Americans for the Arts

American art museums present a somewhat contradictory face to the world. Considered as private enterprises, which most of them are in this country, they own a remarkable and remarkably valuable stock of physical assets: their art. Yet they are in a continual state of financial crisis. The primary task of this historical essay is to understand this paradox

Almost as soon as 'the arts' are mentioned these days, some remark about a crisis of funding is soon to follow. Despite healthy attendance at museums and performances, most of the financial figures posted in the past two years by arts organizations of all sizes worldwide show the economic basis of the arts in a dramatic downward spiral.

Alarmed by the fragile condition of Seattle's fifteen largest arts organizations, Mayor Charles Royer appointed this Task Force, representing the various public and private donor communities, to develop long-term strategies for maintaining a healthy, diversified and high quality cultural life in the greater Seattle area.

A report on Marylands Heritage Areas Program which was prepared for Maryland's Department of Legislative Services 2004 legislative session.

A number of key individuals involved in the arts and in economic development met to discuss ways to apply the concept of enterprise zones to the arts. The meeting was convened at the offices of Artspace Projects, Inc., on Tuesday, February 21, 1984. Specificially, participants were asked to address two questions: What is an arts enterprise zone? And what elements are necessary to make it work?

A new study from the University of Minnesota Humphrey Institute of Public Affairs, "Artists' Centers: Evolution and Impact on Artists, Neighborhoods, and Economies," shows that Minnesota's strong creative economy owes much of its success to the unusual number and quality of dedicated gathering spaces for artists in Minnesota. The study profiles 22 arts centers and individual artists.

A new domain is emerging: information technology and creative practices, or ITCP. This alliance between technology and art/design may yield much in the ways of social and economic good, and should be invested in.

A comparison study between the economic behavior of U.S. and Canadian symphony orchestras during the decade of 1970's.

A 1994 California Arts Council study on how the nonprofit arts contribute to California's economic growth and job creation.

This is Part II of the report commissioned by the American Symphony Orchestra League, and the purpose of the report is to arrive at a better understanding of the orchestra industry and to help the field plan for its future. Part II, Specific Orchestra Group Profiles and Trends gives more in-depth statistics both graphically and in table form with different categories of U.S. orchestras both for past years and for the future. Part II also provides a description of methodology together with definitions of variables. In this section, the method for making financial projections through the year

"The Creative Community: Forging the Links Between Art, Culture, Commerce and Community" is one of a series of white papers on Cities of the Future, a project of The California Institute for Smart Communities of San Diego State University. The author, John M. Eger is a Professor of Communication and Public Policy and is Executive Director of the Institute.

"Social capital," a new idea gaining worldwide recognition, is explored in this book through studies of education, health, political science, urban regeneration, and economic development.

This paper investigates the determinants of attendance at Broadway shows in order to explain and predict aggregate attendance at Broadway shows.

Paper presented at Second Annual International Conference on Cultural Economics and Planning, sponsored by the Association for Cultural Economics, Mastricht, Holland, May 26-28, 1982. The market for recorded music has been one of the fastest growing segments of the leisure-time field over the last 30 years. The development of new products such as stereo equipment and the tape recorder, and more recently cassette and cartridge tapes, provided a thrust for this growth. Nevertheless, there have been few economic studies of the recorded music industry.

Paper presented at Second Annual International Conference on Cultural Economics and Planning, sponsored by the Association for Cultural Economics, Mastricht, Holland, May 26-28, 1982. Chapters analyzed.