This report is based on analysis of the 2015 American Housing Survey-specifically an arts module that was co-authored by researchers at the National Endowment of the Arts and the U.S. Department of Housing and Urban Development. The report enumerates and describes adults who value living near arts/cultural venues. It also reports data on householders who cited greater access to arts venues as a reason for having moved to their present location, and who affirmed neighborhood benefits from those venues.
Cultural Tourism
How COVID-19 is Impacting Intentions to Visit Cultural Entities
Today we are providing a one-week update and sharing information collected through April 25th. The data quantifies the US adult public’s intentions to visit 84 unique cultural organizations within the United States – from art museums and aquariums to theaters to symphonies. This is our fifth weekly update of this metric. For the week ranging from April 19-25, the data and analysis summarized below represent an additional sample of 2,112 adults.
The Arts, Bohemian scenes, and Income
Where and how does arts activity drive neighborhood revitalization? We explore the impact of arts establishments on income in US zip codes, nationally and across quantiles (from four to seven subgroups) of zip codes stratified by disadvantage (based on income and ethnicity/race). We focus on what is new here: how neighborhood scenes or the mixes of amenities mediate relationships between the arts and income.
Governance Models for Cultural Districts
This report, commissioned by the Global Cultural Districts Network (GCDN), draws on primary research and a literature review to capture good practices, and identifies which stakeholders should be “at the table” for informed and effective decision making and oversight. The research has also revealed the range of business models that underpin these governing entities, reviewing how cultural districts are generating revenue and expending it. The research is intended to be fully international in scope, with useful lessons for GCDN
members and other practitioners around the world.
Does “Strong and Effective” Look Different for Culturally Specific Arts Organizations?
This fall the DeVos Institute, which has a long history of working with organizations of color on capacity building, published a study on diversity in the arts.
There were two aspects of the report that caught our attention and prompted deeper investigation. First, one of the DeVos Institute’s key findings is that “Arts organizations of color are, in general, much less secure and far smaller than their mainstream counterparts (p. 4).”
Arts organizations of every ilk vary in size and all struggle and experience moments of crises, at times individually and at times collectively. Whether culturally specific arts organizations are disproportionately small and experience a disproportionate share of insecurity are questions worthy of further exploration through data-driven inquiry. So, we examine the extent to which culturally specific arts organizations look and act differently than mainstream organizations. To accomplish this, we focus on two questions: (1) Do culturally specific organizations have different operating characteristics than mainstream organizations and, if so, what are those differences? (2) All else being equal, do culturally specific organizations tend to perform differently than their mainstream counterparts and, if so, how? To address these questions, we examine the operating characteristics of arts organizations that primarily serve African Americans, Asian Americans, or Hispanics/Latinos and compare these organizations with their more mainstream counterparts. Next, we examine whether culturally specific organizations perform significantly differently from their mainstream counterparts on a variety of metrics. The data come from a large sample of organizations from 12 different arts and culture sectors. The analyses control for a variety of relevant community and organizational characteristics
Arts, Tourism, and Cultural Diplomacy
This essay looks at the changing face of tourism in America, as well as the role that the arts may play in positively impacting those changes over the next 10–15 years.
