Visual Arts Administration (ARVA-GE)

A colloquium that provides a forum for the presentation of current issues in visual arts management by leaders in the field. Students and professional participants are invited to comment, ask questions and engage in an array of topics related to both for profit and nonprofit issues.

How to collect art for both private and public collections. Factors of aesthetics, taste, and economics are discussed as well as the historic development of collections since the Renaissance. Special attention is given to corporate collections and collecting for investment. Guest lectures.

Concepts, procedures, materials, and tools necessary for producing and managing exhibition projects in museums, cultural centers, and galleries. Space planning, traffic flow, object placement, use of graphic elements, interpretive techniques, and participatory and interactive strategies are discussed. Students will learn the skills of sketching, drafting, and model making by designing an exhibition layout, graphic, and sample label.

An exploration of the history and development of art education and its role and function in the museum. Strategies for teaching and addressing different populations in various environments are studied. Various programs and educational materials are explored and analyzed. Classroom lectures are supplemented by site visits.

Course focuses on the fundamentals of applied microeconomics to the production, pricing, selling, and reselling of works of art. Topics include the production economics of the artist’s studio and analysis of art markets in terms of supply and demand, property rights, and other concepts from microeconomics and related business strategy. The course applies economic analysis to for-profits (galleries and auction houses), non-profits (museums), and hybrid models (technology-driven start-ups/artist-led social-practice)

A survey that examines contemporary issues in the exhibition and display of art and material culture. The theory that underpins practice is considered within thematic groups: art world ecosystems; typologies and frameworks for exhibition making; curatorial roles; interpretation; authenticity and identity; establishing value; and interventionist initiatives. Examples are drawn from an international selection of museums, galleries, periodic exhibitions, and heritage sites. The discussion framework includes the physical and conceptual contexts, motivation, and educational goals that shape interpretation and presentation.

The legal settings for the artist and the visual arts organization in the state of New York and the United States is explored. Major legal issues in the definition of art-as-property and the rights of the artist are evaluated. Contemporary controversies are placed in the larger context of attempts by the judicial system to redefine the balance between the rights of the individual artist and the public responsibilities of the visual arts institution in an increasingly urbanized and technological society.

Introduction to the elements and participants affecting visual arts organizations in the United States. In addition to examining the position of the artist in society, the course analyzes the cultural environment in which art and arts organizations operate and the structure and management of organization that present artwork, - in both non profit and commercial venues. Students study the particular intersections between for profit and non profit areas in the visual arts as well as the strategies and techniques needed to manage visual arts organizations effectively. The course addresses the whole art system and how various elements/organizations/individuals interact and influence one another

The purpose of this course is to introduce you to the concepts of financial reporting, the language of business, and its underlying assumptions as applied within the arts administration context. We will discuss the uses and limitations of the financial statements. Procedural aspects of accounting will be discussed in order to enhance your understanding of the content of the financial statements. The emphasis of the class is on using accounting information in the evaluation of business performance and risk in the arts.

Introduction to a wide range of development techniques for securing contributed income, including foundation, government and corporate grants and sponsorships; gifts from individuals through memberships, major gifts, planned giving and special events; and capital and endowment campaigns. Critical issues include how to identify potential donors, the solicitation process and support materials needed to 'make the ask,' the donor's perspective.

Arts organizations rely on the support and sponsorship of public and private agencies and individuals. This course focuses on current issues and approaches to building public understanding and legislative support for the arts, and examines the context and growth of arts advocacy in the U.S. Students will develop hands-on skills to initiate and sustain effective relationships with policy makers and other arts stake holders. Topics include cultural policy, the arts economy, political structures and processes, coalition building, cultural diplomacy, as well as internet and media advocacy

Development of a business in the fine arts including core vision, program and presentation, promotion, marketing, sales, contracts, and financial planning. Examination of what differentiates an arts business from other kinds of businesses. Students gain exposure to variety of professionals in the commercial arena of the visual arts including gallerists, dealers, and consultants. The course concludes with the formulation and presentation of a comprehensive business plan for a start up arts business.

Investigates the processes of art galleries and museums employ to expand visitorship, membership, attendance and support. The course will examine professional practices in constituency identification and analyze audience members' values and lifestyles as they pertain to consumer and visitor decision making. Students will study the methods used in preparing creative marketing strategies, visitor surveys and membership drives. Through practical review of audience needs assessments, the course will prepare students to create programs, expand audience and meet community interests.

Examines how arts organizations use networked technologies and digital media in the development and fulfillment of their missions. Students consider the creative, theoretical, and practical implications of integrating various technologies from multiple perspectives. Students gain an understanding of the ever-shifting landscape of social media and digital marketing, digital-born artworks, emerging technologies, e-commerce, and the role of digital in confronting issues of social justice and racial equity.

Inquiry into the role of the arts in city growth and development. The role of public art, arts programming, city planning for aesthetic, cultural, and historic reasons, and amenities for artists in promoting community well-being are examined. Required site visits.

Explores the creative and practical aspects of curating contemporary art. Students will devise an exhibition proposal to be presented in the project space at 80WSE Gallery. Students will be introduced to curators, explore a variety of current exhibitions, and discuss expanded curatorial approaches and counter-exhibition histories. Other assignments include developing an exhibition budget, devising a design/installation plan and determining communication trategies.design/installation plan & determining communications strategy.

Provides a comprehensive understanding of the diverse ways the visual arts & business intersect in the United States & abroad. Traditional corporate art programs are examined, as well as new models pertaining to today’s style of management & more technologically-oriented businesses as well as the real estate, hospitality & healthcare industries. Examination of how art in the work place matches the culture & philosophy of a business or corporation & how they are successfully used as a tool in branding, public relations, client development, community outreach, & human resources. Attention is paid to the marketing benefits accrued to a corporation when it engages in a visual arts effort, be it through collecting, museums, exhibitions, art education programs, artist/exhibition sponsorship, communications or technology. On-site visits & guest lecturers from professionals in the field.

Overview of the multifaceted experience of being a solo art dealer, owning a gallery or being part of a gallery team. Topics include working with and establishing a name for artists; placing works in collections; developing relationships with collectors; working with auction houses, art fairs, and biennials; marketing and publicity; and exploring how galleries best work with museums and other non-profit organizations. Students develop a focused understanding of the art dealer’s/gallerist’s role in the global art world and learn how to manage art galleries.

An exploration of the role of boards of trustees and the interaction of boards and staff in the management of nonprofit visual arts institutions. Topics include the legal, ethical, and practical responsibilities of the governing board; effective board leadership; recruiting, training, motivating, and retaining trustees; development of policy; strategic planning; and risk management.

Examines how branding for arts organizations communicates a distinctive role, relevance and identity to convey a clear institutional message. Rising media costs, ever increasing options for leisure-time activities, and the shift from philanthropic to brand-focused corporate support combine to create an imperative for clarity and impact in arts marketing activities. Theoretical business frameworks, case studies and guest speakers, effective strategies to engage target audiences and build a sustainable identity are analyzed.

An overview of the many varied issues involved in the commerce of art, including the pricing and marketing of a wide number of art objects from the 18th, 19th, and 20th centuries. Different types of professions and their specific needs for determining the value of art will be examined. The impact of emerging markets and technologies and the impact on the business of art will be covered.

The responsibility of the registrar or collections manager in a museum. Issues to be explored will include accessioning procedures, cataloguing systems and information management, collections storage and handling, development of collections policies, tracking and packing, insurance and risk management, and legal and ethical foundations for gifts and loan agreements.

Course focuses on strategies involved in developing corporate sponsorships in the arts. Various sponsorship case studies between corporations & non-profit arts organizations are analyzed as marketing tools to build the sponsor’s business, raise brand awareness, as well as align with & increase institutional support. Principles of strategic marketing & practical tools are presented through readings, assignments & discussions tied to effective writing to a potential sponsor, benefits offered & other tactical tips to secure sponsorship today.

This course offers the student, whether graduate or arts administration practitioner, an intensive experience in learning about cultural policies and arts management practices in at least two European countries. The Arts Administration Study Abroad is comprised of a series of lectures, site visits, case studies, discussion sessions and presentations. Issues change from year to year as cultural policies develop in chosen venues. Students examine a combination of policy and practice, meet with arts administrators and policy makers, and present case study analyses on the basis of their lectures and on-site visits.

In this course students explore the development of the Western art market from the Middle Ages to the present day. Students study key moments and figures - the Dutch Golden Age (17th century); the birth of the Impressionist and avant-garde market in Paris (late 19th - early 20th century); the Harlem Renaissance and the establishment of New York as the capital of the art market after the second world war; and the role of the gallery in a changing global market.

The evolution of alternative spaces in New York City from the 1950s through the early 1990s. Critically investigates varying definitions to the term 'alternative,’ and considers the impact of new art forms/new ideas upon the nonprofit and for profit sectors of the art world at that time. Students learn about the work of emerging, underrepresented, established artists whose art reflects cultural and stylistic diversity. Students gain insight into how administrators serve both their artists and constituencies and respond to the changing needs of their communities.

Students research key issues that impact global art production and its reception through readings across disciplines (art history, criticism, sociology, etc.) Student analysis drives the discussion in each session. Competency in the subject and learning new research skills is built via written, oral, and a/v assignments. The final assignment is a project proposal related to the section’s theme, approved by the instructor, and completed in ARVA-GE 2301 (Spring).

Final Project supports project proposals approved in ARVA-GE 2299. Each week students present work-in-progress for insight and reflection, and deepen their understanding of their concepts and the concepts of their classmates. Students appreciate how project development is an evolving process, and master their topic area, build time management skills, vital for successful leadership in the arts. The semester culminates in a public showcase of completed projects in a Department event.

Individual internships in New York City with major artists, notable museums, distinguished galleries, art publishers, and art organizations under the guidance of a sponsor at the host institution. Students also work closely with the internship coordinator to assess their progress & define learning goals. Internships should be arranged during the term prior to the actual internship, be approved by the internship coordinator and academic advisor in advance, and students must register by the drop/add deadline.

Explores the creative and practical aspects of curating contemporary art. Students will devise an exhibition proposal to be presented in the project space at 80WSE Gallery. Students will be introduced to curators, explore a variety of current exhibitions, and discuss expanded curatorial approaches and counter-exhibition histories. Other assignments include developing an exhibition budget, devising a design/installation plan and determining communication strategies.design/installation plan & determining communications strategy.

This course will examine the history of the art biennial in the context of contemporary art from 1972 to the present, situating the work in its historical & social context. It will explore how the format of the international biennial has become, over the past four decades, the main outlet for the production and presentation of contemporary visual art & performance, & the curatorial strategies that have shaped public understanding of this material.

The course examines the history of the discipline from its early years in Europe – with Futurism, Dada, Surrealism, the Bauhaus and Russian Constructivism -- to its current manifestations, including material from China, Korea, the Americas, and the Global South. Structured chronologically, students examine concepts and themes, including the role of the body as material, gender, and identity; performance as protest; as live experience in a media saturated world; and its interface with the public. Students view performances, lead seminar discussions, and complete two assignments related to course material.

An introduction to understanding the investment potential of art & the art market. The course starts with a brief history of art as an asset class, then moves to exploring the various ways to construct viable art investment strategies as well as to track performance & return on investment. The importance of trend & opportunity identification is examined.

Description: Strategic communications encompasses the distinct but interrelated fields of public relations, advertising, marketing, and social media. It plays an essential role in the operations of both nonprofit and for profit entities, serving as the primary connection between an organization and its desired and existing audiences. This course seeks first to create a common understanding of the practical definitions of public relations, advertising, marketing, and social media, and then provides students with the basic tools to create a diversified and holistic communications strategy.

Traditional community planning and development has not always created equitable, healthy and sustainable communities. Arts and culture bring new tools and strategies to place-based community development. The emerging field of creative placemaking utilizes arts and culture to approach community planning and development. This course will focus on arts and culture in community planning and development across the United States – in both rural and urban communities. It will explore questions around the what, why, how, when and who of creative placemaking practice.

The goal of the course is to develop entrepreneurial thinking that can be applied in the development of new ventures. Because art businesses are often not purely profit-seeking, we engage explicitly with conflicting political and economic ideologies of growth including scalable technology platforms, socially engaged business practice, grass-roots activism, and collaborative social practice. The overarching method of the course is design thinking including industry mapping, interviews, and prototyping. The course will focus tools thematically on the area of cultural heritage.

In this course students explore the development of the Western art market from the Middle Ages to the present day. Students study key moments and figures - the Dutch Golden Age (17th century); the birth of the Impressionist and avant-garde market in Paris (late 19th - early 20th century); the Harlem Renaissance and the establishment of New York as the capital of the art market after the second world war; and the role of the gallery in a changing global market.

This course explores the increasingly blurred boundaries between for-profit and non-profit structures in the arts. In the past ten years, an art museum has started an incubator. A for-profit gallery has started a research institute. Kickstarter has become a benefit corporation. Upstart Co-Labs has launched a creative-economy fund. ArtBuilt has used the tools of real estate investment to build artist support and anti-gentrification structures. Students explore this area of hybrid practice at the intersection of legal form, financial structure, and mission.

This course reviews artists' responses during times of crisis. Whether floods, war, racial, ethnic and gender violence or pandemics of catastrophic dimensions, artists respond in thoughtful and powerful ways, creating work that emblematizes the horrors, and provides places of mourning, memory and healing. This course overviews contemporary art of the past several decades, showing critical turning points when such crises resulted in major cultural change. The ideas and aesthetics of the artists’ work selected for study show persistent social conscience and humanism.

This course follows an arc from public funding of art through the artistic design of public policy. The core aim of the class is to ask, in the U.S. and within a comparative global context, whether creative policy design is possible, and whether models in the arts—including resale royalties, fractional equity in art, and collaborative solidarity economies—can offer unexpected tools for the reimagination of reparations, redistribution, and revitalization of the democratic project in an age of, as Will Davies writes, the “disenchantment of politics by economics.