Posts Tagged ‘Fiscal Viability in the Arts’

Arts and Econ Links of Interest

Thursday, March 11th, 2010

To illustrate just how big this unresolved debt threat has become, Lanchester (along with others) estimated that the total cost of the financial system bailout in the United States is bigger, in inflation-adjusted terms, than the combined cost of the Louisiana Purchase (in 1803, by President Thomas Jefferson), the New Deal (the 1930s), the Marshall Plan (1948-52), the Korean War (1950-53), the Vietnam War (1961-75), the savings and loan crisis (the 1980s), the invasion of Iraq (2003) and the entire NASA program, including the moon landings.

The Day Bureaucracy Stopped the Music

Wednesday, March 10th, 2010
Model of the Pantheon as originaly built
Image via Wikipedia

First off, I need to introduce everyone to a blog they should bookmark right away, The Collaborative Piano blog by acclaimed accompanist and faculty member at the Royal Conservatory of Music in Canada. He posts tons of interesting information, links, and great performances from YouTube. Just take a peek at his series 31 Days to Better Practicing which would no doubt be applicable to working artists in any field.

He recently posted this YouTube video of a Russian sextet and choir performing Vivaldi at the Pantheon in Rome. It is a nice performance until about 5 minutes in when a female employee of the Pantheon stops another movement from beginning and announces, “The Pantheon is about to close. Please move towards the exit. The concert is over, because today the Pantheon closes at six o’clock.”

According to The Guardian, trade union rules under strict enforcement were to blame for ending the concert early despite audience protests and urges for the performers to continue playing. The whole affair was caught on video and is uncomfortable to watch.

However, this should not come as a major shock to those familiar with how Italy runs their cultural institutions and businesses. While spending a summer studying and performing in the city of Lucca, I announced to the gelato shop next to the concert venue I would be performing in that they could expect a large influx of customers after the event. The proprietor thanked me for the information, and told me he would be sure to close early so he would not have to work too late. I was flabbergasted. Most business owners look forward to making some extra cash. Don’t get me wrong, I understand that there is an opportunity cost to working for those who enjoy their leisure time more than most – but I was still surprised at this one.

Last year, when the Italian culture minister wished to improve the image and efficiency of Italian cultural sites, she brought on Mario Resca, who had previously introduced the McDonald’s franchise to Italy and could bring his private sector experience to the public sector. Arts administrators from the Metropolitan Museum of Art to the Louvre protested and signed petitions against Mr. Resca’s appointment, fearing he would commodify the arts in Italy. By all means, stifling bureaucracy will do far more good.

I think there is a middle ground between McPompeii and attempting to improve audience enjoyment at events and cultural sites. As Mr. Resca noted,

As a client of the Italian cultural system I am frustrated…the museum attendants don’t smile, they are depressed.  Some of the museums are not physically clean.  There is no signage, there is no communication…  (Rocca, 2009)

Reblog this post [with Zemanta]

In a Nutshell

Wednesday, March 10th, 2010

Sometimes I just don’t get the time to blog about all the things I would like to. So I’m going to start doing what all the cool kids in the blogosphere do, just post the links and let you guys do the hard work.

…2005 was a peak of its own in the three-year trend coming out of the steep post-internet boom recession of 2002. If the art market can consolidate above the 2005 level at is trough, the hypothesis that the art market has entered a new, global phase that offers much greater expansion in terms of both volume and price has some value.

  • High profile fair use fight over art. Images of the Korean war memorial depicted on a US stamp vs. the actual sculptures of the Korean war memorial.
  • Even higher profile arts smackdown: China out-arts France. What could it be? Could it be…mmmm, Satan? Or just the associated evils of capitalism?
  • And an interesting twist on the price elasticity of demand argument for luxury goods – turns out that art as mere luxury good may not be as accurate as art as alternative investment or store of long-term value.

“While outright global demand was weaker for luxury collectibles and consumables, there has also been a shift in luxury purchasing habits, as many HNWIs looked to secure their wealth in assets with long-term tangible value,” says the report. “This has worked strongly in favour of the art market, with art now recognized as a viable alternative investment asset.

Reblog this post [with Zemanta]

Business Models for Artists: Jingle Punks

Monday, March 8th, 2010

I hope this post becomes the first in a series of presenting successful business models for artists and those pursuing otherwise creative careers. In my experience, artists think far less about business and financial matters than they should, making the already-competitive world of the arts even more difficult to navigate successfully.

I love this idea and in fact, wished there was something like this for myself and my students years ago. There is nothing more discouraging than having students walk into my studio with oodles of talent, ideas, and finished original music with few outlets for it besides the local music scene and relying on the off-chance some producer, somewhere will discover them at a show or open a demo they sent without an introduction from someone in the business. Furthermore, until now, it seems most online submission sites have had costly fees and dubious results.

Enter Jingle Punks,

After an initial screening of your music and a bit of paperwork, you’ll be ready to get your music in The Jingle Player giving countless TV Networks, Production Houses, Film Producers, and Ad Agencies access to your music. What more could you ask for?

The Contract Details

NON-EXCLUSIVE: Continue to market & sell your music elsewhere.

50 / 50 SPLIT: Half of any licensing fee we get for you music, is yours.

OWN YOUR STUFF: You remain in control of all rights to your music.

1 YEAR: The initial contract is for one year.

NO FEE: No cost to give it a go.

Learn more about how the Jingle Punks creators came up with their idea, collaborated and executed what is now a thriving small business in this CNNMoney clip.

Reblog this post [with Zemanta]

More Loveland to Love

Sunday, March 7th, 2010

For those of you who caught my original post about Jerry Paffendorf’s Lovelandhe’s since been featured on NPR as well as announced he’s coming out with Loveland Season 2 Pre-Game: The Legend of the Ghost Inches which means, in plain english,

The second property hasn’t been purchased yet, so Jerry calls the investments “ghost inches.” When you purchase an inch, you get a nice little deed package containing a magnifying glass to better survey your territory. The little money from deed sales goes back into the project. He also hopes to use the “profits” to provide microgrants to other innovative urban development projects in the city.

Again, I’m a fan of this quirky idea. I only wish the property being inch-auctioned off was the glorious ruins of Michigan Central Station. Then again, would having tons of micro-investors help the historical site fare any better?

I’ll be curious to see how, and if, the micro-investing concept evolves. What kind of steps will micro-owners take to develop their tiny plots, if any? Or will it be just a novelty like when your high school boyfriend bought a star and named it after you? (Yes, there is a star out there with my name on it, I even have the coordinates.)

Reblog this post [with Zemanta]

Arts Labor Markets: An Informal Case Study

Thursday, March 4th, 2010

I did not think my last post would generate such lively discussion – so I propose we refocus and delve deeper into one particular economic aspect of the conversation that I think is critical. While this informal case study I offer is by no means exhaustive, I hope it will be informative to readers interested in arts labor market economics. Having said that, it is rather long for a blog post, so I hope you will all bear with me or bookmark for later.

In discussing whether the proposed legislation of setting a maximum duration/minimum wage for arts internships makes economic sense (in that it achieves its intended effects), we should first review the effects of setting price floors and determine if, indeed, there is an economic benefit to imposing a maximum duration/minimum wage for internships.

According to the economic laws of supply and demand, setting a price floor for wages above the equilibrium wage, ceteris paribus, will do two things:

  1. Increase the demand from workers for the wage.
  2. Decrease the supply of the jobs offering the wage. (Hubbard and O’Brien, 2006)

Looking at each of these points individually, we can see that imposing legislation requiring arts organizations to pay interns a minimum wage after a certain period of time would likely result in more interns wanting those higher-paid jobs (point 1), as well as a decreased ability for organizations to offer the jobs due to the impact on their budgets (point 2). As a result, the increase of interns supplied will cause net higher unemployment in the arts, not less. However, it does not seem this is a point of concern for those in favor of the legislation so we will not address it here. Instead, I suggest we focus on the net effect on the poor, since that is what seems to be a main point of contention.

Now, it is likely that point 1 will not be considered significant or negative by those supporting the legislation – as they may consider an increase in potential interns a benefit (perhaps due to the externality of arts appreciation, etc). However, a closer look at the effect can be seen as detrimental in particular to the poor (who the legislation is ostensibly attempting to help obtain gainful employment), due to the fact that flooding the market with additional supply of workers will result in even stiffer competition, with those winning the even better paid positions being those who already have more experience (who we seem to agree are more likely to be those already better off or able to afford the unpaid internships).

As we’ve already agreed thus far, poorer interns are unlikely to have such experience, and as a result they are even less likely to win the paid internships than when they were unpaid. This is because an organization offering work for free is likely to be more discriminating about their intern choice once the same position is  offered for pay and can have a positive or negative effect (however small) on their bottom line. Furthermore, we are not talking about hiring relatively unskilled labor where the difference in prior experience is largely irrelevant, such as janitorial services or working in a fast food restaurant.  We are talking about serving the needs of arts organizations, which would seek to hire interns with basic proficiency in computer skills, verbal and written communication, and some prior education in the arts for a paid position.

As already noted in the comments, volunteers are more likely to fill unskilled positions like ushering, stuffing envelopes, or posting signage for events, for example. There is no reason to believe organizations offering new paid positions are going to seek less qualified interns to fill them. So, the effect of the legislation will be to price poorer/inexperienced potential interns out of the market altogether, effectively eliminating the bottom rung of the ladder as it were, leaving them with less opportunity to advance their arts careers, not more. Therefore, the effects of the legislation will actually harm those it is purporting to help and simply help more experienced interns get better jobs – which is not in and of itself negative on an absolute basis – but it is certainly not achieving the intended effects of the legislation.

Point 2 is likely to be explained away as it was in an earlier comment as to have a negligible change on the finances of a larger arts organization. This may be true, but it may also not be true – we cannot know without additional information and review of the finances of arts organizations, which are often far more sensitive to changes in allocation of capital due to the volatile nature of their business, so it would stand to reason that imposing additional financial burdens (however small) would affect them on a more than negligible basis*. Furthermore, the point is not only to address the finances of larger arts organizations as they are not the only ones affected by the legislation, but all arts organizations that offer internships, which no doubt span small to large in size of operations.

However, even if we accept a high likelihood of larger organizations being able to afford paid interns (and even if we neglect to perform financial feasibility studies to determine the marginal revenue product of labor – which is clearly more important when paying employees than when letting them work for free), the replacement rate of paid jobs for the previously unpaid jobs is unlikely to be 100%, otherwise there would be no need for legislation and interns would already be paid (that is, if we accept the premise an equilibrium wage rate can and should be found). So, otherwise, under force of legislation would the paid job replacement rate be 90%, 50%, or 10%? Again, we cannot know without additional information.

But even if we accept a generous 90% rate of ability to pay interns providing the same amount and duration of internships (i.e. opportunity) by larger organizations after legislation is imposed, we can then anticipate that rate will decrease in some proportion (more or less) in relation to the decrease in size of an organization’s operations and their particular financial situation. We can probably also agree smaller organization’s finances are likely to be even more volatile than large ones, have less expendable income, and rely more heavily on both volunteers and unpaid interns. As a result, this legislation is likely to more than proportionately negatively affect the operations of smaller arts organizations because it is well-known that small arts organizations struggle more than their larger counterparts to win both private and public dollars.  The likely result of forcing them to pay their interns will be less ability to offer positions than their larger counterparts and may require downsizing their operations and offerings, again due to their heavier reliance on volunteers and interns.

It can be seen that the result of the legislation in economic terms is a net loss of opportunity offered by all arts organizations and made available to all arts interns, affecting smaller organizations and poorer interns more than larger organizations and well-off interns**. While economics cannot determine with finality which decisions should be made, it allows the conversation to then inform the philosophical arguments of whether or not more or less opportunity in the arts is beneficial and whether offering more or less opportunity to the poor is good or bad. Clearly those in support of the legislation are not concerned with the net loss of opportunity and are misguided in thinking the poor would be the primary beneficiaries of what positive results (possibly more paid positions) are obtained.

Another correct point mentioned above is that this type of legislation is administratively and logistically laborious to police and punish, if not near impossible. This is another point against it, since the addition of government employees needed to monitor the exploitative behavior will probably not be made due to low priority (since the type of so-called exploitation is hardly as serious as other criminal activity that is far more prevalent and detrimental than the supposed horrors of lengthy unpaid internships in the arts) or monitoring will be unsuccessful due to the ease of participants finding loopholes.

So in reality, this may be glamour legislation that can do little to stop the unwanted and promote the intended behaviors, but may win legislators some votes come election time because it sounds like a nice thing to do according to those who have imperfect information regarding economics. I can only hope what is more likely is that its net effect on actual finances/interns in practice is very small. I imagine there are/will be more “volunteer” opportunities in the arts than “internships” and that hopefully they look just as good on these poor struggling student’s resumes.

* A highly-contested study, Minimum Wages and Employment: A Case Study of the Fast-Food Industry in New Jersey and Pennsylvania (Card and Krueger, 1995) on price floors in labor markets have offered some evidence that the net effect of price floors in the fast food industry has negligible effects in terms of decreasing the supply of labor (and by extension wages set at a minimum) and output of businesses in that industry. However, these studies are not the final word on price floors, and even if they were, they cannot provide us significant insight into the arts industry’s labor market – which is vastly different than the fast food industry whose price elasticity of demand (for labor) is relatively inelastic (meaning when the price/cost of labor increases, there will be little impact on amount supplied to workers), whereas the price elasticity of demand in arts markets is arguably more elastic (meaning when the price/cost of labor increases, there would be more impact). This analysis is only theoretical at this point, and would require further study to determine with finality.

** Which proves my original quick analysis of the legislation was faulty! Since the title of the original post was “Let’s Level the Playing Field by Making Everyone Worse Off” and I have determined that not everyone would be worse off, only the poor would be worse off, I think this has been a valuable exercise.

Reblog this post [with Zemanta]

Make Loveland

Monday, February 15th, 2010

I cannot say I entirely grasp the concept of so-called “micro real estate investing” but it sounds interesting and is the type of innovation-via-the-arts I enjoy hearing about.

According to the Associated Press,

A Web designer is hawking square inches of an empty lot in Detroit for a dollar each to show what can be done with vacant spaces.

Jerry Paffendorf says nearly 600 “inchvestors” have bought some of the 10,000 plots for sale in the “Loveland” art-and-real-estate project on Detroit’s east side.

The 28-year-old says he bought the lot for $500 and that profits are fed back into the project.

He says some inchvestors buy one plot while others have taken 1,000, and that they may do with the land as they wish. He says some plan to construct tiny buildings.

Paffendorf told The Detroit News that he is making a statement about what can be done with foreclosed property. He told the Detroit Free Press he will stream video of the site this spring.

The project is called Loveland and the first micro-colony has been cheekily dubbed Plymouth. While both the website and the idea may induce brainfever – I kind of want my own square inch. There is a page that shows the names of donors to date, and it made me feel like this thing has some legs.

Screenshot from Jerry Paffendorf's Loveland

Anyone else have some interesting ideas for Loveland?

Reblog this post [with Zemanta]

Arts Funding Woes and Solutions?

Monday, November 30th, 2009

A recent blog post at the blog Arts Admin by Michael Rushton (the director of the Arts Administration programs at Indiana University at Bloomington) talks about scarcity in the arts market,

It’s a struggle to run a nonprofit performing arts organization and stay in the black. That goes for theatre companies as well as performing arts centres. Given the demand for theatre performances, and opportunities for fund-raising for theatre companies, there is only so much money to go around.

Through this long newspaper story, the only clear take-away is that a coalition of arts groups wants more of that scarce pool of money in their accounts, and less in the BAAC’s. And the BAAC doesn’t agree. Not a surprising conflict, and each side is trying to make their case publicly.

So, let’s turn to policy – how should rental prices be set?

Performing space is a scarce resource that costs money to provide. It is not clear to me, and is not made clear anywhere in this long article, why one arts organization ought to provide it at well-below cost to other organizations.

I commented that I have often wondered why more organizations don’t consider consolidating their operations as a way to take advantage of economies of scale, thereby sharing/cutting costs and increasing profits. This kind of talk is usually considered pretty dirty in the arts world. Collaboration, in particular for profit motive, can be seen as tainting the original goal, or perhaps the soul of the original work. Collaboration may require an expanded mission or re-thinking a season’s shows or a gallery’s offerings. However, I would argue this is likely seen more in individual artists or smaller arts organizations, where their focus many be a narrow niche.

I’m of the opposite mind. I believe that collaboration (and thereby, increased dissemination of art) enhances, strengthens, and preserves art.

The Financial Times recently discussed this issue as well,

One of the biggest operatic successes on the London stage in recent years has been the production of Madam Butterfly by the film director Anthony Minghella at English National Opera.

But the critically acclaimed show might never have made it to the stage had it not been for the company’s ground-breaking partnership with New York’s Metropolitan Opera, which enabled it to share production costs.

John Berry, artistic director of ENO, says the company’s emphasis on artistic collaboration over the past three years has enabled it to achieve its target of mounting up to 12 new productions a year. “The amount of public funding is simply not enough to sustain the amount of new work we are creating…What is important is that [the collaborations] are artistically driven. They don’t dilute the product; they strengthen it.”

I believe many artists fear sharing or opening their work to collaboration with other people/groups/countries/ethnicities because they feel there is something so special about what they are doing, that they and only they can preserve it.

 
© Powerered by Wordpress | Custom Template Design by NBurman Design