Americans for the Arts

Valerie Beaman

Arts incubators are not a new model, but it seems to me that recently some of them have taken on a new joie de vivre. I attribute this to the fact that they are no longer necessarily focused on developing artists into new 501(c)(3) organizations, but empowering ordinary mortals to try their hand at creating something for their own imagination and amusement.

The success of organizations like Brooklyn’s 3rd Ward is confirming research which finds that the younger generation wants to participate in art, not passively observe it. 3rd Ward is a for-profit membership organization which provides space, back office services, food, galleries, a supportive community, and top-of-the-line creative resources, including photo studios, media lab, jewelry studio, wood & metal shops, along with a huge education program. You don’t have to be a member to enjoy the classes, but membership gets you access to the studios. 

Jeanie Duncan

(Note: This post is a continuation of Part 1 and Part 2 posted earlier this week)

Implementation: A Strategy-Focused Business Model

Our closest stakeholders and constituents had been a part of the research and discovery process with us along the way, participating in information gathering and report-out sessions. While we had been together through this process, changes were going to be significant, and nothing makes reality more sobering than implementation. The change, while it wasn’t easy, was supported by the voice of our community-at-large.

We rolled out our new plan and its supporting tactics beginning in spring 2009. Most notably, we:

•    Recruited new leadership reflecting the diversity of our community.
•    Formed teams to work on launching advisory groups for Hispanic/Latino, African American, and young adults with the goal of building relationships and engaging people in these sectors. 

Claudia Bach

We might look more critically at how our current structure lumps radically different entities into this  single basket labeled the nonprofit arts organization: very large institutions such as the Metropolitan Opera or the Getty Museum; regional theaters and community art centers; tiny fringe theaters, artists’ start ups, and community festivals all share nonprofit arts organization status. Some of these, especially the longstanding institutions, seem to handle the 501(c)(3) structure with success. At the other end of the spectrum we find artistic work that seems to have woken up to find itself carrying a big heavy carapace made up of 501(c)(3) regulations and practices.

Perhaps it is time to stop assuming that one 501(c)(3) basket is the right container for all nonprofit arts entities. Maybe we can start to sort arts groups into a greater diversity of structures while still assuring that we have mechanisms to encourage artistic work and access. Here are some things I find interesting as we navigate this terrain. 

Margy Waller

We’ve all been reading about suggestions for policies to address federal budget issues – including possible big changes to the tax deductibility of contributions to nonprofits. Scary, right? Opportunity, maybe!

Setting aside for a moment the structural and legal issues regarding tax status, nonprofit arts and culture organizations are struggling on the fundraising playing field. Plus, arts organizations are challenged by public perception about the role of arts and charities in community.

We know that when people think about the arts, they’re likely to think first of entertainment. That’s cool – when we are looking for consumers and trying to sell tickets or memberships.

But, when we’re seeking contributions for day-to-day operations - this perception makes our work a lot harder.