From Phil Chan, writing for Huffington Post:
From Elaine Weiss, from Moyers & Company:
In an article entited "The Death of the Artist—and the Birth of the Creative Entrepreneur", published in the current issue of The Atlantic, William Deresiewicz argues that the traditional notion of the professional artist as solitary genius is hopelessly outdated. He writes:
So out of date, in fact, that the model that replaced it is itself already out of date. A new paradigm is emerging, and has been since about the turn of the millennium, one that’s in the process of reshaping what artists are: how they work, train, trade, collaborate, think of themselves and are thought of—even what art is—just as the solitary-genius model did two centuries ago. The new paradigm may finally destroy the very notion of “art” as such—that sacred spiritual substance—which the older one created.
Deresiewicz goes on to comment on what the death of the artist and the rise of the creative entrepreneur means for our field. Along with the rise of the creative entrepreneur comes heightened emphases on networking, multiplicity, commodification, democratization of taste, and selling experiences.
On January 29 you are invited to join representatives from a state arts agency, a foundation and an artist service organization for the first web seminar in 2015 from the National Assembly of State Arts Agencies, Individual Artist Support: Trends in Funding and Services. Learn about current trends, challenges and strategies from three experts in the field:
- Rose Parisi, Director of Programs, Illinois Arts Council Agency
- Judilee Reed, Program Director, Thriving Cultures, Surdna Foundation
- Laura Zabel, Executive Director, Springboard for the Arts
From Diep Tran, writing for American Theatre:
“We’re in Southern California, we prepare for earthquakes. Are we preparing for the demographic shift that is going to happen in 2042?” posits Dang. “We should prepare now, for theatre.”
But why 2042? That’s the date, in projections by the Census Bureau, that the minority population in the United States will reach 54 percent, outnumbering non-Hispanic whites. So what does that mean for theatre?
Released in the fall and in collaboration with D5 Coalition, OMG Center for Collaborative Learning (newly renamed Equal Measure) released Foundations Facilitate Diversity, Equity, and Inclusion: Partnering with Community and Nonprofits. This report outlines eight specific practices that foundations can do to facilitate diversity, equity, and inclusion with non-profit grantees and their communities. While this report is not targeted to the arts and cultural sector, the framework and findings can be used to strengthen any sector's works towards racial equity and inclusion. Download the full report here.
In a study commissioned by the Emily Hall Tremaine Foundation, Arizona State University's Pave Program in Arts Entrepreneurship inventories business training programs and opportunities for artists outside of academic settings. How It's Being Done: Arts Business Training Across the U.S. looks at where arts business training programs exist by region, what kinds of organizations provide training, training modalities, topics, and costs among other distinctions.
If you are an organization that offers business-related training to artists and not included in the web-related research, please contact Tremaine Fellow Mollie Flanagan.