What does it mean to cultivate demand for the arts? Why is it important and necessary to do so? What can state arts agencies and other arts and education policymakers do to make it happen? The authors set out a framework for thinking about supply and demand in the arts and identify the roles that different factors, particularly arts learning, play in increasing demand for the arts.

This research brief summarizes a study about what it means to cultivate demand for the arts, why it is important to do so, the role of arts learning in this effort, and arts and education policy changes needed to build future arts audiences.

What does it mean to cultivate demand for the arts? Why is it important and necessary to do so? What can state arts agencies and other arts and education policymakers do to make it happen? The authors set out a framework for thinking about supply and demand in the arts and identify the roles that different factors, particularly arts learning, play in increasing demand for the arts.

In this definitive guide to resources, aspiring artists and serious amateurs devoted to their art will find scores of time-tested strategies to help them set up and work safely from a home studio; learn where and how to acquire appropriate art materials; develop their abilities with others as well as create art alone; explore opportunities for education in a wide variety of forms; overcome mental blocks; mat, frame, pack, and ship works of art; and much more. Artists looking to show and sell their work will find no-fail ideas for marketing, exhibiting, and entering the world of galleries. Filled with entertaining success stories, this is one volume for the bookshelf of every artist hoping to attain satisfaction and pleasure though his or her art. Plus, dozens of well-known artists–as well as those successful on their own terms–share their own success stories and sources for artistic inspiration.

State arts agencies -- key players within the U.S. system of public support for the arts -- face growing economic, political, and demographic challenges to the roles and missions they adopted when founded in the mid-1960s. This report, the fourth and final in a multiyear study, looks at state arts agencies' efforts to rethink their roles and missions, reflecting on what the changes may mean for the direction of state arts policy. Drawing on readings, discussions, and analyses conducted for the study, the author concludes that if current trends and strategies continue, future state arts policy is likely to focus more on developing the creative economy, improving arts education, and encouraging a broader spectrum of state residents to participate in the arts. To achieve these goals, state arts agencies will likely become more involved in policy advocacy, coalition building, convening, and gathering and disseminating information than in grantmaking. The transition to this future poses some risks for the agencies and for the arts community, but it also offers the opportunity to more effectively promote the conditions in which the arts can thrive.

The constituency for education and therapy in the arts is rapidly expanding beyond the conventional school and clinical settings to include the wider community. In Cultivating the Arts in Education and Therapy, Malcolm Ross integrates traditional Chinese Five Element Theory, also known as The Five Phases of Change, with contemporary Western psychological and cultural studies, to form a new Syncretic Model of creative artistic practice. The Syncretic Model is explored and validated through an analysis of interviews with practising, successful artists, and in a comprehensive review of the latest neuro-scientific research into human consciousness and emotion. The book addresses the well-documented difficulties experienced by arts teachers and therapists intervening in, supporting and evaluating the creative development of individual students and clients. This groundbreaking text repositions the arts as central to the effective initiation and management of change in contemporary society. Besides being of wide general interest, it will have particular relevance for practising and trainee arts teachers, arts therapists and community artists. With the demand for their services growing and pressure to demonstrate effectiveness mounting, the arts community is looking to build bridges between the different arts, and between arts education and therapy across national boundaries. This book offers a fresh, coherent, and challenging framework for a revitalized reflective practice from an experienced authority in the field.

The economics of the Arts is a new field with a small but rapidly-growing literature, which has emerged in recent years out of the eagerness of economists to apply their techniques to hitherto untried areas and the recognition by Arts administrators of the rapidly increasing economic pressures on the Arts. This book of readings is the first of its kind. Of the 16 articles, 8 are directly concerned with the Arts in America; the other 8 deal with the British scene. What can economics say about so non-economic a subject as the Arts? Obviously, finance for the Arts involves economic considerations. But in addition, economics provides, among other things, a logic of rational choice, and the economists' style of thinking, therefore, is adaptable to any problem of choice in respect of any set of goals, whether they be economic goals or not. Then, there is the question of whether economics can provide a case for public support for the Arts, that is, whether the State should subsidize the Arts. This is a familiar problem in the economics of welfare but its application to the Arts raises novel questions and even economists are not agreed on whether economics can provide such a rationale. Also, there is the question of criteria for public expenditure on the Arts, assuming that the case for some public expenditure has been made. Can economists tell us how much the State should spend on the Arts? Surely, they can help us with a host of other questions: should museums and galleries charge fees; should museums ever sell off parts of their collections; can the Arts economize on their expenditures; how can modern music be most effectively encouraged by public funds; are ticket prices an important element in the demand for the Arts; and does the low pay of artists discourage individuals from taking up artistic occupations?