By Kevin F. McCarthy

The nonprofit arts presently face an atmosphere that demanding situations the best way they've got grown and increases the possibility of destiny consolidation. The authors concentrate on the connection one of the elements of neighborhood groups' arts ecology and advance a brand new framework for comparing structures of aid to the humanities. They then use this framework to evaluate the strengths and weaknesses of Philadelphia1s arts area.

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By the 1970s and 1980s, corporations had become a rapidly growing source of support for the arts. The final development in this changing funding picture was the effort of arts organizations to raise individual financial support. Although these organizations had traditionally relied on wealthy patrons for financial support, their efforts became targeted at a more diverse population and incorporated more sophisticated fundraising techniques. These techniques included annual fund-raising drives, special events, active membership campaigns (often tied to blockbuster exhibits and benefit performances), a range of benefits to induce individuals to become members and financial contributors, and the development of a variety of subscription series rather than single ticket sales.

Similarly, the increasing competition for funding and audiences that has raised development and marketing costs for arts organizations has prompted the development of local alliances to facilitate collaboration among organizations in an effort to reduce costs and to provide access to expertise and services that most individual arts organizations could not otherwise afford. Finally, the growing competition for public officials’ attention and resources—both from other arts organizations and other nonprofits—has led local arts sectors to consider a variety of arguments and organizational approaches to persuade local governments to integrate the arts into their planning and development efforts.

8 Art museums’ operating budgets are almost twice as large as those of symphony orchestras, more than twice those of opera and ballet companies, and more than five times those of theaters and other types of organizations. Such differences are more than simply a matter of scale because they also reflect differences in organizational missions and the size and characteristics of their audiences. Most of the large institutions, for example, are canon focused. That is, they are dedicated primarily to supporting an established body of work in a particular art form, and they aim to attract a broad and diverse audience throughout their market areas.

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