The Latest:

Philip Huang

Cultivating Shamelessness
Artist and provocateur Philip Huang wowed the audience at the recent Dynamic Adaptability conference in San Francisco as he raised money for a series of street performances (see below). At the 2010 Creative Chicago Expo, Huang will present his workshop, "Cultivating Shamelessness."

"The old approaches are dead. Screw submitting for exhibits and doing residencies and going on auditions. We artists must return to the Wild Wild West, and make brilliant careers out of dirt and chutzpah and shamelessness.

What is Fiscal Sponsorship? NYFA's ArtSpire

And how does it relate to you?

Fiscal Sponsorship is a critical way for individual artists, artists' collaborative projects, and emerging arts organizations in all disciplines to apply for funding usually available only to organizations with 501(c)(3) nonprofit status. The right fiscal sponsor will not only allow you to manage your project efficiently, but can actually help you to raise more money and realize your artistic vision.

Artists United for Health Care

Participate in the Health Care Debate

The Actors Fund’s Health Insurance Resource Center (HIRC), in partnership with The Center for Cultural Innovation (CCI) and Leveraging Investments in Creativity (LINC), has launched a national artists’ health care reform website, Artists United for Health Care.

As attention to health care reform takes center stage nationally, the Artists United for Health Care site brings attention to the critical place of artists in the reform debate.

Free Business Education Workshops and Certification

Sponsored by the City of Chicago Department of Business Affairs and Licensing

Tough economic times may be the best time for entrepreneurs to get a leg up.  Just ask the 200 or more Chicago entrepreneurs that have enrolled into the City of Chicago's Business Start-Up Certificate program. Take it from entrepreneur David Clayton, "This program is outstanding, it provided me with the absolute fundamental knowledge to start a business."

Arts at the Core

A Curriculum Guidebook by the Illinois Arts Alliance

Arts at the Core: A Guidebook and Planning Tool is a helpful resource for arts educators across the disciplines created by the Illinois Arts Alliance. The guidebook addresses major questions posed by teachers and administrators, such as what constitutes a quality curriculum, how to integrate the arts into other subjects, and how to deal with a lack of resources.

Health Insurance Information

From the Actors Fund Health Insurance Resource Center

The Actors Fund Health Insurance Resource Center (AHIRC) has been connecting artists, craftspeople and entertainment industry workers around the country to health insurance and affordable health care since 1998.

Getting Started as a Teaching Artist

excerpted from Teaching Artists Journal

You want to teach!  Now what do you do?  Thisshort document lists some resources, strategies, andinformational sources you will want to think about andinvestigate.

City of Chicago Promoters Ordinance (4-157)

Facts to know about planning events

What is an Event Promoter?

An Event Promoter is a person inside or outside the City of Chicago who engages in the business of promoting amusements or events within the City of Chicago and is directly or indirectly compensated for providing that service. The ordinance requires Event Promoters to obtain a license and provides guidelines to operate responsibly in the City to ensure the health, safety and welfare of people attending these events.

License Application Requirements:

City of Chicago's Entertainment, Performing Arts and Theater Licensing

Ensure your venue has proper licenses and permits

If you offer entertainment as part of your business or are planning a large event in the City of Chicago, you may require a special license. These licenses range from PPA - Public Place of Amusement to PAV - Performing Arts Venue to Indoor Special Event Licenses.

Beyond Richard Florida

A Cultural Sector of Our Own

Now that Richard Florida has moved on from the “rise” of the creative class to the “flight” of the creative class, the cultural sector is left with the question: are we better off today than before he re-classified us?

Richard Florida's High-class Glasses

Article by Ann Daly, Arts Consultant

When Richard Florida took the mainstage at last year's Americans for the Arts conference in Portland, Oregon, the woman next to me—we had never met—leaned in with an immediate response. "Hubba-hubba," she murmured in my direction. The Carnegie-Mellon University professor of economic development had come a long way since the publication of The Rise of the Creative Class in June 2002.

Writing for Results

Writing isn't anyone's favorite pastime. Not even for writers. As sports columnist "Red" Smith once explained, "There's nothing to writing. All you do is sit down at a typewriter and open a vein." The blank screen is a formidable opponent for everyone.

Managing to Succeed

Article by Ann Daly, Arts Consultant

Whatever your personal goal as a photographer (to earn a living, to develop a reputation, to share your passion with friends and family—or all of the above), you need to manage your photographic practice.

What that means, simply, is organizing your work so that you are both efficient (giving minimum effort) and effective (getting maximum results).

Most of us are very efficient. We’re getting alot of stuff done. The question is: Is it the right stuff? Are we actually being effective with our energy, accomplishing the most important things?

Mission Accomplished

by Ann Daly, Arts Consultant

By day I am a cool-headed consultant, advising arts organizations and leading workshops with titles such as "How to Write a Mission Statement That Succeeds." But tonight I am a frustrated board member, just back from another meeting that leaves me wondering about the future of this organization and our capacity to help it move forward. Without a clear sense of mission, we are hamstrung. There is no coherent viewpoint from month to month, and therefore no consistent criteria for making decisions, plans, or innovations.

Unemployment Benefits for Artists

by Melissa Potter, New York Foundation for the Arts

Unemployment insurance provides an income to workers who have been laid off or terminated without cause by an employer. Employers pay a separate tax, which the New York State Department of Labor uses to pay these benefits. Unemployment insurance is a universal entitlement to those who qualify, even for some artists who work seasonally or part-time. However, many artists who are self-employed or work freelance may not qualify for unemployment benefits.

Copyright, Public Domain and Work for Hire Overview

Copyright is a form of protection provided by the laws of the United States to the creators of “original works of authorship,” including literary, artistic, dramatic, musical, and certain other intellectual works. This protection is available for both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following:

Lecture Checklist

By Karen Atkinson, courtesy of Side Street Projects

Once you have a lecture venue, make sure you find out the answers to the following questions, and follow the suggested timeline below.  Choose the questions that are applicable to your project and the venue.


(Choose the questions that are applicable to your lecture and the venue.)

• Date and time for the lecture.

• What is the honorarium or artist‘s fee?

• Who is your audience?

• How long are you expected to talk?

Billing and Collection

By Karen Atkinson, courtesy of Side Street Projects

Keeping track of who owes you money will reduce a lot of headaches in the future.  Create a bill of sale for each work you sell.  Make sure you use a contract for every agreement you enter into.

If you make special payment plans for certain individuals, make sure you include that payment plan in the bill of sale.  You should always retain the work until the final payment is made.

Always get a list of the work located at a dealer, a gallery, or an art consultant.  Keep in touch with them regarding sales.  Know where you work is.

Documenting Your Work

By Karen Atkinson, courtesy of Side Street Projects

Documenting your work is an important aspect of business as an artist.  Many times, the documentation will be the only thing a curator, an arts writer, or juror will see.  Your work should be reflected in good quality images.  You are responsible for these images, either by documenting the work yourself, or finding a good photographer, videographer or digital professional to take the images.