Americans for the Arts

Cara Scharf

The following is an interview with Americans for the Arts' Senior Director of Arts Policy Marete Wester. Conducted by Cara Scharf, it was originally published in ArtsLine, the Drexel Arts Administration quarterly newsletter focusing on the program, the arts and culture sector, and the students' perspective.

Marete Wester's professional journey started in the mid-80s with a Masters in Arts Administration from Drexel University and landed her at national arts service organization Americans for the Arts in 2006. As Senior Director of Arts Policy, Wester brings the voice of the arts field to policy discussions nationwide. This means cultivating partnerships and convening meetings with a diverse group of organizations to show how the arts play a role in quality-of-life issues such as the environment and education. One recent example of her work is the National Initiative for Arts and Health in the Military, which works to expand access to and research on the arts as effective tools in the care of service members. I spoke with Marete about her work and experience in Drexel's program.

Gemma Irish

The following is an article originally posted on Minnesota Playlist, written by playwright Gemma Irish, in which she describes how her daily work in marketing at a Fortune 500 company has made her a better artist.

Writers are notorious procrastinators. We would rather do the dishes, read the entire internet, eat a sandwich, or meet friends at the bar than sit down and write. When we finally get down to work (probably because we have a deadline looming, and/or we’re disgusted with ourselves) we drink sherry, we write while reclined, or standing up, or at a café, or in absolute silence. We need just the right conditions, the right pen, the right atmosphere in which to write.

I have to be honest with you: I am guilty of cleaning my entire kitchen instead of re-writing a play, and furthermore I am guilty of getting caught up in the mystique of Being A Writer. “This is how I’m supposed to act! I’m supposed to be a total weirdo and drink too much coffee and put off revising this draft by cleaning my apartment and researching serial killers! It proves that I am a Real Writer!”

Danielle Williams

Whew!

That was quite the blog salon – information-rich and engaging, just like a good website should be.

Thanks for coming along with us as we shared some of the knowledge we learned during the recent overhaul of AmericansForTheArts.org.

From start to finish, we covered everything you’ll need to know before you take on a web project:

• How to Build a Winning Website
• The First 3 Steps to Your New Website
• Content is King
• 10 Ways to Improve The Website You Already Have
• Getting Buy-In for Your Website Redesign
• How to Pick the Best Partners
• 5 Documents You Need for a Successful Website Redesign
• Can I Play, Too? Involving Staff Members in the Web Content Creation Process
• The Design Process: The Good, The Bad, and The Ugly
• Learning Website Lingo on the Fly
• Kick Your Content Up a Notch with Multimedia
• 5 Reasons You Should Launch a Website in “Beta"

Kim Hedges

The day we planned to launch the new AmericansForTheArts.org website, everyone on staff was ready for a party-a pizza party to be exact–to celebrate all our hard work and the debut of our beautiful new site.

While the web team was humbled by staff's faith in us and their palpable joy about the new site they helped create, we were a little less ready to celebrate.

Yes, technically, we just needed to make one DNS update on that day to point traffic from our old site to the new one and viola, a new site is launched.

But, it's actually not that simple.

Yes, we had spent weeks testing the site and getting everything in order, but the traffic of 10 people testing a site just doesn't match the traffic of your daily visitors. When you open your site to that increased traffic, they stretch it in different ways, interact with it differently, and a new level of testing begins.

And that’s the testing that really matters-whether you acknowledge it or not.

Earlier in this blog salon, we discussed the ten ways you could improve the website you already have, as well as the ways you could  create engaging content for your website.

In both of those posts, we briefly highlighted the use of multimedia - graphics, video, animation, audio - as a way to make your content more interactive.

But, what is multimedia? And what is the best way to use it to tell your organization’s story?

Joshua Jenkins

Working on a website redesign or refresh can become easily overwhelming, especially if you don’t consider yourself well-versed in the lingo, countless acronyms, and big concepts that get tossed around throughout the process.

Learning a few of these more “techy” concepts, how they function, and why they are important will make navigating through the design and development process a lot easier.

Here’s a rundown of some important concepts to grasp:

Information Architecture

When you are setting out to redesign your website, the concept of information architecture is paramount and one to consider in the early stages. The Information Architecture (IA) structures your website’s content in the way you’d like the user to experience it.

Elizabeth Van Fleet

Stop. Before you start thinking about the pretty wrapping paper you’re going to use for this awesome new website you’re about to give your audience, make sure you’ve done your research, organization, and started working with staff on content.

Why do you have to do that first?

Because to get good design you have to answer the hard questions; you have to know WHO you’re designing it for and WHAT message you want your design to send to your audience.

As Manager of Publications and Communication at Americans for the Arts, part of my job is to manage the design process for many of our printed and online materials. I work with a variety of vendors on a regular basis, and I was part of the team that decided on the design direction for our new website.

Raheem Dawodu

The time has come. You’ve done your research to find out your audiences, figured out how to create great content to meet their needs, and you’ve convinced your organization’s staff and leadership that it’s time to build a new website.

Now it’s time to involve your staff in the process - since they are the issue experts that should work with you to create or revise your website’s content. At Americans for the Arts, though everyone on staff has an interest in the success of the website, only some of the people on our 70-person staff are what we call “content creators” – the ones who write the content.

Danielle Williams

We’ve already talked about how important it is to do your due diligence when taking on a website redesign – figuring out your audiences, securing buy-in from your leadership, selecting good partners and vendors, the importance of quality content for your website – and we’ll be diving in deeper later in this blog salon about working with staff to create and revise quality content.

As you continue to bring together all these great resources, it will be helpful to compile them in a format that will be useful to your team and your vendors. During our website redesign, we ended up creating a number of documents that helped us fully scrutinize and contemplate all of our options. No stone was left unturned, which helped our stakeholders feel more comfortable with some of the drastic changes we were suggesting.

Danielle Williams

Now that you’ve decided that you need a new website, figured out your audiences, and garnered support from your leadership and staff, you should be ready to select a team of professionals to help you with the website overhaul process. There are very few organizations who can completely handle a web redesign in-house, so it’s important to have great partners who can help you through this project.

At Americans for the Arts, our Marketing, Communications and Technology Department includes a Vice President, a 5-person Marketing and Communications team, a 3-person Web team, and a 5-person Database and internal IT team. Though our entire 70-person staff played part in this project (as we detail later in this blog salon!), our Web team and VP were primary, working with our external vendors and with a good deal of content help from Marketing and Communications.

Kimberly Hedges

Most projects start with the need to address a deficit, and redesigning a website is no exception.

Your current website may not be serving your visitor's needs, the content might read like a brochure or look dated, the layout of the site may make it hard to find the best content you have to offer, or maybe the design looks like it was built back when we still used DOS. (Well, maybe not that bad, but you know the feeling.) There is just no denying that your website could be doing more.

When addressing a known deficit, you would think that getting buy-in and support for your project to address that deficit would be a breeze. (Everyone agrees on the problem, so everyone should agree on the solution, right?)

However, big deficits come with big needs.

Joshua Jenkins

Who doesn't love a good list?

I’m Joshua Jenkins, Americans for the Arts’ Website Coordinator, here to drop some hints and tips on website improvement. I started at Americans for the Arts in the summer of 2013, and played a large role in the final push toward the website launch in December.

In a perfect world, you’d snap your fingers and a shiny, new website would appear live on the internet. However, as you've read already and will continue to read during this blog salon, there are a lot of important resources you need on-hand when redesigning your website.

Sometimes, a complete website redesign may not be in your organization’s budget, or you may have recently redesigned your website and can’t commit to a full design update just yet. Good news: these circumstances don’t have to stifle your ability to improve your users’ experiences while visiting your organization’s website.

Take a look at these simple, effective best practices that you can implement to offer your users the best experience – whether you’re fixing the site you have, or just starting the redesign process.

Caitlin Holland

As Bill Gates famously said in 1996 at the dawn of the internet revolution, “content is where I expect much of the real money will be made on the internet, just as it was in broadcasting.”

Almost two decades later, his predication rings true. Winning websites have quality content that is compelling enough to grab and hold readers’ attention.

As the Communications & Content Manager for Americans for the Arts, my role is to do just that – I identify, create, and distribute valuable messaging and stories from each of our programs to attract, acquire, and engage Americans for the Arts’ constituents.

Content improvement is a constant job – as soon as you make it through one section of the website, it’s time to tackle the next. Unfortunately, there is no magic formula for creating quality website content - or the sometimes-more-difficult process of working with others to create quality web content - but here are some tips and general rules that worked well for our staff.

Danielle Williams

So, you’ve figured out that you need a new website, eh?

Whether you came to that conclusion on your own, or with the help of our quiz, you've now realized that it’s time to give your website a little TLC.

But, where do you start? Do you call a vendor immediately? Do you start on a new design? Do you just delete everything you dislike as fast as you can, in the hopes that no one notices?

And what if you have yet to find the all-important funding in your budget for the aforementioned TLC?

Well, I have good news: the first few things you should do when you’re ready to overhaul your website are absolutely free. They take some time, but they’re important and they’re free

1. Take a look at your stats.

Hopefully you already have Google Analytics set up on your website. (If you don’t, get on that ASAP! There are great tutorials online, and once you install the tracking code, you can view reports within 24 hours.)

Danielle Williams

Welcome to the “How to Build a Winning Website” blog salon – the first blog salon written entirely by Americans for the Arts staff!

I’m Danielle Williams, the Website & New Media Manager at Americans for the Arts.

You may not know this, but Americans for the Arts has quite a few websites. Aside from our “main website” (AmericansfortheArts.org), we also manage:

• ArtsActionFund.org
• ArtsMarketing.org
• pARTnershipMovement.org
• AnimatingDemocracy.org
• ARTSblog
• Arts Index
• Annual Convention

This week we’re talking about AmericansForTheArts.org – which re-launched “in beta” this past December.

Maura Koehler-Hanlon

The following is an article originally posted on VolunteerMatch, written by vice president of Client Services Maura Koehler-Hanlon, in which she describes how she recently challenged the existing system of employee volunteer programs, and argued for an overhaul of the field. Visit VolunteerMatch for more articles about volunteering and corporate social responsibility.

Earlier this month I hit the road with Vicky Hush, VolunteerMatch’s VP of Engagement & Strategic Partnerships. We headed up to Portland to present to Hands On Greater Portland’s Corporate Volunteer Council to share our expertise with employee volunteer managers about how to keep your employee volunteer program (EVP) fresh and exciting. Leading up to the presentation, we had a tough internal conversation which amounted to this: how controversial did we want to be? What would happen if we just came out and said that we think EVPs should be doing more? We decided to go for it – those Portlanders are a tough bunch with all that fresh air! And it worked: when we asked the room of EVP managers “how many of you feel like your employee volunteer program is as strong as it can be?” we (not surprisingly) didn’t see a single hand.

Lindsay So

There were times when I would mention that I was starting a new job with the City of Philadelphia and the most frequent response was a remark about the “Good Government Job”—somewhere I could stay for a long time with the implication that I could never be fired. Sure, this comment might have been a joke but even so, I hadn’t really thought of it that way. Sure, having health benefits for the first time would be a major plus for me, an arts manager early in my career, but what motivated me most was the opportunity to learn about and directly impact the arts and culture community of a major city. Citywide programs, grant making, creative development opportunities, policy changes—I pictured myself having a hand in making Philadelphia a city where artists could thrive and residents could enjoy a diverse range of arts and culture experiences. I now believe this difference in perspective is generational: my peers in City Hall share my ambition and passion to affect change and make an impact with our work.

Whitney Roux

Professional development takes many forms, from hands-on workshops to panel discussions. Important opportunities for leadership and building relationships with mentors provide a robust calendar of growth options. An Emerging Leader’s plan for success needs to explore how to best combine education tracks to improve at their current job while simultaneously growing into their dream career.

As a Steering Committee member of the Rising Arts Leaders of San Diego (RALSD), I work with my committee to develop programs that fit the needs of emerging leaders in arts and culture. We build workshops, facility tours, and discussions around issues that affect our arts community, meanwhile crossing departmental bridges with networking events and social gatherings. But personally, I have found that the best professional development happens when you get your hands dirty.

Molly Uline-Olmstread

Museums go with schools like peanut butter goes with jelly. It is a beautiful symbiotic relationship built on a variety of interactions including field trips, distance learning, traveling artifact programs, and teacher professional development. While I have worked with all of these programs in the past, I have been living in the teacher professional development neighborhood of the museum world since 2009. I work with K-16 teachers and other museum educators on projects meant to support and enhance teaching in the humanities through my job with the Creative Learning Factory at the Ohio Historical Society (the Factory).

Lately in conversations with teachers and museum colleagues, we have been talking less about content and more about learning. We have been asking the question, “How do we make learning an inextricable part of life?” Educators in formal and informal learning environments are bombarded with resources, regulations, and tremendous responsibilities. We struggle to find balance and time for exploration and reflection amid testing, lesson planning, and classroom management. Peter D. John articulates this frustration well in his 2006 article about non-traditional lesson planning, "The model of planning and teaching represented in this minimalist conception develops as follows: aim > input > task > feedback > evaluation. It reflects an approach to teaching and learning wherein reflection and exploration are at worst luxuries, not to be afforded, and at best minor spin-offs, to be accommodated.”  As cultural organizations, we are in that unique “third space,” which allows us to facilitate those crucial habits-of-mind that lead to life-long learning. I think of this as looking at the “whole educator” in the same way the education field has championed the “whole child.”

Raymond Tymas Jones

When University of Utah College of Fine Arts students asked for tools and resources to prepare them for the transition into the workforce, Dr. Liz Leckie, Assistant Dean for Undergraduate Affairs, listened.

The students’ request resonated with Dr. Leckie given that it reflected what the collective voice of more than 100,000 arts graduates from the Strategic National Arts Alumni Project  (SNAAP) was saying, which is that in addition to mastering their craft, art students want more time spent on career and post-graduate advising.

And, earlier this month, the students got exactly that. By hiring and empowering student staffers, Dr. Leckie created a team that envisioned and executed the highly-anticipated first annual ArtsForce conference, a two-day, student-driven event including an array of workshops, panels, networking opportunities and a keynote presentation by the esteemed associate director of Vanderbilt University’s The Curb Center for Art, Enterprise and Public Policy, Steven J. Tepper, PhD.

Katryn Geane

 

While sitting in the second row of seats looking at heat and confetti maps of sample websites, I was reminded of the number one reason I love attending the National Arts Marketing Project Conference (NAMPC): all these smart people are sharing information that I get to go home and use, and everyone else will think I'm a genius.

OK, maybe not that last part, but how lucky can we get with colleagues who are willing to help us out like this? I'm as much of an internet nerd as the next new media manager, but it seems that there's a new resource or tool every week that promises to track, update, monitor, and help you do something with your website, and I can't be the only one who doesn’t have oodles of extra time to be cruising the internet testing new tools.

In the measuring and improving your ROI session, Caleb Custer and Dan Leatherman presented a metrics-driven and scientific method-inspired "try, learn, think" cycle for testing and implementing changes to an organization's website.

By using tools they introduced as well as now old standards like Google Analytics, they urged us to "prove the user's expectations right and they will feel more in control" (paraphrased from Jakob Nielson) and therefore happier with their experience with your site.

Plunk, Clue, Crazy Egg, and others were offered as options for testing user interface, and there were resources for tracking links, segmenting visitors, optimizing landing pages, and then even more about email layout and design, A/B testing…and so on, and so on…and more.

Steven Dawson

Emerging Arts Leaders Symposium (EALS) is an annual meeting for young professionals who work in the arts—organized, executed, and run by American University (Washington, DC) Arts Management students. It is an opportunity to discuss the issues, unique or universal, that affect all arts organizations.

One of the goals of the 6th Annual Emerging Arts Leaders Symposium is to address what is on the horizon for arts organizations and arts professionals.

With that in mind, we at EALS are very proud to announce that the opening plenary speaker for the event this year is Karen Brooks Hopkins!

Karen Brooks Hopkins is the president of the Brooklyn Academy of Music (BAM), where she has worked since 1979. As President, Hopkins oversees the institution’s 179 full-time employees and facilities, including the 2100-seat BAM Howard Gilman Opera House and 874-seat BAM Harvey Theater, the four-theater BAM Rose Cinemas, the BAMcafé, and the BAM Fisher–opening in fall 2012.

Since taking over as president of BAM in 1999, Hopkins has led the organization with stunning competency, riding the waves of financial and philanthropic ups and downs. The annual attendance has exploded, the budget has over doubled, and the organization’s endowment has almost tripled to over $80 million.

Attendees listen to one of the excellent speakers during our NowPAC meeting in early November 2012.

One of five regional networks of public art administrators, NowPAC (Northwest Public Art Council) had their annual meeting in Portland, OR, on November 2. Nearly 70 people from four states and two countries attended the one-day session.

We met in an old, renovated building that now serves as headquarters for the hip landscape architecture firm Place Studio. Architectural models, flying brooms (Halloween had just past), and material samples surrounded us as we settled in to look at images, hear from our peers, and re-connect with the tribe.

Kudos to the Regional Arts & Culture Council (RACC) for organizing a great line-up of speakers and for hosting a great after-party at RACC Executive Director Eloise Damrosch’s “tree-house” home.

Presenters shared with us final designs for public art projects, stories of de-accessioning challenges, and new ideas on commissioning best practices.

In roundtable discussions, we covered:

• the fine lines between being an administrator and a curator
• changing demographics and how that affects what we commission
• how to recover from a public art project gone bad 
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Stephanie Riven

As I work with talented administrators across the country, I hear one familiar refrain over and over:

“I don’t have TIME to add one more thing to my calendar—whether that is advocacy work on behalf of arts education or fundraising or a myriad of other essential tasks that I know would make a difference to my organization or to the arts generally”. 

In fact, you may not have time to read this blog post! Yes, there is always the option of committing a few more hours to our day, making that a 16-hour day instead of a 14-hour day, but in the name of sanity, that is not an option for this discussion.

In an effort to discover some realistic options, I have reviewed the literature on standard time management and discovered some of the suggestions that we have probably all heard before.

1. Start each day by listing the tasks and activities you want to accomplish.
2. Rank these tasks and activities in order of priority. List the three to five most difficult tasks and try to get those out of the way first.
3. Block out time on your calendar for the highest priority task on the list.

Yes, all good but what else? I am impressed with two ideas that my partner, David Bury, suggests:

The first is called Reallocating the Easy Twenty Percent: Ask yourself, what things I currently do that someone else (a staff member, a board member, a volunteer) could do nearly as well as I? Create a list of those things. Identify what person(s) are best qualified to handle the tasks, recruit them, and then ask them if they would take these on for you. You will be surprised. They will say yes.

Tim Scales

I made a friend at the National Arts Marketing Project Conference who told me that she had come to the conference to “recharge.”

This was Monday morning, after two full days of breakout sessions and two late nights of conference festivities, and I may have looked at her like she was crazy. “Recharge?” I asked her. “But I’m exhausted!”

She clarified: “I needed to fall in love again with what I do.” Ahh, now I understood.

I knew what she meant and I think the sentiment may be shared by many of my fellow conference attendees. Like them, I work hard…and a lot.

I also work freelance, which means that I’m juggling the competing demands of six or seven clients at any given time. Add to this keeping up with laundry and trying to go on dates with my girlfriend, and it’s rare that I have a spare moment to reflect on why I do what I do.

This professional self-reflection is crucial, however, as the conference weekend reminded me.

The sessions were, for the most part, excellent. The keynotes were fantastic. The networking was valuable. I feel like I’ve come away concrete tools, supportive connections, and useful insights.

But what I’m most happy to take away is a renewed love of what I do.

Trenten Derryberry

This was my first time attending not only the National Arts Marketing Project Conference (NAMPC), but also any conference. I am very happy to conclude that my experience was amazing and I would recommend this to anyone that is in any marketing field (and also if you are a student)!

I was asked to write this post-NAMPC piece to deliver a student perspective on the conference…here it goes!

Engagement, Mission, Alive, Active, Participatory, Stickiness, Contextualization, Spry, and Pray...all the words that come to my mind when I think of this past weekend (the list is endless!).

As a student, I came to NAMPC to primarily explore and listen to some of the TOP professionals in the marketing industry. What I received was something I wasn’t ready for.

Presenters sprawled from all areas of business (banks, agencies, venues, organizations, institutions)—both in and out of the confides of the performing arts, which I felt was an awesome exposure and a true springboard for discussions within the sessions.

Like I said earlier one of the reasons why I decided to attend was to listen and expand my critical thinking in an industry that I’m still learning about, that quickly changed to networking and participating within the sessions—I thought ‘when would be the next time I would be able to ask an audience engaging question directly to Alan Brown?’ So I did.

Shoshana Fanizza

I wanted to start out by giving you the link to my Storify—My #NAMPC experience via Twitter. I ended up winning the Most Tweets Award [at the National Arts Marketing Project Conference (NAMPC)] and I received a fun t-shirt!

I also won by connecting with more people on Twitter and getting to meet some of these people during the conference. It has been a fun and educational experience for me. If you had to miss the conference they promised to archive the keynote presentations soon.

NAMPC had its ups and downs, but mostly ups. However, through the entire conference, this year, like last year, there were some common themes running through most of the presentations.

Instead of a complete play-by-play like I did last year, I would like to leave you with the my most impressionable takeaways and some of my own thoughts (in no particular order):

• You gotta have passion—if you don’t, people will not be attracted to your mission, cause, project, program…Without passion, what is the point?
• Be weird and silly—or in other terms, be true to your own particular self. It’s not about being similar—it’s about standing out.
• Adding your own personality will increase your likeability.
• Have fun! What makes people want to join? Fun! If it is not enjoyable to you, it probably won’t be to your audiences.
• Everyone is diverse in one way or another. These are my personal thoughts: We can learn to reach out to others after we discover our own sense of diversity and understand personally what it feels like to be stereotyped and discounted.
• Keep ego out of the organization.
• Visual impact is necessary! There is so much blah, blah, blah, and not enough “language” of our arts. If you are a music organization, it would be good to have clips and videos of performances and music. If you are an artist, make viewing your art an experience. If you are theater and dance, videos are a must. How can people figure out if your art is for them if they can’t “see” it and feel it?
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Danielle Walter

I enrolled in an arts management graduate program with plans of pursuing a leadership position within a nonprofit arts organization dedicated to enhancing community engagement in contemporary art and craft.

Community-based art centers had made a powerful impact on my own artistic and personal development, and I wanted to contribute to that field in a way that would impact others.

In just a few short months, my graduate coursework opened my eyes to the national arena of arts policy and advocacy. I realized that supporting community arts engagement was layered and complex. My professional interests began to shift towards the major challenges and strategies influencing the advancement of local arts development across the United States.

It was around this time that I heard about the Local Arts Classroom, a web-based leadership development series offered by Americans for the Arts through a combination of interactive webinars and conference calls.

The opportunity was open to professionals with less than 10 years of experience in the arts sector and graduate students. The curriculum was focused around key topics, including:

• Community Arts Development
• Creative Placemaking
• Stewardship & Resource Development
• Cultural Planning
• Arts Advocacy
• Board & Staff Development

Some of these topics were new to me, but many resonated with my current graduate coursework and research interests. I remember thinking—I wonder what I could learn from discussing these issues with a whole new group of people? What new connections would I draw between my academic studies and professional practice? Who would I meet? What new material would I be exposed to in a setting outside the university environment?

Jenna Hartzell

When the call for applicants went out for the first ever Local Arts Classroom (LAC) program with Americans for the Arts I didn’t hesitate to apply.

I had attended the Americans for the Arts Annual Convention in 2011 and returned to work thinking, “I need more.”

I felt the need to stay connected to what’s happening on a national level, but had a desire to learn more about what I should be doing as a Program Director of a local arts agency. I read blogs, followed @Americans4Arts on Twitter, and was connected on a surface level, but missed the sense of camaraderie the convention facilitated.

Enter the LAC and a chance to learn about cultural planning, making space for art, advocacy, board and staff development, fundraising, and making the case for the arts; a chance to learn with arts administrators from all over the country; a chance to absorb different perspectives and experiences of those who know what it’s like to be an arts administrator.

I say “absorb” because that was how I approached the class: to be a sponge, and absorb every concept, idea, and piece of advice I could possibly take in.

One concept that I’ve applied frequently since I graduated from LAC is one about fundraising, planning, and community:

When planning for an event or fundraiser, organizations typically take this approach:

• Name the activity/goal/event
• Plan
• Execute
• Evaluate
• Ask: What is a success for the organization?
• Ask: Was it a success for the community?
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