Viability of Local Art Center Presence

Viability of Local Art Center Presence

Imagine a place of refuge, away from the hustle and bustle of the daily ups and downs of life, that could spawn happiness, friendship, and creativity. This place would have meaning to the people who attended it. It would have a strong sense of cohesion and relationship bonds. This place would be a place to escape and create. Art would be the medium. This place would be a center for learning. The community would come together and build a friendship that would be unmatched. The creations of the art center’s community synergy would be life changing and have a positive impact on the community. Could a place that great really exist? Can art prove to be a healing medicine? More importantly, can a place like this be viable and create revenue?

Exploring the importance of a place of peace for refuge is crucial to man’s happiness. Peace comes when stillness and contentment are in harmony. The combination can be reached through art. Whether it be expressionism, abstraction, realism, modern pictorialism, no matter the pursuit art can be and has proven to be the fusing bond for happiness and excellent personal well-being. In the British Medical Journal, the editor R. Smith, wrote, ““diverting 0.5 per cent of the healthcare budget to the arts would improve the health of people in Britain” (1). Restated and as found by Estes and Henderson in their published work Enjoyment and the Good Life, they state that, “Happiness may be found in full engagement in the present through involvement in creative endeavors, or may occur in repose or peacefulness. To become happy, one needs to open oneself to the delights of pleasure and the many wonderful things to enjoy in the world, such as food, art, poetry, music, science and adventure “(Estes & Henderson 1). The secret in establishing this place of peace and wonderful refuge is integrating the place into a receptive and understanding community.

Largely, successful integration within a community involves social acceptance and community involvement. With high values and motives of integrating a community-benefitting art center, the resistance would be minimal. Major benefits include lifelong relationship building, hands-on activity with art, and ability to create identity.

“Community art serves as a catalyst for developing community because it is both the setting for group solidarity building and the symbol of group identity.”
(qtd. In Lowe 357)

Successful cohesion into the community is integral for the longevity of the art center. Lowe in a contemporary sociology study in which she studied the integration of using for community development came across this interesting parallel, “The community-art projects provided neighborhood residents with both a shared interest and a structured opportunity to interact socially, thereby allowing them to discover additional connections and to solidify social bonds. Working together on the projects, although for relatively brief periods of time, offered an experience of community life that inspired feelings of belonging and unity” (366). Thus, we see that bonding community within the realistic and obtainable means with art, can and will create a powerful and worthwhile community enhancing experience for all involved with the creations thereof.

“Organizations are equipped to foster collective efficacy, often through strategic networking of their own or by creating tasks that demand collective responses. “ (Sampson ,158)
Sampson’s statement is based on an extremely in-depth 12-year study of Chicago communities and the life in the city. His research covers a variety of findings and studies that conclude community, the organization and cohesiveness therefore, directly relate to the collective efficacy and altruistic behaviors within. This is one finding and his work is much more thorough than can be summarized here. The important takeaway is that because of this idea of collective efficacy, the bonding and positive beneficial momentum of communities together as a whole, can contribute to sustainable, safe, and benefitting places to live. The community art centers especially if they can be built on viable non-profit companies.

To expound further on the quote by Sampson about organizations being able to demand collective responses, the community center proposed would largely rely on the community integrating together to bind the organization. Synergistically, the binding the organization binds the community members involved in the organizations and directly to their spheres of influence as well. Certain activities within this art organization will create tasks that help to further bind this cohesive collaboration. In a study by Levy and Weber (1), the two studied teen-mom’s in an effort to assess the value of arts-based media programs and identify best practices for personal and social inquiry to share their experiences with other teen moms. The findings were outstanding and completely cemented the need and benefit of having a community–based organization that can not only provide betterment and growth for the individuals, but also for other’s involved with these activities. One activity used for this study was that of art exhibits to showcase the work of the teen-moms. The reasoning behind this was a way to “go public” and also allow the teen moms to take ownership in their work and see how others react to their art.  Overall, the end goal and most impactful of this project was that of the teen mom’s being able to see that their work gave meaning to other’s; that it spoke and gave them a voice to other people.

This example shows another real-world benefit for these art centers. Incorporating study groups or activities as highlighted by Levy and Weber could help to ignite and invite the community to participate in bettering the community.
The final remaining question is that of viability, or profit. Is it possible that such a beneficial and rewarding community outfit can provide both intrinsic individual and community benefits yet also create a steady stream of revenue?

Of course, art is a source of revenue in itself and selling art could provide a means to generating revenue. With an overwhelming market share of $6.64 billion, the past three years have been years of growth for the global art market (ArtTactic 19). To focus in and refine my research, I want to hone in on local markets and the viability of art centers or an art education business. Ideally, if a viable and feasible idea were to come from this research, I would be a fool not to pursue or investigate further the application of such an idea and business model into the private sector. Although, I do find that it chivalrous and noble to operate a non-profit in which to be able to donate a portion of profits to charitable causes (as hinted at earlier with findings of collective efficacy rising with non-profit presence). Another interesting finding done by the Stanford Graduate School of Business showed that non-profits do have an upper hand on for-profit, all they need to do is show competence and that they are not needy (Stanford 1). Overcoming these obstacles in the non-profit industry would indeed prove the viability of such notable organization.

 Regardless of whether the venture is for profit or a non-profit, the idea is a structured model that can maintain sustainability and keep generating profits. The fundamental kick starting for this company however, would reside with the notion that this educational art center refuge would provide and share the amazing and life-changing benefit of understanding and seeing art. The goal would be to offer knowledge and understanding to younger generations for the longevity and growth for the arts.

To investigate further the potential for profit from one of these models I came across was an article summarizing a few different models that are present in the art education business. The art education business has been on the rise since 2002 and has been seeing increases since then. These companies are fairly new, and specifically the art education franchise businesses. Some of the most notable companies in the market right now are Young Rembrandts and Abrakadoodle. Both are leaders in the U.S. market. Their business models differ slightly, yet the approach is similar. They connect young children with art teachers that teach certain aspects of art. The goal is to teach and have the students learn at a young age. An interesting market approach is that these companies can and usually do team up with local schools to provide art education to interested students. This model attacks a unique, niche market, and with the lack of strong competition will succeed and grow quickly given the right conditions. The need and desirability is not entirely quantifiable, as further market research and study would need to be performed. The seemingly most important aspect is that education is becoming an ever-increasing trend nowadays. To top it off, specialization is pushed more and more in the educational system, and what better way to start a blossoming young child on a better path to success than one that has them specializing and learning even in kindergarten or elementary school. 

Shane J. Lopez PhD, a Gallup Senior Scientist, shares a story about his young son and the happiness his son has after attending a summer arts program. He teamed up with the National Endowment of the Arts research director in trying to answer the question of “Does arts participation relate to any facet of well-being?”(Lopez 1). They tracked date from 28 states and compared data from the U.S. Census Bureau’s 2008 Survey of Public Participation in the Arts, and discovered that states with high well-being levels shared a direct correlation with the states that showed high arts participation rates. In regards to his son at his art camp he states,
“I pick him up from art camp in 40 minutes. I have no doubt he will be beaming and ready to update me on his artwork and friends. That’s what happens every time he spends a day at the arts center. Hmmm” (Lopez 1).

Investing in an education is a very popular way to spend money. I have an inner feeling to almost specialize further with this art education business with one that focuses specifically with the medium of photography. Teaching and sharing knowledge on the beauty of photography as an art form would be an exciting ride. Especially to reiterate the point in being able to give that gift of understanding to students by sharing with them the way light and time is captured by a photograph. That idea is intriguingly worthwhile.

This specific focus would create a competitive and transparent model that I believe could be a leader in new and growing industry. As stated earlier, an in-depth market analysis and further investigation of the meshing of the local market it would be entering.
The facts are still present that indeed it is possible to create a viable, impactful local art center. One that will connect and create solidarity that is unrivaled. The potential of creatives synergistically building and creating is limitless. One must now take a step back and realize that this opportunity is immediate and may not last long. The economic condition is right and there are consumers willing to invest educationally for their up and coming children. The time is ripe! The time is NOW!



             

SOURCES

Estes, C. & Henderson, K.. “Enjoyment and the good life.” Parks & Recreation, 22-31. 2003. 29 Nov 2013.

Smith, R. “Spend (slightly) less on health and more on the arts.” British Medical Journal, Vol. 325, pp. 1432-3. 2002. 28 Nov. 2013.

Lowe, Seana S. “Creating Community: Art for Community Development.” Journal of Contemporary Ethnography 29.3 (2000): 357-86. Sage Journals. 2000. Web. 29 Nov. 2013.

Lowe, Seana. “The Art of Community Transformation.”. Education and Urban Society (2001) vol. 33 no. 4: 457-471. Sage Journals. Web. 27 Oct. 2013.

Shkuda, Aaron. “The Art Market, Arts Funding, and Sweat Equity: The Origins of Gentrified Retail.” Journal of Urban History (2012) vol. 39 no. 4: 601-619. Sage Journals. Web. 27 Oct. 2013. 

Lee, Evelyn. "Turning to Art to Bring in Business." NJBIZ 19.44 (2006): 3,3,10. ProQuest. Web. 27 Oct. 2013.

Sampson, Robert. Great American City: Chicago and the Enduring Neighborhood Effect. Chicago: The University of Chicago Press, 2012. Print.

Levy, Leanne, and Sandra Weber. "Teenmom.Ca: A Community Arts-Based New Media Empowerment Project For Teenage Mothers." Studies In Art Education 52.4 (2011): 292-309. Art Full Text (H.W. Wilson). Web. 10 Nov. 2013.

 Lynch, Robert. "The Arts Are Definitely Good For Business." Public Management (00333611) 95.3 (2013): 16-18. Business Source Premier. Web. 27 Oct. 2013.

"Stanford Graduate School of Business Research: Nonprofit's Stereotype can Affect its Ability to do Business." Business WireMar 17 2010. ProQuest. Web. 1 Dec. 2013 .

Daniel T. Barney. and Ashley Mae Hoiland. "The Billboard Poetry Project." Visual Arts Research 38.2 (2012): 39-40. Project MUSE. Web. 7 Oct. 2013. 

Shin, Ryan. "The Business Of Art Education: Friend Or Foe?." Art Education 65.2 (2012): 33-39. Art Full Text (H.W. Wilson). Web. 6 Oct. 2013.

Oliver, James, and Paul Murray. "The Arts, Well-being and Society." Journal of Public Mental Health 6.4 (2007): 6-11. ProQuest. Web. 30 Nov. 2013.

Lopez, J. Shane. “The Hidden Benefits of Participating in the Arts.” Art Works Blog. (2012). National Endowments for the Arts. Web. Dec. 1 2013.

Viability of a Local Art Center (Draft)

Imagine a place of refuge, away from the hustle and bustle of the daily ups and downs of life, that could spawn happiness, friendship, and creativity. This place would have meaning to the people who attended it. It would have a strong sense of cohesion and relationship bonds. This place would be a place to escape and create. Art would be the medium. This place would be a center for learning. The community would come together and build a friendship that would be unmatched. The creations of the art center’s member’s synergy would be life changing and have a positive impact on the community. Could a place that great really exist? Can art prove to be a healing medicine? More importantly, can a place like this be viable and create revenue?

Exploring the importance of a place of peace for refuge is crucial to man’s happiness. Peace comes when stillness and contentment are in harmony. The combination can be reached through art. Whether it be expressionism, abstraction, realism, modern pictorialism, no matter the pursuit art can be and has proven to be the fusing bond for happiness and excellent personal well-being. In the British Medical Journal, the editor R. Smith, wrote, ““diverting 0.5 per cent of the healthcare budget to the arts would improve the health of people in Britain” (2002). Restated and as found by Estes and Henderson in their published work Enjoyment and the Good Life, they state that, “Happiness may be found in full engagement in the present through involvement in creative endeavors, or may occur in repose or peacefulness. To become happy, one needs to open oneself to the delights of pleasure and the many wonderful things to enjoy in the world, such as food, art, poetry, music, science and adventure “(Estes & Henderson 2003). The secret in establishing this place of peace and wonderful refuge is integrating the place into a receptive and understanding community.

Largely, successful integration within a community involves social acceptance and community involvement. With high values and motives of integrating a community-benefitting art center, the resistance would be minimal. Major benefits include lifelong relationship building, hands-on activity with art, and ability to create identity.

“Community art serves as a catalyst for developing community because it is both the setting for group solidarity building and the symbol of group identity.”
(qtd. In Lowe 357)

Successful cohesion into the community is integral for the longevity of the art center. Lowe in a contemporary sociology study in which she studied the integration of using for community development came across this interesting parallel, “The community-art projects provided neighborhood residents with both a shared interest and a structured opportunity to interact socially, thereby allowing them to discover additional connections and to solidify social bonds. Working together on the projects, although for relatively brief periods of time, offered an experience of community life that inspired feelings of belonging and unity” (366). Thus, we see that bonding community within the realistic and obtainable means with art, can and will create a powerful and worthwhile community enhancing experience for all involved with the creations thereof.

The final remaining question is that of viability, or profit. Is it possible that such a  beneficial and rewarding community outfit can provide both intrinsic individual and community benefits yet also create a steady stream of revenue?

Of course, art is a source of revenue in itself and selling art could provide a means to generating revenue. With an overwhelming market share of $6.64 billion, the past three years have been years of growth for the global art market (ArtTactic 19). To focus in and refine my research, I want to hone in on local markets and the viability of art centers or art education businesses. Ideally, if a viable and feasible idea were to come from this research, I would be a fool not to pursue or investigate further the application of such an idea and business model into the private sector. Although, I do find that it chivalrous and noble to operate a non-profit in which to be able to donate a portion of profits to charitable causes. Regardless, the idea is a structured model that can maintain sustainability and keep generating profits. The fundamental kick starting for this company however, would reside with the notion that this educational of art center refuge would provide and share the amazing and life-changing benefit of understanding and seeing art. The goal would be to offer that knowledge and understanding to younger generations for the longevity and growth for the arts.
           
To investigate further the potential for profit from one of these models I cam across an article summarizing few different models that are present in the art education business. Business has been on the rise since 2002 and has been seeing increases since then. These companies are fairly new, specifically art education franchises. Some of the most notable companies in the market right now are Young Rembrandts and Abrakadoodle. Both are leaders in the U.S. market. Their business models differ slightly, yet the approach is similar. They connect young children with art teachers that teach certain aspects of art. The goal is to teach and have the students learn at a young age. An interesting market approach is that these companies can and usually do team up with local schools to provide art education to interested students. This model attacks a unique, niche market and with the lack of strong competition can succeed and grow quickly given the right conditions. The need and desirability is not entirely quantifiable, as further market research and study would need to be performed. The seemingly most important aspect is that education is becoming an ever-increasing trend nowadays. To top it off, specialization is pushed more and more in the educational system, and what better way to start your child on a better path to success than one that has he or she specializing while still in kindergarten or elementary.  Investing in an education is a very popular way to spend money. I have the inner feeling to almost specialize further with this art education business with one that focuses specifically with the medium of photography. Teaching and sharing knowledge on the beauty of photography as an art form would be an exciting ride. Especially, to reiterate the point in being able to give that gift of understanding the way light and time is captured by a photograph is intriguingly worthwhile. 

This specific focus would create a competitive and transparent model that I believe could be a leader in new and growing industry. As stated earlier, an in-depth market analysis and further investigation of the meshing of the local market it would be entering.

The facts are still present that indeed it is possible to create a viable, impactful local art center. One that will connect and create solidarity that is unrivaled. The potential of creatives synergistically building and creating is limitless. One must now take a step back and realize that this opportunity is immediate and may not last long. The economic condition is right and there are consumers willing to invest educationally for their up and coming children. The time is ripe! The time is NOW!



             

SOURCES

Estes, C. & Henderson, K.. Enjoyment and the good life. Parks & Recreation, 22-31. 2003. 29 Nov 2013.

Smith, R. Spend (slightly) less on health and more on the arts. British Medical Journal, Vol. 325, pp. 1432-3. 2002. 28 Nov. 2013.

Lowe, Seana S. Creating Community: Art for Community Development. Journal of Contemporary Ethnography 29.3 (2000): 357-86. Sage Journals. 2000. Web. 29 Nov. 2013.

Lowe, Seana. “The Art of Community Transformation.”. Education and Urban Society (2001) vol. 33 no. 4: 457-471. Sage Journals. Web. 27 Oct. 2013.

Shkuda, Aaron. “The Art Market, Arts Funding, and Sweat Equity: The Origins of Gentrified Retail.” Journal of Urban History (2012) vol. 39 no. 4: 601-619. Sage Journals. Web. 27 Oct. 2013. 

Lee, Evelyn. "Turning to Art to Bring in Business." NJBIZ 19.44 (2006): 3,3,10. ProQuest. Web. 27 Oct. 2013.

 Lynch, Robert. "The Arts Are Definitely Good For Business." Public Management (00333611) 95.3 (2013): 16-18. Business Source Premier. Web. 27 Oct. 2013.

Daniel T. Barney. and Ashley Mae Hoiland. "The Billboard Poetry Project." Visual Arts Research 38.2 (2012): 39-40. Project MUSE. Web. 7 Oct. 2013. 

Shin, Ryan. "The Business Of Art Education: Friend Or Foe?." Art Education 65.2 (2012): 33-39. Art Full Text (H.W. Wilson). Web. 6 Oct. 2013.

Oliver, James, and Paul Murray. "The Arts, Well-being and Society." Journal of Public Mental Health 6.4 (2007): 6-11. ProQuest. Web. 30 Nov. 2013.