers and arts advocates selected 16 grant winners by voting for their favorite K–12 public school during KRIS Wine’s Art of Education contest.

$25,000 was disseminated to schools all over the country to be used for arts programming. From Washington to Michigan and L.A. to Georgia, funds are being used for a wide range of projects. In an era where funding for strong arts programs consistently fall by the wayside, every extra dollar helps.

For the following schools KRIS Wine’s investment has made all the difference:

Kenmore Elementary, Kenmore, WA
Kenmore Elementary was the top awarded school in the KRIS wine “Art of Education” program. “We believe the money will greatly help us in continuing to provide an enriching educational experience,” said Principal Steve Hopkins. Kenmore Elementary plans to use the grant to host an artist-in-residence for the entire 2013 school year to conduct a series of visual art lessons with 500 students in its K–6 classes.

Lake Ridge Elementary, Magna, UT
Lake Ridge Elementary was able to fund costumes and scenery for The Avalanche, an opera created entirely by fourth grade students. The opera took the class nearly the whole school year to organize from writing the story and music to painting all 320 square feet of scenery. Barbara Knowlden, fourth grade teacher shared, “With the money from KRIS Wine, I was able to purchase the necessary supplies. It really helped my students’ self-esteem as they realized what they accomplished and how wonderful they looked in the costumes!” Read the rest of this entry »

Will Maitland Weiss

Last Friday, a couple of Arts & Business Council of New York staff members attended a City Council hearing on how cultural organizations support New York City businesses, to help Councilman Jimmy Van Bramer, his City Council Committee on Cultural Affairs, and the Committee on Small Businesses in their effort to quantify the economic impact of and further connect arts and business.

Department of Cultural Affairs Commissioner Kate Levin was there and talked about the purchasing power of cultural organizations, particularly in terms of local spending in areas such as printing, catering, and equipment rentals.

Councilmember Van Bramer said, “Any time we cut the budget for cultural institutions, we are hurting small businesses.” Here’s what we said:

We all know why 51 million tourists come to New York.

We know that 6.3 million of them come to the Met Museum—so many, the Met is looking at opening seven days a week for the first time since 1971. There’s only one museum on earth that more people go to (the Mona Lisa is there), and no place on earth has the breadth and diversity of museums, and the breadth, depth, and impact of enrichment programs for public school children.

We know that Broadway always has been, is, always will be New York—more than 12 million attendees in 2011, more than $1 billion in ticket sales. How many other, smaller businesses are supported in and around the Great White Way?

We know that almost 200 movies and 140 TV shows were filmed in New York last year. It’s not just Woody Allen and Smash. This is where the top artists want to work, which creates 100,000 jobs for others behind the scenes, every one of whom shops, eats, spends (and pays taxes) in New York. Look at Buttercup and Kaufman Studios. Look at the expansion plans for Steiner Studios.

We know the economic impact figures for New York State are $25 billion a year, and 200,000+ jobs…or maybe it’s twice that by now (those are the Alliance for the Arts figures from 2005)? The most recent Municipal Art Society/Cultural Data Project figures from just 1,325 of the nonprofit culturals show 120,000+ people employed and over $5 billion in direct expenditures—just from the nonprofits. Read the rest of this entry »

Stephanie Dockery

At her 1985 retirement, after 20 years as founding director of the Arts & Business Council (ABC), Sybil Simon chose as her legacy a program which helped diversify the nonprofit arts sector. This program took the form of The Multicultural Arts Management Internship Program. It became an overwhelming annual success, attracting hundreds of applicants from across the United States, thanks to ABC’s partnership with Con Edison.

This summer, 11 interns were selected to work in areas such as fundraising, marketing, programming, audience development, and finance for ten weeks. Based upon their personal interests, the interns are paired with theater and dance companies, arts service organizations, music festivals, museums, etc. Organizations chosen to participate entrust the Arts & Business Council of New York (ABC/NY) to interview all intern candidates and conduct the placement.

Supervisors at the arts organizations provide support in terms of creating an interns project (examples: assigning them to spearhead a marketing initiative for a festival or research prospective donors for a new capital campaign) and providing professional guidance for the eager students. Con Edison’s generous support lavishes interns with a $2,500 stipend (a rarity in the arts sector!).

The internship is not only unique because it promotes cultural diversity while empowering interns to take a significant role in their organizations, but also because business mentors are granted to the interns. Con Edison doesn’t just bestow financial support to our organization—they are personally involved by assigning staff as mentors. The mentors collectively represent alternative involvement in the arts, should the interns choose to work in business—they are patrons, donors, and board members—all excellent examples of our sector’s desired audience.

The business mentors attend events, take interns to coffee, visit their organizations, invite interns to their office, and attend site visits (where students lead a tour of their organization and present the results of their summer project). Con Edison also hosts the entire program for an opening breakfast and closing dinner ceremony, where the host supervisors, business mentors, interns, and Arts & Business Council staff come together to celebrate the program and reflect upon the summer.

Here’s a video of some of the interns and mentors in action: Read the rest of this entry »

Janet Langsam

Does art on the wall help lease up a building? “Absolutely, it does,” according to Mark Alexander one of the principals in The Horizon at Fleetwood, a luxury residential building in Mt. Vernon, NY.

The art that a business chooses for their establishment reflects what the business wants to say about itself. Art speaks to the culture, self-expression, and creativity of a place. Following a successful art exhibition at the property, Mark Alexander explains further: “Highly visible art can create a mood, promote pride in place, and raise the level of energy in the space where it is located.  In short, great public art can be great for business.”

Alexander continues, “when we launched our collaboration with ArtsWestchester with the installation of “Contemporary Rhythms,” The Horizon was 50% occupied. And now, as we close the exhibition we are fully leased. Did the art exhibition contribute to the overall positive energy in the building and our marketability? Absolutely.”

Art and real estate merged in the innovative partnership ArtsWestchester recently launched with The Horizon at Fleetwood. The joint initiative establishes a promising business model aimed at highlighting local artists in a fresh way and introduces vibrancy to a new residential community.

“The Contemporary Rhythms” exhibition, curated by ArtsWestchester, launched the relationship between building management and ArtsWestchester and presented more than 30 abstract works by seven Westchester artists in a professional exhibition for a four-month term. ArtsWestchester will curate two additional exhibitions at the property throughout the coming year, providing an ongoing cultural amenity for residents.

The concept of blending the arts with real estate ventures has proven successful in the past. Real estate development company Kessler Enterprise, Inc. is known for integrating art projects into luxury hotels and resorts by hosting monthly art exhibitions and receptions. Manhattan’s Flatiron Hotel created a performance space with a stage in their uniquely designed lobby area, allowing visitors to connect with the city’s theatrical presence. In turn, the hotel is becoming an integral part of its nearby artistic community. Read the rest of this entry »

Marisa Muller

Fighting for corporate funding is always an uphill battle and, unfortunately, it doesn’t look like it’s going to get any easier. According to The Chronicle of Philanthropy’s recent report, charitable giving by America’s biggest businesses rose slowly last year (approximately four percent) and corporate leaders anticipate their philanthropy budgets to remain the same for 2012.

In addition to being monetarily conservative, many of these companies are also winnowing the causes they support in favor of bigger, high-profile gifts to fewer organizations. This is in part due to a continuing trend of companies focusing on social issues that threaten bottom lines.

So what does this mean for the arts?

For some companies, this means the arts support has decreased. The Chronicle provides UnitedHealth Group as an example of a company who has reduced its support of the arts in favor of programs that improve Americans’ health. Over the past three years, UnitedHealth Group has given nearly $2 million to help the American Heart Association establish safe and accessible walking paths around the country.

While endeavors such as this are undoubtedly necessary and beneficial, many seem to forget that the arts are important and provide value. The arts bring communities together, provide economic prosperity, and have been proven to increase health and wellness (just to name a few).

Despite these trends, several companies are getting creative and staying true to their commitments to support the arts.

Aetna, a healthcare company based out of Hartford Connecticut, has incorporated the arts into its healthcare initiatives. As part of its efforts to reduce obesity rates, Aetna and the Aetna Foundation have awarded grants to the Dance Theatre of Harlem in New York, The Joffrey Ballet in Chicago, and the Charter Oak Cultural Center in Hartford to offer dance-oriented health and fitness programs for children and families who live in underserved areas.

These types of programs demonstrate that even though charitable giving shows little sign of growth in 2012, the arts don’t have to throw in the towel. Read the rest of this entry »

I’ve been trying to take the time at the end of each month to review some posts that you might have missed, and since August is a particularly vacation-filled month, I figured why not start now?

In case you missed it (ICYMI), here are some highlights from ARTSblog in August:

• Jessica Stern from Business for Culture and the Arts in Portland, OR explained how a local insurance company tapped the talents of its employees to present an art show.

• Randy Cohen unveiled two new indicators as part of our Local Arts Index. They help you compare how the performing arts and arts education fare in your county against your neighbors or others across the country.

• Arts Education Council member Jessica Wilt honored the memory of fellow council member Alyx Kellington who passed away in late July.

• Americans for the Arts announced a call for session proposals for our 2012 Annual Convention in Pittsburgh.

• I found a video providing a tour of the public art and transportation project taking place in St. Paul, MN.

• Arts for All’s Laura Zucker shared lessons learned as her Los Angeles-based organization celebrated its tenth anniversary.

• One of our many summer interns, Victoria Ford, ended her run of blog posts with a second look at the first question she posed – Why Am I and What Difference Does It Make?

Don’t forget to check ARTSblog often for new content, as we try to publish at least one new post each day, and keep an eye out for our second Arts Education Blog Salon the week of September 10!

Laura Bruney

When the board and volunteers of over 1,000 non-profit arts groups in Miami-Dade donned clipboards to conduct surveys with their audience and patrons, they wanted to showcase that the arts are an essential part of the economy. Their hard work paid off in a big way.

The surveys that were collected from hundreds of groups and their participants were compiled and studied. The resulting report, Arts & Economic Prosperity IV developed by Americans for the Arts for cities and states throughout the country shows that even in a declining and difficult economy the arts are relevant and can be considered an essential tool for economic stimulus solutions. The Miami-Dade Department of Cultural Affairs partnered with Americans for the Arts for the local component.

Here are the drum roll worthy results: the arts in Miami-Dade have an impressive annual economic impact of more than 1.1 billion dollars. From Aventura to Homestead, from Coral Gables to Miami Beach, from downtown to the seashore the arts are everywhere. There are more than 1,200 non-profit arts groups in our community and they employ more than 22,000 full-time professionals and workers.

“The arts are an integral part of Miami-Dade County’s economy and our creative design industry is one of the top reasons why companies choose to establish their businesses in our community,” says Pamela Fuertes, Vice President of the Beacon Council. “Under our One Community One Goal (OCOG) study, the creative design industries were identified as a key industry that is vitally important to our present and future growth, and the arts are a big part of that success.”

Every day, arts and cultural organizations act as economic drivers—creating an industry that supports jobs, generates government revenue, and is the cornerstone of our tourism industry, playing a leading role in Miami-Dade’s success.

According to George Neary, Vice President of Cultural Tourism for the Greater Miami Convention & Visitors Bureau, cultural tourism increases visitors and attracts people that spend more time and money in our destination…

Read the rest of this post at KnightArts.org as it was originally published on that site on August 11…

This post is one in a weekly series highlighting The pARTnership Movement, Americans for the Arts’ campaign to reach business leaders with the message that partnering with the arts can build their competitive advantage. Visit our website to find out how both businesses and local arts agencies can get involved!

Marisa Muller

The old saying goes, “The only thing constant in life is change.” And with the current pace of change in the workplace, there is a demand for businesses to be ready for anything and everything. In order for business leaders to thrive in today’s market, they must be receptive, responsive, and adaptive. But how can business leaders prepare themselves for the unexpected?

Frank J. Barrett, professor of management and global public policy at the Naval Postgraduate School in Monterey, CA, suggests that business leaders take a cue from jazz musicians and practice improvisation.

In his article featured in Fast Company, Barrett explains how the skills jazz musicians develop while improvising can also be helpful working in the office. Through improvisation, one nurtures spontaneity, cultivates creativity, encourages experimentation, and facilitates dynamic synchronization—all traits that are becoming increasingly necessary to succeed in business. By harnessing these qualities, businesses will be better equipped to tackle challenges that come their way.

Barrett proposes the following practices to help business leaders replicate the environment of a jazz band jam session:

Treat each task as an experiment

Every time a jazz musician improvises with a band, he/she tries different combinations of notes and rhythms over the chord changes of a song. As the musician performs, he or she is aware of his or her actions, listens to what works musically, and is receptive to others’ responses. Each spontaneous composition, therefore, becomes a learning process.

By adopting this experimental approach for the office, Barrett believes you will obtain a mindset focused on discovery. Because you are constantly proposing new ideas and testing new hypotheses, you are more receptive to different ways of thinking and encourage breaking the routine. By consistently approaching projects through this process of trial and error, you become more aware of yourself and your own experiences, and you consequently learn more. Read the rest of this entry »

Valerie Beaman

Are you interested in learning what our business-focused affiliates have been paying attention to this year?

Respondents of the annual Private Sector Survey were asked to answer questions regarding their programs and initiatives fostering collaboration between arts and business. The survey requested detailed information regarding specific programs that support arts and business relationships.

Programs like board training are often components of local arts agencies, but many programs designed to engage the business world may be new to the wider field. We invite you to explore the survey and learn more about how your organization can expand its partnerships with the business world.

The 2011 Report surveyed eight Arts & Business Council (ABC) affiliates, 11 Business Committees for the Arts (BCA), 13 Business Volunteers for the Arts (BVA) affiliates, and 56 United Arts Funds (UAF), making up a universe of 83 organizations that focus on collaboration between arts and business. Of these 83 organizations, 52 completed survey responses. (To learn more about all of our private sector affiliates, visit our Private Sector Network page.)

Here are some of the most relevant statistics collected in this year’s survey:

• Nearly three-quarters of the responding organizations (71 percent) served multiple county regions or combined city and county regions. The average population size of the geographic area served by all responding organizations was more than 7.1 million.
• Responding organizations provided a total of $70.2 million in the form of grants or contracts to support arts organizations and/or individual artists during fiscal year 2011. A total of 3,028 arts organizations and individual artists were supported by this funding.
• Responding United Arts Funds raised a total of $80.9 Million in 2011.
• Total arts organizations served through responding UAF, ABC, BVA, and BCA arts and business partnership programs: 3,920.
• Total businesses served through responding UAF, ABC, BVA, and BCA arts and business partnership programs: 3,791.
• The most common programs that served arts organizations were seminar and/or workshops, advocacy resources, technical assistance, arts management training, and publicity & promotion services.
• The most common programs that served businesses were networking opportunities, board training and/or placement, ticket discounts, and seminars, forums, and workshops.
• 67 percent of the Private Sector Network affiliates hold recognition events that honor business support for the arts.
• 35 percent of responding organizations operated some type of board development programs during their fiscal year 2011. These programs made a total of 216 board placements, served approximately 702 people, and were predominantly funded by a combination of grants, fees, and sponsorships. Read the rest of this entry »

Chad Barger

Just like most small to medium-sized metro areas around the country, Harrisburg, PA has not always fully capitalized on the power of its local arts scene. About eighteen months ago the Cultural Enrichment Fund (CEF), the region’s united arts fund, sought to change this.

When looking for a community partner, the organization first thought of the local chamber of commerce. As its name states, the Harrisburg Regional Chamber and Capital Region Economic Development Corporation is a blended organization—part chamber of commerce and part economic development corporation. Knowing this fact, CEF had high hopes that they would understand the power of the arts—especially regarding its workforce development benefits.

After an initial meeting it was clear that the chamber leadership did understand the value of the arts, but it was not from local advocacy efforts. They knew about the value of the arts from national conferences where topics such as Richard Florida’s book, The Rise of the Creative Class, had been discussed. From these sessions they fully understood that attracting and retaining high-quality talent, versus a singular focus on infrastructure projects such as sports stadiums, iconic buildings, and shopping centers, is a better use of a city’s resources to spur long-term prosperity.

From this starting point it was easy for the Cultural Enrichment Fund staff to explain how the arts fit into that picture. Showing how the arts make Central Pennsylvania a better place in which to live, work, and play and explaining that a strong arts community is a key workforce development tool is something that they do every day.

The chamber executives were on board, but it was pretty clear that there was a disconnect. While it seemed that most business executives knew about the region’s thriving arts scene, it was not always being used as a tool for employee recruitment and retention by corporate human resources directors. So, CEF proposed partnering with the chamber to co-sponsor an Arts Impact Committee aimed at addressing this disconnect and the chamber quickly signed on. Read the rest of this entry »