Financial Management for the Arts: A Guidebook for Arts Organizations

1977 ◽  
Vol 29 (1) ◽  
pp. 138
Author(s):  
Sidney B. Zamochnick ◽  
Charles A. Nelson ◽  
Frederick J. Turk
Keyword(s):  
Financial Management ◽  
Arts Organizations ◽  
The Arts

scholarly journals FINANCE MANAGEMENT IN ARTS ORGANIZATIONS IN BULGARIA

2019 ◽  
Vol 7 ◽  
Author(s):  
Vesela Kazashka
Keyword(s):  
Financial Management ◽  
Small Scale ◽  
Arts Organizations ◽  
Finance Management ◽  
The Arts ◽  
Art Organizations ◽  
The One ◽  
And Control ◽  
Goals And Objectives

Arts organizations are a major factor in the Bulgarian economic. Good management of Art  organizations  is also associated with good financial management and control in order to achieve their  goals and objectives. The delegated budgets, the small scale of most of the Arts organizations, are a prerequisite for saving money or imposing the appointment of a financial controller. The lack of such a specialist in turn leads to poor control, inefficient spending of funds, violations and failure to verify costs, which can sometimes lead to bankruptcy. The objective of the report is two-sided - on the one hand, preventing the repetition of mistakes perceived as unsuccessful practices and, on the other hand, emphasizing the place and role of controlling the financial execution of a project and its importance for optimizing the effectiveness of the implementation as well as in the overall activity of Art  organizations.

Normative justification for public arts funding: what can we learn from linking arts consumption and arts policy in Israel?

2018 ◽  
Vol 18 (1) ◽  
pp. 193-213 ◽  
Author(s):  
Tal Feder
Keyword(s):  
Public Funding ◽  
State Intervention ◽  
Arts Organizations ◽  
Arts Funding ◽  
Arts Policy ◽  
The Public ◽  
The Arts ◽  
Using Data ◽  
Normative Justification ◽  
The Relationship

AbstractThis article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delineate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations’ productions. The results of the study show a complex pattern of different relationships between funding and consumption that accord with the three types of normative justifications for public arts funding.

Intersubjectivity and the arts of financial management

2018 ◽  
pp. 53-73
Author(s):  
Bob Anderson ◽  
Wes Sharrock
Keyword(s):  
Financial Management ◽  
The Arts

Art and Brand Contamination

2019 ◽  
pp. 339-354
Author(s):  
Marta Massi ◽  
Chiara Piancatelli ◽  
Sonia Pancheri
Keyword(s):  
Popular Culture ◽  
The Other ◽  
Brand Awareness ◽  
Arts Organizations ◽  
High Culture ◽  
Goods And Services ◽  
The Arts ◽  
Low Culture ◽  
The One ◽  
Cross Fertilization

Albeit often perceived as two worlds apart, low culture and high culture are increasingly converging to collaborate in mutually advantageous ways. Brands—including the name, term, sign, symbol, or combination of them that identify the goods and services of a seller or group of sellers, and differentiate them from those of the competitors—are the new territory where high culture and low culture co-exist and collaborate, creating new possibilities of cross-fertilization and hybridization between the two. Through the analysis of successful examples coming from different industries, this chapter aims to highlight how brands have blurred the distinction between low culture and high culture. On the one hand, brands can use the heritage of the arts world to gain authenticity and legitimate themselves in the eyes of consumers and the society. On the other hand, artists and arts organizations, such as museums and other art institutions, can indulge in popular culture in order to become appealing to younger target markets and enhance their brand awareness and image.

The Role of Collaboration to Encourage Civic Engagement through the Arts

2017 ◽  
pp. 476-498
Author(s):  
Tina Dippert ◽  
Erna Gelles ◽  
Meg Merrick
Keyword(s):  
Arts Organizations ◽  
Arts Funding ◽  
Collaborative Relationships ◽  
Art Programs ◽  
Universal Language ◽  
The Arts ◽  
Governance Challenges ◽  
Diverse Community ◽  
Relevant Community

Historically governments have used art's universal language to achieve various goals, including political engagement through cultural enrichment. Employing nonprofit/public sector relationships for the arts presents myriad governance challenges, but always with the promise of intrinsic and extrinsic benefits. This chapter presents two cases to illustrate such collaborative relationships. Applying various nonprofit theories, stakeholder discussions and Sherry R. Arnstein's still relevant community engagement work to explore relationships between sectors in arts funding, the first involves the passage of a local tax to provide funding for arts education and arts organizations. The second illustrates an instrumental relationship between a local government and nonprofit to provide art programs to promote tolerance in an increasingly diverse community. Both cases present imperfect policies, but represent the continuation of an ancient practice wherein the arts are being used for more than arts' sake, but to serve a multitude of non-arts instrumental societal functions.

Our Government's Support for the Arts: Nourishment or Drought

1984 ◽  
Vol 471 (1) ◽  
pp. 89-101
Author(s):  
LIVINGSTON BIDDLE
Keyword(s):  
National Endowment ◽  
Arts Organizations ◽  
Cultural Institutions ◽  
Federal Support ◽  
The Arts ◽  
Private Citizens ◽  
Private Support

The National Endowment for the Arts, coming into existence in a period when federal support of the arts was not a popular cause in Congress, has survived and prospered with bipartisan support. From its beginnings the Endowment has operated under the principle that private support of the arts is of primary importance, and that the agency should be guided by the advice of private citizens. Endowment grants have supported artists and cultural institutions and companies, increased education in the arts, improved the aesthetics of city living, and encouraged development of ethnic projects. Challenge Grants, which bolster arts organizations, have been an immense success. The article presents the author's views regarding the essential and precedent-setting nature of the Arts Endowment, its meaning to Americans and the arts at the very core of life. The author discusses the catalytic impact of the Endowment since 1965, and expresses deep concern that a time of exceptional nourishment may give way to a time of drought.

Economic Impact of the Arts in a Small US County

2006 ◽  
Vol 12 (1) ◽  
pp. 101-121 ◽  
Author(s):  
James Stoddard ◽  
Dinesh Davé ◽  
Mike Evans ◽  
Stephen W. Clopton
Keyword(s):  
Private Sector ◽  
Economic Impact ◽  
Arts Organizations ◽  
Non Profit ◽  
The Arts ◽  
The Usa ◽  
Economic Influence ◽  
The Impact ◽  
County Administrators

This paper presents an assessment of the economic influence of the arts in a small county in the USA. The arts in this community consist of university, non-profit and private-sector employers and individual artists. A discussion of the methodology used to estimate the impact is provided. Over one thousand arts patrons and 62 artists and arts organizations responded to the survey. The direct and indirect economic impact of the arts in the community was estimated to be US$24 million. Normative prescriptions are offered for arts and county administrators.

Characteristics of Civically Engaged Nonprofit Arts Organizations

2016 ◽  
Vol 46 (1) ◽  
pp. 175-198 ◽  
Author(s):  
Mirae Kim
Keyword(s):  
Large Scale ◽  
Qualitative Interviews ◽  
National Sample ◽  
Service Organizations ◽  
Arts Organizations ◽  
The Arts ◽  
Tax Returns ◽  
The Common ◽  
Cultural Sector ◽  
Nonprofit Arts

Nonprofits face increasing pressure to compete in the market, while they must maintain their civic commitment. Focusing on the arts and cultural sector, this study conducts the first large-scale, comprehensive empirical measurement of nonprofits’ engagement in various roles. The article uses a previously validated 18-item role index to categorize nonprofits as primarily engaged in either civic or market functions, so that a subsequent regression analysis can identify the common characteristics of civically active nonprofit arts service organizations. The data come from (a) qualitative interviews with leaders of arts nonprofits, (b) a random national sample of more than 900 arts nonprofits, and (c) Internal Revenue Service (IRS) tax returns of the sample nonprofits. The findings suggest that civically active arts nonprofits have diverse networks, recognize civic engagement as the industry norm, and are consciously aware of their nonprofit status. The results suggest how nonprofits can balance their equally important market- and civic-oriented functions.

scholarly journals Facilitating Public Access to the Arts: Applying the Motivation, Opportunity, and Ability Framework to the Case of the UK Royal Opera House

2017 ◽  
Vol 6 (7) ◽  
pp. 01
Author(s):  
Hyunsun Catherine Yoon
Keyword(s):  
Cultural Policy ◽  
Social Impacts ◽  
Relationship Building ◽  
Public Access ◽  
Arts Organizations ◽  
Outreach Programs ◽  
The Arts ◽  
Opera House ◽  
The Uk ◽  
State Interventions

<p>In recent years, arts organizations in the UK have faced challenging times due to severe funding cuts from government and depressed box office sales during the recession. In the UK’s current cultural policy, ‘social impacts’ of the arts are highly emphasized and state interventions are intensified both in terms of finance and legitimacy. What is necessary for arts organizations to produce social impacts is their active provision of ‘deliberate extra activities’, which are generally conducted in the form of education, community, participation or outreach programs. The Royal Opera House (ROH) case study provides an apt example of how to exercise these activities effectively to deliver social impacts. Based on Rothchild’s theoretical Motivation, Opportunity, and Ability (MOA) framework, this study aims to find out how the UK Royal Opera House stimulated motivation among arts audiences and facilitated opportunities for them, thereby allowed them to translate motivation into action. The results show that the ROH implemented several specific strategies: ‘interest triggerings,’ ‘value creation and transmission,’ relationship building and management,’ and education. These strategies can motivate potential arts consumers to be familiar with classic arts, which lowers psychological barriers and stimulates intrinsic motivation to satisfy long-lasting and self-sustaining cultural needs.  </p>

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