Portfolio

1Lyndsey Lane Arts Administration Master of Arts Savannah College of Art and Design October 1, 2010

Resume 3

Grant 4

Budget 16

Development Plan 18

Brochure 27

Donor Letters 32

Communications Plan 38

Exhibition Advertisement 48

Direct Mail Marketing 51

Blog 54

Press Release 56

Reflection Paper 58

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Contents

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Objective

I wish to obtain a position in the museum or nonpro�it arts �ield to provide cultural education to those who wish to experience the ful�illment of art and gain an appreciation for the treasured building blocks of a society and civilization.

Education

Savannah College of Art and Design [Anticipated Graduation: May, 2011]Masters of Arts: Arts Administration, GPA: 3.8

Middle Tennessee State University [Aug. 2002- Dec. 2006]Bachelor of Fine Arts: Graphic Design, GPA: 3.4

New York University [Summer, 2006]Completed a summer curriculum focused in visual art foundation courses including studio art and art history.

Internships

Tennessee Performing Arts Center: Design Intern [Nashville, TN 2007]Teamed with the marketing and development department to create promotional materials including direct mail, brochures, and outside signage for in-house and touring performances.

Hatch Show Print: Print Intern [Nashville, TN 2006]Allowed to work independently with numerous clients nationwide to concept, design, and print promotional posters and other letterpress products.

Merrill Lynch: Executive Intern [NYC, NY: 2006]Under the direction of Merrill Lynch’s First Vice President in their Global Wealth Management Headquarters, implemented technology changes to improve client relations.

Experience

The Clever Factory: Graphic Designer [2007-2009]Planned and executed designs and products for a wide range of clients including Target, Walgreens, Wal-Mart, and other Fortune 500 companies. Extensively trained in various design processes including concept, illustration, packaging, pre and post production work.

Related Skills and Activities

Computer Skills: Microsoft Of�ice Suite, Adobe Creative Suite, Quark, Apple and Microsoft operating platformsActivities: Americans for the Arts, AIGA, Tennessee Art League, SCAD Graduate Advisory Board

615.293.4126 [email protected]

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GrantThe Discovery Museum

AADM 739: Raising Funds for the Arts

For this assignment students were instructed to write a grant proposal for an arts institution of their choice. I selected the

Discovery Museum which is located within the World Forestry Center in Portland, Oregon. The grant follows the structure

provided by the project’s guidelines rather than the guidelines of a specific grant application. My grant requests $60,000 from

the Oregon Community Foundation to allow the Discovery Museum to display Hands Off, an exhibition in conjunction with the

National Archives and Records Service. This exhibit would educate its audience of the dangers of urban sprawl. I developed the

exhibition, programs, budget, and evaluation to comply with the Discovery Museum and the World Forestry Center’s mission

and vision.

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GRANT PROPOSAL

Discovery Museum A Branch of the World Forestry Center

Contents

We trace our history back to the Lewis and Clark Centennial American Pacific Exposition and Oriental Fair held in Portland, Oregon in 1905. One of the most popular buildings at the fair was the Forestry Building. The building was turned over to the state of Oregon and was a Portland landmark until August 17, 1964, when it burned to the ground. In 1971, the Western Forestry Center, a non-profit educational institution, was erected out of the ashes of the tragic fire. The Discovery Museum became a reality June 30, 2005 after a $7 million, 6-month renovation. The Discovery Museum strives to educate and inform people about the world's forests and trees, and their importance to all life, in order to promote a balanced and sustainable future.

Our vision of educating our community on the intrinsic value of nature has lead us to develop Hands Off, an exhibition that will allow us to partner with the National Archives and Records Service to teach our visitors of the dangers of urban sprawl and a deeper understanding of their own environmental impact regarding this issue.

Although the Discovery Museum has been able to raise $44,000 of the exhibition’s estimated $103,695 expense, it still needs the aid of the Oregon Community Foundation for the remaining $60,000. Please help us provide this beneficial experience to Portland’s diverse community.

The

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Introduction Problem/Objectives Strategies/Methods Evaluation Plan

Program Budget Appendix A Appendix B

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GRANT PROPOSAL

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The Discovery Museum 4033 Southwest Canyon Road, Portland OR, 97221 503.228.1367 www.WorldForestry.org

I. INTRODUCTION

The World Forestry Center (WFC) is a nonprofit organization located in Portland, Oregon. WFC was founded in 1964 with the mission to educate and inform people about the world's forests and trees, and their importance to all life, in order to promote a balanced and sustainable future. One program that the WFC adopted to reach this mission was the Discovery Museum.

The Discovery Museum The Discovery Museum is a landmark in the Pacific Northwest. The Museum operates under the claim that “It will change the way you look at trees”. The museum rests on 20,000 square feet of land in Portland's beautiful Washington Park. The Museum has made new additions including interactive exhibits, which encourage guests and families to get an up-close experience of the forests of the Pacific Northwest and the world. First Floor

1. Permanent Exhibits: • Forests of the World: Patrons "travel" to different regions and meet people who face

many issues of maintaining sustainable forests in their country • Forests of the Pacific Northwest: Explores the ecosystems of this exciting area

2. Forest Store: Museum merchandise, crafts by local artists, toys, games, snacks, and forest related materials

Second Floor

• Temporary Exhibits: 1. A featured international region’s art, history and culture 2. A featured international forest and its connection to people who share its habitat

Past Exhibits and Successes

The Discovery Museum hosts many special exhibits throughout the year that showcase art, history, and culture. Past examples include: 1. The Last Polar Bear: Facing the Truth of a Warming World

Wildlife photographer Steven Kazlowski brought to life the endangerment of polar bears as a result of the devastation of the Arctic ecosystem through global warming.

2. Pendleton: Weaving America's Spirit

A celebration of a deep-rooted Oregon company, the exhibit featured: • A wall of Pendleton blankets and a display of America's National Park Blankets • A graphic timeline collage featuring archival photography and products • Wool examples demonstrating the process "from fleece to fashion” • Pendleton Eco-Wise Wool® interactive trivia game

“Portland’s lucky to have the Discovery Museum. My daughter loves the interactive exhibits on the first floor and I love to attend special exhibition opening nights like last year’s World of Chocolate” – Kat Reynolds, WFC Member

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II. PROBLEM/OBJECTIVES

Problem Statement Many Americans are not aware of the ways in which urban development impacts their daily lives. The United States Green Building Council’s (USGBC) 2006 Research Assessment1 found:

• Roads, bridges, buildings and other civil structures comprise 6% of the Continental US in 2003 and is growing 24% annually

• Building operations account for 40% of US energy use • Building operations contribute over 38% of US carbon dioxide emissions and over 12% of

its water consumption • Demolition, construction, remodeling, create 136 million tons of waste annually (1996)

USGBC also found Americans spend an average of 90% of the day indoors. This has a profound impact on human health because:

• 30% of new and remodeled buildings may experience acute indoor air quality issues • Indoor air can contain more than 100 times more pollutants than outdoor air • Poor indoor air quality is linked to significant health problems such as cancers and asthma

The cost of bringing in Hands Off with combined travel and insurance is high and the Discovery Museum will require further assistance. Current supporters of the Discovery Museum as well as members of the WFC will attest to the effectiveness of this investment.

Objectives The Discovery Museum, in collaboration with the National Archives and Records Service, wishes to exhibit Hands Off in an attempt to further its mission to educate and inform people of the world’s forests. Through the display and promotion of Hands Off, the Discovery Museum hopes that our visitors will gain:

• A greater understanding of their own environmental impact • Information of the impending dangers of urban sprawl and future industrialization • Knowledge to make informed decisions regarding the future of their environments • The importance of supporting centers like WFC who fight for environmental protection

The Discovery Museum hopes Hands Off will provide visitors with:

• An increase in Museum patronage by exhibit attendance • Dialogue among the community concerning the planning of their cities • Increased interest and enrollment in Museum membership

1 Research obtained through the United States Environmental Protection Agency <http://www.epa.gov>

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III. STRATEGIES/METHODS

The Discovery Museum, in collaboration with the National Archives and Records Service, plans to exhibit Hands Off in an attempt to further its mission to educate and inform people of the world’s forests. Hands Off will lead the viewer on a historical journey through the urban development of Oregon. It will begin with the earliest documentations (drawings, paintings, topical surveys) of the state and end with the Oregon’s current urban landscape. As the viewer progresses through the exhibit, they will encounter wall mounts describing the dangers of urban development, statements from leading environmental impact experts, and major regulation changes specific to Portland. At the conclusion of the exhibit there will be a temporary kiosk store that will provide reading material from the EPA, The United States Green Building Council, a Hands Off Catalogue, Discovery Museum merchandise and customer satisfaction surveys.

Hands Off Structure The Exhibit:

• Displays of the earliest visual representations of Oregon • Coast and Geodetic Survey maps from 1850-60 • Arial photographs and future building plans of urban and coastal areas of Oregon • Information on the dangers of urban sprawl • Materials providing information on advocating for this cause • Promotes a hands off approach to undisturbed land in Oregon

The driving ambition in providing this exhibit is to focus on education. It is necessary for our audience to not only enjoy the visual display, but to also have the opportunity to expand their learning through experiences outside the exhibition. To this end, the Discovery Museum will provide a lecture series and a catalogue to accompany the exhibit. Lecture Series:

• Scheduled for Saturday mornings at 9am • Lyndsey Lane, Discovery Museum Curator (April 9)

Lisa P. Jackson, EPA Administrator (April 23) David S. Ferriero, United States Archivist (May 7)

• Coffee service provided at the Meet and Greet (8:30am) Catalogue:

• Forward by Lyndsey Lane (Discovery Museum Curator) Introduction by David S. Ferriero (United States Archivist)

• Images of the exhibit and the included works • Information on the EPA and the USGBC, including the environmental reports and studies

highlighted in the exhibit • Discovery Museum and World Forestry Center information

Continued Next Page

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[CONTINUED]

Opening Reception: April 1, 2011 at 7pm • Opening speech and Q&A with Discovery Museum Curator • Catering by Elephants Delicatessen: Uses sustainable practices that reduce waste, conserve

energy and support other local businesses [http://www.elephantsdeli.com] o Black Bean Cakes with Cabo sauce $9.00 / dozen o House Marinated Mixed Olives $6.50 / bowl o Zucchini & Parmesan Stuffed Mushroom Caps $12.00 / dozen o Teriyaki Chicken Drumettes $15.00 / dozen o Assorted Petite Cookie Platter S $25.00 M $35.00 L $50.00 o Bar Service: Beer/Wine/Coffee/Sparkling Beverages

Hands Off Objectives

• Support WFC’s mission to provide educational programs for children and families

concerning environmental stewardship of local and global forests • Provide the Portland area with a fun, valuable and educational activity • Place the Discovery Museum as Portland’s:

1. Reputable source of essential and current environmental issues 2. Leader in the fight for natural preservation 3. The Center families turn to for fun and educational programming

• Provide education concerning the environmental impact of urban sprawl • Encourage viewers to offer further support and advocacy for this problem

Hands Off Staff

This exhibit will require additional paid staff. Exhibit security will ensure safety of the collection and patrons. Additional sales staff will be needed for the Hands Off gift kiosk. Guides are also needed for reception, group tours and assistance for visitors with special needs

1. Exhibit Security • 2 paid security guards to provide exhibit security • AM guard: 8am-1pm, PM guard: 1pm-6pm • $12 p/h, Monday-Saturday

2. Retail • 2 paid retail clerks to provide kiosk sales • AM clerk: 8am-1pm, PM clerk: 1pm-6pm • $9 p/h, Monday-Saturday

3. Guides • 2 paid guides: reception, guided tours, special needs assistance • AM guide: 8am-1pm, PM guide: 1pm-6pm • $9 p/h, Monday-Saturday

Continued Next Page

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[CONTINUED]

Hands Off Timeline

December January February March April Collection Sent Assembly Assembly Final Assembly Showtime

Gallery Prep Gallery Prep Gallery Prep Final Prep Opening Reception

Catalogue Prep Catalogue Prep Catalogue Design Catalogue to press Catalogue Display

Develop Promo Approve Promo Promo Design Promo-press/distribute

Display Promo

Staff Interviews

Hire Staff

Train Staff

Train Staff

Collect Museum Surveys and Cards

Catering Search Hire Caterer Approve Menus Assemble Kiosk Lecture Series Begins

Hands Off is scheduled to run April 1- May 30, 2011. Monthly objectives are outlined in the chart above. Four months should be an adequate amount of time to achieve these goals, but this is a tentative schedule that is subject to change as cause dictates. For the purpose of this schedule, it is assumed that all research and planning has been completed regarding the procurement of items from the National Archives and Records Service. Given that fact, our major tasks in December will be to secure initial preparation for the collection’s arrival. During this time we will see that the gallery is cleaned and prepped according to the installation plan and we will begin searching for additional staff, catering and marketing options. January and February objectives are focused in the hiring and training of new staff as well as planning the food options for the Opening Reception, scheduled April 1, 2011 at 7:30pm. During this time the collection will have arrived from Washington, D.C. and our staff and volunteers will be focused on installing the exhibit. During this time, promotional materials as well as the exhibition catalogue will be in initial design stages. March’s focus is in final preparation. At this time, the majority of the gallery display is expected to be complete apart from the gift kiosk. The exhibition catalogue will be sent to press and marketing materials will be distributed. We have also allowed time to continue staff training. April 1 marks the opening of Hands Off with our planned Reception. Major concerns at this point will be insuring all processes run smoothly according to schedule. The Lecture Series will begin April 9, with Discovery Museum Curator Lyndsey Lane. Beginning in April and continuing through the duration of the exhibit our staff and volunteers will be collecting customer satisfaction survey cards to insure our exhibit is meeting visitor standards.

December January February March April

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IV. EVALUATION PLAN

The Discovery Museum in conjunction with the National Archives and Record Service plans to exhibit Hands Off to provide patrons with an unparalleled educational opportunity to expand their knowledge of the dangers of urban sprawl. Hands Off will include a Discovery Museum exhibit (with opening reception), a lecture series, and an exhibition catalogue. Using these activities, the Discovery Museum hopes to meet their objectives to increase museum patronage, encourage a community dialogue on urban sprawl, and increase museum membership. The Evaluation of this exhibit will be a continual effort to refine and adjust our process as circumstances dictate. Please refer to Appendix B for an example of a Hands Off survey card.

Evaluation Methods 1. Attendance To be calculated through the attendance records at the following events:

• Opening Reception: Recorded by online RSVP/ticket • Lecture Series: Recorded by ticket sales, membership check-in • Exhibit: Recorded by ticket sales, membership check-in

2. Sales To be calculated by the gross revenue of the following items:

• Catalogue • Gift Kiosk • Tickets • New Membership

3. Surveys To be assembled by volunteer team and addressing the following items:

• Exhibit success • Possible areas for change/concern • Future interest in an exhibit of this kind

Surveys give visitors a way to inform the Museum if the exhibit met their needs. They will be provided at the lecture series and the exhibit. Two weeks following the exhibit, an email survey will be sent to WFC members.

Summary Evaluation data will be assembled into a report and shared with our Board of Directors, Marketing Team, the National Archives and Records Service, and to the major contributors. Through this research we can adequately gauge if this exhibit met the Discovery Museum’s mission. Another goal of this research report is to highlight the positive outcomes of our partnership with the National Archives and Records Service in order to foster a fruitful relationship. Their extensive collection could provide valuable aid to many programs and exhibitions at the Discovery Museum as well as the WFC.

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V. PROGRAM BUDGET

The budget for the Hands Off exhibition covers many necessary operational costs for putting on an exhibition of this caliber. To bring in the requested items from the National Archives and Records Service, we will need funds to ship the items from Washington, D.C. to our facilities in Portland, Oregon. We will be using special truck service to insure the best and most cost efficient delivery. Due to the age and expense of these items, the Discovery Museum will require additional insurance for travel and housing at our facility. Hands Off will also require additional paid staff. Exhibit security will ensure safety of the collection and patrons. Additional sales staff will be needed for the gift kiosk. Guides are also needed for reception, group tours and assistance for visitors with special needs. Each position is divided into five-hour shifts occurring 8am-1pm and 1pm-6pm, Monday thru Saturday. We have drafted a marketing plan for this exhibit that includes local radio advertisements, TV commercials, printed materials that include silkscreen posters, direct mail marketing (invitations, member notification letters), and outdoor signage. The Portland Tribune is providing free weekly ad space. Every exhibit featured in our museum is displayed according to a specific installation plan. This requires painting and cleaning the space, posting additional signage, mounting wall displays, arranging lights, and many other processes to provide the best possible installation. The Discovery Museum will host a lecture series to accompany the Hands Off exhibit. The speakers at our three part series have agreed to lecture free of charge. We will however, incur their flight (American Airlines), hotel (2 nights, River Place Hotel), and meal costs. Prior to each lecture there will be a short Meet and Greet to encourage visitors to mingle with our guest of honor, Discovery Center Staff, and other members of the community. This event will include a small breakfast service provided at a discounted rate by Elephants Delicatessen. It is our goal to use our opening reception to honor our partnership with the National Archives and Records Service, the artists involved in the exhibit, our staff, members, guests and the Portland Community. This reception will be catered by Elephants Delicatessen and will be promoted through direct mail invitations (to our members and major contributors), email blasts, and through our website. Following this exhibition, evaluation data will be assembled into a report and shared with our Board of Directors, Marketing Team, the National Archives and Records Service, and to the major contributors. Through this research we can adequately gauge if this exhibit met the Discovery Museum’s mission. In order to obtain this necessary data the Discovery Museum will have customer satisfaction survey cards professionally printed and placed at the lecture series and at the exhibit. Additional funding for Hands Off will be obtained through the Donna Swanson Foundation, Private Donors, and Portland’s Regional Arts and Culture Council.

Financial Breakdown, Next Page

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(CONTINUED)

Hands Off Budget

Estimated Costs Funding Sources

Research $450

Oregon Community

Foundation $60,000

Opening Reception $945

Donna Swanson

Foundation $25,000

Exhibit Travel $5,000 Private Donor 1 $8,000

Added Insurance $10,000 State $6,000

Private Donor 2 $5,000

Lecture Total $104,000

Hotel/Meals $1,300

Speaker Travel $800

Catering $200

Space Rental $0

Lighting Tech $0Sound Tech $0

Lecture Total $2,300

Staff

2 Security Guards $12 p/h

2 Retail Clerks $9 p/h2 Exhibit Guides $9 p/h

Staff Total $15,000

Marketing

Tv/radio $5,000

Outdoor Signage $5,000

Silkscreen Posters $3,000

Direct Mail $2,000

Designer $0Newspaper $0

Marketing Total $15,000

Catalogue

Printing $10,000

Graphic Design $3,000Photographer $2,000

Catalogue Total $15,000

Exhibition

Merchandise $15,000

Utilities $10,000

Administration $8,000

Lighting $5,000Supplies $2,000

Exhibition Total $40,000

Total $103,695

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APPENDIX A: BOARD OF DIRECTORS

W O R L D F O R E S T R Y C E N T E R

4 0 3 3 S W C a n y o n R o a d P o r t l a n d O r e g o n 9 7 2 2 1 T e l { 5 0 3 . 2 2 8 . 1 3 6 7 F a x { 5 0 3 . 2 2 8 . 4 6 0 8 w w w . w o r l d f o r e s t r y . o r g

Board of Directors 2008-2009

Kathy Abusow Washington, DC John Blackwell Portland, OR Bill Bradley New York, NY Jim Brown Salem, OR Chip Collins Cambridge, MA Dean DeChaine Portland, OR Dan Dutton Portland, OR Red Emmerson Redding, CA Vince Erasmus Melbourne, Australia Fred Fields Portland, OR Allyn Ford Roseburg, OR Guillermo Güell Santiago, Chile David Hampton Salem, OR Jes Munk Hansen Olathe, KS Rich Hanson Federal Way, WA Mari Harpur Montreal, Canada Gary Hartshorn Portland, OR Ned Hayes Portland,OR Ken Hines Boston, MA Russ Hoeflich Portland, OR Gilles Hotelin Casablanca, Morocco Tom Jackman Canby, OR Scott Jones Boston, MA Tomas Juška Vilnius, Lithuania Barbara Karmel Wilsonville, OR Tiong Hiew King Sarawak, Malaysia Bill Lansing North Bend, OR Paul McCracken Portland, OR Colin McKenzie West Lebanon, NH Joe McKeown Portland, OR Jacquelyn McNutt Atlanta, GA Harry Merlo Portland, OR

Dennis Neilson Rotorua, New Zealand Larry Nielsen Raleigh, NC Mark Norby Portland, OR Dave Nunes Poulsbo, WA Jeff Nuss Portland ,OR Claudio Ortolan Curitiba, Brazil Jim Osterman Portland, OR Young-Ju Park Seoul, Korea Ed Ray Corvallis, OR Hal Salwasser Corvallis, OR Eric Schooler Portland,OR Jean-Claude Sève Outriaz, France John Shelk Prineville, OR Dieter Siempelkamp Krefeld, Germany Rick Smith N Easton, MA Jason Spadaro Bingen, WA Barte Starker Corvallis, OR Mark Stayer Portland, OR Amir Sunarko Jakarta, Indonesia Ed Sweeten Birmingham, AL Hank Swigert Portland, OR David Syre Bellingham, WA Billy Van Devender Jackson, MS John Warjone Tumwater, WA Court Washburn Boston, MA Sam Wheeler Portland, OR John Wilkinson Portland, OR Rick Wollenberg Longview, WA Donna Woolley Eugene, OR

Honorary Directors

Bill Hagenstein Portland,OR Peter Koehler Portland, OR Mario González M. Chihuahua, México Alan Goudy Portland, OR Thorry Gunnersen AM Melbourne, Australia Carl Newport Black Butte Ranch, OR

Gil Oswald Bellevue, WA G. Web Ross Little Rock, AR Darrell Schroeder Hillsboro, OR Bill Swindells Portland, OR Barbara F. Walker Portland, OR

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I’m a member of the WFC yes no N/A

I attended the opening reception yes no N/A

I attended the Lecture Series yes no N/A

I made a Shop purchase yes no N/A

I have children yes no N/A

I live within walking distance of the Museum yes no N/A

I’m on the mailing list yes no N/A

I visit the Museum more than once a month 1 2 3 4 5 N/A

I like to receive communication online 1 2 3 4 5 N/A

I regularly visit the website 1 2 3 4 5 N/A

APPENDIX B: SAMPLE SURVEY

Customer Satisfaction Survey

For each of the following statements about Hands Off, please indicate whether you: Strongly Agree (1), Somewhat Agree (2), Neither Agree nor Disagree (3), Somewhat Disagree (4), Strongly Disagree (5), Not Applicable (N/A).

1. Museum Experience

The exhibit met my expectations 1 2 3 4 5 N/A

Ticket price was adequate 1 2 3 4 5 N/A

The staff was helpful 1 2 3 4 5 N/A

The exhibit was easy to navigate 1 2 3 4 5 N/A

I gained useful information 1 2 3 4 5 N/A

Museum was easy to find 1 2 3 4 5 N/A

Parking was available 1 2 3 4 5 N/A

The Shop had a broad selection 1 2 3 4 5 N/A

Catalogue met my expectations 1 2 3 4 5 N/A

Exhibit inspired me to visit again 1 2 3 4 5 N/A

2. About You

3. Additional Suggestions

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BudgetForté

AADM 701: Principles of Arts Administration

The guidelines for this assignment required students to create an arts organization or program including a company history,

marketing strategy, staff, season, and budget. I created Forté, an after school program situated in Nashville, Tennessee that

works to educate youth about the fundamental value of music and its potential impact on the growth of the individual and the

community.

This budget outlines Forté’s expenses and revenues in the right column while the left column illustrates the requested

contributed income from individual, corporate and foundation contributions.

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Sample Line Item Grant Budget

Nonprofit Works www.nonprofitworks.com (585) 454-4910

Line Revenue Program or Project Grant Request1 Grants 46,000 15,0002 Contracts 38,000 03 United Way 0 04 Corporate contributions 20,000 05 Membership 0 06 Individuals 14,800 07 Fees for services 0 08 Fundraisers, events, sales 35,000 09 Endowment 20,000 0

10 Interest income 0 011 Miscellaneous 5,500 012 Total $179,300 $15,000

13 In-kind $20,500 0

14 Total Revenue $199,800 $15,000

Line Expenses Program or Project Grant Request15 Staff salaries and wages 60,000 8,00016 Fringe benefits 17,500 2,50017 Occupancy and utilities 8,400 018 Equipment 3,000 019 Supplies and materials 8,000 2,50020 Printing and copying 3,500 021 Telecommunications 2,700 2,00022 Travel and meetings 2,200 023 Marketing and advertising 2,000 024 Staff and volunteer training 500 025 Contract services 5,500 026 Miscellaneous 500 027 Subtotal $113,800 $15,00028 General operating (indirect) - 8% 11,192 0

29 Total $124,992 $15,000

30 In-kind31 Travel 11,800 032 Trainers (160 hours x $60/hour) 9,600 0

33 Classroom supplies (Kinkos) 6,800 034 Total In-kind $28,200 $0

35 Total Expenses $153,192 $15,000

36 Revenue over Expenses $46,608 $0

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Development PlanSeattle Children’s Theatre Development Plan


This development plan is written to the Board of Directors at the Seattle Children’s Theatre (SCT). Within the document, SCT is

informing the Board of the funds needed for the 2011/2012 season.

The proposal follows a structure based on the highest contributed revenue (individual giving) to the lowest (government

giving). Each section is uniformly presented, which allows the reader to quickly gain information on the background, strategies,

goals, and estimated budget requirements. The colors and graphics were selected to expand the existing brand created through

their current marketing materials.

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Dev

elop

men

t Plan

Contents

It is time to prepare for another exciting season at Seattle Children’s Theatre!

“We depend on the generosity of our community to continue programming that respects and cultivates the intelligence of our young audience”-‐ Sara Sand, Interim Managing Director

Members of the Board:

It is time once again to prepare for an exciting season here at SCT. In order for us to continue to meet our mission to “provide children of all ages access to professional theatre, with a focus on new works, and theatre education” we must strive to cultivate and secure new forms of funding.

Our theatre does a wonderful job promoting the importance of art and art education within our community and this season is sure to exceed our expectations. Our artistic director with the help of our

talented staff have put together a fantastic season.

The Secret Garden The Jungle Book If You Give a Mouse a Cookie Miracle on 34th Street Peter Pan Tall Tales Thumbelina Estimated expense = $ 4,600,000

Drama School Education Station School Children Access Fund Estimated expense = $ 700,000

I am confident that through our combined efforts to enrich current and potential donors, request and renew foundation grants, expand corporate giving and promote our special events, we will be able to meet all of our development goals this season.

With Gratitude, Lyndsey Lane Chief Executive Officer, SCT [email protected] 206.443.0807

Seattle Children’s Theatre 2011-‐2012 Season

Individual Giving 2 Special Events 5

Corporate Giving 3 Government 6

Foundations 4 Action Calendar 7

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Individual giving represents the largest portion of our contributed income. Last year we secured $740,000 in support of our organization and this year we plan to exceed that total.

As board members, you play a very valuable role in this effort. You currently assist our funding goals with your personal contribution, but there are many other ways you can aid SCT in meeting its individual giving goal. Board members can help SCT by

• Increasing our mailing list

• Soliciting personal contacts for major contributions

• Making personal calls of thanks to our major donors

• Serving as an example to others by increasing your personal contribution

Strategies

• Memberships

1. Renew current members 2. Cultivate potential members

• Newsletters

1. Quarterly newsletters 2. Monthly email newsletters

• Inspire audience interest through 2011-‐2012 season marketing

• Direct mail marketing

1. Potential Donor:

• Letter + brochure • Donation materials

2. Current Donor

• Letter of thanks with contribution update

• Continued contribution or upgrade request

• Brochure of current and upcoming programs

Goals

• Increase donor and membership base 20%

• Strive for 80% success rate of membership renewal

• Increase individual giving to $800,000

Estimated Gain: $60,000 Estimated Expense: $20,000

It is important to keep our mission and the needs of the community in mind as the next season quickly approaches. Every board member, staff member, volunteer, or artist has a vital part to play in bringing SCT’s stories to the lives of our audience.

We must all strive to bring our individual roles to even higher levels to further grow our incomparable program.

Remember…

Individual Giving

Individual Giving

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Corporate giving represents the second largest portion of SCT’s contributed income. Through their sponsorship level, corporate donors can choose support packages, which include a variety of plays, education programs, special events, and other annual initiatives. Through corporate giving SCT was able to secure $325,000 last year.

Board members play an important role in corporate giving cultivation. Focus your attention on

• Initiating meetings with potential corporate sponsors

• Attending meetings to aid development staff

• Providing personal appreciation correspondence with major corporate givers

Strategies

• Set up meetings through board corporate contacts

• Mail annual report and marketing materials to potential corporate sponsors

• Enlist research support from current volunteers concerning the potential for matching systems for their employers

• Increase support from current corporate sponsors

Seattle Children's Theatre depends on contributions from our corporate and business partners to help us maintain our high quality Mainstage productions and education programs. In return, we are proud to offer a wide array of recognition opportunities and marketing benefits to our sponsors.

Corporate Giving

Give Thanks…

Goals

• Elicit 15 corporate matching systems similar to current systems in place at Starbucks and US Bank

• Solicit in-‐kind partnerships with Home Depot, Kinko’s, and Joanne’s

• SCT Sundays, first Sunday of every month Starbucks will donate 10% of all sales to SCT. Continued matching of employee’s donations

• Bring corporate sponsorship levels to $375,000


Corporate Giving

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SCT relies heavily on the support of private foundations. Last year foundations support brought us a generous $370,000. These substantial gifts come from foundations giving $5,000 to over $500,000.

The Paul G. Allen Family Foundation as well as the Kreislsheimer Foundation represents the two highest contributing foundations. Their gifts to date are over $500,000. It is imperative to SCT’s financial and artistic future that our efforts to elicit foundation support continue this year.

In order to achieve our development goals this year we will require board member support in

• Researching potential foundation opportunities

• Initiating meetings with potential corporate sponsors

Strategies

• Renew current foundations giving where applicable

• Research potential local foundation opportunities

• Follow up on grant requirements from the board’s potential foundation recommendations

Goals

• Increase foundation support to $400,000


Foundations

“I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.” - Oscar Wilde

Foundations

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The most popular efforts of our development strategy are the special events. It is through these functions that SCT is able to step back from our performance programs to recognize current and potential donors.

Our Grand Entrance gala last year saw 400 visitors and raised more then $350,000. The Family Backstage event saw a sizable return of $12,500 last year.

This year we will be introducing an exciting new event with our corporate sponsor Starbucks, Go Bold. This event will offer a coffee tasting featuring various Starbucks blends along with an art sale.

Board members may help this effort by

• Securing sponsors and support

• Supporting promotion efforts

• Generating ticket sales

Events

• Go Bold (coffee tasting/art sale, with Starbucks), to educate and raise funds for the SCT endowment, new event

• Grand Entrance (gala)

• Family Backstage

Strategies

• Organize Go Bold with Starbucks to appeal to younger generations and increase interest and education of SCT endowment

• Organize and increase interest in Grand Entrance with a save the date mailing and invitation

• Secure sponsorships for events; i.e., catering and concessions

• Organize Family Backstage event to appeal to children and families

Special Events

Goals

• Increase membership by 20%

• Increase events revenue to $395,000


Special Events

24

Through our educational programming in the city and county school system, we have generated a lot of positive feedback from state officials. We have successfully illustrated the benefits of our arts programming through Drama School, Education Station and our School Children Access Fund.

Our efforts combined with our organization’s mission have appealed to the aims of our state’s community expectations. For these reasons, it is necessary for SCT to pursue further government funding through matching contribution efforts.

Board members should assist SCT in making valuable connections with our state and county representatives.

• Cultivate personal connections

• Solicit private meetings and attend public hearings

Strategies

• Elicit government matching campaigns from county to state

• Research government connections with board members, volunteers, and staff

• Organize informative packet highlighting the success of education programs

• Schedule private meetings with state and county officials

Goals

• Funding contracts and matching for current and future years

• Increase this year’s government contributions to $145,000


Government Contribution

Individual: $60,000 New Members: $5,000 Board: $10,000 Members: $20,000 Major Donors: $25,000 Corporate: $50,000 Starbucks: $15,000 Target: $15,000 Microsoft: $20,000 Foundations: $30,000 Smith Family: $15,000 Seattle Trust: $5,000 Ronald Trust: $5,000 Special Events: $20,000 Go Bold: $3,000 Backstage: $5,000 Gala: $12,000 Government: $10,000 Education Fund: $5,000 Chamber: $5,000

Total Goal: $170,000

Government Contributions

Goals Summary

25

• Research potential • Research potential • Foundations grant

• Foundations grant writing

• Solicit corporate meetings

• Send government mailing

• Newsletter (email) • Send Invitation,

Grand Entrance • Assemble potential

donor mailing


• Solicit corporate meetings

• Newsletter (email) • Grand Entrance • Assemble current

donor mailing • Mail potential donor

packages

• Send grant proposal • Solicit corporate

contracts • Newsletter (email) • Design Family

Backstage invite • Assemble current

donor mailing • Mail potential donor

packages • Website Update

Development Action Calendar


• Mail Corporate marketing packages

• Design and print government mailing

• Newsletter (mail) • Save the date, Grand

Entrance • Website Update

• Research potential Foundations

• Research potential corporation for matching plans

• Research county and state officials

• Newsletter (email) • Contract gala

sponsors • Go Bold

• Research potential Foundations

• Research potential corporations for matching plans

• Research county and state officials

• Newsletter (email) • Send Invitations

for Go Bold • Solicit gala

sponsors

26

Continued

• Send grant proposal • Solicit corporate

contracts • Follow up with

government mail • Newsletter (mail) • Send Family

Backstage invites • Mail current donor

packages • Follow up on

potential donor mail

• Follow up on sent grant proposals

• Solicit corporate contracts

• Newsletter (email) • Family Backstage • Follow up on

current donor mail • Finalize government

meetings


• Finalize corporate contracts

• Newsletter (email) • Board Member

thank you calls to high level donors

• Government meetings



thank you calls to high level donors

• Government meeting follow up

• Outline annual report

• Website update

• Letter of thanks to grant contributors

• Letter of thanks to corporate gifts

• Newsletter (mail) • Board Member

thank you calls to government givers

• Finalize government contracts

• Begin annual report

• Annual Report • Thank you

letter/email to event givers


thank you calls for government gifts

27

BrochureNewspace Center for Photography


The following brochure was created for Newspace Center for Photography. The Center is an existing organization, but for

the purpose of this assignment I created the events and offerings listed within the brochure. The projected audience for this

brochure would be individuals and families in the Portland area who wish to explore photography and interact with the

community’s talented artists. The brochure briefly describes the history, mission, and vision of the organization as well as

listing the course offerings of the facility. The purpose of this piece is to show the Newspace Center as a place where

families, students, retirees, professionals and many other members of the community can find a program of interest to them

through various workshops and other photography offerings. One panel of the brochure is dedicated to membership levels

offered at the Center for the reader to select the level that best fits their needs.

The colors and fonts were selected for their ability to provide clean lines and an ease of readability. The soft greens were

chosen to add interest and through their subtle hue they compliment instead of dominate the selected photographs. Each

image features an individual for the purpose of instilling the idea that the Newspace Center is a place for the diverse

community of Portland.

* All photographs are the property of Joshua Black Wilkins Photography©

28

29

30

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Donor LettersNewspace Center for Photography


The donor letter assignment required the creation of two donor letters for an arts organization. One letter would be to an

existing donor and one to a potential donor. I selected Newspace Center for Photography for this project to show my ability to

produce effective organizational branding across various funding materials.

The first donor letter begins by thanking the donor for their previous contribution. The letter further explains how their

contribution was utilized, showcases future plans, and concludes with a request for continuing support. The second letter is

written from the perspective of a current Newspace member to a prospective donor. The letter begins by briefly explaining the

background of the Center and is followed by a personal story, Center offerings and opportunities, an explanation of non-profit

organizations, and ends with a request for support. Both letters include a membership and donation page as well as a return

envelope.

To continue the branding created in the brochure I used the same fonts, colors, and black and white image. I also continued the

green bars at the top which reference a film strip. Through strong branding an organization can establish a distinctive look that

will aid them in establishing an effective marketing presence.

331632 SE 10th Ave, Portland, OR 97214 503.963.1935

Dear Mr. Glasgow, I would like to begin by thanking you on behalf of the Newspace Center for Photography, for the generous contribution you made towards our development last year. With the support of compassionate people like you, Newspace is able to continue to serve the Portland area through our educational photographic programming. Newspace made some exciting updates last year while continuing to improve our existing programs. Through gracious gifts from supporters like you, we have been able to modernize our facility to keep up with industry standards in the field.

• New black and white RC Paper Processor for the darkroom• Updated software for the digital lab • More class offerings • Touring gallery exhibits: Daniel Shea, Natalie Young, and Angela Bacon-Kidwell. • Off site partnership with MyStory: Photography programs for underprivileged children

Newspace has effectively met many of our short-term goals this year and we aim to continue our excellent reputation for high quality photographic education. The Center has many action-packed activities planned for the coming year which have been made possible through your continued support.

• SnapDayCamp: Photography education for kids aged 9-13• Carnival: Annual themed exhibit• ArtistLectureSeries: Featuring local and national photographers• IntheField: Photography field trips for all ages We hope to count on you again this year for another contribution to assist our efforts. As always, your donation or membership is tax deductible (to the extent allowed by law) and will be used to further Newspace Center’s mission for artistic development and community improvement. Please refer to the enclosed return card or visit our website (www.newspacephoto.org) to learn about the many ways you can contribute and please contact me with any questions you may have. I look forward to seeing you at Newspace Center’s exciting events this year!

Sincerely,

Lyndsey LaneChief Executive Officer

503-963-1935 (Ext. 25)

A nonprofit dedicated to promoting photographic education and appreciation


Dear Neighbor, Newspace Center for Photography opened its doors in 2002 charged with the mission to promote photographic education and appreciation to the public as well providing a space in which the community and photo enthusiasts of Portland, Oregon can learn, create, discuss and exhibit their work. This photography resource center is not solely for photography professionals. Anyone can benefit from this center including those who have little knowledge of photography to industry professionals and even educators.

If you are like me, it is becoming much harder to balance all of my daily responsibilities. My kids and I are lacking quality family time and I have been unable to put my to-do list aside long enough to focus on the hobbies I use to enjoy. I had searched for quality activities to enjoy, but high activity costs left few options. Luckily, I can turn to Newspace Center for Photography for affordable arts programming for my family and myself. I have enjoyed and benefited from this organization so much that I have been an active volunteer for five years.

Newspace provides many different ways to explore photography and interact with the community’s talented artists.

• Workshops for all ages• Private instruction• Darkroom and lighting equipment• Portfolio critique• Gallery Space• Snap Day Camp: Photography education for kids aged 9-13 The Center’s quarterly photography classes and programs are structured to provide guidance for beginning, intermediate and advanced photography enthusiasts and include but are not limited to

• Beginning foundations• Studio lighting• Arts marketing• Documentary photography

Another priority for The Newspace Center is to showcase the work of its artists by providing a high quality gallery space. The Newspace Gallery mounts an exhibit every month showcasing local and touring amateur and established artists. All exhibits are free! This is a great outlet for artists to meet each other and discuss the amazing and rewarding field of photography. You will also get to know more of your neighbors in the community!



Our facility is a non-profit arts organization that needs your support to continue to serve the Portland community for years to come. Your donation or membership is tax deductible (to the extent allowed by law) and will be used to further Newspace Center’s mission for artistic development and community improvement. Please refer to the enclosed return card or visit our website (www.newspacephoto.org) to learn about the many ways you can contribute and please contact me with any questions you may have. I look forward to seeing you at Newspace Center’s exciting events this year!

Sincerely,

Lyndsey LaneVolunteer Coordinator

503-963-1935 (Ext. 25)



Your tax-deductible Newspace membership is a direct investment in Portland’s creative community. With your support, Newspace will remain a thriving cultural and community hub for Northwest artists, students, and photography enthusiasts for years to come.

Pixel Level (forartists/students) $40• Stylish Newspace T-shirt• Witty Newspace bumper sticker• Entry into our Members’ Showcase, a yearly juried show• Admission for one to members-only events

Spy Camera Level (basic) $50(Alloftheaboveplus)• 10% discount on hourly darkroom rates• Admission for two to members-only events

Toy Camera Level $125(Alloftheaboveplus)• Discounts with our business sponsors• 10% discount on classes and workshops• 10% discount on digital lab hourly rates• One free entry into our Annual Juried Exhibition

Press Camera Level $300(Alloftheaboveplus)• 10% discount on hourly studio rental• One print from the Press Camera Print Collection

Panorama Camera Level $500(AllPixel,Spy,andToybenefitsplus)• Press Camera 10% benefits• One print from the Panorama Collection

Mammoth Plate Level $1000 and higher(AllPixel,Spy,andToybenefitsplus)• Press Camera 10% benefits - One print from the Mammoth Collection• OR two prints from the Panorama Print Collection

Please return the enclosed contribution card with your gift. For your added convenience, contributions can also be made through our website: [http://www.newspacephoto.org/membership/]

Thank you in advance for your consideration and donation!


37

Return Card (Size reduced to �it page)


Name:

Address:

Phone:

Email: I want to receive your newsletter yes no

I prefer to be contacted by: When calling please call in the am pm

My personal contribution is $ I will make my payment by check credit

Please Circle: America Express Master Card Visa Card Number: Exp:

Instead of one payment I wish to make multiple payments of $ Per: Quarter Month Week (please circle)

If paying by check, please enclose it with this card made payable to Newspace Center of Photography

www.newspacephoto.org

City/State/Zip:

Website:

Thank you for your kindness!

Attn: Development Department1632 South East 10th Avenue

Portland, Oregon 97214

PRST STDU.S. POSTAGE

PAIDPORTLAND, ORPERMIT NO. 123

38

Communications PlanThe Frist Center for the Visual Arts

AADM 745: Promoting the Arts

The Frist Center for the Visual Arts is the leading arts institution in Nashville, Tennessee’s rapidly growing visual art scene. For

this project I developed a communications plan that targets Nashville residents age 15-25, which the Frist has not effectively

reached in their previous marketing campaigns. Should the Frist successfully cultivate this market they could increase

patronage, membership and volunteers.

Due to the age of the target market, this plan proposes a new media approach that would employ modes of communication

preferred by this demographic. The success of a marketing plan depends on the quality of its research. The research proposed

for this plan continues before, during and after its implementation. The central media tools proposed are a museum blog,

Facebook fan page, and a video cast contest.

39

The Frist Center for the Visual Arts

Communications Plan 919 Broadway, Nashville, TN 615.244.3340 www.FristCenter.org

2011

40 2

Communications Marketing Plan

I. Introduction Since its grand opening in the 1934 Nashville Main Post Office in April of 2001, the Frist Center for the Visual Arts has successfully positioned itself as a leading art institution in Nashville’s rapidly growing visual art scene. Our Center strives to meet the cultural needs of our community by servicing our mission to present and originate high quality exhibitions with related educational programs and community outreach activities. Our vision to inspire people through art to look at their world in new ways, has allowed us the opportunity to present a variety of inspiring exhibitions and fulfilling educational programs. The Frist always keeps our core values at the forefront of all our operations and our marketing practices are no exception to this idea.

- Marketing Objectives Providing our community with affordable access to quality art is at the heart of our organization. It is with this vision in mind that we broaden our marketing scope to diversify our audience. With roughly 550,000 people living in the Nashville area, the Frist has an incredibly diverse market in which to expand and gather its audience. The average age range in the city is 33 years old, and about 57% of households are family oriented.1 The Frist must focus its marketing resources to engage this dominant young market in our center’s activities. Our marketing team has elected a panel to focus specifically on targeting Nashville residents age 15-‐25. It is our hope that by cultivating this group we will increase Museum patronage, membership and volunteers. Actively competing for this target group’s attention will help to keep the Frist up to date with developing technology and cultural trends. Specific objectives in this plan incorporate institutional, as well as programmatic aims. These objectives include but are not limited to:

• Increase college membership 10% • Double the attendance of Frist Fridays and the State of the Art Lecture Series • Launch a social media campaign

1. Facebook Fan Page 2. Blog 3. Video Cast Contests

• Young Tennessee Artists Bi-‐Annual Exhibition: College Level • Increase volunteers in target market 15%

1http://www.city-‐data.com/city/Nashville-‐Davidson-‐Tennessee.htm

41 3

II. Research Marketing research is not only the first step in our plan, but also the final. It is important for our marketing team to be able to adequately measure the effectiveness of our plan. This requires learning more about our target market to enlist the best marketing tools to reach them. We must also learn the ways in which our audience uses media and what methods we can employ to efficiently engage them with our mission. By setting research objectives, the Frist can develop ways to measure the effectiveness of our marketing tactics. Research objectives will also prevent us from wasting limited resources on ineffective practices. Our marketing team will engage in both qualitative and quantitative research by the use of surveys and interviews with the goal being a better reception from our target audience. To achieve our goal of receiving a positive reception from our target audience, our marketing team will engage in both qualitative and quantitative research by the use of surveys and interviews. - Research Objectives To better understand the needs of persons age 15-‐25 with regard to:

• Art education and programming • Communication/media practices • Social interaction • Use of leisure time • Monetary Capability

- Research Methods Surveys will be used to provide the marketing team with quantitative data that will be processed into valuable statistics to aid further investigation of the social habits and needs of our target audience. Surveys will be provided via:

• Frist Website • Following select exhibitions • Email Blast (through Emma2) • Facebook Quiz • College Groups

1. Vanderbilt University

2 <http://www.myemma.com>

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4

2. David Lipscomb University 3. Middle Tennessee State University 4. Tennessee State University 5. Watkins College of Art and Design

Focus groups and interviews will aid the marketing team by providing qualitative data that will serve to provide in-‐depth information on the social behavior patterns and needs of our target audience. Focus groups/interviews will be conducted via:

• College arts groups (using students at same campuses listed above) • Following special exhibitions • At public arts events including but not limited to:

1. Tennessee Arts and Crafts Association Fair 2. Nashville Gallery Crawl 3. Tomato Arts Festival 4. Music Events:

• Live on the Green • Bonnaroo • Vanderbilt Rites of Spring

5. Grimey’s Big Ass Sale To encourage completion of our surveys and active participation of our focus/interview groups, some will be accompanied with a special offer such as discounted admission to the Frist, gift shop or café discount, or raffle entrance. III. New Media Marketing In order to reach our target audience we must present promotional content in ways in which they prefer to consume it. As technology continues to advance, younger generations rely heavily on receiving data wirelessly through their computers and smart phones. The Internet has become most American’s primary source for networking, research, and purchases. Author David Meerman Scott has described the successful marketing dominance of these new media techniques as thought leadership.3 To be effective at this approach, one must use technology to form a personal relationship with their audience. This is accomplished by providing readers with information they actually want instead of bombarding them with

3 Meerman Scott, David. The New Rules of Marketing and PR. 2nd. New Jersey: John Wiley & Son, Inc., 2010.

43 5

ineffective advertising. By establishing a personal voice on the web, a reader is more likely to see an institution as a person that has an intimate connection with their concerns, rather than a cold organization focused on the bottom line. For the Frist’s marketing plan towards a 15-‐25 year old demographic to be a success, we will employ new marketing methods that predominantly use social media and web outlets. If successful, the Frist will become a strong presence in the social media world by establishing itself as a reputable source for art, entertainment, and community impact. This year, we will focus on three primary methods to meet our social media goals:

1. Blog 2. Facebook 3. Video Cast Contest

IV. Social Media Proposals

AAA, Arts Addicts Anonymous: Arts Blog

Arts Addicts Anonymous (AAA) blog will operate as an extension of the Frist Center for the Arts’ social media campaign. This blog will provide a way to give the Museum a personal voice by offering a balanced perspective on current local, national, and international art events and issues. Weekly posts will cover topics that are relevant to issues concerning Nashville, Tennessee, art, entertainment, culture and to young people aged 15-25. The goal of the overall design of the blog is to provide an easy user interface that is fun and fresh enough to attract our target audience. The home page will feature the most current posts to the site. Each post will have a clear date, heading, and comment links. There will be links on the right side of the page that serve to engage the reader in other blogs or websites that have similar aims to the Frist. Within the same column as the links there will be a list of past posts, current comments, a calendar of events, and a Flickr4 section. The colors used on the site will reflect the Frist’s website without being too heavily branded. As previously mentioned, there will be a Flickr section on the blog home page that will show recent photos uploaded to the Frist’s Flickr page. There will also be a special tab at the top of the blog home page that will direct the viewer to a page designated to our Flickr project Found Art. This project will encourage users to post images of art objects or locations where they find art. The Flickr site will inspire users to connect and create a dialogue about what they believe art to be.

4 < http://www.flickr.com/>

44

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The Frist plans to use this blog to create a web space that allows a constructive dialogue among a virtual network consisting of Frist members, Nashville and Tennessee residents, other blogging communities, and art enthusiasts from the Southeast and worldwide. The blog will also serve to establish the Frist as a trusted source for artistic information by providing captivating posts, promoting comment, and by the creation of a network of trusted art based blogs and websites.

Frist Face: Facebook Fan Page The plan for the Frist Facebook Fan page is to create a social network of loyal Frist followers. Through our page, we will be able to connect with users who visit our museum, live in Nashville, or love art. Facebook allows users to search other members through various interests and it also automatically suggests our page to users who possess similar friends or interests found on our page. Through use of this site it will be possible to build an online presence that will allow us to share information to our target audience through thought leadership methods. The content of our Facebook page will be information that our target audience would be concerned with. It is not our goal to use Facebook as an interruption tool to constantly present our followers with advertisements of our events. To use this social media outlet effectively we must use it the same way as our target market. Through this method we can form a stronger and more personal connection with our audience. To achieve this goal, our page will present information that culminates a broad range of topics. Some of our topics could cover the following:

• Nashville art issues • Outside stories/events appropriate to featured artists/events at the Frist • National art issues in the media • College art, events, achievements • Local art events • Patrons

1. At Frist activities 2. Ideas or Concerns 3. In the media

Many online users follow organizations on Facebook because they expect a fair amount of rewards. This typically comes in the form of online coupons. In order to also appease these users we will feature a monthly special to our fans on an Offers tab. This tab could feature a discounted admission, by one/get one offer, or a coupon at our gift shop. Opening the Facebook account and adding friends is only the first step in this process. It is also necessary for our social media coordinator to be an active participant in the online community. This will require active connection to Facebook pages, blogs, video sites, and other media outlets in order to provide feedback on user’s pages or to highlight those pages on our Facebook page. This will show the online community that the Frist is an active member of the online community and it will bring validity to our Facebook page.

45

7

Can’t Keep a Good Town Down: Video Cast Contest

Beginning May 1, 2010 Nashville, TN suffered three days of flash flooding that resulted in extensive damage throughout the city. Many Nashvillians lost their homes, their jobs, or even their lives. After the rain ceased and the Cumberland River began to recede, relief efforts began around the city. The initial relief effort was not by major nonprofit institutions, but by friends and neighbors ready to lend a hand as the Volunteer State once again lived up to its name. To offer their own form of relief contribution, The Frist Center for the Visual Arts will launch a video cast contest to benefit Metro Nashville Disaster Response Fund. From May 17-June 28, 2010 contestants will be able to upload their videos to the Frist website. At midnight June 28, the upload form will be removed and site visitors will only be able to view and vote on the videos. On July 2, the top 10 videos that received the most votes will be selected for inclusion to the Can’t Keep a Good Town Down exhibition held at the Frist’s Conte Community Gallery. The opening reception will occur July 23 with the final show on August 20, 2010. The Contest:

• Contestants will submit videos that show the individual’s use of Nashville flood debris to create artwork

• Videos will be posted to a special page on the Frist’ s website • Links to the contest page will be supplied through the Frist’s email newsletter,

Facebook page, and blog. A large amount of site promotion will occur through contestants’ self promotion

• A Facebook Like button will be automatically added to each video feed. The 10 winning videos will be selected by the amount of Facebook followers it receives

• Frist will feature the 10 winners’ art pieces in You Can’t Keep a Good Town Down exhibition

• Proceeds will come from ticket sales, art sale, and donations that will benefit Metro Nashville Disaster Response Fund

The Rules:

• Videos must be no longer then 10 minutes • Videos may show the retrieval of debris, the creation of the artwork, or any

artistic preplanning such as sketches or prototypes • Videos may not contain vulgar language, violence, nudity, or anything that

violates the law • The Frist retains the right to remove any videos from the site as well as to

disqualify contestants should rules not be followed • No limit to artwork size, but if it cannot fit in the gallery, the video or pictures

will be used at the exhibit in place of the object

46

8

• Artist may choose to sell their work at the exhibition, but 20% (minimum) of the sale must go to Nashville Disaster Response Fund

Goals:

• To generate funds for Metro Nashville Disaster Response Fund • Encourage community support for flood relief • Support art creation • Generate local and national attention to Nashville flood disaster • Create awareness of the Frist to local web users • Increase Frist’s young patron base • Increase traffic to the Frist, website, blog, and Facebook page

V. Calendar Month Activities

January • Develop Market Research Survey • Assign Social Media Coordinator • Design development: Blog, Facebook • Emma email blast page development

February • Launch Facebook Page: Updates and development to be conducted throughout the year

• Launch Facebook Coupon: To be continued on exhibition or needs basis

• Final design for website survey

March • Launch website survey • Focus groups trained for exhibition surveys • Final design for email blast

April • Launch email blast survey • Exhibition focus group • Video cast announced • Design Can’t Keep a Good Town Down invitations and ads

May • May 17-‐June 28: Videos uploaded for contest • TN Arts and Crafts Fair Survey Group • Launch Blog: To be updated throughout the year • Finalize and print Can’t Keep a Good Town Down

advertisements and invitations

June • Organize email blast and website survey data • Exhibition focus group • Video posts end • Prepare gallery for Can’t Keep a Good Town Down

47

9

• Post Can’t Keep a Good Town Down signage

July • Announce video cast contest winners • Distribute Can’t Keep a Good Town Down Invitations • July 23: Can’t Keep a Good Town Down Reception

August • College survey • August 20: Can’t Keep a Good Town Down closes • Tomato Arts Festival focus groups

September • Exhibition survey • Live on the Green focus group • Grimey’s focus group

October • Gallery Crawl surveys

November • Data collection • Prepare report

December • Present report to board

VI. Summary Within the first year of this plan our marketing team will reach Nashville residents age 15-‐25 through a focus in social media tools including a blog, Facebook fan page, Flickr account, and a video cast contest. By effectively using these tools in a thought leadership manner, we will establish our organization as a reliable innovator of targeted information for our online and local community. A media campaign of this kind may not produce immediate results because it is centered on forming relationships to yield future gains. This is why our new media team will not only focus their efforts around the presentation of new media, but also on gathering qualitative data to gauge the effectiveness of our efforts. This information will allow us to reevaluate and adapt our methods as needed for our campaign to reach its maximum potential. In comparison to other national museums, the Frist is a very young institution. In a city like Nashville, that supports a growing youthful community, we have the opportunity and a responsibility to cultivate a significant portion of the city’s population. Our marketing team will assist in this effort by effectively using new media techniques to inspire this target group to become active and lifelong members of the Frist. Through the cultivation of a diverse audience we are confident that the Frist will provide high quality art and education to our community for years to come.

48

Exhibition AdvertisementSweet Dreams


I designed this advertisement to promote artist Greg “Craola” Simkins in a fictitious exhibition I entitled Sweet Dreams. In

Simkins’ fairy tale world, his character the Pearl Thief covets tangible pearls consisting of the most creative and complex

thoughts that occur while dreaming. Basing his work in his own childhood obsessions, Simkins weaves pop culture and fantasy

in such a way that makes his work accessible to a diverse audience.

The High Museum of Art Atlanta claims a goal “to bring art education experiences to people of all ages throughout the Atlanta

metropolitan area and beyond” (http://www.high.org). Sweet Dreams creates an opportunity to reach a younger audience

given its fantasy narrative, bright colors, and pop culture styling. An adult viewer will find the art approachable for similar

reasons, but will also benefit from a mature engagement with the underlying symbolism in Simkins’ work. This exhibit will

meet the High Museum’s stated expectations to enrich a wider intergenerational audience within the Atlanta community.

As an Atlanta based nonprofit organization, the High Museum’s first responsibility is to elevate the community’s cultural

education through its eclectic programming. To maximize the potential of this goal, prospective ads in local print media will

accompany a broad local advertising campaign. Advertisements placed in Atlanta’s Creative Loafing Newspaper will serve to

reach a younger market while ads in the Atlantan Magazine and Atlanta Journal-Constitution will target an older audience.

The ads will feature a simple black background, a small sample of Simkins’ work, and a tagline that will relate to dreams,

nightmares, or the show title. The anticipated effect of the advertisement is a sense of mystique, ambiguity, and excitement that

will encourage the viewer to tour the exhibit and subsequently, the museum.

The following is an example of an advertisement designated for the Atlantan Magazine.

49

Atlantan Ad Size: 4.5x5.5”

50

51

Direct Mail MarketingTag: A Graffiti Art Exploration


For this promotion I wanted to expand the contemporary art offerings typically seen at the High Museum of Art Atlanta by

creating an event that would showcase the work of graffiti artist Greg “Craola” Simkins. Though he started his career as a

graffiti artist, Simkins left the can for the canvas in 2005 and began a series of paintings centered around a fantasy world

involving an antagonistic character known as the Pearl Thief. If the High Museum hosted an exhibit of Simkins’ work it would

allow him to showcase his art in an environment unexpected of a underground graffiti artist. This would provide a unique and

expanded patronage for Simkins as well as the High Museum.

Tag, an exhibition held at Atlantic Station would be a promotional gallery exhibition in conjunction with Sweet Dreams (pg 48-

50) featuring well known national and local graffiti artists. The mailed invitation is designed to appeal the younger patrons of

graffiti art. I chose bright colors, rugged fonts, and painted graphic elements to appeal to this demographic. When an individual

brings this invitation to Tag they can have it spray painted or tagged with the Sweet Dreams stencil (bottom of pg 53). After the

invitation is tagged it is good for half-off admission to the High Museum.

52

H I G H MUSEUM OF ART ATLANTA1280 Peachtree Street N.E.Atlanta, Georgia 30309

!Lyndsey Lane

1600 Peachtree Street NWAtlanta, Georgia 30309

H I G H MUSEUM OF ART ATLANTA [www.high.org] : [404.733.HIGH]

Front (view fully folded)

Fold

>

Fold

>

Inside Open (sized down to �it page)

Back (view fully folded)

53

H I G HMUSEUMOF ARTATLANTA

PRESENTSTAG ME! : A GRAFFITI ART EXPLORATION![MARCH 21-JUNE 20] : [M-F/10AM-9PM]Exhibited at the Premier Exhibition Center : [facebook.com/tagmenow] STATION

ATLANTICAT

Exhibit [265 18th St. Atlanta, GA 30363] : [866.866.8265] : Tickets [www.mtn.museumtix.com]

Inside Left

STATIONATLANTIC

AT

Get this card tagged at Tag & receive 1/2 off admission to the High Museum [valid until 6.20.2011]

H I G HMUSEUMOF ARTATLANTA

PRESENTSTAG ME! : A GRAFFITI ART EXPLORATION!

[MARCH 21-JUNE 20] : [M-F/10AM-9PM]Exhibited at the Premier Exhibition Center : [facebook.com/tagmenow]

TAG ME NOW!

Inside Right

Stencil for Tag

54

BlogIf These Trees Could Talkhttp://www.forestseverywhere.wordpress.comAADM 745: Promoting the Arts

This blog was designed to be an extension of the World Forestry Center’s Discovery Museum. The blog will provide a way for

the museum to have a personal voice and offer a balanced perspective on current environmental issues. Weekly posts will

cover topics that are relevant to issues involving Portland, Oregon, the environment, art and culture.

The overall design of the blog promotes an ease of usage. The layout features a main screen that shows the past few posts to

the site. Each post has a clear date, heading, and links to provide comment. There are links on the right side of the page that

serve to engage the reader in other blogs or websites that have similar aims to the Discovery Museum. Within the same column

there is a list of past posts, current comments, a calendar of events, and a running flickr site that posts images of nature in and

around the Portland area. The colors used on the site reflect the World Forestry Center’s website without being too heavily

branded.

The goal of this blog is to create a web space that opens a dialogue among a web community that will likely consist of readers

who are Portland and Oregon residents, bloggers, and national and international environmentalists. The blog will also serve

to establish the Discovery Museum as a trusted source for community focused environmental information. The blog will meet

these goals through posts, engaging comments, and through the creation of a network of trusted environmental and art based

blogs and sites.

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Main Screen

Blog Entry Page Blog Profi le/Comment Page

Press ReleaseIf You Give a Mouse a CookieAADM 745: Promoting the Arts

The Traditional Release

In this release I have created a traditional faxed press release. It clearly presents the facts of the event. The visual hierarchy

places the name of the company at the top, the contact info listed below the heading and the body of the release commands

dominance by occupying the majority of the page. Within the body the reader finds an eye catching headline, information about

the performance (times, location, tickets), the theatre, upcoming events, and quotes from a reputable magazine and the artistic

director. At the bottom of the page the theatre’s contact information is restated alongside the corporate sponsor’s logo. This

release would be useful for a journalist to obtain the most pertinent information on the current performance to aid them in

writing a review. This release also promotes other shows in an attempt to gain the writer’s future press support.

The New Media Release

In recent years, promotion and public relation departments have largely shifted to include the digital realm. For an arts

organization to capitalize on the vast internet marketplace, it must make its press information accessible to online journalists

and bloggers.

The new media release (pg 58) contains the same information as the traditional release, but through email distribution the

interactive links can be utilized to direct the reader to the theatre’s website, box office, performance calendar and member

page. By engaging the reader to explore the website and other links provided in the new media release, they have the

opportunity to learn more about the organization. Allowing the online journalist to access information through a format they

are familiar with, increases the organization’s likelihood of future event coverage.

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The Seattle Children’s Theatre presents another celebration of children’s literature! Keeping with their tradition of presenting fun-filled entertainment for the little ones in your family, Seattle Children’s Theatre and Artistic Director Linda Hartzell present If You Give a Mouse a Cookie. An adaptation from the 1985 book by Laura Numeroff, this play is a bright and fun adventure that is sure to delight children and parents.

It appears to be a normal day when Boy picks a sunny spot to read and eat cookies while his mother visits his Aunt Rose. Mouse surprises Boy and his endless curiosity and wild enthusiasm make for a highly comedic adventure. Boy quickly learns the endless possibilities that can occur when you relish the unexpected results of imagination.

"Sixty minutes of theatrical enchantment. This is pure theatre, with a capital 'I' for imagination!" Stephen Suskin, Variety

This performance will run May 15 through July 13, 2010. This bright and vibrant piece will appeal to most children, but it is intended for kids Pre K to 3rd grade. Tickets and show times are available through our website ([email protected]) or by phone (206.441.3322).

If you give a mouse a cookie, he’ll want a glass of milk! Seattle Children's Theatre performs in the Charlotte Martin and Eve Alvord Theatres throughout the year. During our history, SCT has developed and improved the caliber of plays available for young audiences in the United States and abroad, developing and producing over 90 new works.

Our season also includes Peter Pan November 13 to January 10, 2010 as well as Pero, The Mysteries of the Night January 14 to February 14, 2010. “I’m really proud of the season we have put together. Every age, children and adults, will find something to see, experience and enjoy.” -Artistic Director Linda Hartzell

Seattle Children’s Theatre Press Release: April 29, 2010 If You Give A Mouse a Cookie May 15 – July 13, 2010

Contact: Lyndsey Lane PR Manager

[206.443.0807] : [[email protected]]

Seattle Children’s Theatre

201 Thomas St, Seattle, WA 98109 www.sct.org Seattle Children’s Theatre

The Seattle Children’s Theatre invites patrons to explore the unexpected results of imagination.

Would You Give a Mouse a Cookie?

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2

Seattle Children’s Theatre Press Release: April 29, 2010

If you give a mouse a cookie, he’ll want a glass of milk!

This bright and vibrant piece will appeal to most children, but it is intended for kids Pre K to 3rd grade.

"It's appropriate for all ages except those middle-school kids who are too cool for anything," MJ Sieber (plays Boy) said with a wink.

• Friday – Sunday • May 15 -July 13 • 7pm: Fri-Sat, 1pm: Sunday • Adults: $20, Kids: $10

Seattle Children’s Theatre

[Box Office] : (206) 441-3322

"Sixty minutes of theatrical enchantment. This is pure theatre, with a capital 'I' for imagination!" Stephen Suskin, [Variety]

Times & Tickets

Would you give a mouse a cookie? The Seattle Children’s Theatre presents another celebration of children’s literature! Keeping with their tradition of presenting fun-filled entertainment for the little ones in your family, Seattle Children’s Theatre and Artistic Director Linda Hartzell present If You Give a Mouse a Cookie. An adaptation from the 1985 book by Laura Numeroff, this play is a bright and fun adventure that is sure to delight children and parents.

It appears to be a normal day when Boy picks a sunny spot to read and eat cookies while his mother visits his Aunt Rose. Mouse surprises Boy and his endless curiosity and wild enthusiasm make for a highly comedic adventure. Boy quickly learns the endless possibilities that can occur when you relish the unexpected results of imagination.

Seattle Children's Theatre is charged with the mission to provide children of all ages the opportunity to access professional theatre, which continues a focus on new works, and theatre education.

Our performances take place in the Charlotte Martin and Eve Alvord Theatres, with shows occurring throughout the year. During our history, Seattle Children’s Theatre has developed and improved the caliber of plays available for young audiences in the United States and abroad, developing and producing over 90 new works.

Seattle Children’s Theatre has over 12,000 subscribers each year that enjoy benefits such as free admission to most shows, discounted guest tickets, and discounted merchandise.

“Every age, children and adults, will find something to see, experience and enjoy.” Artistic Director Linda Hartzell [contact]

Please Contact Us!

Lyndsey Lane PR Manager [206.443.0807] : [[email protected]] Proudly sponsored by Starbucks ®

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Lyndsey Lane2111 Harding PlaceMurfreesboro, TN 37129

Reflection and Vision Building Response

Entering college I believed my place in the art world should be as an artist. I received my Bachelor of Fine Arts in graphic design at Middle Tennessee State University in December 2006. After graduation I went directly into my field of study obtaining a position as a Junior Designer at a design firm in Nashville, Tennessee. Although I enjoyed my position at the firm, I spent the majority of my free time researching contemporary art and attending local and national art events. I continued to work at the firm for a little over two years until I began to comprehend that my role in the art community should not be as a creator, but I should instead focus my passion in the research, development, and promotion of art. It was this realization that convinced me to begin the application process for a graduate program in arts administration.

I chose to study at the Savannah College of Art and Design (SCAD) because the school offered a well-rounded program that incorporated important skill sets I lacked including finance, administration, and legal issues within the arts. I understood that the program was small, which allowed the students a more personal connection with the area of study, the faculty and their peers. This factor was very important for me because I learn better through this type of academic environment. After my acceptance to the program I stayed extremely focused in not only fulfilling my major requirements, but also on gaining a larger understanding of the current art climate. Through the guidance of my instructors and critiques from my peers, the curriculum I have obtained in this program has been incredibly beneficial to my personal, professional and academic goals.

The Arts Administration program at SCAD has been incredibly beneficial to me because instead of forcing me to study according to a rigid academic path, I can structure the course electives to focus within my areas of interest. The core classes I was required to complete have tremendously expanded my knowledge of the business realm of the arts including program and fund development, program design (with regard to museum offerings and theatrical seasons), promotion, nonprofit arts management, budgets, calendar implementation, and professional writing. Through the successful completion of the core classes as well as the elective courses, I have gained the perspective I was seeking in relation to my next steps in myacademic and professional career.

It was the final research paper required in Legal Issues in the Arts coupled with the curriculum of my elective course Cultural Policy and Advocacy, which has predominately influenced my next steps at

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SCAD and possibly my professional career path. Within my Legal Issues research paper I explored the repercussions of improper protection of cultural institutions during times of armed conflict. Before taking this course I had no knowledge of this issue and its effects on today’s art world. Through assigned readings in Cultural Policy and Advocacy I learned that the failure of proper site-specific protection and enforcement of cultural institutions during war has been a recurring problem throughout our Nation’s history. It is a moral and ethical imperative for arts administrators to be knowledgeable of these national and international issues because they are responsible for the acquisition and protection of our Nation’s cultural treasures. I plan to explore this issue further in my thesis this winter.

SCAD has provided me with a safe environment where I have been free to learn and expand my knowledge of not only my field of study, but also the wider scope of art at a national and international level. I owe a lot of gratitude to my faculty advisor, professor, and friend Professor James Marchant. Through his advisement and constant encouragement I have been able to successfully navigate my field of study while pushing myself to strive for a higher academic and professional standard. Through his in-depth and comprehensive courses as well as outside activities such as Arts Advocacy Day in Washington, D.C., I have a more thorough grasp of my responsibility and expectation as a graduate student and future arts administrator.

Instead of concluding this response with a summation of the above statements I feel it is more beneficial to end with my Administrator Statement, which better relates my future intentions as an arts administrator.

Administrator Statement

As an art administrator, I ensure that cultural institutions’ collections, operations and programs maintain the highest possible protection and display of their holdings to the public. Driven by the highest ethical and social standards, I serve as not just a protector of the integri¬ty of artistic property, but as the individual who connects the people to their culture. I take pride in providing cultural education to those who wish to experience the fulfillment of art and gain an appreciation for the treasured building blocks of a society and human civilization.

Portfolio

Documents

museum rests

arts center

arts institution

art history

educationmasters of

forestry building

studio art

fulillment of art