If Anything, Measure of Arts & Culture Should Be Civil Societal, Not Economic Impact

by:

Joe Patti

Lest you think Carter Gillies and I are lone voices arguing against the use of economic impact of  arts and culture as a measure of their value to society, in March the Global Education and Skills Forum had a panel address the question “Will We Still Need The Arts & Humanities in 2030?”

A member of the panel, British philosopher, Dr. Julian Baggini addressed the issue of using economic impact as a metric of the value of arts and culture in very familiar terms:

“…they don’t need defending in terms of anything else. And I think what happens is, we get sucked into a kind of debate in which we are always having to justify the Arts and Humanities in terms set by a more utilitarian agenda.”

He goes on to talk about how he was involved with a project which was studying the benefits of active participation in arts and culture for physical and psychological well-being.

Then he cautions that even framing the arts in terms of their health benefits or ability to stimulate important neurological centers in the brain represents a trap because it doesn’t allow for the arts to have value in and of itself. This framework uses health benefits to justify the existence of arts and culture.

He says the ultimate goal should be the creation of a more civilized society. In that context, economic growth and technology are instruments toward the goal rather than being the goals.

That is to say, economic growth should be evaluated for its contribution toward civilized society alongside arts, culture, science and technology rather than positioning those things as subservient to economic growth.

 

(around the 38:00 mark if it doesn’t start there)

 

When “Go Play In The Street!” Is Meant To Encourage

by:

Joe Patti

Via CityLab is a NY Times story about how the Boyle Heights community in Los Angeles has recently hosted a “play street.” The program, which apparently started in London, shuts down a street to provide kids with a place to play.

A quick glance on the web shows that both NYC and Seattle have similar programs. I am sure there are more cities participating. They both have some good best practices guidelines.

NYC has put together a listing of organizations that will go to play street events in different parts of the city to provide a whole range of services from dance class, bike lessons, double-dutch workshops, healthy cooking demonstrations, music lessons, etc, etc.  Programs like this are a great opportunity for an arts and culture organizations to make themselves more accessible to the community–including talking with people to learn about how to become more accessible to them.

You may have read in the news that residents of Boyle Heights have been actively opposing galleries which opened in the neighborhood, seeing galleries as harbingers of gentrification which will eventually displace them. A few galleries have decided to close as a result.

The tension between both wanting and fearing improvements to the neighborhood is evident in the NY Times article.

“There’s a difference between making something beautiful to sell it and making it useful,” said Leonardo Vilchis, co-director of Union de Vecinos. “So the question is, can we make this place more livable for people living here now?”

With tensions about gentrification running high, the community’s decision to embrace the play street concept was not a casual one.

[…]

The residents chose Fickett Street with the intention of providing a safe space not just for children but for the community, said Chelina Odbert, KDI’s co-founder and executive director.

“What a play street is not is a replacement for permanent parks,” she said. “But it bridges the gap in a way that’s really needed.”

Even before I read the line about play streets not being a replacement for a park, I was hoping the city didn’t see closing off a street for play an acceptable substitute for a park. There is a lot of conversation about neighborhood which are food deserts, but there are probably a lot of social benefit deserts for things like play out there as well.

In the last couple years a small herd of boys has started ranging across the lawns of the neighborhood acting out various scenarios. I made it clear to their parents that I had no objection to picking up nerf darts when I mowed and having their “dead” bodies strewn across my lawn because it meant that they weren’t inside watching TV or playing video games. (In fact, as I write this, there are kids hiding behind my house.)

Provided there are sufficient traffic controls to make it safe, it would be a good sign if neighborhoods exercised their communal will to create an environment where kids can safely play in the streets without overt barriers.

The Books Are Due Back In Four Weeks. The Painting, Next Year

by:

Joe Patti

Back in February I wrote about how the Akron Art Museum and Akron-Summit County Public Library were teaming up to lend art to local residents. At the time, the only other similar program I was aware of was at Oberlin College. At the time, someone wrote and said their local libraries had been doing that for a long time as well.

Sure enough, a piece appeared on Hyperallergic about 10 days ago listing or linking to visual art lending programs at the Museum of Contemporary Art Denver,  Braddock Carnegie Library,  Minneapolis Art Lending Library , Massachusetts Institute of Technology, Williams College, Kenyon College, University of Minnesota, Harvard, University of Chicago, University of California, Berkley.

I am sure there are quite a few more.

Many of those listed have been lending art for decades. The University of Minnesota appears to be the oldest having started in 1934.

The Museum of Contemporary Art Denver initiated their program, which started with commissioning 25 pieces by 20 artists, with the intent of showing Denver residents the importance of artists by allowing them to take the works home.

Some of the older programs have started to investigate the impact and motivation for borrowing the art.

MIT’s Student Loan Art Collection has existed since 1969, and in a recent lending session, 975 people entered a lottery for 600 artworks. Demand also exceeded supply when the University of Chicago revived its lending library after a 30-year hiatus.

[…]

This year, both MIT and the University of Chicago created surveys that aimed to determine whether students who borrowed art also became patrons of cultural events and spaces. (The results aren’t in yet.) Of the MCA in Denver, Lerner said that some borrowers may have a previous interest in particular artists, but he expects others to start “following” the artists whose work they borrow. At the MCA’s library launch event, 21 out of 28 borrowers told me that they didn’t know any of the participating artists. Several lottery entrants said they were participating because they wanted to hang original art in their home for free.

When the University of Chicago set about reviving their program, they assembled “a student-staffed Collections and Acquisition committee” to help make the collection more inclusive and diverse.

I am going to try to keep my eyes open for any news about the results of MIT and University of Chicago’s study. The fact that demand exceeds supply at nearly every one of these programs and the institutions need to run lotteries indicates there is definitely an interest.

Whether this interest overcomes a perceptual/time/physical barriers to visiting a museum/gallery will be of interest to me. People may fully embrace the opportunity to enjoy an art work in their home, but still consider museums a place other people go.

Do You Fear Innovation Will Threaten Your Effectiveness Metrics?

by:

Joe Patti

Over the last few years, I have frequently written about the problem with using metrics as a measure of value and performance.  As long as we continue to be told that use of quantitative measures are important, I am gonna keep pushing back and reminding you it ain’t the be all and end all of evaluation.

Carter Gillies is actually more adamant and eloquent on this topic than I am so when I saw a piece on Aeon that started out sounding almost verbatim like Carter, I did a double take to check who the author was.

The author, Jerry Z. Muller, points out that performance metrics often incentive a gaming of the system in a manner which often runs counter to the purpose of the organization.

Or take the case of surgeons. When the metrics of success and failure are made public – affecting their reputation and income – some surgeons will improve their metric scores by refusing to operate on patients with more complex problems, whose surgical outcomes are more likely to be negative. Who suffers? The patients who don’t get operated upon.

One of the other issues is all too familiar to non-profit organizations come grant report time:

To the debit side of the ledger must also be added the transactional costs of metrics: the expenditure of employee time by those tasked with compiling and processing the metrics in the first place – not to mention the time required to actually read them. As the heterodox management consultants Yves Morieux and Peter Tollman note in Six Simple Rules (2014), employees end up working longer and harder at activities that add little to the real productiveness of their organisation, while sapping their enthusiasm.

Non-profit organizations are well acquainted with implications of metrics. Organizations are often restricted to what government entities, foundations and donors are willing to fund. It can be difficult to innovate or address needs if your funding source has different priorities or restricts how funding can be used.  I have discussed before that there can be a tendency to report that everything you did met or exceeded the plans laid out in your grant proposal.  The fear of losing funding for not being successful enough disincentivizes being honest about challenges the organization faced.

While there have been plenty of embezzlement scandals at non-profits to leave funders concerned about whether their money is being used responsibly, metrics provide faulty assurances because they are so easily falsified.

So what should be used instead of performance metrics? Well, Muller really doesn’t say.  Doing a good job and having good outcomes might be a start. You’ll want to examine numbers to assist in the process of reducing needless waste. But trying to squeeze an extra percentage out so you can improve your efficiency score over last year when you squeezed an extra percentage over the previous year is not constructive.

Ultimately, the truth is that evaluation is hard. Even if we were to urge funders to invest more time in investigating outcomes directly rather than relying on numbers, the tendency to have positive associations for feel good stories will benefit some organizations over those that do unsexy, but impactful work. Then we will be back to rallying removing the emotional element by employing cold, hard numbers for evaluation.