Report # 13 

National Endowment Craft Artist Membership for the Arts

Organizations 1978 Research Division 

January 1981 
Craft Artist Membership
 

Organizations 1978
 

National Endowment for the Arts, Washington, D.C. 
This report is produced by the Publishing
 

Center for Cultural Resources as part of
 

a pilot project supported by the National
 

Endowment for the Arts demonstrating economy and efficiency in nonprofit publishing.
 

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Library of Congress Cataloging in Publication Data 

National Endowment for the Arts. Research
 

Division.
 

Craft artist membership organizations, 1978.
 

(National Endowment for the Arts. Research
 

Division. Research Division report ; 13)
 

i. Handicraft--United States--Societies,
 

etc. I. Title. II. Series.
 

TT23.N35 1981 745’.06’073 80-21535
 

ISBN 0-89062-089-X (pbk.)
 

Manufactured in the United States of America
 
CONTENTS
 

PREFACE /page 4
 

LIST OF TABLES /page 5
 

LIST OF FIGURES /page 6
 

INTRODUCTION
 

Summary /page 7
 

Methodology /page 8
 

CHAPTER I
 

MEMBERSHIP
 

Location /page ll
 

Craft media of members /page 12
 

Membership size /page 19
 

Members’ professionalism /page 21
 

CHAPTER II
 

ORGANIZATIONAL CHARACTERISTICS
 

Corporate status /page 26
 

Staff and facilities /page 29
 

Funding sources and expenditure levels /page 29
 

Problems /page 33
 

CHAPTER III
 

DEVELOPMENTAL AND ENVIRONMENTAL CHARACTERISTICS
 

Longevity /page 34
 

Geographic focus /page 36
 

Congruence of purpose and activities /page 38
 

CHAPTER IV
 

REVIEW BY MEDIUM AND REGION /page 41
 

APPENDIX A
 

CALCULATION OF ORGANIZED CRAFT ARTISTS BY MEDIUM /page 47
 

APPENDIX B
 

REGIONS AND DIVISIONS OF THE COUNTRY AS DEFINED BY U.S. CENSUS BUREAU /page 51
 

REPORTS IN THE NATIONAL ENDOWMENT FOR THE ARTS RESEARCH DIVISION SERIES /page 52
 
PREFACE
 

This report is part of a multi-project study
 

aimed at developing abetter understanding
 

of American craft artists. The first part
 

was a planning study to determine the feasibility of and methodology for a national
 

survey of craft artists. The results of
 

this effort were summarized in Research
 

Division Report #2, To Survey American
 

Crafts: A Planning Study (see list at the
 

back of this report). One of the recommendations of this initial planning study
 

was that a nationwide survey of craft artist
 

membership organizations should precede the
 

study of individual artists because their
 

membership lists could serve as the basis
 

for sampling a large part of the craft artist
 

population in a way that would insure representation from the less popular craft
 

media as well as from the very popular
 

media such as the fiber arts and ceramics.
 

This publication, which results from the
 

survey of craft organizations, provides information that has not been available before on the variety and spread of craft
 

media, location of craft organizations, and
 

their activities and membership sizes. The
 

contractor’s full report (Results from a
 

National Survey of Crafts Membership Organizations by ConstanceF. Citro, Penelope
 

Engel, and Audrey McDonald, Washington,
 

D.C.: Mathematica Policy Research, Inc.,
 

1979) also includes recommendations for
 

use in studying craft artists who are members of the organizations surveyed. (Several additional studies have also been
 

undertaken to provide data about United
 

States craft artists who do not belong to
 

an organization.) The complete report is
 

available to all interested persons at the
 

library of the National Endowment for the
 

Arts, where it may be examined or borrowed
 

through interlibrary loan. Loan information may be obtained from the librarian,
 

National Endowment for the Arts, 2401 E
 

Street, N.W., Washington, D.C. 20506
 

(202/634-7640).
 

Research Division
 

National Endowment for the Arts
 

January 1981
 
LIST OF TABLES
 

1 Media among single-medium and general-media organizations /page 14
 

2 Primary medium among national and regional organizations /page 16
 

3 Membership of national and regional organizations /page 18
 

4 Size of organization by primary medium /page 20
 

5 Activities of national and regional organizations /page 20
 

6 Organizational activities by primary medium /page 22
 

7 Organizational activities by membership size /page 22
 

8 Corporate status, personnel, and facilities of national and regional
 

organizations /page 26
 

9 Corporate status, personnel, and facilities by primary medium /page 27
 

I0 Corporate status, personnel, and facilities by membership size /page 27
 

ii 1977 funding sources of national and regional organizations /page 28
 

12 Number of funding sources by membership size /page 28
 

13 1977 expenditures of national and regional organizations /page 31
 

14 Expenditures by primary medium /page 31
 

15 Years in existence by membership size /page 35
 

16 Organizational activities by years in existence /page 34
 

17 Geographic focus of regional organizations /page 37
 

18 Geographic focus by primary medium /page 37
 

19 Geographic focus by membership size /page 39
 

20 Organizational activities by whom intended for /page 39
 

21 Congruence of purpose and activities /page 40
 

22 Media among organizations and artists /page 46
 

23 Media subcategories among organizations and artists /page 48
 
LIST OF FIGURES
 

I Regional distribution of 1,218 craft membership organizations /page 10
 

II Number of organizations by state /page ii
 

III Regional distribution of organizations, craft artists, and the
 

working-age population /page 13
 

IV Regional orientation to a single medium /page 15
 

V Membership size of craft organizations /page 18
 

VI Regional jury requirement for membership /page 25
 

VII Jury requirement for membership by primary medium /page 25
 

VIII 1977 expenditures of craft organizations /page 30
 

IX Number of serious problems /page 32
 

X Problems of craft organizations /page 32
 

XI Years in existence /page 34
 

xII Geographic focus of craft organizations /page 36
 

xiii Stated purpose of craft organizations /page 38
 
INTRODUCTION
 

This report uses data collected in a nationwide survey of craft organizations with a
 

double purpose: to obtain key information
 

for selecting a sample of individual craft
 

artists belonging to organizations as well
 

as to provide a reliable picture of the
 

range of craft membership organizations
 

and their role in the craft world. The survey was completed in 1978 with responses
 

from almost 950 organizations, or close to
 

80 percent of the total. This report describes what has been learned about craft
 

membership organizations.
 

As a result of the survey abroad-brush portrait of craft membership organizations in
 

the United States emerges. The typical
 

(median) craft membership organization has
 

been in existence for about i0 years and has
 

about 90 members who come from the local area
 

and are accepted without prior screening of
 

their work. Not all of its members work in
 

the same medium, but the majority work with
 

clay and fiber. It is involved in craft
 

exhibits, sales, and workshopsmall open
 

to the general public--and social functions
 

for members. It is a nonprofit corporation
 

that owns or rents facilities and has an
 

annual budget of about $3,500--with income
 

largely from membership dues and proceeds
 

of sales. It perceives few problems, but if
 

it had to pinpoint aparticular need, would
 

ask for additional funding and more display and storage space.
 

This profile reflects the central tendencies in the survey data, but of course it
 

is also true that craft membership organizations are represented in the full range
 

of each variable. There are some large
 

organizations, some offer courses as well
 

as workshops, some require jurying of work
 

for all members, and some perceive numerous problems. The definition of "typical"
 

shifts considerably in terms of location
 

and medium.
 

Summary
 

Voluntary craft organizations are formed
 

to serve the needs and interests of their
 

members, and there are clearly some commonsense expectations concerning their effectiveness that can be verified by the
 

results of the survey. These expectations
 

relate primarily to membership size. Other
 

things being equal, one would expect that
 

large organizations would have existed
 

longer than small ones. One would expect
 

that more large organizations would be incorporated, have paid staff, own or rent
 

facilities, carry out more activities, and
 

have more sources of funds than small ones.
 

One would also expect larger organizations
 

to constitute a greater proportion of those
 

with regional, national, or international
 

membership than those with state or local
 

membership. Cross-tabulations of variables
 

by membership size generally confirm these
 

expectations. The same variables have also
 

been cross-tabulated by geographic location
 

and craft media popularity among members.
 

Beyond considerations of size, location, and
 

media preferences, responses to the survey
 

questionnaire provide information on how
 

long craft organizations have been in existence, the activities they undertake, where
 

members come from, and member qualifications
 

and acceptance criteria, as well as broader
 

data about funding and expenses, organizational structure, staffing, facilities, and
 

problems.
 

The survey reveals that the largest proportion of the estimated 1,218 craft membership organizations in the United States
 

today and their estimated 380,000 members
 

is located in the five East North Central
 

states (Illinois, Indiana, Michigan, Ohio,
 

and Wisconsin), the second largest proportion being located in the five Pacific
 

states (Alaska, California, Hawaii, Oregon,
 

and Washington). The percentages are proportionate with these areas’ share of the
 

working-age (18 to 64 years old) population,
 

but this is not the case in other parts of
 

the country. In terms of craft artists
 

relative to persons aged 18 to 64, the New
 

England and East South Central states have
 

the highest proportions and the South Atlantic and Middle Atlantic the lowest.
 

Over 60 percent of responding organizations
 

indicated that they are not oriented to a
 

single craft medium but rather are general-


media organizations. Of the single-medium
 

groups, nearly two-thirds are organizations
 

of fiber artists (weavers, embroiderers,


quiltmakers, etc.). While organizations
 

with national or international membership
 

are predominantly single-medium groups,the
 

reverse is true for those with local or
 

regional membership. Among general-media
 

organizations, clay was listed first by the
 

largest number.
 

When the first listing of the general-media
 

organizations and the specific medium of
 

single-medium organizations are considered
 

jointly, fiber emerges as the "primary medium" of 42 percent of craft membership
 

organizations and clay as the primary medium
 

of 40 percent. Metal, wood, and other media are each seen as the primary medium of
 

about 4 to 6 percent and glass, leather,
 

paper, and multimedia, as the primary medium of 2 percent or fewer.
 

Fiber is the primary medium of 38 to 48 percent of craft membership organizations in
 

all parts of the country except the four
 

West South Central states and New England.
 
Clay is the primary medium of almost half
 

the organizations in the West South Central area, and it is the primary medium of
 

35 to 45 percent of organizations in all
 

parts of the country except the seven West
 

North Central states. Both fiber and clay
 

are the primary medium for smaller proportions of organizations with national or
 

international membership than local or regional ones.
 

Metal, more often than elsewhere, was named
 

as primary medium in the eight Mountain
 

states, and it is not reported as a primary
 

medium in the West North Central area. Wood
 

organizations are particularly numerous in
 

the East South Central states; leather is
 

the primary medium of more organizations in
 

the West North Central states than elsewhere.
 

The survey showed that exhibiting and marketing of crafts, and craft workshops are the
 

most prevalent activities undertaken by craft
 

membership organizations. Social functions
 

are of much lesser importance. National
 

organizations report the highest proportionate involvement in publications and the
 

lowest in sales among all organizations.
 

Marketing activities are most important in
 

New England; workshops are most important
 

in the Middle Atlantic states.
 

Jury review as a prerequisite to membership
 

is imposed by 30 percent of craft membership organizations. New England has the
 

largest proportion (45 percent) with a jury
 

requirement. The proportion drops to 30
 

percent in the South Atlantic states and
 

to i0 percent in the West South Central
 

states. Metal organizations tend to have the
 

most stringent admission criteria; leather,
 

multimedia, and other media organizations
 

have the most open membership policies.
 

The survey results indicate that over 60 percent of craft membership organizations are
 

incorporated and that 85 percent of these
 

are nonprofit and tax-exempt. A majority
 

receives funding from only one or two sources.
 

Only one-third have paid officers or staf~
 

only 20 percent own facilities, and less
 

than one-third spent more than $10,000 in
 

1977.
 

More than half of the craft membership organizations have been in existence for at
 

least 10 years and 85 percent are over five
 

years old. The services they provide and
 

the activities they engage in are frequently available to the general public although
 

most reserve social functions and publications for members.
 

Few craft membership organizations perceive
 

themselves as having many problems and nearly one-half reported only one or two. Inadequate funds and inadequate display or
 

storage space were cited most frequently.
 

Despite the small scale of their operations,
 

craft membership organizations in the United
 

States today appear to be thriving and report a wide range of activities. The
 

ganizations are more important in some parts
 

of the country and for craft artists working
 

in certain specific media. There is also
 

evidence that accelerated formation of craft
 

organizations occurred five to ten years
 

ago and a current tendency is toward consolidation rather than expansion.
 

Methodology
 

The craft membership organizations survey
 

was planned as a census of all known organizations rather than as a sampling. Mail survey procedures were used. A master mailing
 

list of organizations developed from directories was reviewed for completeness by
 

consultants from the crafts field.
 

All organizations on the master mailing list
 

were sent an advance letter from the Arts
 

Endowment in early May 1978 to inform them
 

of the survey and ask them to returna postcard with address correction or to request
 

removal from the list if not a craft membership organization. The questionnaire was
 

mailed shortly thereafter. The original
 

list was augmented with names suggested by
 

respondents.
 

The result of the survey effort was 947 completed questionnaires representative of a
 

total estimated universe of about 1,200
 

craft membership organizations.
 

The planning study conducted for the Arts
 

Endowment in 1976 produced a range of estimates of craft artists belonging to organizations in the United Stateswthe high
 

estimate at about 350,000 and the low about
 

250,000. The craft membership organizations
 

survey indicates that the figure is probably
 

closer to 380,000. The planning study figures were based on an estimated 1,700 craft
 

membership organizations in the United States.
 

Information on membership size of about 250
 

organizations listed in Contemporary Crafts
 

Marketplace (the American Crafts Council


directory) was used to extrapolate membership of a larger national group. A crosscheck of the membership lists of about two
 

dozen organizations against the mailing
 

list of the American Crafts Council indicated a need for adjustment for individuals
 

belonging to several organizations. The
 

highest planning study estimate of 350,000
 

individuals used national average membership size and an estimated percentage of
 

membership overlap applied to the number
 

of organizations in each of the nine geographic divisions defined by the United
 

States Bureau of the Census. The lowest
 

planning study estimate made a further
 

adjustment on the grounds that Contemporary
 

Crafts Marketplace included a dispropor­
tionate number of organizations with more
 

than 500 members.
 

The new national estimate of 380,000 craft
 

artists reflects the same adjustment procedures that produced the planning study estimates, and one must look to the data used
 

to explain the differences. Some data elements were the same; notably, the estimates
 

of organizational overlap. However, the
 

survey of organizations produced different
 

estimates of the numbers and geographic
 

distribution of craft membership organizations and a different picture of their
 

membership size.
 

Because survey respondents averaged fewer
 

than 20 organizations per state, the findings were more broadly organized to accord
 

with the four regions and nine divisions
 

of the country as defined by the United
 

States Bureau of the Census.
 

The survey estimated the number of craft
 

membership organizations in the United
 

States as less than the planning study-­

1,218 groups compared to 1,692. The survey
 

also showed a much larger proportion in the
 

East North Central area and a considerably
 

smaller proportion in the East South Central states. The smaller estimated universe
 

is based on intensive efforts to determine
 

the status of each organization on the master
 

mailing list. It is also based on the assumption that nonresponding organizations
 

include the same proportion of "not craft’
 

organizations as the responding ones. The
 

planning study list, in contrast, included
 

many "not craft" organizations that could
 

not be weeded out with the information on
 

hand at that time. The geographic area
 

differences are similarly explained by the
 

fact that the proportion of craft to "not
 

craft" organizations was much higher in
 

the East North Central area and much lower in the East South Central area than
 

the average for the country.
 

Other factors being equal, the overall effect of a smaller estimate of craft membership organizations would be to lower
 

the estimated number of craft artists. The
 

reason the new estimate is higher than any
 

of the planning study figures is that the
 

survey revealed a considerable increase in
 

membership size. Average membership of
 

regional, state, and local organizations
 

listed in the Contemporary Crafts Market­

~ used in the initial phase of the planning study was 194 craft artists; the average for organizations with regional,
 

state, or local membership responding to
 

the survey was 299. In addition, there were
 

more national organizations responding to
 

the survey than were included in the planning study data, so that the average for
 

all organizations in the survey is over
 

400 members.
 
Fiigure I Regional distribution of

1,218 craft membership

organizations 
CHAPTER I
 

MEMBERSHIP
 

Who are the people who belong to craft membership organizations? The survey does shed
 

considerable light on where they live, their
 

preferred media, and how many of them there
 

are. It also tells something about standards
 

mwhether their interests (as evidenced by
 

the activities of their organizations) are
 

primarily to sell or exhibit their crafts,
 

improve their skills, or keep in contact
 

and socialize with like-minded persons, and
 

whether their membership depended on having
 

had work reviewed by a jury of peers.
 

Location
 

Figure I represents regional distribution
 

of craft membership organizations in the
 

United States in 1978. The largest number-­

just over 30 percentmis located in the
 

South; each of the three other regions has
 

between 22 and 25 percent. Among regional
 

subdivisions, the highest concentration of
 

craft organizations--over 18 percent--is
 

in the East North Central division and the
 

second highest--over 13 percent--is in the
 

Pacific division. The areas with smallest
 

concentrations are in the West North Central and West South Central divisions and
 

the Mountain division--none of which accounts for more than 9 percent of the total.
 

In Figure II the mean number of organizations per state is 24; the median number is
 

18--half the states having fewer organizations than this number and half more. Both
 

median and mean are significantly increased
 

by a few states with large numbers of organizations-California, New York, Ohio, and
 

Michigan.
 

Figure II Number of organizations

by state 

CA 

11
 
How does the distribution of organizations
 

translate into distribution of craft artists?
 

Figure III relates regional distribution
 

of craft membership organizations to both
 

craftspersons who could be identified by
 

geographic area and the distributionof~]e
 

general working-age population (18 to 64
 

years old). While the 306,000 individual
 

artists accounted for here are all members
 

of organizations, an additional 69,000 craft
 

artists belong to groups which indicated
 

their membership was primarily national or
 

international rather than regional, state,
 

or local. The source for the 128,594,000
 

working-age population is the U.S. Bureau
 

of the Census, Provisional Estimates of the
 

Population of States by Age: July 1977.
 

Figure III demonstrates a widespread difference between concentration of craft artists and their member organizations. It
 

also shows that some areas of the country
 

have significantly greater or smaller proportions of craft artists than would be
 

expected in relation to the area’s general
 

population. New Englandmwith i0 percent
 

of the organizationsnhas almost 1.5 percent
 

of estimated craft artists but less than
 

6 percent of the working-age population.
 

The East South Central statesmalso with
 

10 percent of the organizations--have more
 

craftspersons (ii percent) than their 6 percent share of the general population warrants. In the case of the Mountain states,
 

the percentage of craft organizations is
 

also almost double that of the working population, yet the percentage of craft artists
 

is not substantially higher. This phenomenon reflects the small size of the craft
 

organizations in this region. In the Middle
 

Atlantic and South Atlantic states, on the
 

other hand, craftspersons and their organizations are relatively few in proportion
 

to the general population.
 

Craft media of members
 

The survey of craft membership organizations
 

asked two general questions about the kinds
 

of media or materials members work with.
 

Was the organization oriented to one specific craft medium or was it a general-


media organization? Respondents for single-


medium organizations were asked to name the
 

medium; respondents for general-media organizations were asked to list up to five
 

media in which they knew members worked in
 

order of popularity. Atotal of 914 organizations responded to these questions, and
 

nine broad medium categories--fiber, clay,
 

metal, wood, glass, leather, paper, other media, and multimedianemerged. By far the
 

greatest proportion of respondents were
 

general-media organizations, constituting
 

61.6 percent of the total as opposed to
 

38.4 percent single-medium respondents. Of
 

the general-media organizations, 26.7 per12 
Figure III Regional distribution of organizations,craft artists, and the working-age population 
 

Table 1 Media among single-medium and general-media organizations 

Medium
 

Fiber
 

Clay
 

Metal
 

Wood
 

Glass
 

Leather
 

Paper
 

Other media
 

Multimedia
 

Responses (N)
 

General-media
 

organizations
 

First Second 

medium medium 

listinq listing 

43.9% 

1,8.4% 

1.1.9% 

10.5% 

4.5% 

2.6% 

0.7% 

4.3% 

3.3% 

(563) (538)
 

14
 
 

cent listed five media, 16.6 percent listed
 

four, 9.3 percent listed three, and 2.7
 

percent named a single medium.
 

Table 1 shows the relative standing of the
 

nine broad categories among both single-medium and general-media organizations. Percentages here and in following tables and
 

figures are based on the number of organizations responding to questions rather
 

than the total estimated universe of 1,218.
 

The column headed "primary medium" represents combined responses of single-medium
 

organizations and first listings of general-


media organizations. Clearly, fiber and
 

clay are the predominant media of organized
 

craftspersons. Almost two-thirds of single-


medium organizations are comprised of such
 

fiber artists as weavers, embroiderers, and
 

quiltmakers. Fiber is second to clay as
 

the first listing of genera!-media organizations but is listed most frequently as
 

their second most popular medium. The pattern for clay, which claims the attention
 

of less than one-quarter of single-medium
 

groups, is just the reverse. Clay crafts-­

including ceramics, porcelain, and china
 

painting--are first in popularity but run
 

a distant second among the general media
 

organizations. These findings suggest that
 

fiber artists have formed cohesive associations and that persons involved with clay
 

crafts tend to be members of general-media
 

organizations along with other types of
 

craft artists.
 

None of the remaining seven broad media types
 

accounts for more than 3 percent of single-


medium organizations or more than 6 percent
 

of first mentions by general-media organizations, although metal and wood are each
 

listed second by over i0 percent of general
 

groups. Generally, craft artists working
 

in these seven media are more frequently
 

found as members of general-media organizations rather than single-medium organizations. This is especially true of the
 

other media (which include plastic, ivory,
 

tole, candles, egg decor, and bread). It
 

is also true of the multimedia listings
 

(which include dolls and toys, clothing,
 

nature crafts, and beach crafts).
 

It is useful to know how many individual
 

craft artists work in each of these media.
 

Appendix A to this report shows how estimates were developed.
 

Figure IV depicts relative organizational
 

focus. Clearly, organizations witha national or international membership are predominantly oriented to a single medium--almost
 

60 percent. Among regional organizations,
 

single-medium orientation accounts for about
 

35 to 45 percent of the organizations except
 

in New England and the East and West South
 

Central states, with less than 30 percent.
 

Figure IV Regional orientation

to a single medium 

15 
Table 2 Primary medium among national and, regional organizations 

Fiber 

31.9% 

Clay 

29.2% 

Metal 

6.9% 

Wood 

8.3% 

Glass 

5.6% 

33.7% 

45.0% 

45.7% 

45.0% 

7.6% 

3.0% 

5.4% 

3.0% 

2.2% 

44.6% 

46.8% 

41.9% 

27.4% 

2.7% 

--­ 3.4% 

4.8% 

2.7% 

1.6% 

45.8% 

48.7% 

29.8% 

45.8% 

35.5% 

47.4% 

0.9% 

--­

1.8% 

4.7% 

10.5% 

5.3% 

0.9% 

2.6% 

--­

38.2% 

46.8% 

39.5% 

35.5% 

9.2% 

5.6% 

2.6% 

4.0% 

--­

3.2% 

42.0% 39.8% 3.8% 4.9% 2.0% 

16 
Table 2 shows the geographic distribution
 

of organizations classified according to
 

primary medium. Fiber engages the interest
 

of about 40 to almost 50 percent of the
 

regional organizations except in the West
 

South Central states and New England. National organizations also have a lower proportion oriented to fiber (32 percent).
 

Clay is the favored medium of 35 to 45 percent of organizations in all parts of the


country except the West North Central states,
 

where clay crafts claim less than 30 percent, and the West South Central states,
 

where they claim over 45 percent. National
 

organizations reveal a relatively low proportion oriented to claymless than 30 percent.
 

Looking at the other media, the most evident
 

phenomenon is the interest in metal, wood,
 

glass, leather, paper, other media, and
 

multimedia among national organizations as
 

opposed to regional ones. Craft artists
 

working in these media may be relatively
 

few in number but they have clearly joined
 

together to form nationally-based associations. Some other patterns are also evident.
 

Metal organizations are conspicuously ab-


Other Multi-


Leather Paper media media
 

1.4% 2.8% 9.7% 4.2%
 

2.2% 2.2% 2.2%
 

1.0% 1.0% 2.0%
 

...... 4.1% 0.7%
 

4.8% --- 9.7% 4.8%
 

...... 1.9%
 

...... 1.3% 1.3%
 

1.8% 1.8% 8.8% 3.5%
 

1.3% --- 6.6% 2.6%
 ...... 4.0% 0.8%
 

0.7% 0.5% 4.2% 2.1%
 

17
 

sent from the West North Central and the
 

East South Central states and more than
 

usually abundant in the Mountain states.
 

Wood organizations are especially active
 

in the East South Central states; leather
 

organizations appear in larger than expected
 

numbers in the West North Central states;
 

and the West North Central and South West
 

Central states have relatively strong representation of organizations oriented to
 

other media and multimedia.
 
Figure V	 Membership size of

craft organizations 

Table 3	 Membership of national

and regional organizations 

Under 25
 

members
 

10.0%
 

10.6%
 

14.3%
 

16.9%
 

17.7%
 

22.9%
 

25.6%
 

19.0%
 

20.5%
 

12.9%
 

18
 
25-49 

Membership size England is the exception with median membership in the 100 to 499 interval and rel-


Membership size, which the survey used to atively stron~ showing of organizations
 

calculate geographic distribution of crafts- with more than 500 members. The Pacific
 

persons and their preferred media, also says states also show strong representation in
 

something about the craft artists’ joining the 500-to 1,999-member interval (almost
 

patterns. Of course, membership of organ- 13 percent compared to New England’s 16
 

izations is always changing and the size of percent) and the highest percentage of all
 

any one organization at any one time may regional divisions in the 2,000-or-more
 

represent a particular stage of its growth, member interval.
 

Nevertheless, it is useful to look at the current size range of craft membership organizations.
 

Figure V shows distribution of craft membership organizations in the United States by
 

seven size intervals. It is evident that
 

craft membership organizations tend to be
 

small in sizemover one-third of the survey
 

respondents have fewer than 50 members and
 

only 14 percent have more than 500 members.
 

The median membership is 91. The mean membership size, on the other hand, is over 400
 

members, due to the very large size of a
 

few organizations.
 

Table 3 relates size to location. Predictably,
 

national organizations are well represented
 

in the larger intervals (over 500 members).
 

The median membership size for each regional division (indicated by a box in Table 3)
 

falls in the 50- to 99-member interval. New
 

500- 2,000- 5,000
 

50-99 100-499 1,999 4,999 or more
 

1.4% 2.9% 34.3% ~ 15.7% 8.6% 

8.5% 25.5% ~ 16.0% 1.1% 

15.2% ~ 32.4% 10.5% 

20.8% ~ 31.2% 11.0% 0.6% 0.6% 

17.7% ~ 37.1% 4.8% 

16.5% ~ 34.9% 11.0% 0.9% 

20.5% ~ 29.5% 5.1% --­ 1.3% 

12.1% ~ 34.5% 6.9% 1.7% 

26.9% ~ 29.5% 5.1% 

20.2% ~ 29.8% 12.9% 2.4% 

19 
Table 4 Size of organization by primary medium 

Under 25 

members 25-49 50-99 100-499 

500­

1,999 

16.8% 

17.0% 

15.6% 

20.0% 

27.8% 

20.0% 

20.0% 

13.2% 

22.2% 

23.4% 

12.0% 

18.8% 

13.3% 

--­

40.0% 

--­

7.9% 

11.1% 

21.0% 

19.8% 

21.9% 

13.3% 

22.2% 

--­

20.0% 

18.4% 

5.6% 

29.4% 

34.0% 

25.0% 

24.4% 

27.8% 

40.0% 

60.0% 

47.4% 

50.0% 

7.6% 

14.5% 

12.5% 

24.4% 

22.2% 

--­

--­

2.6% 

5.6% 

Table 5 Activities of national and regional organizations 

Exhibits Sales 

Apprentice 

programs 

Craft 

courses Workshops 

87.5% 56.9% 21.1% 47.9% 77.8% 

83.0% 

91.4% 

85.9% 

71.7% 

15.1% 

16.0% 

53.8% 

44.3% 

65.2% 

83.0% 

89.6% 

91.8% 

73.5% 

68.9% 

14.5% 

16.9% 

47.0% 

55.0% 

72.2% 

73.3% 

83.2% 

92.1% 

85.0% 

80.4% 

72.7% 

70.0% 

11.4% 

13.0% 

11.9% 

42.1% 

41.3% 

53.4% 

72.9% 

66.7% 

74.1% 

80.8% 

90.6% 

78.2% 

60.8% 

9.0% 

12.1% 

33.3% 

41.3% 

59.7% 

72.2% 

87.7% 72.1% 14.0% 45.4% 72.0% 

2O 
 

5,000 

or more 

1.0% 

0.6% 

3.1% 

2.2% 

10.5% 

5.6% 

Other 

educational 

or research Social 

activities functions Publications 

62.9% 58.0% 79.2% 

36.7% 57.0% 44.6% 

35.2% 56.6% 43.8% 

42.9% 70.9% 46.9% 

44.1% 68.9% 50.0% 

50.0% 59.6% 46.7% 

34.7% 61.3% 47.4% 

38.6% 64.4% 44.8% 

25.6% 63.6% 34.6% 

37.1% 69.8% 44.7% 

40.6% 63.5% 47.6% 

Table 4 shows that organizations oriented
 

to fiber--the most popular mediumntend to
 

be relatively small. Less than 39 percent
 

of fiber organizations have i00 or more
 

members, while on the average 52 percent of
 

all other craft organizations are at least
 

this big. While only ten leather and paper
 

organizations responded, none has 500 or
 

more members.
 

Members’ professionalism
 

A special survey interest was focused on
 

craft organizations whose membership engaged in selling or exhibiting their work.
 

Two questions were included to help determine whether the membership of respondent
 

organizations is professional in this sense.
 

Organizations were asked to indicate involvement in 1977 in exhibits, sales, apprenticeship programs, craft courses, ~orkshops,
 

other educational or research activities,
 

social functions, publications, and other
 

activities. Almost 70 percent of organizations reported involvement in three to
 

six of these activities. Table 5 shows relative involvement in them (omitting the category of other media which was rarely cited).
 

Over 88 percent of craft membership organizations exhibited their members’ work and
 

72 percent held sales and offered workshops
 

compared to the 64 percent that engaged in
 

social functions. Publications (48 percent), craft courses (45 percent), and other
 

educational or research activities (41 percent) figured prominently, but relatively
 

few groups offered formal apprenticeship
 

programs (14 percent). The weight of the
 

findings suggests that most craft membership organizations are oriented to members
 

whose primary concerns are exhibiting and
 

marketing their work and improving their
 

skills.
 

Some geographic variation is evident. Many
 

more national organizations were involved
 

in publications and other educational or
 

research activities than was true of organizations in any of the regional divisions. Conversely, relatively few national organizations held sales. New England
 

organizations held more sales than the average, Pacific organizations fewer. Workshops, particularly popular in the Middle
 

Atlantic states, were much less so among
 

Mountain organizations (which tended to show
 

less commitment to training and information
 

activities generally).
 

21
 
Table 6 Organizational activities by primary medium 

Table 7 

Apprentice
 

Exhibits Sales programs
 

84.0% 61.2% 7.2%
 

90.8% 81.8% 19.1%
 

99.3% 80.0% 17.1%
 

88.9% 80.0% 22.7%
 

83.3% 76.5% 11.1%
 

83.3% 33.3% 16.7%
 

80.0% 20.0% 20.0%
 

89.5% 73.7% 23.7%
 

84.2% 89.5% 21.1%
 

Organizational activities by membership size 

Apprentice
 

Exhibits Sales programs
 

77.1% 72.7% 15.7%
 

82.4% 59.5% 9.8%
 

91.7% 79.9% 13.9%
 

90.2% 72.4% 13.4%
 

95.2% 76.9% 20.6%
 

94.4% 66.7% 11.8%
 

100.0% 75.0% 25.0%
 

22
 

Craft
 

courses Workshops
 

39.8% 77.3%
 

52.9% 72.5%
 

31 4% 51.4%
 

50 0% 68.9%
 

27.8% 64.7%
 

16.7% 33.3%
 

40.0% 100.0%
 

51.4% 63.2%
 

42.1% 57.9%
 

Craft
 

courses Workshops
 

28.6% 57.9%
 

33.6% 72.5%
 

46.6% 71.0%
 

49.2% 74.8%
 

68.3% 84.5%
 

72.2% 83.3%
 

62.5% 100.0%
 
 

Other
 

educational
 

or research Social
 

activities functions
 

38.9% 59.0%
 

42.8% 68.9%
 

44.1% 71.4%
 

47.7% 61.4%
 

64.7% 88.2%
 

--- 16.7%
 

40.0% 40.0%
 

45.9% 68.4%
 

21.1% 36.8%
 

Other
 

educational
 

or research Social
 

activities functions
 

27.0% 52.3%
 

32.4% 61.6%
 

42.8% 67.4%
 

44.1% 68.3%
 

53.8% 61.8%
 

66.7% 66.7%
 

75.0% 83.3%
 

Publications
 

45.8%
 

45.2%
 

45.7%
 

65.9%
 

55.6%
 

33.3%
 

40.0%
 

73.7%
 

47.4%
 

Publications
 

19.0%
 

28.9%
 

45.9%
 

64.2%
 

63.5%
 

88.9%
 

87.5%
 

Table 6 shows considerable variation according to sphere of interest. Leather
 

organizations stand out by virtue of few
 

being involved in activities other than
 

exhibits.
 

Organizations oriented to wood and other
 

media are more involved in publications
 

than the average, while multimedia organizations are more involved in sales. Almost
 

all responding metal organizations cited
 

exhibit catalogues.
 

Table 7 shows that the largest organizations
 

--those with 5,000 or more members--are in
 

general most likely to be involved in a
 

wide range of member activities. There is
 

no linear relationship between size and a
 

particular activity; the smallest organizations, for instance, have a higher-thanaverage proportion with sales and apprenticeship programs although they report least
 

involvement with other activities.
 

23
 
In addition to the question about activities,
 

organizations were asked if membership was
 

contingent on review of work by a panel of
 

accomplished craftspersons or a "jury."
 

Responses indicate that almost 30 percent
 

of craft organizations require jurying of
 

work for all members, another i0 percent
 

require jurying for certain levels of memberships, and the remainder have no jury
 

requirement. Figure VI shows that New
 

England stands out as having almost 45 percent of organizations with a jury requirement, closely followed by the South Atlantic
 

states. In contrast, only i0 percent of the
 

West South Central organizations and 20 percent of the West North Central ones require
 

jurying. Jury requirement among national
 

membership organizations is less than the
 

U.S. average.
 

Figure VII shows that 53 percent of metal
 

organizations have a jury requirement compared to an average of less than 30 percent
 

for all craft organizations. The organizations with the least stringent requirements are those categorized as other and
 

multimedia and leather organizations.
 

Responses to the questions on activities
 

suggest that a high proportion of craft
 

membership organizations in all areas and
 

representing all media are oriented to sales
 

and exhibition. However, jury requirements
 

suggest that there is greater variability
 

in commitment to high quality work, and craft
 

membership organizations oriented toward
 

the various media have certainly developed
 

differently in different geographic areas.
 

24 
Figure Vl Regional jury Figure VII Jury requirement requirement for membership for membership by primary medium 

25.O%
 

37.0%
 

53.0%
 

25
 
CHAPTER II	 Tables 8, 9, and i0 relate corporate status
 

and information on staff and facilities to
 

geographic distribution, medium preference,
 

and membership size. There is little var-
 ORGANIZATIONAL CHARACTERISTICS
 iation in corporate structure viewed in
 

terms of location, although national organizations are more likely to be incor-


The focus here is on the structure of craft porated than regional ones. Incorporated
 

membership organizations and what resources organizations in New England are somewhat
 

--personnel, facilities, and fundsnare less likely than elsewhere to have tax-


available to sustain them. The survey in- exempt status. Organizations oriented pricluded questions on profit status, staff marily to wood, glass, paper, and other
 

and facilities, level of expenditure, sources media are most likely to have formed cor-


of funds, and organizational problems. porations, organizations oriented to fiber
 

and to multimedia least likely, and again,
 

Corporate status there is relatively little variation in the
 

proportion of incorporated organizations
 

Most craft membership organizations--over that are tax-exempt. However, there is a
 

62 percentnare legally incorporated. Al- strong relationship between incorporation
 

most 53 percent of the total, or 85 percent and membership sizemorganizationswith i00
 

of the corporations, are nonprofit and tax- or more members are much more likely to be
 

exempt under Section 501(c)3 of the Internal incorporated than smaller ones. The rela-


Revenue Code. The other 15 percent of in- tionship does not hold true when nonprofit
 

corporated organizations are profit-making, status is related to size--smallest organ-


waiting to receive tax-exempt status, or izations being almost as likely as the
 

uncertain of their status. largest to be tax-exempt.
 

Table 8	 Corporate status, personnel, and facilities of national and regional organizations 

Organizations Incorporated Organizations 

are 

incorporated 

organizations 

are nonprofit 

own or rent 

facilities 

82.4% 61.1% 

78.1% 61.3% 

86.0% 61.2% 

89.5% 49.3% 

91.7% 49.2% 

89.2% 56.1% 

83.0% 45.5% 

82.1% 57.6% 

80.0% 46.8% 

86.6% 54.0% 

85.1% 54.2% 

26
 
Table 9 Corporate status, personnel, and facilities by primary medium 

Organizations Incorporated
 

are organizations
 

incorporated are nonprofit
 

86.4%
 

85.8%
 

77.8%
 

82.4%
 

83.3%
 

75.0%
 

75.0%
 

78.6%
 

90.0%
 

Table 10 Corporate status, personnel, and facilities by membership size 

Organizations Incorporated
 

are organizations
 

incorporated are nonprofit
 

81.3%
 

86.4%
 

72.8%
 

88.7%
 

92.4%
 

75.0%
 

83.3%
 

Organizations
 

own or rent
 

facilities
 

46.4%
 

62.8%
 

50.0%
 

51.1%
 

55.6%
 

50.0%
 

60.0%
 

51.4%
 

68.4%
 

Organizations
 

own or rent
 

facilities
 

40.0%
 

42.1%
 

49.4%
 

59.1%
 

76.5%
 

88.9%
 

87.5%
 

27
 
 

Table 11 1977 funding sources of national and regional organizations 

Funds 

from 

Member- Work- other Local 

ship 

fees Sales 

shop 

fees 

Private organidonations zations government 

83.3% 47.2% 41.7% 43.1% 13.9% 2.8% 

89.5% 55.8% 45.3% 44.2% 7.4% 4.2% 

92.5% 50.0% 57.5% 30.2% 12.3% 12.3% 

92.5% 52.3% 42.6% 24.5% 8.4%~ 3.9% 

79.4% 49.2% 42.9% 36.5% 17.5% 3.2% 

81.7% 62.4% 39.4% 29.4% 8.3% 8.3% 

74.7% 53.2% 27.8% 30.4% 20.3% 7.6% 

75.4% 46.4% 46.4% 33.13% 8.7% 14.5% 

84.8% 58.2% 46.8% 19.0% 6.3% 7.6% 

89.1% 50.8% 47.7% 28.9% 9.4% 17.2% 

85.0% 53.3% 44.6% 31.4% 10.8% 8.4% 

Table 12 Number of funding sources by membership size 

28 
State Federal 

government government Other 

sources 

No money 

received 

8.3% 16.7% 23.6% 1.4%
 

15.8% 11.6% 12.6% 2.1%
 

21.7% 9.4% 10.4% 0.9%
 

11.0% 8.4% 18.1% 1.9%
 

20.6% 12.7% 15.9% 4.8%
 

14.7% 13.8% 10.1% 2.8%
 

34.2% 20.3% 10.1% 1.3%
 

18.8% 17.4% 11.6%
 

16.5% 6.3% 7.6% --­ 15.6% 12.5% 10.2% 1.6%
 

17.2% 12.5% 13.1% 1.7%
 

Staff and facilities
 

One indication of organizational development is the presence of paid officers or
 

staff in executive positions. The survey
 

revealed that only one-third of craft membership organizations have such paid p~rsonnel. National organizations and those in
 

New England have a higher paid-personnel
 

proportion than those in other locations;
 

lowest proportions are in the North Central
 

and West regions. Organizations oriented
 

to clay are somewhat more likely than others to have paid personnel, while leather,
 

paper, and fiber organizations are least
 

likely. The proportion of paid personnel
 

varies dramatically by membership size;
 

however, i00 percent of organizations with
 

5,000 or more members have paid personnel,
 

while this is true of fewer than 20 percent of those with under i00 members.
 

Owning or renting offices, studios, or gallery space can also indicate increasing
 

institutional stability and growth. The
 

survey found that about 54 percent of craft
 

membership organizations own or rent facilities, a considerably higher figure than
 

the proportion having paid staff. About
 

20 percent of the organizations actually
 

own space, close to 40 percent rent, and
 

5 percent both own and rent. The survey
 

did not ask organizations with rented space
 

whether they rented only for such specific
 

occasions as exhibits and sales.
 

The proportion owning or renting facilitie~
 

shows very little variation viewed in terms
 

of location, although national organization~
 

and those in the Northeast rank somewhat
 

higher than others. Similarly, there is
 

relatively little variation viewed in terms
 

of primary medium although multimedia organizations are somewhat more likely than
 

others to own or rent facilities and fiber
 

organizations are somewhat less so. Predictably, membership size follows a positive
 

correlation--almost 90 percent of organizations with 2,000 or more members own or
 

rent facilities compared with only 40 percent of those with fewer than 50 members.
 

Funding sources and expenditure levels
 

Funding and expenditures are useful keys
 

to understanding operations. The survey
 

asked about 1977 income from sources ranging from membership fees and sales to federal funds. The organization could also
 

indicate that no funds were received in
 

1977.
 

The most frequently cited source of funds
 

mmentioned by 85 percent of all craft membership organizations--was membership fees.
 

Slightly more than half earn income from
 

sales.
 

About 31 percent receive private donations,
 

but few report funding from other external
 

sources.
 

Table ii shows that there is little geographic variation. National membership
 

organizations report more funding from private donations and less state and local
 

government funding than the average. New
 

England has a higher than average proportion of organizations receiving private
 

donations; craft organizations in the Middle
 

Atlantic states rely more heavily than
 

others on workshop fees; East South Central
 

organizations are particularly dependent
 

on federal and state government funding
 

and Pacific organizations on local government support.
 

Table 12 shows that the majority (52 percent) of craft membership organizations receive support from only one or two sources.
 

Only organizations with more than 500 members are likely to have more than five
 

sources of funding.
 

29
 
Figure VIII 1977 expenditures of

craft organizations 

The survey asked respondents to indicate
 

approximate 1977 expenditures in eight categories ranging from less than $I,000 to
 

$500,000 or more. The responses provide a
 

general financial picture and indicate how
 

the budgetary level varies according to
 

other characteristics.
 

Craft organizations tend to be small-budget
 

operations. Figure VIII shows that one-


third of 907 respondent organizations spent
 

less than $I,000; and a little over a third
 

spent between $i,000 and $i0,000. Most of
 

the remaining 30 percent spent less than
 

$500,000 in 1977. Only seven organizations
 

--less than 1 percent--indicated that they
 

spent half a million dollars or more.
 

Table 13 shows the majority of craft organizations spending at least $i0,000. Almost
 

40 percent of national organizations spent
 

over $50,000, and only 13 percent spent under $i,000. Among the regional organizations, New England has the smallest pro-


portion--under 20 percent--spending less
 

than $i,000, and the highest proportion
 

spending $50,000 or more. In contrast, the
 

West North Central and Mountain states have
 

the smallest proportion of organizations
 

spending over $50,000--1ess than 8 percent
 

in each case--and the highest proportion
 

making do on less than $1,000--over 40 percent in both areas.
 

Table 14 follows the general pattern of low-


budget concentration--showing that over
 

half the fiber organizations spent less than
 

$i,000 in 1977 (compared with about one-third
 

of all organizations),and only 8 percent of
 

them spent $50,000 or more (compared with
 

over 15 percent on average).Organizations
 

that have the greatest expenditures include
 

those oriented to wood, glass, and clay.
 

About 30 percent of organizations oriented
 

to wood or glass spent $50,000 or more, while
 

only a quarter of them spent under $i,000.
 

30
 
Table 13 1977 expenditures of national and regional organizations 

Under 

$i,000 

$i,000­

$4,999 

$5,000­

$9,999 

$i0,000­

$49,999 

$50,000 

or more 

12.7% 12.7% 8.5% 26.8% 39.4% 

19.3% 

36.0% 

30.7% 

28.0% 

11.4% 

10.0% 

20.4% 

15.0% 

18.2% 

11.0% 

39.5% 

43.9% 

27.0% 

33.3% 

12.5% 

5.3% 

8.5% 

10.6% 

12.6% 

7.1% 

36.2% 

34.2% 

28.6% 

23.8% 

22.4% 

30.4% 

8.6% 

10.5% 

3.6% 

15.2% 

21.0% 

23.2% 

16.2% 

11.8% 

14.3% 

40.3% 

36.8% 

29.9% 

24.8% 

14.3% 

10.4% 

7.8% 

12.0% 

7.8% 

16.0% 

Table 14 Expenditures by primary medium 

Under 

$i,000 

$i,000­

$4,999 

$5,000­

$9,999 

$i0,000­

$49,999 

$50,000 

or more 

50.8% 

19.3% 

21.2% 

25.0% 

23.5% 

50.0% 

--­

26.3% 

40.0% 

23.3% 

28.0% 

30.3% 

22.7% 

17.6% 

16.7% 

75.0% 

34.2% 

26.7% 

8.6% 

11.0% 

9.1% 

9.1% 

17.6% 

--­

13.2% 

6.7% 

9.6% 

20.2% 

21.2% 

11.4% 

11.8% 

33.3% 

25.0% 

10.5% 

26.6% 

7.8% 

21.7% 

18.2% 

31.9% 

29.4% 

--­

--­

15.8% 

--­

31 
Figure IX Number of Figure X Problems o! 

serious problems craft organizations 
Problems
 

The survey asked respondents to indicate
 

problems that were "serious for their organization." One or more of the following
 

could be checked: inadequate working space,
 

lack of meeting space, inadequate display
 

or storage space, not enough equipment, inadequate funds, not enough staff, not enough
 

communication with other craft organizations, lack of information on available
 

technical assistance, and other problems.
 

Figure IX shows that 17 percent of the 915
 

respondents report no serious problems and
 

that another 38 percent report no more than
 

two. About one-third indicate having three
 

to five serious problems, while fewer than
 

ii percent checked off six or more problems.
 

The number of problems shows little geographic variation although more organizations in
 

the East and West South Central states report six or more problems than elsewhere.
 

There is also little variation in terms of
 

membership size. Very large organizations
 

nthose with 5,000 or more members--are
 

most likely to report few problems. However,
 

small organizations--those with under 500
 

membersmare no more apt to report many
 

problems than the average. It is middle-


sized organizations, those with between 500
 

and 5,000 members, which are most apt to report six or more problems.
 

Figure X deals with specific problems. Inadequate funds is the problem cited by
 

almost 58 percent of the 756 respondents
 

and lack of meeting space troubles only 25
 

percent of them, but no one problem is considered serious by as many as three-fifths
 

of the respondents.
 

There is some variation in type of problem
 

according to membership size, and organizations with between 500 and 5,000 members more
 

often report inadequate working space, inadequate display space, not enough equipment, inadequate funds, and not enough staff
 

than either smaller or larger-sized ones.
 

National organizations cite lack of equipment less often than regional ones, and
 

conversely, cite not enough staff almost
 

twice as often. The Mountain states have
 

the highest proportion of organizations-­

almost 40 percent--wanting communication
 

with other craft membership organizations,
 

while those in the Pacific states most often
 

report inadequate display or storage space.
 

Two problemsunot enough staff and not
 

enough equipmentmvary considerably according to medium. Almost 50 percent of wood
 

organizations report not enough equipment
 

as compared with the 31 percent average;
 

over 55 percent of glass organizations and
 

almost 50 percent of clay organizations report not enough staff as compared with the
 

33
 

average of about 35 percent. Multimedia,
 

leather, and fiber organizations are least
 

likely to be troubled by these inadequacies.
 

One other variable that relates to problems
 

is an organization’s longevity. Almost 70
 

percent of craft membership organizations
 

that have been in existence less than five
 

years cite inadequate funding as a serious
 

problem compared to about 50 percent of
 

those in existence 20 years or more. Similarly, about 50 percent of organizations
 

organized one to two years ago report lack
 

of information on available technical assistance as a serious problem compared to
 

less than 25 percent of the older organizations.
 
CHAPTER I I I Figure XI Years in existence 

DEVELOPMENTAL AND ENVIRONMENTAL 

CHARACTERISTICS 

Several other characteristics of craft membership organizations that affect their 

relationship to members may also shed light 

on future development. The survey included 

questions about longevity, geographic dispersion of membership, clientele, and whether stated purposes coincide with activities. 

Responses were considered in relationship 

to such factors as geographic location, 

primary medium, and membership size. 

Longevity 

Craft membership organizations, on average, 

have existed for at least ten years. As 

shown in Figure XI, nearly 85 percent were 

over five years old in 1978 and barely 6 

percent had existed for two years or less. 

One cannot conclude with confidence that 

the pattern of longevity is the same as in 

previous years or that it will continue in 

the future. Comparative data from the planTable 16 Organizational activities

by years in existence 

ning study preceding the survey suggest 

that an exceptionally large number of craft 

membership organizations were formed five 

to ten years ago, that these have had a 

high survival rate, and that the rate of 

formation of new organizations has subsequently diminished. 

It is evident from Table 15 that there is Sales 

some relationship between size and longevity-larger organizations are older and 

smaller ones younger. Longevity also bears 47.9% 

some relationship to service to members and 

the general public. As is seen in Table 16, 

relatively fewer organizations formed one or 

71.1% 

two years ago report exhibits, sales, apprenticeship programs, craft courses, and 79.5% 

workshops, but a craft membership organi­ 74.9% 

zation that has been in existence for five 

years is just about as likely to carry on 66.1% 

a full range of marketing and training functions as much older ones. Contrary to the 

general pattern, young organizations have 71.9% 

more publications than older ones. 

Several relationships between longevity 

and location or medium are evident. Organizations oriented to metal, leather, and 

multimedia and Mountain and West North 

Central organizations figured largely in 

the boom formation of five to ten years 

ago. Conversely, organizations in the 

East North Central and Pacific states are 

least likely to have formed in that boom 

period. 

34
 
Table 15 Years in existence by membership size 

2 years 3-4 5-9 i0 years
 

or less years years or more
 

9.0% 16.1% 36.8% 38 1%
 

9.9% 11.8% 33.6% 44 7%
 

3.8% 7.7% 34.6% 53 9%
 

4.3% 8.3% 26.2% 61 1%
 

3.8% 6.7% 18.3% 71 2%
 

--- 16.7% 83 3%
 

--- 12.5% 25.0% 62 5%
 

Other
 

educational
 

Apprentice Craft or research Social
 

programs courses Workshops activities functions Publications
 

8.3% 25.0% 56.3% 42.6% 52.2% 57.4%
 

10.0% 35.6% 66.3% 43.2% 64.0% 57.3%
 

15.7% 43.4% 65.5% 40.7% 61.5% 42.7%
 

16.8% 47.6% 72.9% 35.3% 60.7% 46.9%
 

11.7% 51.4% 82.5% 43.7% 69.8% 48.5%
 

13.8% 45.1% 72.0% 40.6% 63.6% 47.7%
 

35
 
Figure XII Geographic focus of

craft organizations 

Geographic focus
 

Concentration of membership and service to
 

members or a wider clientele help define
 

breadth of organizational program. The
 

membership concentration, or geographic
 

focus, of the organizations is defined as
 

local, state, regional, national, or international depending upon from which areas
 

the members were drawn. Note that the terms
 

"national" and "regional" are used differently than in the earlier sections of this
 

report. Previously, "national" included
 

organizations with both national and international memberships and "regional"
 

referred to all the remaining organizations
 

separated according to the Census region
 

in which they were located. Figure XII
 

shows that, in general, crafts organizations have a narrow geographic base with
 

almost 63 percent reporting that amajority
 

of their membership is local. About one-


fifth of the organizations indicated a
 

statewide membership and substantially
 

fewer show regional, national, or internationl memberships.
 

Table 17 shows that some distinctive location patterns emerge. New England has
 

relatively few local organizations and
 

many more than the average with state or
 

regional membership. Middle Atlantic states
 

also have a larger than average proportion
 

of regional organizations (although fewer
 

than average state organizations). Pacific
 

organizations are preponderantly local.
 

Table 18 shows metal, wood, paper, and glass
 

organizations more likely than others to be
 

regional, national, or international in membership, while multimedia organizations are
 

more likely than most to be either local or
 

36
 
Table 17 Geographic focus of regional organizations 

Local 

membership 

State 

membership 

Regional

membership 

48.9% 

68.3% 

32.2% 

13.9% 

18.9% 

17.8% 

65.6% 

72.1% 

22.5% 

23.0% 

11.9% 

4.9% 

65.7% 

65.8% 

71.7% 

24.8% 

26.3% 

21.7% 

9.5% 

7.9% 

6.7% 

73.3% 

80.2% 

20.0% 

17.5% 

6.7% 

2.4% 

67.9% 22.1% 9.9% 

Table 18 Geographic focus by primary medium 

State 

InterRegional National national 

Fiber 

Clay 

Metal 

Wood 

Glass 

Leather 

Paper 

Other media 

Multimedia 

68.4% 

58.9% 

51.5% 

55.6% 

35.3% 

66.7% 

20.0% 

67.6% 

72.2% 

17.7% 

25.5% 

18.2% 

20.0% 

29.4% 

16.7% 

10.8% 

5.6% 

7.8% 

9.6% 

15.2% 

11.1% 

11.8% 

40.0% 

2.7% 

5.6% 

2.9% 

4.0% 

6.1% 

6.7% 

5.9% 

--­

20.0% 

5.4% 

--­

3.2% 

2.0% 

9.1% 

6.7% 

17.6% 

16.7% 

20.0% 

13.5% 

16.7% 

37 
Figure Xlll Stated purpose of

craft organizations 

international. As is seen in Table 19, the
 

majority of organizations with under i00
 

members are local and a majority of those
 

with 2,000 or more members are national or
 

international in scope.
 

Table 20 shows whether the beneficiaries
 

of program components are members only,
 

members and other craft artists, or the
 

general public. Generally, craft membership organizations’ programs are directed
 

toward either their own members or the general public. Exhibits and craft courses
 

are most apt to be open to the general public; social functions and publications are
 

most often restricted to members.
 

Congruence of purpose and activities
 

The survey asked respondents to indicate
 

applicable organizational purpose from a
 

list that included exhibiting, marketing,
 

conducting workshops or other skill-learning
 

activities for members, providing information on crafts to members, and fostering
 

social interaction among members. Figure
 

XIII shows that workshops or other skill-


learning activities for members are seen
 

as central aims by over two-thirds of responding organizations. Exhibiting is cited
 

by over half of them and providing information on crafts to members by close to
 

half. Marketing the products of members
 

and social interaction among members rank
 

below these as central aims.
 

The purpose categories are very similar to
 

the categories relating to activities discussed in Chapter I in connection with professionalism. To determine how closely
 

purpose and activities mesh or diverge,
 

responses to the two groups of questions
 

were reorganized into four broad categories:
 

marketing (exhibiting and marketing as purposes, exhibiting and sales as activities);
 

training (workshops as a purpose, workshops
 

and apprenticeship programs and craft courses
 

as activities); information (providing information on crafts to members as apurpose,
 

other educational or research activities
 

and publications as activities); and social
 

(social interaction among members as apurpose, social functions as anactivity). Organizations were classified as having cited
 

one of these categories as a purpose and
 

an activity (this is purpose-activity congruence), having cited an activity without
 

the same categorical purpose, and having
 

cited the purpose without a related activity.
 

38
 
Table 19 Geographic focus by membership size 

Local State Regional National 

International 

84.4% 

81.5% 

72.6% 

51.0% 

30.3% 

22.2% 

12.5% 

7.1% 

11.9% 

18.3% 

31.3% 

29.3% 

11.1% 

--­

3.9% 

6.0% 

8.0% 

9.7% 

21.2% 

5.6% 

12.5% 

4.5% 

0.7% 

0.6% 

4.3% 

6.1% 

22.2% 

--­

--­

--­

0.6% 

3.7% 

13.1% 

38.9% 

75.0% 

Table 20 Organizational activities by whom intended for 

Members 

only 

Members and 

other craft 

artists 

General 

public 

23.5% 

30.2% 

29.1% 

28.8% 

35.4% 

21.8% 

21.0% 

27.6% 

13.6% 

18.8% 

54.7% 

48.8% 

43.3% 

57.6% 

45.8% 

30.8% 

54.2% 

52.8% 

19.9% 

14.3% 

19.5% 

49.3% 

31.5% 

27.7% 

39
 
 

Table 21 Congruence of purpose and activities 

Purpose and
 

activity Purpose but Activity but
 

congruent not activity not purpose
 

24.1% 

21.6% 

35.6% 

46.7% 

Table 21 shows the highest congruence among 

organizations involved in training--over 

70 percent of which cited training as a 

primary purpose and also claimed one or more 

training activities--and substantial congruence of purpose and activity for marketing 

and social functions. Most organizations 

that see training and social functions as 

purposes engage in related activities. Significant numbers of organizations engage 

in information and social activities but 

did not cite them among their purposes (although social activity is less than likely 

to be considered a primary purpose). Over 

41 percent of organizations citing information on crafts to members as a primary 

purpose did not engage in informational activities in 1977. There is very little 

variation in congruence according to geographic location, membership size, and 

organizational longevity. 

40
 
CHAPTER IV
 

REVIEW BY MEDIUM AND REGION
 

The characteristics of craft organizations
 

were discussed previously in terms of primary medium and regional location. This
 

chapter summarizes these characteristics.
 

Organizations by primary medium
 

Fiber
 

Number: 512 (42% of all organizations)
 

Size: median membership 73 (lowest except
 

for leather)
 

Activities: over half are involved in exhibits (84%), workshops (77%), sales
 

(61%), social functions (59%)
 

Jury: 25% have jury requirement for membership
 

Incorporation: 50% incorporated (lowest
 

proportion for any medium)
 

Facilities: 46% own or rent facilities
 

Expenditures: median expenditures $984
 

(lowest for any medium)
 

Geographic focus: 68% local (highest proportion except for multimedia)
 

Clay
 

Number: 485 (40% of all organizations)
 

Size: median membership i14
 

Activities: over half are involved in exhibits (91%), sales (82%), workshops
 

(73%), social functions (69%), craft
 

courses (53%)
 

Jury: 37% have jury requirement for membership
 

Incorporation: 70% incorporated
 

Facilities: 63% own or rent facilities
 

(highest proportion except for multimedia)


Expenditures: median expenditures $6,227
 

(highest except for wood and glass)
 

Geographic focus: 59% local
 

Wood
 

Number: 60 (5% of all organizations)
 

Size: median membership 156
 

Activities: over half are involved in exhibits (89%), sales (80%), workshops
 

(69%), publications (66%), social functions (62%)
 

Jury: 27% have jury requirement for membership
 

Incorporation: 81% incorporated (highest
 

proportion for any medium)
 

Facilities: 51% own or rent facilities
 

Expenditures: median expenditures $6,264
 

(highest except for glass)
 

Geographic focus: 56% local; 7% national
 

(highest proportion except for paper)
 

Metal
 

Number: 46 (4% of all organizations)
 

Size: median membership 86
 

Activities: over half are involved in exhibits (99%), sales (80%), social functions (71%), workshops (51%)
 

Jury: 53% have jury requirement for membership (highest proportion for any medium)
 

Incorporation: 56% incorporated
 

Facilities: 50% own or rent facilities
 

Expenditures: median expenditures $7,528
 

(highest for any medium)
 

Geographic focus: 35% local (lowest proportion except for paper)
 

Leather
 

Number: 9 (less than 1% of all organizations)
 

Size: median membership 44 (smallest for
 

any medium)
 

Activities: over half are involved in exhibits (83%)
 

Jury: 17% have jury requirement for membership
 

Incorporation: 67% incorporated
 

Facilities: 50% own or rent facilities
 

Expenditures: median expenditures $i,000
 

(lowest except for fiber)
 

Geographic focus: 67% local
 

Paper
 

Number: 6 (less than 1% of all organizations)
 

Size: median membership 167 (largest except for multimedia and other media)
 

Activities: over half are involved in workshops (100%), exhibits (80%)
 

Jury: 40% have jury requirement for membership (highest proportion except for metal)
 

Incorporation: 80% incorporated
 

Facilities: 60% own or rent facilities
 

Expenditures: median expenditures $3,667
 

Geographic focus: 20% local (lowest proportion for any medium); 40% regional
 

(highest proportion for any medium);
 

40% national or international (highest
 

proportion for any medium
 

Other media
 

Number: 51 (4% of all organizations)
 

Size: median membership 189 (same high figure as multimedia)
 

Activities: over half are involved in exhibits (90%), sales (74%), publications
 

41
 
 

 

(74%), social functions (68%), craft


courses (51%)
 

Jury: 11% have jury requirement for membership (lowest proportion for any medium)
 Incorporation: 76% incorporated
 

Facilities: 51% own or rent facilities
 

Expenditures: median expenditures $3,772
 

Geographic focus: 68% local
 

Multimedia
 

Number: 26 (2% of all organizations)
 

Size: median membership size 189 (same high
 

figure as other media)
 

Activities: over half are involved in
 

sales (90%), exhibits (84%), workshops
 

(58%)


Jury: 16% have jury requirement for membership
 

Incorporation: 53% incorporated (lowest
 

proportion except for fiber)
 

Facilities: 51% rent or own facilities
 

Expenditures: median expenditures $2,498
 

Geographic focus: 72% local (highest proportion for any medium)
 

Organizations by region
 

New England
 

Number: 115 (10% of all organizations)
 

Size: median membership 155 (largest for
 

any region)
 

Total members: 44,966 (15% of craft artists;
 

0.61% of New England working-age population-highest proportion for any region)
 

(72%), social functions (57%)
 

Jury: 37% have jury requirement for membership
 

Incorporation: 59% are incorporated
 

Facilities: 61% own or rent facilities
 

(same high proportion as New England)
 

Expenditures: median expenditures $3,000
 

Funding: membership fees (93%), workshop
 

fees (58%), sales (50%), private donations (30%), state government (22%)
 

East North Central
 

Number: 208 (18% of all organizations
 

highest for any region)
 

Size: median membership 82
 

Total members: 52,002 (17% of craft artists--highest for any region; 0.21% of
 

East North Central working-age population)
 

Media: fiber (45%), clay (42%), other media (4%), wood (3%)
 

Activities: over half are involved in exhibits (90%~, sales (74%), workshops
 

(72%), social functions (71%)
 

Jury: 22% have jury requirement for membership
 

Incorporation: 58% are incorporated
 

Facilities: 49% own or rent facilities
 

Expenditures: median expenditures $2,556
 

Funding: membership fees (93%), sales (52%),
 

workshop fees (43%), private donations
 

(25%), other unspecified sources (18%)
 

West North Central
 

Number: 80 (7% of all organizations)
 

Media: clay (46%), fiber (34%), metal (8%), Size: median membership 81
 

wood (5%) 


Activities: over half are involved in
 

sales (86%), exhibits (83%), workshops
 

(65%), social functions (57%), craft
 

courses (54%)
 

Jury: 45% have jury requirement for membership (highest proportion for any region)
 

Incorporation: 69% are incorporated
 

Facilities: 61% own or rent facilities
 

(same high proportion as Middle Atlantic)
 

Expenditures: median expenditures $5,000
 

(highest for any region) 


Total members: 14,989 (5% of craft artists
 

--the same low proportion as Mountain;
 

0.15% of West North Central working-age
 

population--lowest proportion except for
 

Mountain)
 

Media: fiber (47%), clay ([27%), other media (9%), wood, leather, and multimedia
 

(5% each)
 

Activities: over half are involved in exhibits (92%), workshops (73%), sales
 

(69%), social functions (69%), craft


courses (55%), publications (50%)
 

Funding: membership fees (90%), sales (56%), Jury: 19% have jury requirement for member-


workshop fees (45%), private donations
 

(44%), state government (16%)
 

Middle Atlantic
 

Number: 136 (12% of all organizations)
 

Size: median membership 86
 

Total members: 39,766 (13% of craft artists;
 

0.18% of Middle Atlantic working-age
 

population)
 

ship (lowest proportion except for West
 

South Central)
 

Incorporation: 61% are incorporated
 

Facilities: 49% own or rent facilities
 

Expenditures: median expenditures $1,733
 

(lowest for any region)
 

Funding: membership fees (179%), sales (49%),
 

workshop fees (43%), private donations
 

(37%), state government (21%)
 

Media: fiber (45%), clay (45%), metal (3%), South Atlantic
 

wood (3%)


Activities: over half are involved in ex- Number: 142 (12% of all organizations)
 

hibits (92%), workshops (83%), sales Size: median membership 87
 

42
 
Total members: 23,248 (10% of craft artists; Mountain
 

0.39% of South Atlantic working-age population)
 

Media: fiber (46%), clay (46%), wood (5%),
 

multimedia (2%)
 

Activities: over half are involved in exhibits (83%), sales (80%), workshops
 

(73%), social functions (60%)
 

Jury: 41% have jury requirement for membership (highest proportion except for New
 

England)
 

Incorporation: 61% are incorporated
 

Facilities: 56% own or rent facilities
 

Expenditures: median expenditures of
 

$3,319
 

Funding: membership fees (82%), sales (62%),
 

workshop fees (39%), private donations
 

(29%), state government (15%)
 

East South Central
 

Number: 118 (10% of all organizations)
 

Size: median membership 60 (smallest except for Mountain)
 

Total members: 33,036 (11% of craft artists;
 

0.41% of East South Central working-age
 

population--highest proportion except
 

for New England
 

Number: 105 (9% of all organizations)
 

Size: median membership 56 (lowest for any
 

region)
 

Total members: 15,601 (5% of craft artists
 

--same low proportion as West North Central; 0.12% of Mountain working-age population)
 

Media: clay (40%), fiber (38%), metal (9%),
 

other media (7%)
 

Activities: over half are involved in exhibits (81%), sales (78%), social functions (64%), workshops (60%)
 

Jury: 26% have jury requirement for membership
 

Incorporation: 58% are incorporated
 

Facilities: 47% own or rent facilities
 

(lowest proportion except for East South
 

Central)
 

Expenditures: median expenditures $2,298
 

(lowest except for West North Central)
 

Funding: membership fees (85%), sales (58%),
 

workshop fees (47%), private donations
 

(19%), state governments (17%)
 

Pacific
 

fiber (49%), clay (36%), wood (ll%), Number: 153 (13% of all organizations
 Media:
 

glass (3%)
 

Activities: over half are involved in exhibits (92%), sales (73%), workshops
 

(68%), social functions (61%)
 

Jury: 30% have jury requirement for membership
 

Incorporation: 72% are incorporated (highest proportion for any region)
 

Facilities: 46% own or rent facilities
 

(lowest proportion for any region)
 

Expenditures: median expenditures $3,821
 

Funding: membership fees (75%), sales (53%),
 

state government (34%), private donations (30%), workshop fees (28%)
 

West South Central
 

Number: 91 (8% of all organizations)
 

Size: median membership 85
 

Total members: 23,554 (8% of craft artists;
 

0.19% of West South Central working-age
 

population)
 

Media: clay (47%), fiber (30%), other media (9%), wood (5%)
 

Activities: over half are involved in exhibits (85%), workshops (74%), sales
 

(70%), social functions (64%), craft
 

courses (53%)
 

Jury: 10% have jury requirement for membership (lowest proportion for any region)
 

Incorporation: 68% are incorporated
 

Facilities: 58% own or rent facilities
 

Expenditures: median expenditures $3,816
 

Funding: membership fees (75%), sales (46%),
 

workshop fees (46%), private donations
 

(33%), state governments (19%)
 

highest proportion except for East North
 

Central)
 

Size: median membership 88 (largest except
 

for New England)
 

Total members: 49,249 (16% of craft artists--highest proportion except for East
 

North Central; 0.28% of Pacific working-


age population)
 

Media: fiber (47%), clay (36%), metal (6%),
 

wood (4%)
 

Activities: over half are involved in exhibits (91%), workshops (72%), social
 

functions (70%), sales (61%)
 

Jury: 33% have jury requirement for membership
 

Incorporation: 55% are incorporated (lowest proportion for any region)
 

Facilities: 54% own or rent facilities
 

Expenditures: median expenditures $3,129
 

Funding: membership fees (89%), sales (51%),
 

workshop fees (48%), private donations
 

(29%), local governments (17%)
 

43
 
APPENDICES
 

APPENDIX A
 

CALCULATION OF ORGANIZED CRAFT ARTISTS BY MEDIUM
 

APPENDIX B
 

REGIONS AND DIVISIONS OF THE COUNTRY AS DEFINED BY
 

U.S. CENSUS BUREAU
 
 

 

 

Table 22 Media among organizations and artists 

Organizations
 

Primary mentions All mentions
 

Number Percent Number Percent
 

280 19.3% 333 12.9% 

340 23.4% 591 23.0% 

620 42.7% 924 35.9% 

167 11.5% 191 7.4%
 

296 20.4% 369 14.3%
 

463 31.9% 560 21.7%
 

23 1.6% 109 4.2%
 

76 5.2% 204 7.9%
 

99 6.8% 313 12.2%
 

77 5.3% 226 8.8%
 

24 1.7% 57 2.2%
 

i01 7.0% 283 11.0%
 

12 0.8% 81 3.1%
 

30 2.1% 90 3.5%
 

42 2.9% 171 6.6%
 

18 1.2% 56 2.2%
 

2 0.1% 8 0.3%
 

20 1.3% 64 2.5%
 

1 0.1% 5 0.2%
 

8 0.5% 20 0.8%
 

9 0.6% 25 1.0%
 

37 2.5% 109 4.2%
 

61 4.2% 124 4.8%
 

1,452" 99.9% 2,573* 99.9%
 

*These estimates of the total number of craft organizations differ from the 1,218
 

estimate cited earlier in this report to the extent that organizations listed more
 

than one medium used by their members.
 

**This represents the total estimated number of craft artists who are members of
 

craft organizations.
 

46
 
APPENDIX A
 

CALCULATION OF ORGANIZED CRAFT ARTISTS
 

BY MEDIUM
 

The survey questionnaire asked each respond-­

ent organization whether it was oriented to
 

one medium, "fiber, clay, etc.," or more
 

than one medium. Organizations responding
 

as "specific medium" were asked to name the
 

medium; organizations responding as "general" were asked to list in order of popularity up to five media in which members
 

worked.
 

Responses to these questions were classified
 

to extract as much detail as possible. For
 

example, lace and rug-hooking were given
 

separate subgroup identification within the
 

broad category of fiber. However, the large
 

number of respondents who named "fiber" as
 

a medium (as suggested in the question
 

wording) and were subsequently identified
 

as "fiber, not specified" undoubtedly include some lace and rug-hooking organizations as well.
 

Responses that focused on objects produced
 

with a variety of materials (e.g., dolls
 

and toys) were classified as "multimedia."
 

Conversely, candles, egg decor, and bread-­

products depending on specific materials-­

were classified as "other media." All multimedia and other media responses were dealt
 

with in specific subcategories.
 

Table 22 shows the number of organizations
 

that named each of the major media further
 

delineated as"not specified"or"specified"
 

according to whether a subcategory was identified. The numbers in the column labeled
 

"primary mention" comprise single-medium
 

organizations and the first and second
 

listings of general media ones. "All mentions" comprise these and third, fourth,
 

and fifth listings of the general-media
 

organizations as well. (Some genera!-media
 

organizations named as many as eight media, but listings beyond the fifth were
 

ignored.) Table 23 provides similar information. If the"not specified" replies
 

follow the pattern of the "specified"subcategories, almost 16 percent of all fiber
 

mentions by craft organizations were of
 

weaving (44.2 percent weaving all mentions
 

from Table 23 times 35.9 percent total fiber all mentions from Table 22).
 

Estimates of craft artists working in each
 

medium listed in Table 22 and in the medium
 

subcategories in Table 23 were constructed
 

on numbers of organizations given the following assumptions:
 

average membership of all organizations
 

(international, national, regional, state,
 

and local) is 415 craftspersons;
 

all members of single-medium organizations
 

and general-media organizations listing
 

only one medium work in that one medium;
 

members of general-media organizations
 

listing five media divide as follows: 30
 

percent work in the first-mentioned category, 25 percent in the second, 20 percent
 

in the third, 15 percent in the fourth, and
 

i0 percent in the fifth;
 

members of general-media organizations
 

listing four media divide as follows: 33
 

percent work in the first category, 28 percent in the second, 22 percent in the third,
 

and 17 percent in the fourth;
 

members of general-media organizations
 

listing three media divide as follows: 40
 

percent work in the first category, 34 percent in the second, and 26 percent in the
 

third;
 

members of general-media organizations
 

listing two media divide as follows: 54 percent work in the first category and 46 percent in the second.
 

To simplify the estimation process, the above
 

proportions were averaged as follows: I00
 

percent of the members of single-medium
 

organizations work in the medium, 38 percent of the members of general-media organizations listing a medium first work in
 

the medium, 29 percent of the members of
 

general-media organizations listing a medium second, 22 percent of the members of
 

general-media organizations listing a medium third, 16 percent of the members of
 

general-media organizations listing a medium fourth, and i0 percent of the members
 

of general-media organizations listing a
 

medium fifth. These percentages add up to
 

115 percent, allowing for some members
 

working in more than one medium.
 

For the calculation of estimated artists,
 

take the book arts subcategory under paper
 

as an example. Book arts was named by one
 

47
 
Table 23 Media subcategories among organizations and artists 

Organizations
 

Primary mentions All mentions
 

44.2%
 

12.0%
 

10.0%
 

12.5%
 

6.4%
 

6.6%
 

5.4%
 

1.5%
 

0.7%
 

0.7%
 

100.0%
 

591
 

73.7% 75.5%
 

15.8% 11.3%
 

7.9% 7.4%
 

1.3% 2.0%
 

1.3% 1.5%
 

1.0%
 

1.0%
 

0.5%
 

100.2%
 

204
 

94.3%
 

4.6%
 

0.5%
 

0.5%
 

99.9%
 

369
 

single-medium organization and was listed The resulting figure of 693 equals 42.6 per-


first, second, third, and fourth by four cent of the total estimated artists working
 

general-media organizations. in specified subcategories. Similarly, the
 

estimated number of artists based on book
 

Applying the average above to the average arts all mentions comprises the foregoing
 

membership figure of 415 gave an estimated 693 plus:
 

number of 693 artists based on the most
 

popular mentions: (i) (.22) (415) = 91
 

plus (i) (.16) (415) = 66
 

(i) (1.00) (415) = 415
 

plus (i) (.38) (415) = 158 The resulting 850 is 36.6 percent of the
 

plus (i) (.29) (415) = 120 total represented estimated artists working
 

48
 
Table 23 (continued) 

Organizations
 

Primary mentions All mentions
 

70.2%
 

19.3%
 

5.3%
 

1.8%
 

3.5%
 

100.1%
 

57
 

55.6%
 

34.4%
 

10.0%
 

100.0%
 

90
 

87.5%
 

12.5%
 

100.0%
 

8
 

70.0%
 

25.0%
 

5.0%
 

100.0%
 

20
 

in specified paper subcategories. tions may be oriented to the listed media
 

in many different proportions; and the
 This estimating procedure has the follow- members of general-media organizations may
 ing shortcomings: work in one or more of the listed media;
 

the average membership size of 415 does not no adjustment is made for nonresponse to
 reflect differences in medium popularity; the survey or for multiple organization
 

memberships.
 some members of an organization may not
 

work in any medium; members of single- The forthcoming survey of the members them-


medium organizations may also work in other selves will provide the basis for further
 

media; members of general-media organiza- improvement of these estimates.
 

49
 
Table 23 (continued) 
APPENDIX B
 

REGIONS AND DIVISIONS OF THE COUNTRY AS DEFINED BY
 

U.S. CENSUS BUREAU
 

REGION DIVISION STATES 

Northeast New England Connecticut, Maine, 

Massachusetts, New Hampshire, 

Rhode Island, Vermont 

Middle Atlantic New Jersey, New York, 

Pennsylvania 

North Central East North Central Illinois, Indiana, Michigan, 

Ohio, Wisconsin 

West North Central Iowa, Kansas, Minnesota, 

Missouri, Nebraska, North 

Dakota, South Dakota 

South South Atlantic Delaware, District of 

Columbia, Florida, Georgia, 

Maryland, North Carolina, 

South Carolina, Virginia, 

West Virginia 

East South Central Alabama, Kentucky, 

Mississippi, Tennessee 

West South Central Arkansas, Louisiana, 

Oklahoma, Texas 

We st Mountain Arizona, Colorado, Idaho, 

Montana, Nevada, New Mexico, 

Utah, Wyoming 

Pacific Alaska, California, Hawaii, 

Oregon, Washington 

51
 
 

REPORTS IN THE NATIONAL ENDOWMENT
 

FOR THE ARTS RESEARCH DIVISION SERIES
 

Since 1976 the Research Division of the
 

National Endowment for the Arts has been
 

studying matters of interest to the arts
 

community and issuing reports based on its
 

findings. Copies of the reports may be ordered from the Publishing Center for Cultural Resources, 625 Broadway, New York
 

City 10012 at the prices noted below.
 

Checks should be made payable to "Publishing Center." Prices include postage and
 

handling; no state or local sales tax is
 

applicable.
 

#i Employment and Unemployment of Artists:
 

1970-1975. 32 pages. April 1976. $2.50
 

#2 TO Survey American Crafts: A Planning
 

Study. 32 pages. July 1977. $2.50
 

#3 Understanding the Employment of Actors.
 

36 pages. September 1977. $2.00
 

#4 Arts and Cultural Programs on Radio and
 

Television. 92 pages. September 1977. $3.50
 

#5 Where Artists Live: 1970. 80 pages.
 

October 1977. $3.00
 

#6 Economic Impact of Arts and Cultural
 

Institutions: A Model for Assessment and
 

a Case Study in Baltimore. 96 pages.
 

November 1977. $3.50
 

#7 Minorities and Women in the Arts: ]970.
 

32 pages. January 1978. $2.50
 

#8 The State Arts Agencies in 1974: All
 

Present and Accounted For. 160 pages.
 

April 1978. $4.50
 

#9 Audience Studies of the Performing
 

Arts and Museums: A Critical Review. 106
 

pages. November 1978. $3.00
 

#10 Self-Employment, Migration, and Household and Family Characteristics of Artists:
 

1970. 32 pages. November 1978. $2.00
 

#ii Conditions and Needs of the Professional American Theatre. 132 pages. May
 

1981. ISBN 0-89062-076-8 $4.50
 

#12 Artists Compared by Age, Sex, and
 

Earnings in 1970 and 1976. 54 pages.
 

January 1980. ISBN 0-89062-077-6 $2.50
 

#13 Craft Artist Membership Organizations
 

1978. 52 pages. January 1981. ISBN
 

0-89062-089-X. $3.50
 

#14 Audience Development: An Examination
 

of Selected Analysis and Prediction Techniques Applied to Symphony and Theatre
 

Attendance in Four Southern Cities. 48
 

pages. January 1981. ISBN 0-89062-097-0


$2.5o
 

#15 Economic Impact of Arts and Cultural
 

Institutions: Case Studies in Columbus,
 

Minneapolis/St. Paul, St. Louis, Salt Lake
 

City, San Antonio, and Springfield. 102
 

pages. January 1981. ISBN 0-89062-106-3


$3.50
 

52
 
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