New York arts groups face realty realities. (News).Dance organizations wondering whether to make the leap to bigger, better, or more permanent homes got some answers at a free seminar held in the heart of Brooklyn's growing cultural district. And while the focus was on New York, the ideas from the workshop could apply to almost any city. Sponsored by the Brooklyn Academy of Music Brooklyn Academy of Music, performing arts center located in the borough of Brooklyn, N.Y. and popularly known as BAM. Founded in 1859 and opened in 1861, it is the oldest such institution still in operation in the United States. It moved to its neo-Italianate building in downtown Brooklyn in 1907. The Academy presently has four major performance areas–the Opera House, the Playhouse, the Leperq space, and the BAM Rose Cinemas. Local Development Corporation, the Nonprofit Finance Fund, the Brooklyn Arts Council, and Long Island University, the two-day workshop entitled "Real Estate and the Arts: Translating Your Vision Into Space (You Can Afford)" offered something for participants at every stage of the process. Some were seeking their first office space, while others were looking to expand or escape the rising rents in Manhattan. Most were concerned about both the city's notoriously tough real estate market and their ability to raise funds in an uncertain economy. Despite those fears, David Lebenstein, director of sales and leasing for Time Equities, Inc., was encouraging. He pointed out how the economic slowdown and efforts to rebuild downtown Manhattan could make 2002 a good year to lock in long-term leases at low rates. In lectures and breakout groups, workshop participants examined the possibilities and pitfalls of finding a space to call home. Paul Wolf of Denham Wolf Real Estate Services summed up the messages of many business and legal professionals in attendance when he said, "Real estate is difficult and demanding. Don't underestimate that fact." And while a hefty seminar workbook underscored this point, it also gave participants the tools necessary to meet the challenge. Before creating a facilities "wish list," for example, participants were encouraged to clarify their organization's mission, structure, and financial health. Several speakers cautioned that a real estate purchase can sometimes do more harm than good. A common mistake is to rationalize real estate expenses by assuming a new space will lead to more income, publicity, and financial donors. In reality, these factors rarely offset increased costs, which can force unprepared organizations to downsize or even fold. Long-term leases were suggested as alternatives to purchasing property, and renters were encouraged to look for shared spaces and buildings designated for nonprofit organizations. Examples of these solutions were easily found in the surrounding neighborhood, which is home to the Alliance of Resident Theatres/New York and a site currently being renovated to create offices for small nonprofit arts groups. Special considerations for performance spaces, such as parking and late-night audience crowds, were also discussed. With a combination of advice and anecdotes, professionals from arts organizations that have successfully navigated the real estate maze answered questions about everything from finding a space to securing the funds needed to move into it. Elisabeth Martin, director of planning, design, and facilities for the Brooklyn Public Library, shared the details of her recent projects right down to blueprints and measurements. "No budget is ever enough," she said, "so building in flexibility for change is essential." For groups planning capital campaigns, Cynthia Mayeda, deputy director for institutional advancement for the Brooklyn Museum of Art Brooklyn Museum of Art, museum in the borough of Brooklyn, N.Y. Its predecessors were the Brooklyn Apprentices' Library (1823), the Brooklyn Institute (1843), and the Brooklyn Institute of Arts and Sciences (1890). Opened in 1897, the museum is located in a Beaux-Arts building designed by McKim, Mead, and White that has been substantially added to over the ensuing years, including a sweeping glass-roofed entrance pavilion (2004)., addressed ways to effectively harness board member resources. Those closer to having a new space attended sessions on how to manage the move and set up an efficient office. But the best proof that planning pays off came as Michael Osso spoke about his role overseeing the Mark Morris Dance morris dance or morrice dance, rustic dance of the north of England that had its origin in country festivals, such as those of May Day and Whitsunday. Reference to it in English literature is made as early as the 15th cent. The main dancers were called Robin Hood, Maid Marian, the hobbyhorse, and the bavian, or fool. They were accompanied by a piper or taborer. Group's three-year, $7 million capital campaign. Osso reiterated the importance of setting clear goals and planning several years ahead. Attendees who needed more inspiration had only to look down the street to see the results realized in the gleaming white, 30,000-square-foot Mark Morris Dance Center that opened in 2001. For more information about the seminar or ideas on creating one in your city contact BAM Local Development Corporation at 718/789-9366, Brooklyn Arts Council at 718/625-0080, or Nonprofit Finance Fund at 212/868-6710. |
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