Bob Harlow (2)
Bob Harlow, PhD, develops custom research programs that help organizations identify how to engage key audiences. He has held senior and management positions at IBM and at the market research consulting groups Yankelovich Partners, RONIN, and KRC Research. He currently leads his namesake market research consulting organization, and has partnered with marketing managers and senior executives at some of the world’s largest companies and leading nonprofit organizations to build and target brands, offerings and marketing strategies. He has a PhD from Princeton University in social psychology and completed the post-doctoral program in quantitative analysis at New York University’s Stern School of Business and Graduate School of Arts and Science. He is the lead author of the four reports in the series, Wallace Studies in Building Arts Audiences.
Chad Bauman (2)
Chad M. Bauman is the Director of Communications for Arena Stage at the Mead Center for American Theater, where he supervises the marketing, media relations, publications, sales and front of house departments. He was recruited to join the company in 2007 in order to develop strategies to guide the company through a 2.5 year transition period while a new $135 million, three theater complex was built. During that time, he worked on multiple Broadway transfers, led a rebranding campaign, project managed Arena's transition to Tessitura and revamped customer service procedures resulting in the highest satisfaction levels in more than a decade. During his tenure, Arena Stage has increased subscriber revenue by 105%, increased its subscriber base by 64%, increased earned revenue by 133%, increased the number of new patrons by 90% and decreased patron attrition by 7%. Records for the highest grossing day, week and production were also set in three separate fiscal years—FY08, FY10 and FY11 respectively.
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Diane Ragsdale (3)
Diane is currently working as at Erasmus University in Rotterdam, where she is lecturing, researching the impact of social and economic forces on US nonprofit regional theaters since the early 80's, and pursuing a PhD. For the six years prior to moving to Europe, Diane worked in the Performing Arts program at The Andrew W. Mellon Foundation, where she had primary responsibility for theater, dance, and technology-related strategies and grants. Before joining the Foundation, Diane served as managing director of the contemporary performing arts center On the Boards in Seattle and as executive director of a destination music festival in a resort town in Idaho. Prior work also includes stints at several film and arts festivals and as a theater practitioner and teacher. She is a frequent panelist, provocateur, or keynote speaker at arts conferences within and outside of the US. You can read her blog, Jumper, on ArtsJournal.com and follow her on Twitter @DERagsdale.
Jenny Byrd (2)
Jenny Byrd is the Executive Director of Brimmer Street Theatre Company, an Event Manager at UCLA, and an Executive Arts Management student at Claremont Graduate University. Her spare time is spent wedding-planning with her new fiance.
John Holden (1)
John Holden is a Visiting Professor at City University, London and an Associate at the think-tank Demos. His publications include Democratic Culture, Culture and Class, Cultural Diplomacy, and Cultural Value and the Crisis of Legitimacy. John is a member of the Advisory Boards of the Clore Leadership Programme and the U.K.’s Arts and Humanities Research Council.
Josephine Ramirez (2)
Josephine Ramirez is Program Director at the James Irvine Foundation with overall responsibility for the Foundation’s Arts program. Last year under her leadership the Foundation launched a new arts strategy, refining and strengthening Irvine’s focus on arts engagement. Before joining Irvine, Josephine was Vice President of Programming and Planning for the Performing Arts Center of Los Angeles County, founding the programming department and launching several groundbreaking initiatives, including Active Arts® at the Music Center. Previously, she was a Program Officer at the Getty Foundation, managing funding in arts leadership development, local cultural organizations, arts education research, and arts policy. Also at the Getty, she was a Research Associate at the Research Institute, creating and implementing a multi-year investigation of the connections between art making and civic participation. She currently serves as Vice President of the Cultural Affairs Commission, City of Los Angeles. She is a Loeb Fellow alumnus at Harvard University’s Graduate School of Design, an award that supported her research on informal, nonprofessional art making and its relationship to individual and community vitality.
Kelly Tweeddale (3)
Kelly Tweeddale is Seattle Opera’s Executive Director. She plays a key role in organizing and supervising the Opera’s daily operations, in generating and overseeing the company’s budgets, and in developing and implementing the Opera’s strategic long-range plan. She is overseeing Seattle Opera’s future development project—consolidating the company’s operations including administrative, rehearsal, production, educational, technical support, costume and scenic assembly spaces—into one building adjacent to its performance hall in order to maximize community access, innovation and collaboration.
Lynne Conner (3)
Lynne Conner is a cultural historian and playwright/director currently serving as Chair of the Theater and Dance Department at Colby College. Her research interests and consulting projects are focused on studying the history and contemporary status of audience behavior and psychology, with a special interest in how audiences engage in the interpretive process. She has given scores of talks on topics in the cultural policy field, including keynote and panels lectures at the Salzburg Global Seminar, Toronto Creative Trust, National Performing Arts Convention, Wallace Foundation, International Society of Performing Arts Presenters, Boston Foundation/Massachusetts Cultural Council, Greater Philadelphia Cultural Alliance, Southwest Arts Conference, Grantmakers in the Arts, Dance USA, and the American Symphony Orchestra League, among others. Her audience studies publications include a widely cited chapter in Engaging Art: The Next Great Transformation of America’s Cultural Life, co-edited by Steven J. Tepper and Bill Ivey (Routledge, 2008), Project Brief: The Arts Experience Initiative (available at www.heinz.org), and We the Audience: The Pleasures of Interpretation in the Live|Digital Era, forthcoming in fall 2013 from Palgrave Macmillan. She has twice before been a guest blogger for ArtsJournal.com.
Michael Kaiser (2)
Michael M. Kaiser is President of the John F. Kennedy Center for the Performing Arts. He has expanded the educational and artistic programming for the nation's center for the performing arts and has overseen a major renovation effort of most of the Center’s theaters. As Kennedy Center President, Mr. Kaiser is responsible for the artistic and financial health of the Center’s extensive theater, jazz, chamber music, and dance seasons as well as its affiliates the National Symphony Orchestra VSA, and Washington National Opera. Dubbed “the Turnaround King” for his work at numerous institutions including the Royal Opera House (London), American Ballet Theatre, Alvin Ailey American Dance Theater, and the Kansas City Ballet, Michael has earned international renown for his expertise in arts management. He advises performing arts organizations around the world, working with arts leaders in nearly 70 countries. Upon joining the Kennedy Center in 2001, Michael created the Kennedy Center Arts Management Institute, renamed the DeVos Institute of Arts Management at the Kennedy Center after a $22.5 million commitment from Dick and Betsy DeVos, which aims to train the current and next generation of arts leaders. The Institute features a variety of initiatives and programs, including an online education forum for arts administrators at artsmanager.org, where professionals and students in the field can share experiences, seek employment, and post opportunities. He founded Arts in Crisis: A Kennedy Center Initiative in February 2009, and embarked on a 50-state tour to spread his arts expertise across the United States.
Michael Phillips (2)
Michael Phillips is the film critic of the Chicago Tribune. Previously he was the Tribune's drama critic, a post he also held at the Los Angeles Times, the St. Paul Pioneer Press, the San Diego Union-Tribune and the Dallas Times-Herald. At the beginning of his career he was arts editor of the Twin Cities weekly City Pages, where he also worked as film critic. He is a graduate of the University of Minnesota and lives on Chicago's northwest side.
MiJin Hong (3)
is the Director of Academic Affairs and Program Development at the Getty Leadership Institute at Claremont Graduate University (GLI), a leading
international source of professional and executive development for current and future museum leaders (www.cgu.edu/gli). MiJin’s primary focus is in designing leadership programs in service to the museum field, building relationships with faculty and other potential partners in the academic, public and private sectors. Key to her success is understanding and examining the issues and challenges facing the museum leadership community and staying abreast of the field’s most pressing developments and its rapidly evolving context. She applies current research toward future solutions by building opportunities for museum professionals, policy makers, academics, and public officials to come together to learn, plan and grow. Along with strengthening the curriculum of long-standing programs such as the Museum Leadership Institute (MLI) and Museum Leaders: the Next Generation (NextGen), more recently, she has been developing new initiatives for the global cultural sector with partners in Canada, Mexico and China.Roberto Bedoya (2)
Roberto Bedoya has served as the Executive Director of the Tucson Pima Arts Council since November of 2006. He is also a writer and arts consultant who works in the area of support systems for artists. As an arts consultant he has worked on projects for the Creative Capital Foundation; The Ford Foundation; The Rockefeller Foundations and the Urban Institute: He is the author of the monograph U.S. Cultural Policy: Its Politics of Participation, Its Creative Potential and The Color Line and US Cultural Policy: An Essay with Dialogue
Stanford Thompson (2)
Stanford Thompson is a musician and educator who is passionate about using music for social innovation and serves as the Executive Director for the El Sistema-inspired program, Play On, Philly! As a trumpeter, Mr. Thompson has performed and soloed with major orchestras around the world while actively performing chamber music and jazz. As a conductor and educator, Stanford has served as clinician for the Music In Charter Schools annual festival and Philadelphia All-City Brass Symposium. He has served on faculty for the Atlanta Academy of Music and Symphony in C Summer Music Camp. For El Sistema-inspired programs he has designed and consulted, Stanford has secured over $2 million in funding which has lead to the impact of thousands of children around the world. He serves on the board of the American Composers Forum Philadelphia Chapter and recognized as one of Philadelphia’s top 76 Creative Connectors. Stanford holds a degree from The Curtis Institute of Music and the New England Conservatory's Abreu Fellows Program.
Website - www.stanfordthompson.com
Facebook - www.facebook.com/stanfordleon
Twitter - www.twitter.com/stanfordleon
Blog - www.stanfordleon.wordpress.comStephanie Barron (2)
Stephanie Barron is senior curator and head of modern art at LACMA. Among the many groundbreaking and award winning exhibitions she has curated are “Degenerate Art “: The Fate of the Avant-Garde in Nazi Germany (1991); Exiles and Émigrés- The Flight of European Artists from Hitler (1997); Made in California 1900-2000: Art, Image and Identity (2000); and Art of Two Germanys/Cold War Cultures (2009). She has been decorated twice by the German Government.
Trisha Mead (2)
Trisha Mead works to develop new audiences for the arts through a variety of channels in Portland Oregon. As President of the Portland Area Theatre Alliance she founded the Fertile Ground Festival of New Work, a citywide festival or world premiere performance that takes place the last week of January each year and ranges from dance to theater to puppetry to film, all created or commissioned in Portland Oregon. Currently she works as the Director of Marketing and Communications for Oregon Ballet Theatre, after having worked in Marketing and PR at Portland Center Stage and Artists Repertory Theatre in Portland Oregon. She regularly contributes to the blog and conversation at 2amtheatre.com and was selected to be an official blogger for the New Play Institute Convening “From Scarcity to Abundance” in January of 2011 at Arena Stage in Washington, DC. At that event she had the weird but wonderful experience of being quoted out of context by the NY Times art blog in response to Rocco Landesman’s controversial remarks on the “oversupply” of arts producers in the U.S. Once upon a time, she also considered herself a theater artist, directing plays under the auspices of Mt Hood Repertory Theatre’s American Classics Festival where she was the Associate Artistic Director.
An ArtsJournal Discussion | Jan. 23-27, 2012
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