There is no doubt that fast CEO turnover telegraphs messages to the public. If you are a large cultural institution dependent in part on large gifts, that can make the path forward ever tougher.
Art is omnipresent in Puerto Rico. It’s not defended or extolled as important; it just is. Art is also a significant site of social discourse—even more so for a nation struggling with colonialism. At Crearte, it’s described as a potent form of self-creation.
The HUGE Theater in Minneapolis is making a point of treating their artists like professionals.
As is true with many nonprofit theater companies, the nonprofit Second Stage Theater’s mission is to support works that would otherwise be unlikely to see a Broadway premiere.
Austin Opera has fired its artistic director for “inappropriate behavior in violation of the company’s policy on harassment.” This is the third prominent arts leader to be accused of sexual harassment in recent months. Is this a pervasive problem?
If the public is concerned about the value of the arts as a local economic driver, then Americans for the Arts has contributed greatly to the field through its systematic documentation approach.
As institutional funding sources become less reliable for arts organizations, theater companies—especially larger ones—are investing more resources in mining data and thoughtfully targeting individual donors.
A partnership between a conservatory, an arts nonprofit, and Milwaukee Public Schools brings art education to the schools while boosting the conservatory’s financial bottom-line.
What happens when you try to keep the boundaries around your nonprofit organization impermeable and attend only to what’s inside them? It may feel safe and well contained for a while, but eventually…well, read on.
Under a cloud of suspected embezzlement by a former executive director, the city-owned, multi-tenant Red Brick Center for the Arts tries to regain its footing and rethink its management/oversight structure.
