There is no “one size fits all” model when it comes to arts organizations. From performing arts, to museums, and arts education, our structures and operations vary widely; yet we often are melded into one pool of “arts organizations” when it comes to checking boxes for funding and other nonprofit classifications. As the Executive Director of COCA – Center of Creative Arts, a multifaceted, hybrid organization, I know first-hand how difficult and unhelpful it can be to benchmark our organization against others with different approaches and measures of success. One such benchmark is the ratio of earned to contributed revenue. Our operating budget is approximately 42% earned to 58% contributed revenue. Is our earned revenue too high? Too low? What should it be? The verdict is still out. Even when you encounter information on financial health of arts organizations, it tends to be more diagnostic than prescriptive. Despite the lack of definitive benchmarking data, I think most of us would agree that a diversified revenue portfolio is a positive step toward sustainability.

Since being elected to the Vermont House of Representatives last fall, my perspective has dramatically changed as to how best advocate for the arts and, in fact, how siloed arts organizations and their funders are. My legislative work focuses on economic development, tourism, heath, education, affordable housing, environment, and agriculture, as well as vulnerable populations: veterans, prisoners, the homeless, those suffering from substance use disorders, and survivors of physical and sexual abuse. Art is barely present in these conversations, but is so needed.

When artists activate the social imagination and cultural practices bring people together, when new images and events claim or create public space, and when cultural organizing mobilizes people to action, art disrupts and influences social and political dynamics and discourse in the public realm. And, when funders shape programs to support this work, they too are influencers and activists in the public realm. As definitions of public art broaden to include social and civic practice, art in the public realm continues to recur as a central idea and practice. The concept of the “public realm” recognizes public space as more than physical places for locating art. They are connectors that support or facilitate public life and social interaction. In April, Americans for the Arts and The Barr Foundation released Programs Supporting Art in the Public Realm: A National Field Scan with snapshots of 28 programs supporting and building capacity for artists working in the public realm. The scan highlights how funders and cultural agencies are shaping programs to support artists for more place-specific and issue-specific work as well as cross-sector collaborations.

At the Americans for the Arts’ Annual Convention this past June, quite a few members voiced concern about the upcoming U.S. Census. In many communities, there is worry that an inaccurate count could negatively impact towns, cities, regions, and even states, and disproportionately affect people who are already marginalized. This blog is meant to give information on the Census, its impact, and what arts and culture agencies across the United States are doing to ensure a comprehensive and equitable count. The U.S. Census is a consequential tool for distributing time, attention, and money in all sorts of ways—including ways that are deeply impactful on the arts. It is also an increasingly politicized tool, and as we round the corner into the 2020 U.S. Census, it is important to understand what the U.S. Census is, what it influences, what the implication of certain proposed changes could be both generally and for the arts, and how arts and culture agencies and organizations are mobilizing to ensure a fair, full, and unthreatening U.S. Census count.

Donations by individuals are the oxygen of nonprofit organizations. The Tax Cuts and Jobs Act of 2017 (TCJA) has added new urgency to the question of what is the future of charitable giving by individuals in the United States. Specifically, how large of an impact, and for how long, will the new tax law affect individual giving—and which charities will be most adversely affected? In 2018-19, Indiana University Lilly Family School of Philanthropy and Americans for the Arts set out to understand the challenges that TCJA could pose on the philanthropic landscape. We reviewed philanthropic trends, donor behavior research, data-lag issues, tax policy, and economic models of the TCJA’s impact. After careful consideration of this material by academics, fundraising professionals, and tax policy experts, it is clear there are troubling phenomena in motion that, without intervention, could bring the nonprofit arts sector to a critical tipping point. 

To address the issue in a timely manner, the Lilly Family School of Philanthropy and Americans for the Arts have designed a research solution that will bring reliable data to the table within a single year of deployment. It is built around a national panel study of 2,000 nonprofit organizations representing the full range of size, subsectors, and geographic regions. We will track key fundraising metrics and pair those with a qualitative on-the-ground perspective about shifts in contributions by individuals, changes in demand for services, and the ability to meet that demand. In other words: Real people at real organizations telling real stories about the impact of the tax law changes.

THEM: “We can’t pay you, but you’ll get lots of exposure!”

ME: “I can’t eat or pay my bills with exposure!”

If I had a nickel for every time the sentiment of exposure as compensation was offered to me as an artist, I probably would not need to be writing this blog post about the importance of compensation for creatives. Too often artists are asked to provide their services in exchange for nothing or for compensation that is not comparable to the time and effort that is required to create and efficiently develop their artistry. Soul Artistry LLC’s goal is to push a new culture and narrative forward that begins to normalize the practice of artists being compensated for their work. Soul Artistry LLC is the company I started in 2012 when I began to understand the importance of artistry professional development and adopting business practices as an artistic entrepreneur. At the beginning of 2019, Soul Artistry LLC launched the pay artists. campaign. The idea for the campaign was birthed from many conversations and experiences that fellow creatives and I had been having very frequently.

Tulsa has a storied history in the arts. As the one-time oil capital of the world, arts and cultural enterprises have been prevalent in our community for well over a century. We are still the smallest large city in the U.S. that maintains an opera company, a ballet company, and a symphony orchestra. Add to that renowned museums like Gilcrease and Philbrook, along with unique offerings like the Woody Guthrie Center, the Bob Dylan Archives, and the future OK Pop Museum, and you have the ingredients for a cultural tourism mecca. Despite a strong cultural community, when we started Arts Alliance Tulsa in 2012, local corporate giving was stuck at an average of 3% to the arts, while it was at 58% nationally if you combined corporate and workplace giving. After the first two years of AAT’s existence, overall giving to our individual member organizations (not including what AAT allocates) grew by 18%. We are a living example of a city that has seen all the boats rise with the tide as a result of the presence of our United Arts Fund.