My paper this morning will attempt to demonstrate four points:

I come from an art center in New York some of you may have heard of - Lincoln Center. Occasionally it gets its name in the papers, and often, unfortunately, when there is controversy. When one is engaged in building a project the size of Lincoln Center, there is bound to be controversy. The controversy, the conflict, the differences, the problems, the difficulties, are thoroughly publicized and everyone in the world knows them. What is less known about Lincoln Center is some of the really constructive things that have been going on there, and I'm particularly grateful that I have a chance to

I think the name of Young Audiences is probably familiar to most of you as we started about fifteen years ago. It was the dream of two women - Mrs. Carolyn A. Perera and Mrs. Rosalie J. Leventritt - to bring music of fine quality by top-flighty professionals to children in school. The medium they would use would be string quartets, woodwind quartets, brass quintets, trios of all kinds, and voice groups. They started with two famous ensembles - the Juilliard String Quartet and the New York Woodwind Quintet - and they did a few concerts in New York City and Connecticut and several in Baltimore.

I would like to begin by saying that it is common knowledge in the field of entertainment that everybody underestimates an audience. For the past twenty five years, I have been what you might call a traveling artist. I have sung over one thousand concerts in almost as many cities. I have not only met an audience across the footlights, but also many of them face to face.

Thirty years ago, the Virginia Museum was the first arts organization established in America by a state to serve a state in a partnership of government and private means. Ten years ago, we were the first museum to add the performing arts - drama, music, dance, cinema - as regular features of our statewide program. These aspects of our activities are among the suggestions for the future made in the Rockefeller Brothers Panel Report.

My subject is a four letter word. In the arts many people consider it a dirty word. It's spelled
S-E-L-L. My premise is that the time has come for artistic institutions to apply the same amount of creative imagination and the same techniques of marketing to audience development American business has applied to expanding its markets since World War II.

This project was undertaken to gather information about the Guthrie Theatre audience - to find out: from where they came; their age; their sex; their marital status; how many husbands and wives attended performances together; their occupation; their formal education; their attendance at other plays and events in the Twin Cities area; their degree of satisfaction with the performances seen; how many of the four plays they expected to see before the season closed.

We have the honor to submit the survey of the New York State cultural institutions are required by Chapter 313, Laws of 1960, and our recommendations for encouraging participation in and appreciation of the arts. Our survey covers the financial status of the professional, non-profit and hence tax-example institutions that deal with the performing arts, the visual arts, and history. The survey also lists the theatres and auditoriums outside of New York City which by their size and present condition, can house performances of opera, ballet, drama, and symphonic music.