Wanna have a phone chat with Kal Penn?

Well, you can, if you sign up to participate in Americans for the Arts’s conference call with Penn (who now goes by his birth name, Kalpen Modi) on the subject of President Obama’s United We Serve initiative. The call is tomorrow, Thursday, August 27 at 3pm Eastern time. Americans for the Arts has partnered with the NEA and the Obama administration to bring you serve.artsusa.org, where you can not only register for the call but also upload your service-oriented arts project to serve.gov, find volunteers for your project and opportunities to volunteer yourself, and sign a petition supporting the creation of a national Artist Corps.

FYI, though Modi is best known for his role as a pot-smoking dunderhead in the Harold and Kumar movies, he is a graduate of UCLA, has taught two courses in Asian American and media studies at the University of Pennsylvania, and is currently pursuing a certificate from Stanford in international security. Underestimate him at your peril.

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Around the horn: town hall edition

  • Barry Hessenius is out with his second annual list of the 25 most powerful and influential leaders in the nonprofit arts sector. Bob Lynch (president of Americans for the Arts), who took the top slot last year, has to share it this time with the Curb Center’s Bill Ivey, who has increased his clout thanks to his new book and the role he played in shepherding arts policy for the Obama transition team. Dick Deasey, Sam Miller, and Claire Peeps, among others, are off the list, while Rocco Landesman, Claudine Brown, and Michael Kaiser all make big debuts. I’m pleased to say that I’m one of two “Barry’s Picks” (given to “younger leaders who…are very likely to grow into major contributors to the arts in this country over time”), along with my former colleague from the Hewlett Foundation, Marc Vogl.
  • In a recent series of posts here, I’ve been arguing that money and value are not the same thing, and that one component of “value” is happiness. Can money buy happiness? The conventional wisdom says no, but it turns out the answer isn’t quite so black and white. This excellent article from the Boston Globe explains why:

    Dunn and others are beginning to offer an intriguing explanation for the poor wealth-to-happiness exchange rate: The problem isn’t money, it’s us. For deep-seated psychological reasons, when it comes to spending money, we tend to value goods over experiences, ourselves over others, things over people. When it comes to happiness, none of these decisions are right: The spending that make us happy, it turns out, is often spending where the money vanishes and leaves something ineffable in its place.

    Any attempt to put these findings into practice, however, has to contend with the subtle but powerful ways money itself channels our thinking, and the ways it plays on human attitudes about sharing and scarcity. Recent studies have suggested that merely thinking about money makes us more solitary and selfish, and steers us away from the spending that promises to make us happiest.

    This line of thinking, it is worth noting, is very much in line with a couple of the arguments that Richard Florida lays out in The Rise of the Creative Class: namely, that the so-called “experiential lifestyle” is on the rise, and that having a network of like-minded individuals in one place greatly enhances those individuals’ experience of that place.

    There’s much, much more to contemplate in Drake Bennett’s thought-provoking article, and I highly recommend you just go read it.

  • This week’s BLOGGER ON FIRE is Sean-Stannard Stockton, with a great series telling the story of his blog Tactical Philanthropy, all leading up to some major new developments (the nature of which he hasn’t yet revealed). You can read the series entries here, here, here, here, and here. I’ve also been greatly enjoying Sean’s “Friday Afternoon Mental Health Break” videos, which I think are exceptionally well-curated and often have an artistic component. This past week’s video is from the Peery Foundation, which has been making waves among the philanthropy Twitterati lately for its unusually open working style (including the live-tweeting of a Board meeting). The video is great–a fluff piece, basically, but a really effective one.
  • FSG Social Impact Advisors cofounder and Harvard Business School professor Mark Kramer tells about a philanthropist with an unusual story of success, Thomas Seibel, and uses it to outline a vision of “catalytic philanthropy.” And Lucy Bernholz gives a preview of the paper she and colleagues from Duke have been working on how technology will change philanthropy. Lucy is one of the most visionary thinkers on the subject out there, so attention must be paid.
  • Seth Godin outlines what it’s really like to live on $2 a day in an impassioned pitch for the Acumen Fund.
  • Detroit’s Community Foundation Challenge, an effort to raise $3 million for arts organizations in the area, is both a success and a failure: a success in that it exceeded all expectations and ended up raising an additional $750,000 on top of the original goal; a failure in that technical difficulties caused numerous donor headaches and caused some people’s credit cards to be charged multiple times for the same donation. But hey, go Detroit!
  • The New York Times‘s Economix blog is finished with its cost-benefit analysis for high-speed rail, and concludes that even taking environmental benefits into account, a hypothetical Dallas-Houston line would have a net cost to society of $375 million a year. Obviously these projections are based on lots of assumptions and other lines may make more sense, but it does seem possible that America is no longer built for rail in quite the way that Europe or Japan were. Our country’s decision to invest big in highways instead of trains looms large 50 years later.
  • And via Freakonomics, Yahoo wants to try out a new model whereby people can opt to pay a penny per email message in order to ensure getting past the spam filters. Before all you net neutrality folks get up in arms: the penny goes to charity. Could this be a huge new market for embedded giving? (Though I fear it won’t last if it’s successful, as more and more providers will be tempted to skim a portion for themselves.)
  • More beating the drum for newspapers to become nonprofits. Though it should be noted, in no way are newspapers not already “allowed” to become nonprofit organizations. There are plenty of nonprofit media outlets already (NPR being only the most obvious example). They just need to decide they’ve had enough and do it. Meanwhile, the Knight Foundation, established by the family behind the Knight-Ridder news service, is funding an intriguing experiment in “networked journalism” (I’d call it distributed journalism) that will bring together hyper-local sources and mainstream media.
  • On the heels of last week’s news about the Netflix Prize, the Foundation Center’s PhilanTopic has a nice interview with Peter Diamandis, CEO of the X PRIZE Foundation. PhilanTopic’s Mitch Nauffts also has a good take on the case for optimism in the midst of recession.
  • The Ford Foundation has released its report on the internal restructuring that came with Luis Ubiñas’s ascension to the President’s office. It looks like the foundation’s arts support will be hyper-focused on cultural facilities, particularly in “diverse communities,” in the near term.
  • I found this comment from Andrew Taylor on Les Paul’s death interesting.

    What’s extraordinary about the interview — beyond the obvious energy, passion, and persistence in the face of so many physical challenges — is his motivation for his inventions. He created all of these extraordinary tools and techniques not to serve a market, make a fortune, or even change the face of music. Rather, he was compelled to invent solutions to get the sound he wanted in the way he wanted it.

    Food for thought on the collateral benefits of creativity for its own sake.

  • No more Radiohead albums? The greatest active band in the universe is planning to release songs individually from now on.
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New Blogs!

Only three this time, but I didn’t want to hold them up until I found another. If you know of a great arts policy, philanthropy, or other blog that isn’t already in my blogroll, do tell me about it!

Beth’s Blog
One of philanthropy’s most oft-cited bloggers, consultant Beth Kanter writes about the intersection between the nonprofit sector and social media. Though her blog is ecumenical when it comes to cause or topic area, Kanter has a background as a classical flautist, arts administrator, and consultant to arts agencies including the NEA and NYFA, so she definitely “gets it” when it comes to the arts. Oh, and the social media coverage is pretty great too.

Philanthropy 411
Another philanthropy consultant, Kris Putnam-Walkerly of Putnam Community Investment Consulting, has been blogging since February at Philanthropy 411. Kris’s posts are a bit few and far between, but they’re usually worth the wait. Her most recent effort involved collecting a list of 90 Foundations that Tweet (a list bolstered considerably in the comments to that post).

Real Clear Arts
I’m assuming this title is a takeoff on the political website Real Clear Politics, but I could be wrong. In any case, Real Clear Arts is the work of Judith H. Dobrzynski, an independent journalist and former staff reporter for the New York Times. Another province in the ArtsJournal empire, RCA has good coverage of arts policy at the federal level as well as topics in arts management and the business of the arts.

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Value generators II

For those of you just joining this discussion, I’ve been ruminating for the past couple of months on the nature of economic growth and its relationship to the (as it turns out, quite vague) concept we call “value.” You can read the first two essays on this topic here and here. In the first, I explained how I reached the conclusion that value is an entirely separate concept from money, even though money is often used as a proxy for value. In the second, I responded to some reader comments to clarify what I was after, and posited that value comes from two concepts: 1) productivity, and 2) happiness. When we left off last time, we were talking about the crucial role of externalities in this discussion, and as a first step toward demonstrating that any intelligent policy or strategy regarding economic growth must fully account for those externalities, I proposed to map out the way in which one of the most common measures of economic health, the volume of economic transactions, can be increased.

I’ve chosen to limit the conversation for now to transactions for goods and services, even though I think it’s a crappy measure of value, because I want to demonstrate how even in this most familiar territory to economists, externalities play a huge role. The umbrella concept of “social good,” under which concepts like environmentalism and public health reside, is usually thought of as fundamentally separate from a country’s, a system’s, a world’s economic health. But as you’ll see below and as I’ll explore in more detail in the next post, they are in fact inextricably linked.

The diagram you see above is what’s known as a “theory of change” (or, in some corners, a “logic model”), a tool commonly used in the philanthropic sector. In this case, I’ve applied it to the concept of increasing economic transactions for goods and services, which is more or less the idea behind GDP. In a policy-level theory of change, the basic process is first to identify the goal that we want to achieve, and then walk back the logical steps leading to that goal. We continue this process iteratively until we finally arrive at actions, concrete steps that we can take today or tomorrow that will set us along the path to achieving the goal. It’s an incredibly powerful tool that has uses in all sorts of contexts. In this case, I’m using it to think about the nature of value.

I’ve identified seven antecedents to increased transactions for goods and services, as follows:

More people want goods and services. Pretty self-explanatory, this is about increasing the demand for stuff by increasing the number of active buyers in the market. This could take place through a population increase, by means of people living longer (which I guess can also lead to population increase), and through bringing people in to the market who weren’t buying before, principally by activating the purchasing power of the “bottom of the pyramid” — the 40% of the world’s population that currently lives on $2 or less a day).

Greater capacity to provide goods and services. The supply-side corollary to the above. It doesn’t do much good if more people want goods and services if capacity doesn’t exist to produce those goods and services. There’s both a human dimension and a, shall we say, non-sentient dimension to this. First, we can increase capacity to produce things by putting more people to work. If there are more people in the world (because of a population increase) or more people work who weren’t working before (e.g., women, children, the elderly), that increases the world’s productive capacity. But it’s not just about humans: if we can make machines to do our work for us, or take better advantage of natural resources, or come up with new operational processes and organizational systems that increase efficiency, all of these things increase productive capacity as well.

Greater variety of goods and services available. Most consumers do not have an infinite taste for any given product, especially products that are durable and not essential necessities of life. No matter how useful they might find the product, they’re only going to want so many. But if there are new kinds of products to choose from, the consumer might well buy some of them, thus increasing the net total of transactions. New products with market appeal will generally fall into one of three categories: complements to existing products that make them more appealing or useful (think a protective case for your iPhone, or a bar to go along with a new music venue); substitutes for existing products that make the older editions obsolete (think new versions of old software, or the updated car designs that come out every year); or entirely new concepts that often feature some sort of disruptive innovation and have little precedent in previous products (think the television or the phonograph).

People buy more previously available goods and services. Sometimes increasing transactions is as simple as making sure people know that the available goods exist. That’s where marketing comes in, though at its extreme (or most professional) it can take on the more sinister role of artificially inducing demand by preying on humans’ psychological quirks. [That's one reason why this model is incomplete: by making increased transactions the sole stated goal, it endorses several socially undesirable practices (like this one, or child labor) as legitimate intermediate outcomes. We'll address this in the next post.] The other way in which people might buy more previously available goods and services is if those goods and services suddenly become more useful–either because someone figured out a new use for them, or because a new product, desirable in itself, uses the old product as a complement. (Think old TV shows, which found a new life because of cable television and specifically Nick at Nite.)

Buying and selling becomes easier and/or faster. Sometimes, even if there’s a buyer and a seller, making a transaction can be costly or difficult. If someone in Peoria has a copy of an out-of-print book and you’re in San Francisco looking for that book, you’re not going to find it. Or at least that was the case before Amazon Marketplace and eBay. Now, it’s a few clicks of a mouse and we’re off to the library. Technologies like these increase the velocity of money–the frequency at which transactions can happen, and thus the overall number of transactions.

People spend money instead of hoarding it. Assuming money is the currency of transactions, it doesn’t serve the goal in question when people who could engage in transactions elect not to because they are afraid of running out. When that happens, trade dries up and the possibilities start to contract, as we’re seeing in this latest recession. Clearly, confidence–on the part of consumers, investors, and firms alike–is important, as is liquidity (the ability to access quickly and easily what financial assets you do have).

Impending market disruptions are avoided. I chose my wording here carefully, because just avoiding market disruptions doesn’t lead to increased transactions. You have to avoid market disruptions that would have happened had you not taken steps to avoid them. Now, we obviously don’t know exactly what’s going to happen in the future, so the easiest way to think about this problem is in terms of risk. The list of possible catastrophes that could result in a major hindrance of market activity is endless, but some of the more obvious risks include war (including nuclear war); natural disasters such as hurricanes, tornadoes, floods, and earthquakes; terrorism (physical or electronic); environmental problems, most notably global warming; and systemic financial risk of the kind that we saw in the recent banking crisis. Taking care of (or just mitigating) a problem with a high severity and high risk will provide the greatest benefit to the ultimate goal, increased financial transactions.

This theory of change for economic growth is just a first cut – the result of maybe a couple hours’ worth of thinking about the question systematically. If you have thoughts about how it could be improved, I welcome your input. I can already name a couple of deficiencies: it only goes three levels deep, which leaves out quite a lot of detail — and even then, of course, it only considers a very narrow conception of economic growth. But you can already see how, even using pure GDP as the end goal, traditional economic growth strategies (cut taxes! deregulate!) only address a small portion of the relevant levers. Issues that we’re accustomed to thinking of as totally separate from economic development, including fighting global warming, working towards peace and security in the Middle East, increasing the life expectancy of our citizens through better health care, and extending a helping hand to the world’s poorest citizens, are all directly linked to economic growth. And if economic health is more than just the volume of transactions, if it’s in fact about improving quality of life, then these supposedly “external” considerations are all the more important.

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Around the horn: public option edition

  • I promise most of this post will not be about the NEA, but here are some loose ends to tie up: Rocco Landesman’s Peoria comments have not surprisingly rubbed some people the wrong way, and as predicted, Arlene Goldbard has arrived with an essay about it (though she’s more generous to him than I expected). Meanwhile, the Chairman himself is taking a trip to Illinois to visit the theaters (two of them, as it turns out) of which he was unaware, and RealClearArts has a great backstory to share.
  • As for the larger issue of navigating the arts and their political pitfalls, Isaac Butler concurs with Barry Hessenius that it’s all about the gays, and Corwin Christie says that art needs to be for conservatives too.
  • Barry H follows up on his previous post with five myths about the nonprofit arts that continue to hamper advocacy discussions because of the extent to which they have tended to dominate the debate. I think Barry nails it with these; the myths are 1. Arts managers aren’t real business people (and the corollary that arts organizations aren’t real businesses); 2. The nonprofit arts should be funded by the private sector but not public funds; 3. The nonprofit arts don’t have public support or as wide an audience as other forms of entertainment; 4. Too much of nonprofit arts are either controversial or just plain worthless junk; and 5. The arts are a luxury, a “frill.” Some of these may not be myths so much as prejudices (#5 seems a matter of opinion, for example), but all of these attitudes are quite prevalent among the general public and really get in the way of advancing forward intelligent arts policy.
  • Americans for the Arts is giving it a shot, though, and is organizing a number of arts organizations in support of health care reform. You can view the statement here.
  • On to philanthropy. The Hewlett Foundation Performing Arts Program, where I interned last summer, has a new director in John McGuirk, who rejoins Hewlett after leading the arts program at the Irvine Foundation for three years. (h/t GIA blog)
  • Via Sean Stannard-Stockton, I found out about an awesome-looking new foundation called (wait for it) The Awesome Foundation for Arts and Sciences. Started by a bunch of techies in Boston, the Awesome Foundation delivers a $1000 grant each month to the most awesome idea submitted during the month prior (the inaugural grant is to a RISD professor who wants to construct a huge hammock in Boston Common). It’s pure, serendipitous, few-strings-attached risk capital, the kind that the arts need so desperately — and with a healthy dose of fun to boot. Sean uses the example to argue that we shouldn’t be so beholden to logic models and notions of effectiveness that we squash donors’ enthusiasm and unique passion for whatever gets them going. I happen to think that Awesome’s model is actually really smart microphilanthropy, though the trustees may not fully realize how smart it is. Sean may be right about the dangers of imposing a top-down model on donors, but the real potential lies in enabling the top and bottom to better inform each other, in my opinion.
  • Now, one reason why Awesome works is that they plan to give out a total of $12,000 a year. When you’re the 7th-largest foundation in the country, though, the rules are a bit different. The Leona M. and Harry B. Helmsley Charitable Trust, which made waves last year with the disclosure that a “mission statement” signed by the donor directed that virtually all of the trust’s money go to caring for dogs, is back in the news again. It seems that animal welfare groups are upset that the trustees, having been given the green light by the New York Attorney General’s office, distributed only $1 million of its initial $136 grant payout to dog welfare charities. For its part, the Helmsley Trust has issued a lengthy statement on its own website addressing the matter.
  • And back to policy for a moment, as Lucy Bernholz is proposing an intriguing Philanthropy Policy Project. If we had the power to change how philanthropy is or is not regulated, what would we change?
  • This is interesting: the Gates Foundation has sold off nearly all of its holdings in biotech, healthcare, and pharmaceutical companies in the most recent quarter.
  • Seems incoming first-years at Penn will be analyzing a painting instead of the traditional exercise of reading a novel over the summer.
  • Seth Godin thinks education is going to follow in the (economic) path of newspapers sometime soon. I can see his logic, though it seems to me that the scarcity of status and legitimacy is a factor in colleges’ favor that newspapers cannot take advantage of in the same way.
  • The audiences for classical music and jazz may be getting older, but everyone likes the Beatles. Meanwhile, music schools are finally starting to wake up and offer entrepreneurship training to students.
  • Addicted to the internet? There’s probably a good reason for that.
  • In a stunning demonstration of the power of crowds, a mega-collaboration of more than 30 lower-ranked teams has overtaken a supergroup comprised of the top two entrants in the in the Netflix Prize, one of which was already a hybrid of heavy hitters formed earlier in the competition. The group is called “The Ensemble” and is providing plenty of follow-along-at-home drama for this otherwise very nerdy event. As the author ofthe Wired article states,
    Say what you will about the future of Netflix’s business model as we shift from discs to downloads, but this contest is pure genius. Most brand-sponsored contests are little more than transparent marketing efforts. (”Upload videos of you enjoying our products to enter!”) The Netflix Prize, on the other hand, is science — a meritocracy in a sea of mediocrity.

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Fun with data: arts organizations and grants in New Haven

A little while back, I posted a summary of my end-of-semester arts policy brief for the New Haven region. As part of that effort, I downloaded some Foundation Center and IRS data and played with it a bit to see what was there. Here were some of the more interesting findings:

  • My quick-and-dirty search found 138 nonprofit organizations in New Haven and immediate surroundings (East Haven, West Haven, North Haven, Hamden, Woodbridge, and Bethany) with arts or arguably arts-related programming. This included several that we don’t normally think of as “arts organizations” but who are nevertheless important to the arts infrastructure (such as Yale University or the United Illuminating Company Foundation).
  • Of these 138 organizations, I found that just five accounted for 88.5% of the $5.6 million in private foundation arts grants recorded cumulatively by the Foundation Center to New Haven institutions in the years 2007 and 2008. (I took two years of data to lessen the risk of outliers skewing the numbers.) These five recipient organizations were the Yale Repertory Theater, the Long Wharf Theater, the New Haven Arts & Ideas Festival, the New Haven Symphony Orchestra, and Neighborhood Music School.
  • Most of the private foundation money for the arts in New Haven comes from out of state. In fact, only 46% of New Haven arts grants originate locally.

I also plotted a map of the organizations as follows (thanks to the free service batchgeocode.com):

This is not high-intensity number-crunching, but it demonstrates how even a little bit of playing around with this stuff can help you see things you might not have seen before. I’m hoping to do a bit more of this kind of analysis going forward, so let me know if you have any requests.

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Around the horn: NEA edition

Fox News’s misleading attacks on the NEA, coming as they did just prior to the confirmation of a new Chairman for the organization, seem to be raising a lot of hackles in the arts world. Is the concern justified? Barry Hessenius thinks so, and warns that things might get a lot worse as conservatives gear up for a new culture war. Barry also links to a report that I meant to cite in last week’s essay, but forgot: 51 Republican Congressmen signed a letter to NEA Acting Chair Patrice Walker Powell demanding that the money from the “offending” grants be returned. The Congressman who spearheaded the effort, Cliff Stearns (R-FL), learned about the grants from (surprise!) Fox News, who contacted his office seeking comment on their original story. (Stearns is known as a reliable NEA basher, according to the article.) Predictably, the letter reflects all of the worst distortions and errors in the article, claiming that “much of this taxpayer money is being used to fund art projects that many Americans find offensive” despite only being able to name the same three grants cited in the Fox article that collectively total 0.2% of the NEA’s stimulus money (and 13 millionths of one percent of the stimulus bill as a whole). But don’t worry, friends — as Stearns says, “our intent is not to censor artistic freedom.” Barry certainly agrees; here’s what he thinks the real intent is:

I still believe those who make these kinds of baseless attacks are not at all interested in the art the organizations it seeks to attack are, or are not, involved with. I don’t think it was any coincidence in the first Cultural Wars that almost brought down the NEA that the “issue” in most of the attacks was gay related – Mapplethorpe nudes, a gay film festival in Texas, the production of the play Angels Over America in North Carolina – because what the attacks were really about wasn’t taxpayer money or art or pornography, they were about fund raising for the evangelical wing of the Republican party – and nothing has ever been more successful in raising funds from that sector than the specter of gay rights. When the coffers of the right wing are running dry, the time-tested solution is to trot out the threat of gays having equal rights – and it has, for a long time, worked very well. Couple the gay rights issue with the accusation that taxpayer money is spent on anti-American pornography – and, well, the potential for a fund raising bonanza is just too tempting for the right wing to ignore. A new cultural war is an easy way to grab headlines, raise the level of visceral response, and rally their troops.

Unbelievably (or maybe all too believably), Fox News’s clownishness about the NEA doesn’t stop with their execrable July 30 article. Poking around as I am wont to do on political websites, I found this gem from News Corpse, an entire website dedicated to exposing Fox’s liberal relationship with the truth:

The National Endowment for the Arts??? Are they really mobilizing against town hall protesters? Were those artists who were crashing community centers and public halls where Tea Baggers were fighting to keep the insurance companies between you and your doctor?

The problem with this picture is that Carpenter’s article [linked to from the image] says nothing about the National Endowment for the Arts whose logo is prominently displayed in the upper-right corner. There is a passage that mentions the NEA, but she is referring to the National Education Association. Rather than ascertain the facts, Fox Nation saw an acronym that could just as well have belonged to a favorite foe of theirs, so they giddily inserted the wrong logo into their graphic.

(Emphasis mine.) The graphic is off the front page now, but in case you suspect News Corpse (an admittedly partisan website) just made that graphic up, I went to the Fox Nation website myself before they took it down and took the following screen cap for posterity:


…and detail:


Busted! Reminds me of Fox’s practice of “accidentally” labeling Republicans as Democrats as soon as they get caught in some sex scandal or other.

This is all, of course, very entertaining, but in the rest of the arts world life goes on:

  • New NEA chief Rocco Landesman has raised a few eyebrows with his suggestion that arts organizations in geographically remote areas shouldn’t receive any special consideration. The loudest voice in dissent (so far–I expect he’ll be joined soon by Arlene Goldbard) is that of Scott Walters, whose (ironically, NEA-funded) <100k Project has values diametrically opposed to those reflected in the new Chairman’s quote.
  • Meanwhile, you can hear the former Chairman (Dana Gioia) speak at a Sonoma County Community Foundation fundraiser here. And Jean Cook and Casey Rae-Hunter from the Future of Music Coalition offer a roadmap to engaging with the federal government beyond the NEA.
  • Man, and I thought orchestra heads were well-paid: the Museum of Modern Art’s director Glenn Lowry took home a cool $2.7 million in total compensation last year. Bloomberg has the dirt on other museum directors as well.
  • Are arts departments and schools at universities getting hit harder than other subject areas? Anecdotal evidence suggests so, according to this New York Times article. One institution, though, isn’t cutting back: Goucher College. The Baltimore-based institution is debuting a new Master of Arts in Cultural Sustainability program, focusing on the practice of sustaining cultural traditions in a changing world. (The syllabus for a class at Goucher this spring is available at CANu.)
  • Thankfully, some philanthropists are getting smart about their arts investments. Deutsche Bank is pumping $1.4 million in emergency funding to arts organizations that “have established strong roots within their communities, but lack access to deep-pocketed donors.” And The Kresge Foundation is giving community revitalization through the arts a try, piloting a $600,000, two-year program in Baltimore, Detroit, and St. Louis. (h/t Philanthropy News Digest) More of this please!
  • Speaking of smart philanthropy, remember our friends at GiveWell? They just announced an open application for a $250,000 grant (or group of grants) for economic empowerment in sub-Saharan Africa. The application materials and notes from the review process will be shared publicly unless expressly prohibited by the applicant, there’s a simple first-round application to filter out all but the strongest candidates, and they’re open to funding research if necessary. This is what disruptive innovation looks like. Meanwhile, the Chronicle of Philanthropy catches up with the group’s progress since their very public marketing flame-out a year and a half ago (subscription required).
  • Seth Godin sets up an interesting graph of “bandwidth vs. sync,” posits that commercially viable products either require high levels of attention or involve interaction with multiple people, and places art in the “scrap heap” of neither. (At least he acknowledged art as a means of communication.)
  • CultureFuture’s Guy Yedwab responds to my Gifts of the Muse Arts Policy Library write-up here and here, making some good points about the two supposedly unique intrinsic benefits of the arts that I identified myself as well as the internal logic of the monograph.
  • The NonProfit Times has been making a splash recently with their Power & Influence Top 50 feature about the movers and shakers in the field. But I found another product of theirs more compelling: their “Best NonProfit Organizations to Work For” list. It’s a brilliant idea from a business perspective: first of all, everyone loves lists, and everyone cares about work, so a lot of people will want to read this issue – it will probably be a big seller for them. Second, lots of organizations will want to be on that list for the reputation capital it will provide them, so they’ll get lots of entries. But the best idea is the reporting function. See, the magazine will survey all of your employees for free as part of your participation in the program – you can be one of the best nonprofits to work for without paying NPT a cent. But you don’t ever get to see what your employees actually said about working at your organization – unless you pay about $600-900 for the customized report. It sounds like a lot at first, but actually, it’s really not much at all considering how much it would cost to hire an outside consultant to perform the same survey for you. And even for a relatively small organization of 15 employees, having that information for internal planning would be really valuable – definitely worth 600 bucks. For a larger organization the price is a steal. All in all, a great example of a win-win business model.
  • Acclaimed Harvard economist Edward Glaeser is attempting to do a real cost-benefit analysis of high-speed rail, taking into account not just direct purchases but also externalities such as environmental impact, quality of life, etc. This is the direction economics needs to go in to stay relevant. The series is in multiple parts and only the first two are published so far. Meanwhile, Empire State professor Eric Zencey makes a compelling case for why we should just dump GDP as a concept altogether.
  • How Netflix gets those movies to your home so fast.
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New Blogs!

Enjoy!

Flux Theatre Ensemble
August (Gus) Schulenberg is the main writer for this blog on behalf of Flux Theatre Ensemble, a small company based in New York. Gus writes thoughtfully about a number of theater-related issues including some good arts policy stuff here and there. You can read his recent post about Arlene Goldbard’s talk at the NET Summit here.

Nonprofit Law Blog

“Wouldn’t it be awesome if there were a blog about the intersection between the nonprofit sector and the law?” I can only imagine you have asked yourself this question countless times before reading this post. Enter Gene Takagi’s Nonprofit Law Blog, at which you’ll find helpful legal information you won’t get anywhere else (well, except maybe below). Takagi and contributor Emily Chan have been especially helfpul in staying on top of the L3C saga as the hybrid legal form makes its journey through various state legislatures and the IRS.

Nonprofit Law Prof Blog
Not to be confused with the Nonprofit Law Blog, above, the Nonprofit Law Prof Blog is part of something called the Law Professors Blog Network. Whereas Gene Takagi is a practicing California attorney, the Nonprofit Law Prof Blog is written by a team of academics, several of whom hold adminstrative positions at their respective law schools. NLPB tends to focus more on news than analysis, and closely follows court decisions that have implications for the nonprofit world.

The Mission Paradox Blog
I’ve admired Adam Thurman’s posts at the Americans for the Arts blog for a while now. Turns out Adam has had his own blog at Mission Paradox all this time. The self-proclaimed “Best Arts Marketing Resource in the World” (you gonna take that sitting down, smArts&Culture?) offers intelligent commentary with a Seth-Godin-esque calm assurance.

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Landesman confirmed as NEA Chair

It’s official: Rocco Landesman will be the next Chairman of the National Endowment for the Arts. He was confirmed by voice vote by the Senate yesterday along with Jim Leach for the National Endowment for the Humanities and a host of other public officials.

Sitting down for an interview with the Times‘s Robin Pogrebin, Landesman lived up to his reputation as a firecracker. Witness this series of no-BS quotes from the man who will be the most prominent public face of arts policy in the near future if not beyond:

In American politics generally, he added: “The arts are a little bit of a target. The subtext is that it is elitist, left wing, maybe even a little gay.”

“I don’t know if there’s a theater in Peoria, but I would bet that it’s not as good as Steppenwolf or the Goodman,” he said, referring to two of Chicago’s most prominent theater companies. “There is going to be some push-back from me about democratizing arts grants to the point where you really have to answer some questions about artistic merit.”

Though he would not put a dollar figure on his own fiscal goals, he called the current appropriation of $155 million “pathetic” and “embarrassing.”

The new chairman said he already has a new slogan for his agency: “Art Works.” It’s “something muscular that says, ‘We matter.’ ” …. As for the former agency slogan, “A Great Nation Deserves Great Art,” he said, “We might as well just apologize right off the bat.”

We also learn that Landesman offered himself up for the job, rather than having been recruited for it, and that he seems to harbor few feelings of reverence for his immediate predecessors at the helm. He indicates that he would reinstate the individual artist awards “tomorrow” if it were up to him, though it would take an act of Congress to make that possible again.

I have to admit that I kind of love the idea of a tough-talking NEA Chair, and feel that it will be a helpful weapon in the culture wars that the right seems itching to start up again. The fact that Landesman both has artists’ priorities at heart and is willing to fight for them is very promising indeed. The one quote out of the above that worries me a bit is his attitude toward arts in regional areas — sometimes it’s not all about artistic merit, and there’s certainly something to be said for developing local talent rather than continually losing it all to New York or LA. (Isaac Butler has much more on this here.) On the other hand, Landesman does recognize the arts’ importance to downtown urban economies–presumably, whether they’re in Peoria or anywhere else–and says that he wants to make this focus a “signature” element of his tenure. Landesman promises to be an entertaining figure at the helm if nothing else, and hopefully will end up accomplishing far more than that.

In related news, Joan Shigekawa of the Rockefeller Foundation has been appointed Senior Deputy Chairman of the NEA. While at Rockefeller, Shigekawa served as Associate Director for Arts and Humanities and led forward the notable NYC Cultural Innovation Fund. During her tenure, Rockefeller funded Social Impact of the Arts Project’s Dynamics of Culture and Culture and Neighborhood Revitalization initiatives (the latter a collaboration with The Reinvestment Fund), which collectively represent some of the most sophisticated research ever undertaken on the arts and local communities.

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Fox News gets facts, math wrong in report about NEA grants

Over the past week, Fox News has pushed a storyline on the recent National Endowment for the Arts “stimulus” grants that has an eerily familiar tone:

The National Endowment for the Arts may be spending some of the money it received from the Recovery and Reinvestment Act to fund nude simulated-sex dances, Saturday night “pervert” revues and the airing of pornographic horror films at art houses in San Francisco.

Tellingly, however, the author of the Fox story, Joseph Abrams, can only actually identify three instances of supposedly objectionable programming, all of them in San Francisco: a $25,000 grant to counterPULSE, which has a “pansexual performance series” called Perverts Put Out; another $25,000 to the Symmetry Project, whose dance performance involves nudity; and $50,000 to Frameline, a gay and lesbian film festival and support organization that screened the “pornographic horror film” in question. A grand total of $100,000 of supposed licentiousness. Gee, it’s almost like someone said to someone, “go find some kinky gay stuff in San Francisco that we can use to make the NEA look bad.” Care to wager that’s exactly what happened?

As is rather par for the course for Fox, the network has trouble getting even the most basic facts in its story right. First, these programs are not actually funded with taxpayer dollars at all — the NEA grants were specifically earmarked for staff positions, not programming, a fact pointed out by everyone Abrams interviewed but presented in the article as if it’s some sort of unverified claim. As anyone who has actually applied for an NEA grant knows, there are these things called “contracts” that come along with them that make damn well sure you spend the money on what you said it would get spent on.

Second, as Media Matters points out here, all of these groups got funding from the NEA before, under the Bush administration. Where was the outrage then? Could it be that a change in President suddenly makes things look a little different?

Third, in most cases the offending programming is a tiny portion of these organizations’ activities. The Frameline example is perhaps the most egregious: the organization presents hundreds of films a year and distributes many others; it did not produce or fund in any way the film that’s getting the attention here, which by the way was made 34 years ago.

Even these gaffes, though, pale in comparison to Fox’s strained relationship with basic reading and math skills. Whoever sent out the talking points about this got–get this–the NEA’s portion of the stimulus money wrong! You can’t get much more basic than that. Fox claims that the NEA got $80 million of the ARRA funds, when in fact the agency only received $50 million. Fox is confused by the fact that 60% of that number, or $30 million, was for direct grants to arts organizations, with the other 40% going to state and regional arts agencies. Fox apparently thought that all $50 million was for the direct grants, and that the $30 million was the number going to the states and regions, making for a total of $80 million.

What’s hilarious is that this is not hard information to dig up. EVERY single news story about the NEA and the stimulus since the appropriation took place has included the $50 million number. This $80 million business came out of thin air. Go ahead, Google NEA stimulus $80 million and all you’ll find are this story and related reactions, mostly on right-wing blogs. Now Google NEA stimulus $50 million and you’ll see all the stories by real news outlets. What’s more, Fox links in its own article to the NEA’s list of direct grants, at the bottom of which is the correct total: $29,725,000.

More lack of reading comprehension on Fox’s part:

  • We have this exchange between Greta Van Susteren and Steve Moore from the WSJ last week on On the Record:
    VAN SUSTEREN: See, this is a good place to put taxpayer money. I’m going to write the check for how much?

    MOORE: That one was, you know, several hundred thousand dollars.

    VAN SUSTEREN: I mean, and we have people who can’t make mortgages.

    Umm, no: as mentioned above, none of the grants in question (in fact none of the direct grants at all) were for more than $50,000. And has it occurred to them that some of the people who can’t make their mortgages might, you know, have just lost their jobs working for arts organizations?

  • The article quotes Luis Cancel of the “San Francisco Arts Council.” There is no such organization; Cancel is director of cultural affairs for the San Francisco Arts Commission.

Fox’s laughably bad reporting is certainly hilarious, but unfortunately for artists themselves it’s not such a thigh-slapper. It’s easy to recognize this for what it is: it’s not about the arts at all, but merely an excuse to stoke the base’s anger in order to push other issues that corporate conservatives actually care about (like blocking health care reform) and give Greta and Glenn an opportunity to titter about porn with their guests while pretending to be outraged by sex. Nevertheless, the reality is that support for the NEA in Congress is fickle at best, and even many Democrats are all too easily swayed by the mere fear of having the arts blow up in their faces the way they did 15-20 years ago. Those controversies eventually led to a 40% cut in funding for the agency, from which it is just now only beginning to recover.

So if you care about the arts in your communities, and you don’t want your Congressperson to be distracted by naked fear tactics like these, please: call them up and thank them for supporting the arts. Just as with health care, we need them to know that there ARE people who care on the other side.

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