The creative standstill between viewers and streamers has come to a head. As streaming slowly inches its way to overtaking the conventional ways of watching television, the divide between what viewers want and what is being produced grows. Audiences have made it clear that they prefer the formats of the past overcurrent releases, but streaming companies are refusing to make changes to their current format, especially regarding the sitcom.
With little success in larger-scale government oversight so far, it begs the question: how is the marketplace for DAFs changing and innovating in the response to these singularizing criticisms? Is the market listening and self-correcting as a way to preempt such legislation? Given the broad variety of DAF sponsor organizations, it is evident that the field, while large, is not a monolith and deserves to be measured at its innovative margins. Newer sponsors have revealed themselves to be particularly aware of the controversies yet remain focused on the opportunities these accounts provide and are demonstrating new approaches to DAF sponsorship aimed at greater payout rates and democratization of their platforms.
While institutional philanthropy is in a boom-time, foundations have not monopolized such growth. The renewed interest in donor advised funds (DAF) since the pandemic has triggered meteoric growth in the amount of assets stored in DAFs, with recent figures showing over $229 billion stored across 2 million DAF accounts, receiving roughly $86 billion in annual contributions, and granting nearly $52 billion in 2022.
The use of generative AI (GenAI) tools is becoming increasingly prevalent in marketing, particularly for smaller organizations or nonprofits seeking innovative ways to engage audiences and improve workflow efficiency. This article dives into data collected through a survey that was sent out to museum professionals in Pittsburgh and Cleveland to better understand how and if they are utilizing generative AI tools in their marketing strategies.
This month, music and film are at the forefront as each battles with the future uses for burgeoning tech. While AI-generated film visuals seem to be coming up short, progress toward realistic AI-generated music is starting to send shockwaves. On the consumer side, music streaming tools are being released to allow more listening experience customization. Across the industry, artists are celebrating ways that some these new tools can enhance their work, while speaking out against potential impacts on jobs, compensation, and creative freedom.
Here at AMT Lab, we have been sorting through plenty of data as we prepare for tomorrow’s release of the full report from our 2015 National Ticketing Survey (stay tuned!). Today’s throwback is a collection of AMT Lab Articles that discuss tools, stories and best practices for the management and usage of quantitative data in an arts organization. Most of these are a more recent throwback, but even those articles from 2012 still provide invaluable resources for organizational leaders.
Introducing new technology into a tried and true process is an experiment— as such it comes with risk. However, if we leave our comfort zone, think critically about the strengths and weaknesses of our processes as they currently exist, and entertain how technology could allow for deeper and more efficient collaboration, we may find new opportunities for innovation in this vital area. The Oregon Shakespeare Festival (OSF) did exactly that to remarkable success.
To understand why arts organizations have struggled to capture funds from tech billionaires, arts managers and development professionals would do well to recognize what philanthropic sectors they are losing these dollars to, and why. Armed with these insights, arts professionals can then adjust their strategies to better appeal to this new and growing donor segment.
If you told the average San Francisco resident 40 years ago that the art scene in the Bay Area would be gasping for life in 2015, they probably would have laughed in your face. But it is 2015, and that is the reality we are facing. The tech giants have moved in, and tension is building between the Silicon Valley community and its non-profit entities. In particular, arts organizations seem to be at an extreme disadvantage for a few reasons:
Picture a producer preparing for the upcoming world premiere Contemporary Color, “a pep rally pop music mashup.” Conceived by David Byrne and commissioned by Luminato Festival and Brooklyn Academy of Music, Contemporary Color will bring together artists such as Nelly Furtado, St. Vincent, and Ira Glass, 350 performers, and a 15 piece band for its world-premiere performance in Toronto this summer. Not only are the artists, performers, and musicians all located in different cities across North America, great distances also separate the designers, technicians, and other producers. To coordinate the project across these distances, the producer relies on online collaborative tools to orchestrate the project from pre-production to post-production.
When talking about new media art, there is no single definition. According to a 2001 research study by the Rockefeller Foundation, media artworks can be defined according to nine common elements: fluidity, intangibility, liveness, variability, replicability, connectivity, interactivity, computability, and chance. New media art is a very general and broad category and includes many subcategories. Among these, net art, digital art and plurimedia art are the most common within the visual art field. Nevertheless, the meaning of new media is constantly evolving.
Google Analytics dashboards help users efficiently review important metrics and dimensions, like traffic sources or social media shares, quickly generate reporting tools, and create data-friendly cultures through easy sharing and visually storytelling. Learn about how dashboards can not only help managers process website information, but also how they can effectively communicate that information to a broader audience.
Throughout the process of selecting and implementing a grants management system (GMS), an arts organization must consider many factors in order to ensure positive results. These factors fall into four main categories: vendor interviews, data migration, integration, and training. All of equal importance, these categories must be weighed to find the optimum balance of system features and vendor characteristics.
Today we focus on the last two categories—integration and training. To read the first part of this two-part series, click here.
Throughout the process of selecting and implementing a grants management system (GMS), an arts organization must consider many factors in order to ensure positive results. These factors fall into four main categories: vendor interviews, data migration, integration, and training. All of equal importance, these categories must be weighed to find the optimum balance of system features and vendor characteristics.
Today we focus on the first two categories—vendor interviews and data migration.
When implementing new technology, such as a new CRM system, many organizations have learned the basics of how to select a product or vendor. But what about after the technology is selected? It can be overwhelming to consider the unpredictable changes that will occur among the flow or your organization’s work and even among its culture. However, by taking steps to manage the change, new technology can be integrated into an organization much more smoothly.
