The Arts Engagement
Exchange (AEE) is a learning network for Chicago arts and cultural groups on topics related
to audience engagement. Created through a partnership between the Chicago
Community Trust and the Department of Cultural Affairs, with support from the
Wallace Foundation, the AEE works to build Chicago’s arts audiences by offering free events and
audience development grants to local arts organizations. The AEE website expands the opportunities for dialogue with other organizations that wish to
increase participation in the arts, reach diverse audiences, and deepen
existing audiences’ participation.
The Arts Engagement
Fiscal Sponsorship is a critical way for individual artists, artists' collaborative projects, and emerging arts organizations in all disciplines to apply for funding usually available only to organizations with 501(c)(3) nonprofit status. The right fiscal sponsor will not only allow you to manage your project efficiently, but can actually help you to raise more money and realize your artistic vision.
The Actors Fund’s Health Insurance Resource Center (HIRC), in partnership with The Center for Cultural Innovation (CCI) and Leveraging Investments in Creativity (LINC), has launched a national artists’ health care reform website, Artists United for Health Care.
As attention to health care reform takes center stage nationally, the Artists United for Health Care site brings attention to the critical place of artists in the reform debate.
Tough economic times may be the best time for entrepreneurs to get a leg up. Just ask the 200 or more Chicago entrepreneurs that have enrolled into the City of Chicago's Business Start-Up Certificate program. Take it from entrepreneur David Clayton, "This program is outstanding, it provided me with the absolute fundamental knowledge to start a business."
Arts at the Core: A Guidebook and Planning Tool is a helpful resource for arts educators across the disciplines created by the Illinois Arts Alliance. The guidebook addresses major questions posed by teachers and administrators, such as what constitutes a quality curriculum, how to integrate the arts into other subjects, and how to deal with a lack of resources.
The Actors Fund Health Insurance Resource Center (AHIRC) has been connecting artists, craftspeople and entertainment industry workers around the country to health insurance and affordable health care since 1998.
You want to teach! Now what do you do? Thisshort document lists some resources, strategies, andinformational sources you will want to think about andinvestigate.
What is an Event Promoter?
An Event Promoter is a person inside or outside the City of Chicago who engages in the business of promoting amusements or events within the City of Chicago and is directly or indirectly compensated for providing that service. The ordinance requires Event Promoters to obtain a license and provides guidelines to operate responsibly in the City to ensure the health, safety and welfare of people attending these events.
License Application Requirements:
If you offer entertainment as part of your business or are planning a large event in the City of Chicago, you may require a special license. These licenses range from PPA - Public Place of Amusement to PAV - Performing Arts Venue to Indoor Special Event Licenses.
The Other Dance Festival (coming up at the end of September) came out of a heated talk about the lack of performance opportunities for Chicago modern dance that turned into a mad plan for change. Six years ago Elizabeth Lentz and I were talking about what the community needed: a visible performance event that would draw audience,
Now that Richard Florida has moved on from the “rise” of the creative class to the “flight” of the creative class, the cultural sector is left with the question: are we better off today than before he re-classified us?
When Richard Florida took the mainstage at last year's Americans for the Arts conference in Portland, Oregon, the woman next to me—we had never met—leaned in with an immediate response. "Hubba-hubba," she murmured in my direction. The Carnegie-Mellon University professor of economic development had come a long way since the publication of The Rise of the Creative Class in June 2002.
Whatever your personal goal as a photographer (to earn a living, to develop a reputation, to share your passion with friends and family—or all of the above), you need to manage your photographic practice.
What that means, simply, is organizing your work so that you are both efficient (giving minimum effort) and effective (getting maximum results).
Most of us are very efficient. We’re getting alot of stuff done. The question is: Is it the right stuff? Are we actually being effective with our energy, accomplishing the most important things?
By day I am a cool-headed consultant, advising arts organizations and leading workshops with titles such as "How to Write a Mission Statement That Succeeds." But tonight I am a frustrated board member, just back from another meeting that leaves me wondering about the future of this organization and our capacity to help it move forward. Without a clear sense of mission, we are hamstrung. There is no coherent viewpoint from month to month, and therefore no consistent criteria for making decisions, plans, or innovations.
What business are you in?
It's a deceptively simple question. And it isn't a rhetorical one, either. At last June's Dance/USA Roundtable in Miami, opening keynote speaker Alberto Ibargüen, editor of The Miami Herald, urged every attendee to consider the question seriously. Are you primarily an entertainer, he prompted, or an employer? "What," he asked, "do you stand for?"
Unemployment insurance provides an income to workers who have been laid off or terminated without cause by an employer. Employers pay a separate tax, which the New York State Department of Labor uses to pay these benefits. Unemployment insurance is a universal entitlement to those who qualify, even for some artists who work seasonally or part-time. However, many artists who are self-employed or work freelance may not qualify for unemployment benefits.
Copyright is a form of protection provided by the laws of the United States to the creators of “original works of authorship,” including literary, artistic, dramatic, musical, and certain other intellectual works. This protection is available for both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following:
Once you have a lecture venue, make sure you find out the answers to the following questions, and follow the suggested timeline below. Choose the questions that are applicable to your project and the venue.
(Choose the questions that are applicable to your lecture and the venue.)
• Date and time for the lecture.
• What is the honorarium or artist‘s fee?
• Who is your audience?
• How long are you expected to talk?
Once you have a screening venue, make sure you find out the answers to the following questions, and follow the suggested timeline below. Choose the questions that are applicable to your project and the venue.
(Choose the questions that are applicable to your project and the venue.)
• Dates for the screening(s).
• What is the honorarium or artist’s fee? Will you receive a share of the gate?
• What are the responsibilities of the venue or gallery?
Writing an artist's statement can be challenging. Below are some suggestions if you're experiencing writer's block. These may be helpful exercises for other forms of writing.
1. If you can’t get a handle on your own work, or are stuck, record a conversation between you and another person talking about your work.
2. Use other written materials about your work, i.e. your mentor’s reports, a review, an article.