North Philadelphia’s Wagner Free Institute of Science is over 150 years old and has been a National Historic Landmark for two decades. The institute provides a wide range of educational opportunities, including a field trip program for public and private school children of all levels, and free science courses for adults. Wagner staff worked with two consultants—one for creative growth (Cathy Fukushima) and one for organizational management (Nancy Burd)—to devise a strategic plan that expands the scope of its programming and responds to increased audience demand. As part of this process, Wagner staff developed new ways to build revenue while maintaining a strong commitment to free public access, especially to underserved communities in the surrounding area. One of the key results of this process was a strategic decision to further engage local colleges and universities, a direction that became the focus of a 2012 Discovery Grant.1
Deborah Wong, ethnomusicologist, is the chair of the department of music at the University of California, Riverside.
In the third and final segment of our three-part conversation with Center Visiting Artist Ain Gordon, he gives us a glimpse of how he has entered into conversations at the Center and proposed alternative possibilities for our approach to our work.
Sam Miller is the former president of the Lower Manhattan Cultural Council, and currently serves on the Board of Amrita in Phnom Penh. He served as a Center dance panelist and LOI panelist in 2013, Pew Fellowships evaluator in 2014, and Pew Fellowships Panel Chair in 2015.
Painted Bride Art Center presented the seminal duets of Bill T. Jones and the late Arnie Zane—challenging works that remain some of the most significant examples of postmodern dance to date.
Hong, director of academic affairs and program development at the Getty Leadership Institute at Claremont Graduate University, looks at the opportunities presented by co-authorship through the lens of entrepreneurship.
Sarah Lutman has worked in the arts and nonprofit sector for the past 35 years, and she is currently an independent consultant and entrepreneur.
Asian Arts Initiative, a multidisciplinary and community-based arts center in Philadelphia’s Chinatown, invested in new staffing and operations for its 24,000-square-foot facility.
In fall 2011, the Association for Public Art was featured in USA Today Travel as “the main reason Philadelphia is now said to have more public art than any other city.”
The Center has awarded $500,000 to Opera Philadelphia, to strengthen the organization’s efforts to respond to the changing nature of its audiences and develop new programs.
Eric Fredericksen is a Seattle-based curator and writer and the Art Program Manager for Waterfront Seattle, a project to rebuild the Seattle central waterfront. In 2015, Fredericksen served as an LOI panelist in Exhibitions & Public Interpretation.
This project investigated various issues surrounding (co-)authorship in cultural production, asking questions around definitions of authorship, collaboration, audience participation, the influence of marketplace, and other concepts.
Bristol Riverside Theatre created a managing director position, which led to audience growth and greater revenues.