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Capstone 2013 A Performance Measurement Framework May 2013 Jessica Flynn, Gabriel Morales, Nicole Stratton [ ] Times Square Arts
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Capstone 2013
A Performance Measurement FrameworkMay 2013Jessica Flynn, Gabriel Morales, Nicole Stratton
[ ]Times Square Arts
Foreword
With up to 400,000 people visiting Times Square each day, Times Square Arts is one of the nation’s highest-profile public art programs. In line with efforts to take full advantage of Times Square’s unique platform—and further establish the program as a model in the field—the program’s leadership solicited a Capstone team from New York University’s Robert F. Wagner Graduate School of Public Service to develop a performance measurement framework for Times Square Arts.
Performance measurement is a nascent, though increasingly important, area of interest for public art programs. Leaders of public art programs—both in the United States and abroad—recognize the need to understand and capture the impact of their programming. The recommendations and performance measurement framework in this report provide Times Square Arts with the foundation for collecting key information about its art projects and impact. This information will prove essential for strategic decision-making and sustaining financial support, as well as for painting a detailed picture of how Times Square Arts contributes to the district and to the mission of the Times Square Alliance.
This report is the product of a collaboration between Times Square Arts and the authors of this report, Jessica Flynn, Gabriel Morales, and Nicole Stratton of the NYU Capstone team. The purpose of this report is to provide Times Square Arts staff with a better understanding of performance measurement best practices and how these can be applied to the program. To produce this report, the Capstone team created an outline of the Times Square Arts Theory of Change and vision of success; conducted an extensive internal and external literature review; interviewed leaders of national and international public art programs, funders of public art, and key stakeholders; and reviewed the program’s current project implementation practices.
[ ]
02Designed by Natalie [email protected]
[ ]Table of Contents
03
Executive Summary
About Times Square Arts
Understanding the Times Square Arts Theory of Change: A Foundation for Performance MeasurementThe Times Square Arts Theory of ChangeTimes Square Arts Logic Model (Diagram A)Times Square Arts Outcome Sequence Chart (Diagram B)Key Program Assumptions
Assessing Public Art: A Review & Environmental ScanWhat Does “Success” Mean for Public Art?Funders’ Perspectives Stakeholders’ Perspectives of Times Square ArtsWhat’s Happening in Other Public Art Programs?Takeaways for Times Square Arts
Times Square Arts: Recommendations for Measuring SuccessAn Introduction to the Times Square Arts Performance Measurement FrameworkRecommended Phase One IndicatorsCollecting Data for Phase One IndicatorsNext Steps for Implementing & Using the Performance Measurement FrameworkLimitations Countdown to Measuring Success
Appendix A—Organizations Reviewed & Stakeholders InterviewedAppendix B—Comprehensive List of Performance IndicatorsAppendix C—Sources ConsultedAppendix D—Data Collection Tools
04
05.
06.
07. 07.09.10.11.
13.13.15.18.20.23.
25.25.27.28.29.33.34.
35.37.40.45.
[ ] [ ]About Times Square Arts
Times Square Arts, the public art program of the Times Square Alliance, seeks to contribute to the creativity, energy, and edge of Times Square—and enhance the experience and perception of the district—by taking advantage of Times Square’s unique, iconic platform to showcase distinctive leading contemporary visual & performing arts to the district’s hundreds of thousands of daily visitors and beyond.
Times Square Arts programming is organized into the following program strands:1. The Digital Gallery strand, which utilizes Times Square’s screens;2. The Live Arts Gallery strand, which allows for performance and installations in the “Bowtie”
area of Times Square;3. The After-Hours strand, which provides performances and installations throughout indoor
district venues;4. The Discourse strand, which presents talks and screenings;5. The Residency strand, which engages visual artists on a longer-term basis throughout the
“Bowtie” area.
To achieve its mission, Times Square Arts works closely with the art community, partner arts and culture organizations, government entities, district stakeholders, and corporate and foundational sponsors.
In September 2012, the Times Square Alliance retained the Capstone team to design a performance measurement framework for Times Square Arts. As a representative of one of the world’s most iconic spaces—and as one of the highest-profile public art programs in the United States—the leadership of Times Square Arts wished to begin gathering evidence of the ways in which the program was helping to improve and promote Times Square. The performance measurement framework in this report provides Times Square Arts with a basis for capturing key data about the success of its program.
The first and most critical step in developing a performance measurement framework is to articulate a program’s theory of change—in this case, to articulate the way in which Times Square Arts expects to make an impact in Times Square. Over time, Times Square Arts aims to (1) change expectations around what Times Square can offer its diverse stakeholders, thereby attracting broader audiences to the district, and (2) transform Times Square into a national cultural hub and the largest platform for leading contemporary and visual arts. To achieve this, Times Square Arts must strategically present high-quality programming and engage its key audiences in order to (1) change individuals’ perceptions, awareness, and knowledge of Times Square, (2) gain influence and visibility, and (3) increase leverage for Times Square Arts. The complete Theory of Change for Times Square Arts is explained in detail in this report.
The Capstone team’s literature review, stakeholder interviews, and environmental scan revealed that there are few precedents for measuring the impact of public art. Times Square Arts’ commitment
to fostering an environment of learning and evaluation—and implementing performance measurement best practices—is an important step in establishing a model for public art performance measurement. As such, Times Square Arts has an opportunity to become a thought leader in this evolving area of the field.
This report recommends Phase One indicators that Times Square Arts can immediately adopt as a first step in implementing a new performance measurement system. These Phase One indicators (outlined in the final section of this report) have been selected for immediate adoption because (1) they will provide meaningful and useful information, and (2) Times Square Arts has the basic capacity to collect data on these indicators right away. These indicators will allow Times Square Arts to begin to evaluate (1) the organizational health of the program, (2) the success of individual art projects, and (3) the progress the program makes toward short-, intermediate-, and long-term goals related to impact, influence and leverage. Additional indicators should be phased in over time; a comprehensive list of potential indicators is provided in Appendix B.
This report also explains how Phase One indicators should be piloted, from collecting baseline information about where the organization stands, to setting specific targets for the future. In total, this guide is designed to serve as a launching point for Times Square Arts as it begins to adopt performance measurement practices and measure and understand its impact on Times Square.
Executive Summary
05 06
Photo Credits: Natalie Devine
[ ]Understanding the Times Square Arts Theory of Change: A Foundation for Performance Measurement
The Times Square Arts Theory of Change A theory of change outlines a program’s strategies and assumptions. It provides a map of the building blocks required for success, as well as a basis for measuring progress along the way.
Over time, Times Square Arts aims to (1) change expectations around what Times Square can offer its diverse stakeholders, thereby attracting broader audiences to the district, and (2) transform Times Square into a national cultural hub and the largest platform for leading contemporary visual and performing arts. To achieve this, Times Square Arts must strategically present high-quality programming and engage its key audiences in order to (1) impact individuals’ perceptions, awareness, and knowledge of Times Square, (2) gain influence and visibility, and (3) build leverage for Times Square Arts.
The Times Square Arts Logic Model (Diagram A) provides an illustration of how program resources, activities, and outputs (the individual arts projects that Times Square Arts produces) enable the program to achieve its long-term goals.
The Times Square Arts Outcome Sequence Chart (Diagram B) outlines the audiences that are key to the program’s success and provides a detailed visualization of the Times Square Arts theory of change. The primary audiences for Times Square Arts are:
• The general public (New Yorkers, US visitors/tourists, international visitors/tourists)• Artists (those directly involved in the project and artists at large)• Partners (arts organizations, the arts community, others that contribute to projects)• District stakeholders (businesses, theatres, other nonprofits, NYC government)• Media (including art critics and others who provide print, digital, or live coverage, including social
media)• Funders (private foundations, public foundations, government supporters, individual donors)• External/third-party organizations (national and international arts sector and cross-sector
organizations, urban planning/revitalization sector, other Business Improvement Districts).The intended short-, intermediate-, and long-term outcomes for each of these intended audiences are illustrated in Diagram B.
Key Concepts for Understanding the Times Square Arts Logic Model and Outcome Sequence Chart
Inputs refer to the resources Times Square Arts has at its disposal. Times Square Arts must make strategic decisions about how to most efficiently and effectively use these resources.
Activities are the processes in which Times Square Arts engages in order to produce public art programming. These processes should be designed to enable the program to produce high-quality projects, and should be aligned with intended program outcomes.
Outputs are the public art projects that Times Square Arts produces; Times Square Arts has organized these outputs into program strands.
Outcomes are the intended short-term, intermediate, and long-term effects of Times Square Arts’ programming. These are outlined in detail in the Outcome Sequence Chart, and are divided into three categories:
• Impact on the individual, defined as changes in individuals’ attitudes, awareness, and knowledge of Times Square Arts and the Times Square district
• Influence, defined as changes in visibility for Times Square Arts• Leverage, defined as changes in investment in Times Square Arts.
Impact is the long-term, transformational effect Times Square Arts hopes to have on Times Square: specifically, attracting broader audiences to the district, and transforming Times Square into a national cultural hub and the largest platform for leading contemporary visual and performing arts.
The key program assumptions outlined on page 11 provide additional information as to how and why the program expects its activities will help it to achieve desired outcomes.
The theory of change provides a narrative of what the program hopes to accomplish, and therefore establishes a framework for measuring success. The next section of the report provides contextual background around public art measurement; the final section of this report provides suggested performance measurement indicators for Times Square Arts.
07 08
Diag
ram
A: T
imes
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odel
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ts
Tim
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UTS
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ORM
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STEM
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imes
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OMES
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CT
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niza
tiona
l Ind
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nflue
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and
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tcom
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dica
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ect I
ndic
ator
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ct in
divi
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awar
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are
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and
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ty fo
r Ti
mes
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for T
imes
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are
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titud
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Tim
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ts s
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ts h
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issa
ries
of
Tim
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ts
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r arti
sts
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Ti
mes
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are
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ave
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perie
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r art
in T
imes
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are
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ral p
ublic
atte
nd a
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ote
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ublic
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ject
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ts s
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laye
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Tim
es S
quar
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IMPACT
Tim
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stric
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akeh
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ee v
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affil
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ith th
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ts
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ram
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ty o
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izatio
ns
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d kn
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/aw
aren
ess
of T
imes
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are
and
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es S
quar
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ts’
succ
ess
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ers
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the
uniq
ue v
alue
in
pre
sent
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wor
k in
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es
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re
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mun
ity d
istri
ct s
take
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ers’
nor
ms
chan
ge to
em
brac
e ar
ts a
nd c
ultu
re
Tim
es S
quar
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ts is
reco
gnize
d an
d us
ed a
s a
mod
el o
f tem
pora
ry p
ublic
art
prog
ram
min
g
Tim
es S
quar
e di
stric
t st
akeh
olde
rs p
artic
ipat
e in
ar
t pro
ject
s
Med
ia d
isse
min
ate
info
rmat
ion
abou
t Tim
es
Squa
re A
rts p
roje
cts
Parti
cipa
ting
partn
ers
have
a
posi
tive
expe
rienc
e w
orki
ng
with
Tim
es S
quar
e Ar
ts
Partn
ers
incr
ease
refe
rrals
to T
imes
Sq
uare
Arts
Partn
ers
gene
rate
new
aud
ienc
e fo
r Tim
es
Squa
re A
rts
Tim
es S
quar
e Ar
ts e
xecu
tes
publ
ic a
rt pr
ojec
ts
INFLUENCE
City
pol
icie
s/se
rvic
es a
roun
d Ti
mes
Sq
uare
favo
r Tim
es S
quar
e Ar
ts
Publ
ic a
nd p
rivat
e fo
unda
tions
incr
easi
ngly
aw
ard
fund
ing
to T
imes
Squ
are
Arts
Indi
vidu
als
incr
easi
ngly
inve
st in
Tim
es
Squa
re A
rts
Addi
tiona
l ven
ues/
spac
e be
com
e av
aila
ble
for p
rogr
amm
ing
LEVERAGE
Fund
ers’
kno
wle
dge
of T
imes
Squ
are
Arts
in
crea
ses
OUTP
UT
INTE
RMED
IATE
OU
TCOM
ES
Tim
es S
quar
e Ar
ts s
ecur
es
sust
aine
d an
d re
liabl
e fu
ndin
g
Dia
gram
B: O
utco
me
Sequ
ence
Cha
rt
Attra
ctio
n of
bro
ader
aud
ienc
es
to th
e di
stric
t
Tran
sfor
mat
ion
of T
imes
Sq
uare
into
cul
tura
l hub
that
is
reco
gnize
d as
lead
ing
plat
form
fo
r con
tem
pora
ry v
isua
l +
perfo
rmin
g ar
ts
LON
G-TE
RM O
UTC
OMES
SEE
OU
TCO
ME
SEQ
UEN
CE
CH
AR
T
10
Key Program Assumptions
• Audiences will see value in encountering public art in Times Square.• Audiences will notice and/or be able to identify public art in Times Square. • It is possible to change artists’ perceptions of—and interest in—Times Square.• Artists, partners, and district stakeholders will see the value in presenting work in Times Square. • Media will see value in reporting about the public art in Times Square. • The public art program will help to displace undesirable activities that may arise in Times Square, and
can help to restore the character of Times Square.• The model used by Times Square Arts can be emulated and/or adopted by other public art programs.• Economic conditions— and the funding environment— make it possible for Times Square Arts to
increase individual, private, and public support for its programming.
Photo Credits: Ka-Man Tse
11 12
Assessing Public Art: A Review & Environmental Scan
What Does “Success” Mean for Public Art?
[ ]As summarized in the report Evaluation of Public Art: A Literature Review and Proposed Methodology, the literature suggests that the benefits of public art can include improving a place’s image; attracting visitors and generating local spending; building support for public art; and supporting artists.
While the richness of arts and culture offerings in a space is often linked to community outcomes in education, economic development, civic engagement, social cohesion, and stewardship (among others), it is difficult to isolate how any individual public art program specifically contributes to these outcomes. As a result, long-term community outcomes should be assessed not in relation to one isolated public art program, but instead in tandem with other efforts and programs.
With this caveat noted, public art programs can develop a program-specific theory of change and logic model to outline their strategies and assumptions about the outcomes they believe they can realistically influence (as has been done for this report). Once a theory of change has been developed, it is possible to begin devising performance metrics to assess progress toward these outcomes. Public Art: A Guide to Evaluation, released by public art think tank Ixia, prompts public art programs to ask the following questions when devising performance metrics from the theory of change: 1) is it realistic to expect a public art project to influence the outcomes as stated?, 2) can the public art project/process be differentiated/isolated from other influences?, and 3) is it possible to collect meaningful data related to these outcomes?
Key Resources: The Impact of Public Art• ARTSblog and the Public Art Network (Americans for the Arts)• Building Public Art into Business Improvement Districts’ Menu of Services• Evaluation of Public Art: A Literature Review and Proposed Methodology• Public Art and the Challenge of Evaluation• Public Art: A Guide to Evaluation (Ixia)
A full bibliography of resources, including those related to the impact of public art and those related to the impact of general arts and culture, can be found in Appendix C.
Literature Review: How Public Art Programs Can Gauge Their Success During the selection and production of a public art project, public art managers might ask:
Quality• Is the art high quality, according to its type: art, urban design, or community project? • Does the art prompt positive peer response?• Does the project improve or energize the site?
Use of Resources• Does the project make use of a prioritized site? • Are partners involved? • How was the project funded?
Audience Engagement• Does the project prompt conversation or social awareness? • How many individuals encounter the project and who are they? • Do the target audiences/beneficiaries engage with the project? • Do individuals utilize the website or other educational tools to learn more? • Did the project receive press coverage in notable outlets? • Is feedback provided in blog posts and other social media?
Artist Experience & Engagement• Did the artist have a positive experience? • How did the artist’s experience affect his/her attitudes/perceptions about the place? • Do artists report that the project had an educational and/or professional impact?
District Engagement• Did area businesses/organizations feature public art in their educational programs or marketing materials?
In the longer-term, important questions might be:• Did individuals’ perceptions about the area change (e.g., is the area now considered a cultural hub?)• Did the BID strengthen relationships with partner organizations?• Did individuals’ knowledge of public art and/or the arts increase? • Was there any additional investment in the program or area? • Was the program model adopted by other organizations? • Did the intended areas receive increased foot traffic?• Were there increases in local spending (e.g. did area businesses report increases in sales)?• Do artists see value in the unique platform the program offers?
The questions revealed through this literature review inform the performance measurement framework developed for Times Square Arts.
13 14
Funders’ PerspectivesTo identify current funder trends related to public art, the Capstone team selected a sample of funders of New York-based public art, reviewed available information, and, where necessary, solicited additional information about these funders’ performance measurement requirements.
• Funders differ in how they define public art—with varying definitions of both “public” and “art.”
• Funders have their own missions and intended outcomes in mind when providing financial support for public art. These may inform performance measurement requirements and/or expectations as to what “successful” public art programs or projects entail.
• Most funders do not have public art-specific performance measurement requirements. In many cases, this is because funders support public art in addition to other arts and/or cultural activities (in other words, most funders do not specialize in public art).
• The majority of funders want to see that programs have clear objectives and clear target audiences for their projects, and as an extension, that programs have performance measurement processes in place that are useful for program management and growth. In addition, funders emphasize the importance of organizational excellence as informed by reputation, clarity of strategic direction, fiscal stability, and other characteristics.
Why Do Funders Support Public Art?
• To provide the public with access to diverse, high-quality art• To allow for the creation of new work and service to the creative community • To transform spaces and strengthen community identity• To preserve heritage and culture• To increase artists’ visibility• To enable artistic collaboration and the creation of work across multiple disciplines• To foster technological innovation • To promote global understanding through the arts (i.e., cultural diplomacy)• To instill arts-related knowledge and/or interest in participants/audience
What Types of Performance Information Might Funders Request?
Project-Related• Demonstration of art projects’ artistic and organizational excellence• Evidence of the uniqueness of projects to the discipline and/or space• Demonstration that the grantee carried out the project in the proposed manner and in line
with the proposed goals/objectivesAudience-Related• Total attendance/participation • Demographic breakdown of audiences• Testimonials/survey data from target audiences • Amount of web traffic • Evidence of technology to advance engagement • Number of members/subscribers• Media attention/reviewsArtist-Related• Description of the long-term career path of participating artists/partners • Testimonials/survey data from artists• Professional awards/accoladesLeverage-Related• Demonstration of broad-based support (e.g., number of partners and types of financial support)• Description of community sectors involved• Actual/expected changes in policies/laws• Description of how projects could lead to improvements in community-level outcomes, such
as cultural vitality
15 16
What is Creative Placemaking?
The National Endowment for the Arts defines creative placemaking as a situation in which “partners from public, private, non-profit, and community sectors strategically shape the physical and social character of a neighborhood, town, city, or region around arts and cultural activities. Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired.”
Source: National Endowment for the Arts. (2010). Creative placemaking. Washington, D.C. Markusen, A., & Gadwa, A.
Funder Trends: Promoting “Creative Placemaking” and “Cultural Vitality”
Some major funders of public art-- such as the National Endowment for the Arts and ArtPlace -- are increasingly funding public art within the context of larger efforts toward strategically shaping the physical and social character of a given area around arts and cultural activities.
These funders want to see that public art programs are integrated into a broader portfolio of strategies for transforming the community. They will measure their own success by determining the degree to which their financial support has led to community-level outcomes.
It behooves public art programs to understand how their work complements other community strategies related to creative placemaking and cultural vitality, and to consider what they can offer in support of creative placemaking outcomes. Times Square Arts’ unique positioning within the Business Improvement District allows Times Square Arts to demonstrate how the public art program is one component of a larger BID-level strategy for improving and promoting Times Square.
What is Cultural Vitality?
Cultural vitality is defined as “evidence of creating, disseminating, validating, and supporting arts and culture as a dimension of everyday life in communities.” There are three “domains” of cultural activity that, together, can provide a “comprehensive picture” of an area’s cultural vitality: presence of opportunities for cultural participation, cultural participation itself, and support for cultural participation.
The 2006 report “Cultural Vitality in Communities: Interpretation and Indicators,” issued by the Urban Institute (with support from the Rockefeller Foundation), includes a schema for understanding/utilizing available community-level data regarding arts and culture. ArtPlace is an example of a funder that strategically funds programs in order to improve cultural vitality. Source: The Urban Institute. (2006). Cultural vitality in communities: Interpretation and indicators. Washington, DC: Jackson, M. R., Kabwasa-Green, F., & Heranz, J.
When describing Times Square, stakeholders repeatedly used words such as:
Stakeholders’ Perspectives of Times Square Arts The Capstone team interviewed 15 Times Square Arts stakeholders, including artists, art advisors, Times Square Alliance board members, partners, and staff.
Key words used to describe Times Square Arts, its work, and its potential impact on the district included:
17 18
Most viewed Times Square as a good location for public art, but some were uncertain as to whether people will ever go to Times Square intentionally to see art.
• ‘I would love people to associate Times Square with art and I don’t know if that will ever happen.’
Most perceive Times Square Arts as positively contributing to the character of Times Square. • ‘I think it creates a moment for people in the midst of the visual chaos.’• ‘The best projects make visitors feel like they’re part of a moment in time.’• ‘It makes you stop for a moment and appreciate it.’
Stakeholders expressed that the Times Square Arts strategy, story, and process are not clearly articulated as part of the project selection.
• ‘I still feel [Times Square Arts] has a way to go to push for structure.’• ‘It’s challenging to tell that story. I’m not sure [Times Square Arts] is doing it now, but it’s something that they’re
working towards.’• ‘[Times Square Arts] needs to take the time to establish itself as a program.’
There is broad consensus that Time Square Arts has a strong curatorial vision, support, and expertise.
• ‘[Times Square Arts] is a “producing partner”.’• ‘Sherry helped us create.’• ‘The team is wonderful and thorough.’• ‘They gave us time and manpower and logistics and enormous wisdom.’
Stakeholders reported benefits with regard to audience exposure, communication efforts, and stakeholder engagement (e.g., the government, business community, etc.).
• ‘Times Square provides audience we wouldn’t normally encounter.’• ‘Basically what they do, they bring all the players to the table.’
There was concern about funding across all types of stakeholders. • ‘The only setback is that Times Square Arts does not have funds to collaborate.’• ‘Some projects suffer from not having enough financial support; we can make better use of co-commissioning and
co-branding.”• ‘Public safety and cleanliness comes first, but art is also important.’
Some believed that the program could be larger and wider-reaching. • ‘[The program could] benefit from some growth, because there’s a lot to do and it’s a big responsibility.’• ‘The program should eventually be larger scale I think, it would be exciting to see multiple artists creating
simultaneously.’
Some expressed that a defined performance framework could elicit skeptical responses from stakeholders.
• ‘No real method of evaluating [public art programs].’• ‘I think the best way is to find anecdotes and share them in different ways so that people feel engaged. A simple
story can show more success than a headcount, especially in Times Square.’
What’s Happening in Other Public Art Programs?
Public Art in Business Improvement Districts
Business Improvement Districts (BIDs) are organizations that deliver public services to geographically specific areas—supplementing public services already provided by the government—for the purpose of enhancing the quality of life and economy of that area. Depending on the city, these organizations may also be called Community Development Corporations, Special Service Areas (Chicago), or Public Improvement Districts, among other names. BID services typically include sanitation, security, business development, district/neighborhood promotion, and other activities related to the improvement of the urban environment. Many BIDs also seek to contribute to the creative or cultural vibrancy of the area by hosting events, installing public art, or other entertainment.
Though many BIDs seek to enrich their spaces, few have done so through regular, structured public art programming. For BIDs that do engage in arts-
related programming, activities range from simply publicizing existing public art (e.g., that which has already been installed temporarily or permanently by a city government or another organization), to programs that actually curate public art projects in-house. Of the latter, Times Square Alliance is among a small group of BIDs that have in-house public art programs. Other examples in the United States include the Chicago Loop Alliance, Downtown Baltimore Partnership, St. Louis Grand Center BID, and Downtown Fort Worth. Internationally, city governments and arts organizations have also begun to support a wide range of art and performance activities in public spaces; for example, the Institute for Contemporary Art, which is located near Trafalgar Square in London, is responsible for all of the programming in that space. It is important to note, however, that while these organizations have public art programs, Times Square Arts remains much more advanced in scope and structure.
Notably, none of the BIDs with public art programming have publicly available data regarding the impact of their public art. Locally, however, BIDs are increasingly incorporating public art into their organizational plans and the New York City BID Association encourages local BIDs to implement public art programs. Local examples of BIDs with art programming include the DUMBO Improvement District, Union Square Partnership, and the Myrtle Avenue Brooklyn Partnership. While these programs do significant work in the realm of public art, their program structures vary.
“BIDs have a great opportunity to contribute to the creative
economy of their neighborhoods while enriching the communities
they represent through the installation of public art pieces
within the district.” - NYC BID Association
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Public Art Project Implementation Best Practices
To understand Times Square Arts’ current operations—and reveal opportunities for data collection and performance measurement— the Capstone team reviewed the process by which Times Square Arts projects are selected and implemented, and compared this process to those used by other public art programs.
The Times Square Arts program strands provide a useful foundation for directing other program activities such as the solicitation/selection, facilitation, and execution of art projects; strategic communication to target audiences; strategic partnership development; fundraising; and evaluation.
Times Square Arts could benefit from having a more formal project selection and implementation process; furthermore, the specific process used for each project should be captured from start to finish. With a well-defined process in place, Times Square Arts will be able to:
• collect data at important stages of project development, providing a comprehensive historical narrative of each project and allowing opportunities for reflection/analysis of what “worked” and what “didn’t work”;
• ensure that projects are selected and developed in line with key program goals (as outlined in the theory of change), improving program effectiveness;
• ensure that program best practices are used (i.e., that no key step is inadvertently overlooked);• give key players and stakeholders an idea of how and when they will be involved in the project.
In essence, Times Square Arts aims to select, facilitate, and execute ambitious, high-quality public art projects; a formalized process will better enable the program to do so. Key steps in this process are outlined in the Project Process Diagram below.
Project Process
PRE DURING POST
Idea Proposal
Program Strand Placement
Duration Planning
Communication Planning
Permissions and Permitting
Location Analysis and Selection
Budget Planning
FinancingAudience Generation
On-Site Evaluation
Artist Selection
Partnership Development
District Stakeholder Engagement
Community Engagement Conservation and Restoration
Fabrication and Installation
Post-project Questionnaire
Media Scan
Literature Review: Spotlight on Project Selection Practices
• Many public art organizations explicitly define their project development, selection, and implementation processes on their websites. Selection methods include open calls, limited invitations, direct selection, requests for qualifications, and requests for proposals.
• Some organizations provide explanations of their selection processes, and include information on who is
involved in decision-making (e.g., there might be a committee, sponsoring organization, or community that has input, like in the case of the Times Square Arts Advisory Committee).
• Many organizations also provide clear selection criteria, giving prospective artists an idea of what to consider
when proposing a project. Selection criteria might include artistic merit, intended project impact, use of partnerships, and the potential for success. Some organizations also list examples of types of projects that would not be acceptable.
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Takeaways for Times Square Arts The following is a summary of Times Square Arts’ strengths and opportunities as identified through the Capstone team’s literature review, stakeholder interviews, and environmental scan. Times Square Arts may wish to pursue additional research on these points as the program continues to evolve.
Times Square Arts Strengths
• Use of landmark public space and access to unique resources (e.g., Times Square screens)• Expertise navigating logistics and space• Strong curatorial vision and artistic expertise• Access to Times Square’s uniquely large and diverse audience• Dedicated strategic communication efforts to targeted audiences• Use of partnerships for the purposes of artistic excellence, audience development, diversity,
capacity building• Established BID connections to government, business, art communities • Positioning near artistic organizations such as Broadway theatres• Positioning of Times Square Arts within the BID (Times Square Arts as part of a larger strategy
for promoting/cultivating Times Square), as well as BID support for public art
Times Square Arts Opportunities
• Seeking sustained and reliable funding by diversifying financial support to include individual, public, and private sources
• Addressing stakeholder concerns and using public art best practice of providing funds for artist payment
• Outlining key steps of the project implementation process and collecting information at key stages in order to reflect on, analyze, and identify opportunities for improvement
• Finding new digital tools (such as QR codes, mobile apps, etc.) for engaging/reaching audiences in real-time
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Spotlight: Thought Leadership in Public Arts Measurement The New York State Council for the Arts (NYSCA) recently held a performance measurement-focused Public Art Forum with 17 professionals in the field. The report resulting from this forum will be released in mid-2013 and should provide additional information regarding funder trends going forward. NYSCA also expressed interest how Times Square Arts’ performance measurement efforts progress.
• Exploring and developing an understanding of “cultural diplomacy” relative to Times Square Arts in order to leverage growing funder interest in this topic
• Identifying avenues for bringing exposure to Times Square Arts as model in the field (e.g., through art forums such as the Public Art Network)
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[ ]Times Square Arts: Recommendations for Measuring Success
An Introduction to the Times Square Arts Performance Measurement FrameworkThe Times Square Arts performance measurement framework should be considered a package with two key components: (1) the theory of change and logic model, and (2) the indicators that Times Square Arts can begin using to assess progress toward achieving the results as outlined in the logic model. The theory of change for Times Square Arts—as articulated in this report and visualized in the logic model—was designed to reflect the program’s present state and structure. (See Diagrams A and B.) By outlining Times Square Arts’ sequence of activities and expected results, the logic model serves as a guide for identifying opportunities for program measurement, as well as a guide for selecting appropriate performance indicators.
Performance measurement is the regular measurement of a “program’s results (outcomes) and efficiency of services.” A performance indicator is defined as a “specific numerical measurement for each aspect of performance under consideration.”- Source: Hatry, H. P. Performance measurement: Getting results. Washington, D.C.: Urban Institute Press.
Proposed indicators fall into the following categories, which map to the logic model.
Within these categories, Phase One indicators have been selected because (1) they will provide meaningful and useful information, and (2) Times Square Arts has the basic capacity needed to collect data on these indicators right away. Instituting indicators in phases allows the program to reflect on the implementation and use of the performance measurement system, and gives the program time to develop the tools needed to collect data in subsequent phases.
Organizational Indicators
Provide information on organizational
health of the program
Project Indicators
Provide information on success of individual art projects as well as other data at the output level
Outcome Indicators
Provide information on progress toward short-, intermediate-, and long-term goals
Impact Indicators
Influence Indicators
Leverage Indicators
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The performance measurement framework in this report allows Times Square Arts to take the first, most fundamental steps toward establishing performance measurement and management practices. This section provides recommended Phase One performance indicators that Times Square Arts can immediately implement to begin measuring its success. A comprehensive list of additional indicators—including those that can be phased in at a later date—can be found in Appendix B.
Recommended Phase One Indicators Collecting Data for Phase One IndicatorsData for the recommended Phase One indicators can be collected through one of the following five methods. (Note: Preliminary data collection tools have been developed by the Capstone team and are outlined in Appendix D.)
1. On-Site Project Evaluation 2. Post-Project Questionnaire3. Project Process Tracker4. Media Scan 5. Seasonal Analysis
1. The On-Site Project Evaluation data will be collected on location for each project and provides information regarding the number of attendees and their demographic information.
Data Collection Period: During Project
2. The Post-Project Questionnaire, which is also a survey, is provided to artists, partners, and district stakeholders who have worked with Times Square Arts on a given project (after the project has occurred) in order to gather their perceptions.
Data Collection Period: After Project
3. The Project Process Tracker enables Times Square Arts to capture data tied to the various steps it takes to produce a given art project. The data will be captured during the planning and implementation phase for each project.
Data Collection Period: During Project
4. The Media Scan identifies general and notable coverage of Times Square Arts projects in print, broadcast, digital, and social media. This scan is conducted after each project has occurred.
Data Collection Period: After Project
5. The Seasonal Analysis, conducted on a quarterly basis, collects general organizational information such as available resources, staff, and financial data.
Data Collection Period: Quarterly or at the conclusion of each Times Square Arts “season”
Category
Organizational
Project
Outcome: Impact
Outcome: Influence
Outcome: Leverage
Data Collection Tools Used
Seasonal Analysis
Seasonal Analysis Tracker Media Scan On-Site Project Evaluation
On-Site Project EvaluationSeasonal AnalysisPost-Project QuestionnaireTracker
Media ScanTrackerPost-Project Questionnaire
Seasonal Analysis
Indicator
% variation between budgeted and actual revenue and expenses
# of projects completed for each program strand$ amount per program strand$ amount per attendeeAverage $ spent per project# and % of projects that came from RFPRatio of expected project timeline to actual project timeline# of critical responses# of peer responses
# of in-person attendees# of New Yorkers# of US attendees# of International attendees# of visits to Times Square Arts webpage and related pages# of people who join the Times Square Arts listserve# of artists proposing projects# of NEW artists proposing projects# of artists who would like to work with Times Square Arts in the future# of artists who report career benefits from their experience with Times Square Arts# of referred artists who propose projects# of referred artists who propose projects and are selected
# of media hits# of notable media hits# tumblr# flickr views/comments# Re-tweets# Facebook likes# News articles# Comments on blogs/articles# of district stakeholders participating# new district stakeholders engaging with Times Square Arts on public art projects# of projects referred by partners to Time Square Arts# of district stakeholders who would like to work with Times Square Arts in the future# of instances in which district stakesholder feature public art in their educational programs or marketing materials# of partners who would like to work with Times Square Arts in the future
Dollar amount of grant proposals/financial support requests submittedDollar amount grant proposals/financial support requests won by Times Square Arts27 28
Next Steps for Implementing & Using the Performance Measurement FrameworkThe Capstone team expects it will take Times Square Arts a total of approximately 30 months to refine and fully implement a complete performance measurement framework:
Step 1: Establishing a Performance Measurement Framework
This report, produced over an 8-month period for Times Square Arts, delivers a performance measurement framework for the program. The Capstone team also created preliminary tools to aid in data collection for Phase One indicators.
In the next 4 months, in order to ensure organizational support of its performance measurement efforts, Times Square Arts leadership should analyze the recommendations set forth in this assessment and solicit feedback from staff and others. Times Square Arts staff will need to be trained on the performance measurement framework and data collection, as well as have an understanding as to why performance measurement efforts are underway. To this end, Times Square Arts may wish to allocate funds for staff workshops and/or webinars.
Step 2: Piloting and Implementation
Where does the program stand now?
Collecting baseline data is the necessary first step in understanding where the program currently stands, and where it might focus its efforts to best promote progress toward program outcomes. In months 13-26, Times Square Arts should use the preliminary data collection tools provided with this report to begin collecting data for all Phase One indicators. The data will provide baselines against which future progress can be measured.
During this time period, Times Square Arts should also monitor indicator data for directional trends (e.g. to determine in which areas the program is improving, and in which areas the program is stagnating or losing ground).
When and at what intervals will the program review its progress?
A key purpose of performance measurement is to provide leadership with insight into what’s working and what’s not—allowing for adjustments and interventions to most effectively manage for program success. Times Square Arts is advised to review indicator data on a quarterly basis (as opposed to bi-annually or annually). By regularly reviewing performance data and incorporating this information into decision-making processes, Times Square Arts leadership can more proactively manage the program. Times Square Arts may also choose to externally report on its results; this may be done on annual basis, or as is useful to the program.
Once the program has collected four quarters of data—and has experience using the data collection tools— it should further develop the tools to better integrate data collection into program operations. At that point, the program can also phase in additional indicators, such as those provided in Appendix B of this report.
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STEP 1: ESTABLISHING A PERFORMANCE MEASUREMENT
FRAMEWORK(Months 1-12)
Develop a program theory of change and logic model
Identify indicators, including those for priority implementation (Phase One indicators)
Develop preliminary data collection tools as necessary for Phase One indicators
Train internal staff on performance measurement and ensure organizational support
STEP 3: EVALUATING PERFORMANCE MEASUREMENT
FRAMEWORK(Months 27-30)
Continue to collect and use performance measurement data
Evaluate performance measurement framework in relation to current program goals and refine as necessary
Continue to establish and strengthen performance management culture
Reinforce Times Square Arts as thought leader by sharing performance measurement framework with the field
STEP 2: PILOTING AND IMPLEMENTATION
(Months 13-26)
Pilot data collection tools, collect baseline data for Phase One indicators, and set targets for future
Phase in additional indicators (as is feasible based on organizational capacity); collect baseline data, and set targets
Report quarterly on performance measurement data and use performance measurement data to strategically manage the program
Refine and develop data collection tools as necessary
Why Collect Performance Information?
• Enables the testing of program assumptions• Provides timely information that can be used
for strategic decision-making• Provides evidence of impact for funders/
evidence to justify increased support
Source: Hatry, H. P. Performance measurement: Getting results. Washington, D.C.: Urban Institute Press.
Improve
Report
Measure
Learn
Implement Performance Framework
Times Square Arts Theory of Change
Track performance
using selected indicators
Communicate performance internally and externally
Extract knowledge from the data, identify
opportunities for improvement, and make data-driven
decisions
Implement decisions to
improve activities and operations
Source: Building a performance measurement system, Root Cause
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Where does the program hope to stand?
After four quarters of data collection, Times Square Arts should set specific, measurable, time-bound targets for each of its indicators. In addition to being anchored by the baseline and any available trend data, targets should be set based on knowledge of organizational capacity, as well as an understanding of the degree of influence that Times Square Arts might have on a given outcome.
It should be reiterated that public art programs rarely make performance data publicly available, if they are collecting performance data at all. However, as public art programs increasingly institute performance measurement practices, Times Square Arts should consider doing further research into how other programs are performing. This will provide additional benchmark information against which Times Square can gauge its success. While there is no perfect analog for Times Square Arts, the program should join and follow the work of the Public Art Network, as well as the New York State Council for the Arts; both groups are driving thought leadership on this topic. Times Square Alliance might also consider collaborating with the NYC BID Association to convene leaders of New York City public art programs (such as the DUMBO Improvement District and Union Square Partnership) to develop and share performance measurement data across public art programs.
Lastly, Times Square Arts can share its performance measurement framework with the field. It is clear from the environmental scan, literature review, and stakeholder interviews that there are few precedents for measuring the impact of public art. Times Square Arts’ commitment to fostering an environment of learning and evaluation—and implementing performance measurement best practices—can be an important step in establishing a model for public arts performance measurement. As such, Times Square Arts has an opportunity to become a thought leader in this evolving area of the field.
Is the program making an impact? How can performance data inform program decision-making?
Performance indicator data can be presented in dashboard form to help facilitate decision-making. A dashboard is a simple way of arranging aggregated data; an example is provided with the data collection tools. Dashboards provide a summary of key results related to program outputs and outcomes, making it clear in which areas the program is doing well and in which it needs to focus improvements. If the dashboard shows that the program is not making progress in a given area, Times Square Arts leadership can ask itself, for example, “How could we be operating more efficiently?” or “Are there resources we could better utilize?”
Step 3: Evaluating Performance Measurement Framework
In months 27-30, Times Square Arts should evaluate the performance measurement framework. This step is meant to ensure that Times Square Arts formally reflects on and revises its framework, incorporating feedback from staff and other key internal stakeholders. The framework should be evaluated to verify ongoing alignment with program goals and priorities. Times Square Arts may consider hosting a series of discussions, involving stakeholders such as staff and arts advisors, to discuss successes/challenges of using the framework and how implementation can be improved/changed. The goal of these discussions will be to incorporate feedback and reinforce organizational norms and activities around performance
LimitationsThis report provides Times Square Arts’ staff with a better understanding of performance measurement best practices; however, it is not a “plug and play” model. It will take considerable staff time and effort to internalize the concepts outlined in this report and determine how to put them into practice.
Once the program team has a full understanding of the information in this report, Times Square Arts can begin to pilot the data collection tools as is feasible in relation to staff capacity and other program constraints. In the future, the program should consider the costs associated with ongoing implementation, such as changes in staff responsibilities, repositioning of resources, and the integration of new technology.
Once piloted, staff can revisit and refine this performance measurement framework based on increased understanding gained from the piloting process. It is vital that Times Square Arts continue to refine its theory of change and logic model to reflect internal progress.
The framework in this report provides guidelines for measuring the impact of Times Square Arts at the program level. However, Times Square Arts exists under the auspices of the Times Square Alliance, and as such, the Times Square Arts performance measurement framework should be integrated into a greater framework for the Times Square Alliance. Currently, such a framework does not exist. Creating an Alliance-level theory of change and framework would better convey the Alliance’s comprehensive strategy for transforming the character and experience of the district.
As a next step in advancing the program-level framework, Times Square Arts could consider retaining another Capstone team in fall 2013. That team could begin the work of further developing and testing additional data collection tools, refining the indicators that have been piloted, and phasing in additional indicators.
Countdown to Measuring SuccessTimes Square Arts can use this guide to adopt performance measurement best practices, and to better understand the program’s impact on Times Square. In doing so, Times Square Arts will establish itself as a pioneer in the field, and exemplify how public art programs can build performance management into their culture. The Capstone team would like to thank the leadership and staff of Times Square Arts and the Times Square Alliance—as well as Ana Oliveira, faculty advisor for the project—for their insight and contributions to this project. The Capstone team is also grateful to Natalie Devine for her design of this report.
[ ]
Success!
1
3
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Appendix A: Organizations Reviewed & Stakeholders Interviewed[ ]Appendix A: Organizations Reviewed &
Stakeholders InterviewedFunders Reviewed ArtPlaceBloomberg Philanthropies*Bronx Council on the ArtsBrooklyn Arts CouncilBrooklyn Community FoundationCon Edison Corporate Giving ProgramDeutsche Bank Americas FoundationFord FoundationJPMorgan Chase Global PhilanthropyLower Manhattan Cultural Council
MetLife Foundation
*Capstone team interviewed and/or corresponded with these funders.
Public Art Programs & Business Improvement Districts ReviewedArts Council England, LondonArts League HoustonBarking and DagenhamBattersea South Bank Capetown Partnership Public ArtChicago Loop AllianceChicago Public ArtCity Center PhiladelphiaCity of Beverly HillsCity of ChicagoCity of Raleigh Arts CommissionCity of WestminsterDowntown BaltimoreDowntown BoulderDowntown Cleveland AllianceDowntown DCDowntown Denver PartnershipDowntown IthacaDowntown LADowntown LA Downtown Long BeachDowntown MiamiDowntown NYDowntown OaklandDUMBO Improvement DistrictGrand CentralHollywood BIDInstitute for Contemporary Art
Intercontinental Miami HotelKensington and ChelseaMadison Square Park ConservancyMain Street, North Park San Diego MOMA PS1Myrtle Avenue Brooklyn PartnershipNYC Percent for ArtOlympic delivery authorityPlanning Downtown Fort WorthPublic Art Hong KongPublic Art NorwayPublic Art Philly Redevelopment Roppongi Hills Public Art and Design (Tokyo)Seattle Cultural Tourism Seattle Public ArtSt. Louis Grand Center BID Storefront for Arts and ArchitechtureSydney Public ArtThe French Quarter of New OrleansTown Art (Japan)Union Square PartnershipUnion Square San FranciscoVancouverVilano Beach, County Staff VP Transport Downtown Pittsburgh West HollywoodWestside CDC San Antonio Williamsburg VA EDC
[ ]Stakeholders Interviewed
Affiliation Name
Creative Time Kate Hollander
Queens Museum of Art Tom Finkelpearl
Performa Esa Nickle
R.A. Cohen & Associates Robert Cohen
NYC Department of Parks Jennifer Lantzas and Jonathan Kuhn
NYC Department of Transportation Emily Colasacco
Artist Bel Borba
Artist Burt Sun
Artist Andre Costantini
Situ Studios Bradley Samuels
Situ Studios Aleksey Lukyanov-Cherny
Times Square Alliance Tim Tompkins
Times Square Alliance Ellen Goldstein
Times Square Alliance Gia Storms
Times Square Alliance Sherry Dobbin
Times Square Alliance Ka-Man Tse
Times Square Alliance Marianne Vernetson
35 36
Mid-Atlantic Arts FoundationNational Endowment for the ArtsNew York Council for the HumanitiesNew York Foundation for the Arts*New York City Department of Cultural Affairs*New York State Council on the Arts* Richmond County Savings FoundationRobert Sterling Clark FoundationRockefeller Brothers FundRockefeller Foundation
Appendix B: Comprehensive List of Indicators[ ] Appendix B: Comprehensive List of Indicators[ ]
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Appendix B: Comprehensive List of Indicators[ ] Appendix C: Sources ConsultedPublic Art ResourcesAdams, A. (2012, May 16). Collaboration improves local art agency’s public art program. [Web log comment]. Retrieved from http://blog.artsusa.org/2012/05/16/collaboration-improves-local-arts-agencys-public-art-program/
Americans for the Arts. (2003). Public art programs fiscal year 2001: A detailed statistical report on the budgets and programming of the Nation’s public art programs during fiscal year 2001. Retrieved from http://www.ncarts.org/SmART%20Initiative/Tools%20and%20Components/Public%20Art/Public%20Art-General%20Resources%20and%20Guides/AFTA-PublicArtReport.pdf
Annabel Jackson Associates. (2007). Evaluation of public art: A literature review and proposed methodology final evaluation report to Yorkshire culture. Retrieved from http://www.artscouncil.org.uk/media/uploads/yorkshireimages/2007AJAEvaluationofPublicArtLiteratureReviewPublicVersion.pdf
Balfe, J. H., & Wyszomirski, M. J. (1986). Public art and public policy. Journal of Arts Management, 15(4), 5-29.Bloodworth, S. (2006). Along the way: MTA arts for transit. New York, NY: Monacelli Press.
Burg, L. (2013, February 15). Best practices in public art project selection. [Web log comment]. Retrieved from http://blog.artsusa.org/tag/february-2013-blog-salon/
Doherty, C. (Ed.). (2002). Situation: Documents of contemporary art. Cambridge, MA: MIT Press.Fenner, L. (2012, May 14). Public art evaluation- RFP: Request for (your) participation. [Web log comment]. Retrieved from http://blog.artsusa.org/2012/05/14/public-art-evaluation-rfp-request-for-your-participation/
Finkelpearl, T. (2001). Dialogues in public art. Cambridge, MA: MIT Press.Forecast Public Art. Public art toolkit. Retrieved from http://forecastpublicart.org/toolkit/index.html
Goldberg R., & Wilson L. (Eds.). (2011). Performa ‘09: Back to futurism. New York, NY: Performa Publications.Georges-Clapp, N., Lindquist, K., & Tachibana, H. (2009). Building public art into business improvement districts’ menu of services. (Unpublished Capstone report.) Robert F. Wagner Graduate School of Public Service, New York, NY.
Gressell, K. (2012, January 7). Public art and the challenge of evaluation. [Web log comment]. Retrieved from http://createquity.com/2012/01/public-art-and-the-challenge-of-evaluation.html
Heder, L. (2012, May 17). Artists evaluating our own public art. [Web log comment]. Retrieved from http://blog.artsusa.org/2012/05/17/artists-evaluating-our-own-public-art/
Hein, H. (1996). What is public art?: Time, place and meaning. Journal of Aesthetics and Art Criticism, 54(1), 1-7.
Hollinger, J. (2011). Public art master planning for municipal governments: Core components and common practices. (Capstone report). Martin School of Public Policy and Administration, Lexington, KY. Retrieved from http://www.martin.uky.edu/Capstones_2011/Hollinger.pdf
Hunting, D. (2005). Public art policy: Examining an emerging discipline. Perpectives in Public Affairs, Volume 2, 1-2-7.Ixia, The Public Art Think Tank. (2010). Public art: A guide to evaluation. Retrieved from http://ixia-info.com/files/2010/04/public-art-a-guide-to-evaluationmarch10.pdf
Kastner, J., Wehr, A., & Eccles, T. (2004). Plop: Recent projects of the public art fund. New York, NY: Merrell Publishers.McAvera, B. (2001). Public art strategies. Sculpture, 20(7). Retrieved from http://www.sculpture.org/documents/scmag01/sept01/public/public.shtml
[ ]
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Appendix C: Sources ConsultedMorton, E. (2012, May 14). Exploring evaluation for public art: Arlington county as laboratory. [Web log post]. Retrieved from http://blog.artsusa.org/2012/05/14/exploring-evaluation-for-public-art-arlington-county-as-laboratory/
Nicastri, K. (2012, May 15). Showing others what we do. [Web log post]. Retrieved from http://blog.artsusa.org/2012/05/15/showing-others-what-we-do/
Pasternak, A., (2007). Creative time: The book: 33 years of public art in New York. China: Princeton Architectural Press.Public Art Network (PAN), A Program of Americans for the Arts. (2003). Call for artists resource guide. Retrieved from http://ww3.artsusa.org/pdf/networks/pan/CallforArtistsResourceGuide.pdf
Public Art Network (PAN), A Program of Americans for the Arts. (2009). Public art network best practice goals and guidelines. Retrieved from http://ww3.artsusa.org/pdf/networks/pan/PAN%20Best%20Practices%202%202009.pdfPublic Art Resource Project. Public art resources. Retrieved, 2013, from http://www.publicartresourceproject.com/links.html
Rothman, R. (2012, May 16). Looking at the people behind the scenes for the numbers that count. [Web log post]. Retrieved from http://blog.artsusa.org/2012/05/16/looking-at-the-people-behind-the-scenes-for-numbers-that-count/
Ruley, S. L. (2006). Public art and evaluation. (Unpublished doctoral dissertation.) Goucher College, Baltimore, MD.Senie, H. F. (2003). Responsible criticism: Evaluating public art. Sculpture, 22(10), 1-2-5. Retrieved from http://www.sculpture.org/documents/scmag03/dec03/senie/senie.shtml
Spain, A. (2012, May 17). Public art evaluation: An ongoing process. [Web log post]. Retrieved from http://blog.artsusa.org/2012/05/17/public-art-evaluation-an-ongoing-process/
Urban Omnibus. A walk through Times Square with Glenn Weiss. Retrieved, 2013, from http://urbanomnibus.net/2011/10/a-walk-through-times-square-with-glenn-weiss/
Arts & Culture ResourcesAlliance for the Arts. (2006). Arts as an industry: Their economic impact on New York City and New York State. Scanlon, R., & Lanier, C. Retrieved from http://www.nyc-arts.org/pdfs/ArtsIndustry_2007.pdf
Alliance for the Arts. (2011). The recession & the arts III: The impact of the economic downturn on nonprofit cultural organizations in New York City. New York, NY: Jones, P.C. Retrieved from http://www.nyc-arts.org/pdfs/Recession%26theARTSIII.pdf
Americans for the Arts. (2012). National arts index full report: An annual measurement of the vitality of arts and culture in the United States: 1998-2010. Kushner, R., & Cohen, R. Retrieved from http://www.artsindexusa.org/wp-content/themes/AFTA%20for%20WP/doc/2012-NAI-Full-Report.pdf
ArtPlace. (2013). ArtPlace America presentation: Miami [PowerPoint slides]. Retrieved from http://www.artplaceamerica.org/wp-content/uploads/2013/03/Miami-Presentation-J-Cortright.pdf
ArtPlace. (2011). ArtPlace LOI webinar. [Video file]. Retrieved from http://www.youtube.com/watch?v=VL2zOIO75xQ
Artplace. (2011). Building a better understanding of creative placemaking. Retrieved from http://www.artplaceamerica.org/understanding-creative-placemaking/
Arts Council England. (2010). Achieving great art for everyone: A strategic framework for the arts. Retrieved from http://www.artscouncil.org.uk/media/uploads/achieving_great_art_for_everyone.pdf
[ ] Appendix C: Sources ConsultedArts Council of England. (2002). Measuring the economic and social impact of the arts: A review. London, England: Reeves, M. Retrieved from http://www.artscouncil.org.uk/media/uploads/documents/publications/340.pdfArts Council England. Taking part in the arts. Retrieved, 2013, from http://www.takingpartinthearts.com/content.php?content=1343
Bedoya, R. (2012, September 1). Creative placemaking and the politics of belonging and dis-belonging. [Web log post]. Retrieved from http://www.artsinachangingamerica.net/2012/09/01/creative-placemaking-and-the-politics-of-belonging-and-dis-belonging/
Brown, J. (2006). Arts diplomacy: The neglected aspect of cultural diplomacy. In W. P. Kiehl (Ed.), America’s dialogue with the world (pp. 71-90). Washington, DC: Public Diplomacy Council. Retrieved from http://www.nyu.edu/brademas/pdf/kiehl.pdf
Canadian Cultural Observatory. (2007). Timeline of U.S. federal cultural policy milestones: 1787 to 2006. Canada: Fullman, A.R.
Cherbo J. M., Stewart R. A. & Wyszomirski M. J. (Eds.). (2008). Understanding the arts and creative sector in the United States. New Brunswick, NJ: Rutgers University Press.
Creative Columbus Policy Steering Committee. (2007). The creative economy: Leveraging the arts, culture, & creative community for a stronger Columbus. Retrieved from http://uas.osu.edu/sites/uas.osu.edu/files/OLO-011_Cols_Arts_Task_Force_FINAL2.pdf
Frank, T. Dead end on shakin’ street. The Baffler, 20. Retrieved, 2013, from http://www.thebaffler.com/past/dead_end_on_shakin_street
Helicon Collaborative. (2011). Bright Spots and Balance Sheets” Conference Opening Remarks by Holly Sidford. Retrieved from http://www.heliconcollab.net/files/Berkshire%20Taconic%20Community%20Foundation%20Keynote_20110411.pdfLitzenberger, S. (2013, February 7). ARTSblog- creative partnerships- strategies for collaboration. [Web log post]. Retrieved from http://blog.artsusa.org/2013/02/07/creative-partnerships-strategies-for-collaboration-from-the-partnership-movement/?utm_source=rss&utm_medium=rss&utm_campaign=creative-partnerships-strategies-for-collaboration-from-the-partnership-movement
Moss, I. D. (2012, May 9). Creative placemaking has an outcomes problem. [Web log post]. Retrieved from http://www.huffingtonpost.com/ian-david-moss/creative-placemaking-has-_b_1501794.html
Moss, I. D. (2012, June 28). In defense of logic models. [Web log post]. Retrieved from http://createquity.com/2012/06/in-defense-of-logic-models.html
Municipal Arts Society of New York City. (2013). Measuring vibrancy: The impacts of arts and culture investments in placemaking. [Video file]. Retrieved fromhttp://mas.org/programs/artsforum/measuring-vibrancy-impacts-arts-culture-investments-placemaking/
National Endowment for the Arts. (2010). Arts and livability: The road to better metrics. Washington, D.C.: Jane Pierson, Cavanaugh, Hagan, Pierson, & Mintz, Inc. Retrieved from http://www.nea.gov/research/Arts-and-Livability-Whitepaper.pdf
National Endowment for the Arts. (2010). Creative placemaking. Washington, D.C.: Markusen, A., & Gadwa, A.
National Endowment for the Arts. (2012). How the United States funds the arts. (Third edition). Washington, DC: Woronkowitz,
J., Nicholas, B., & Iyengar, S.
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Appendix C: Sources ConsultedNational Endowment for the Arts. (2010). Live from your neighborhood: A national study of outdoor arts festivals. Washington, DC: Iyengar, S. & Sullivan, S. Retrieved from http://www.nea.gov/research/Festivals-report.pdf
National Endowment of the Arts. (2011). The arts, new growth theory, and economic development- draft abstracts. Washington, DC: Rushton, M. Retrieved from http://www.nea.gov/research/Brookings/Brookings-Abstracts.pdf
The New England Council. (2000). The creative economy initiative: The role of the arts & culture in New England’s economic competitiveness. Boston, MA: Mt. Auburn Associates. Retrieved from http://www.donnerenviedentreprendre.com/documentation/IMG/pdf/_133_The_Creative_Economy_Initiative.pdf
Princeton University Center for Arts and Cultural Policy Studies. (2002). How the arts impact communities: An introduction to the literature on arts impact studies. (Conference). Princeton, New Jersey: Guetzkow, J. Retrieved from http://www.princeton.edu/~artspol/workpap/WP20%20-%20Guetzkow.pdf
University of Minnesota, Humphrey Institute of Public Affairs, Project on Regional and Industrial Economics. (2003). The artistic dividend: The arts hidden contribution to regional development. Minneapolis, MN: Markusen, A., & King, D. Retrieved from http://www.hhh.umn.edu/img/assets/6158/artistic_dividend.pdf
University of Minnesota, Humphrey Institute of Public Affairs, Project on Regional and Industrial Economics. (2004). The artistic dividend revisited. Minneapolis, MN: Markusen, A., Schrock, G., & Cameron, M. Retrieved from http://www.hhh.umn.edu/centers/prie/pdf/artistic_dividend_revisited.pdf
Throsby, D. (2010). The economics of cultural policy. New York: Cambridge University Press.
The Urban Institute. (2006). Cultural vitality in communities: Interpretation and indicators. Washington, DC: Jackson, M. R., Kabwasa-Green, F., & Heranz, J. Retrieved from http://www.urban.org/UploadedPDF/311392_Cultural_Vitality.pdf
The Urban Institute. (2002). Culture counts in communities: A framework for measurement. Washington, DC: Jackson, M., & Herranz, J. Retrieved from http://www.urban.org/UploadedPDF/310834_culture_counts.pdf
U.S. Department of State. (2005). Cultural diplomacy the linchpin of public diplomacy: Report of the advisory committee on cultural diplomacy. Retrieved from http://www.state.gov/documents/organization/54374.pdf
U.S. Regional Arts Organizations. (2009). Global positioning strategy for the arts: Recommitting America to international
cultural exchange. Retrieved from http://www.nefa.org/sites/default/files/GPS_for_the_Arts.pdf
Weil, S. E. (2003). Beyond big & awesome: Outcome based evaluation. Museum News, (November/Decemeber), 40-45, 52-53.Wyszomiriski, M. J., & Cherbo, J. M. (2001). The associational infrastructure of arts and culture. Journal of Arts Management, Law, and Society, 31(2), 99-122.
Organizational Management & Performance Measurement ResourcesGhalib, I., Agha, M. H., Hameed, S., & Choudhary, M. A. (2012). A survey of lean implementation gap analysis in public sector organizations. Life Science Journal, 9(4), 1261-1269.
Grantcraft. (2006). Mapping change: Using a theory of change to guide planning and evaluation. Retrieved from http://portals.wi.wur.nl/files/docs/ppme/Grantcraftguidemappingchanges_1.pdf
[ ] Appendix C: Sources ConsultedGulledge, T. R., & Sommer, R. A. (2002). Business process management: Public sector implications. Business Process Management Journal, 8(4), 364-376.
Hatry, H. P. Performance measurement: Getting results. Washington, D.C.: Urban Institute Press.Neuhoff, A., & Searle, R. (2008). More bang for the buck. Stanford Social Innovation Review, (Spring), 33-37. Organizational Research Services. (2004). Theory of change: A practical tool for action, results and learning. Seattle, WA: Reisman, J., Gienapp, A., Langley, K., & Stachowiak, S.
Shostack, G. L. (1984). Designing services that deliver. Harvard Business Review, (January-February), 133-139.Theory of Change Community. What is Theory of Change? Retrieved, 2013, from http://www.theoryofchange.org/about/what-is-theory-of-change/
Wolk, A., Dholakia A., & Kreitz, K. (2009). Building a performance measurement system: Using data to Accelerate Social Impact. Cambridge, MA. Root Cause.
Organizational WebsitesAlliance for the Arts. Retrieved, 2013, from http://www.nyc-arts.org/
Americans for the Arts. Retrieved, 2013, from http://www.artsusa.org/
Artspace. Retrieved, 2013, from http://www.artspace.org/
Center for Architecture. Retrieved, 2013, from http://cfa.aiany.org/index.php?section=center-for-architecture
Council for the New American City. Retrieved, 2013, from http://usmayors.org/newamericancity/
Forecast Public Art. Retrieved, 2013, from http://forecastpublicart.org/forecast/
Fractured Atlas. Retrieved, 2013, from http://www.fracturedatlas.org/
LINC: Leveraging investments in creativity. Retrieved, 2013, from http://www.lincnet.net/
Municipal Art Society of New York. Retrieved, 2013, from http://mas.org/aboutmas/
National Assembly of State Art Agencies. Retrieved, 2013, from http://www.nasaa-arts.org/
Project for Public Spaces. Retrieved, 2013, from http://www.pps.org/about/
Public Art Network, A Program of Americans for the Arts. Retrieved, 2013, from http://www.artsusa.org/networks/public_art_network/default.asp
US Regional Arts Organizations. Retrieved, 2013, from http://www.usregionalarts.org/
WESTAF. Creative vitality index: Data on demand. Retrieved, 2013, from https://cvi.westaf.org/content/about-cvi
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[ ]Appendix D: Data Collection Tools
**Tools Provided Under Separate Cover
EXCEL SHEET
SURVEYEXCEL SHEET
EXCEL SHEET
EXCEL SHEET
MASTER EXCEL
DASHBOARD SHEET INMASTER
EXCEL
Project Process Tracker
Post-Project Questionnaire
On-Site Project Evaluation
Seasonal Analysis
Media Scan
Performance Measurement Data
Management Dashboard45
