Policy Matters critically examines the apparatus of public arts funding in Canada, focussing on institutions such as the Canada Council for the Arts, the National Gallery of Canada, and the Art Gallery of Ontario. Robertson asks, In whose name is arts policy developed? emphasizing the contribution Canadian artists, particularly those engaged in the Canada-wide network of artist-run centres, have made to arts policy in Canada.

Paperback: 288 pages

Publisher: Yyz Books (Oct 2006)

Mission and vision statements are the most important documents of a nonprofit art organization. Yet, manynonprofits operate without understanding their principles and operational benefits. Jamie Grady definitively defines these statements and removes the mystery from them, allowing readers to fully understand their function and how mission and vision affect every decision that is made in an arts organization.



About the Author


JAMIE GRADY has held positions throughout the country in arts administration for more than fifteen years. He is currently coordinator of the theatre arts management degree program at Ithaca College, where he also teaches courses in theatre management and the business of the arts. In addition he is the cofounder of the Icarus Theatre Ensemble and the Independent Arts Consultancy group.


Paperback: 62 pages

Publisher: Heinemann (30 Mar 2006)

Why did jazz become a dominant popular music genre in the 1920s and rock 'n' roll in the 1950s? Why did heavy metal, punk rock and hiphop find their way from sub-cultures to the established music industry? What are the effects of new communication technologies and the Internet on the creation of music in the early 21st century? These and other questions are answered by Peter Tschmuck through an integrated model of creativity and innovation that is based on an international history of music industry since Thomas A. Edison invented the phonograph in 1877. Thus, the history of the music industry is described in full detail. By discussing the historic process of music production, distribution and reception the author highlights several revolutions in the music industry that were caused by the inference of aesthetic, technological, legal, economic, social and political processes of change. On the basis of an integrated model of creativity and innovation, an explanation is given on how the processes and structures of the present music industry will be altered by the Internet, music online services and MP3-technology. A clear indication of a digital revolution in the music industry!

Hardcover, 300 pages
Kluwer Academic Publishers, January 2006

The Museum Educator's Handbook is a realistic guide to setting up and running education services in all types of museums, even the smallest. This new edition has been thoroughly revised and updated, with advice on the use of websites, interactive displays, databases and other technology added throughout, and a new chapter on loan services, reflecting new research into their importance. It also reassesses funding, curriculum needs and educational policy in the light of recent reports and gives more advice on meeting informal education needs, from evening classes to museum-initiated courses. The handbook offers straightforward advice and background information to museum educators, updating readers on recent developments. Teachers and students of museum studies, education specialists, other museum staff and exhibition designers will also find it a useful guide to support their work.

Hardcover: 184 pages

Publisher: Ashgate Pub Co; 2nd edition (December 30, 2005)

E-mail is revolutionizing the way the arts are being marketed today, and here's what you need to know to get started! Fellow arts marketers, there's a new kind of marketing waiting at your fingertips. It's faster, cheaper and more effective than practically any other kind of marketing and arts patrons are responding to it in amazing ways. In this era of budget cuts and last-minute ticket buying, find out how e-mail can help you do MORE marketing for LESS money and get BETTER results. This Second Edition of Wired for Culture includes all-new data, and updated facts and figures!


About the Author
Eugene Carr is the founder and president of Patron Technology, the leading online marketing software company for the arts & culture industry. PatronMail, the company-mail marketing software system is used by over 700 arts and cultural organization in the U.S. and the U.K. Mr. Carr is a regular guest speaker at arts industry conferences and is the author of three books on e-marketing: Wired for Culture, Sign Up for Culture, Sites for Culture. Prior to founding Patron Technology, Mr. Carr was the founder and president of CultureFinder.com, an award-winning arts information portal, which was funded by America Online and Comcast. From 1991-1996, Mr. Carr served as the executive director of the American Symphony Orchestra at Lincoln Center in New York City.


Paperback: 80 pages
2nd edition

Publisher: Patron Publishing (January 1, 2006)

Learn about organizational policies and procedures, nondiscrimination/ affirmative action, recruitment, hiring, termination, compensation, supervision, employment conditions, administration, and volunteer policies--the framework for developing a comprehensive human resource management system for paid employees, volunteer workers, and outsourced work. This practical guide has handy features like a customizable CD-ROM full of sample policies, procedures, and forms that can be easily adapted to individual nonprofit organizations of any size, and it uses checklists extensively, enabling you to perform a step-by-step implementation of a complete, up-to-date human resource management system.

This guide, translated and expanded from the original German version published in 2002, gives young singers (opera or musical) a very detailed, practical, and above all realistic, insight into the audition process in Germany today. Gone are the golden days of getting engagements easily if you just have a good voice. Today's market requires being better, much better, than your competition, not only vocally, but artistically. Aspiring artists come from all over the world, vying fiercly for the few available positions in the approx. 90 music theatres of the three German speaking countries.



This book is required reading for any young singer who is planning on undertaking an audition tour to German speaking countries for the first time, planning on studying in Germany, or looking for an agent. It also includes a very useful appendix including suggested audition arias, up to date websites, and a German-English-German glossary.



Table of contents:
1. When in Germany, do as the Germans do; 2. Studying in Germany; 3. Auditioning; 4. The first engagement; 5. Singing in the chorus; 6. The singing business; 7. Vocal hygiene; 8. The principles of good singing; 9. Acting for the opera stage.



Submitted by Zenaida des Aubris, correspondent of Arts Management Network, Munich


Published 2005 by Bärenreiter Verlag, 212 pages

Art and Cultural Heritage is appropriately, not solely, about the law-national and international-respecting cultural heritage. It is a bubbling cauldron of law mixed with ethics, philosophy, politics and working principles about how cultural heritage law, policy and practice should be sculpted from the past as the present becomes the future. The authors explore these demanding concerns, untangle basic values, and look critically at the conflicts and contradictions in existing art and cultural heritage law and policy in its diverse sectors. The rich and provocative contributions collectively provide a reasoned discussion of the issues from a multiplicity of views to permit the reader to understand the theoretical and philosophical underpinnings of the cultural heritage debate.

Barbara Hoffman counsels and litigates in the area of art, publishing, entertainment and intellectual property law, representing visual artists, art collectors, museums, directors, writers, film producers, and new media companies. She has acted as legal adviser to various non-profit institutions in the art world, has taught courses on art and law and intellectual property law, and has published extensively in the field. Ms. Hoffman is recent past chair of the Association of the Bar of the City of New York's Committee on Art Law and current member of the Volunteer Lawyer for the Arts. She participated in CONFU as original chair of the visual image committee and is a co-chair of the International Bar Association's Art, Culture and Intellectual Property Law Committee.

Much marketing practice is inherently creative but marketing theory is often deemed irrelevant by managers in today's marketplace. Rather than perpetuating the belief in the value of traditional marketing frameworks, this book draws on a diverse range of disciplines to inspire entrepreneurial thinking and practice among those marketers who wish to push the boundaries of knowledge and convention.


Ian Fillis is Lecturer in Marketing in the Department of Marketing, Faculty of Management at the University of Stirling, Scotland. Ruth Rentschler is the Acting Executive Director, Centre for Leisure Management Research, Director of the Arts and Entertainment Management program and Associate Head of School, in the Bowater School of Management & Marketing at Deakin University, Melbourne, Australia.


Hardcover: 304 pages

Publisher: Palgrave Macmillan (November 24, 2005)

This book provides non-economists with tools to challenge economic orthodoxy and provide students the opportunity to explore the troublesome yet frequently ignored issues at the intersection of culture, race, gender and identity in the marketplace.

Paperback: 371 pages

Publisher: Foundation Press; 1st edition (November 1, 2005)

The cultural industries have been considered unique and out of the mainstream, not a subject for developing general theory, and therefore relatively understudied by organizational scholars. We argue it is no longer the case that cultural industries are so uniquerepresenting small markets and industries of little matter to research in the sociology of organizations. Cultural industries are now one of the fastest growing and most vital sectors in the U.S. and global economies (U.S. Census Reports, 2000). This growth is fueled in large part by the nature of the symbolic,creative, and knowledge-based assets of cultural industries.


In this volume the manuscripts recognize that the functions of the symbolic, creative, and knowledge-based assets of cultural industries are also characteristic of the professional services and other industries as well.


The manuscripts illustrate how the boundaries become blurred between cultural and other related industries that also rest upon the endeavors of and knowledge of creative workers. These dynamic interactions in the commercial landscape between the cultural, professional services, and other industries provide a richer context for the authors in this volume to examine changes in a specific market or industry, and also to advance our understanding of the institutional transformation of organizations.



Hardcover: 238 pages

Publisher: JAI Press (December 17, 2005)

Is your institution grant-ready? This is a crucial question that almost every small museum or historic organization will find itself asking when considering grant funding, as it seeks to expand or improve programs, broaden its reach, or just simply maintain its existing level of performance. This succinct volume provides an accessible, step-by-step guide to assessing an organization's readiness for the grant application process, and includes seven real-life examples of institutions that have successfully achieved grant-readiness. Chapters will help assess readiness, and provide explanations and checklists to address the important components of this daunting process. Appendices contain proposal writing tips and a list of the author's favorite most-used resources. This innovative volume will be invaluable to museums, cultural institutions and students studying history or non profit work.


About the author: Sarah S. Brophy is a long-time freelance proposal writer for New England museums, tribes, municipalities and cultural resource organizations.


Complete Title: "Is Your Museum Grant-Ready?: Assessing Your Organization's Potential for Funding"

Series: American Association for State and Local History


Altamira Press, November 2005, 208 pages

Electronic imaging and digital applications have brought numerous benefits for museums, galleries, archives and other organizations in the arts, culture and heritage sectors. Bringing together leading international practitioners from different disciplines, the EVA (Electronic Imaging and the Visual Arts) conferences help those working in the field to gain the most from developments in multimedia technology. This accessible volume collects recent papers from EVA conferences, covering case studies from the world's greatest institutions, as well as from some of the smallest and most innovative. Topics covered include virtual reconstruction of destroyed buildings, digital image archiving, 2D and 3D digitization projects, website evaluation, virtual archaeology, handheld interactive visitor support, exploiting digital cultural heritage and electronic aids for non-speaking people, as well as summaries of international research and technology development. The volume presents in convenient form the wealth of experience of a great variety of international specialists, allowing readers to further enhance the visitor experience of their collections.

Hardcover: 305 pages

Publisher: Ashgate Publishing (October 30, 2005)

Managing 21st Century Libraries is primarily concerned with creating the circumstances in which people can maximize the use of their talents and generating the opportunities for people to work with others in ways that engage all of the abilities of everyone involved. It is about developing an organization that is an interesting, stimulating, provocative, and effective place to work. Above all, the book is about the ways in which library managers and staff can develop systems for managing contemporary library services, and thus take advantage of the unique combination of circumstances that provide the potential for innovative organization development in the library services of today. It relates important issues in people management to the characteristics of libraries that deal significantly with both digital and printed material.


Paperback: 232 pages

Publisher: The Scarecrow Press, Inc. (January 28, 2005)

Long considered the gold standard in legal and tax guidance for visual art professionals and their attorneys, ART LAW is now even more valuable to anyone involved in this complex, interconnected industry.
Teeming with new information and analysis and many new sample documents, the three-volume Third Edition of ART LAW is the one resource you must consult to help ensure you formalize rock-solid agreements, maximize tax savings, and minimize legal liabilities.



About the Author
Ralph E. Lerner is an attorney at law and a partner in the law firm of Sidley & Austin in its New York City office. He earned a B.S. degree from Bucknell University, a J.D. degree from Boston University School of Law, and an LL.M. (Taxation) degree from NYU School of Law. Ralph specializes in art law and in individual tax, financial and estate planning.

Judith Bresler is an attorney at law in private practice in New York City and an Adjunct Professor of Law at New York Law School. She earned a B.A. degree from the University of Pennsylvania and a J.D. degree from New York Law School, where she was on the Law Review. Judith specializes in art and entertainment law and has served as a business developer for Swann Galleries, a legal consultant to Christie's auction house, and formerly as Vice President of Business Affairs with MGM/UA Corporation.

Hardcover: 2291 pages

Publisher: Practising Law Institute; 3rd edition (October 25, 2005)

Public and private institutions in the United States have long been home to a variety of art works, antiquities, and ethnological materials. For years, these collections have been seen as important archives that allow present and future generations to enjoy, appreciate, and value the art of all cultures. The past decade, however, has seen major changes in law and public policy and an active, ongoing debate over legal and ethical issues affecting the ownership of art and other cultural property.
Contributors to Who Owns the Past? include legal scholars, museum professionals, anthropologists, archaeologists, and collectors. In clear, nontechnical language, they provide a comprehensive overview of the development of cultural property law and practices, as well as recent case law affecting the ability of museums and private collectors to own art from other countries. Topics covered include rights to property, ethical ownership, the public responsibilities of museums, threats to art from war, pillage, and development, and international cooperation to preserve collections in the developing world.


Engaging all perspectives on this debate, Who Owns the Past? challenges all who care about the arts to work together toward policies that consider traditional American interests in securing cultural resources and respect international concerns over loss of heritage.


Kate Fitz Gibbon is a specialist in Asian art and world heritage issues. From 20002003 she served on the Cultural Property Advisory Committee to the President.



Hardcover: 362 pages

Publisher: Rutgers University Press (September 30, 2005)

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.


# Paperback: 320 pages

# Publisher: Theatre Communications Group (August 2005)

In what could be one of the most provocative music books published this year, two innovators in music technology take a fascinating look at the impact of the digital revolution on the music business and predict "a future in which music will be like water: ubiquitous and free-flowing." Kusek and Leonhard foresee the disappearance of CDs and record stores as we know them in the next decade; consumers will have access to more products than ever, though, through a vast range of digital radio channels, person-to-person Internet file sharing and a host of subscription services. The authors are especially good at describing how the way current record companies operate - as both owners and distributors of music, with artists making less than executives - will also drastically change: individual CD sales, for example, will be replaced by "a very potent 'liquid' pricing system that incorporates subscriptions, bundles of various media types, multi-access deals, and added-value services." While the authors often shift from analysts into cheerleaders for the über-wired future they predict - "Let's replace inefficient content-protection schemes with effective means of sharing-control and superdistribution!" - their clearly written and groundbreaking book is the first major statement of what may be "the new digital reality" of the music business in the future. (Feb.)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.


Paperback 192 pages (August 1, 2005)


Publisher: Omnibus Press

Most arts Web sites are marketing opportunities waiting to happen. The key to unlocking the potential of your site is having a set of basic principles to guide your design efforts. Web Sites for Culture provides a structured way of thinking about how to build and improve your arts Web site. You learn how to think about basic issues of site strategy, conception, design and basic development, all written from a marketer perspective. You improve your site when you know:

What most arts sites are lackingWhat arts patrons really want from an arts siteHow to research your needs and develop a site strategy How to hire and manage an outside site design companyHow to test your site with your patronsWhat it takes to run your site once launched.How to get properly listed on Yahoo and Google


About the Author

Eugene Carr is the founder and president of Patron Technology, a leading online arts marketing software and consulting company in New York City. Mr. Carr has been a leader in online marketing for the arts since he founded CultureFinder in 1995, with an investment from AOL. His background also includes five years as executive director of New York's American Symphony Orchestra at Lincoln Center, as well as several years of corporate marketing experience at American Express. Mr. Carr is also a founder of "High Five Tickets to the Arts" a celebrated program that provides easy access to tickets for high school students in New York and several other cities in the US. Mr. Carr holds degrees in Cello Performance and History from Oberlin College and an MBA from Columbia Business School.


Paperback: 86 pages

Publisher: Patron Publishing (August 1, 2005)

Americans are cultural copycats. White suburban youths perform rap music, New York fashion designers ransack the worlds closets for inspiration, and Euro-American authors adopt the voice of a geisha or shaman. The ownership of these art forms, however, remains contested. Do they belong to the community that originally generated them, or to the culture that has absorbed them?

While claims of authenticity or quality may prompt some consumers to seek cultural products at their source, the communities of origin are generally unable to exclude copyists through legal action. Like other works of unincorporated group authorship, cultural products lack protection under our system of intellectual property law. But is this legal vacuum an injustice, the lifeblood of American culture, a historical oversight, a result of administrative incapacity, or all of the above?


Who Owns Culture? offers the first comprehensive analysis of cultural authorship and appropriation within American law. From indigenous art to Linux, Susan Scafidi takes the reader on a tour of the no-mans-land between law and culture, pausing to ask: What prompts us to offer legal protection to works of literature, but not folklore? What does it mean for a creation to belong to a community, especially a diffuse or fractured one? And is our national culture the product of Yankee ingenuity or cultural kleptomania?


Providing new insights to communal authorship, cultural appropriation, intellectual property law, and the formation of American culture, this innovative and accessible guide greatly enriches future legal understanding of cultural production.

Susan Scafidi is a member of the law and history faculties at Southern Methodist University. She has taught at the University of Chicago Law School, Saint Louis University School of Law, and most recently, the Yale Law School.

Subtitle: Appropriation and Authenticity in American Law

Paper ISBN 0-8135-3606-5

Cloth ISBN 0-8135-3605-7

Pages: 208 pp.

Series: The Public Life of the Arts