Joe Winter

Aug 022011
 

Where does Atlanta’s arts community stand in terms of patronage? For the first time, we have community-level data that gives us a glimpse at enough of this picture to draw some pretty significant conclusions. Community data was compiled by TRG Arts. Thank you, TRG!

Using data from 18 participating arts and culture organizations from the Atlanta region, we’ve found:

  • Atlanta’s arts and culture organizations serve the entire community, not just a few groups here or there.
  • Audiences and patrons for Atlanta’s arts and culture institutions come from all 50 states.
  • The largest concentration of arts audiences can be found in Atlanta’s northern suburbs, including Cobb County, North Fulton County, and Gwinnett County.

Granted, the data from the Arts and Culture Census is not yet complete. In fact, this initiative has only just begun. So far, between the 18 participating organizations, there are 370,671 households accounted for. Over the coming three months, more organizations will join in the Arts and Culture Census.

At C4 Atlanta, we believe that data can be used not simply for “measurement,” but to help arts organizations create real relationships with their audiences. That means each organization should have real facts about who they serve, not just supposition. That also means we, as a service organization, should also have real facts about who we serve.

PDF: More Info and Data (Charts Included)

If your organization’s data is not represented here, take a moment to learn more about the Arts and Culture Census. Then please feel free to contact us to see if participation would be right for you.

May 242011
 

One of our most-often requested topics of discussion for TechsmARTs has been on ticketing. What factors should organizations take into account when they are evaluating and choosing their ticketing software?

So when we held a panel discussion yesterday on ticketing, we decided to try something new: we recorded the audio from the panel discussion so that we should share the conversation with more than just those who were in the room.

The discussion covered a nearly surprising variety of topics related to ticketing software. Who should be involved in the decision-making process? How can you protect yourself from potential pitfalls? What outside resources can you find to help you choose the right system for your organization?

One important resource mentioned several times in the podcast: the 2011 Ticketing Software Satisfaction Survey, published by Technology in the Arts.

I’d like to give a huge round of thanks to Nicole Jones from PBA, Ron Evans from Group of Minds, and David Dombrosky from the Center for Arts Management and Technology for their candid discussion and for sharing their insight. I hope you enjoy listening, and feel free to add to the discussion!

Mar 312011
 

Statistics may be defined as “a body of methods for making wise decisions in the face of uncertainty.” — W. A. Wallis

How often do you find yourself making assumptions about your patrons, and basing your marketing decisions on those assumptions? It’s a fair-enough practice, considering that you do not always have all the information you need to prove your assumptions right (or wrong).

One of the most powerful tools offered in the Arts and Culture Census is the crossover report. Take a bunch of aggregate data, fold it over onto itself, and use the results to smash your most firmly held assumptions. But what does that mean?

Take, for example, your patrons. How many of them come back, and how often? Out of all your audiences who saw “Sweeney Todd,” how many of them saw “A Christmas Carol?” How many of each of those audiences were donors at your hundred-dollar level?

You may or may not already know the answers to these questions. The tools offered to you in the Arts and Culture Census are easy enough to let you create these reports in just a few mouse clicks.

But if you could only use your own data in these reports, that wouldn’t tell you a whole lot. With each additional participating organization, you get access to create crossover reports that compare your patrons with those from other organizations — or even from the field as a whole.

How many visual arts patrons are also theatre patrons, or music, or dance? The answers may surprise you. And it’s those surprises that provide you with valuable information for your marketing efforts.

Crossover reports will provide you with insight into potential new audiences. These reports help you discover the largest crossover areas between your patrons and those of other organizations and disciplines. Using that information, your organization can save money on more targeted outreach efforts in promoting to new audiences.

Oct 052010
 

Over the past several weeks we’ve been working on putting our application for 501(c)(3) status together. In tandem with that effort, we worked on our What We Do page, which synthesizes our work over the past five months.

We met with major arts funders, stakeholders, peer organizations from other communities, and many others to find out the needs of the community, what opportunities exist to meet those needs and how we can best apply our core competencies to those opportunities. We adapted this Business Model Canvas to better fit the reality of C4 Atlanta becoming not-for-profit and applied what we learned to the canvas.

Ultimately, everything we do must work toward mission fulfillment. The mission we follow must not only express what we do, but it must also express our highest aspirations of what we aim to do. And at this early stage of C4 Atlanta’s development, it’s natural that our mission will evolve.

We reported recently through our Facebook page that we changed our mission. And we hope that this will give a more full explanation of the change.

Our old mission: “To cultivate a healthy, creative ecosystem dedicated to the continual advancement of sustainable artistry.”
Our new mission: “To build a foundation of research, technology and education for a sustainable, creative economy in the Atlanta region.”

Before, we had an idea of what we wanted to do, but not how to accomplish that mission. After working through our environmental scan, we reviewed our mission and saw that it already needed an update. (On a side note: if you poll enough consultants in the field, you’re likely to find just as many opinions on when a mission statement should be written and when it should come under review.)

The old mission made use of the word, “cultivate,” which is what the “C” in our name stands for. We made a conscious decision to remove that word from the mission, even as we are keeping what we call the C4 Model (more about that in a later post). We are still in our formative stages, so we must focus, instead, on building a solid foundation. The foundation is where we are starting — research, technology and education. These are the three core competencies found within the C4 Atlanta Action Team. For now, we must leave other community needs to others in the community.

We also, in what may seem to be a significant shift, removed the word “artistry.” This reflects part of our vision, another topic we’ll flesh out in a later post. Whereas before, we sought to “cultivate a healthy, creative ecosystem,” we now seek to “build a foundation … for a sustainable, creative economy.” This is a shift that moves us away from serving a sort of ethereal ecosystem and toward engaging in the more tangible act of economic development. To put it briefly, part of our vision is to see that the arts are more fully integrated into the Atlanta region’s economy, and that professional artists have a better chance at thriving in our region’s economy.

Our mission will continue to evolve over time — and we hope the evolution will be expansive. Today, our service area is the 24-county Atlanta region. Some day, we will likely remove the geographic scope of our mission. In addition to strengthening our existing core competencies, we hope to develop new competencies so that we may remove “research, technology and education” from the mission statement and become an arts service organization in a much broader sense of the term.

Sep 302010
 

October is National Arts and Humanities Month, and the Foundation Center is organizing a series of activities throughout the month around the theme of Funding for the Arts. C4 Atlanta is co-sponsoring the activities taking place in October.

On that note, I recently interviewed Susan Weiner, executive director of Georgia Council for the Arts. Susan will discuss GCA’s advocacy initiative just prior to the Resource Market for the Arts on October 4.

Take a moment to check out the interview, and you’ll find more information about the Resource Market and other events happening throughout October.

Sep 212010
 

Entrepreneurship is one of the most important skills an artist can have. One of the defining books on entrepreneurship presents innovation and entrepreneurship as a practice and a discipline, rather than as a set of character traits. In other words, it’s a talent you can learn through practice — much like any art.

This coming October, Kamal Sinclair will teach a five-week course on entrepreneurship. We took a half-hour recently to sit down with her to get the details about the class. What can you expect to happen over those five weeks? What can you expect to have in-hand at the end of those five weeks?

In addition to hearing about what you can expect from the class, you’ll also hear the story of one artist who took the class, plus more about Kamal’s background. We hope you enjoy listening to the interview as much as we enjoyed the discussion.

May 192010
 

As far as we can tell, no one has taken the initiative to define the term, so we’re going to define it for our own purposes.

The etymology is pretty simple: “Action Tank” comes directly from “Think Tank.”

So what is the difference between a Think Tank and an Action Tank?

A Think Tank conducts research, and produces reports on the implications of the research. An action tank also conducts research, but does more than just issue a report. An Action Tank is an organization that conducts research, then develops and implements a plan of action based on the implications of that research.

To be more specific:

  • We conduct research that is relevant to our stakeholders.
  • We prefer to conduct research for the purposes of development rather than maintenance. This means we would rather invest in new programs than justify existing programs.
  • We view program development as a cyclical process rather than as a linear process. New programming can begin or end with research.
  • We are not afraid to work with existing partners or form new partnerships as part of our action planning.
May 162010
 

Yesterday we took a break from creating new content to collect some of the first donations to C4.

The people over at PEDS are in the process of moving their office from downtown to a smaller location in Midtown. Naturally, there’s no sense in throwing away a bunch of perfectly good furniture, so Lyre and I dropped by and picked up a round table, table desk and refrigerator that will all come in very handy for the office space.

We’ll be back soon to pick up a few chairs and shelving that will go very nicely.

Now our next step is to procure some office space.

Many, many thanks to Sally Flocks and Michael Orta at PEDS for the donation. We wish them all the best in their new digs.