How Art Works: The National Endowment for th e Arts ' Five

- Year Research Agenda , with a System Map and Measurement Model (September 2012)

1 

## APPENDIX A

Below are brief descriptions of relevant studies a n d d a t a s e t s for each node in the How Art Works system map. This appendix is not a comprehensive overview of all available work that relates to each concept. Instead, it is meant to supply examples of how such concepts are discussed in the literature and (in some cases) which variables may be used for future research and metrics development. The titles appear in descending chronological order.

The list was compiled by Monitor Inst itute for the National Endowment for the Arts' Office of Research & Analysis (ORA). The ORA staff wish to thank Aimee Fu llman, who conducted a literature rev iew that benefited this project at an early stage.



### Input **s**

Arts Infrastructure Examples of Relevant Studies

**•** “ Set in Stone: Building America's New Generation of Arts Facilities, 1994

- 2008 ,” by Joanna Woronkowicz et al. (2012)

— Assesses cultural facilities and building projects in the U.S., including community effects.

**•** “ Still Kicking : Aging Performing A rtists in NYC and LA Metro Areas: Informatio n o n Artists IV,” by Joan Jeffri (2011)

— Draws from respondent

- driven surveys of performing artis t s, ages 62 and older, in the New Y or k City and Los Angeles metro areas. The report investigates topics such as a ccess to health in surance, work satisfaction, earnings, and other issues confronting senior performing artists.

**•** “ California’s Arts and Cultural Ecology , ” by Ann Markusen, Anne Gadwa, Elisa Barb our, and William Beyers (2011)

— Uses a variety of data sets, including the California Cultural Data Project, the American Community Survey, and the Survey of Public Participation in the Arts, to explore the budget sizes, geographic locations, and intrinsi c and economic impacts from 11,000 arts and cultural nonprofits in California.

**•** “ The Annual Report on Philanthropy for th e Year 2010 ,” by Giving USA (2011)

— Captures rates of phil anthropic giving, including for arts and culture and the humanities.

**•** “ C reative Placemaking ,” by Ann Markusen and Anne Gadw a ( 2010)

— Discusses the role local arts and cultural organizations play in community revitalization and economic developm e nt. The report
pres en ts case studies ranging from the developm en t of an arts di strict in Cleveland to the transform ati on of a vacant Buffalo auto plant into artist studios and housing.

**•** “ Artist Space Deve lo pment: Making the Case , ” by Maria Rosario Jackson and Florence Kabwasa

Green (2007)

— Draws on research conducted in seven U.S. cities to explore the development of affordable spaces for artists to live and work; suggests strategies that may be used to advocate for artist spaces; and discusses expected outcomes of developing artist spaces, such as community economic development.

**•** “ Cultivating ‘Natural’ Cultural Districts , ” by M. Stern and S. Seifert (2007)

— Describes “natural” cultural districts as opportunities for time

- limited, strategic interventions to expand their effectiveness while generating revenue and spillover effects to other parts of the city.**•** “ C ultural Vitality in Communities: Interpr eta tion and Indicators ,” by Maria Rosario Jackson et al. (2006)

— Provides a n assessment of various indicators for t he presence of opportunities for cultural participation, cultural pa rticipation itself, and support for cultural participatio n

.

**•** “ Crossover: How Artists Build Careers across Commercial, No n - P r of

it Work and Community Work ,” by Ann Markusen et al. (2006)

— Explores ho w each sector is organized in Los Angeles and the Bay Ar ea and how artists move between them. Each sector provides different channels and suppor t for

a rtistic development.

**•** “ Investing in Creativi t y: A Study of the Supp o rt Structure for U.S. A rti sts ,” by Maria Rosa rio Jackson et al. (2003)

— Uses data from the New York Foundation on the Arts, as well as data surveyed from artists and from case studies, to investigate support for individual artists. The s tudy assesses the poli t ical and social climates for supporting artists, demand for artists’ work, an d trainin g needs and grant opportunities for artists. 

### Examples of Relevant Datasets 1

**•** Bureau of Labor Statistics’ Current Population Survey, Occupational Outlook Handbooks, and Current Employment Statistics

— Provides employment, demographic, wage and worker characteristics data b y job classification. As of 2002
, the Current Population Survey als o i ncludes a supplement on volunteer activities. 2

**•** IRS Tax Statistics

— Data aggregated to zip

- code level, with entity numbers, receipts and net income at the Arts, Entertainment and Recreation level. Form 990 data is available for tax

- exempt organizations.

**•** National Center for C haritable Statistics' ( NCCS ) Unified Database of Arts Organizations (UDAO)

— Pr o vides a master list of commercial, nonprofit, and governmental organiza tions with arts programs.

**•** U.S. Ce n sus Bureau’s Cou nty Business Patter n s

— Provi des sub

- national economic data by industry, including number of employees, type of organization and pa yroll.

**•** U.S. Census Bureau’s Economic Census

— Provide s economic data on p e rforming arts, museum and historical sites, including number of establishments, receipt and emp loyment data.

**•** U.S. Census Bureau’s Nonemployer Sta tistics

— Offers sub

- national economic data by industry, including number of businesses and total receipt s, for busines se s that have no paid employees.



### Educ ation and Training

Exa m ples of Relevant Studies

**•** “ The Arts and Achievement in At

- R isk Youth: Findings from Four Longitudinal Studies, ” by James Catterall et al. (2012)

— St udy on the benefits of arts edu cation for at

- risk children, using longitudinal data from the Departments of Education and Labor. Includes data on civic engagement, graduation r ates and labor market outcomes.

**•** “Arts Education in Am erica: What the Declines Mean for Arts Participation,” by Nick Rabkin and E. C. Hedberg (2011)

— This report investigates the relationship between arts education and arts

1 Many data sets can be accessed through The Cultural Policy and the National Arts Data Archive (CPANDA), which has extracts of larger data sets that relate directly to the arts.
2 Due to U.S. Census reclassification, occup ational data beginning in January 2011 is not strictly comparable to data from earlier years. See Bureau of Labor Statistics, “Occupational and Industry Classification Systems Used in the Current Population Surve y.” For more on arts data from the Occupatio nal Outlook Handbooks, see National Endowment for the Arts. 2011. “Artist Employment Projections through 2018.” Research Note #103. June 27.participation, based on the Survey of Public Participation in the Arts for 1982, 1992 , 2002, and 2008. The report also examines long

- term declines in Americans’ reported rates of arts learning.

**•** “Fostering Student Engagement Campuswide

– Annual Results 2011,” by Nationa l Survey of Student Engagement (2011)

— This report is based on respon ses from 416,000 undergraduate students completing the 2011 NSSE. Results are reported by major, including arts and humanities majors, and it covers topics such as the percentage of students consulting with faculty about career plans; the av erage time spe nt studying; and the share of students with concern s about paying for college. Includes demographic characteristics and info rmation about extracurricular activities

.

**•** “Forks in the Road: The Many Paths of Arts Alumni,” by Strategic National Arts Alumni Project (2011)

— Tracks the careers of artists with visual and performing arts degrees, including work in an
arts

- related field , continued arts production
, and use of arts training.

**•** “Both /

A nd : Understanding the Vital Link Between bo th the Arts and Career Technical Educatio n in California Schools ,” by J. Landon and Dana Powell Russell (2010)

— Explores the interrelationship between policies and infrastructure currently in place within Career Technical Education and Vis u al and Performing Arts education.

**•** “The Nation’s Report Card: A rts 2008 Music & Visual Arts ,” by S. Keiper et al. (2009)

— Reports the findings of an asse ss ment of the skills of 8 th

- g raders in music and visual arts. Includes an assessment of the frequency of arts instruction.

**•** “Artists in the Workforce : 1990

- 2005 , ” by NEA Office of Research & Analysis ( 2008 )

— Pr ovides employment, income, demogr ap hic and geograph ic in for mation on 11 artistic occupations assembled from U.S. Census Bureau’s decennial data and the American Community Survey. 

### Examples of Relevant Datasets 4

**•** Bureau of Labor Statistics’ American Time Use Survey

— Includes employment classif ications and time spent on arts and entertainment activities on a given day . Because of the daily measurement, activities are grouped into broader categories.

**•** General Social Survey

— Includes demographic, occupational, educational, income, physical and emotional well

- being and membership data as part of broad attitudinal survey. 2002 module included more arts

- spe cific data. Membership in art or literary groups, volunteer in arts or culture, arts philanthropy, visit to museum or gallery, visit to internet art sites, performance in music, dance or theater, playing musical instrument and making art or craft included. Broad participation data only.

**•** NEA’s Survey of Public Participation in the Arts

— Provides demographic, educational and income information for arts

- goers, as well as attendance and participation data for traditional live arts events and alternate forms of participation. Includes data on attendance, media participation, art s performance and creation, arts education, and music and reading preferences.

**•** Panel Study of Income Dynamics

— Longitudinal su rvey that reports demographic data, occupation, income, health and education. Includes Child Development and Transition to Adul thood supplements with time studies and more detailed information about arts participation and education.

4 Many data sets can be accessed through The Cultural Policy and the National Arts Data Archive (CPANDA), which has extracts of larger data sets that relate directly to the arts.

### Intervening Variables

Arts Creation Examples of Relevant Studies

**•** “Still Kicking : Aging Performing Artists in NYC and LA Metro Areas: Information on Artists IV,” by J oan Jeffri (2011)

— Draws from respondent

- driven surveys of performing artists, ages 62 and older, in the New York City and Los Angeles metro areas. The report investigates topics such as access to health insurance, work satisfaction, earnings, and other issues confronting senior performing artists.

**•** “Forks in the Road: The Many Paths of Arts Alumni,” by Strategic National Arts Alumni Project ( 2011)

— Tracks the careers of artists with visual and performing arts degrees, including work in an
arts

- related fi eld, continued arts production
, and use of arts training.

**•** “Artists in the Workforce : 1990

- 2005 ,” by NEA Office of Research & Analysis ( 2008 )

— Provide s employment, income, demographic and g eographic information on 11 artistic occupations

ass embled from U. S. Census Bureau’s decennia l data and the American Community Survey.

**•** “Creative Communities: Artist Data Us er Guide,” by Ann Markusen and Greg Schrock ( 2 008)

— A guide to tables and maps created by the authors that show tallies of artists for states, metr o areas, and public use micro

- data areas (PUMAs) . The tables and maps draw from the 2000 Decennial Census of Population and include labor force estimates for detailed artist occupations and the share of the area’s labor force made up of artists (i .e., location quotients).

**•** “Artists’ Careers and Their Labor Markets,” by N eil Alper and Greg Wassall (2006)

— Discusses artists’ careers and labor market experie nces, including available data and methodological issues.

**•** “Crossover: How Artists Build Caree rs acros s Commercial, Non

- profit Work and Community Work,” by Ann Markusen et al. (2006)

— Explores how each sector is organized in Los Angeles and the Bay Area and how artists move between them. Each sector provides different chann els and support for artistic development

.

**•** “ Ch a nging the Beat: A Study of the Worklife of Jazz Musicians,” by Joan Jeffri (2003)

— Exami nes the demographic make

- up, e m ployment and income rates, as well as the work

- life of jazz musicians in the U.S. 

### Examples of Relevant Dataset s 5

**•** Bureau of Labor Statistics’ Current Population Survey, Occupa tional Outlook Handbooks, and Current Employment Statistics

— P rovides employment, demographic, wage and worker characteristics data b y job classification. As of 2002
, the Curre nt Population Survey also includes a supplement on volunteer activities. 6

**•** Bureau of Labor Statistics’ American Time Use Survey

— Includes employment classifications and time spent on arts and entertainment activities on a gi ven day . Because of the daily measurement, activities are grouped into broader categories.

5 Many d ata sets can be accessed through The Cultural Policy and the National Arts Data Archive (CPANDA), which has extracts of larger data sets that relate directly to the arts.
6 Due to U.S. Census reclassification, occupational data beginning in January 2011 is not strictly comparable to data from earlier years. See Bureau of Labor Statistics, “Occupational and Industry Classification Systems Used in the Current Population Surve y.” For more on arts data from the Occupational Outlook Handbooks, see National Endow ment for the Arts. 2011. “Artist Employment Projections through 2018.” Research Note #103. June 27.**•** General Social Survey

— Includes demographic, occup at ional, educational, income, physical and

em otional well

- being and membership data as part of broad attitudinal survey. 2002 module included more arts

- specific data. Membership in art or literary groups, volunteer in arts or culture,
arts philanthropy, visit to museum or gallery, visit to internet art sites, performance in music, dance or theater, playing musical i nstrument and making art or craft included. Broad participation data only.

**•** NEA’s Survey of Publi c Participation in the Arts

— Provides demographic, educational and income information for arts

- goers, as well as attendance and participation data for tradi tional live arts events and alternate forms of participation. Includes data on attendance, media participation, arts performance and creation, arts education, and music and reading preferences.

**•** U

. S. Census Bureau’s American Community Survey

— Provides soci al, economic, housing, and demographic profiles by census tract and block group.

**•** U

. S. Census Bureau’s Decennial Census

— Provid e s demographic and economic data, including income and occupation, to the census tract level.



### Arts Participation Examples of Rel evant Studies

**•** “Getting In on the Act: How Arts Group s Are Creating Opportunities for Active Partic i pation,” by Alan Brown and Jennifer Novak

- Leonard (2011)

— Examines the redef i nition of arts participation and discus ses the larger cultural economy. Feature s case studies exploring individual and community benefits of arts participation

.

**•** “California’s Arts and Cultural Ecology,” by Ann Markusen, Anne Gadwa, Elisa Barbour, and William Beyers (2011)

— Uses a variety of data sets, including the California C ultural Data Project, the American Community Survey, and the Survey of Public Participation in the Arts, to explore the budget sizes, geographic locations, and intrinsic and economic impacts from 11,000 arts and cultural nonprofits in California.

**•** “Beyond Attendance: A Multi

- modal Understa nding of Arts Participation,” by Jennifer L. Novak

Leonard and Alan Brown (2011)

— Study on types of arts participation using data from the Survey of Public Participation in the Arts. Categories include: a rts attendance, personal arts creation and performance, and participation through electronic medi a. Contextual factors include: s kill level, form of expression, setting, and degree of creative control. Includes impact of arts education.

**•** “Arts Education in America: What t he Declines Mean for Arts Participation,” by Nick Rabkin and E. C. Hedberg (2011)

— This report investigates the relationship between arts education and arts participation, based on the Survey of Public Participation in the Arts for 1982, 1992, 2002, and 2 008. The report also examines long

- term declines in Americans’ reported rates of arts learning.

**•** “Understanding the Impact of Engagement in Culture and Sport,” by Mark Newman et al. (2010)

— Uses analytical and statistical modeling techniques to begin to understand why people engage or don’t engage in cultural and sporting activities, the benefits they obtain from engagement, and the potential value to them and to society as a whole.

**•** “Come as You Are: Informal Arts Participation in Urban and Rural Com munitie s,” by NEA Office of Research & Analysis (2010)

— Analyzes data from the Survey of Public Participation in the Arts to assess rural and urban differences in formal and informal arts participation, particularly between rural and urban areas. Also inc ludes number of nonprofit arts organizations in metro areas.**•** “Engaging Art: What Counts?” by Steven J. Tepper and Yang Gao in Engaging in Art: The Next Great Transformation of American's Cultural Life
, eds. Steven Tepper and Bill Ive y (2007)

— Proposes a framework that considers multiple forms of social involvement as art participation.

**•** “Cultural Indicators for New Zealand ,” by Tohu Ahurea Mö Aotearoa (2006)

— Evaluates indicators of the cultural sector to facilitate measurement of its impac t with respect to engagement, identity, diversity, social cohesion and economic development.

**•** “The Values Study: Rediscovering the Meaning and Value of Arts Participation,” by Alan Brown (2004)

— Discusses five modes of arts participation: inventive, in terpretive, curatorial, observational and ambient, as well as the values derived from artistic experiences.

**•** “Arts Participation : Steps to Stronger Cultural and Community Life ,” Chris Walker et al. (2003)

— Discusses four ways to participate in arts and culture, including the socialization of children as one form of participation. 

### Examples of Relevant Datasets 7

**•** Bureau of Labor Statistics’ American Time Use Survey

— Includes e mployment classifications and time spent on an average day on ed ucation, arts and entertainment. Because of the daily measurement, activities are grouped into broader categories.

**•** Bureau of Labor Statistics’ Consumer Expenditure Sur ve y
— Provides annual consumer expenditure data, including average household spending.

**•** Bureau of Economic Analysis’ National Income and Product Accounts

— Provides data on value added by industry, as well as capital, materials, purchased services and employment data. Also provides detail on consumer arts spending.

**•** NEA’s Survey of Public Participation in the Arts

— Provides demographic, educational and income information for arts

- goers, as well as attendance and participation data for traditional live arts events and alternate forms of participation. Includes data on attendance, media participation, arts performance and creation, arts education, and music and reading preferen ces.

**•** General Social Survey

— Includes demographic, occupational, educational, income, physical and emotional well

- being and membership data as part of broad attitudinal survey. 2002 module included more arts

- specific data. Membership in art or literary gr oups, volunteer in arts or culture, arts philanthropy, visit to museum or gallery, visit to internet art sites, performan ce in music, dance

or theater, playing musical instrument and making art or craft included. Broad participation data only.

**•** Panel Study of Income Dynamics

— Longitudinal survey that reports demographic data, occupation, income, health and education. Includes Child Development and Transition to Adulthood supplements with time studies and more detailed information about arts participation a nd education.

7 Many data sets can be accessed through The Cultural Policy and the National Arts Data Archive (CPANDA), which has extracts of larger data sets that rela te directly to the arts

.

### First

**- Order Outcomes** 

Benefit of Art to Individuals Examples of Relevant Studies

**•** “ The Arts and Achievement in At

- R isk Youth: Findings from Four Longitudinal Studies, ” by James Catterall et al. (2012)

— Study on the benefits of arts educat ion for at

- risk children, using longitudinal data from the Departments of Education and Labor. Includes data on civic engagement, graduation rates and labor market outcomes.

**•** “ Art in Prisons: A Literatu re Review of the Philosophies and Impacts of Visual Arts Programs for Correctional Populations,” by Alexandra Djurichkovic (2011)

— Literature review examining the impacts of art in prison programs.

**•** “The Arts and Human Development: Framing a National Re search Agenda for the Arts, Lifelong Learning, and Individual Well

- Bei ng, ” by NEA and DHHS (2011)

— White paper on the impact of arts on human development at different life stages, including early childhood and older adulthood.

**•** “Understanding the Impact o f Engagement in Culture and Sport,” by Mark Newman et al. (2010)

— Uses analytical and statistical modeling techniques to begin to understand why people engage or don’t engage in cultural and sporting activities, the benefits they obtain from engagement, and potential value to them and to society as a whole.

**•** “Assessing the Intrinsic Impacts of a Live Performance,” by Alan Brown and Jennifer Novak (2007)

— Assesses how audiences are impacted by a live performance. Provides a measurement framework and disc usses the audience members’ “readiness

- to

- receive” the art.

**•** “Cultural Indicator s for New Zealand ,” by Tohu Ahu rea Mö Aotearoa (2006)

— Evaluates indicators of the cultural sector to fac ili tate measurement of its impact with respect to engagement , identity, diversity, social cohesion and economic development

.

**•** “The Values Study: Rediscovering the Meaning and Value of Arts Participation,” by Alan Brown (2004)

— Discusses five modes of arts participation: inventive, interpretive, curatorial, observa tional and ambient, as well as the values derived from artistic experiences.

**•** “Washington, D.C.: Performing Arts Research Coalition Community Report,” by Mary Kopczynski et al. (2004)

— Measures level of participation in and support for the arts in 10 communities across the country.

**•** “Gifts of the Muse : Reframing the Debate About the Benefits of the Arts , ” by Kevin McCarthy et al. (2004)

— Argues for a broad er evaluation of the benefit s of the arts beyond the economic to include i ntrinsic value as well. Charts a continuum of public to private benefits.

**•** “ How the Arts Impact Communities : An Introduction to the Literature on Arts Impact Studies,” by Joshua Gue tzkow (2002)

— Reviews the literature on arts impact studies, including a discussion of theoretical and methodological issues. 

### Examples of Relevant Datasets 8

**•** General Social Survey

— Inclu d es demographic, occupational, educational, income, ph ysica l and emotional well

- being and membership data as part of broad attitudinal survey. 2002 module included more arts

- specific data. Membership i n art or literary groups, volunteer in arts or culture,

8 Many data sets can be accessed through The Cultural Policy and the National Arts Data Archive (CPANDA), which has extracts of larger data sets that relate directly to the arts.arts philanthropy, visit to museum or gallery, visit to internet art sites, performance in music, dance or theater, playing musical instrument and making art or craft included. Broad participation data only.

**•** Panel Study of Income Dynamics

— Longitudinal survey that reports demographic data, occupation, income, health and education. Includes Child Development and Transiti on to Adulthood supplements with time studies and more detailed information about arts participation and education.


### Benefit of Art to Society and Communities Examples of Relevant Studies

**•** “How Art Spaces Matter II: The Riverside, Tashiro Kaplan and Insights from Five Artspace Case Studies and Four Cities,” by Anne Gadwa and Anna Muessig (2011)

— Examines case studies of the economic and social impact of arts

- based community development.

**•** “Creative Partnerships: Intersections between the Arts, Culture and Oth er Sectors , ” by Annamari Laaksonen (2011)

— E xplores the ways artists work in diver s e settings and the nature of partnerships that exist between the arts and other sectors.

**•** “Creative Placemaking,” by Ann Markusen and Anne Gadwa (2010)

— Discusses the role local arts and cultural organizatio n s play in community revitalization and economic development. The report presents case studies ranging from the development of an arts district in Cleveland to the transformation of a vacant Buffalo auto plant into artis t studios and housing.

**•** “Los Angeles: America’s Artist Super City,” by Ann Markusen (2010)

— Evaluates artists’ impact on Lo s Angeles’ economy and communities

.

**•** “From Creative Economy to Creative Society, ” by Mark J. Stern and Susan C. Seifert (2008)

— Explo res whether the creative economy can am eliorate urban poverty. It suggests that the cultural cluster perspective is the most pro mising for promoting economic equality and social inclusion.

**•** “Cultural Indicators for New Zealand,” by Tohu Ahurea Mö Aotearoa (2006)

— Evaluates indicators of the cultural sector to facilitat e measurement of its impact with respect to engagement, identity, diversity, social cohesion and economic development.

**•** “Cultural Vitality in Communities: Int erpretation and Indicators ,” by M aria Rosario Jackson et al. (2006)

— Provides an assessment of various indicators for the presence of opportunities for cultural participation, cultural participation itself, and s u pport for cultural participation.

**•** “The Values Study: Rediscovering the Mea ning and Value of Arts Participation,” by Alan Brown (2004)

— Discusses five modes of arts participation: inventive, interpretive, curatorial, observational and ambient, as well as the values derived from artistic experiences.

**•** “Capturing Cultural Value,” b y John Holden (2004)

— Explores the full range of values expressed through culture, including affective elements, broad public value, public goods. Also discusses methodological issues.

**•** “Washington, D.C.: Performing Arts Research Coalition Community Report ,” by Mary Kopczynski et al. (2004)

— Measures level of participation in and support for the arts in 10 communities across the country.

**•** “Gifts of the Muse : Reframing the Debate About the Benefits of the Arts ,” by Kevin McCarthy et al. (2004)

— Argues for a broader evaluation of the benefits of the arts beyond the economic to include intrinsic value as well. Charts a continuum of public to private benefits.**•** “Immigrant Participatory Arts: An Insight into Community

- building in Silicon Valley,” by Pia Moriarty (2004)

— Explores informal or “participatory arts,” i.e., forms of artistic expression in which everyday people engage in the process of making art.

**•** “The Informal Arts: Finding Cohesion, Capacity and Other Cultural Benefits in Unexpected Places,” by Alaka Wali et al. (2002)

— Explores through ethnographic data how informal arts impact the social infrastructure of communities. Includes a definition of building capacity.

**•** “How the Arts Impact Communities: An Introduction to the Literature on Arts Impact Studi es,” by J oshua Guetzkow (2002)

— Reviews the literature on arts impact studies, including a discussion of theoretical and methodological issues. 

### Examples of Relevant Datasets 9

**•** NEA’s Our Town

— Grant program focused o n contributions to creative place

- making, with detail from grantees about how the projects promote community livability. Data limited to grantees, but offers detailed information on arts contribution to livability.

**•** Social Impact of the Arts Proj e ct ( SIA P ) Cultural Assets Database

— Combines data on the role of arts and culture in urban neighborhoods w ith information on urban revitalization. Primarily focuses on Philadelphia, although work is also being done on Seattle and Baltimore.

**•** U.S. Census Bureau’s American Community Survey

— Provides social, economic, housing, and demographic profiles by census tract and block group

.

**•** USPS Vacancy Survey

— Through an agreement with HUD, provides administrative data on address vacancies at the census tract level.



### Direct and Indirect E c onomic Benefits of Art Examples of Relevant Studies

**•** “How Art Spaces Mat ter II: The Riverside, Tashiro Kaplan and Insights from Five Artspace Case Studies and Four Cities,” by Anne Gadwa and Anna Muessig (2011)

— Examines case studies of the economic and social impact of arts

- based community development.

**•** “California’s Arts a nd Cultural Ecology,” by Ann Markusen, Anne Gadwa, Elisa Barbour, and William Beyers (2011)

— Uses a variety of data sets, including the California Cultural Data Project, the American Community Survey, and the Survey of Public Participation in the Arts, to explore the budget sizes, geographic locations, and intrinsic and economic impacts from 11,000 arts and cultural nonprofits in California

.

**•** “New England’s Creative Economy: Nonprofit Sector Impact,” by New England Foundation for the Arts (2011)

— Explores the economic impact of the arts and cultural organizations in New England. Looks at direct, indirect and induced impacts.

**•** “Time and Money: Using Federal Data to Measure the Value o f Performing Arts Activities,” by NEA Office of Research & Analysis (2011)

— Examines available datasets useful for monetary and non

monetary value measurements of arts impact.

**•** “Arts and the GDP: Value Added by Selected Cultural Industries,” by NEA Office of Research & Analysis (2011)

— Provides data on the economic va lue added by cultural industries.

9 Many data sets can be accessed through The Cultura l Policy and the National Arts Data Archive (CPANDA), which has extracts of larger data sets that relate directly to the arts.**•** “Los Angeles: America’s Artist Super City,” by Ann Markusen (201 0)

— Evaluates artists’ impact on Lo s Angeles’ economy and communitie s

.

**•** “ Arts and Culture in Urban or Regional Planning: A Review and Research Agenda ,” by Ann Markusen and Anne Gadwa in Journal of Planning Education and Research (2010)

— Explores arts and culture as an urban or regional development tool, with a focus on the economic impacts of cultural districts and tourist

- targeted investments.

**•** “Economic Impact of the 2008 American Folk Festival in Bangor, Maine,” by Bernardita Silva et al. (2009)

— Provides an estimate of t he economic impact of the 2008 American Folk Festival in Bangor, ME.

**•** “Artists in the Workforce: 1990

- 2005,” by NEA Office of Research & Analysis (2008 )

— Provides employment, income, demographic and geographic information on 11 artistic occupations

assem bled from U.S. Census Bureau’s decennial data and the American Community Survey.

**•** “From Creative Economy to Creative Society,” by Mark J. S tern and Susan C. Seifert (2008)

— Explores whether the creative economy can ameliorate urban poverty. It suggests tha t the cultural cluster pers p ective is the most promising for promoting economic equality and social inclusion.

**•** “Cultural Indicators for New Zealand,” by Tohu Ahurea Mö Aotearoa (2006)

— Evaluates indicators of the cultural sector to facilitate measuremen t of its impact with respect to engagement, identity, diversity, social cohesion and economic development.

**•** “Defining the Cultural Economy: Industry and Occupational Approaches,” by Ann Markuse n et al. (2006)

— Discusses debates around definitions of creative economies, creative classes
, and the regional creative economy.

**•** “Economic Impacts of Arts Education , ” by David Throsby (2006)

— Dis cusses the economic and cultura l impact of arts education, with a focus on better understanding economic impact.

**•** “Gifts of the Muse,” by Kevin McCarthy et al. (2004)

— Argues for a broader evaluation of the benefit of the arts beyond the economic to include intrinsic value as well. Provides a continuum of public to private benefits

.

**•** “ How the Arts Impact Communitie s : An Introduction to the Literature on Arts Impact Studies,” by Joshua Guetzkow ( 2002 )

— Reviews the literature on arts impact studies, including a d iscussion of theoretical and methodological issues.

**•** “Valuing the Arts: A Contingent Valuation Approach,” by Eric Thompson et al. (2002)

— Uses a contingent valuation method to assess how much individuals monetarily value the arts. 

### Examples of Relevant Datasets 10

**•** Bureau of Economic Analysis’ National Income and Product Accounts

— Provides data on value added by industry, as we ll as capital, materials, purchased services and employment data. Also provides detail on consumer arts spending.

**•** Bureau of Labor Statistics’ Current Population Survey, Occupational Outlook Handbooks, and Current Employment Statistics

— Provides employme nt, demographic, wage and worker

10 Many data sets can be accessed through The Cultural Policy and the National Arts Data Archive (CPANDA), which has extracts of l arger data sets that relate directly to the arts.characteristics data by job classification. As of 2002
, the Current Population Survey also includes a supplement on volunteer activities. 11

**•** Bureau of Labor Statistics’ Co nsumer Expenditure Survey

— Provides annual consumer expenditure data, including average household spending.

**•** IRS Tax Statistics

— Data aggregated to zip

- code level, with entity numbers, receipts and net income at the Arts, Entertainment and Recreation lev el. Form 990 data is available for tax

- exempt organizations.

**•** Nation al Center for Charitable Statistics' ( NCCS) Unified Database of Arts Organizations (UDAO)

— Provides a master list of commercial, nonprofit, and governmental organizations with arts programs.

**•** NEA’s Our Town

— Grant program focused on contributions to creative place

- making, with detail from grantees about how the projects promote community livability. D ata limited to grantees, but offers detailed information on arts contribution to livability.

**•** U

. S. Census Bureau’s American Community Survey

— Provides social, economic, housing, and demographic profiles by census tract and block group.

**•** U

. S. Census Bureau ’s County Business Patterns

— Provides sub

- national economic data by industry, including number of employees, type of organization and payroll.

**•** U.S. Census Bureau’s Economic Census

— Provides economic data on performing arts, museum and historical sites, including number of establishments, receipt and employment data.

**•** U.S. Census Bureau’s Nonemp loyer Statistics

— Offers sub

- national economic data by industry, including number of businesses and total receipts, for businesses that have no paid employees.



### Second

**- Order Outcome Variables** 

Societal Capacities to Innovate and Express Ideas Examples of R elevant Studies

**•** “It Takes a Village: A Test of the Creative Class, Social Capital, and Human Capital Theories,” by Michele Hoyman and Christopher Faricy (2009)

— Explores the concept of creative class and does not find evidence that creative class is relat ed to growth, whereas human capital predicts economic growth.

**•** “The Creative Class: A Key to Rural Growth,” by David McGranahan and Timothy Wojan (2007)

— D iscusses the creative class in the context of ru ral development.

**•** “Defining the Cultural Economy: Industry and Occupational Approaches,” by Ann Markuse n et al

. (2006)

— Discusses debates around definitions of creative econo mies, creative classes an d the regional creative economy.

**•** “Cities and the Creative Class,” by Richard Florida (2003)

— Discus ses the concept of creative class as a driver of regional growth.

11 Due to U.S. Census reclassification, occupational data beginning in January 2011 is not strictly comparable to data from earlier years. See Bureau of Labor Statistics, “Occupational and Industry Classific ation Systems Used in the Current Population Survey.” For more on arts data from the Occupational Outlook Handbooks, see National Endowment for the Arts. 2011. “Artist Employment Projections through 2018.” Research Note #103. June 27.**•** “The Informal Arts: Finding Cohesion, Capacity and Other Cultural Benefits in Unexpected Places,” by Alaka Wali et al. (2002)

— Explores
, th rough ethnographic data
, how informal arts can a ffect the social infrastru cture of communit ies. Includes a definition of b u ilding capacity. 

### Examples of Relevant Datasets 12

**•** Bureau of Labor Statistics’ Current Population Survey, Occupational Outlook Handbooks, and Current Employment Statisti cs

— Provides employment, demographic, wage and worker characteristics data b y job classification. As of 2002
, the Current Population Survey also includes a supplement on volunteer activities. 13

**•** U.S. Census Bureau’s American Community Survey

— Provides social, econom ic, housing, and demographic profiles by census tract and block group.

12 Many data sets can be accessed through The Cultural Policy and the National Arts Data Archi ve (CPANDA), which has extracts of larger data sets that relate directly to the arts.
13 Due to U.S. Census reclassification, occupational data beginning in January 2011 is not strictly comparable to data from earlier years. See Bureau of Labor Statistics, “Occupational and Industry Classification Systems Used in the Current Population Survey.” For more on arts data from the Occupational Outlook Handbooks, see National Endowment for the Arts. 2011. “Artist Employment Projections through 2018.” Research Note #103. June 27.

.

## APPENDIX B

**Process**

The How Art Works report consisted of two phases. In P hase I we conducted a series of interviews with experts inside and outside the world of art. In P hase II we engaged in several convenings and web meetings to pressure test our system map and brainstorm measurement approaches. (See illustration below for a graphical representation of the process.)

Figure 1 1 : Project arc for the How Art Works project



### Participants

The following individuals participated as interviewees and workshop and webinar participants:

Alaka Wali, Director, Center for Cultural Understanding & Change, The Field Museum Alan Brown, Consu ltant, WolfBrown Alice io Oglesby, Board Member, Asheville Chamber of Commerce Amy Kitchener , Living Cultures Gra nts Program M anager, Alliance for Californian Traditional Arts Andrew Taylor, Director, Bolz Center for Arts Administration, University of Wisconsin Andrew Zolli, Futurist, Founder, Z+ partners Angel Ciangi, Consumer Researcher, The Intelligence Group Phase III Finalize Deliverables (May

- June) Phase I Lit Review & Expert Interviews

(Sept

– Dec) Phase II Convene Working Group Meetings (Jan

– April)

Systems Map & Evaluation Framework

Synthesis

Report Introduce & refine high

- level systems map Test & refine more granular systems map Highlight (un)certain parts of the system Identify data to gather or track Oakland CA Workshop Feb 22

- 23 Web Conv. #1 March 14 Web Conv. #2 March 21 Asheville NC Workshop April 18

- 19 Web Conv. #3 March 21Arlene Goldbard, Consultant Becky Anderson, Founder and Former Director, Hand Made in America Chall Gray, Owner, The Magnetic Field Restau rant and Black B ox Theater Charlie Flynn

- McIver, Director, North Carolina Stage Co.

C

. J . Hirsch field, Executive Director, Children's Fairyland Craig McAnsh, President & Creative Director, Native Marketing Dana Powell Russell, Independent Evaluation Con sultant Daniel Glaser, Head of Special Projects, Public Engagement, Wellcome Trust David Sibbet, Graphic Recorder, Founder and President, The Grove Consultants International David Starkey, Founder, Artistic and General Director, Asheville Lyric Opera Deborah Sherman, Contributor, OakTown Art Diane Driessen, Art Teacher, Friends School Mullica Hill Don Derosby, Senior Consultant, Global Business Network Doug las Nickel, Curator and Professor, Brown University Elizabeth Streb, Dancer and Managing Dir ector, S.L.A.M. (Streb Laboratories for Action Mechanics) Erika Gregory, Founder, President, Collective Invention Gong Szeto, Designer Co

- Founder & CEO, Doxa2, Inc
Hi lary Austen, Adjunct Professor, Rotman School of Management Holly Block, Director and Former Curator, Bronx Museum Isaac Prilleltensky, Dean of the School of Education, University of Miami Jaime Cortez, Writer, Editor, Painter, Activist Jane Prophet, Mixed Media Artist
Jeff rey Coates, National Program Associate, The Knight Foundation

J eff Marley, Fine & Heritage Arts Coordinator, Southwestern Community College John Ellis, Managing Director, Diana Wortham Theater John Holden, Associate, Former Head of Culture, DEMOS John Maeda, Graphic Designer and Computer Scientist, President, Rhode Island School of Design Joseph Chamie, Former Researcher, Center for Migration Studies Karen Tessier, Board Member, Pack Square Park Conservancy Keri Putnam, Executive Director, Sundance Institute Kitty Love, Executive Director, Asheville Area Arts C ouncil Kristin Marting, Co

- Founder and Artistic Director, HERE Arts Center Laura Boosinger, Folk Singer, Traditional Folk Artist, Independent Laurie Schell, Founding Principal , Laurie Schell Associates Libby Schaaf, Councilmember , Oakland City Council Linda Walton, Vice President of Programming, Jazzmobile Lisa Kay Solomon, Adjunct Professor, Innovation Studio, California College of the Arts and Stanford Business School Luis Rodriguez, Slam Artist and Founder, Tia Chucha 's Centro CulturalMarc Bamut hi Joseph , Artistic Director, Youth Speaks Maria Rosario Jackson, Senior Research Associate, Metropolitan Housing and Communities Policy Center, Urban Institute Marian Godfrey, Senior Director, Cultural Initiatives , Pew Charitable Trust s Marjorie McGui rk, Meteorologist, National Climatic Data Center Michael Edson, Director of Web and New Media Strategy, Smithsonian Institute Michelle Moog

- Koussa
, Executive Director, Bob Moog Foundation Nicole Neditch, In dependent Curator, Graphic Designer , a nd Arts A dministrator Nolan Gasser, Chief Music Architect, Pandora Randy Shull, Co

- founder, Creative Director, and Artist , Pink Dog Creative Raquel Paiewonsky, Modern Artist Regie Gibson, Poet
, Songwriter, Author, Workshop Facilitator, and Educator

Rene De Guz man, Senior Curator, Oakland Museum
Robert Hauser, Executive Director, National Academies Rosalba Rolon, Founder and Artistic Director, Pregones Theater Sally Jo Fifer, President and CEO, ITVS Sandra Vivanco, A rchitect, A+ D and California College of th e Arts Scott Spann, Founder, Innate Strategies Sean Pace, Co

- Founder and Visual Artist, Flood Gallery & Fine Arts Center Sharon West, Board Member, YMI Cultural Center Skeffington Thomas, Potter and Ceramic Artist, a nd Professor of Art, Rowan Universit y Steven Huss, Cultural Arts Manager , City of Oakland Cultural Arts & Marketing Division Steven Weber, Professor, UC Berkeley School of Information Steven Young, Executive Director, The Crucible Summer Brenner, Community

- Based Fiction Writer Sydney C ooper, Mixed Media Artist, Unaffiliated Theaster Gates, Visual Artist and Cultural Planner , Independent Tim Brown, CEO and President, IDEO Tom Reis, Retired, Venture Philanthropy Director, W.K. Kellogg Foundation (retired) Victor Palomino, Community

- ba sed artist, Mixed Media Artist