Foundations of Arts Entrepreneurship 6

Marketing.

You know the drill: Four years ago, I created a series of short videos for use in my class Foundations of Arts Entrepreneurship. I’m no longer teaching the course (and the videos themselves admittedly could use some updating) but for those of you looking for a primer on arts entrepreneurship or some supplemental material for use in your own classes, I’m making these available to the public by posting one video per week.

This video is the first of two about marketing. In it I introduce marketing concepts; utilities of exchange; marketing approaches; and the marketing mix. The reading is from workshop materials produced by the National Arts Marketing Project and the chapter “Magnetism” from Anne Bogart’s book and then, you act.

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Disability is Not a Costume

I am utterly disgusted by Madonna’s putting on an eyepatch to adopt the “persona” of her alter ego Madame X. Disability is not costume or character – it is disability. And when it comes to the eyepatch, I have some experience. Throughout my childhood, my mother wore an eyepatch after her eye socket and optic nerve were destroyed by a gangrene infection. After her eye was removed, she was no longer able to drive; her depth mom in glassesperception was gone; and she had my father walk on her left side out in public so she could have an extra set of eyes on that side. People stared at her, so she wore large dark glasses. An eye patch does not signify a mysterious character backstory; it signifies a disability.

I think about my mother and her half-blindness when I read about issues of representation on stage and screen, whether representation of disability, gender, or race. If Madonna wants to create a Madame X character with a disability, she should hire a disabled actor to play the part.

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Foundations of Arts Entrepreneurship 5

Four years ago, I created a series of short videos for use in my class Foundations of Arts Entrepreneurship. I’m no longer teaching the course (and the videos themselves admittedly could use some updating) but for those of you looking for a primer on arts entrepreneurship or some supplemental material for use in your own classes, I’m making these available to the public by posting one video per week.

In Module 5 I introduce mission and vision statements from a variety of arts enterprises, discuss the characteristics of good (i.e. useful) mission statements, and let Steve Blank explain the related concept of value proposition. The readings referenced in the module are Ann Bogart’s and then, you act and András Szántó’s article, “60 Museums in Search of a Mission Statement.”

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Foundations of Arts Entrepreneurship 4

Four years ago, I created a series of short videos for use in my class Foundations of Arts Entrepreneurship. I’m no longer teaching the course (and the videos themselves admittedly could use some updating) but for those of you looking for a primer on arts entrepreneurship or some supplemental material for use in your own classes, I’m making these available to the public by posting one video per week.

In this module, I introduce some basic planning tools for the artist entrepreneur, the most important of which is, arguably, the “inventory of means.” My version of this is downloadable here: inventory of means . The reading referenced in this module is from The Profitable Artist.

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Foundations of Arts Entrepreneurship 3

Four years ago, I created a series of short videos for use in my class Foundations of Arts Entrepreneurship. I’m no longer teaching the course (and the videos themselves admittedly could use some updating) but for those of you looking for a primer on arts entrepreneurship or some supplemental material for use in your own classes, I’m making these available to the public by posting one video a week for the next fifteen weeks.

In this third module, I discuss how need motivates artists, funders, and audience members, and basic techniques for researching your audience and recognizing their needs and wants. The reading referenced in this module is:

  • Simonet, Making Your Life as an Artist, Artists U, 2014. Free downloadable eBook: http://www.artistsu.org/download-the-book pp. 30 -35
  • Artspire, The Profitable Artist. New York: Allworth Press 2011. pp. 115-121 (Chapter 13 Marketing and Networking; Chapter 14 Researching your Market)

Enjoy!

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Foundations of Arts Entrepreneurship 2

Four years ago, I created a series of short videos for use in my class Foundations of Arts Entrepreneurship. I’m no longer teaching the course (and the videos themselves admittedly could use some updating) but for those of you looking for a primer on arts entrepreneurship or some supplemental material for use in your own classes, I’m making these available to the public by posting one video a week for the next fifteen weeks.

In this second module, I introduce basic economic theories of entrepreneurship and explain how they can apply in an arts entrepreneurship context. The module begins with reference to some reading materials that registered students had been required to read. Those materials are:

Andrew Simonet’s Making Your Life as an Artist

Barry Hessenius’s interview with Aaron Dworkin.

Introduction and Chapter 1 of David Cutler’s The Savvy Musician.

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Foundations of Arts Entrepreneurship 1

Four years ago, I created a series of short videos for use in my class Foundations of Arts Entrepreneurship. I’m no longer teaching the course (and the videos themselves admittedly could use some updating) but for those of you looking for a primer on arts entrepreneurship or some supplemental material for use in your own classes, I’m making these available to the public by posting one video a week for the next fifteen weeks.

In this first video, I discuss definitions of “entrepreneurship” and of “arts entrepreneurship” and map the habits of mind that can support the entrepreneurial process.

Additional reading for this module: FRAMEWORKS FOR EDUCATING THE ARTIST OF THE FUTURE- TEACHING HABITS OF MIND FOR ARTS ENTREPRENEURSHIP

The quote from Ann Bogart can be found in her excellent book and then, you act, which had been required reading for an earlier version of this corse.

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