This posting describes 2 organizational variants. The first occurs often, but nonetheless needs highlighting. I believe the second is rare and worth examining.A number of standard NFP's own, or partially own a commercial entity. These range from real estate and parking garages, to catering facilities, ticketing operations, and licensed software, e.g. Tessitura software is owned by the Metropolitan Opera. From what I can glean, the percentage of annual budget that these entities provide range from 5 to15%. Outside the immediate … [Read more...]
Why So Many 501 (c)3′s?
I grew up professionally in the 501(c)3 world. It was "the" aspirational model. At the time, in the late 1960's/early 1970's, I don't think anyone foresaw the enormous growth of these NFP's in the arts, or the concomitant problems this growth would cause. To get to a place where arts entities can freely consider alternative organizational models, it's essential to learn why the 501(c)3 model became the standard. For one, it had so much to offer: independence, identity, and tax-deductibility. Additionally, this model was … [Read more...]
Does Sustainability Mean Artistic Success?
My recent post, Too Big to Succeed, generated some discussion about what constitutes success. I believe organizations would likely define success as implementation of their mission at the highest level permitted by their finances. Does this make sense? Yes, of course, but it obfuscates the delicate relationships within the production of the artistic product, its relationship to money and organizational size. We have become accustomed to a certain kind of thinking, that in order to perform or exhibit a challenging … [Read more...]
Too Big To Succeed?
I have appreciated the many comments that my first blog engendered. My initial outline for future postings included "ranting" a bit about the systemic issues that make the standard NFP model dysfunctional, and then post some new and emerging models I've discovered. These models range from those currently in action to those still in construction. For artistic entities, the ultimate goal is to understand what one's or one's organization's structural needs are in relation to mission, then either match them with what's available, … [Read more...]

Recent Comments
Tom Aageson on Arts Entrepreneurship — Student Work
Jim...this is a terrific initiative....it reminds me of Paducah's work to restore housing stock with artists as well as ArtSpace.org....Tom Aageson on New Degree Program
This academic track is very important as ground work for the world of cultural and creative enterprise. While the...Dominick Balletta on Arts Entrepreneurship Degree
A vital need for these entrepeneurs is the ability to assess exactly what they want to do and what are...Mark Pomerantz on New Degree Program
Any objecting to reprinting this in the USASBE (www.usasbe.org) newsletter? USASBE is the academic organization of entrepreneurship educators.Lori Hager on New Degree Program
Great conversation. There have been many arts entrepreneurship programs emerging in the last couple of years. It is...Debbie on New Degree Program
I would argue for the need to have more-indepth accounting and law classes given that start-ups may not have the...John R. Jackson on New Degree Program
Dear Vicci, Excellent point and I hope it is strongly considered. I am the Executive Director of Arts High Foundation...Tamiko Terada on New Degree Program
I am a current MFA student in the Arts Leadership program at Seattle University. It has similar objectives to...Vicci Johnson on New Degree Program
Hey Folks, consider a different angle. ...John Brown on New Degree Program
I'd advise a look at Chicago Shakespeare Theater's program with The Theatre School /DePaul -- not for its curriculum, but...