Public Agency

2004, 18 pages. Los Angeles County Arts Commission, 500 West Temple Street, Los Angeles, CA, 90012, 213-974-1343

Download pdf: www.lacountyarts.org/artsed/docs/artsedu_artsforall09-02.pdf

Years ago, after reading a case statement from one of my earliest experiences with fundraising, my husband, who is in the wine business, told me the three "s's" of salesmanship. He said that a salesman should have

Something to say
Say it, and
Stop.

He made it sound fairly easy and apparently it works if you are approaching a reluctant wine buyer who should prefer the rare Aglianico you're offering to an ordinary Chianti from your competitor. Sales have been good and my husband has a thriving company.

2005, 18 pages. International Federation of Arts Councils and Cultural Agenciers. Strawberry Hills, NSW, 2004, Australia, www.ozco.gov.au

Download PDF: http://www.australiacouncil.gov.au/__data/assets/pdf_file/0020/32627/Making_Crosscountry_Comparisons_of_Cultural_Statistics__Problems_and_Solutions.pdf

This time it was the catastrophic devastation in the Gulf States. Last time it was the 9/11 attack. Before that were the floods in North Dakota, the earthquakes in San Francisco and Seattle, and Hurricane Hugo in South Carolina, and then

Each time disaster strikes — whether natural or man made — communities face inestimable emotional and economic suffering. When artists, arts organizations, and cultural institutions are affected by these disasters, the confusion and bewilderment about what to do and how to help extends very directly to us as arts grantmakers.

2005, 67 pages. Brennan Center for Justice at the NYU School of Law, 161 Avenue of the Americas, 12th floor, New York, NY 10003, 212-992-8847, www.fepproject.org

Download PDF: www.fepproject.org/policyreports/WillFairUseSurvive.pdf

When I mentioned to an arts funder that I was reading a book called Integrating Mission and Strategy for Nonprofit Organizations she sighed and said we needed to stop using words like strategy. I asked why and she said, "Funders got arts organizations to start using these business words years ago, but nothing has changed. They are not in better shape." The author of the book, James A. Phills, Jr., might suggest the problem was not so much the concept of strategy, but rather a general misunderstanding and misuse of the word itself.

2005, 36 pages. Grantmakers for Effective Organizations, 1413 K Street, 2nd floor, Washington, DC 20005, 202-898-1840, www.geofunders.org

Can you explain, in simple terms, how you or someone you know is changed by listening to music, watching a dance performance, looking at an artwork, or writing in a journal? I’d be hard pressed to manage a coherent response.

It’s not easy to talk about how art transforms or how we are different because of it. Many who work in the arts, including those of us who do so because of our belief in the transformative power of art, lack a vernacular for communicating its impacts.

2005, 12 pages. Americans for the Arts, 1000 Vermont Northwest, 6th floor, Washington, DC, 20005, 202-371-2830, www.artsusa.org

In response to the surprising migration of leaders from the business world to the nonprofit arts sector, the author interviewed eighty-two individuals who had made such career changes and asked: What motivated them? How are they doing? What are the long-term benefits and challenges resulting from this influx of new leadership?

Under Marian Godfrey's direction, GIA held a pre-conference immediately before its 2005 conference called "New Directions in Cultural Policy Research." As part of that meeting, four well-respected individuals were asked to assess the impact and importance of research in the arts. They were asked to specify the big ideas currently in play and to speculate about the future of those ideas. Predictably perhaps, the four argued for the importance of research to the cultural sector. More surprisingly, they agreed that the platform for cultural research needs serious re-planking.