The Art of Governance is an essential guide for trustees in the performing arts and for the artists, managers, and community leaders who work with them. This book provides the larger context in which trustees govern—the art, artists, history, institutions, and national policies of the performing arts—and also explores more practical issues, such as board development, planning, finance, and fundraising. A wide range of distinguished artists, trustees, managers, and consultants have contributed articles, covering everything from “The Art of Theater” to “Understanding Financial Statements.” An invaluable tool for building an enlightened and inspired board, this resource above all recognizes the need of trustees in the performing arts to find a balance between the uncertainty of artistic creativity and the need for fiscal stability. Editors Nancy Roche and Jaan Whitehead have served on the boards and staff of numerous theater organizations. Nancy Roche has been a trustee of CENTER-STAGE in Baltimore since 1987, serving as president of the board for seven years and as interim managing director for one year. She has been a consultant on governance for the National Arts Stabilization (now National Arts Strategies), a councilor of the Maryland State Arts Commission from 1992-1999, and has twice served as lay panelist for the NEA. In the summer of 2000, she participated as a theater trustee in the National Critics’ Institute at the Eugene O’Neill Theater Center in Waterford, Connecticut, returning in the following summer as a founding member of their week-long Trustees Program. She is a founding member of the National Council for the American Theatre and serves as a trustee and treasurer of the board of Theatre Communications Group. In addition, she serves on the boards of the Roland Park Country School, the Institute for Christian-Jewish Studies, and the Baltimore School for the Arts. She is a graduate of Dominican University and received an MA in teaching and an LLA, both from The Johns Hopkins University. Jaan Whitehead currently chairs the board of the SITI Company, an ensemble theater in New York led by Anne Bogart. She has served on the boards of The Acting Company, Arena Stage, Living Stage, and The Whole Theatre Company, where her particular interests have been board development and institutional change. She has also been a trustee of Theatre Communications Group and the National Cultural Alliance, an arts advocacy group in Washington, and is a founding member of the National Council for the American Theatre. In addition to her work as a trustee, she has been executive director of Theatre for a New Audience in New York and Development Director of CENTERSTAGE in Baltimore. Ms. Whitehead graduated from Wellesley College, holds and MA in economics from the University of Michigan, and, early in her career, works as an economist for private industry and the Federal Reserve Board. She received her PhD in political theory fro Princeton in 1988. She taught at Georgetown University for several years but, as her involvement in theater deepened, she made the arts her main work while retaining her interests in economic and political theory. Drawing on this background, she has recently been writing a series of essays on the challenges facing the arts in a commercial society.

Since the crisis in governance which led to a shortage of capable board members, recent years have seen the emergence of the enterprising arts organisation – a development which has led to the need for new types of board members who have a greater understanding of 'mission, money and merit' within a cultural construct. This innovative book explores the world of the arts board member from the unique perspective of the cultural and creative industries. Using a wide range of research techniques including interviews with board members and stakeholders, board observations and case studies this book provides a rich and deep analysis from inside the boardroom. It provides in-depth insight into the changing pressures on arts boards after the financial crisis, and focuses uniquely on the role of passion on arts boards. Part of the Routledge Research in Creative and Cultural Industries Management series, written specifically for people seeking to develop their careers in cultural and creative management, this book is also for people working in and with arts organisations, in government and non-profit arts organisations. It will also be of interest to academics and researchers working in the wider corporate governance field.

Concerns over affordability and accountability have tended to direct focus away from the central aims of liberal learning, such as preparing minds for free inquiry and inculcating the habits of mind, practical skills, and values necessary for effective participation in civil society. The contributors to this volume seek to understand better what it is that can be done on a day-to-day basis within institutions of liberal learning that shape the habits and practices of civil society. The central argument of this volume is that institutions of liberal learning are critical to a developing and flourishing civil society. It is within these "civil society incubators" that the habits of open discourse are practiced and honed; that a collaborative (often contentious) commitment to truth seeking serves as the rules that govern our work together; that the rules of personal and widespread social cooperation are established, practiced, and refined. Many have made this argument as it relates to community based learning, and we explore that theme here as well. But acquiring and practicing the habits of civil society recur within and throughout the college context—in the classrooms, in college governance structures, in professional associations, in collaborative research, in the residence halls, and on the playing field. To put it another way, when they are at their best, institutions of liberal learning are contexts in which students learn how to live in a free society and learn the art of self-governance.

This book focuses on the role of the creative sector in the governance of urban renewal and economic development initiatives. Rory Shand examines the ways in which both the top-down nature of the creative sector, and the bottom-up roles of creative arts organisations, drive development and engage with local communities or areas in regeneration projects that target employment, training and education, as well as social engagement. Underpinning these projects are governance mechanisms, through delivery, funding and participation. Drawing on case studies from the UK, Germany and Canada, Shand compares national creative sector policies and creative arts bodies engaged in the governance of urban renewal and development programmes, as well as including a comparative chapter offering an overview of best and worst practice, which also examines and summarises the key themes across both theory and practice. In his concluding remarks, he highlights and discusses the key challenges posed by governance mechanisms to urban renewal and economic development programmes and identifies future comparative case studies in the field. This book will be of great interest to students of environmental studies, public policy and politics and geography, as well as being a relevant resource for practitioners from NGOs, local and national levels of governments and community projects.

Why would a smart New York investment banker pay twelve million dollars for the decaying, stuffed carcass of a shark? By what alchemy does Jackson Pollock’s drip painting No.5 1948 sell for $140 million? 'The $12 Million Dollar Stuffed Shar'k is the first book to look at the economics of the modern art world, and the marketing strategies that power the market to produce such astronomical prices. Don Thompson talks to auction houses, dealers, and collectors to find out the source of Charles Saatchi’s Midas touch, and how far a gallery like White Cube has contributed to Damien Hirst becoming one of the highest-earning artists in the world.

Includes "Literature".