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Why Support International Exchange Among Why Support International Exchange among Artists? A Decade of Tracking the Economic, Cultural FSI8THNFQ'JSJܪYXTK TransCultural Exchange’s Doing So Conferences on International Opportunities in the Arts Economic Impact Analysis and Program Evaluation Why Support International Exchange among Artists? &)JHFIJTK9WFHPNSLYMJ*HTSTRNH(ZQYZWFQFSI8THNFQ'JSJܪYXTK)TNSL8T Editor/Project Director: Mary Sherman Editorial Assistant: Carol van Zandt Copy Editor: Carol van Zandt Proofreaders: 2FWNJ(TXYJQQT;NWLNSF+WJYYT9FS^F ,WZJSJGJWLJW1NSIXF^1FISJWFSI+FMWNS?FRFS Cover Design: Siyi Wang 9MNXWJUTWY\FXUFWYNFQQ^KZSIJIG^LWFSYXKWTR9MJ'TXYTS+TZSIFYNTSѣX (ZWYNX.SYJWSFYNTSFQ(TZSHNQ+ZSI2FXXFHMZXJYYX(ZQYZWFQ(TZSHNQ'TXYTS (ZQYZWFQ(TZSHNQFSI3FYNTSFQ*SIT\RJSYKTWYMJ&WYXFSIG^WJXJFWHM XZUUTWYKWTR'TXYTS(TQQJLJѣX:SIJWLWFIZFYJ7JXJFWHM+JQQT\XMNU UWTLWFR &QQWNLMYXWJXJW[JI3TUFWYTKYMNX\TWPRF^GJWJUWTIZHJITWYWFSXRNYYJI NSFS^KTWRTWG^FS^RJFSXJQJHYWTSNHTWRJHMFSNHFQNSHQZINSL UMTYTHTU^NSLWJHTWINSLTWG^FS^NSKTWRFYNTSXYTWFLJTWWJYWNJ[FQX^XYJR \NYMTZYYMJUWNTW\WNYYJSUJWRNXXNTSTKYMJHTU^WNLMYT\SJWJ]HJUYKTWYMJ NSHQZXNTSTKGWNJKVZTYFYNTSXNSFWJ[NJ\ 9WFIJRFWPJISFRJXRF^FUUJFWNSYMJGTTP7FYMJWYMFSZXJFYWFIJRFWP X^RGTQ\NYMJ[JW^THHZWWJSHJTKFYWFIJRFWPJISFRJYMJSFRJXFWJZXJI TSQ^NSFSJINYTWNFQKFXMNTSFSIYTYMJGJSJܪYTKYMJYWFIJRFWPT\SJW\NYM STNSYJSYNTSTKNSKWNSLJRJSYTKYMJYWFIJRFWP &QQNSVZNWJXXMTZQIGJFIIWJXXJIYT 9WFSX(ZQYZWFQ*]HMFSLJ 9MJ&WYNXY'ZNQINSLFY8ZRRJW8YWJJY 'TXYTS2FXXFHMZXJYYX HTSYFHY%YWFSXHZQYZWFQJ]HMFSLJTWL .8'3 l9WFSX(ZQYZWFQ*]HMFSLJ Table of Contents FORWARD U 1.00 INTRODUCTION U 8:22&7> 2.00 ECONOMIC IMPACT AND SURVEY EVALUATION U 2JYMTITQTL^ 5WTHJXX*[FQZFYNTS 8ZW[J^*[FQZFYNTS 3.00 ECONOMIC IMPACT ANALYSIS U 4[JW[NJ\ 9WFSX(ZQYZWFQ*]HMFSLJ*]UJSINYZWJX (TSKJWJSHJ&YYJSIJJ*]UJSINYZWJX 9TYFQ)NWJHY.SINWJHYFSI.SIZHJI*HTSTRNH.RUFHYX 4.00 PRELIMINARY OUTCOMES U ,TFQ(WJFYNSLF(FYFQ^XYKTW.SYJWSFYNTSFQ*]HMFSLJ )FYJXFSI&YYJSIFSHJ *]FRUQJXTK*[JSYX 'JSJܪYXYT&WYNXYXѢ(FWJJWX 'JSJܪYXYT.SXYNYZYNTSXFSI(TSKJWJSHJ5FWYSJWX 2JFXZWJXTK(ZXYTRJW8FYNXKFHYNTS <JGXNYJ 5WJXX(T[JWFLJ ,TFQ8YWJSLYMJSNSL(TRRZSNYNJX 8MT\HFXNSL2FXXFHMZXJYYXѢ(WJFYN[J*HTSTR^ 5WTRTYNSLF5TXNYN[J;NJ\TK&RJWNHF&GWTFI 5.00 SURVEY INSTRUMENTS AND FINDINGS U 2JYMTITQTL^ ,JSJWFQ.SKTWRFYNTS Table of Contents Continued 5QFHJTK7JXNIJSHJ -T\INI^TZUFWYNHNUFYJNSYMJ(TSKJWJSHJ$ <MFYNX^TZWFSSZFQNSHTRJQJ[JQ$ <MFYNX^TZWFLJ$ -T\INI^TZܪSITZYFGTZYYMJ(TSKJWJSHJ$ 9MJUWTLWFRXJXXNTSFSITW(TSKJWJSHJFHYN[NY^WJXUTSIJSYXYMTZLMY\FXRTXY[FQZFGQJ <MNHMTSJTKYMJKTQQT\NSLGJXYIJXHWNGJX^TZ$ -T\QTSLMF[J^TZMJQI^TZWHZWWJSYUTXNYNTS$ .K^TZFWJFSFWYNXYMT\\TZQI^TZIJXHWNGJ^TZW\TWP$ 8UJSINSL)FYF&UUWT]NRFYJQ^MT\RZHMNSYTYFQINI^TZXUJSIIZWNSL^TZWXYF^NS'TXYTSTSYMJKTQQT\NSL NYJRX$ 8FYNXKFHYNTS\NYMYMJ(TSKJWJSHJ <MFYTYMJWFHYN[NYNJXINI^TZFYYJSIIZWNSLYMJ(TSKJWJSHJ$ 4[JWFQQMT\\TZQI^TZWFYJYMJVZFQNY^FSIJKܪHNJSH^TKYMJKTQQT\NSLFXUJHYXTKYMJ(TSKJWJSHJ$ .SYJWJXYNS+ZYZWJ(TSKJWJSHJX <TZQI^TZGJNSYJWJXYJINSFYYJSINSLFXNRNQFW(TSKJWJSHJNS$ <TZQI^TZGJNSYJWJXYJINSFYYJSINSLFWJXNIJSH^UWTLWFRNSYMJ'TXYTSFWJFYMFYNSHQZIJINSYJWSFYNTSFQFWYNXYX$ <TZQI^TZGJNSYJWJXYJINSFYYJSINSLFXNRNQFWHTSKJWJSHJT[JWXJFX$ 4UJS*SIJI6ZJXYNTSX .K^TZFYYJSIJIFS^TK9WFSX(ZQYZWFQ*]HMFSLJѣXUWJ[NTZX(TSKJWJSHJXMT\INI^TZGJSJܪYKWTRYMFYJ[JSY$ -F[J^TZUFWYNHNUFYJINSFS^TYMJWSTS(TSKJWJSHJJ[JSYG^9WFSX(ZQYZWFQ*]HMFSLJTWZXJIFS^TYMJWTKYMJ TWLFSN_FYNTSѣXXJW[NHJX$ .K^TZINIUFWYNHNUFYJNSFSTS(TSKJWJSHJ9WFSX(ZQYZWFQ*]HMFSLJJ[JSYINI^TZGJSJܪYKWTRYMFYJ]UJWNJSHJ$ -T\$ -T\IT^TZYMNSPYMNX(TSKJWJSHJ\NQQGJSJܪY^TZWHFWJJW$ <MFYSJ\XPNQQXPST\QJILJJ]UJWYNXJINI^TZLFNSKWTRFYYJSINSLYMJ(TSKJWJSHJ$ 2T[NSL+TW\FWI Table of Contents Continued -T\\TZQI^TZNRUWT[JYMJ9WFSX(ZQYZWFQ*]HMFSLJ(TSKJWJSHJ$ <MFY\TZQIGJMJQUKZQKTW^TZYTMF[JTS9WFSX(ZQYZWFQ*]HMFSLJѣX\JGXNYJ$ .XYMJWJFS^YMNSL^TZ\NXM^TZMFIPST\SGJKTWJFYYJSINSLYMJ(TSKJWJSHJ$ <MFYTYMJWPNSIXTKFHYN[NYNJX\TZQI^TZQNPJYTXJJ9WFSX(ZQYZWFQ*]HMFSLJIT$ <MFY.SKTWRFYNTSTWYTUNH\TZQI^TZQNPJNSHQZIJINSYMJSJ]Y(TSKJWJSHJ$ &IINYNTSFQ(TRRJSYX 6.00 2014 FOLLOW UP SURVEY U ,JSJWFQ.SKTWRFYNTS 5QFHJTK7JXNIJSHJ 5WTKJXXNTS -T\QTSLMF[J^TZMJQI^TZWHZWWJSYUTXNYNTS$ )T^TZXZUUTWY^TZWXJQKXTQJQ^FXFSFWYNXY$ &WYX*[JSYX&YYJSIFSHJ &XNIJKWTRUWJXJSYFYNTSXTK^TZWT\S\TWPMT\TKYJSIT^TZFYYJSIѰ$ <MFYNX^TZWUWNRFW^RTYN[FYNTSKTWFYYJSINSLYMJXJJ[JSYX$ &WJYMJWJTGXYFHQJXYMFYPJJU^TZKWTRFYYJSINSLYMJXJJ[JSYX$ .SYJWSFYNTSFQ.S[TQ[JRJSY )ZWNSLYMJHTZWXJTKF^JFWMT\TKYJSIT^TZYWF[JQFGWTFI$ .K^TZMF[JMFIFS^TYMJWJ]UJWNJSHJ\TWPNSLNSYJWSFYNTSFQQ^ STS9WFSX(ZQYZWFQ*]HMFSLJWJQFYJI\MFYNRUFHY ININYMF[JTS^TZW\TWP$ 3FYNTSFQ[X.SYJWSFYNTSFQ*]UTXZWJ$ -T\IT^TZXJJ^TZW\TWPHTSYWNGZYNSLYTYMJܪJQITKFWYTYMJWܪJQIXTKXYZI^TWXTHNJY^NSLJSJWFQ$ <MFYFHYN[NYNJXWJXTZWHJXTWY^UJXTKHTSSJHYNTSX\TZQIGJKWZNYKZQYT^TZWIJ[JQTURJSYFXFSFWYNXY$ Table of Contents Continued APPENDIX A — SURVEY INSTRUMENT U &џ(43+*7*3(*8:7;*> &џ5489(43+*7*3(*8:7;*> &џ(43+*7*3(*8:7;*> &џ(43+*7*3(*8:7;*> APPENDIX B — ECONOMIC IMPACT METHODOLOGY U 'џ&798&3)*(4342.(57485*7.9>.;(&1(:1&947 'џ.251&3 'џ(:19:7*(4:39 APPENDIX C — OPEN ENDED RESPONSES U (џ8:7;*>45*3*3)*)7*85438*8 (џ54898:7;*>(422*398 (џ8:7;*>45*3*3)*)7*85438*8 (џ8:7;*>45*3*3)*)7*85438*8 (џ8:7;*>45*3*3)*)7*85438*8 APPENDIX D — PRESS AND ONLINE CITATION BIBLIOGRAPHY U APPENDIX E — CONFERENCE PRESENTERS U APPENDIX F — 2016 CONFERENCE PROGRAM SCHEDULE U APPENDIX G — TRANSCULTURAL EXCHANGE’S 10TH ANNIVERSARY OF THE COASTER PROJECT, DESTINATION: THE WORLD U APPENDIX H — MINISTRY OF CULTURE, REPUBLIC OF CHINA, TAIWAN’S U BROCHURE FOR TAIWAN ARTIST ACTIONS: REACHING BEYOND APPENDIX I — TRANSCULTURAL EXCHANGE’S EXECUTIVE DIRECTOR, ADVISORY BOARD AND BOARD OF TRUSTEES U Acknowledgements U FORWARD TransCultural Exchange is a U.S. 501(c)(3) non-profit organization,1 best known for its biennale Conferences on International Opportunities in the Arts, which are unique in their scope and aim. The Conferences are designed for artists. Their goal is to acquaint them with international programs that support their work and put them in touch with new cultures, ideas and ways of thinking. The speakers come from around the world. They are artists-in-residency directors, curators, critics, grantmakers, funders, gallerists and even scientists. The Conferences came about from TransCultural Exchange realizing that, although other professionals have conferences to meet their peers, share ideas, learn about the latest developments and network, artists did not. Consequently, in the US, many artists may know of such artist-in-residencies as the MacDowell Colony and Yaddo; but, they would be hard pressed to name another. Yet, there are over four hundred such national and international programs to serve them. Today, the proliferation of residencies – as well as biennales, open studio events and the internet – are changing how art is being made and sold. Alongside such traditional media as painting and sculpture, there are now ephemeral works, social th interventions, installations and public interactions. The 19 -century invention of the gallery system is waning. A heady new array of possibilities is taking its place. And, these, combined with the rapid-fire onslaught of newer and newer products and ideas, the accompanying anxiety of super-sized, global competition and the race to keep up with the inevitable rise of insatiable appetites causes everything to speed up. Complex ideas are reduced to elevator pitches. Everything is about getting to the endpoint before anyone else; and, then getting to the next one. There is little time for discussion, still less for reflection and none for failure. Throughout history and across cultures, the arts have stood in opposition to this. Since the dawn of civilization, they have accompanied and provided us with avenues for reflection. They offer insights into our past, present and future. They engage our senses, our primary means of accessing and knowing the world. Yet at the moment, they seem left flaying about, like a fish out of water, in search of a justification. 1 In 1989 the artists-run TransCultural Exchange was created to produce the organization‘s first project, an exhibition, film screening and reading of Chicago and Viennese artists‘ works. Then, on September 17th, 2002, the organization incorporated as a 501(c)3 non-profit in the State of Massachusetts. On March 11th, 2013 TransCultural Exchange expanded its operations, opening a daughter NGO in Berlin, TCE TransCultural Exchange gemeinnützige GmbH. 7 This demand for qualifiable and quantifiable justification is nothing new, but the situation is worsening. Nor is it unique to America. If the new European Union funding guidelines are any indication, then European art institutions are beginning to feel the sting of this bottom-line myopia as well2. This means, unfortunately, that it is not enough for artists and those who support them to do great work and advance their field, they need to adopt the same, very time-consuming strategies for justification. In other words, it is no longer enough to create, support and show people great art, those who make and support it also have to, for instance, gather statistics to be able to say X number of people attended their programs and X said they learned X. Moreover, in terms of food, beverages and other indirect impacts, X amount of revenue was generated, and if one adds direct impacts as well . This is exactly the aim of this publication. Sadly without this kind of data, TransCultural Exchange would not have survived past its first Conference. This eureka moment came – like most do – from where it was least suspected: a complicated grant obligation. TransCultural Exchange's first major grant required us to have a Department of Policy Analysis create
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