Americans for the Arts

Development Center is part of the authors on-going series of collaborative projects that explore people in their personal space. For this article, the author interviewed five residents of a housing project called Urban Horizons in Bronx, New York.

Contains short descriptions and contact information for all public art resources in New York City. Published by the Sister City Program of the City of New York.

Beyond the transformative power of the arts - to shape individual lives and communities, to entertain and inspire - they are, quite simply, good for business and good for the image of New York City. Millions of visitors stream to New York City, drawn, in large measure, by the city's reputation as the cultural capital of the nation and the world. An estimated 25.5 million people visited the city in 1988 and spent a total of 9.78 billion dollars. Even at a time when so many industries face recession, tourism remains one of the city's most vigorous economic sectors.

Small and rural communities across the country continue to face drastic population shifts and economic upheaval. Many efforts are underway in these areas to create and implement economic revitalization strategies. In analyzing resources, strengths, and needs, communities are increasingly seeing the potential of their existing creative economies ﾝsectors of the economy that include arts, culture and heritage organizations, businesses, and workers ﾝas strong revenue, employment, and quality of life generators, or "creative industries."

The legislation that established the New York State Council on the Arts has not essentially been changed since its passage a quarter century ago. It needs to be reviewed and revised in light of Council practices and altered cultural environment in New York State. (p. 1) The author make recommendations of changes for the Council and discusses the practices of the Council.

The intent of this thesis is to examine the entire process of corporate fund raising by three dance companies and the role of three dance support organizations which receive corporate funding. In the course of research, a questionnaire was designed to interview representatives of the dance companies and three dance support organizations in the metropolitan New York area.

The discussion papers contained in this report were prepared for the symposium Who Pays for the Arts? which was held on February 15, 2002 at the Columbia University School of Journalism.

Recognizing that the arts provide huge intellectual and social benefits to New York, and also that they more than pay their way, the 1974 Mayor's Committee suggested that city government support of cultural activities should be as strong and efficient as possible. It found room for improvement, both through making changes in the structure of appropriate governmental agencies and by establishing and communicating cultural policies designed to aid all elements of New York's cultural life. The committee also recommended ways in which such governmental measures could enhance support of the arts

Previous research on the characteristics of audiences for arts and cultureal activities in the Greater Buffalo Area has concentrated primarily upon identifying the characteristics of those individuals who are already attending performances or exhibitions at these institutions.

Part I of this book describes the historical origins, the legislative reforms, and some of the special programs in housing for New York artists. Part II provides information about the specific legal and practical problems that concern artists in finding housing, along with an analysis of some of the potential solutions available. The analysis of special housing for artists begins by focusing upon the history of an area of lower Manhattan known as SoHo.

The Off and Off Off Broadway audience. Who are they? What are their patterns of theatregoing? Why do they go? With the growing impact and importance of New york City's not-for-profit theatre community, as well as an increasing need for these theatres to establish a base of audience support, the time was ripe for the first arena-wide survey of this audience. From February through May of 1981, OOBA sent a team of research assistants to survey 367 performances at 28 of its member theatres. A total of 4,747 questionnaires were collected.

Zarin Mehta is Executive Director of the New York Philharmonic Orchestra has developed a strategy that encompasses everything, from the budget, to programming, tours, organizational structure, marketing, public relations and fundraising.

We have been asked to examine New York City's relationships with the public libraries, the cultural institutions which receive support from the City and the present Office of Cultural Affairs, which, in effect, includes the city's contributions to the performing arts. As part of this study, we were requested to make suggestions regarding budgetary matters in relation to the above activities as well as any legal changes necessary to assure a more efficient organization. The hope was also expressed that our Committee would make recommendations, not only regarding the present structure and

To help overcome the existing information gap on the consumer side, the National Research Center of the Arts, at the request of the American Council for the Arts in Education, conducted a wide-ranging survey of New York State residents at the end of 1972. We believe it to be the most comprehensive study of public attitudes toward culture and the arts yet undertaken. We hope it will be the beginning of many inquiries into the relationships between the arts and the public.

This document provides an overview of a June 16, 2003 presentation given by The Foundation Center and the New York Regional Association of Grantmakers (NYRAG) Family Foundation Trustees Peer Network on New York area family foundations, and New York area and U.S. foundations overall. Presentation highlights include: