, Thom�s Struth, Mus�o Prado (detail), 2001, bdurtes"y orMarian Goodman 'dallery, N�w York Ethics in the Arts & M�seums AAO 425/525 CRN 17233/17234 David Turner dturhet@uoregon.edu Tuesday,p, 2:00,� 4:50 pm 249 Lawrence Fall, 2015 ,Arts & Administration, University of Oregon office. hoUrp: Wed, t0:30 � •11 �30 262 Lawrence Goal .of Course: The g,6al ofthe class.ls to offer models .of d.edsion:.rnaking that considers the professional ethical standards in determining. the possilJ,le optcomes whic.h are be�tfgr estc;1l;>lishing trust betw��n the, organizatiop and the ·public. Outcomes: Students who are c1ctive participants in the qlass wiU be prepared to contribute experiences and familiarity to discussions about ethical issues that have becorne qn ,irnporta11t p�rt in the ,rr,t�nagernent of cplttJral art organizat�on;s_,. Criti�al thinking abqut iss�es $.urrol)n,ding best practice� wHI l��d to Q1G>fe; etfe9tive leadership. Format of Class: Ideally the class will be conducted in a seminar format where group discussions will drive the delivery of material. Readings? faculty presentations, guest lecturers, student-led discussion groµps .and field trjps will honor mu(Uple points of view of topics, in ,search of wc:1ys of d�velqping 0eci§1ions ,pased on consemsµs and the good of the o.rgani:zatjon. Exercis�s and ,assignm�,nt� will l��d students to a s.in9le research topic on which to base a final presentation and pap�r. Assignments are detailed in separate document. J Graduate and undergraduate expectations: This clas$ is. cJ.split s,eminar-style class, rne�ning· it t� desiQrJ�d to ac,qommodat� anc;j challeng� students in poth graduate and undergraduate programs. Workload is partially differentiated in page-length and rigor expected in written assignments, but I also intend for graduate students to be able to regularly articulate how issues c;3nd practice$ we encounter via course materials intersecfwith their expected professional trajectories. Graduate students have one additional assignment for this course, which comprises 20% of their total grade. The scope and expectations for the final project assignment differ for undergraduate students and graduate students. Ethics in the Arts & Museums, Fall, 2015 Required Textbook: Routledge Companion to Museum Ethics: Redefining Ethics tor the Twenty-First Century Museum, edited by Janet Marstin�, Routledge, NY, 2011. Recommended readings: (articles arid section� frorr{books available online as PDF files) New Directions in Museum Ethics, Janet Marstine, Alexander Bauer, Chelsea Haines, , Routledge, NY,2014 Museum Ethics, edited by Gary Edson, Routledge, NY, 1997 Ethics and the Visual Arts, edited by Elaine A. King and Gail Levin, Allworth Press, NY, 2006 Merryman, John Henry, ''Museum Ethics," American Law Institute, ALI-ABA Course of Study, 2006 Week 1: What are ·Ethics and Why. Important to Cultural Organizations Sept 29 - applying ethicalthiriking to museums a'nd cultural non-profits. - the rights of all voices - standardiziAg values in Codes of Ethics Goal: Become familiar with online resources and working methods within Blackboard site, while addressing the basic nature of ethical issues in museums. Required Readings� Edson, "Ethics and Museums," pp. 36�53. Marstine, "The Contirigent nature of the riew museum ethics," pp. 3-25. Merryman, JOhn Henry� "Mt:Jseum Ethics," American Law Institute, AU.,. ABA Course of Study, 2006 Suggested Readings: King & Levin, "So, What's the Price?-The PM Principle-Power, People, and Money," Elaine King, pp. 1-22. King & Levin, "The Unethical Art Museum," by Alan Wallach, pp 23 .....: 36. Assignment: Friday, Oct 2 Student Reflection on Week #1, due by 11 pm 2 _ j Week 2: Oct6 Week 3: Oct 13 in the Arts & Museums, Boards, Governance, and Leadership - guidelines for board responsibilities and behavior - the role of staff leadership - setting the tone for productive discussion in ethical context Goal: Understand where decisions are ·made within a museum organization and how their success is measured. Become familiar with board and staff responsibilities that provide framework for ethical decisions. Required Readings: Marstine, "Ethical, entrepreneurial or'inappropriate?'Business practices in museums," by James B. Gardner, pp. 285-297. Skramstad, Harold. and Susan, "Museums and Tru�t�eship" pp. 9-14, and "Handling DifficultBoartj ·lss4es," pp. 9-122, A Ha.ndbook.for Museum Trustees (PDF file on class website) Marstine, "Visible Listening: Discussion, debate and governance in the museum," James M. Bradburne, pp. 275-284. Recommended.Reading: Marstine, "The responsibility of representation: A feminist perspective," by Hilde Hein, pp. 112-126. Assignment: Tuesday, Oct 6: Friday, Oct 9: Student Presentatic;m on New� Story Student Presentation on Reading Case Studies in Museum Ethics Student Reflection on Week #2, due by 11 pm Censorship: Whose Community Standards? - creating standards of appropriateness - managing censorship issues - case studies on censorship problems Goal: Understand the changing nature of acceptable works of art for a public museum to display and cdllect and gain preparedness for handling accusations of censorship. Required Readings: Marstine, "Museum censorship," Christopher B. Steiner, pp. 393-413. 3 Ethics Fall, 2015 ' , (, -.-,-:,-·.-, ' Ethics in the Arts & Museums, Fall, 2015 Marstine, "The body in the (white) box: Corporeal, ethics and .museum representation," Mara Gladstone and Janet Catherine Berlo, pp. 353-378. Recommended Reading: King & Levin, "Art and Censorship," Richard Serra, pp. 185-194. (PDF file on class website) Dubin, "Afterword: When Elephants Fight: How Sensat�on Became Sensational," pp. 246-276. (PDF file on class website) Assignment: Tuesday, Oct 13: Student Presentation on Reading Friday, Oct1f;3: Student Reflection on Week #3, due by 11 pm Week 4: Decision, Making in Legal and Ethical C9ntexts, Oct 20 - distinguishing between legal and ethical concerns - copyright issues about cultural properties - appropriation of creative ideas Goal: Develop an understanding of the subtle differences between issues of a legal and ethical nature in museum leadership and art reproduction issues. Guest Speaker: Dom Vetri, Professor of Law, UO Required Readings: Marstine;" "Visible Listening: Discussion, debate and governance in the museum," James M. Bradburne, pp. 275-284. Allan, Robin J., "After Bridgeman: Copyright, Museums, and Public Domain Works of Art," University of Pennsylvania Law Review, Vol. 155:961, 2007. (PDF file on class website) Marstine et al., "Situated revelations: radicaJ transparency in the museum," pp 1-23. (PDF file on class web�ite) Assignment: Tuesday, Oct 20: Friday, Oct 23: Student Presentation on News Story Student Presentation on RE;lading Student Reflection on Week #4, due by 11 pm 4 ' ', Week 5: Oct 27 in & Museums, Exhibitions: Delivering the Right Message - creating the right expectations for exhibitions - accepting the challenge of using exhibitions for both audience development and fund development - how to follow a "fall back path " in exhibition development Goal: Gain a historical perspective on the ethical issues surrounding the organization and presentation of .exhibitions and be able to· formulate guidelines for developing exhibitions that are most appropriate for museum and community. Guest speaker: David Luebke, Professor of History, UO · Required Readings: Gazi, Andromache, "Exhibition Ethics - An Overview of MaJor Issues, Journal of Conservation and Museum Studies, 2014 12(1): 4, pp 1-10. (PDF file on class website) Marstine et al., "Us and ttiem! who benefits from experimental exhibition making? " Pete Brown, pp. 56-75� Marstine, "Memorial Museums and the objectification of suffering," Paul Williams, pp. 220-236. King & Levin, "· Fair Use.and the Visual Arts: Please Leave Some Room For Robin Hood," Stephen E. Weil, pp. 1 59-1 74. (PDF file on class website) King & Levin, "Ethical Issues and Curatorial Practices," Joan Marter, pp. 155-158. Recommended Reading: Dubin, "A Matter of Perspective: Revisionist History and The West as America," pp. 152-1 85. Dubin, "Battle Royal: The Final Mission of the Enola Gay ", pp. 186-226. Dubin, "Crossing 125th Street: Harlem on my Mind Revisited," pp. 18-63. (handouts accessible on class web site) Assignment: Tuesday, Oct 27: - Student Presentation on News Story - Student Presentation on Reading - by end of class, turn in your proposal for a final topic to research. Friday, Oct 30: Student Reflection on Week #5, due by 11 pm Graduate Students only: Write a 3 page paper reviewing the ethical issues brought up in one of the exhibits discussed in the Recommended Reading. Due Fri, Oct 31, 11 pm 5 Ethics the Arts Fall, 2015 ,; Week 6 : Nov 3 Ethics in the Arts & Museums, Fall, 2015 Authenticity in Works of Art and History - assuming responsibility for authenticity in art exhibited and collected - steps in determining authenticity of art Goal: Develop a sense of the importance of collecting and displaying objects that are what they purport to be, creating a trait of honesty and trust between museum and public. Guest Speaker: Anne Rose Kitagawa, Chief Curator, JSMA Required Readings: "Is it real? Who cares? " http:/lis'.'"it-real-who'.'"cares.tumblr.com King & Levin,"Ethics in Appraising Fine Art," Alex Rosenberg, pp. 121-1 24. (PDF file on class website) King & Levin, "The Moral Case for· Restoring Artworks, " James Janowski, pp 143-1 54 . (PDF file. on class website) Recommended Reading: Smith, Judith G. and Wen Fong, Issues of Authenticity in Chinese Painting, Metropolitan Museum of Art, 1 999 (acces�ible on .GoogleBooks) httP>://books.google.,com/books?id=maSI N PZu hkC&printsec=frontcover - v=onepa·ge&q&f=false "Tribal Art information Services: Authenticity " http://www.paleobree.com/page3.htm Assignment: Tuesday, Nov 3: Friday, Nov 6: - Student Presentation on News Story - Student Presentation on Reading -Field Trip to JSMA. Session on authenticity with Anne Rose Kitagawa, chief curator, JSMA Student Reflection on Week #7, due by 11 pm 6 ,.-. -,-· -,-.-•, ,I ,, Week 7: Nov 10 Week 8 : Nov 17 Ethics in the Arts & Museums1 Fall, Managing Collections: Where Are They From and Where Did They Go? - the thoughtful Collections Policy - deaccession issues - respecting prior ownership of looted art Goal: Understand the many ethical standards by which collection management d�fines the public trust between museums and community. Consideration will be given to rightful ownership and appropriate collection items. Required Readings: Edson, ''Museum Ethics and Collecting Principles,'' Paul Perrot, pp. 1 87-1 95. (PDF file on class website) Cuna., James, "The Case Again$t Repatriating Museum Artifacts, Foreign Affairs, November/December, 2014. (P[?F fiie on class website) Kh1g & Levin, "Museum Collectihg, Clear Title, and the Eth ics of Power," Tom L. Freudenheim, pp. 49 - 64. (PDF file on class website) King & Levin, "Politics, Ethics and Memory, Nazi Art Plqnder and Holocaust Art Restitution,!' by Ori Z. Soltes, pp. 65 -:-.· 88. (PDF file on class website) · Recommended Reading: King & Levin, 1 1Calling for a Code of Ethics in the Indian Art Market," '·Elizabeth A. Sackler, pp. 89-104. (PDF file on class website) King & Levin, "The Preservation of Iraq i Modern Heritage in the Aftermath of the U.S. Invasion of 2003," Nada Shabout, pp. 105 - 1 20. King & Levin, "Art Enters the Biotechnology Debate: Questions of Eth ics," Ellen K. Levy,pp. 1 99-2 1 6. Assignment: Tuesday, Nov 10: - Student Presentation on News Story - Student Presentation ori Read ing - Field trip to JSMA for Exhib ition Evaluation Sunday, Nov 1 3: Student Reflection on Week #6 due by 11 pm Conflicts of Interest: Putting the Organization First - where do conflicts of interest appear? how are they discussed? - controlling perception of Board and Museum 7 2015 Ethics in the Arts & Museums, Fall, 2015 Goal: Determine how to navigate between tense sityations when the actions of the Board and/or staff can be misperceived to the detriment of the organization and how to prevent these situations. Required Readings: King & Levin, "Law, Ethics, and the Visual Arts: The Many Facets of Confli9t o.f Interest," Barbara T. Hoffman, pp. 243-261 . (PDF file on class website) Recommended Reading: Marstine et al., "Law, E:thics, and the Visual Arts: The Many Facets of Conflict of Interest," by Barbara T. Hoffman, pp 243-262. Assignment: Tuesday, Nov 17: Friday, Nov 2.0: Student Presentation on News Story Student Presentation on Reading Stutjent Refl�ction on Week #8, dye by 1 1 pm Week 9: Funding and Marketing the M.usE!um.: Fonow the Money Nov 24 - ethical and legal responsibilities for accepting government funds - encouraging philanthropy vs. selling benefits Guest speaken Eric Mccready, former atrector of Elvehjem (now Chazen) Museum of Art, Madison, Wisconsin, l)niversity of Texas Museurn of Art, and de'(elopme.nt officer of Univen�ity of Oregon Foundation. Goal: . While ft;mding rernains at the core of a museum being able to effectively fulfill its rnisslon, guidelines will be considered for establishing ethical relationships between donor and museum. Required .Reading.: Martsine, "Ethics and challenges of museum marketing," by Yung-Neng Lin, pp. 202-2 1 9. Marstine, "Being responsive to be responsible: Museums and audience development," by Claudia B. Ocello, pp. 188-201. Assignment: Tuesday, Nov 24: Sunday, Nov 29: Student Presentation on News· Story Student Presentation on Reading Student Reflection on Week #9, due by 11 pm 8 Week 1 0 : Student's Final Presentations Dec 1 Schedule will be created in Week #8. Ethics in the Arts & Museums, Fall, Final Paper will be due at the scheduled time of the class Final , Tue!;day, December 8, 1 2:30 pm. Email it to dtyrner@uoregon.edu. 9 Ethics in the Arts & Museums, Fall, 2015 Anthony Schrag , Push, 2008, Gal lery of Modern Art, Glascow, Scotland Eth ics in the Arts & Museums AAD 425/525 CRN 1 7233/1 7234 David Turner dturner@uoregon.edu Tuesdays, 2:00 - 4:50 pm 249 Lawrence Hall �s,signments and . Grading Readings : Fcill, 2015 Arts & Administration, University of Oregon office hours: Wed, 10:30 - 11 :30 262 Lawrence. Hall Please read the assigned readings prior to the class. Bring questions you have on the re9dings to class. If the readings lead you to further pursue any of the cited examples, bring references to your research to share with the class. Bl.og site: http://blogs.uoregon.edu/museumethics/ Checkthe Blog site for the class regularly as ahnouncements and additional reading possibilities may be posted. Powerpoint presentations will be presented after each class for further reference. Canvas: We _will use Canvas ONLY for posting and reading grades. All materials will be found on the blog site. Weekly Class Assignments: 1 . Weekly News Reports: Each student will sign up for two weeks to present a topical News story to the class that relates to a timely issue around museum ethics somewhere around the world. The presentation will be at the first of class and presenter should post a copy of news story on blog site by Sunday evening at 8 pm for all to read before class. In class, presenter will share the main facts of the story, illustrating the ethical issue brought up and the potential actions that could have been taken. 10 -- - --,-, Ethics in the Arts & Museums, Fall, 2015 2. Weekly report on Readings: Each student will also sign up for two weeks to lead a discussion session on one of the assigned readings. Discussion leader should also post their choice of the reading on the blog site by Sunday evening at 8 pm so all will be prepared . The discussion should be structured to first present a summary of the reading and then pose three questions to the class for comment.. 3 . Reflections Atthe end of each we,ek (except Week #1 0); students will write a Reflection about at least two issues covered during the week that may lead them to further reading and study. Discuss why these are importantto you, the community, and the profession of the cultural · organizatiori . Deadline for them will be Friday evenings, 1 1 pm. Required minimum word length for Reflections: Undergraduate: 1 00 words Graduate: 200 words 4. Field Trips: There will also be field trips to ·Iocal museums With · spedalized exercises. Final Presentations: The main research and writing project for the class will be a preseM�tion arid paper on a topic you would like t9 further explore. By the fifth week of the class, a variety cf museum-re.lated·ethical topics will have been discussed and you wil l' be able to narrow in on your area of interest. Then you will prepare a Proposal for Research Topic to turn in by end of class on Tuesday, November 3. In this Proposal, describe your choice of topic with the following information: a. description of ethical issue b. museum/country where this has been addressed c. how you will explore topic. (this can all easily be written within 1 page) Sample topics that could be chosen include following real-life issues: 1 . Exhibition Sponsorship and the Relationship between Museums and the Private ·Sector 2 . Collecting Sensitive Material and Repatriation of Collection Objects 3. Censorship Issues arid Rights of Free Expression 4. Governance and Potential Conflict of Interest: Keeping Priorities in Order The presentations should be illustrated and between 20 & 30 minutes each, with 1 O more minutes for questions, be divided into three parts: 11 Ethics in the Arts & Museums, Fall, 2015 1. the history of appearances of the issues and how there were resolved. Cite at least three specific examples of museum decisions in this area that have caused debate. Have the ethical standards for these issues changed over the course of time? 2. a thorough analysis of one example of museum decision within your topic area that clearly explains both sides of the ethical debate, discussing: the extent of issues addressed in the decision-making process. Try to utilize statements from those involved in the decision-making process through quotes or interviews. Discuss how the debate was carried out in public through the press or articles. 3. a detailed recommendation of how one of the specific cases cited above could havff been better addressed with the advantage of hindsight. List the potential outcomes of the "better " decision that would present a positive image for the museum. The papers should include: 1. · a summary of the main ethical issues researched for your topic� 2. the written narrative of th.e specific par,t of your presentation, expanding on areas you were unable to discuss in your presentation. 3. a detailed explanation of a single area in the standard Code of Ethics for n;,useums that you believe is most important and shou.ld be stressed and enforced. How would you help make this a commonly understood ethical statement that would guide decisions among staff and volµnteers? How could you help the mus,eum profe�sion treat this ethict:;il issµe with great respect? 4. bibliography and footnotes Required minimum page length for papers: Undergraduate: 8 pages Graduate: 1 2 pages Graduate and undergraduate expectations: This class is a split ·seminar-style class, meaning it is designed to accommodate and challenge students in both graduate and undergraduate programs. Workload is partially differentiated in page�length and rigor expected iri written assignments, but I also intend for graduate students to be able to regularly articulate how issues .and practjces we encounter via course materials intersect with their expected professional trajectories. Graduate students have one additional assignment for this course, which compri�es 20% of their total grade. The scope and expectations for the final project assignment differ for undergraduate students and graduate students. 12 Ethics in the Arts & Museums, Fall, 2015 Grading: Grades will consist of the following evaluations for Undergraduates: Participation in class discussions and completing Reflections 10% (1 point for each of 9 Reflections and 1 point for participation) Presentation of two topical news story Presentation of two Readings Final presentation Final Paper (up to 10 points) (up to 10 points) Grades will consist of the following evaluations for Graduates: 20% 20% 20% 30% Participation in class discussions and completing Reflections 10% (1 point for each of 9 Reflections and 1 point for participation) Presentation of two topical news story Presentation of two Readings Readings Review Final presen,tation Final Paper A+ = 99 through 100 points A = 94 through 98 points A- = 90 through 93 points B+ = 87 through 89 points B = 84 through 86 pQints B- = 80 through 83 points C+ = 77 through 79 points C = 7 4 through 76 points C- = 70 through 73 points D+ = 67 through 69 points D = 64 through 66 points D- = 60 through 63 points F = 59 and below 13 (up to 10 points) (up to 1 0 points) · 20% 20% 15% 1 5% 20% Q 0 � � AAD 435 .Spring Term Instructor: Scott Huette Office: Rm 262 Lawr:ence Hall Office Hours: 8 am .,.. 9:30 am Mondays and Wednesdays Email: shuette@uoregon .edu Subject Line: Pleas� indicate in the subject line this course n�mber and title AAD 435 Arts Business Dev. Course ,Readings: Two required ¢ours� books avallable at the DLickStore [ ' : ,; ' • : "' , ; ; I • •, : . • Read, S. (201 1 ). Effectual entrepreneurship. London: Routledge. Judkins, R. (2015) . Art of Creative Thinking, The. London: Hodder & Stoughton General Division. Additional readings provided ,online. Log onto the University of Oregon website and scroll to the bottom of the page for the link to Canvas. Click the link to our on line class listed there. Description of Course This cou rse is part of an entrepreneuria l cl uster of Arts Busiriess' and Arts Entrepreneursh ip ava i lab le to students j n theArts and Admin istration prog ram. Students taking th is course, wi,I I i nte,gra�e the entrepreneuria l pr9cess with bus ines� ski,lls and strategies for,.the artist entrepreneu r.to trc:1nsform crnative ideas into mean ingfu l ventures. qas� stud ies and fie ld research with a variety professiona l a rtists and creative professiona ls i n the for-profit and not­ for-profit creative sectors wi l l a l l ow partic ipants to exp lore current and chang ing bus iness theories and concepts, entrepreneuria l practices, and a rts bus ines,s theories and concepts. Understand ing the cha l lenges for ind ividua l a,rt entrepreneurs and arts organizations wi l l assist participants i n estab l i sh ing the i r p lace in the professiona l creative sector. Course Objectives • Define arts entrepreneursh ip and com pqre its r.e lationsh ip to other resea'rch fie lds of e,-itreprenewsh ip. • Identify the stages 6f venturing from creative idea to mean in gfu l venture to sta rt up busi ness. Spring 201 6 • Cons ider the mean ing of va lue and how an a rtist bu ilds va lue economica l ly, cu ltu ra l ly ,md socia lly • Understan d the ro l es and re lat ionsh ips of the entrepreneuria l cycle, bus iness p lans and bus iness m.odels . • Bu i ld a foundatio n of entrepreneuria l and bus iness terms and associate these terms to the l anguage of arts management and m a rketing . • Stu dy the ski l l s and practices of arts p rofess iona ls thro u g h g uest speakers and case stud ies, i ncl u d i ng b ut n ot l i m ited to p lann i ng, money, and tim e. • Apply bus iness strategy to a creative ventu re of you r own . Course Format Topics wi l l be covered for 2 weeks so that partici pants have tim e to thornu g h ly investigate the com p lexities of the entrepreneuria l process and correspond ing bus iness sta rtu p strateg ies. Cou rse content emphas izes g uest speakers and panels, l a rge g roup d iscussions, sm a l l group b reak out sessions to exp lore con cepts together (see deta i led weekly assignments i n cou rse sched u le be low). Course Readi-ngs Two req u i red texts are ava i l ab le at the UO DuckStore1 Add itiona l read ings wi l l be provided o n l i ne through canvas. Log onto uoregon .ed u . Scro l l to the bottom of the page andfind the !'Canvas" l i nk. C l ick and you wi l l fi nd l i sti n g for AAD 435 Arts Bus iness Deve lopm'ent. Cl ick to enter. Weekly i nstructions can be found u nder the Assig n m ents l i n k. Participation 20% of the fi na l g rade. Students are requ i red to partic ipate a nd a re g raded for attendance, coll a b o ration c:m g roup projects and active participqtion i n l a rge and sma l l group d iscuss ions. Participation wil l be assessed through attenda nce . Creative Journal 20% of the fi na l g rade. Th i s is a term long p roject. It has two pan;s . Part one write i n a j o u rna l everyday for the term. Part two identify corre lations between you r l ife and read ings from The Art of Cre'ative Th i n king . I n the e0nd, you r journa l wi ll be a set of a lternati n g entries, 1 5 m i n utes free writi ng , witnessed corre lation, 1 5 m i n utes free writi ng, witnessed corre lation, etc. You wi l l b ring th is j o u rna l to the fi na l for grad i n g . Spring 201 6 1.'··. ,,. � � � V tZ":J. � Research assignments 4 p ractica l assignments worth 1 0% each a re assig ned at the beg inn ing of the 2 week cou rse topic . They a re due by the end of the two week period un less otherwise n oted . Resource Packet 20% for the fi na l term p roject. Th is resou rce packet i s for you r cu rrent and ·futu re reference as you venture in the arts bus iness sector. Th is packet w i l l be d i scussed the fi rst day of class in more d eta i l . See form at and dead l i nes be low: Format: The fi na l packet m ust he a hard copy • You h ave creative l i cense on how th i s looks ( h a n d m ade, n otebook with tabbed fi l e separators you p u rchase or create on you r own). H owever the fina l version must have the following required sections in it. You may choose· to create m o re sections if you wou l d l i ke i n the back but the fo l lowi ng m ust be i n o rder. Deadline: Friday J u n e 10 , 1 0: 1 Sam, I do n ot accept l ate n otebooks. Weekly Topics Week 1 : Our Roles as Artists: Defi n i ng Arts Entrepreneursh ip and the ha l lmarks of the l ife of an a rtist. Day 1 - 3/28 : Syl la bus and I ntroductions ! Day 2 - 3/30 : Di�cussion: Va lues and Benefits of the a�s Week 2: Our Skil ls: Explori ng the variety of, Possib i l ities of the Ventu re for artists Day 1 - 4/4: Discussion: The Dominant a nd Chang i ng Narratives for Artists Day 2 - 4/6 : Discussion: Alternative econom ics or Caring Economics and the Gross Nationa l Happiness (GNH ) Assignment #1 : Mapp ing the Creative Sector Landscape: The socia l , cu ltu ra l a nd economic issues and cha l lenges that cu rrently exist i n your chosen i nd ustry. Due April 1 1 th 1 0:00 am. Week 3: Planning: Persona l ly, Professiona l ly, Artistica l ly Day 1 - 4/1 1 : Discussion: For-Profit a nd Not-For-Profit fund ing Day 2 - 4/1 3 : Discussion and Activity session: Miss ion Statements, Stages of Ventu ri ng Spring 201 6 Week 4: Planning: Day 1 - 4/1 8 : Di�cussion: What is the essentia l i ngredient: fi nd ing you r aud i�nce. Day 2 - 4/20: Discussion: Aud ience development and market segmentation Assignment #2: Plan you r persona l , professiona l and a rtistic futu re ventures. Set S .M.A.R.T imagi ned ends. Create a m ission statement for yourself and how you operate in the world (your passion and purpose statement). Further detai ls provided i n class and o n l ine . M ission and Goals first d raft due in class Apri l 1 3th and 1 8th respectively. F ina l d raft is due at the end of the term in resource book. Week 5 : Planning: How to p lan , strateg ize and transform you r ventu re; bu i ld ing commitment and partnerships. Day 1 - 4/25 : Discussion: Com paring project proposa ls, bus iness p lans and busi ness rr,odels Day 2 - 4/27 : Discus�ion: Fiscal Sponsorsh ip and Insurance Week 6 : Planning: F ind ing you r audience and getti ng the word out! Day 1 - 5/2 : Discussion: Marketi ng terms used in the arts vs. busi ness Day 2 - 5/4: Smal l Group Activity: Bu i ld a Loca l and Regiona l Media l ist i ncl usive of all artists Assignment #3 : Bu i ld a media l i st for you r in� ustry and based in you r location you wish to l ive i n . This l ist wi l l inc lude professiona l local nonprofits you wish to partner with to reg iona l and nationa l associations that you cou ld benefit from knowing . Sta.rt on l ine and identify at least one each of nationa l organ izations, reg iona l ly and lastly loca l ly. Create a Ventu re Map. Week 7 : Money: Mu ltip le Revenue Streams a.nd Payi ng You rself Day 1 - 5/9 : Activity: Your re lationship to money Day 2 - 5/1 1 : Discussion: Mu ltip le Streams of income Week 8 : Money: Prici ng and Negotiation and Lega l I ssues for artists Day 1 - 5/1 6 : Discussion: Prici ng you r work and services Day 2 - 5/1 8 : Discussion: Negotiati ng Assignment #4: Com plete for class , the jobs you have worked A p ie chart ofyou r current stream(s) of i ncome and projected streams incom e And a Venn d iag ra m of your m u ltip le streams of creative i ncome. Spring 201 6 Week 9: Money: Taxes for Creative Profess ionals and Preparing to hand le money Day 1 - 5/23 : Discussion : B udgeti ng, Cash F low, I n come Statement, Ba lance Sheet Day 2 - 5/25 : Discussion: Taxes and Accou nti ng Week 1 0 : Dead Week: Work on F ina l Day 1 5/3 0 - NO CLASS - Memoria l Day Day 2 6/1 - Discussion: Making a Proposal Grading Participation 20% Assignments 40% ( 10% each for 4 assignments) Creative Journal 20% Resource Packet 20% 1 00-90 = A 89--80 = B 79-70 = C 69-60 = D 59 o r below = F 1 00% tota l For P/N P students : P lease note that underg raduate student� must ach ieve 70% (or a g rade of C m inus o r above) to receive a "P'� ( passing grade) for a cou rse. Arts and Admin istration Program facu lty fo l low a stri ct I ncomp lete (" I" g rade) po l i cy. GRADING POLICY Please note that the h ig hest g rade to be ass igned i n this Arts and Adm in istration Program undergraduate cou rse is an "A", wh ich equates.to 4 .0 g rade points. Ind ividua l students must take respons ib i l ity to attend closely to the cou rse syl l abus, ass ignment descriptions, as wel l as written comments on g raded assignments i n order to ga in a more precise understand ing of the i nterpretation that gu ides th is course. Whi le there i s variation across cl asses in the ab i l ity Spring 201 6 6)., � ••• Wl•M and effort of students, the standards are sufficiently broad to accom modate reasonab le vari ation i n performance . TYPICAL GRADE DISTRIBUTIONS A= Mastery: Disti n ctive work in synthesis of th ink ing and maki ng, i dea exp loration and expression ; extraord i na ry work reflective of h igh level i nvestment, d iscovery, and i ntel lectua l engagement and ach ievement; s ign ificant persona l p rogress. B = Success : Wel l -executed idea exp loration and express ion r�flective of g�nu i ne engagement, ach ievement, and basic comprehens ion; successfu l work reflective of strong i nvestment i n cou rse concepts and objectives, frequent and thoug htfu l pa rticipation ; evidence of persona l progress. C = Com petent: Success in meeti ng m in imum cou rse requ i rements showing adequate investment, d iscovery, and i nte l lectua l engagement and ach ievement; competent, complete work with most assi gnments and work meets basic objectives, satisfactory grasp of.materia l a nd parti ci pation i n cou rse; made some persona l g rowth. D = Below Average : Cou rse concepts poorly understood and/or a rticu l ated, fa i l u re to engage with the m i n imum requ i rements, lack of susta ined engagement i n the learn ing process and i nte l l ectua l g rowth; I nd icates s ign ificant prob lems i n more than one a rea of performance for the cou rse. F = I nadequate : Does not meet dead l i nes and basic cou rse com m itments; demonstrates an overa l l lack of academic d i scip l i ne, i nte l l ectual focus, and/or persona l g rowth ; i nd icates either a l ack of bas ic u nderstand ing of the materia l , susta ined lack of engagement in the learn ing process, and/or negative forms of engagement with the cou rse materia l s and the learn i ng commun ity (e.g. p lag iarism, cheating, bu l lyi ng ) ACADEMIC HONESTY P lag iari sm is a serious offense . The consequences for us ing the words of another without quotation marks or citation , o r of usi ng the ideas and concl us ions of anot�er without citation, a re severe . I n th is cou rse, such academic d ishonesty wi l l not be to lerated . Forfu rther i nformation regard i ng academic d ishonesty, see http://l i bweb.uoregon .edu/gu ides/plag iari sm/students/. Spring 201 6 � V