This report details an internship with the Louisiana Children’s Museum’s development office, which started in February 2014; transitioned from internship to employment in May 2014; and concluded in June 2014 after the Museum’s fundraising event, Circus Magic Night. In this paper, I will provide an overview of the Museum’s history, programs, and organizational structure, as well as describe my internship experience and contributions over a period of five months and 480 hours. Additionally, I will analyze LCM’s strengths, weaknesses, opportunities, and threats; discuss relevant best practices; and finally, offer recommendations that propose solutions to some of the challenges I observed as the development/special events intern and as the new special events coordinator.

This report discusses my internship with the Lakefront Arena at the University of New Orleans. Included in this report is a breakdown of the Arena’s management and facilities, internship overview, organization analysis based upon my observations, best practices comparing similar venues, and recommendations to the Lakefront Arena. The internship concluded with a job offer as the interim Campus Booking Coordinator, to which I accepted.

This report documents my experience as a graduate arts administration intern at Pelican Bomb, a New Orleans contemporary visual art nonprofit. The internship was completed over the course of seven (7) months from January to July 2015. Starting with an overview of the organizational structure, mission, and programming, this report analyzes the organization’s strengths, weaknesses, opportunities, and threats. The report concludes with best practices and recommendations with a focus on board development, strategic planning, staff retention, and membership. The insights provided in this report are designed to enhance Pelican Bomb’s operations as it prepares for organizational growth.

The aim of this dissertation is to understand and analyze the museum location decision, defined as where museum founders choose to establish or relocate their institution. The empirical case is the museum population of New York City from 1910-2010. In three substantive chapters, I explore this complex decision process from the organizational-level, the population-level, and the audience-level. In the first chapter, I argue that the museum location decision has evolved over the past century, and has experienced three major paradigm shifts. Out of each era, a new model of the museum location decision has taken hold, resulting in the current organizational landscape. I demonstrate how these eras emerged through historical, comparative case studies of two New York museums, the Museum of Modern Art and the Whitney Museum of American Art. In second chapter, I show that the location decisions illustrated through the histories of the Whitney Museum of American Art and the Museum of Modern Art are representative of New York's museum population overall. Using a dataset of all museums that have existed in New York City (and all of those museums' relocations), I chronicle the aggregated movements of the museum population between 1910 and 2010. I argue that the three eras of the museum location decision interacted with key demographic changes to create the unique distribution we observe today. The insights from these findings indicate that the spatial diffusion of museums in New York is systematically patterned in relation to demographic changes. The final substantive chapter is devoted to exploring the possibility that institutional location impacts audience composition. I argue that proximity to museums and other kinds of arts institutions is a significant, yet understudied determinant of attendance. The introduced concept of institutional exposure suggests that local access to arts institutions has cognitive, behavioral, and interactional consequences. Although directly testing the effect of institutional exposure is beyond the parameters of this dissertation, I show that there is a strong correlation between exposure and attendance. I illustrate the increasingly unequal access to arts between white and African American New Yorkers, which correlates highly with still-unexplained low attendance rates of African Americans. The observed evolution of the museum location decision explains when and how New York institutions adopted and then abandoned each institutionalized practice of museum location. In the Conclusion, I highlight several implications of this work, both of sociological theory and on current cultural policy.

Artists have the potential to achieve higher levels of success in business management, leadership roles, and entrepreneurial endeavors if equipped with the proper knowledge. Although artists may have a creative perspective and could possess many of the attributes sought after by organizations and communities in need of innovative leaders, their approaches to entrepreneurial management differ from traditional business managers or community leaders. The problem was poor understanding of how artists in Midwestern regions of the United States respond to the demands of entrepreneurial management. The purpose of this qualitative multiple-case study was to understand how 20 individuals who self-identified as artists and living or working in a specific county located in the Midwestern United States responded to entrepreneurial management demands. The key research question involved how these self-identified artists perceived and dealt with the demands of entrepreneurship through the lens of aesthetic leadership. Data from interviews, field notes, and observations were coded and categorized using NVivo to assist in identifying patterns and themes. Findings indicated that the self-identified artists indicated a need for entrepreneurial support, educational systems, and business development support from state and local community service programs that recognize and support their creative entrepreneurial endeavors. Understanding the intrinsic motivations that influence artists can help educators and contribute to business development that incorporates their unique circumstances. Art is transformational on many levels and benefits individuals, communities, organizations, and societies by promoting a more humanistic vision of the world.

The managers of professional performing arts organisations are faced with a unique dilemma. They must support their artistic personnel, who are typically driven by the quest for new, challenging and experimental works, while achieving the economic success necessary for the continued viability of their organisations. Failing to effectively manage this artistic-economic dichotomy can result in a conflict between artists and managers that threatens the long-term survival of these organisations. There is a clear need, therefore, for arts managers to foster an organisational climate that minimises conflict, while promoting organisational citizenship behaviours (OCBs) such as sportsmanship (a willingness to tolerate less than ideal circumstances without complaining) and courtesy (a willingness to show sensitivity towards others and actively avoid creating problems for co-workers). The main aim of the present study was to examine the extent to which factors such as organisational structure, organisational culture and employees’ motivational orientation influence people’s perceptions of their job scope (as indicated by high levels of task variety, task identity, task significance, autonomy and feedback from the job), a construct which has been found to reduce organisational conflict and increase employees’ propensity to display OCBs. While these relationships have been suggested in previous research, they have not been tested in a performing arts industry context. The data analysed in the present study suggested an enjoyment motivational orientation, a challenge motivational orientation, an organic culture and formalisation positively influenced perceptions of job scope, which, in turn, positively influenced both OCBs (sportsmanship and courtesy). A challenge orientation also had a positive impact on sportsmanship, while sportsmanship positively and directly influenced courtesy. Centralisation was negatively related to perceived job scope and sportsmanship, although it had a positive impact on courtesy. Conflict was negatively influenced by formalisation and by an organic culture, but was positively influenced by a hierarchal culture.

Det talas om företag som konst: om estetik, kreativitet, immateriella värden, upplevelser och fantasi. Likaså talas det om konst som företag: om ekonomisk styrning, marknadsföring, varumärken, tydliga mål och genomtänka strategier. Frågan är vad som har hänt. Det var inte länge sedan konst och företag sågs som skilda världar. Konst associerades med sådant som frihet, originalitet, irrationalitet, känslor, intuition och geniförklarade individer. Företag associerades med sådant som nytta, massproduktion, kontroll, kalkyler, rationalitet, förnuft och strukturer. Idag ser det annorlunda ut. Idag verkar föreställningarna om konst och företag nästan ha bytt plats med varandra. Konstnären har blivit företagsledare: hon eller han ska kunna räkna, samarbeta med näringslivet, skapa evenemang, vara entreprenör och göra sig själv till ett varumärke. Parallellt har företagsledaren blivit konstnär: hon eller han ska kunna skapa visioner, vara kreativ, inspirerande och fantasifull, lita till sin intuition och kunna iscensätta sig själv och sitt företag. Utifrån litteraturstudier, intervjuer med konstnärliga ledare och företagsledare, direktobservationer samt en poetisk närläsning, studeras i boken föreställningar om konst och företag. Tre parallella tendenser i samtiden står i fokus: företagens estetisering, ledarskapets romantisering samt konstens ekonomisering. Dessutom diskuteras om och hur konsten - som praktik och uttryck - kan ge insikter om företag och ledarskap. / <p>Diss. Stockholm : Handelshögskolan, 2000</p>

This thesis is focused on the management part of the American and Taiwan university arts center.

This research is intended for studying the management of Music Teaching Institutions of ¡§Yamaha Music education System¡¨ and ¡§Ju Percussion Music education System¡¨ were focused for study. In the process of research, the author collected related literatures and data to study the backgrounds of music teaching institutions. Then interview were made with institution operator and teachers to find out the problems involved to the operation of music teaching institution. Finally, a questionnaire survey was conducted among parents of students to analyze and compare the view and thinking of parents with regards to different teaching system. The findings are analyzed and reduced into conclusion as well as drawn into suggestions for the reference of music teaching institution in building their programs and guidelines, as well as the possible directions of their operation modes. Went through literature and data research, interview and questionnaire survey, the following conclusions were obtained: 1. Dimensioning the teaching belief of music teaching institution is an important direction of the operation of the organization. 2. Music teaching institution shall have completed and systematic organization. 3. Music teaching institution must have systematic development program. 4. The professional capacity and personality of teacher have great effects on the results of learning of children. 5. ¡§Providing children with fundamental music ability or understanding¡¨ is the prime factor for parents to enroll into music teaching system. 6. Music learning requires regular practices and patience. 7. Attending music concert can agitate the interest of students, and it is recommended that children are encouraged to participate. 8. The roles played by parents are the key to success. 9. Music teaching institution can play the role of culture promotion media. 10. It would be recommendable to establish Appraisal scales and revision mechanisms of music teaching institution. It is expected that our results of research will do certain good in the effect of music learning of children, enrich and develop potential of children in music. Offer children with a happy music learning experience will allow them to gain much more happiness and achievement.

Seizing Civilization uses the Shanghai Museum as a case study to examine an extraordinary process of art appropriation that persisted from 1949 to 1996 in the People's Republic of China (PRC). At the heart of this story is the museum's destruction of the preexisting art market, its wholesale seizure of privately-owned antiquities, and its sale of these objects on the international market. My findings show that museum employees used these events to create public art collections in the PRC. The Shanghai Museum pioneered the techniques that Chinese museums use to transform craft objects, as well as select ancient paintings, ceramics, and bronzes, into canonized cultural relics. I argue that the application of these techniques explains the erasure of provenance at Chinese Museums, and demonstrate how state cultural institutions render acquisition ledgers, private collecting records, and connoisseurship disputes invisible. I examine cultural relics' transformation into Chinese cultural heritage in five chapters. I first demonstrate how museum employees appropriated private collections during nation-building campaigns such as the nationalization of industries (1956). Second, I investigate changes to the Chinese art historical canon, placing them in the context of art market takeovers, the wholesale acquisition of ethnic minority artifacts, as well as municipal programs in salvage archaeology. Then, in two chapters, I reveal the Shanghai Museum's active participation in antiquities confiscation and divestment during the Cultural Revolution (1966 – 1976), which enriched public art collections on a previously unprecedented scale. I conclude with an examination of the mass restitution of expropriated property in the 1980s and 90s, which underpinned the museum’s dual function as both a preservationist institution, as well as a political and commercial enterprise. The antiquities and events I analyze not only explain the ascendency of a dominant narrative about Chinese civilization, but also reveal the limits, contradictions, and challenges of PRC national patrimony. / History