Podcasts about artsjournal

In this episode of Inspired Nonprofit Leadership, Sarah Olivieri welcomes Alan Harrison, a seasoned nonprofit arts professional and author, to discuss the critical need for nonprofit arts organizations to focus on creating measurable impact in their communities. Alan emphasizes that arts organizations must go beyond just producing art and work towards making a tangible, positive difference in society. He shares powerful examples of organizations like the Louisville Orchestra and Out of Hand Theater that have successfully pivoted to impactful missions. Alan also touches on the challenges and misconceptions faced by arts organizations regarding fundraising and board responsibilities, offering valuable insights into effective nonprofit leadership. Don't miss this thought-provoking conversation aimed at reshaping how nonprofit arts organizations operate and achieve their missions. Episode Highlights The Importance of Impact on Nonprofit Arts Organizations Challenges Facing Arts Organizations Today Successful Examples of Impactful Arts Organizations The Role of Boards in Nonprofit Arts Organizations Reimagining Board Responsibilities and Meetings Meet the Guest A weekly columnist for ArtsJournal.com, Alan Harrison is a writer, father, performer, executive, board member, consultant, recovering artist, and the author of the industry best-sellers “Scene Change: Why Today's Nonprofit Arts Organizations Have to Stop Producing Art and Start Producing Impact” and “Scene Change 2: The Five REAL Responsibilities of Nonprofit Arts Boards.” For 30 years, he led, produced, directed, promoted, raised money for, starred and failed in over 300 theatrical productions on and Off-Broadway and at prestigious (and not so prestigious) nonprofit arts organizations across the country. He's also a two-time “Jeopardy!” champion so, you know, there's that. After a lifetime in the sector, he discovered that the arts may invoke passion (mostly from artists), but nonprofit arts organizations can only be successful when they result in measurably positive change among those that need it most. When a nonprofit's donors are also its recipients, then its mission devolves into meaningless puffery, flapdoodle, and codswallop. Alan is a Fellow with the Royal Society of Arts. Connect with Alan: Website: https://501c3.guru ArtsJournal: https://www.artsjournal.com/scenechange/ LinkedIn: https://www.linkedin.com/in/alanharrisonseattle/ Review for SCENE CHANGE: https://www.kirkusreviews.com/book-reviews/alan-harrison/scene-change/ Review for SCENE CHANGE 2: https://www.kirkusreviews.com/book-reviews/alan-harrison/scene-change-2-the-five-real-responsibilities-of-nonprofit-arts-boards/ Sponsored Resource Join the Inspired Nonprofit Leadership Newsletter for weekly tips and inspiration for leading your nonprofit! Access it here >> Be sure to subscribe to Inspired Nonprofit Leadership so that you don't miss a single episode, and while you're at it, won't you take a moment to write a short review and rate our show? It would be greatly appreciated! Let us know the topics or questions you would like to hear about in a future episode. You can do that and follow us on LinkedIn. Connect with Sarah: On LinkedIn>> On Facebook>> Subscribe on YouTube>>

In this thought-provoking episode of the Arts and Everything in Between podcast, host Lucy Costelloe welcomes Alan Harrison, a multifaceted arts professional with over 30 years of experience in the US theater scene. Alan, an author, speaker, writer, performer, nonprofit executive, and artist, shares his extensive journey through leading, producing, directing, and promoting over 300 theatrical productions on and off Broadway.In this episode, you'll learn: The Realities of the Nonprofit Arts Sector: Alan's candid take on the struggles and triumphs within the arts, including insights from his latest book, Scene Change. Impact vs. Attendance: Why measuring the impact of your arts organisation is more critical than just tracking attendance, and how focusing on genuine community needs can redefine success. Intentional Change: Practical steps for arts organisations to pivot towards intentional, impactful work that truly benefits the community. The Role of Arts Organisations: A deep dive into why arts organisations need to move beyond just presenting art and start contributing to social and economic solutions in their communities. Join Lucy and Alan as they explore these critical topics and provide actionable advice for making arts organisations indispensable to their communities. This episode is a must-listen for anyone involved in the arts sector looking to create meaningful change and achieve lasting impact. Remember to like, subscribe, and share the podcast, and let us know your thoughts! —————————————- THE ARTS AND EVERYTHING IN BETWEEN PODCAST Explore innovative concepts and gain insights from professionals and leaders in the arts, culture, heritage and live entertainment space. Join arts and culture industry leaders and specialists for actionable advice and inspiration as they share their stories and expertise and discuss the big issues at the forefront of the arts and culture landscape. —————————————- LOVE TA&EIB? GOT A GREAT TOPIC OR STORY TO SHARE? If you've got a topic you'd like us to cover or want to share your story – get in touch! podcast@ticketsolve.com. Don't forget to like, follow and review! It helps others find the show. —————————————- RESOURCES Purchase Scene Change here: https://scenechangebook.com Visit Alan's Website: https://501c3.guru/  Find Alan on ArtsJournal: https://www.artsjournal.com/scenechange/about-alan-harrison/  —————————————- GET MORE INSIGHT AND SHARE THE KNOWLEDGE! Facebook – www.facebook.com/Ticketsolving Twitter – twitter.com/ticketsolvers  LinkedIn – www.linkedin.com/company/ticketsolve Instagram – www.instagram.com/ticketsolve/ —————————————- A special thank you to Alan for joining us. We also want to thank our listeners for their continuous support, don't forget to subscribe, like, share, and leave a review for “The Arts and Everything in Between” podcast.  

Should governments fund the arts? In The Moral Foundations of Public Funding for the Arts (Palgrave Macmillan, 2023), Michael Rushton, Co-Director of the Center for Cultural Affairs and a Professor at the O'Neill School of Public and Environmental Affairs at Indiana University, explores a variety of frameworks for thinking about this question, from liberal and egalitarian justifications, through to communitarian, conservative, and multiculturalist ideas. The book outlines the economic method for thinking about the arts, and uses this as a starting point to understand what various political philosophies might tell policymakers and the public today. A rich and deep intervention on a pressing social and governmental question, the book is essential reading across the arts, humanities, and social sciences, as well as for anyone interested in arts and cultural policy. Prof Rushton blogs at both Substack and Artsjournal and you can read open access papers covering some of the key ideas in the book here and here. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Should governments fund the arts? In The Moral Foundations of Public Funding for the Arts (Palgrave Macmillan, 2023), Michael Rushton, Co-Director of the Center for Cultural Affairs and a Professor at the O'Neill School of Public and Environmental Affairs at Indiana University, explores a variety of frameworks for thinking about this question, from liberal and egalitarian justifications, through to communitarian, conservative, and multiculturalist ideas. The book outlines the economic method for thinking about the arts, and uses this as a starting point to understand what various political philosophies might tell policymakers and the public today. A rich and deep intervention on a pressing social and governmental question, the book is essential reading across the arts, humanities, and social sciences, as well as for anyone interested in arts and cultural policy. Prof Rushton blogs at both Substack and Artsjournal and you can read open access papers covering some of the key ideas in the book here and here. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Should governments fund the arts? In The Moral Foundations of Public Funding for the Arts (Palgrave Macmillan, 2023), Michael Rushton, Co-Director of the Center for Cultural Affairs and a Professor at the O'Neill School of Public and Environmental Affairs at Indiana University, explores a variety of frameworks for thinking about this question, from liberal and egalitarian justifications, through to communitarian, conservative, and multiculturalist ideas. The book outlines the economic method for thinking about the arts, and uses this as a starting point to understand what various political philosophies might tell policymakers and the public today. A rich and deep intervention on a pressing social and governmental question, the book is essential reading across the arts, humanities, and social sciences, as well as for anyone interested in arts and cultural policy. Prof Rushton blogs at both Substack and Artsjournal and you can read open access papers covering some of the key ideas in the book here and here. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Should governments fund the arts? In The Moral Foundations of Public Funding for the Arts (Palgrave Macmillan, 2023), Michael Rushton, Co-Director of the Center for Cultural Affairs and a Professor at the O'Neill School of Public and Environmental Affairs at Indiana University, explores a variety of frameworks for thinking about this question, from liberal and egalitarian justifications, through to communitarian, conservative, and multiculturalist ideas. The book outlines the economic method for thinking about the arts, and uses this as a starting point to understand what various political philosophies might tell policymakers and the public today. A rich and deep intervention on a pressing social and governmental question, the book is essential reading across the arts, humanities, and social sciences, as well as for anyone interested in arts and cultural policy. Prof Rushton blogs at both Substack and Artsjournal and you can read open access papers covering some of the key ideas in the book here and here. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Should governments fund the arts? In The Moral Foundations of Public Funding for the Arts (Palgrave Macmillan, 2023), Michael Rushton, Co-Director of the Center for Cultural Affairs and a Professor at the O'Neill School of Public and Environmental Affairs at Indiana University, explores a variety of frameworks for thinking about this question, from liberal and egalitarian justifications, through to communitarian, conservative, and multiculturalist ideas. The book outlines the economic method for thinking about the arts, and uses this as a starting point to understand what various political philosophies might tell policymakers and the public today. A rich and deep intervention on a pressing social and governmental question, the book is essential reading across the arts, humanities, and social sciences, as well as for anyone interested in arts and cultural policy. Prof Rushton blogs at both Substack and Artsjournal and you can read open access papers covering some of the key ideas in the book here and here. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Should governments fund the arts? In The Moral Foundations of Public Funding for the Arts (Palgrave Macmillan, 2023), Michael Rushton, Co-Director of the Center for Cultural Affairs and a Professor at the O'Neill School of Public and Environmental Affairs at Indiana University, explores a variety of frameworks for thinking about this question, from liberal and egalitarian justifications, through to communitarian, conservative, and multiculturalist ideas. The book outlines the economic method for thinking about the arts, and uses this as a starting point to understand what various political philosophies might tell policymakers and the public today. A rich and deep intervention on a pressing social and governmental question, the book is essential reading across the arts, humanities, and social sciences, as well as for anyone interested in arts and cultural policy. Prof Rushton blogs at both Substack and Artsjournal and you can read open access papers covering some of the key ideas in the book here and here. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Should governments fund the arts? In The Moral Foundations of Public Funding for the Arts (Palgrave Macmillan, 2023), Michael Rushton, Co-Director of the Center for Cultural Affairs and a Professor at the O'Neill School of Public and Environmental Affairs at Indiana University, explores a variety of frameworks for thinking about this question, from liberal and egalitarian justifications, through to communitarian, conservative, and multiculturalist ideas. The book outlines the economic method for thinking about the arts, and uses this as a starting point to understand what various political philosophies might tell policymakers and the public today. A rich and deep intervention on a pressing social and governmental question, the book is essential reading across the arts, humanities, and social sciences, as well as for anyone interested in arts and cultural policy. Prof Rushton blogs at both Substack and Artsjournal and you can read open access papers covering some of the key ideas in the book here and here. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

Should governments fund the arts? In The Moral Foundations of Public Funding for the Arts (Palgrave Macmillan, 2023), Michael Rushton, Co-Director of the Center for Cultural Affairs and a Professor at the O'Neill School of Public and Environmental Affairs at Indiana University, explores a variety of frameworks for thinking about this question, from liberal and egalitarian justifications, through to communitarian, conservative, and multiculturalist ideas. The book outlines the economic method for thinking about the arts, and uses this as a starting point to understand what various political philosophies might tell policymakers and the public today. A rich and deep intervention on a pressing social and governmental question, the book is essential reading across the arts, humanities, and social sciences, as well as for anyone interested in arts and cultural policy. Prof Rushton blogs at both Substack and Artsjournal and you can read open access papers covering some of the key ideas in the book here and here. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Mike Evenson was joined by Hannah Grannemann, Assistant Professor and Director of the Arts Administration Program at the University of North Carolina at Greensboro, on episode 26 of the Unobstructed podcast. Prior to joining UNCG in 2017, Hannah spent 17 years in the arts, mostly in non-profit theatre, which included leadership roles at the Children’s Theatre of Charlotte, PlayMakers Repertory Company, Yale Repertory Theatre, among others. They discussed the benefits of embracing a digital strategy, the risks associated with going dark, the reach of virtual events, the need to experiment with content and pricing and more. Hannah also talked about the virtual events she’s enjoyed during the pandemic, time travel, why we should be handing out keys and the importance of maintaining our rituals while removing barriers to attending the arts. +++++ Hannah is currently a guest editor of We the Audience, an ArtsJournal blog, and is writing a series of articles focused on Audiences During the Pandemic. You can follow her on Twitter at @1126banana.

Work. Shouldn't. Suck. LIVE: The Morning(ish) Show with special guests Diane Ragsdale & Andrew Taylor. [Live show recorded: May 1, 2020.] E. ANDREW TAYLOR, Associate Professor and Department Chair of the Performing Arts Department at American University thinks (a bit too much) about organizational structure, strategy, and management practice in the nonprofit arts. An Associate Professor of Arts Management at American University, he also consults for cultural, educational, and support organizations throughout North America. He recently completed a five-year sponsored research project for the William Penn Foundation on “Capitalizing Change in the Performing Arts.” Andrew is past president of the Association of Arts Administration Educators, board member for Fractured Atlas, and consulting editor for The Journal of Arts Management, Law, and Society, and for Artivate, a journal on arts entrepreneurship. Since July 2003, he has written a popular weblog on the business of arts and culture, "The Artful Manager," hosted by ArtsJournal.com (www.artfulmanager.com ). DIANE RAGSDALE is faculty co-lead of the Cultural Leadership Program at Banff Center for Arts & Creativity; and an assistant professor and program director for the Masters in Arts Management & Entrepreneurship MA at the New School in NYC, where she also designed and launched a graduate minor in Creative Community Development. She additionally teaches a workshop on aesthetic values in a changed cultural context for Yale University's Theater Management MA. Ragsdale is a frequent speaker, blogger, writer, and advisor on a range of arts and culture topics. She previously worked as a program officer for theater and dance at The Andrew W. Mellon Foundation, ran a contemporary performing arts center and a music festival, held a variety of administrative posts, and began her arts career as a theater practitioner (she has an MFA in acting & directing). She is presently a doctoral candidate at Erasmus University in the Netherlands, where she lectured in the cultural economics program from 2011-2015. Her dissertation examines the evolving relationship between the nonprofit and commercial theater in the US over an 80-year period. She is on the board of Anne Bogart's SITI Company; on the editorial board for Artivate: A Journal of Entrepreneurship in the Arts; and on the Advisory Council for the online theater platform and journal, HowlRound. Among others, she wrote an essay ("To What End Permanence?") for the 2019 book, A Moment on the Clock of the World, published by Haymarket Press. She has dual-citizenship and divides her time between the US and the Netherlands.

Choir Baton host Beth Philemon sits down with Dr. Doug Borwick to discuss the ultimate relationship building with communities.  For more information go to Doug's website, www.artsengaged.com or purchase his books, Building Communities, Not Audiences: The Future of the Arts in the U.S., and Engage Now! A Guide to Making the Arts Indispensable.   About Dr. Doug Borwick: Doug Borwick is a leading advocate for community engagement in the arts. He is author of Engaging Matters, a blog for ArtsJournal, author/editor of Building Communities, Not Audiences: The Future of the Arts in the U.S., and author of Engage Now! A Guide to Making the Arts Indispensable. Dr. Borwick has served as keynote speaker and workshop presenter at conferences across the U.S. and Canada as well as in Beijing, Singapore, Australia, and Chile. Notably, he has been featured speaker for statewide arts gatherings in Colorado, Illinois, Indiana, Maine, Nevada, New Mexico, North Carolina, Tennessee, Texas, Utah, and Wisconsin as well as for the Canadian Arts Summit in Banff, Alberta. In addition, he is CEO of ArtsEngaged, offering training and consultation services to artists and arts organizations seeking to engage with their communities more effectively as well as CEO of Outfitters4, Inc., providing management services for nonprofit organizations. Doug Borwick is an artist. He holds the Ph.D. in Music Composition from the Eastman School of Music and is an award-winning member of ASCAP. He gained experience as an arts administrator and producer working with the Arts Council of Rochester (NY) and through founding and leading the NC Composers Alliance in the mid-1980’s. Dr. Borwick is an educator, having served for nearly thirty years as Director of the Arts Management and Not-for-Profit Management Programs at Salem College in Winston-Salem, NC. (He was named Salem Distinguished Professor in 1997.) He has served as President of the Board of the Association of Arts Administration Educators. Choir Baton Host: Beth Philemon @bethphilemon | www.bethphilemon.com Visit Choir Baton Online: @choirbaton | www.choirbaton.com Choir Baton Theme Song by Scott Holmes  

Enjoy our Arts Friendly Conversation with Doug Borwick. Doug Borwick is a leading advocate for community engagement in the arts. He is author of Engaging Matters, a blog for ArtsJournal, author/editor of Building Communities, Not Audiences: The Future of the Arts in the U.S., and author of Engage Now! A Guide to Making the Arts Indispensable. Arts Engaged: artsengaged.com =============== CERTIFIED ARTS FRIENDLY BUSINESSES MAKE THIS HAPPEN: artsfriendly.com/certified NEWSLETTER:  Subscribe to our free newsletter at: artsfriendly.com/subscribe PODCAST:  Subscribe to Arts Friendly Conversations on Apple Podcasts or Spotify

A great event is very similar to a great theatrical production. There is the grand entrance, the setting, a narrative, building the story, emotions, and an ending that makes us think. On top of a storyline,  there is the technical side with set changes, technology to enhance the experience and a cast that brings it all to life. It makes sense to make your events more theatrical to enhance the attendee experience. So how do you make your events more theatrical? You are in luck! Today’s guests are going to share the best tips and tricks for doing just that.  In today’s episode of #EventIcons our iconic panel Brittney Lanni of O’Keefe Communications, LLC,  Kevin Molesworth, CSEP of Brass Tacks Event, Sarah Cissna of The Side Lobby will be discussing how to bring more theatrical experiences to your event to enhance the overall experience. They will share their dream mainstage setups, how to improve breakout sessions, technical elements and what will make or break your next event. If you want to have engaging and memorable events you have come to the right show! Let’s get to it! We want to help keep you up-to-date with the latest and greatest! Below, in our Epic Resources section, we link the awesome insider favorites that were mentioned in this episode! You WANT to check these out! What has been your favorite episode so far? Comment below and let us know! You’re watching this recording of our episode here on our blog, but wouldn’t you rather watch live, ask your own questions, and participate in person? Subscribe now to watch live! (We’ll remind you of upcoming episodes.) We would love for you to join us LIVE and bring your questions for our icons. This is all for you! And now for the main topic in the episode below, Make Your Events More Theatrical! How To Subscribe: Click here to watch the show live and get email notifications of new episodes. Subscribe via iTunes: Video & Audio or Audio Only Click here to subscribe via RSS (non-iTunes feed): Video & Audio or Audio Only Follow our iconic guests on Twitter: Brittney Lanni of O’Keefe Communications, LLC (@OKeefeComMD) Kevin Molesworth, CSEP of Brass Tacks Events (@BrassTacksEvent) Sarah Cissna of The Side Lobby (@sdcissna) Brandt Krueger of Event Technology Consulting (@BrandtKrueger) Will Curran of Endless Events (@itswillcurran) Check out the epic resources mentioned in this episode: O’Keefe Communications, LLC – A full-service live event and video production company serving associations, businesses, government and nonprofit agencies Brass Tacks Events – Brass Tacks Events endeavors to be the premier event producer in Central Texas and beyond! The Side Lobby – The Side Lobby is a consulting firm helping organizations make a difference through events. Lessons from fashion’s free culture – Johanna Blakley talks about what all creative industries can learn from fashion’s free culture. Toggl – Turn your team on to productivity with Toggl the time tracker. When: The Scientific Secrets of Perfect Timing by Daniel H. Pink – The scientific secrets to good timing to help you flourish at work, at school, and at home.! ArtsJournal – A digest of some of the best arts and cultural journalism in the English-speaking world Woolly Mammoth Theatre Company – A national leader in the development of new plays, Woolly Mammoth Theatre Company continues to hold its place at the edge of American theatre. Special Effects Show of Universal Studios Hollywood – Get an exclusive behind-the scenes look into your favorite blockbuster movies in our Special Effects Show as stunts, practical effects and cutting-edge technology come to life. Blippar – A tech company focused on augmented reality & computer vision. LEGO® AR Studio – A new augmented reality experience from LEGO® – where you can play with digital versions of selected LEGO® sets in your real-world scenes! It Doesn’t Have to Be Crazy at Work by Jason Fried & David Heinemeier Hansson – A new path to work effectively. What are your favorite tips and tricks for using event furniture to engage? Comment below and let us know.

A great event is very similar to a great theatrical production. There is the grand entrance, the setting, a narrative, building the story, emotions, and an ending that makes us think. On top of a storyline,  there is the technical side with set changes, technology to enhance the experience and a cast that brings it all to life. It makes sense to make your events more theatrical to enhance the attendee experience. So how do you make your events more theatrical? You are in luck! Today’s guests are going to share the best tips and tricks for doing just that.  In today’s episode of #EventIcons our iconic panel Brittney Lanni of O’Keefe Communications, LLC,  Kevin Molesworth, CSEP of Brass Tacks Event, Sarah Cissna of The Side Lobby will be discussing how to bring more theatrical experiences to your event to enhance the overall experience. They will share their dream mainstage setups, how to improve breakout sessions, technical elements and what will make or break your next event. If you want to have engaging and memorable events you have come to the right show! Let’s get to it! We want to help keep you up-to-date with the latest and greatest! Below, in our Epic Resources section, we link the awesome insider favorites that were mentioned in this episode! You WANT to check these out! What has been your favorite episode so far? Comment below and let us know! You’re watching this recording of our episode here on our blog, but wouldn’t you rather watch live, ask your own questions, and participate in person? Subscribe now to watch live! (We’ll remind you of upcoming episodes.) We would love for you to join us LIVE and bring your questions for our icons. This is all for you! And now for the main topic in the episode below, Make Your Events More Theatrical! How To Subscribe: Click here to watch the show live and get email notifications of new episodes. Subscribe via iTunes: Video & Audio or Audio Only Click here to subscribe via RSS (non-iTunes feed): Video & Audio or Audio Only Follow our iconic guests on Twitter: Brittney Lanni of O’Keefe Communications, LLC (@OKeefeComMD) Kevin Molesworth, CSEP of Brass Tacks Events (@BrassTacksEvent) Sarah Cissna of The Side Lobby (@sdcissna) Brandt Krueger of Event Technology Consulting (@BrandtKrueger) Will Curran of Endless Events (@itswillcurran) Check out the epic resources mentioned in this episode: O’Keefe Communications, LLC – A full-service live event and video production company serving associations, businesses, government and nonprofit agencies Brass Tacks Events – Brass Tacks Events endeavors to be the premier event producer in Central Texas and beyond! The Side Lobby – The Side Lobby is a consulting firm helping organizations make a difference through events. Lessons from fashion’s free culture – Johanna Blakley talks about what all creative industries can learn from fashion’s free culture. Toggl – Turn your team on to productivity with Toggl the time tracker. When: The Scientific Secrets of Perfect Timing by Daniel H. Pink – The scientific secrets to good timing to help you flourish at work, at school, and at home.! ArtsJournal – A digest of some of the best arts and cultural journalism in the English-speaking world Woolly Mammoth Theatre Company – A national leader in the development of new plays, Woolly Mammoth Theatre Company continues to hold its place at the edge of American theatre. Special Effects Show of Universal Studios Hollywood – Get an exclusive behind-the scenes look into your favorite blockbuster movies in our Special Effects Show as stunts, practical effects and cutting-edge technology come to life. Blippar – A tech company focused on augmented reality & computer vision. LEGO® AR Studio – A new augmented reality experience from LEGO® – where you can play with digital versions of selected LEGO® sets in your real-world scenes! It Doesn’t Have to Be Crazy at Work by Jason Fried & David Heinemeier Hansson – A new path to work effectively. What are your favorite tips and tricks for using event furniture to engage? Comment below and let us know.

Colm Tóibín in conversation with Scott Timberg at Live Talks Los Angeles, May 22, 2017, discussing the writing life and his upcoming novel, House of Names.   The talk took place at the Moss Theatre in Santa Monica, CA. Colm Tóibín is the author of seven novels, including The Master, winner of the Los Angeles Times Book Prize; Brooklyn, winner of the Costa Book Award; The Testament of Mary, and Nora Webster, as well as two story collections. Three times shortlisted for the Man Booker Prize, Tóibín lives in Dublin and New York. He previously appeared at Live Talks Los Angeles to discuss James Baldwin’s Giovanni’s Room.  Watch the video. In House of Names, Colm Tóibín brings a modern sensibility and language to an ancient classic, and gives this extraordinary character new life, so that we not only believe Clytemnestra’s thirst for revenge, but applaud it. He brilliantly inhabits the mind of one of Greek myth’s most powerful villains to reveal the love, lust, and pain she feels. Told in fours parts, this is a fiercely dramatic portrait of a murderess, who will herself be murdered by her own son, Orestes. It is Orestes’ story, too: his capture by the forces of his mother’s lover Aegisthus, his escape and his exile. And it is the story of the vengeful Electra, who watches over her mother and Aegisthus with cold anger and slow calculation, until, on the return of her brother, she has the fates of both of them in her hands. “I have been acquainted with the smell of death.” So begins Clytemnestra’s tale of her own life in ancient Mycenae, the legendary Greek city from which her husband King Agamemnon left when he set sail with his army for Troy. Clytemnestra rules Mycenae now, along with her new lover Aegisthus, and together they plot the bloody murder of Agamemnon on the day of his return after nine years at war. Judged, despised, cursed by gods she has long since lost faith in, Clytemnestra reveals the tragic saga that led to these bloody actions: how her husband deceived her eldest daughter Iphigeneia with a promise of marriage to Achilles, only to sacrifice her because that is what he was told would make the winds blow in his favor and take him to Troy; how she seduced and collaborated with the prisoner Aegisthus, who shared her bed in the dark and could kill; how Agamemnon came back with a lover himself; and how Clytemnestra finally achieved her vengeance for his stunning betrayal—his quest for victory, greater than his love for his child. Scott Timberg is a Los Angeles-based arts and culture writer. A former Los Angeles Times and Salon staffer, he writes these days for The Los Angeles Review of Books, The Paris Review online, LMU Magazine, and the New York Times. Timberg edited, with Dana Gioia, the anthology The Misread City: New Literary Los Angeles (Red Hen). He’s the author, most recently, of Culture Crash: The Killing of the Creative Class (Yale University Press), and runs the accompanying ArtsJournal blog CultureCrash. Follow him on Twitter at @TheMisreadCity. 

Doug Borwick discusses the origins of art, how the arts can benefit the community, how to focus more on community engagement, and how to lower the barrier of entry to get non-theatre people engaged with your organization. Doug is a past President of the Board of the Association of Arts Administration Educators and was for nearly 30 years Director of the Arts Management and Not-for-Profit Management Programs at Salem College. He is the CEO of Outfitters4 which provides management services to nonprofit organizations and ArtsEngaged which provides training and consultation to artists and arts organizations to help them more effectively engage with their communities. He is also the author of Building Communities, Not Audiences and Engage Now!, and writes a column for ArtsJournal. Show Notes: Building Communities, Not Audiences: The Future of the Arts in the United States Buy Now from Amazon Engage Now! A Guide to Making the Arts Indispensable Buy Now from Amazon Doug Borwick's Blog Engaging Matters Read our previous interview on the WellAttended blog. - Download our free marketing resources at https://wellattended.com/resources  

"I have not seen anything in the US as extreme as what I have seen [in Australia] in the past week." - Deborah Jowitt In the second episode of season three, Angela, Jana, and Beth speak to Deborah Jowitt, legendary dance critic and the idol of everyone in the room. A long-term critical columnist for The Village Voice (1967-2011), Jowitt has created an immensely influential body of work that includes four books - the latest of which, on Jerome Robbins, was published by Simon and Schuster in 2004. Having lectured at Princeton, Barnard, and Tisch School of the Arts, and recipient of two Bessies, and a Guggenheim Fellowship, Deborah Jowitt is one of the seminal voices of and for the 20th century dance. "People were concerned, there seemed to be disaster all round: enmity between countries, the possibility of bombs falling. I really thought: we're going aerobic. We're going to tone our bodies so we can run all the way from New York to Westchester county without getting hit." - Deborah Jowitt The conversation took place during the Keir Choreographic Awards, as we were recovering from an intense week of seeing Australian emerging contemporary dance, discussing contemporary dance, and making contemporary dance happen, and there was a sense of intense camaraderie in the room. It was really beautiful, being able to speak about the value of criticism, the worth it creates, by drawing on the experiences of someone who has seen half a century of dance go by, who wrote its history, who taught us how to see dance when we had no storyline, no character, and no balletic vocabulary to hook onto. This was very, very special. Discussed in this episode: it's not 'the body', but 'the dancers'; the 1960s revolution against elitism; incorporating the building janitor into a choreography; pilates; Keir Choreographic Awards, and where is the dancing in contemporary dancing?; ideas that cannot be physically fleshed out – what fuels it in Australia?; the overuse of the word 'ephemeral'; how to legitimise a new form; Judson Dance Theater; how criticism creates desire; and that not being a good artist doesn't mean you're not a good person. "The work reveals itself to you, if you’re open and receptive." - Deborah Jowitt Enjoy and stay tuned: we have more exciting and stimulating conversations to come. Podcast bibliography: Deborah Jowitt: Time and the Dancing Image Deborah Jowitt writes about her Australian visit Deborah Jowitt: Carolyn Carlson—From France to Jersey; Russell Dumas—Up From Oz Deborah Jowitt Archive on Sarma.be For more information about Deborah Jowitt’s work, and to read her contemporary writing, visit her blog DanceBeat on ArtsJournal. This series of AUDIOSTAGE has been commissioned by DANCEHOUSE as part of the 2016 Keir Choreographic Award Public Program and was generously supported by the Keir Foundation.

It's no secret that arts coverage has been slashed by many news media outlets looking to pare costs, and there are fewer writers and less space devoted to serious classical music criticism. This year has seen critics leave national newspapers including the Houston Chronicle and the San Jose Mercury News; last December brought the departure of long time New York Times critic Allan Kozinn. That's not to mention magazines; the age when Time and Newsweek had full rosters of arts critics have long since passed. This week's podcast explores the consequences of these changes for readers – and arts organizations – in a changing news environment. Joining host Naomi Lewin are Scott Cantrell, the outgoing music critic for the Dallas Morning News and Douglas McLennan, the founder and editor of ArtsJournal.com, which aggregates arts news stories from around the globe. Cantrell is not optimistic about the future of music criticism. Having been the music critic in Dallas for 16 years, he just accepted a buyout offer, which leaves a grand total of zero full-time classical music critics in the state of Texas. "There's no future in arts criticism as a full-time job with benefits as we have known it," he said. But if a newspaper critic as an influential arbiter of taste has declined, this hasn't led to less music criticism. Rather, a void is being filled by bloggers and other Internet pundits, who for the most part are unpaid. McLennan also believes that with the rise in non-traditional voices, the overall level of writing has improved. "I remember in the early years it was quite a chore to try and find 20 stories in a day that would be worth putting up," he said, referring to his site, which highlights noteworthy stories. "Let's not equate the golden age of criticism with the situation 20 years ago." Both guests estimate that there are currently about a dozen classical music critics at U.S. newspapers, down from about 65 only two decades ago. New Yorker classical music critic Alex Ross recently compiled a list of remaining critics on his blog, The Rest in Noise. He lists 39 critics, but most of them are not solely dedicated to classical music. Even Cantrell had to do double-duty for several years, serving as a fill-in art and architecture critic. WQXR has created a map based largely on Ross’s data about newspaper critics (radio, blogs, music magazines and other media are not included). Please have a look and tell us if there's anyone we're missing: McLennan also believes that newspapers' current obsession with website clicks will exhaust itself, and new measurements of success will take over. In Cantrell’s experience, this may be a good thing. Even though his reviews are posted on his paper's website much earlier, many older readers will wait until they appear in ink. McLennan cautions about feeling nostalgic for the past as a golden age of classical music journalism: It wasn't necessary better, just different. Please listen to the full segment at the top of this page and share your thoughts below.

Culture Crash: The Killing of the Creative Class (Yale University Press)  Rapid change is part of life in the twenty-first century, and we must all adjust to an evolving world. But for many thousands of creative artists, a torrent of recent changes has made it nearly impossible to earn a living. A persistent economic recession, social shifts, and technological change have combined to put our artists and those whose work supports them—from graphic designers to indie-rock musicians, from architects to booksellers—out of work. As a group, artists, writers, and musicians have never been rich, but for most of American history, Scott Timberg argues, they have been able to build modest middle class lives through diligent work. Today, even artists who are quite successful—musicians with loyal fans and respected albums, award-winning novelists, visual artists with work in museum collections, architects with national reputations—cannot hold onto the benefits of the middle class: stable housing, access to healthcare, and educational opportunities for their kids. Along with artists themselves, the institutions and structures that have traditionally supported them have been decimated. Publishers, booksellers, galleries, record and video stores, radio stations, and newspapers have hemorrhaged jobs in a world of instantly available digital content and music piracy. In addition to a brutal recession and a tidal wave of technology, Timberg examines other drivers of the crisis. Trends in academia have devalued literature, focusing instead on impenetrable theory. An avant garde that disdains “middlebrow” artistic production has led to a shrinking audience for art. Radio monopolies have homogenized the airwaves. The music industry has invested almost all resources in a tiny number of hitmakers. Perhaps most important, entrenched stereotypes of artists as idle dreamers or entitled bohemians, rather than hardworking, highly trained professionals, have made it hard for the broader society to see their vital economic and cultural contribution. Americans respond with more sympathy for job losses in the agrarian economy or in manufacturing than to similarly devastating losses in the creative economy.   Timberg considers both the human costs and the unintended consequences for America if the people who create and support culture cannot stay in the middle class. When only the  independently wealthy can afford to engage in creative pursuits, he warns, culture becomes more narrow, robbed of important and critical perspectives.  When artists and artisans can't make a living, we all pay the price. Full of original reporting and thoughtful analysis, Culture Crash provides a sweeping overview of a very real crisis affecting real workers and their families as well as the broader culture. It is alarming and essential reading for anyone who works in a creative field, knows someone who does, or cares about the work artists produce. Praise for Culture Crash: “Scott Timberg has written an original and important study. He explores some of the most pressing cultural issues affecting the arts and intellectual life with remarkable clarity. This is the first analysis of our current culture from the bottom up—the precarious situation of the individual artists, writers, and musicians who are now struggling to survive.”—Dana Gioia, poet and former Chairman of the National Endowment for the Arts “I read Scott Timberg's pieces every week without fail. It's great to see his book Culture Crash debunk the mumbo jumbo about the long tail, file-sharing, free information, and positive thinking —and take a hard look at what it all means for artists, musicians, critics and teachers.”—Dean Wareham, lead singer of Luna and author of Black Postcards: A Memoir “We've all had the feeling of these enormous changes—long in the making, not ‘at the last minute'—but Scott Timberg has the synthesis that makes them make sense. Culture Crash throws a clear, defining light on the squeeze that digitally-based economies have put on our artists, the analog makers who have always defined us to ourselves. A hugely important book.”—Sven Birkerts, author of The Gutenberg Elegies: The Fate of Reading in an Electronic Age “With coolness and equanimity, Scott Timberg tells what in less-skilled hands could have been an overwrought horror story: the end of culture as we have known it.  He mourns the loss of independent book- and record-store clerks who evangelized for quality.  He grieves for artists' ‘day jobs', which allowed creative workers a toehold in the middle-class. Culture Crash is an urgent, necessary book (or eBook) for anyone who has ever been moved by a song, a film, a paragraph or a painting. Without the humanities, Timberg cautions, we may lose our humanity.”—M.G. Lord, author of Forever Barbie and The Accidental Feminist Scott Timberg is a Los Angeles-based culture writer, contributing writer for Salon, and onetime LA Times arts reporter who has contributed to The New York Times, GQ, and The Hollywood Reporter. He is the co-editor, along with Dana Gioia, of the anthology The Misread City: New Literary Los Angeles. A graduate of Wesleyan University and the University of North Carolina at Chapel Hill, he runs ArtsJournal's CultureCrash blog and lives in Los Angeles with his wife and son. Janet Fitch is the author of the novels Paint It Black and White Oleander. Her short stories and essays have appeared in anthologies and journals such as Black Clock, Room of One's Own, and Los Angeles Noir, and she is a contributing editor at the Los Angeles Review of Books.  A film version of Paint It Black has been recently shot in Silverlake and downtown.  She is currently finishing a novel set during the Russian Revolution. Her publisher, Little Brown, owned by Hachette Book Group,  went 14 rounds with marketing giant Amazon last year.

A report published last week by the National Endowment for the Arts contained this telling statistic: 31 million American adults said they wanted to go to an arts event in the past year but chose not to. The study's purpose was to examine the motivations behind this data. Why do audiences participate in arts activities and what keeps them away? In this week's Conducting Business, Sunil Iyengar, the NEA’s director of Research and Analysis, walks us through a few of the key barriers including: Time: A significant proportion of the respondents to the survey were parents with young kids and who couldn't find family-friendly arts options (cited by 47% of respondents). Access: Another percentage of the survey participants said they couldn't get to venues or museums, whether because of disabilities, other health issues or simple inconvenience (cited by 36% of respondents). Lacking someone to go with: 73 percent of the people who went to an event said it was primarily socialize, which, said Iyengar, "was not something we were prepared to see." The NEA's General Social Study, as the report is called, also cited cost as a significant barrier (cited by one in three respondents). Some class distinctions appear to be tied up in these barriers. Americans who say they are in the "upper" or "middle" class were much more likely to have attended an artistic presentation in the past year, than those who say they’re "lower" or "working" class – regardless of actual income. Those who self-identify as lower or working class are more likely to attend events in order to "support the community" or "explore their cultural heritage;" upper classes often attend the arts "as a marker of their good taste, cultural capital and social identity." Iyengar tells us about trends in online access to the arts, and how the data can be useful for arts presenters and advocates. A Symphony Orchestra Rocks the Club In the second part of the episode, we hear about one orchestra's effort to reach a completely new audience. Earlier this month, the National Symphony Orchestra played a concert in a packed nightclub of around 2,000 patrons in Washington DC – and totally rocked the joint. At least that's according to our guest Greg Sandow, a music consultant, Juilliard faculty member and blogger at Artsjournal.com. Sandow said the NSO developed the project while "looking to do something new to engage a new audience." It included an electric cellist's riff on a Bach cello suite that became an exercise in audience participation: "When it came to a notable rising passage that's right out of Bach," said Sandow, "the crowd started shouting and their shouts rose with the music. So you could tell they were really, really into this." The event wasn't without its shortcomings but as Sandow notes, "maybe, and this is scary for people in our field, [traditional] Kennedy Center concerts become more like this." Listen to the full segment above and tell us in the comments below: What are the major barriers to attending arts events in your view?

The headlines from Europe this summer are as persistent as a bad sunburn: the Dutch government has slashed arts funding by 25 percent, Italy’s La Scala opera house has announced a $9 million shortfall, and Madrid and Barcelona's main opera houses have both implemented cuts in productions and staff. Portugal abolished its ministry of culture altogether. Yes, dire news about arts organizations isn’t just for Americans any more. Throughout much of Europe – most notably in Italy, Portugal, the Netherlands and Spain – generous public arts funding is being slashed as governments impose severe austerity measures. What will this mean for classical music? Will more arts organizations turn to private donors and corporations for support? Could there be an upside, as groups are forced to be more self-sufficient? In this podcast, three experts join host Naomi Lewin to debate the future: Johannes Grotzky, a journalist and director of the radio for the Bavarian Broadcasting System (Bayerischer Rundfunk) in Munich Norman Lebrecht, author, blogger at Artsjournal.com and a cultural commentator for the BBC Andreas Stadler, the director of the Austrian Cultural Forum here in New York and former president of the New York branch of the European Union National Institutes for Culture.   Weigh in: Would American-style funding best preserve Europe's cultural heritage? Please leave a comment below.

Newspapers and magazines are reducing their critical coverage of the arts, but the human appetite to evaluate culture, to debate reactions and opinions, remains as vibrant as ever. Panelists Doug McLennan (editor of ArtsJournal.com) and Bill Marx (editor of TheArtsFuse.com) discuss how cyberspace is transforming arts journalism, in some cases radically redefining its form and content. The forum debates what critical values from the traditional media should survive, explores how digital media is changing the ways we articulate our responses to the arts, and points to promising contemporary business models and experiments in cultural coverage.