Like many social areas, the arts have struggled to reach consensus on impact measurement metrics. Certainly, considerable progress has been made in terms of measuring economic impact as a result of the arts, led by Americans for the Arts and its Arts and Economic Prosperity series of research reports. But, as Business Contributions to the Arts: 2018 Edition reiterates, most companies are not measuring a standard set of social outcomes when it comes to the arts—and that could be holding the sector back. Our data also show that corporate funding for the arts is in a strong position. That means that now is the time to take on the challenge of being more rigorous in the measurement of arts programs to help ensure sustained contributions over the long term. Companies would benefit from stepping up to the plate.

Last November’s mid-term election resulted in significant political victories for the supporters of arts and culture as a tide of pro-arts ballot measures successfully passed in the western cities of San Francisco, Tempe, Culver City, and Tacoma. As co-chair of the Washington state effort to create enabling legislation and, later, co-chair of the campaign in Tacoma, I believe the lessons from these successes bode well for future, similar efforts in other communities across the country. Perhaps Tacoma is a model for such cultural funding solutions, especially in mid-size and smaller markets. If so, we in Tacoma hope other cultural communities across the nation will be bold, build a smart proposal, make their case, and give voters a chance to show you how much they want cultural services!

Earlier this fall, Americans for the Arts and The Conference Board released the Business Contributions to the Arts: 2018 Edition report. The results provide both an insight into current corporate giving trends as related to the arts and an opportune moment to look back on broad trends. While the survey methodology has changed numerous times over the years, making exact comparisons challenging, we can examine the overall progression of certain aspects of arts support among companies, including what size businesses are consistent arts supporters, what reasons companies give for supporting the arts, and how giving behavior changes (or not) as the national economy fluctuates.

The effects of the shutdown are widespread. The good news about the National Endowment for the Arts (the NEA, a federal agency that receives its annual appropriation from Congress) is that it funds the arts across the country, reaching every Congressional district in all 50 states plus U.S. Territories. The bad news is that any negative impact becomes equally widespread. The American public values the arts and wants access to more opportunities, not fewer. Whether people engage in the arts or not, 90 percent of Americans believe that cultural facilities improve quality of life, and 86 percent believe that cultural facilities are important to local business and the economy. The arts benefits to the community are formidable, and they are to the individual as well. The arts help us address so many challenges in education, health and healing, military, community development, among many others, and the effects of a shutdown are felt not just in the arts organizations, but also in the industries and organizations that are helped by the arts. The benefits of the arts are numerous, but still the ecosystem is fragile and should be cultivated, not endangered.

There is a growing interest in public art from across the country. In the Public Art Programs Fiscal Year 2001 report, Americans for the Arts estimated 350 public art programs across the U.S. The 2017 Survey of Public Art Programs identified more than twice as many. With this growth it is important to understand the various ways public art is planned for and implemented in different communities. In this post, we provide an overview of three papers published by Americans for the Arts that speak to the diverse needs of public art programs across the country, and how local institutions are approaching the topic in innovative ways. With a focus on planning for public art from a municipal perspective, growing public art programs in small to mid-sized cities, and recognizing grassroots and folk art in rural communities, these papers show that successful public art values local context and the public art programs are as unique as each community.

In recent years, there has been an increase in smaller scale, temporary public art projects that encourage community participation and conversation. This is an exciting moment as community members are taking the initiative to create public art that fosters a sense of ownership and pride in their neighborhoods. As the interest in localized public art grows, the individual artists and communities who pioneer these projects are looking for new ways to fund their art. Crowdfunding, a grassroots method of funding a project through raising many small amounts of money from a larger number of people, typically via the Internet, has grown in prominence as a way to pool resources towards a project. In the recently published paper “Crowdfunding in Public Art,” I explored the ways crowdfunding has been used to implement public art, and I’ve been inspired by what I’ve seen.

Much has happened since last I wrote, including the 2018 Midterm Elections, in which: Over 113 million citizens nationwide turned out to vote; a record-breaking total of 107 women were elected to serve in Congress; Democrats now control the U.S. House and Republicans retain hold of the U.S. Senate; key congressional arts supporters like Rep. Betty McCollum (D-MN) on the Interior Appropriations Subcommittee and Rep. Richard Neal (D-MA) on Ways and Means Committee will be the new chairs; at the state level, there will be 19 new governors, 27 new state legislative leaders, and 1,700 new state legislators—resulting in a 23% turnover; and more than 2,000 women will serve in state legislatures in their upcoming sessions and will hold the majority in two state legislative chambers—the Colorado House and Nevada Assembly. On top of getting out the vote for this year’s midterms, State Arts Action Network leaders had noteworthy advocacy gains in their communities.

Last week, we celebrated arts and business partnerships at our annual BCA 10: Best Businesses Partnering with the Arts gala. We heard inspiring stories about why businesses value the arts. BCA Leadership Award winner Chandrika Tandon shared how her passion for music provided passion and engagement at her job. Fifth Third Bank spoke about how the arts helped them heal and respond after a mass shooting at their headquarters. Phillips66 shared how the arts create a strong company culture. These stories align with the data from the just released Business Contributions to the Arts survey, which found, among other positive results, that business support for the arts is on the rise. 

KRIS Wines has partnered with Americans for the Arts to celebrate the value of public art in American communities, and reward the artists who create it. They’re giving away $25,000 in prizes to artists who have recently completed projects in the United States, and your votes—up to once per day at kriswine.com/giving—will determine the winners.

Earlier this year, I was invited by the Utah Cultural Alliance and Utah Division of Arts and Museums in Salt Lake City for a professional development convening to present on the pARTnership Movement, a campaign by Americans for the Arts to teach business and cultural leaders alike how arts and culture can offer businesses, through pARTnership, a competitive edge. With over 50 executive directors and marketing staff in the room, my aim was to communicate that arts and business pARTnerships can look like so much more than a transactional relationship. I've often heard (and experienced as an arts fundraiser), “Why can’t they [the businesses] just give more cash? We need cash.” While the need for cash is real, our approach with the pARTnership Movement is broader.

A few weeks ago, Genesee County, Michigan voters approved a millage to support their arts and cultural assets. Words can’t express how proud I am of Genesee County voters for investing in one of their greatest assets; however, they can express this: their collective investment has the potential to be a real game changer for Genesee County, the people who live there, and their arts and cultural community. How do I know this? Because that’s what happened in Cleveland following passage of one of the largest local option taxes for arts and culture in the country. Here are a few insights drawn from the work we did to stabilize our arts and culture sector and position it for greater influence in our community. Think of these as tips for fertilizing the soil to ensure arts and culture can thrive and grow in your city.

First, I want to acknowledge that the past few months have been tough; it seems like anytime I refresh my web browser, there’s more bad news happening in our nation. Personally, I find some solace in the work that we as arts advocates do at the federal, state, and local levels in advancing the healing and transformative power of the arts and arts education. I think it’s important to remember the positive moments and for us to celebrate the victories that we as a field are achieving. In that spirit, I want to share with you a few stories about the current advocacy successes at the federal and state levels, spearheaded by the State Captains, State Arts Action Network (SAAN), and their states’ advocates.

As we uncovered in our previous post, creating a sustainable living from a long-term arts education career can be difficult whether you’re a teaching artist, public school art teacher, or arts education administrator. However, we believe there is great work and inspiring advocacy being done around pay equity in our field that we want to share to inspire the new generation of arts education leaders to continue to invest in the future of our field. 

Leaders in the field must stop accepting the culture of scarcity that has become our norm in the arts and education field. It is our job to stand up and ask for compensation for our time and expertise, finding value in our work and articulating it. Otherwise, when the young people we work with say they want to go into a career in the arts, we won’t have any other response than, “What’s your back-up?”

A short play:

Me: I want to go into the arts.
Teachers/Friends/Family: What’s your back-up?

All three of us have had this conversation in some form at various points in our lives. We did it anyways. Pay equity for race and gender have been at the forefront of many national conversations, which has led many in arts education to question our own pay structures. In this two-part blog, we explore three different points of view on how pay equity issues affect arts education professionals, whether they are teaching artists, public school arts teachers, or arts education administrators.

Do you want to wow your donors and secure more funding? Arts programs that consistently attract more funding intentionally combine evaluation results with stories to inspire action.

The Ohio Arts Council was an early adopter of online grants management technology back in 2005, reflecting its belief that up-to-date tools can play a big role in helping it achieve its mission. That early work was successful, and the agency’s subsequent upgrade to an online system built by SmartSimple in 2015 has now paid dividends as well, contributing to recent increases in service to OAC constituents, streamlining of panel processes and costs, and improvements in end-user satisfaction with the grant application process.

Over the first quarter of 2018 I’ve had the great opportunity to spend time listening to the wisdom of my colleagues in the field. From these gatherings, I continue to see first-hand the spectacular array of work and service offered by the non-profit arts community in our country. It is a vibrant, effective, optimistic, inciteful, and growing field that uplifts our communities across the country. Despite challenges in funding and support, the creativity of our arts field surges forward. There are new benchmarks to celebrate and new obstacles to overcome, all leading I hope to new opportunities for the arts. Here are eight observations for 2018.

On January 1, the 2018 Tax Cuts & Jobs Act went into effect, a substantial change to the U.S. tax code which has the potential to negatively impact arts and culture nonprofit organizations in a variety of ways. One of the most significant impacts will come in changes related to the thresholds and amounts associated with the charitable tax deduction. This 100-year-old provision was designed to stimulate giving to charities and other organizations serving the public good by providing an opportunity to claim a deduction as a reduction in an individual’s tax burden. While the repercussions of the federal tax code changes are still emerging, and corresponding shifts in state-by-state tax policy may impact your situation, the notes that follow are an introductory primer. If you have questions about state-level implications, we recommend you reach out to your state comptroller or state association of nonprofits.

To recognize the important role of the business community in advancing the arts, Americans for the Arts annually presents the BCA 10 awards celebrating ten businesses for their innovative partnerships with the arts. These businesses range in size and location but share a passion for engaging with the arts to advance their companies and communities; and from our work around the country, we know that they are not alone and that there is increased engagement from the business community in support of the arts. That is why it is not surprising to see that the 2017 edition of Giving in Numbers produced by CECP, in partnership with the Conference Board, showed an increase in arts funding from the corporate community between 2014 and 2016.

Arts organizations are situated in a prime spot in society for changing community outcomes, but are not recognized or leveraged by impact investors as a critical resource. Can you imagine a world in which capital is connected with arts organizations that dually function as social entrepreneurship firms, B Corps, and employee-owned co-ops? This very well could be the future of social impact investing. There is a rising tide of organizations working to facilitate the interaction between investors and arts organizations that create a social and financial return, both in the USA and abroad. We could be finally witnessing the genesis of a trend that whittles away the wrongly perceived line dividing artists from economic contributors. 

From tattoos to political candidates to arts education, here are 15 things we heard from the American public in our most recent public opinion survey.

How does the American public feel about the arts? Do they value artistic activities and arts education? We asked these and other questions in one of the largest public opinion studies about the arts ever conducted.

“To support a full creative life for all, Americans for the Arts commits to championing policies and practices of cultural equity that empower a just, inclusive, equitable nation.”

This week, Americans for the Arts released this statement along with a detailed explanation of how it came into being, and why it’s important. You can find all the details here. I was pleased to be one of the 150 participants who gave input on the statement, helping craft a message that is in line with my work in the arts and arts education–to make the arts accessible to everyone, regardless of race, gender or socioeconomic circumstances.

Louisville’s passion for the arts is hardly a new phenomenon. We pride ourselves on our eclectic, world-class arts community that is ever evolving. Fund for the Arts recognizes that as the united arts fund field continues to evolve, we must stay ahead of the curve by pushing the boundaries of what’s possible, driving new initiatives and sparking new collaborations while honoring our rich history of supporting a wide array of arts institutions. As we move forward, Fund for the Arts is focused on how the arts can be a catalyst for systemic change–a change that brings about a stronger, more inclusive and vibrant city.  

My wife was a corporate litigator at a major firm and she’s got some fun stories from that experience. Her direct supervisor, an esteemed senior partner, regularly advised her to “guard the backside” in litigation they brought on behalf of clients. 

For anyone unfamiliar with the game of basketball, guarding the backside refers to a situation where Team A is dribbling the ball down the court near to one sideline in an effort to reach the basket and score on Team B. Team B may be entirely focused on where the ball is coming from but Team A may suddenly pass the ball to the other sideline and then attack the backside, or weak side, of the defense. This experienced litigator recognized that part of competently preparing for litigation was: don’t forget to guard the backside.

For me, it all started the third week on my job, in June 2003, at an arts marketing conference hosted by the California Arts Council (CAC) in Sacramento. Right in the middle of the luncheon, someone came bursting into the banquet hall announcing that the Legislature was about to "zero out" the CAC. We conferees leapt up from our rubbery chicken and raced the two blocks to the Capitol. Engraged arts administrators stormed into the ornate office of the Senate Pro Tem, screaming at the staff, and demanding to see the Senator. I grabbed one of my board members, and we slipped out to see if we could meet privately--and quietly--with our local reprentatives.