Arts Intranet

Background papers prepared for the 46th American Assembly, of Columbia University, held at Arden House, Harriman, New York, November 1974.

Background paper prepared for the 46th American Assembly, of Columbia University, held at Arden, House, Harriman, New York, November 1974. The author explores the growing tensions and increasing problems surrounding the management of art museums as they entered a larger public arena. He discusses some necessary alternatives to uncontrolled growth.

Atlanta offers a very special situation brought about by its current explosive growth in population. This growth reflects itself in greater business activity, greater demands for services such as expressways, shopping centers, and rapid transit, as well as greater demand for leisure-time facilities. In the past few years, dozens of new apartment houses, high rise office buildings, hotels and motels have been built. A Sports Stadium, seating 57,000 has just been completed. In 1966, the Milwaukee Braves will move to Atlanta and become the Atlanta Braves. Big league professional football will

At the initiative of its Dance Panel, the National Endowment for the Arts engaged Theatre Development Fund to study the feasibility of establishing a permanent center for American dance at the NEA-owned ANTA theatre in New York City. TDF engaged Richard Kirschner, managing director of the Annenberg Center in Philadelphia and Janet Gracey, former director of research at Associated Councils of the Arts, to investigate the need for such a center and the appropriateness of the ANTA Theatre as a site.

As part of the 25th anniversary of the Museum Services Act, the independent federal agency, Institute of Museum and Library Services (IMLS) published this book about its 17 year history of support for conservation activities in America's museums. The book is a tool for museum professionals to educate their boards, contributors, patrons, and communities-at-large about the importance of conserving their collections. It highlights 21 conservation projects ranging from the preventative conservation of Franz Marc's Large Blue Horses at the Walker Art Center in Minneapolis to

ARTSTATS is a compendium of statistics on the arts and culture in Canada which evolved from an earlier publication entitled Selected Arts Research Statistics (SARS). The tables which make up this new volume are intended to provide readers with a wide range of quantitative evidence concerning culture in this country.

Arts incubators are a new, but growing, phenomena in the world of local arts agencies. They are facilities that create a nurturing environment for small and emerging arts organizations by offering low-cost or subsidized space and services.

Arlington County, Va., has successfully developed a new way of working in this changing climate: the arts incubator. This new model of support is infinitely adaptable and transferable to any community interested in expanding its arts presence despite limited resources.

An exploration of museums and virtuality benefits less from a statement of their differences than from an investigation of common grounds and shared objectives. Put simply, on-site museums and their online counterparts are merely two ways of exhibiting cultures. In this sense, "virtuality" is a fundamental exhibition practice.

An alternative space is defined as an organization or group, which is dedicated to the support and promulgation of contemporary art in all its forms and which may or may not maintain a permanent exhibition space. The purpose of this study was to examine the field of alternative spaces in order to provide important information that can aid in planning for their future development and survival.

Although a licensing agreement covering art reproductions will contain features common to all licensing agreements, there are certain provisions unique to this field. The appendix to this article contains a Model Licensing Agreement (Model Agreement) which was drafted to meet the special needs of museums intending to license their works for reproduction. The text of the article discusses and analyzes the major features of the Model Agreement: The rights and obligations of the respective parties, the maintenance of quality control, the payment of royalties, tax considerations, and termination

Across the country, nonprofit theatre and music groups, museums, dance companies, art schools, presenters and art service organizations are being forced to make big decisions about where to locate - or relocate - as their rents quadruple, their leases are lost, or spaces become too small to accommodate expansion.

Across the country, historic structures that once served as thriving parts of the urban fabric have escaped the wrecking ball and found new life serving the needs of the local arts community, revitalizing downtowns, and turning Americas architectural legacies into appreciated assets.

A strategic business plan, based on current research data, designed to address the needs and issues facing arts and cultural organizations and constituents in the Sacramento Metropolitan area.

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 five year strategic plan for The Center of Contemporary Arts covering their goals and objectives, financial needs, education programs, gallery and performance spaces.

This book contains 23 sections, which include the following sections:

• The Economic Impact
• Visitors Characteristics
• Purchasing Behaviour
• Copyright

The grants described here are only a handful of nearly 4,000 that have been awarded by the Design arts Program since it was established twenty years ago as part of the National Endowment for the Arts. . . . the stories here sum up the many ways in which good design enhances the efficiency, economy and beauty of our daily lives. (Foreword, p. 7). ... its purpose is not only to fund worthwhile design proposals that span architecture to fashion, but to be creative in the choosing. One example of the Program's grants is misleading and a hundred are bewildering in illuminating its mission. The

[This book] recounts the eight-year process by which the Milwaukee Repertory Theatre converted a former power plant into a state-of-the-art performing arts complex. Marshalling the resources of trustees, fundraisers, private sector business leaders, local, state and federal officials, architects, demolition experts, contractors and - above all - the company's own artists, technicians and administrators, the Milwaukee Rep created an extraordinarily beautiful and highly functional new home as part of an ambitious plan for the revitalization of downtown Milwaukee. . . . this backstage tour of the

[This book] is intended to help local arts agencies, city and county governments, and redevelopment agencies find the most appropriate methods of encouraging developers to integrate public art into projects. It includes suggestions for designing a program, case studies of successful programs, a list of cities with current or evolving programs and literature and organizational resources.

[This book] is for the Novice whether he or she be the attorney who is called upon occasionally to advise a museum, or the new museum staff member or trustee who must wrestle with a myriad of administrative problems without benefit of constant professional advice. For the nonlawyer, issues are explained simply, without heavy reliance on legal terminology. The objective is to give sufficient background information so that intelligent decisions can be made regarding the appropriate time to call legal counsel.

[This book] is designed to facilitate the search for financial support for museums and museum activities and programs. A museum, as defined by the American Association of Museums, is considered to be any ....nonprofit institution essentially educational or aesthetic in purpose with professional staff, which owns or utilizes tangible objects, cares for them, and exhibits them to the public on some schedule.

[This book is designed to] dramatize the commitment to facilities made by arts organizations and agencies all over the country - a commitment which is having a significant impact on the quality of life and the physical environment of many neighborhoods and urban centers. The purpose is to gather basic information on 49 new arts facilities as a resource for arts organizations and planners interested in similar kinds of facilities.

[Museums USA: A Survey Report] is the first of its kind to be conducted in the of museums of all types - art, history, science, art/history, and other museums with combined subjects. It deals with more than 1,800 museums and covers every major aspect of operations; the purposes and functions of the institutions, programs, accessibility, attendance and admissions, collections and exhibitions, trustees, management and personnel, facilities, and finances.

[Many] of the world's greatest public buildings and spaces, were the result of design competitions. . . . But competitions that promote design excellence, and access on equal terms for unrecognized talent, need not be confined to giant projects. Housing for the elderly, playgrounds, community parks, cultural facilities and derelict streetscapes can all be improved through the competition route.

"Funding Sources for Cultural Facilities: Private and Federal Support for Capital Projects" was copublished by the National Endowment for the Art and the Oregon Arts Commission to outline the varied sources of funding available to cultural organizations.

[This book] is an outgrowth of an earlier (1941) volume entitled Field Manual for Museums by Ned J. Burns, a work that went out of print during World War II and is, even to this day, in demand by curators and museum managers.

Paper presented at the Arts Edge Conference on cities and cultural planning, sponsored by the National Endowment for the Arts, Partners for Livable Places, the American Council for the Arts and the City of Pittsburgh, held in Pittsburgh, Pennsylvania, October 4-7, 1981.

Paper presented at the Arts Edge Conference on cities and cultural planning, sponsored by the National Endowment for the Arts, Partners for Livable Places, the American Council for the Arts and the City of Pittsburgh, held in Pittsburgh, Pennsylvania, October 4-7, 1981.

Paper presented at the Arts Edge Conference on cities and cultural planning, sponsored by the National Endowment for the Arts, Partners for Livable Places, the American Council for the Arts and the City of Pittsburgh, held in Pittsburgh, Pennsylvania, October 4-7, 1981.