Michael Rushton – Författare

With roughly half of all income for non-profit arts organizations in the United States coming from earned revenue rather than donations and state funding, the issue of pricing is paramount to success in the arts industry, yet pricing is not covered in any existing textbooks. How should prices differ between ordinary and premium seating? How much of a discount in admission should be offered through membership or season subscription? When does it make sense to partner with organizations to offer discounts?Arts managers, whether working in the performing arts, museums or festivals, and whether in the commercial, non-profit, or state sector, need to make informed decisions on the prices they set. This accessible text provides the first concise, practical, non-technical guide for setting prices in the arts industry. Offering a practical introduction to pricing, this book is perfectly suited to students studying arts management /administration as well as new managers working in the creative and cultural industries.

With roughly half of all income for non-profit arts organizations in the United States coming from earned revenue rather than donations and state funding, the issue of pricing is paramount to success in the arts industry, yet pricing is not covered in any existing textbooks. How should prices differ between ordinary and premium seating? How much of a discount in admission should be offered through membership or season subscription? When does it make sense to partner with organizations to offer discounts?Arts managers, whether working in the performing arts, museums or festivals, and whether in the commercial, non-profit, or state sector, need to make informed decisions on the prices they set. This accessible text provides the first concise, practical, non-technical guide for setting prices in the arts industry. Offering a practical introduction to pricing, this book is perfectly suited to students studying arts management /administration as well as new managers working in the creative and cultural industries.

Urban and regional planners, elected officials, and other decisionmakers are increasingly focused on what makes places livable. Access to the arts inevitably appears high on that list, but knowledge about how culture and the arts can act as a tool of economic development is sadly lacking. This important sector must be considered not only as a source of amenities or pleasant diversions, but also as a wholly integrated part of local economies. Employing original data produced through both quantitative and qualitative research, Creative Communities provides a greater understanding of how art works as an engine for transforming communities.""Without good data and analysis—much of it grounded in economic theory—we cannot hope to strengthen communities through the arts or to achieve any of the other goals we set for the National Endowment for the Arts, the largest nationwide funder of the arts."" —from the Foreword by Rocco LandesmanContributors: Hasan Bakhshi (Nesta UK), Elisa Barbour (University of California, Berkeley), Shiri M. Breznitz (Georgia Institute of Technology), Roland J. Kushner (Muhlenberg College), Rex LaMore (Michigan State University), James Lawton (Michigan State), Neil Lee (Nesta UK), Richard G. Maloney (Boston University), Ann Markusen (University of Minnesota), Juan Mateos-Garcia (Nesta UK), Anne Gadwa Nicodemus (Metris Arts Consulting), Douglas S. Noonan (Indiana University–Purdue University Indianapolis), Peter Pedroni (Williams College), Amber Peruski (Michigan State), Michele Root-Bernstein (Michigan State), Robert Root-Bernstein (Michigan State), Eileen Roraback (Michigan State), Michael Rushton (Indiana University), Lauren Schmitz (New School for Social Research), Jenny Schuetz (University of Southern California), John Schweitzer (Michigan State), Stephen Sheppard (Williams College), Megan VanDyke (Michigan State), Gregory H. Wassall (Northeastern University)

This book provides a detailed account, and critique, of diverse approaches to the arts funding question, with a focus on the arm’s length arts councils that are the norm in the Anglo-American world.