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From We Love Ad: NYCB Art Series commissions contemporary artists to create original works of art inspired by our unique energy, spectacular dancers, and one-of-a-kind repertory of ballets. New York City Ballet has worked with leading and emerging artists throughout the Company’s history — luminaries like Andy Warhol, Keith Haring, and Julian Schnabel. We are proud to continue this tradition by partnering with Brooklyn-based artists FAILE for the inaugural year of Art Series.
Faile’s installation, Les Ballets De Faile, was created for the Art Series performances on Friday, February 1, and Wednesday, May 29. On these dates, every seat in the house is available for just $29, and each audience member will receive a limited-edition work made specifically for this event.
In four lively, detailed reports, a team of researchers and writers captures what worked – and what didn’t – when a chorus, a museum, an opera company, and a theater embarked on very different efforts to cultivate their audiences.
From Forty: One of our most common tendencies as people is believing that our own thoughts and opinions are true or the best option. It’s human nature, and a lot of times your gut will lead you in the right direction. However, this bias can hinder our ability to make educated decisions, cause us to · Watch video →
From Chad Bauman: In early 2008, Arena Stage along with a few other LORT theaters, began to test subscription alternatives in focus groups. In doing so, I was absolutely certain that the results would show at least one, if not several, attractive alternatives to subscriptions. I was wrong. Our work indicated that each option we put forth was less attractive to target single ticket buyers, multi-buyers and current subscribers than what we currently had. I was so surprised that we conducted a second series of focus groups with similar results. Amazed and confused, after a few months, I concluded our market research indicated that the subscription model wasn’t outdated, but that our execution was flawed.
From Chad Bauman: For decades now, the most revered communications tool of most performing arts organizations has been the season / subscription brochure. We spend weeks if not months toiling over copy, getting images, crafting pitches, working with designers, going to press checks and coordinating with mail houses. Once finished, it is the holy grail of marketing collateral for the rest of the year — the piece that we take to conferences, show our donors, give away at outreach events and mail to everyone we think has even heard of our organization. And for years, this strategy has been virtually untouched, even while the world around us has changed rapidly. Isn’t it time we question whether or not there is a better way?
From FastCompany: Live events are inherently social, says CEO Nathan Hubbard. Buying tickets should be, too.