This seminar offers a different way to segment the world that focuses not on who the audience is but what they need.
NAS Director, Dallas Shelby, shares a process that arts and culture organizations can use to define the value they want to create in their communities.
You cannot talk about arts advocacy without bringing up the instrumental value of the arts.…
Arts Advocacy Day is an important event, to be sure. The arts do matter. But, chances are if you’re reading this you’re likely already a believer. Therein lies the problem… or at the very least an opportunity.
Why do the arts matter at all? For some, the special characteristic of the arts…
In honor of Arts Advocacy Day, we at NAS wanted to pull back the curtain…
I’ve been doing some extra reading on social media, online marketing, and online experiences as…
This post was originally part of a weeklong exploration of four major issues facing the…
The recent flurry of articles around the “failure” of the creative class to save our…
There is a question we get all the time in our Strategic Marketing seminar: should…
Chris Fischbach, Publisher of Coffeehouse Press, talks about the value that publishers add, the misconception of the “cultural gatekeeper” and how his organization chooses what gets published.
Dr. Gary Vikan, former Director of The Walters Art Museum, talks about the dangers of using economic impact as argument for the arts, the importance of articulating the intrinsic nature of the art experience and how neuroscience might unlock the mystery of that experience.
Patrick McIntyre, Executive Director of the Sydney Theatre Company, talks about the need to talk about the arts in terms of its benefits rather than its features.
Jessica Robinson Love, Senior Director at Arabella Advisor, talks about the challenges of serving diverse communities.
The London Olympics present enormous opportunities – as well as some challenges – for local youths. Steve Moffitt, CEO of A New Direction in London, describes how he and his team have worked to localize and truly global event.
How would the world be different if we could get all of our donors to…
Thomas Kinnear, professor of marketing at the Ross School of Business, University of Michigan, discusses the impact of convergence on the cultural customer.
Keith Winsten, Executive Director of the Brevard Zoo in Brevard County, Florida, discusses how increased competition helped the organization focus on relevance and redefine its mission.
Betsy Bradley, Director of the Mississippi Museum of Art, looks at many of technological advances that build upon a visual culture as a great opportunity for those in the visual arts.
Brands aren’t just logos- they are a huge range of things that contribute to customer perceptions.
There’s a handy (and fun) tool available online from Harvard Business School to make elevator pitch writing easier by focusing on the questions that matter most.
Alfred North Whitehead posits that learning naturally proceeds in three stages: romance, precision and generalization. Are you in the business of romance or precision?
What can arts organizations learn from the successes and failures of these three discount retailers?…
These survey results show that influence (particularly online) has less to do with the size of your audience and more to do with the value of the content you are providing
Patricia Mooradian, President of The Henry Ford, shares her insights on how to create a meaningful, engaging visitor experience.
Patricia Mooradian, President of The Henry Ford, talks about the importance of social media as a way for visitors to share their own visitor experience and continue the discussion beyond the museum walls.
Douglas McLennan, Editor of ArtsJournal, suggests that the current arts education debate is missing the opportunity to make real change.
Douglas McLennan, Editor of ArtsJournal, discusses how arts organizations have become trapped into focusing on the process of making art rather than the art itself.
Douglas McLennan, Editor of ArtsJournal, talks about how arts organizations should be thinking of social media.
Douglas McLennan, Editor of ArtsJournal, talks about arts organizations’ need to support the vital role the audience plays in “completing the act of art.”
Douglas McLennan, Editor of ArtsJournal, talks about how the relationship people want to have with art is changing.
Ian David Moss, Research Director for Fractured Atlas, discusses the effects of the rise of professional amateurs on arts organizations.
Ian David Moss, Research Director for Fractured Atlas, talks about the rise in people pursuing amateur activities to professional standards.
Nina Simon discusses difficult decision making with visitor experiences on her blog Museum 2.0.
We often hear arts leaders asking about how to use social media. This McKinsey Quarterly article offers a good frame for looking at social media.
An interesting look at how a few smart organizations have integrated social media into their work.
Kathy Keele, CEO of the Australia Council for the Arts, discusses her views on how Australian arts organizations deal with globalization.
Sally Sterling, an executive search consultant within Spencer Stuart, discusses trends in arts organizations.
Assessing its impact as well as its volume will help organizations take better advantage of ‘buzz.’
An interesting article challenging the oft-received wisdom that millenials/gen y need to learn in a fundamentally different manner than their predecessors: “…there may be ‘as much variation within the digital native generation as between the generations.’ ”
An interesting Q&A in which Harvard Business School Professor Ranjay Gulati describes how companies can evolve through four levels to become more customer-centric.
Diane Ragsdale warns that attracting and retaining new audiences may require arts organizations to stop “selling excellence” and start brokering relationships between people and art.
Diane Ragsdale compares the issues facing the arts with those that faced the restaurant industry, sparking the Slow Food movement. She suggests that an answer to the mounting challenges for arts organizations might be to start a Slow Arts movement.
In his article for Gig Magazine, former NAS Vice President, Jim Rosenberg, suggests that reaching a desired audience requires leaders to focus on the desired customer and work backward to the right artistic work, venue, timing, pricing, etc.
In May 2007, the Getty Leadership Institute and National Arts Strategies brought together leaders from…
In June 2004, the Getty Leadership Institute and National Arts Strategies brought together 23 leaders from the nonprofit arts and the for-profit creative sectors to discuss the similarities, differences, and potential intersections between the sectors: read more about the key findings of the convening!
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