Arts Intranet

The author introduces articles that were presented at the Nineteenth Annual Conference on Social Theory, Politics and the Arts at Northeastern University from September 30-October 2, 1993. The theme of the conference was change in the arts with articles on arts funding by the government and other agencies; the development of art policies; the role of cultural institutions; and the role of the private sector. Articles include ones by Marianne Victorius Felton, Richard Swaim, Justin Lewis, Loren Renz, and Joseph Wesley Zeigler.

The author examines the efforts of the Metropolitan Life Foundation and its efforts to offer arts programming to students in K-12. Partnerships: Arts and the Schools was conceived to provide funds to museums, symphony orchestras, theatres, and dance companies servicing locally mandated, sequential arts education curricula.

The author examines corporate involvement in the arts. The author states:

The purpose of this paper is to describe some patterns of arts-corporate linkages, and more particularly, to explore the extent to which such relationships appear to have any social significance beyond their own spheres. (From introduction)

The author discusses the role of corporate support of theatre programs. With continued investment in theatre education, schools and theatre companies, working together, can play a vital role in the development of future leaders--individuals who have the capacity and the desire to communicate effectively with all members of our society.

The author discusses the role of corporate support of the arts and, in particular, discusses corporate support of dance programs. Of the three performing arts disciplines--dance, music, and theatre--dance is uniquely the most accessible to children and young people. This is especially true in multicultural communities in which language is sometimes a barrier to student participation in classroom activities.

The author discusses the role of corporate philanthropy in the nineties in relationship to the arts.

Review by Jillian Poole of the book Partners: A Practical Guide to Corporate Support of the Arts [New York, NY: Cultural Assistance Center, 1982, 112 p.].

Remarks presented by Ralph P. Davidson at a luncheon hosted by the Detroit Institute of Arts, Detroit, Michigan, October 11, 1984.

Remarks presented at conference on corporate art collecting on May 19, 1983 in Chicago, Il.

Remarks presented at a dinner hosted by the New York Public Library, New York, NY,
February 7, 1985.

Paper presented at the Fifth International Conference on Cultural Economics held at the Canada Council, Ottawa, Canada, September 27-30, 1988.

Integrating the arts in marketing strategies to increase the sales of products and services is a growing trend among businesses of all sizes throughout the .

Increasing recognition that partnerships with the arts can favorably heighten public awareness and enhance a company's image is leading more and more American businesses to involve the arts in their public relations efforts.

His focus is on the period between 1957 and 1990 when the Ford Foundation (and its allies) transformed the American art support scene through the invention of the arts grant, spurred institutional philanthropy for culture, and launched a grand scheme for systematic advancement of the entire art field. The Ford-era paradigm was founded on discounted and abundant artistic labor and leveraging institutional funding. It emphasized the matching grant and the nonprofit arts institution. Furthermore, the Ford model was adopted and extended by government - through the National Endowment for the

Each year more and more businesses in the support the arts. In 1982 American business provided an estimated $500,000,000 in support for the arts, compared to $22,000,000 in 1967.

During the 1990s, there has been an increasing awareness that support for cultural activities must extend beyond traditional public sector mechanisms. Government grants and other programs of support are wide ranging but they are under increasing pressure from an expanding cultural sector and its activities. To supplement the use of public funding in the cultural sector attention is becoming more focused on the private sector - and especially the corporate sector - as a source of additional financial assistance through both donations and business sponsorships.

Despite important national differences in private sector participation in nonprofit high-status art worlds, in most developed countries such participation is significant and growing. It occurs not only through individual giving and corporate sponsorship, but also by situating senior corporate representatives on governing boards of the largest and most prestigious nonprofit arts organizations and their various fund-raising and support committees, who, in turn, bring substantial representation of the largest and most prestigious corporations. I suggest that when taken together such conditions

516 Ways is a list, by arbitrary categories, of ways in which a group of companies, represented by executives on the membership list of the Business Committee for the Arts, supported the arts in 1973 and in the first quarter of 1974.

Given my background, you would normally expect me to make this argument from the viewpoint of the not- for-profit sector or from the arts community that I am now privileged to represent.

This paper reflect the remarks made by FCC Commissioner Jonathan S. Adelstein Before The Media Institute on May 20, 2003.

In this article we take the position that, current trends aside, the investment strategies that emerged over the last ten years can inform the cultural sector in exciting and innovative ways. We explore three specific financial investment strategies for their potential applicability in the cultural sector.

In this article I describe in broad outline the nature of the transactions that define the arts sector and relationships between the for-profit and not-forprofit parts of it. I base the article on a component of a 2000 report to the Irvine Foundation, which itself was an outgrowth of the 1998 American Assembly entitled “Deals and Ideals: For-Profit and Not-for-Profit Arts Connections.”

The BCA Survey of Business Support for the Arts is the nation’s largest survey of its kind, delving beyond pure numbers into the motivations behind and goals of business partnerships with the arts. The specific findings from the survey are used to project national trends in support for the arts by businesses large and small across our nation. The study acts as a resource for current and potential funders of the arts, and for local advocacy organizations to encourage increased partnership between the business community and the arts. BCA has conducted the survey since 1968

CECP, in association with The Conference Board, takes an in-depth analysis of 2012 corporate giving data from 240 leading companies, including 60 of the largest 100 companies in the FORTUNE 500.

CECP, in association with The Conference Board, takes an in-depth analysis of 2013 corporate giving and employee engagement data from 261 of the world's leading companies.

Nonprofit arts organizations derive 43 percent of their revenue from private contributions (individuals, foundations, and corporations). It is this funding stream that enables them to deliver their cultural product, affordably, to the entire community. Research suggests that we are in the midst of a major shift in how these organizations are supported—one that if not addressed will radically alter America’s cultural landscape.

After a downturn in arts giving in 2006 and 2009, 2012 levels rebounded and are now similar to 2006 levels. Cash plus non-cash arts giving between 2009 and 2012 is up 18 percent (average growth of 6% per year). A similar upward trend for overall (not just arts) large company giving was reported by the Committee Encouraging Corporate Philanthropy for the 2009-2011 period.

Quarterly was the newsletter produced by the Arts & Business Council, Inc

The arts and cultural sector is one of Southeastern Pennsylvania’s strongest assets. The 2008 Portfolio examines the vibrancy, value, and vulnerability of the cultural community for civic leaders, policymakers, cultural organizations, and the general public. Two years ago, the first edition of Portfolio was lauded as a landmark study that documented the breadth, diversity, and well-being of Southeastern Pennsylvania’s nonprofit cultural resources.

Why are some organizations consistently good at innovating and adapting while others seem to be blindsided by change? Is it because of their disciplined innovation process or the knowledge and skills of their people? Or is it their determination to build a culture where challenging assumptions is not only encouraged, but expected? IBM's Creative Leadership Study found that leaders who embrace the dynamic tension between creative disruption and operational efficiency can create new models of extraordinary value.