AJ Four Ways:
Text Only (by date) | headlines only
- Fort Worth Symphony Orchestra seeks Vice President, Marketing and PR
Aspen Leadership Group is proud to partner with Fort Worth Symphony Orchestra in the search for a Vice President, Marketing and PR.
Reporting to the President & CEO, the Vice President, Marketing and PR will lead the Fort Worth Symphony Orchestra’s storytelling and audience-development strategy, with responsibility for marketing and selling approximately $3 million in annual ticket revenue across a broad and dynamic portfolio of programs. This includes the Symphonic and Pops subscription series, the annual fundraising Gala, Kimbell Chamber Music and Family programming, and a wide range of community events. Working in close partnership with the President & CEO, the Vice President will play a central role in advancing the FWSO’s distinctive “Theater of a Concert” programming approach, which integrates dance, singers, projections, actors, and other visual elements into traditional symphonic and pops experiences. The Vice President will also lead high-profile promotional efforts highlighting the orchestra’s artistic leadership, including four-time Grammy Award–winning Music Director Robert Spano and distinguished Guest Conductor Dame Jane Glover.
The Vice President will collaborate closely with the President & CEO and Vice President, Operations on the selection and positioning of Pops and Specials programming to maximize earned-revenue margin in future seasons. They will play a lead role in promoting the FWSO’s collaborations with a broad range of artistic partners as part of the orchestra’s “Theater of a Concert” productions, including organizations such as the Kimbell Art Museum, Sid Richardson Museum, Bruce Wood Dance, and Dallas Theater Center. In partnership with the President & CEO and the Development team, the Vice President will help design and launch a new “VIP Marketing” capability, providing customized, high-touch marketing support for the organization’s top 75–80 donors. The Vice President will lead the Box Office and Marketing teams; oversee the FWSO website and Tessitura functions; and collaborate closely with the Director of Education and Community Programs. As a member of the orchestra’s front-line leadership team, the Vice President is expected to attend concerts regularly to build relationships with key donors and patrons, including engagement during intermission, and to address patron concerns as needed.
The Fort Worth Symphony Orchestra (FWSO) stands as one of Texas’s leading cultural institutions and one of the most artistically vibrant regional orchestras in the United States. Since its founding in 1912, the Orchestra has been a cornerstone of Fort Worth’s cultural identity and a vital force within the city’s thriving arts community. Chaired for many years by the distinguished philanthropist and arts leader Mrs. Mercedes T. Bass, the FWSO has set an ambitious path since 2019 to deliver performances and community engagement at the highest level. Its musicians, leadership, and board share a bold mission: to perform great symphonic music at the highest level of artistic excellence to educate, entertain, and enhance cultural life; to present engaging music education programs for young people to foster early interest in and inspire lifelong enjoyment of music; and to achieve ever-greater levels of artistic accomplishment and leadership in Fort Worth and across the nation. Under the artistic direction of Music Director Robert Spano, who joined the Orchestra in 2022, the FWSO continues to achieve new levels of artistic excellence and innovation.
The FWSO’s artistic strength and community impact are supported by an ambitious and successful program of donor recruitment, prudent management, and forward-thinking strategy. With an annual operating budget of approximately $15.5 million, 72 exceptional musicians, an endowment of approximately $30 million, an engaged 75-member Board of Directors led by Chairman of the Board Mrs. Mercedes T. Bass, and a dedicated professional staff led by President & CEO Dr. Keith Cerny, the Orchestra operates from a position of organizational health and sustainability. The FWSO also recently launched a special fundraising campaign for artistic excellence, which has already raised over $1.5 million in just a few weeks. As it enters its second century, the Fort Worth Symphony Orchestra remains deeply committed to artistic excellence, education, and innovation. It is an ensemble that embodies both the rich traditions of symphonic music and the evolving creativity of a modern cultural institution. With a clear strategic vision, exceptional leadership, and a dynamic relationship with its community, the FWSO is poised to expand its reach, nurture the next generation of audiences and artists, and reaffirm the transformative power of orchestral music in Fort Worth and beyond.
A bachelor’s degree in Marketing, Business, or a related field, and at least ten years of progressive experience in marketing, preferably in the arts, is required for this position. Detailed knowledge of some aspect of symphonic or pops repertoire is preferred. Fort Worth Symphony Orchestra will consider candidates with a broad range of backgrounds. If you are excited about this role and feel that you can contribute to FWSO, but your experience does not exactly align with every qualification listed above, we encourage you to apply. All applications must be accompanied by a cover letter and résumé. Cover letters should be responsive to the mission of Fort Worth Symphony Orchestra and the responsibilities and qualifications specified in the position prospectus.
The salary range for this position is $125,000 to $140,000. Fort Worth Symphony Orchestra offers a comprehensive package of benefits, including health, dental, and vision insurance, retirement plans, an Employee Assistance Program, and generous vacation days, paid time off, and paid holidays.
If you require reasonable accommodation in completing this application, interviewing, or participating in the selection process, please contact Kim Farr at kimfarr@aspenleadershipgroup.com.
To apply for this position, visit: https://apptrkr.com/6863954.
- Good Morning
Today’s AJ highlights: Contraction of the institutional arts world continues. The Metropolitan Opera has announced layoffs and pay cuts for top executives to balance its books (The Guardian ). This financial pressure is mirrored in the theater world; the Williamstown Theatre Festival has canceled its upcoming summer season to “rethink its future” and is considering moving to a biennial model (The Washington Post (MSN) ). Even the Sundance Film Festival is in a state of profound transition, preparing for its final run in Park City following the death of founder Robert Redford and a planned move to Boulder, Colorado (AP ).
Political and ideological battles are also intensifying at the institutional level. In Alabama, a state library board has withheld funding from a library that refused to relocate The Handmaid’s Tale to the adult section (The Daily Beast ). Meanwhile, reports indicate that New Deal-era murals are being targeted for removal, with critics labeling the Depression-era public art programs as “too woke” (Hyperallergic ). The Pakistani government continues the expulsion of Afghan musicians who fled the Taliban (The New York Times ).
On the industry front, the definition of success is being rewritten. While some declare the “starchitect” era over in favor of collaborative models (Dezeen ), the publishing world is finding a massive boost in “Romantasy”—women-centered fantasy fiction that prioritizes magic and meaningful relationships (The Conversation ). In the visual arts, the Philadelphia Art Museum is reportedly considering redoing its recent “botched” rebrand f(Hyperallergic ).
Finally, we look at the fallout of a major museum breach: new footage of the Louvre jewelry robbery shows perpetrators using disc cutters to open display cases while staff members were unable to intervene (Artnet ).
All our stories below.
- A Labor Economist Looks At Opera And Says It Isn’t Dying (But Its Business Model Might Be)
Christos Makridis of Arizona State University: “I found the public’s demand for meaningful, live cultural experiences — including opera — remains strong. … (But) few opera companies have embraced strategies the rest of the entertainment industry regularly uses: audience data analysis, experimentation with digital content and streaming, engagement through online platforms rather than brochures.” – The Conversation
- San Francisco Ballet And “Anticipatory Obedience”
Trot out the national anthem, the flag or a John Philip Sousa march, they believe, and it’s like a free exclamation mark to whatever point they’re trying to make: “Ha! See? The stars and stripes are on my side!” – San Francisco Chronicle
- There’s More Footage Of The Jewelry Robbery At The Louvre — And It Looks Pretty Bad
“The two perpetrators can be seen wearing balaclavas and using disc cutters to slice open display cases. The theft takes place under the watch of staff members who were not able to intervene.” – Artnet
- Author and Alter Ego Cruise a River Called America<a href="https://www.artsjournal.com/herman/2026/01/author-and-alter-ego-cruise-a-river-called-america.html" title="Author and Alter Ego Cruise a River Called America” rel=”nofollow”>
For readers familiar with his work, it will come as no surprise that Swiss novelist Christoph Keller’s prose in English, an adopted language, has the idiomatic flare of a native speaker. Nor is it a surprise that much of his latest novel is again set in downtown Manhattan, where he - Women-Centered Fantasy Is Fueling The Publishing Industry
Women are rewriting the rules of sword-and-sorcery, trading testosterone-fueled quests for romance-driven adventures. Publishers are discovering that dragons plus dating equals dollars—who knew female readers wanted both magic and meaningful relationships? — The Conversation
- Philly Art Museum’s Rebrand Needs a Rebrand (And Might Get It)
Nothing says “we nailed it” quite like forming a task force to fix your fresh new identity while quietly showing your chief marketing officer the door. Sometimes the most authentic brand move is admitting you got it spectacularly wrong. — Hyperallergic
- Trump Takes Aim at New Deal Murals
Because nothing says ‘making America great again’ like erasing the last time we actually invested in artists. Depression-era public art programs apparently too woke for 2025. Grandma Moses weeps. — Hyperallergic
- A Look At Opera’s Sexiest Tune, With Its Reigning Singer
Mezzo Aigul Akhmetshina on the Habanera from Bizet’s Carmen. – The New York Times
- Writers vs. Machines: The John Henry Complex Returns
ChatGPT has writers channeling their inner folk hero, hammer in hand. But as Stephen Marche notes, we’ve been dancing with technological muses long before algorithms—typewriters, anyone? — LitHub
- Why Movies Launch And Music Drops
A key reason why it’s now more complicated to promote an album than, say, a theatrically released film, is the ephemeral, immaterial nature of contemporary music consumption. By comparison, most films that see a theatrical release maintain a predictable, streamlined promotional schedule. – The New Yorker
- Afghan Musicians Fled To Pakistan To Escape The Taliban. Now Pakistan Is Chasing Them Out
The rhythms that resonate in wedding halls, concert stages and apartment blocks are falling silent, as the Pakistani government pursues a wave of expulsions that has already forced out a million Afghans since last year. – The New York Times
- Maybe Listening To An Audiobook Really Is As Good As Reading A Print Book
“Is listening to a book while doing the dishes, walking the dog or drifting off to sleep really as valuable as sitting down to read it? For authors, the publishing trade and those encouraging reading and literacy, the answer is increasingly yes.” – The Guardian
- The Crisis In Humanities? The Business Model Doesn’t Work
Fundamentally, the state of the humanities and liberal arts reveals a widening conflict over the “value” of higher education – with increasingly corporatized universities favoring market-driven metrics for evaluation, and proponents of humanistic education stressing that its worth to both individuals and society at large cannot be measured that way. – The Guardian
- As The Old Starchitects Die, Maybe We Shouldn’t Replace Them
The “starchitect” was a figment of media attention, drummed up to answer our interest in celebrity, and our exaggerated expectations of what might be achieved without the help of other people. It belongs to a deluded, more decadent age. – Dezeen
- Alabama Library Board Cuts Funding To Library That Wouldn’t Remove “Handmaid’s Tale”
The Republican-run Alabama Public Library Service Board voted to withhold roughly $22,000 in state funding from the Fairhope Public Library, citing the library’s failure to comply with the board’s rules requiring books deemed “sexually explicit” be relocated to the adult section. – The Daily Beast
- So This Is Donald Trump’s “Golden Age of Culture” …
“Trolling and tackiness, often crossbred with left-coded pop songs and hot memes, have served to wish a new zeitgeist into existence. Consume only the output of MAGA’s multi-front media efforts, and you may come to feel that the country is coalescing into pep-rally unity on Trump’s behalf.” – The Atlantic (MSN)
- Sundance Gears Up For Its Last Edition In Park City, Utah
“The country’s premier showcase for independent film is also in a time of profound transition after decades of relative stability. The festival is … forging forward without its founder, Robert Redford, who died in September. Next year, it must find its footing in another mountain town, Boulder, Colorado.” – AP
- Philip Leider, Founding Editor Of Artforum, Has Died At 96
Leider’s career arc was an unusual one. He helped turn Artforum into a go-to source for serious, no-nonsense art criticism, serving as its editor starting in 1962. Then, in 1971, Leider left the publication — and the eye of the mainstream art world in the US, becoming a professor first at UCal-Irvine and then in Israel. – ARTnews
- Philadelphia Art Museum’s New Director On Moving Past The Recent Turmoil
Daniel H. Weiss talks about leading the museum (“I believe very strongly in shared governance”) and sorting out the pressing priorities: re-examining the rebrand, erasing the budget deficit, looking at the museum’s physical facilities, and getting everyone’s focus back on the art. – The Philadelphia Inquirer (MSN)
- Williamstown Theatre Festival Cancels This Summer’s Edition, Considers Going Biennial
“The move not to produce this year is meant to allow the organization to continue to rethink its future after a period of radical change. Leadership is still deciding whether Williamstown will skip only this summer or move into producing the flagship festival on a biennial basis.” – The Washington Post (MSN)
- Philadelphia Art Museum Considers Redoing Controversial Rebrand
Paul Dien, the chief marketing officer who oversaw that rebrand, has resigned. New director/CEO Daniel Weiss has set up a task force of staffers and board members to evaluate the rebranding and examine “what works, what doesn’t work, to do some analytical work around that.” – The Philadelphia Inquirer (MSN)
- Metropolitan Opera Announces Layoffs, Pay And Programming Cuts
The company is laying off 22 of its 284 administrative staffers, reducing pay for 35 of its top executives (including general director Peter Gelb and music director Yannick Nézet-Séguin), and dropping one production from next season’s schedule. – The Guardian
- San Francisco Gay Men’s Chorus seeks Chief Executive Officer
Organization
Golden Gate Performing Arts Inc., dba San Francisco Gay Men’s Chorus (SFGMC), based in San Francisco, California, draws singers from across the greater Bay Area. Founded in 1978 by Jon Reed Sims, SFGMC was the world’s first openly gay men’s chorus. From its earliest days, the organization has stood at the intersection of music, community, and activism, using artistic excellence as a catalyst for social change. SFGMC made its first public appearance on the steps of San Francisco City Hall shortly after the assassinations of Supervisor Harvey Milk and Mayor George Moscone. That powerful moment galvanized a movement and helped inspire the formation of LGBTQ+ choruses nationwide and around the world. Today, SFGMC’s mission is to lead by creating extraordinary music and experiences that build community, inspire activism, and foster compassion locally, nationally, and internationally. Over the decades, SFGMC has grown significantly in size, visibility, and impact, establishing itself as both a cultural institution and a trusted voice within the LGBTQ+ community.
In 2019, SFGMC acquired a historic Art Deco building in San Francisco’s Mission District, originally constructed in 1931. Now known as the Pansy L. Chan and Terrence D. Chan National Queer Arts Center (The Chan), the facility represents a defining moment in the organization’s evolution: a permanent home for artistic creation, community gathering, and national thought leadership. Renovations began in 2022 to transform the 23,270-square-foot building into a fully realized queer arts center. The Chan now houses a 350-seat Grand Hall, multiple rehearsal and performance spaces, conference and gallery areas, and SFGMC’s administrative offices. It serves as both an artistic hub and a symbol of SFGMC’s legacy: positioning the organization to convene artists, audiences, and ideas at a national level. For larger-scale productions, SFGMC performs in major regional venues including Davies Symphony Hall, the Golden Gate Theatre, the Curran Theatre, the Orpheum Theatre, Cal Performances’ Zellerbach Theatre, Green Music Center’s Weill Hall, and the Castro Theatre.
SFGMC anchors each season with high-impact mainstage performances that celebrate queer artistry, expand representation, and foster collective joy and resilience. Annual programming typically includes a Holiday Spectacular, a spring concert at venues such as Davies Symphony Hall, a Pride concert, and a range of smaller ensemble and cabaret performances. The 2025–2026 season, titled SHINE, exemplifies this approach with a vibrant mix of events celebrating queer joy and resilience. Highlights include a Totally ’80s tribute concert, DOLLY!, a Dolly Parton-inspired Pride celebration, a Queer Lunar New Year program, the 25th anniversary of Sing for the Cure, and the return of Tony-nominated composer Andrew Lippa & Friends. Expanded cabaret and community programming at The Chan will further animate the season.
Community outreach and education remain central to SFGMC’s mission. Through programs such as Reaching Youth Through Music (RHYTHM), touring performances, school visits, and partnerships, the chorus connects with underserved communities, particularly LGBTQ+ youth, using music as a powerful catalyst for healing, affirmation, and inclusion. SFGMC also regularly commissions and performs new works that center queer narratives and address issues including HIV/AIDS, equity, and social justice.
SFGMC is entering a pivotal period as it prepares for its historic 50th anniversary in 2028. The 2025–2028 Strategic Plan focuses on sustainability, clarity of mission, and intentional growth: centering the expanded use of The Chan while strengthening artistic programming, fundraising, marketing, thought leadership, and organizational capacity.
SFGMC has a 23-member board of directors led by Chair Tom Paulino, and Christopher Verdugo currently serves as Chief Executive Officer. Verdugo will step down from the position on June 30, 2026, after 10 years in the role. SFGMC employs eight full-time employees, including two direct reports for the CEO (Director of Operations and Production and Director of Development), plus eight part-time event-based employees. Jacob Stensberg serves as Artistic Director. For the fiscal year ending August 31, 2026, SFGMC anticipates total revenues of approximately $4.6 million, with 48% from individual giving and corporations; 22% from performance revenue; 10% from event contributions; 10% from foundations and grants; and 8.5% from other earned income, including membership and rentals. The Conductor’s Society, which includes subscription donors, currently has 618 members and contributes over $180,000 annually.
Sources: edited from sfgmc.org; propublica.org
Community
Situated on the ancestral lands of the Ramaytush Ohlone people, San Francisco is home to approximately 808,000 residents and is one of the world’s most distinctive, creative, and forward-thinking cities. The broader nine-county San Francisco Bay Area, home to roughly 7.8 million people, offers an exceptional quality of life shaped by natural beauty, cultural vibrancy, and a deep commitment to inclusion and innovation.
The region seamlessly blends urban energy with access to extraordinary landscapes. Residents enjoy world-class dining, renowned wine country just beyond the city, vibrant nightlife, and a rich array of cultural experiences. In a single weekend, one might explore a museum exhibition, attend a performance by the San Francisco Ballet or SFJAZZ, enjoy Michelin-starred cuisine, and spend time along the coast or in nearby wine regions. The Bay Area is also a global hub for innovation, home to leading technology and cleantech industries, and the nation’s largest concentration of research universities and institutions. Universities such as UC San Francisco, UC Berkeley, and Stanford fuel entrepreneurship, cross-sector collaboration, and creative problem-solving in an environment that attracts visionary leaders across disciplines.
Arts and culture are central to the region’s identity. The Bay Area is home to major cultural institutions, internationally recognized festivals such as Outside Lands and the San Francisco Jazz Festival, and a strong ecosystem of artists, arts organizations, and music education institutions. Community engagement in the arts is deeply valued, supported by robust K–12 arts education and a thriving adult amateur music-making community. Golden Gate Park, San Francisco’s largest public park, anchors the city’s cultural and recreational life, housing major museums, gardens, and gathering spaces. Together, these qualities make San Francisco and the Bay Area an inspiring place to live, work, and lead, particularly for those drawn to creativity, social impact, and community-centered leadership.
Sources: bayareaequityatlas.org; visitcalifornia.com; goldengatepark.com; census.gov
Position Summary
The Chief Executive Officer (CEO) will oversee all operational aspects of SFGMC, ensuring an efficient, effective, and fiscally sound organization. The CEO will be charged with sustaining the operation through strong management and business accountability, while fostering creative and imaginative programming and education/outreach activities serving diverse audiences. The overall position responsibilities will include ensuring financial sustainability, community engagement, fundraising, strategic planning, capital planning, board relations, and staff management. The next Chief Executive Officer will have the opportunity to shape SFGMC’s next chapter: clarifying its role as a performing chorus, community connector, and national queer arts leader; stewarding The Chan as a vibrant and financially sustainable center; and leading the organization through its 50th anniversary and beyond. The CEO will be a visible ambassador, fundraiser, and collaborator, working closely with the Board, Artistic Director, staff, singers, and broader community to ensure SFGMC’s long-term impact and resilience.
Roles and Responsibilities
Strategic Leadership and Governance
• Develop, implement, and monitor multi-year strategic, fundraising, and marketing plans in conjunction with the Board and Artistic Director, based on rigorous data and needs assessments.
• Support the development of multiyear artistic and pedagogical planning for the main stage, Chan National Queer Arts Center, and education programs.
• Facilitate Board training and development, ensuring that members are aware of best practices in governance, risk management, and ambassadorship.
• Assess the feasibility of the Chan National Queer Arts Center, ensuring that the Center aligns service provision with community needs.
• Identify emerging shifts in activism, the arts, and philanthropy to ensure SFGMC leads the way in mission-aligned, strategic partnerships.
• Create and implement, in conjunction with external marketing and communications teams, plans increasing awareness and visibility of all SFGMC activities.
• Embrace other strategic leadership and governance responsibilities as needed.Organizational Sustainability & Revenue Generation
• Oversee the budget and cash flow preparation, reporting, and monitoring, in collaboration with the Director of Operations & Production, Board Treasurer, and Board Chair, and provide the Board of Directors with regular and accurate reports.
• Act as lead on major gift acquisition, relationship building, stewardship, and retention, working with the Director of Development to utilize donor data systems to grow mid-level giving at SFGMC.
• Remain current on trends in philanthropy, institutional giving, and government support.
• Develop strategies to grow audiences across all SFGMC programs, ensuring that development and marketing strategies and activities align.
• Seek out new performance, community engagement, and revenue-generating rental and partnership opportunities for the Chan National Queer Arts Center in consultation with the staff.
• Embrace other organizational sustainability and revenue generation responsibilities as needed.Membership, Community, & External Relations
• Support membership needs, remain aware of shifting dynamics, provide transparent information, and engage members as ambassadors for SFGMC, working collaboratively with the Membership President.
• Act as principal brand ambassador for SFGMC and the Chan National Queer Arts Center, ensuring consistent application of brand values across the organization.
• Develop and implement plans, increasing awareness and visibility of all SFGMC activities in conjunction with external marketing and communications teams.
• Represent SFGMC locally, regionally, and nationally and ensure that SFGMC remains current on trends and developments in the arts, music education, community engagement, and LGBTQ+ advocacy.
• Act as principal government affairs liaison at all levels.
• Create a skills matrix with the Board Chair and Board Development Committee, on which to base recruitment, and identify gaps in knowledge, skills, and community representation.
• Embrace other membership, community, and external relations responsibilities as needed.Team Leadership
• Recruit, train, nurture, and develop the team of staff and consultants, ensuring alignment with mission, vision, and values.
• Ensure that roles and responsibilities are clearly defined for team members.
• Lead collaboratively, engaging all colleagues in providing superb support to the members, artists, and volunteers.
• Participate in the DEI committee, ensuring that SFGMC remains at the forefront of best practice in this area.
• Ensure that human resource policies and procedures are applied consistently, and that all staff receive regular supervision and at least annual evaluation.
• Embrace other team leadership responsibilities as needed.Traits and Characteristics
The Chief Executive Officer of the San Francisco Gay Men’s Chorus will be a mission-driven leader who balances artistic vision with organizational rigor. This individual will bring emotional intelligence and the ability to lead a complex, community-centered organization during a pivotal period of growth and reflection. The CEO leads with a deep commitment to SFGMC’s members and community, recognizing them as the organization’s foundation and greatest asset. Through inclusive, values-driven leadership, the CEO inspires trust, alignment, and shared ownership of the organization’s mission and future. This role calls for a leader who is both visionary and practical; someone with a passion for the arts, and the ability to balance external relationship-building and fundraising with internal operational excellence.
Other key competencies include the following:
• Strategic Focus and Leadership – The capability to honor and elevate the members, donors, audience, and community of SFGMC while motivating others with knowledge, enthusiasm, and direction.
• Diplomacy and Interpersonal Skills – The capacity to listen to multiple stakeholders carefully and respectfully, building rapport, communicating transparently, and relating well to an array of unique constituencies, both internally and externally.
• Time & Priority Management, and Goal Orientation – The clarity to prioritize, manage, monitor, and complete multiple complex tasks, mobilize wide-ranging resources, and deliver measurable outcomes within allotted time frames.
• Personal Accountability – The integrity to be answerable for personal and professional actions while readily modifying and adapting to change with resilience, flexibility, and humility.Qualifications
Eight or more years of progressively responsible senior leadership and supervisory experience, as well as proven success in nonprofit management, education, creative industries, or a related field, are required. Financial and operational acumen with demonstrated accomplishments in capital, operating, and endowment fundraising is preferred. Experience with or a passion for the performing arts is ideal, and familiarity with choral music is a plus. As SFGMC is a facilities-based organization, preference will be placed on candidates with experience managing venues or a building in some capacity. A candidate who does not meet all the qualifications but possesses transferable or equivalent skills, experience, or education is encouraged to inquire or apply and to highlight those areas.
Compensation and Benefits
SFGMC provides a competitive and equitable compensation package with an estimated base salary in the range of $190,000 to $230,000. Benefits include employer-paid medical, dental and vision insurance for employees with a base plan premium that is 100% employer paid, with options for paid premium plans; flexible spending account (FSA) for medical, dental, vision, and over the counter expenses; a HSA account; basic and supplemental life and AD&D Insurance; worksite-paid life insurance; commuter benefits; an employee assistance program (EAP); a sabbatical after six years of service; unlimited paid time off and sick days; 14 annual paid holidays; a 403b plan with 3% employer match; and an option to request complimentary tickets to SFGMC performances.
Applications and Inquiries
To submit a cover letter and resume with a summary of demonstrable accomplishments (electronic submissions preferred), please visit https://artsconsulting.com/opensearches/san-francisco-gay-mens-chorus-seeks-chief-executive-officer/
San Francisco Gay Men’s Chorus is a proud equal opportunity employer supporting workforce diversity; candidates representing a variety of backgrounds are encouraged to apply.
MORE
- Old Laws, New Ghosts: Why the Creative Resistance to AI is Failing
The fear and concern are real. The issues are real. But we’re trying to conjure up rules for 21st Century technologies with a 20th-Century vocabulary that’s ill-equipped for the job. - A Brief History Of The Word “Hello”
The greeting’s first known appearance in print happened 200 years ago this week in a Connecticut newspaper, but its roots go back at least two centuries further, probably more. – BBC
- Our Connection Between Athletics And Writing
The intensity of the workout was necessary to take her out of her head, so that she could write from a different place—“an embodied place, because writing is not just intellectual; it’s emotional connection, sensual connection,” she explained. “We exist in the world.” – The Atlantic
- The Virtuosic Female Musicians Who Attracted Rapt Listeners From All Over Europe
The women of 18th-century Venice’s ospedali (homes for the destitute, the sick, and orphans) are remembered largely because Vivaldi composed music for them. History has mostly overlooked them in favor of the famous men around them, but we now know that they were highly trained, ferociously talented, and deeply ambitious. – Early Music America
- London’s Gallery Commune Proves Sharing Is Caring
Ten years in, Condo’s cooperative model has emerging dealers singing Kumbaya while actually making money. Who knew that playing nice could be the art world’s best-kept business secret? — Artnet News
- Museums Having Identity Crisis, Film at Eleven
Another year, another promise to “redefine” art institutions. But this conversation with curator eunice bélidor and administrator Dejha Carrington might actually cut through the usual reform rhetoric to examine what museums are really for. — Hyperallergic
- South Africa Pulls Venice Biennale Show, Proving Art Diplomacy Dead
When your culture minister cancels a Palestinian grief exhibition for Venice, you’ve officially entered the realm where politics trumps artistic integrity. Two scholars aren’t having it, calling out the betrayal. — Hyperallergic
- How The Cleveland Orchestra Prepares For A Concert
It says a lot that this orchestra is confident enough to let a critic see it rehearse from start to finish, on the record. Perhaps it says more that I was not allowed to sit onstage, to guard against distractions. – The New York Times
- This Actress Has Starred In The Same Legendarily Bad Off-Broadway Show For 39 Years
“On TripAdvisor, one user warns: ‘Don’t waste your money!’ Another pleads: ‘Kill me now!’ And yet, since 1987, Perfect Crime has been running eight times a week. Every performance stars the same actress, Catherine Russell; in nearly four decades she has missed only four performances.” – The Times (UK)
- Here Are The Grants The New National Endowment For The Humanities Has Given
The National Endowment for the Humanities on Thursday announced $71 million in new grants, including nearly $40 million to classical humanities institutes and civic leadership programs that have been promoted by conservatives as a counterweight to liberal-dominated higher education. – The New York Times
