Introduction to Arts Management

2017 ◽  
Author(s):  
Jim Volz
Keyword(s):  
Best Practices ◽  
Visual Arts ◽  
Symphony Orchestra ◽  
Arts Organizations ◽  
Arts Administration ◽  
Arts Management ◽  
Art Gallery ◽  
The Arts ◽  
Hands On ◽  
Set Up

Introduction to Arts Management offers a unique, dynamic and savvy guide to managing a performing or visual arts organization, be that an arts center, theatre, museum, art gallery, symphony orchestra, or other arts company. For those training to enter the industry, workers in arts administration, or those seeking to set up their own company, the wealth of expert guidance and direct, accessible style of this authoritative manual will prove indispensable. Gathering best practices in strategic planning, marketing, fundraising and finance for the arts, the author shares practical, proven processes and valuable tools from his work with over 100 arts companies and professional experience producing over 100 music, dance, theatre and visual arts events. Unique features include: boilerplate guides for marketing and fundraisinga sample Board of Trustee contractspecific budget checklistsday-to-day working tools that can be immediately instituted in any arts organizationresources at the end of each chapter designed to help readers consider and implement the strategies in their own practice. Interviews with arts leaders offer insights into the beginnings and growth of significant arts institutions, while examples based on real situations and successful arts organizations from both North America and Britain illustrate and underpin the strategic and practical advice. Expanded from the author’s highly successful How to Run a Theatre, this edition offers both trainees and seasoned professionals the hands-on strategic leadership tools needed to create, build and nurture a successful career in the challenging world of arts administration and management.

The Beaux-Arts Framework

2020 ◽  
pp. 275-288
Author(s):  
Robert O. Gjerdingen
Keyword(s):  
Eighteenth Century ◽  
Visual Arts ◽  
Fine Arts ◽  
Public Support ◽  
Ancient Greece ◽  
Next Generation ◽  
Visual Artists ◽  
Paris Conservatory ◽  
The Arts ◽  
Set Up

The Institute of France has for centuries controlled royal or public support for the arts in France. Under its wings it has both a School of Fine Arts for the visual arts and the Paris Conservatory for music, as well as many other institutions. The schools of fine arts and music were set up along the similar lines. The goal was to train the next generation of artists and musicians in the classic arts of a past golden age. For visual artists, sculptors, and architects, this meant the art of ancient Greece and Rome. For musicians, this meant the art of sixteenth- to eighteenth-century Italy. For young artists outside the official School of Fine Arts, instructional lithographs could be purchased and copied. These lithographs showed how to make a sketch, then to refine the sketch into a set of contours, and then to add shading and texture.

Building with the Community: Developing digital tools for engaging with the arts in Saskatchewan

2020 ◽  
Vol 02 ◽  
Author(s):  
Jon Bath ◽  
Michael Peterson
Keyword(s):  
Arts Organizations ◽  
Grant Application ◽  
Art Gallery ◽  
Art Galleries ◽  
Digital Service ◽  
Shared Spaces ◽  
The Arts ◽  
Funding Program ◽  
Arts Engagement ◽  
The University

In May of 2019, a team led by the University of Saskatchewan Kenderdine Art Gallery received a Canada Council for the Arts Digital Strategy Fund grant to develop a digital service with Saskatchewan arts organizations to allow them to engage with and give voice to their audiences and other art creators. However, the exact deliverable was intentionally vague; rather than presupposing what this diverse group (from internationally recognized art galleries to community puppet theatres) needs, the grant was built around first engaging with both these organizations and their current and potential audiences in order to gain an understanding of their varied needs. Only once this assessment was done would the actual development begin. In this paper we will introduce the project, and the funding program that supported it, and describe the process of community consultation for both the development of the grant application and the needs assessment. We will introduce the findings from the first phase of the Shared Spaces project and the resulting first prototypes for arts engagement, which use augmented reality, that have gone back out to the communities for further consultation and refinement.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

Why Is Safe Science Good Science?

2018 ◽  
Author(s):  
Camilla Kao ◽  
Che-I Kao ◽  
Russell Furr
Keyword(s):  
Decision Making ◽  
Design Thinking ◽  
Good Science ◽  
Safety Issues ◽  
Safety Requirements ◽  
The Arts ◽  
Hands On ◽  
Obvious Benefit ◽  
New Ideas

In science, safety can seem unfashionable. Satisfying safety requirements can slow the pace of research, make it cumbersome, or cost significant amounts of money. The logic of rules can seem unclear. Compliance can feel like a negative incentive. So besides the obvious benefit that safety keeps one safe, why do some scientists preach "safe science is good science"? Understanding the principles that underlie this maxim might help to create a strong positive incentive to incorporate safety into the pursuit of groundbreaking science.<div><br></div><div>This essay explains how safety can enhance the quality of an experiment and promote innovation in one's research. Being safe induces a researcher to have <b>greater control</b> over an experiment, which reduces the <b>uncertainty</b> that characterizes the experiment. Less uncertainty increases both <b>safety</b> and the <b>quality</b> of the experiment, the latter including <b>statistical quality</b> (reproducibility, sensitivity, etc.) and <b>countless other properties</b> (yield, purity, cost, etc.). Like prototyping in design thinking and working under the constraint of creative limitation in the arts, <b>considering safety issues</b> is a hands-on activity that involves <b>decision-making</b>. Making decisions leads to new ideas, which spawns <b>innovation</b>.</div>

scholarly journals Infection Prevention Considerations for a Multi-Mission Convention Center Field Hospital in Baltimore, Maryland during the COVID-19 Pandemic

2021 ◽  
pp. 1-21
Author(s):  
Jennifer A. Jones ◽  
Zishan K. Siddiqui ◽  
Charles Callahan ◽  
Surbhi Leekha ◽  
Sharon Smyth ◽  
...  
Keyword(s):  
Best Practices ◽  
Infection Prevention ◽  
Diagnostic Testing ◽  
The United States ◽  
Infection Prevention And Control ◽  
Field Hospital ◽  
First Case ◽  
Convention Center ◽  
Set Up ◽  
And Control

Abstract The state of Maryland identified its first case of COVID-19 on March 5, 2020. The Baltimore Convention Center (BCCFH) quickly became a selected location to set up a 250-bed inpatient Field Hospital and Alternate Care Site. In contrast to other field hospitals throughout the United States, the BCCFH remained open throughout the pandemic and took on additional COVID-19 missions, including community SARS-CoV-2 diagnostic testing, monoclonal antibody infusions for COVID-19 outpatients, and community COVID-19 vaccinations. At the time of publication, the BCCFH had cared for 1,478 COVID-19 inpatients, performed 108,155 COVID-19 tests, infused 2,166 COVID-19 patients, and administered 115,169 doses of COVID-19 vaccine. To prevent the spread of pathogens during operations, infection prevention and control guidelines were essential to ensure the safety of staff and patients. Through multi-agency collaboration, utilization of infection prevention best practices, and answering what we describe as “PPE-ESP”, an operational framework was established to reduce infection risks for those providing or receiving care at the BCCFH during the COVID-19 pandemic.

UNLOCKING THE INNOVATION POTENTIAL IN LARGE FIRMS THROUGH TIMELY AND MEANINGFUL INTERACTIONS WITH YOUNG VENTURES

2017 ◽  
Vol 21 (01) ◽  
pp. 1750009 ◽  
Author(s):  
BABKE N. HOGENHUIS ◽  
ELLIS A. VAN DEN HENDE ◽  
ERIK JAN HULTINK
Keyword(s):  
Best Practices ◽  
Cultural Differences ◽  
Open Innovation ◽  
Large Firm ◽  
Positive Impact ◽  
Large Firms ◽  
Roles And Responsibilities ◽  
Innovation Potential ◽  
Set Up ◽  
Operational Issues

Since the introduction of open innovation (OI), both firms and academics have widely acknowledged the potential of unlocking large firms’ innovation potential through interactions with external parties, such as young ventures. These asymmetric partnerships are prone to several problems related to communication, roles and responsibilities, cultural differences, and operational issues, for which solutions and best practices have been proposed. However, all these solutions focus on the partnership itself; hence, on the “Get & Manage (GM)” stages. Unfortunately, the processes leading to a partnership; i.e., the “Want & Find (WF)” stages before the partnership, have largely been overlooked. The central thesis of this manuscript is that solutions that are implemented in the early “WF” stages have a positive impact on the outcomes of an asymmetric large firm — young venture partnership. We will show that attention to set-up and communication efforts in these early stages is needed, and discuss how our detailed explanations of such fruitful solutions contribute to the extant literature on asymmetric OI collaborations.

Developing Craft in the Ballet Class

2021 ◽  
Vol 39 (2) ◽  
pp. 147-157
Author(s):  
Susie Crow
Keyword(s):  
Visual Arts ◽  
Alternative Model ◽  
Embodied Learning ◽  
Sports Science ◽  
The Arts ◽  
Theoretical Investigations ◽  
Attitudes And Perceptions

The ballet class is a complex pedagogical phenomenon in which an embodied tradition is transmitted in practice from one generation to the next, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. This paper emerges from observations and experience of recent and current ballet class practice, and theoretical investigations into embodied learning in the arts. It outlines the influential role of large hegemonic institutions in shaping how ballet is currently taught and learned; and the effect of this on the class's evolving relation to ballet's repertoire of old and emerging dances as artworks. It notes the increasing importation into ballet pedagogy of thinking rooted in sports science, engendering the notion of the dancer as athlete; and of historic attitudes which downplay the agency of the dancer. I propose an alternative model for understanding the nature of learning in the ballet class, relating it to what Donald Schön calls ‘deviant traditions of education for practice’ in other performing and visual arts ( Schön 1987 p16). I look at the dancer's absorption via the class of ballet's danse d’école, its core technique of academic dance content. I suggest how this process might more constructively be understood through the lens of craft learning and the development of craftsmanship via apprenticeship, the dancer learning alongside the teacher as experienced artist practitioner who models behaviours that foster creativity.

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