The Arts Council of New Orleans- An Internship Report

University of New Orleans ScholarWorks@UNO Arts Administration Master's Reports Arts Administration Program 5-2014 The Arts Council of New Orleans: An Internship Report Elise Richardson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Part of the Arts Management Commons Recommended Citation Richardson, Elise, "The Arts Council of New Orleans: An Internship Report" (2014) Arts Administration Master's Reports 161 https://scholarworks.uno.edu/aa_rpts/161 This Master's Report is protected by copyright and/or related rights It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s) You are free to use this Master's Report in any way that is permitted by the copyright and related rights legislation that applies to your use For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself This Master's Report has been accepted for inclusion in Arts Administration Master's Reports by an authorized administrator of ScholarWorks@UNO For more information, please contact scholarworks@uno.edu The Arts Council of New Orleans An Internship Report Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration by Elise J.M Richardson B.A Tulane University, 2006 May, 2014 Table of Contents List of Figures & Tables v Abstract vi Chapter One: The Arts Council History Management Structure Marketing Department Fundraising & Budget 11 Chapter Two: Programs & Services 15 Grant Administration 15 Cultural Advocacy .16 Public Art 17 Arts Business Program .18 Arts Market of New Orleans 19 Community Arts Awards 20 Dirty Linen Night .21 ArtsNewOrleans.org 22 Chapter Three: The Internship 27 The Marketing Department 27 The Color Run 30 The Grant Panel 31 ii Chapter Four: S/W/O/T Analysis .36 Strengths 37 New Leadership .37 Fundraising 38 Arts Business Program 39 ArtsNewOrleans.org 41 Weaknesses 42 Board Governance 42 Technology 44 Volunteer Management & Outreach 47 Membership Benefits 48 Opportunities 50 Prospect.3 50 Office of Cultural Economy 52 University Outreach 54 Hotel & Tourism Industry Partnerships 55 Threats 57 Image Problems 57 Funding 60 Chapter Five: Best Practices .68 Board Leadership & Development 68 Grant Funding Decisions by Peer-Review 72 Effective Web Design 76 iii Best Practices at the San Francisco Arts Commission .82 Chapter Six: Recommendations 89 Upgrade Technology 89 Improve Website Design & Maintenance 91 Improve Volunteer Recruitment & Management 93 Increase Transparency & Accountability 95 Improve Membership Benefits 98 Chapter Seven: Conclusion .101 Bibliography .104 Vita 112 iv List of Figures & Tables Figures Figure Figure 10 Figure 77 Figure 78 Figure 79 Figure 85 Figure 85 Tables Table 36 v Abstract The Arts Council of New Orleans is the official arts agency of New Orleans, located at 935 Gravier Street The organization supports and develops the arts community through many different programming initiatives, including administering grants, managing a monthly Arts Market, and providing business training to artists In this internship report, I discuss my role within the organization during my internship, which began in January 2013 and lasted through June 2013 I then analyze my observations of the organization’s strengths, weaknesses, opportunities and threats, and provide recommendations for improving the Arts Council’s operations based on best practices and expert literature in the field of nonprofit management The Arts Council hired a new CEO in May of 2013, after a seven-year period of operating under interim management With a permanent leader now in place, the organization is in a position to apply my recommendations so it can grow into a stronger arts agency, and better serve the New Orleans community Keywords: Arts Administration, Arts Council of New Orleans, Marketing, SWOT, Best Practices, Nonprofit Management vi Chapter One: The Arts Council Officially established in 1981, the Arts Council of New Orleans plays a key role in the cultural economy of the city and surrounding parishes The Arts Council’s mission, “to support and to expand the opportunities for diverse artistic expression and to bring the community together in celebration of [its] rich multi-cultural heritage,”1 is achieved through arts and culture advocacy, grant making, public art projects, and marketing and business development for artists In addition to these services, the Arts Council hosts events throughout the year, including its monthly Arts Market; its annual Community Arts Awards ceremony; and its art-centric block party, Dirty Linen Night As the City’s official arts agency, the Arts Council also serves as a liaison between City Hall and the numerous arts organizations in the region; as well as local, state, and national organizations concerned with economic development through arts and culture initiatives.2 History New Orleans did not have an organization resembling an arts council until 1970, when then-Mayor Moon Landrieu established the City of New Orleans Cultural Resources Committee Headed by Thomas B Lemann, the Cultural Resources Committee was granted $150,000 by the Zemurray Foundation in 1975 in order to establish a private, non-profit organization to serve as the City’s official arts agency The new Arts Council of Greater New Orleans (ACGNO), lead by Executive Director Geoffery Platt, Jr., managed state arts funding for the City of New Orleans, while also working to secure additional grants in support of expanding cultural programming for the city In 1977, the ACGNO received its first National Endowment for the Arts (NEA) grant award for $12,000, which helped to fund a series of cultural programming initiatives.3 This early programming included Arts Fest, an annual street festival held in downtown New Orleans; Brown Bag Concerts, a series of outdoor concerts held in Lafayette Square and Duncan Plaza during the spring and fall; Seldom Seen, a series of fundraising exhibitions that featured “artworks from private collections”;4 a weekly radio program called “Arts Report”; and the Mayor’s Arts Awards Additional funding made available by President Carter’s expansion5 of the Comprehensive Employment and Training Act of 19736 was used to employ local artists for various projects around the city.7 The election of New Orleans’ first African-American mayor, Ernest “Dutch” Morial, in 1978, ushered in an era of “democratizing” the City’s political and economic structures, which involved overhauling many of the City’s public sector organizations that were led by “primarily nonelected [sic] boards and commissions.”8 During this process of democratization, a number of task forces were appointed by the mayor to make policy recommendations, including a Task Force on Arts Policy appointed in 1979 The task force was asked to examine the ACGNO’s role of supporting and promoting arts and culture in New Orleans, and to determine to what extent the city government should become more involved in those activities.9 The thirty-six citizens appointed for the Task Force on Arts Policy were selected based on their involvement in the arts community, and represented a “broad range of interests.”10 By May of 1979, they had completed their analysis of the current state of arts and culture development in New Orleans, and their recommendations were submitted to the Mayor’s office for consideration The city and the Arts Council have since based much of their activities upon these recommendations One of the first recommended actions taken by the Mayor’s office was the establishment of the Office of Arts and Cultural Affairs, which required a supplemental Committee for Arts and Cultural Development Presumably, the Office of Arts and Cultural Affairs was responsible for administering state arts funding, while the ACGNO, as a private non-profit organization, continued to provide its programming through development and fundraising After two years of operating as separate and distinct entities, the Committee for Arts and Cultural Development and the Arts Council of Greater New Orleans finally merged in 1981 to become the Arts Council of New Orleans.11 According to the Arts Council of New Orleans’ webpage describing the organization’s history, the Committee for Arts and Cultural Development quickly discovered that the City was unable to support the development and promotion of the arts in New Orleans on its own, and that partnering with the private sector would lead to more funding, better programming, and more sustainable growth for the cultural economy.12 Sociologist Kevin Fox Gotham posits in his book Authentic New Orleans: Tourism, Culture, and Race in the Big Easy, that the formation of the Arts Council of New Orleans in 1981 was a result of the City’s preparation for the 1984 Louisiana World Exposition With such a large-scale event bringing an influx of tourism to the city, a number of “new organizations and new cultural institutions for building local awareness of culture”13 emerged, and the increased interest “in showcasing New Orleans to the world”14 resulted in the formation of the Arts Council of New Orleans as it is known today In Gotham’s view, the City capitalized on the enthusiasm for and support of local arts and culture leading up to the 1984 Louisiana World Exposition by merging the City’s Committee for Arts and Culture Development with the community’s Arts Council of Greater New Orleans The resulting organization, the Arts Council of New Orleans, would benefit from grassroots involvement in its programming and projects, and have the ability to raise funds through corporate sponsorships and private donations while still receiving government funding for the arts through grants Improve Membership Benefits Although the Arts Council added several revenue generating projects to its fundraising plan over the past seven years, the organization still needs to increase its membership base The Arts Council’s lowest level of membership, Arts Entrepreneur, offers benefits that appeal to artists or arts organizations, but not the average arts consumer Higher levels of membership, which offer benefits that an arts consumer would find appealing, are unaffordable Improving the membership structure so it is affordable and appeals to non-artists will increase the Arts Council’s membership numbers and the revenue generated from membership dues The following are recommendations for improving the Arts Council’s membership structure and benefits using resources the organization already has at its disposal Create a new membership package, the Arts Admirer, priced at $100 and targeted towards arts consumers instead of artists Members at this level receive the same benefits as Arts Entrepreneur members, like invitations to members-only events, as well as the additional benefits listed below Arts Admirer members receive the ArtSavers newsletter before its release to the entire mailing list, giving members early access to ArtSavers offers which include limited quantities of free or discounted tickets for arts events around the city Arts Admirer members receive two discounted tickets to the Community Arts Awards or two free tickets Dirty Linen Night after-party This benefit encourages members to attend the Arts Council’s events, thereby improving the members’ relationship with the organization 98 Arts Admirer members receive a ten percent discount with vendors at the Arts Market This benefit encourages member attendance at the Arts Market and bolsters artists’ sales as well Arts Entrepreneur members receive expanded profiles and promotional tools on ArtsNewOrleans.org For example, an expanded profile allows members to upload multimedia, or gives them the ability to upload more content A data cap limits nonmember profiles, which incentivizes membership Promotional tools may include ads on the website or a “sponsored event” on the calendar that is shown as a top-level item on the event listings page Arts Enthusiast members receive the same benefits as Arts Admirers, with some improvements a Arts Enthusiast members receive two patron tickets to the Community Arts Awards and two tickets to the Dirty Linen night after-party b Arts Enthusiast members receive ten Arts Market Dollars as well as a ten percent discount at the Arts Market The Arts Market Dollars and the discount may not be used in conjunction By adding a membership level that appeals to, and is affordable for, the average arts consumer in New Orleans, the Arts Council would be able to expand its membership base Incorporating these new benefits into the organization’s current membership structure may also increase the number of higher-level memberships sold The value associated with being a member of an organization has a direct relationship to the benefits offered with membership Improving membership benefits increases the value of membership for consumers, which leads to more membership sales But increasing revenue from membership dues is not the only 99 impetus for improving membership benefits; an organization’s membership base is its most reliable source of grassroots advocacy, and memberships that provide value create members that are loyal and supportive End Notes Marc Osten, “Technology and Strategy for Organizational Effectiveness,” in The Nonprofit Handbook: Management, 3rd ed., ed Tracy Daniel Conners, (New York: John Wiley & Sons, Inc., 2001), eBook Collection (EBSCOHost), 326 Ibid., 328–341 Marlene Fox-McIntyre, “Internet Strategy for Nonprofits,” in The Nonprofit Handbook: Management, 3rd ed., ed Tracy Daniel Conners, (New York: John Wiley & Sons, Inc., 2001), eBook Collection (EBSCOHost), 203 Ibid Ibid., 209 Stephen McCurley, “Keeping the Community Involved: Recruiting and Retaining Volunteers,” in The Jossey-Bass Handbook of Nonprofit Leadership and Management, 2nd ed., ed Robert D Herman et al., (San Francisco: JosseyBass, 2005), 589 Ibid Ibid Ibid., 591 10 Ibid., 595 11 Ibid 12 Ibid., 599-600 13 Ibid., 597 14 Nancy R Axelrod, “Board Leadership and Development,” in The Jossey-Bass Handbook of Nonprofit Leadership and Management, 2nd ed., ed Robert D Herman et al., (San Francisco: Jossey-Bass, 2005), 140 15 Ibid 16 Ibid 17 “Strategic Plan,” San Francisco Arts Commission, accessed March 21, 2014, http://www.sfartscommission.org/strategic-plan-2/ 18 “Tiffany Adler Named Arts Council Board Chair,” Arts Council of New Orleans, last modified February 12, 2014, accessed March 28, 2014, http://www.artscouncilneworleans.org/article.php?story=20140212122147132 100 Chapter Seven: Conclusion The Arts Council of New Orleans is at an important turning point in its history With a new CEO in place, the organization can finally move forward and take decisive action towards achieving its mission The recent appointment of E Tiffany Adler as Chair of the Board marks an important “change in generational leadership”1 at the organization as well, and this change has the potential to transform the Arts Council into a thriving, twenty-first century arts institution Transparency and accountability should be integrated into the Arts Council’s new identity, not only for the sake of the organization’s image, but also for the sake of the community The Arts Council needs to open itself up in order to learn what the community needs from its arts agency A give and take of information between the Arts Council and the community strengthens both Transparency and accountability should also pertain to the Arts Council’s board; I am hopeful that, under the direction of the new chair, the board will improve its political competency, as well as those competencies that focus on creating a cohesive team of board members My contributions to the Arts Council of New Orleans were short-term in nature I relieved Ms Glatz of the management of ArtsNewOrleans and the ArtSavers newsletter, an unmanageable workload in combination with her more pressing responsibilities as Director of Marketing The Arts Council has not updated featured content on ArtsNewOrleans since October 2013 This neglect undermines the viability of the ArtsNewOrleans website, one of the Arts Council’s strengths A part-time employee, tasked with the management of ArtsNewOrleans and the ArtSavers newsletter, could easily resolve the problem of unmanageable workload faced by 101 the Marketing Department The Arts Council could generate revenue for this part-time position by improving membership benefits and increasing revenue from membership dues My long-term contributions to the Arts Council are hard to determine with any certainty I spent much of my time during my internship managing ArtsNewOrleans, which, sadly, is no longer updated After the arrival of Ms Cook, I was no longer invited to staff meetings, so I cannot say if the organization implemented any of my recommendations, or plans to implement them in the future, apart from what Ms Cook stated publicly Ms Cook’s interviews with local media outlets imply that she understands the importance of technology, so I am hopeful that the Arts Council will adopt a strategic technology plan Ms Cook also states that she wants to expand the focus of the Arts Council beyond artists to include the community at large, through better-integrated public art, and by increasing opportunities for experiencing art.2 My recommendations regarding properly managing ArtsNewOrleans, and asking for community feedback, are both well suited to achieving the goals Ms Cook set for the Arts Council If the organization can embrace the changes that are necessary for growth, then the Arts Council is poised to become the arts agency New Orleans always needed Although the destruction of Hurricane Katrina in 2005 was devastating, it also allowed New Orleans to reinvent itself Young professionals flocked to the city in 2006 and 2007 because New Orleans presented an opportunity to truly make a difference by helping to rebuild one of America’s greatest cities.3 This influx of young, enthusiastic professionals reinvigorated the city, and since 2006, New Orleans has grown into a tech startup hub, known to some as Silicon Bayou.4 New Orleans is embracing the new economy of the twenty-first century, despite the city’s reputation for clinging to its long-held traditions As a result, arts organizations in New Orleans must also embrace the city’s changing industries and population demographics Even a 102 well-established organization like the Arts Council cannot thrive in New Orleans without realigning its goals to better serve the community Utilizing appropriate technology, engaging with the community in order to understand its needs, and demonstrating value are necessary for the Arts Council to define itself as New Orleans’ principal arts organization The importance of the Arts Council’s role in the community cannot be understated As New Orleans blossoms into an innovation hub, the need for a strong organization to champion the arts in the city becomes even more imperative The Arts Council must be capable of supporting and developing arts and culture in New Orleans to keep pace the city’s desire for economic development In order for the Arts Council to be effective in its capacity to advance the arts in New Orleans, the organization should be ready and willing to adapt with the changing needs of the community End Notes “Tiffany Adler Named Arts Council Board Chair,” Arts Council of New Orleans, last modified February 12, 2014, accessed March 28, 2014, http://www.artscouncilneworleans.org/article.php?story=20140212122147132 Sharon Litwin, “Voices of the Arts: Arts Council’s Kim Cook,” NolaVie, October 7, 2013, accessed March 28, 2014, http://nolavie.com/2013/10/voices-of-the-arts-arts-councils-kim-cook-96140.html Maggie 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