The business section of the most recent Sunday New York Times featured an article by Caitlin Kelly on artists' relief funds and the significant impact they have on an artist's ability to recover from a career-threatening emergency. The article includes interviews with emergency funders like Cornelia Carey, executive director of GIA member CERF+. The article can be found on the Times website, here.
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CERF+ (Craft Emergency Relief Fund + Artists' Emergency Resources), a national artists’ service organization, has produced a useful new tool for artists. The Business Insurance Guidebook for Artists distills the key points of business property, liability, and disaster insurance into a pocket-sized booklet.
The booklet responds to information gathered by CERF+ in a national survey of nearly 3,000 craft artists that found that:
Writer Eboni Senai Hawkins posts on ARTSblog about the current work of Marc Bamuthi Smith and Theaster Gates:
I am stunned at the synergy in practices between Bamuthi (artist/educator and director of performing arts at Yerba Buena Center for the Arts) and Theaster (artist/urban planner and director of arts and public life at the University of Chicago). For both Bamuthi and Theaster, the “relationship economy” is intrinsic to their work. As I become immersed in Emerging Leaders Network – Chicago (ELN) and the city as a whole, I’ve observed three areas highlighted by rbGb, activated in ELN and others, and rich with opportunities for greater impact in the arts.
Michelle Boone, Commissioner Department of Cultural Affairs and Special Events, and a member of the GIA Board of Directors, talks to Howard Reich of the Chicago Tribune:
In her first extended interview since taking office, Boone, 50, recently shared her own vision of Chicago's cultural future. She trumpeted a dramatically re-envisioned Chicago Gospel Music Festival that will unfold both downtown and on the South Side. She emphasized the return of the World Music Festival, Chicago SummerDance, Downtown Sound and other programs that some have feared would be eliminated in this year's budget crunch (the Music Without Borders series will not be returning).
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Arts organizations are looking for ways to develop their audiences. What works? What doesn’t? And how can successes be sustained? Building Arts Organizations that Build Audiences is a new report documenting a June 2011 Wallace conference of foundation-supported arts groups, marketing mavens, researchers and others, provides some potential answers, including encouraging organization-wide learning.
From the report:
From Mark Swed at the Los Angeles Times:
Along with baseball and beauty pageants, classical music is one of the country's greatest passions. In the capital, Caracas, superstar Venezuelan conductor Gustavo Dudamel is mobbed wherever he goes. Classical music teeny-boppers run up to him for autographs when he walks off the podium at concerts. The state-run music education program, which is known as El Sistema and from which Dudamel emerged, is the most extensive, admired and increasingly imitated in the world.
Diem Jones has been tapped for the position of Director of Grants at the Houston Arts Alliance (HAA). Jones comes to the HAA post after an 8-year stretch as deputy director at Arts Council Silicon Valley, where he supervised their Artsopolis program and managed the agency’s grants, arts education and marketing programs.
Strategies for funding individual artists can often resemble the principles and policies of trickle-down economics. Grants to arts organizations secure the physical plant and operations of those organizations, allowing them to offer artists the opportunity to present their work, to be seen and heard — at which point the obligation to the artists is fulfilled. This model does not acknowledge that artists and the things they make defy supply-and-demand economics.