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Our Weekly Audience Story Roundup

February 14, 2016 by Douglas McLennan Leave a Comment

  So what do audiences want? Cheaper tickets, for sure. Or at least the opportunity to pay what they want.   One theatre converted its season to pay-as-you-want and saw a 50% increase in audience. But perhaps it's frustrating that people don't see more people like themselves on stages. "One of my frustrations with what happens on the stage a lot of the time … [Read more...]

Engagement Is a Means, Not an End

February 10, 2016 by Douglas McLennan Leave a Comment

So much interesting stuff has been written recently about engagement and related topics, I barely know where to begin. The Irvine Foundation has published a series of mini-essays responding questions about engagement. [Part 1, Part 2, Part 3] Diane Ragsdale posted an extended response to Irvine’s question “Is there an issue in the arts field that is more urgent than … [Read more...]

This Week in Audience, Audience, Who’s Got The Audience

February 7, 2016 by Douglas McLennan Leave a Comment

There are so many ways that people watch TV shows these days that the television industry has no idea how to measure whether a show is a hit. “Nielsen, the 93-year-old company that has long operated an effective monopoly over television ratings in the United States, is facing blistering criticism from TV and advertising executives who see it as a relic of television’s … [Read more...]

Irvine asks: Is there an issue in the arts field more urgent than engagement?

February 2, 2016 by Douglas McLennan Leave a Comment

Diane Ragsdale: What purpose do “engagement events” serve if people don’t start showing up at the museum? and Are culturally and racially-specific organizations negatively affected when mainstream arts organizations offer diverse programming? READ MORE … [Read more...]

This Week in “What Do Audiences Want”?

January 31, 2016 by Douglas McLennan Leave a Comment

Audience tastes are always changing. Artists are always changing. So how do you determine popularity? The data's in: For the first time, old recordings outsold new releases in 2015. This despite the massive popularity of Adele’s new album late in the year. When all of recorded music is available on demand anywhere, it’s not surprising that the back catalogue becomes more … [Read more...]

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WALLACE FOUNDATION AUDIENCE RESOURCES

NEW!



WORLD MUSIC/CRASHarts Tests New Format New Name to Draw New Audiences
This article and video are part of a series describing the early work of some of the 25 performing arts organizations participating in The Wallace Foundation’s $52 million Building Audiences for Sustainability initiative. Launched in 2015 in response to concerns about a declining audience base for a number of major art forms, the endeavor seeks to help the organizations strengthen their audience-building efforts, see if this contributes to their financial sustainability, and develop insights from the work for the wider arts field.


Think Opera’s Not for You? Opera Theatre of Saint Louis Says Think Again
Analysis showed that while the company’s core audience bought several tickets each year, even tending to schedule their May and June around opera season, newcomers behaved differently.




Can the City's Boom Mean New Audiences for the Seattle Symphony?
In line with the community’s spirit of innovation, Seattle Symphony is using audience research to help target and woo recent transplants.





Denver Center Theatre Company is Cracking the Millennial Code...One Step at a Time
The average single-ticket buyer at the Denver Center Theatre Company is 50 years old and the average subscriber is 63, despite the fact that millennials, a group often defined as people born between 1981 and 1997, compose the largest age group in Denver. Since 2010, the Denver Center has been engaged in an iterative process of experimentation, evaluation and refinement to help reverse this trend.



The Party’s Still a Hit: The Isabella Stewart Gardner Museum Builds on its Millennial Momentum

That ongoing research has revealed areas to adjust, as well as successes. Soon after the re-opening, for example, the team partnered with a local music school, taking the opportunity to hold 45-minute concerts in Calderwood Hall. But in part through survey results, it realized the approach didn’t work. [read more]



Austin Ballet’s “Familiarity” Problem And How It Learned To Connect With New Audiences



“Encouraging people to attend the ballet more often was less about increasing their familiarity with productions and more about bridging an uncertainty gap. “Familiarity is about information,” notes Martin, “whereas uncertainty about how an experience will feel is much more personal. You can give somebody a lot of information but that’s not necessarily going to reassure them that they’re going to belong in that audience.”

How the Contemporary Jewish Museum
Expanded its Reach



​​​The Contemporary Jewish Museum in San Francisco moves to a larger space and secures a nine-fold increase in family visitors of all backgrounds.

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