Dear Reader, About a year ago the Naturally Occurring Cultural Districts (NOCD) working group asked your Man About Town to write a nice, juicy case study about what happens when cultural organizations buy non-cultural facilities and fix them up. This three part series details my findings, although it’s well worth checking out the original report to see case studies from nearly a dozen cultural organizations across the country. You can also read Part I and Part II of this series to learn more about the unique opportunities and challenges of adaptive reuse. Continue reading
Dear Reader, About a year ago the Naturally Occurring Cultural Districts (NOCD) working group asked your Man About Town to write a nice, juicy case study about what happens when cultural organizations buy non-cultural facilities and fix them up. This three part series details my findings, although it’s well worth checking out the original report to see case studies from nearly a dozen cultural organizations across the country. Check out Part I of this series to learn more about the unique opportunities and challenges of adaptive reuse. Continue reading
About a year ago the Naturally Occurring Cultural Districts (NOCD) working group asked your Man About Town to write a nice, juicy case study about what happens when cultural organizations buy non-cultural facilities and fix them up. This three part series details my findings, although it’s well worth checking out the original report to see case studies from nearly a dozen cultural organizations across the country. Continue reading
Just about 110 years ago, the price of kosher meat pretty much doubled overnight. If you were a Jewish homemaker who had to make every penny count in order to keep your family fed, this wasn’t just an inconvenience: it was a serious threat to your economic stability. What’s more, it smacked of racketeering by wholesalers who had a captive market of consumers for kosher foods, and recalled anti-Jewish oppression levied through taxes on Kosher foods in other countries.
Jewish women fought back. They organized a massive boycott of butchers and meat wholesalers that not only succeeded in bringing the prices back down, but became a seminal act of defiance in community organizing and paved the way for major rent and labor strikes to come (including the 1907 Rent Strike and the Uprising of the 20,000).
There’s something I have to tell you, Dear Reader. I have a secret life.
I’ve known this about myself since I was 14 years old. I experimented with this part of who I was a lot while I was in college, but eventually I moved on and settled into a more traditional lifestyle and quietly tucked this side of myself away. I lived like this for years.
But that’s been changing. It all started shortly after my first marriage ended, when I was looking for something to take me back out into the world. Suddenly, this other side of me seemed unavoidable – I felt so compelled to show who I really was, to do it again and again. I worked on Wall Street at the time, and suddenly it seemed people like me were everywhere and I had never noticed before: hanging out in seedy bars with late night open mics, or sneaking out during our lunch breaks to a quick session in a rented room nearby. We led a second life complete with different friends, different clothes, different mannerisms, but more fully ourselves.
And then I met my current partner, Ryan. Unlike me, Ryan had never hid behind another identity. Ryan is proud, fearless, open, visible. When, during one of our first dates, Ryan suggested we write a musical together, I knew I could no longer hide who I was.
ArtsBlog (the blog of Americans for the Arts) recently hosted a forum called: “So, Does Size Matter?” The short answer is hell yes it does, but I disagree with most of the writers about why. I found the best piece in the series was penned by the whip-smart Ian David Moss (Economies and Diseconomies of Scale in the Arts – Take Two), and it was his post that inspired both me to both write an initial comment, and then to take on the subject more fully below.
You see, Dear Reader, like many of my fellow funders and financiers I’ve often touted the benefits of moving toward greater scale: improved operational efficiencies, greater programmatic reach, increased access to resources, heavier political punch. But I’ve also struggled with the oft recognized but seldom addressed reality that scale is not an answer in and of itself, and that sometimes scaled solutions leave even larger problems in their wake. Thanks to Ian, I think I got the mental kick in the epiphany I needed.
And here’s why I think scale sometimes, well, stinks up the joint. Continue reading
Your Man About Town’s middle name is Moderation, Dear Reader; and although it is a somewhat awkward locution when making a full introduction, it nonetheless conveys the important fact that your Man About Town’s middle name is not Tom, Dick or Harry. I moderate. I facilitate. I have even been known, at times, to adjudicate.
So when the New York Chapter of the Grantmakers in the Arts asked if I wouldn’t mind moderating a panel on creative placemaking at the Queens Museum of Art earlier this month, I could no more deny them than I could my very nature. Or at least, the very nature of my personal brand. Continue reading
In my earlier posts on this subject, dear reader, I first endeavored to put a finer point on the more than thousand-fold revenue variation between the largest cultural organizations in NYC, and the median cultural organization. Holy stromboli you say? Yes! While the very largest nonprofit culturals have revenues of more than $300 million annually, more than half the groups in my most recent study had revenues of less than $250 thousand. What’s more, the top five very largest organizations received nearly half of all city funding (their share being a whopping $133 million).
Dear Reader, below you will find testimony that I presented recently before a joint hearing of the New York City Council on the impact of the arts on small businesses and community economic vitality. You may very well be interested in two previous posts on this subject: The Art$ (wherein I discuss the economic realities of very small versus very large nonprofit culturals in NYC), and The Art$ – Part II (wherein I dig deeper into how very large nonprofit culturals make their money compared to how small nonprofit culturals do). Continue reading
In my most recent post (The Art$), dear reader, we started a conversation about some of the differences between very large cultural organizations and, well, everybody else. I pointed out that members of the Cultural Institutions Group (CIG) tend to be concentrated in the upper bracket. I also said that, frankly, there should be further research conducted on how income streams and strategies vary based on whether or not an organization is a member of the CIG. (For a powerful statement on funding inequity in the arts, check out this really great report written by Holly Sidford for the National Committee for Responsive Philanthropy.)
But while being a member of the CIG may make you privileged, it doesn’t make you evil. I think that good policy comes out of an informed debate about our resources and our choices in using those resources. We’ve got all this lovely data, so let’s use it to analyze the assumptions underlying the present system. Assumptions we can analyze, assess and alter – or not – based on our current, best understanding.
So, let’s look at another juicy issue. In our last episode, our hero was pondering the following chart: Continue reading