This academic report was composed at the conclusion of a 480-hour internship with New Orleans Airlift. This report includes Airlift’s mission, history, and organizational structure, a SWOT analysis, duties and projects completed and a summary of best practices. Listed are also a series of suggestions and recommendations as to how New Orleans Airlift can improve and strengthen current practices to maximize its potential as a small arts organization.

French Quarter Festivals, Inc. is a nonprofit organization that annually produces three festivals in the New Orleans area with the intention of promoting the Vieux Carré and the culture of the city. My internship began near the beginning of preparations for the 2015French Quarter Festival and concluded just after the event had passed. While the organization is very successful and French Quarter Festival has grown to be the largest free music festival in the United States, there remains room for improvement and growth within the organization. The following report serves as a case study of the organization and addresses issues that were revealed during both analysis and personal observations. The conclusion of the report includes recommendations intended to aide in the continual success and growth of the organization.

The following internship report is a documentation of my work with Studio Theatre in Washington DC during the summer and fall of 2015. This report is based on my experience as an intern with the Marketing Department, where I had the opportunity to develop several large projects for the theater’s 2015--‐2016 season. Studio Theatre is a strong organization that produces excellent modern plays and strives to present the best work to its audience with every single show. This paper will discuss the different duties of the internship, as well as the organization’s history and structure, organizational strengths and weaknesses, and its future direction.

This report details an internship with Theatre Baton Rouge, where I served as Marketing and Development Coordinator. In this paper I will provide an overview of the organization’s history, programming, and outreach along with a description of my 480 hour internship. This report outlines the workings of the theatre’s operations through investigation of strengths, weaknesses, opportunities and threats, and industry best practices. This analysis will lay the groundwork for recommendations to Theatre Baton Rouge that will address leveraging the strengths, as well as use opportunities to combat the issues currently hindering the company from continued growth.

This comprehensive report was written upon the culmination of an internship with the National Performance Network/Visual Artist Network (NPN/VAN) at which the author worked 20 hours for 38 weeks (September 2014-May 2015). This report describes NPN/VAN, including its mission, structure, and operations. It also includes a SWOT analysis, review of best practices, and recommendations on how NPN/VAN can improve its current operations and programs in order to grow and prepare for the future.

The purpose of this internship report is to analyze the Faux/Real Festival of Arts in regards to my Arts Administration learning experiences. In addition, I will describe my internship involvement with Faux/Real and examine the success of its first year. This report also contains my S.W.O.T. analysis of the festival, highlighting its strengths, weaknesses, opportunities, and threats. Finally, I assert best practices for festival management and programming, and offer recommendations to Faux/Real on how they could incorporate those practices that they have not already implemented to strengthen the festival.

This report documents the internship of LaWanda J. Smith with Jamalar Agency. Jamalar is a booking agency which specializes in selling the music and culture of New Orleans to the world. LaWanda’s main task was radio promotion for the 2015 spring release of We’ve Got a River to Cross, a CD by the gospel group Joyful. LaWanda was also exposed to record label management by working with Jamalar’s sister company, Rampart Street Music. This report provides an overview of Jamalar Agency, analysis of the company’s strengths, weaknesses, opportunities, and threats, an examination of best practices in music promotions performed by a similar record company and recommendations for the company based on LaWanda’s observations.

This report provides a detailed account of an internship with the Greater New Orleans Educational Television Foundation’s development department. For the purposes of this paper, I will be referring to the non-profit as WYES-TV. The internship began in January of 2016 and continued through April of 2016. Throughout this paper, I will provide an overview of the organization’s history, mission, budget, special events and program services, as well as a description of my internship and experience. This report will also include an analysis of the strengths, weaknesses, opportunities and threats of the organization. It will discuss best practices for addressing current challenges and opportunities. Lastly, it will provide a section for recommendations and suggestions for improvements.

This report presents a reflection and analysis of my internship with the Tennessee Williams/New Orleans Literary Festival, where I completed 480 hours of work in pursuit of the M.A. in Arts Administration. I worked primarily with Tracy Ferrington Cunningham, Director of Communications & Special Events, in preparing and organizing the 2016 Festival, which represented the organization’s 30th anniversary. In this report, I will deliver an organizational overview of the Festival, describe my internship duties and responsibilities, analyze the strengths and weaknesses of the organization, and provide best practices and recommendations in festival management.

The St. Clare Altarpiece is the earliest extant double transformation altar with both reliquary busts and a tabernacle from the fourteenth century. Created in Cologne it is a work of rich stylistic and iconographic complexities. Parts of the altar's paintings may be seen as the culmination of a style prevalent during the second quarter of the fourteenth century in Cologne while other parts may be seen as the gestation of the early fifteenth century "Soft Style." The altarpiece was examined near the end of its present restoration and previous hypotheses concerning the style, iconography, original location, and donors are re-evaluated and more adequate re-interpretations suggested. / Nineteenth and twentieth century restorations and fifteenth century overpainting have resulted in confusion concerning the altar's style and have led in the past to contradictory evaluations. As a result, the present chronology of most fourteenth century Cologne painting, which was based on attempted stylistic associations with the St. Clare Altarpiece, has been grounded on the slimmest evidence. In particular, this investigation shows that the interest in finding an artist(s) for the altarpiece has lead to inconclusive results, especially when attempts were made to associate the altar either with William of Herle or Herman Wynrich of Wesel. / Iconographically, no serious investigations have been undertaken previously to explain each opening of the altarpiece and indicate their inter-relationships. Although certain scenes have been extrapolated from the altar and used as illustrations for discussions of a particular iconographic theme, these discussions were tangential and often flawed methodologically. Earlier suggestions of the altarpiece's relationship to Rhenish mysticism are refuted in terms of origin, style, iconography, and function. / Two new iconographic interpretations are developed. First, the probability of a carved Crucifixion in the central upper niche of the second opening is suggested. Second, the scene on the first opening referred to in most accounts as the Return from Egypt is reidentified as the Journey to the Temple. In addition, it is argued that relationships may exist between the different openings. The program seems to reflect a carefully established theological program emphasizing allegorical and/or tropological meanings that had a long tradition in medieval textual exegesis. / The altarpiece appears to be related to the fourteenth century Franciscan convent of St. Clare's by the Roman Tower in Cologne. An argument is made that the hypothesized relationship of the Guelders sisters to the altar is suspect and that a strong possibility exists that the entire convent commissioned the altarpiece. / After a careful perusal of the stylistic, iconographic, and historical elements associated with the St. Clare Altarpiece, this investigation has concluded that the best range of dates for the earlier painting can be established from around 1347 to around 1390, with the greater possibility focussing on a period shortly after the dedication of the new church of St. Clare in 1347. The later overpainting occurred during the earliest phase of the Soft Style in Cologne around 1400. / Source: Dissertation Abstracts International, Volume: 41-01, Section: A, page: 0006. / Thesis (Ph.D.)--The Florida State University, 1980.