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Transcultural Exchange, Inc.

 300 Summer Street, Unit 36
 Boston, MA 02210
[P] (617) 670-0307
[F] --
www.transculturalexchange.org
msherman@transculturalexchange.org
Mary Sherman
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INCORPORATED: 2002
 Printable Profile (Summary / Full)
EIN 74-3061723

LAST UPDATED: 12/14/2016
Organization DBA --
Former Names --
Organization received a competitive grant from the Boston Foundation in the past five years No

Summary

Mission StatementMORE »

Incorporated Sept. 17, 2002 as a 501(c)(3) non-profit organization, TransCultural Exchange's (TCE) mission is to foster a greater understanding of world cultures through high-quality art exhibitions, cultural exchanges and an international conference on opportunities in the arts. TCE brings people together through the arts to bridge cultural, geographic, political and linguistic divides and provides those in the arts with the necessary tools to become active participants in today’s increasingly interdependent society.

Mission Statement

Incorporated Sept. 17, 2002 as a 501(c)(3) non-profit organization, TransCultural Exchange's (TCE) mission is to foster a greater understanding of world cultures through high-quality art exhibitions, cultural exchanges and an international conference on opportunities in the arts. TCE brings people together through the arts to bridge cultural, geographic, political and linguistic divides and provides those in the arts with the necessary tools to become active participants in today’s increasingly interdependent society.

FinancialsMORE »

Fiscal Year Jan 01, 2016 to Dec 31, 2016
Projected Income $84,538.00
Projected Expense $124,994.00

ProgramsMORE »

  • Conference on International Opportunities in the Arts

Revenue vs. Expense ($000s)

Expense Breakdown 2014 (%)

Expense Breakdown 2013 (%)

Expense Breakdown 2012 (%)

For more details regarding the organization's financial information, select the financial tab and review available comments.


Overview

Mission Statement

Incorporated Sept. 17, 2002 as a 501(c)(3) non-profit organization, TransCultural Exchange's (TCE) mission is to foster a greater understanding of world cultures through high-quality art exhibitions, cultural exchanges and an international conference on opportunities in the arts. TCE brings people together through the arts to bridge cultural, geographic, political and linguistic divides and provides those in the arts with the necessary tools to become active participants in today’s increasingly interdependent society.

Background Statement

Since its grassroots inception in 1989, TCE has worked directly with hundreds of artists, arts organizations, foundations, galleries, museums and cultural centers in 60+ countries to produce just over 350 exhibitions (all of which included and promoted US visual art).
 
TCE’s first exhibition and artist exchange was Reverse Angle (Chicago’s Ludwig Drum Factory and Vienna’s WUK Kunsthalle 1989-1990). From 2002 to 2004, over 40 American visual artists and 78 US venues participated in The Coaster Project’s 200+ exhibitions worldwide, resulting in a 1st place award from International Art Critics Association. For its UNESCO-sponsored The Tile Project (2002-04), 200+ artist donated tiles to 22 world sites to create 22 site-specific, permanent public artworks throughout the world. Harvard’s Kennedy Fellow Nolan Bowie described it, “As a testament that global cooperation is possible in this increasingly fractured world, this project is indeed it.” For Here, There and Everywhere (2008-11), 232 US artists collaborated with individuals from 60+ countries, resulting in 100+ exhibits in galleries, major museums (e.g. the MIT Museum, Shanghai’s Zendai MoMA and Switzerland’s Luzerne Kunsthalle) and public spaces. Additionally, TCE has produced 3 Boston biennale conferences (2007, 2009 and 2011), referred to “as one of the best things in the art world today,” by London Biennale Director David Medella. As evaluations over the past 6 years prove, the conferences have consistently met TCE’s goal to produce tangible benefits to Americans working in the field of visual arts. 
 
TCE's services provide professional development resources, new markets and career opportunities for hundreds of American artists, additional revenue streams for TCE’s home state of Massachusetts, and new partnerships and exchanges between American and international organizations, including US educational institutions (e.g. MIT and Tokyo Wondersite), leading to increased visibility and economic activity for the visual arts. The TCE website, featuring TCE’s exhibitions, exchanges and biennale conferences as well as links to other organizations, funders, exhibition calls and employment opportunities has over 1.5 million hits per month. TCE has also earned support from UNESCO, the Mass. Cultural Council, Asian Cultural Council, Elizabeth Firestone Graham Foundation, Boston Foundation, Swedish Embassy, numerous consulates and the Netherland-American Foundation, among others.

Impact Statement

The United Nations Educational, Scientific and Cultural Organization's (UNESCO's) then Director-General Matsurra noted of TCE's Tile Project, “This original project linking together artists all over the world in a spirit of international harmony and exchange, ties in directly with the main objectives of UNESCO’s program in the field of art and creativity and the promotion of cultural diversity and intercultural dialogue.”  In addition to its art projects, in 2014 TCE overhauled its website to make it more user-friendly and to draw on its extensive international network to produce one of the most comprehensive global website listings of artist resources. Further, TCE produces a biennale, international conference on opportunities for artists. These activities serve as catalysts. The conferences, for instance, provide artists with access to their international peers and the knowledge and tools to be competitive in today’s global reality. They last 3 days and feature seminars, workshops, exhibitions and talks.

TransCultural Exchange’s current goal is provide free, online dissemination of its  international Conference on Opportunities in the Arts’ information and content (via pod-casts and transcripts) to those who cannot attend the conferences, whether because of economic, geographic, physical or other restrictions. In this way all artists will have access to the Conference’s more than 150 renowned artists, funders, critics, curators and artist-in-residency directors’ presentations on residencies, funding, collaborative and cross-disciplinary opportunities for artists to launch their careers abroad, work with new technologies and engage with other cultures and fields of expertise (such as engineering and the sciences). It also will enable promotion of these (and TCE’s other national/international) resources to visual artists via social media, e-services and reciprocal links to peer organization websites and blogs.


Needs Statement

Due to the exponential requests for TCE’s services, advice and Conferences, TCE's needs include

1. Hiring a assistant ($20K annually) to help with grant writing, donor stewardship, Conference logistics, scheduling, maintaining files and record keeping

2. Continuous support to update the website to enable additional online resources (eg a community forum and virtual portfolio reviews), reach non-English speaking communities by providing other language alternatives, increase awareness of TCE’s products and services (such as Conference podcasts) and better capture, document and distribute TCE’s ongoing assessments of the organization's impact on art, artists and their communities to help TCE and, by extension, all arts organization gain the statistical means to effectively argue for their programs. Cost: $10K

3. Developing a strategic plan to build and expand the organization's recent university agreements to help art students bridge the gap between academia and a career in the arts, provide faculty with professional development opportunities and reach a more diverse demographic - which, in doing so, will create a more stable financial base for TCE.


CEO Statement

 

TransCultural Exchange originated in Chicago as a grassroots, artists-run organization in 1989. Long before it was commonplace for artists to take things into their own hands or cross-discipline was a popular buzzword, TransCultural Exchange organized a multi-faceted exchange project with Viennese artists that included visual art, film, music and literature. After that, we never looked back. In 2000 TransCultural Exchange solicited artists through the Internet for The Coaster Project, Destination: The World100 exhibitions in as many sites around the globe, resulting in over 10,000 artworks freely given away. Then, in 2005, I noticed that most professionals—from doctors to lawyers to teachers—had conferences to share information, network with each other and learn about the latest trends. Oddly, few seemed to exist that addressed artists’ needs, and even fewer on a global scale. So, TransCultural Exchange set out to change that. In 2007 TransCultural Exchange organized our first—now biennale—Conference on International Opportunities in the Arts.

For our 2013 Conference, we decided to inject the same wide-eyed curiosity and optimism that launched our founding. Entitled , the2013 Conference on International Opportunities in the Arts upheld our earlier aim to help artists learn of international programs and provide them with practical tools to expand their professional goals. The heart of the program, though, was our panel sessions. These were organized to encourage artists to conjure up new worlds and avenues of pursuit—to reach out to others around the world, and also from different walks of life.

 We asked many to join us in this effort. The International Art Critics Association (AICA) put together the panel "Art as Tools for Life." We invited speakers, such as astronomer and Voyager team scientist Merav Opher, biomedical modeling inventor Crispin Weinberg,  

For our 2016 Conference, we will pick up where Expanding Worlds, will continue to offer portfolio reviews, workshops (on grant writing, successful applications, funding options) and networking with critics, curators, gallery dealers and artist-in-residence directors. At the same time, the Conference's core mission as the world's forum for practicing artists to gather, network, share their art and reach new audiences will remain the same.

 

Unlike the popular American slogan, "What happens in Las Vegas, stays in Las Vegas," what happens during our Conferences is meant to reverberate around the world—to shake things up, forge new friendships and expand the field of art far beyond the Conferences’ brief time and narrow space. And, as our surveys and evaluations show, it is working.

 

Stay tuned: A new world awaits.

 

Mary Sherman, Executive Director, TransCultural Exchange. . . with a debt of gratitude to all our generous sponsors, who enabled us to produce such undertakings and a heartfelt thanks to TransCultural Exchange's remarkable board, superb advisory board and all the speakers, moderators and volunteers who have come from so near and far to be with us for our conferences. Most of all, though, I would like to thank the literally hundreds of artists and organizations TransCultural Exchange has worked with over the more than two decades of our existence. It is their work, inspiration and kindness that make my job a joy.


Board Chair Statement

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Geographic Area Served

NATIONAL
INTERNATIONAL

TransCultural Exchange is an award winning 501c3 non-profit organization dedicated to promoting international art and the understanding of world cultures, through high quality art exhibitions, cultural exchanges and educational programs at our home base in Boston and throughout the world.

Organization Categories

  1. Arts,Culture & Humanities - Cultural & Ethnic Awareness
  2. -
  3. -

Independent research has been conducted on this organization's theory of change or on the effectiveness of this organization's program(s)

Yes

Programs

Conference on International Opportunities in the Arts

In addition to its global art projects and artist exchanges, in 2007 TransCultural Exchange launched a biennale Conference on International Opportunities in the Arts - the only forum of its kind that brings artists directly into contact with renowned international critics, curators and artist-in-residency directors. Conferences were held in Boston in 2009 and 2011 and 2013.  The 2016 International Conference on Opportunities took place in Boston, February 25-27, 2016. By all accounts the Conference was the organization's best, serving over 600 visual artists and curators, art administrators, art suppliers, art departments and artist residency representatives, etc – thereby indirectly serving hundreds more. These Conferences are the only event of its kind in the world devoted to practicing visual artists and those who support them.
Budget  $380,000.00
Category  Arts, Culture & Humanities, General/Other Artists' Services
Population Served US& International Adults General/Unspecified
Program Short-Term Success 

As a result of the 2013 Conference, 500+ artists and arts organizations will have engaged in more than 30 panels and professional development workshops. They will have discovered new possibilities for promoting their work; expanded their networks and horizons by learning about programs where they can engage with their international peers, met key critics and funders; had their portfolios reviewed by leading galleries and curators; visited Boston’s renowned museums; learnt of  breakthroughs in art and technology; and explored interactions between the visual arts, writing, music, theater and the latest scientific developments.

Further, TCE's BU alliance will result in creating ongoing exchange programs for BU's faculty and students (including an exhibit in Beijing), bringing renown speakers to the campus; and turning the university into a global arts nexus, which will serve as an ideal case study of what TCE can offer other university and cities' arts and education sectors.

Program Long-Term Success 

Six years of data from its Conference survey/evaluations show that nearly 70% of TCE's attendees have received direct, tangible outcomes, eg 5 artists secured teaching positions, 3 Fulbright grants, 4 curatorial jobs, 3 arts administration jobs, and 150+ exhibition invites. Nearly 50 artists participated in residencies in France, Malta, Iceland, South Africa, Romania, Germany, Greece, Korea, Taiwan and South Korea.

An updated website, new staff member, additional Conferences, expanded speaking engagements and additional university alliances will help TCE reach its long term goals to substantially increase the number of artists it serves, diversify its demographics and double its Conference attendance from 400 to 800 to create a more secure financial base for TCE's operations and ensure that more artists can gain the skills and means to work and engage with their international peers - all of which furthers the organization's mission to foster a greater understanding of world cultures.

Program Success Monitored By 

TransCultural Exchange's activities are, as the W.K. Kellogg Foundation suggests for best-practices, "SMART: specific, measurable, achievable, results-focused and time-bound." TransCultural Exchange's survey methodology was devised with UMass Dartmouth's Center for Policy Analysis to evaluate TCE's initiatives, economic impact and assess how international programs affect artists' careers. Surveys were given to visual artists in attendance at the past 3 conferences with email follow-ups. In addition to rating TCE's programs - qualitatively and quantitatively - and providing demographic information, questionnaires asked for the number and kind of programs the artists attended or participated in as a result of TCE's initiatives and the impacts on their work and careers. TransCultural Exchange is committed to continuing to annually conduct and biennially publish evaluations of its programs' impacts to refine its activities and collect statistical evidence to advocate the benefits.

Examples of Program Success  According to the 2011 post-Conference surveys, more than 50% of the respondents noted that the Conferences provide “greater geographical exposure” (63.6%), “expanded local networks” (54.2%), “expanded international networks” (69.9%) and “new collaborations” (54.2%). More than 25% noted increased sales and over 48% said that they received new commissions or job offers. And as one 2011 attendee wrote: "The 2011 Transcultural Exchange Conference on International Opportunities was the single most exciting and productive art event that I have ever experienced. To my surprise, it did not consist of a series of lectures. Rather, it was a fully interactive conference structure that provided a limitless number of opportunities for artists to meet and exchange ideas with residency directors, museum curators, and other artists and arts professionals. As a result, I was invited to participate in two international residencies and three exhibitions."

CEO/Executive Director/Board Comments

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Management


CEO/Executive Director Ms. Mary Sherman
CEO Term Start Jan 2002
CEO Email msherman@transculturalexchange.org
CEO Experience Mary Sherman is an artist, curator and the director of TransCultural Exchange, which she founded in Chicago in 1989. She also teaches at Boston University, Boston College and Northeastern University and, recently, served as the interim Associate Director of MIT's Program in Art, Culture and Technology. Additionally, for two decades, she worked as an art critic for such publications asThe Chicago Sun-Times,The Boston GlobeandARTnews. She has received numerous grants and awards, including two Fulbright Senior Specialist Grants (Taipei and Istanbul), and been an artist-in-residence at such institutions as the Massachusetts Institute of Technology (MIT) and the Taipei Artist Village. Among the shows she's curated, two received awards from the Northeast Chapter of the International Art Critics Association. Her own works, which push the definition of painting into the realm of space and sound, have been shown at numerous institutions, including Taipei's Kuandu Museum of Fine Arts, Beijing's Central Conservatory, the Boston's Sculptors Gallery and New York's Trans Hudson Gallery.
Co-CEO --
Co-CEO Term Start Sept 2002
Co-CEO Email msherman@transculturalexchange.org
Co-CEO Experience --

Former CEOs and Terms

Name Start End
-- -- --

Senior Staff

Name Title Experience/Biography
-- -- --

Awards

Award Awarding Organization Year
Grant National Endowment for the Arts 2016
Certificate of Recognition The Commonwealth of Massachusetts House of Representatives 2009
Sponsorship United Nations Educational, Scientific and Cultural Organization (UNESCO) 2004
Best Show in an Alternative Space Northeast Chapter of the International Art Critics Association 2003
Best Show in an Alternative Space Northeast Chapter of the International Art Critics Association 2002

Affiliations

Affiliation Year
-- --
Member of state association of nonprofits? No
Name of state association --

External Assessments and Accreditations

External Assessment or Accreditation Year
-- --

Collaborations

--

CEO/Executive Director/Board Comments

--

Foundation Comments

--

Staff Information

Number of Full Time Staff 1
Number of Part Time Staff 1
Number of Volunteers 21
Number of Contract Staff 0
Staff Retention Rate % --

Staff Demographics

Ethnicity African American/Black: 0
Asian American/Pacific Islander: 0
Caucasian: 2
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): --
Gender Female: 2
Male: 0
Not Specified 0

Plans & Policies

Organization has Fundraising Plan? Yes
Organization has Strategic Plan? Yes
Years Strategic Plan Considers --
Management Succession Plan No
Business Continuity of Operations Plan --
Organization Policies And Procedures No
Nondiscrimination Policy Yes
Whistle Blower Policy No
Document Destruction Policy No
Directors and Officers Insurance Policy --
State Charitable Solicitations Permit Yes
State Registration Yes

Risk Management Provisions

Special Event Liability

Reporting and Evaluations

Management Reports to Board? No
CEO Formal Evaluation and Frequency No N/A
Senior Management Formal Evaluation and Frequency No N/A
Non Management Formal Evaluation and Frequency No N/A

Governance


Board Chair Ms. Mary Sherman
Board Chair Company Affiliation TransCultural Exchange
Board Chair Term Jan 2002 -
Board Co-Chair Mr. Thad Beal
Board Co-Chair Company Affiliation --
Board Co-Chair Term Jan 2006 -

Board Members

Name Company Affiliations Status
Gordon Amgott Accountant --
Mira Bartok Board of Trustee Voting
Thaddeus Beal Artist --
Blake Brasher Google Voting
Susan Cohen Community Volunteer --
Beth Kantrowitz Drive-by Projects --
Mary Sherman TCE Director --
Greg Stone Community Volunteer --

Constituent Board Members

Name Company Affiliations Status
-- -- --

Youth Board Members

Name Company Affiliations Status
-- -- --

Advisory Board Members

Name Company Affiliations Status
Ute Meta Bauer MIT's Arts, Culture and Technology (ACT) Program --
Marie fol Trans Artists --
Jan Hanvik Cross the Bridge LLC Voting
Maria Hirvi-Ijäs Contemporary Art Researcher --
Jean–Baptiste Joly Foundation Akademie Schloss Solitude --
Margaret Shiu Taiwan's Bamboo Curtain Studio --
Caitlin Strokosch Alliance of Artists Communities --

Board Demographics

Ethnicity African American/Black: 0
Asian American/Pacific Islander: 0
Caucasian: 7
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): --
Gender Female: 4
Male: 4
Not Specified 0

Board Information

Board Term Lengths 2
Board Term Limits --
Board Meeting Attendance % 90%
Written Board Selection Criteria No
Written Conflict Of Interest Policy Yes
Percentage of Monetary Contributions 50%
Percentage of In-Kind Contributions 50%
Constituency Includes Client Representation No

Standing Committees

    --

CEO/Executive Director/Board Comments

--

Foundation Comments

--

Financials


Revenue vs. Expense ($000s)

Expense Breakdown 2014 (%)

Expense Breakdown 2013 (%)

Expense Breakdown 2012 (%)

Fiscal Year Jan 01, 2016 to Dec 31, 2016
Projected Income $84,538.00
Projected Expense $124,994.00
Form 990s

2014 Form 990

2013 Form 990

2012 Form 990

2011 Form 990

2010 Form 990

2009 Form 990-EZ

Audit Documents --
IRS Letter of Exemption

IRS Letter of Determination

Prior Three Years Total Revenue and Expense Totals

Fiscal Year 2014 2013 2012
Total Revenue $141,135 $198,074 $122,705
Total Expenses $126,001 $192,671 $89,085

Prior Three Years Revenue Sources

Fiscal Year 2014 2013 2012
Foundation and
Corporation Contributions
-- -- --
Government Contributions $73,158 $45,580 $2,500
    Federal -- -- --
    State -- -- --
    Local -- -- --
    Unspecified $73,158 $45,580 $2,500
Individual Contributions $67,977 $102,035 $78,945
Indirect Public Support -- -- --
Earned Revenue -- $50,459 $41,200
Investment Income, Net of Losses -- -- $60
Membership Dues -- -- --
Special Events -- -- --
Revenue In-Kind -- -- --
Other -- -- --

Prior Three Years Expense Allocations

Fiscal Year 2014 2013 2012
Program Expense $862 $104,975 $3,687
Administration Expense $125,139 $87,696 $85,398
Fundraising Expense $0 -- --
Payments to Affiliates -- -- --
Total Revenue/Total Expenses 1.12 1.03 1.38
Program Expense/Total Expenses 1% 54% 4%
Fundraising Expense/Contributed Revenue 0% 0% 0%

Prior Three Years Assets and Liabilities

Fiscal Year 2014 2013 2012
Total Assets $81,972 $66,838 $61,435
Current Assets $81,972 $66,838 $61,435
Long-Term Liabilities $0 $0 $0
Current Liabilities $0 $0 $0
Total Net Assets $81,972 $66,838 $61,435

Prior Three Years Top Three Funding Sources

Fiscal Year 2014 2013 2012
1st (Source and Amount) -- --
Boston University --
Boston University --
2nd (Source and Amount) -- --
National Endowment for the Arts --
Admiral and Mrs. Ralph Ghormley --
3rd (Source and Amount) -- --
The Swiss Consulate --
Thad Beal --

Financial Planning

Endowment Value --
Spending Policy N/A
Percentage(If selected) --
Credit Line Yes
Reserve Fund No
How many months does reserve cover? --

Capital Campaign

Are you currently in a Capital Campaign? No
Capital Campaign Purpose --
Campaign Goal --
Capital Campaign Dates -
Capital Campaign Raised-to-Date Amount --
Capital Campaign Anticipated in Next 5 Years? Yes

Short Term Solvency

Fiscal Year 2014 2013 2012
Current Ratio: Current Assets/Current Liabilities inf inf inf

Long Term Solvency

Fiscal Year 2014 2013 2012
Long-term Liabilities/Total Assets 0% 0% 0%

CEO/Executive Director/Board Comments

TransCultural Exchange (TCE) utilizes all of its income each year to not only grow, promote, and administer its programs and offerings, but also to assemble an increasingly comprehensive biennial Conference on International Opportunities in the Arts. Because TransCultural Exchange’s Conferences occur every other year, in some years TCE’s financial picture may look as though there was a deficit and other years like a surplus. However, TCE’s budget is allocated accordingly to carry over funds to meet the organization's needs for hosting its biennale Conferences. Another nuance to TCE’s financial summary is that of the generalization of categories of revenue and expenses that the 990s require. However, as a non-profit organization that seeks funding for its programs, TCE categorizes and allocates its revenue and expenses on its annual reports in a manner that is understood easily by funders and grant writers. For example, “program service revenue including government fees and contracts” on the 990 forms lumps a number of grantor-geared specifics under one vast umbrella, yet as a grant seeking organization TCE break this out into Conference registration revenue, government support, etc in its annual reports. A specific example occurs on TCE’s 2009 990s; TransCultural Exchange had received $83000 of actual + in-kind government grants which were categorized with “program service revenue including government fees and contracts”. TCE aims for the highest quality programming and offerings for advancing those in the arts, and continues to seek greater support to further these efforts through in-kind support and revenue generated from its biennale Conferences.

Foundation Comments

Financial summary data in the charts and graphs above are per the organization's IRS Form 990s.  Contributions from foundations and corporations are listed under individuals when the breakout was not available.
 

Documents


Other Documents

No Other Documents currently available.

Impact

The Impact tab is a section on the Giving Common added in October 2013; as such the majority of nonprofits have not yet had the chance to complete this voluntary section. The purpose of the Impact section is to ask five deceptively simple questions that require reflection and promote communication about what really matters – results. The goal is to encourage strategic thinking about how a nonprofit will achieve its goals. The following Impact questions are being completed by nonprofits slowly, thoughtfully and at the right time for their respective organizations to ensure the most accurate information possible.


1. What is your organization aiming to accomplish?

During the Cold War, the United States made a concerted effort to capture the hearts and minds of the world by exporting its arts and artists to the world. Today this program is a shadow of its former self and the gains that program once made - one could argue America's winning the Cold War - are rapidly diminishing. 
 
American artists no longer dominate the international art circuit as they once did; nor are they as actively engaged with their international peers. The effects are clear. America no longer is seen in as positive a light as its once was; and without meeting others face-to-face in non-threatening activities, we (and those we interact with) are easily demonized.  TransCultural Exchange's efforts aim to change this alarming trend. By bringing key art world leaders to the US to look at American artists' works, tell them about opportunities that exist for them abroad and help make these possibilities a reality, TransCultural Exchange has helped its primary audience -  artists  - share their work with the world, which has led to more opportunities and reciprocal exchanges. These artists have helped dispel many stereotypes for themselves and the communities they've visited, spread good will and brought their knowledge back to their communities, often inviting their new found friends to visit. Our goal is to increase this impact by more than 50% over the next 3 to 5 years. In particular our goal is to double the number, age and geographic demographics of our audiences. We plan to reach out to younger artists and those beyond our Northeast base so that more artists can take advantage of TCE's offerings. We will know if we are successful, if our registration records and website stats indicated younger artists and/or those outside of the region attend our 2016 Conference or took advantage of any of our online resources. Our on-going surveys and evaluations will also help us continue to track the outcomes of our programs and their impacts on the artists and their communities.
 
 
 

2. What are your strategies for making this happen?

Our strategies include substantially boosting marketing with a new website launch, a dedicated conference web portal, newly targeted quarterly direct mail and email campaigns; extensive use of social media and blogs to sustain visibility; ongoing public and media relations; viral marketing, promotions on art-related websites and increased print advertising; and TCE’s website upgrade to improve usability, reach more Americans in the field of visual arts and disseminate TCE’s offerings through podcasts and an online peer review journal. Additional we plan to continue to  evaluate and disseminating the results in print and online of our programs' impacts, and increase our online resources - in particular adding Conference podcasts and post-Conference documentation.
  

3. What are your organization’s capabilities for doing this?

Surveys, administered during past conferences and online, indicate that over 45% of TCE’s conference attendees received direct, tangible outcomes as a result: 5 artists secured teaching positions, 3 Fulbrights, 4 curatorial jobs, 3 arts administration positions, 150+ invites to exhibit and 90+ invites to residency programs, which typically include free studio space, room, board, an exhibit and access to new markets/networks, etc. These impacts are generative and sustaining: participation in one program often leads to others. For instance, one Mass. artist was invited to Finland’s Hovinkartano Art Center’s residency, which led to another in Croatia, exhibitions in both countries and a show traveling to the US, Finland and Israel. Arts organizations (30+% of the conference attendees) also benefited. Local galleries noted increased sales. Sponsors such as MassArt saw an increase in applications; they and other local institutions benefited from lectures and critiques from the conference speakers; students made valuable contacts as conference volunteers (all the a/v interns received at least 1 residency invite); and other arts organizations repeatedly noted gaining “new artists for their programs,” “awareness of new resources” and “increased visibility.” TCE’s global projects also stimulate and increase engagement in cultural activities.  As University of Mass. Amherst’s gallery director Anne LaPrade (who hosted 11 of TCE’s 2009 exhibits) noted, “website traffic increased by 25%, gallery attendance was up 15% or about 1000 visitors” and, through a TCE facilitated exchange, “an international residency director gave talks and conducted studio visits, resulting in a residency for 2 local artists.” TCE’s conferences combined have produced a total state economic impact of over $ 2 million and the creation of over 20 jobs (see Attachment 1).  80+% of the American artists who have participated in TCE’s programs indicated that they gained greater political awareness, cultural sensitivity, access to new networks, increased attention and visibility for their work, and learned new skills (e.g. language and website applications), which have long-term benefits for those in the visual arts and, ultimately, the economic, cultural and social health of our communities. With expanded advertising and promotion, greater impacts and additional outcomes can be expected.

4. How will your organization know if you are making progress?

TCE’s activities are, as the W.K. Kellogg Foundation suggests for best-practices, “SMART: specific, measurable, achievable, results-focused and time-bound.”  TCE’s survey methodology was devised with UMass Dartmouth’s Center for Policy Analysis to evaluate TCE’s initiatives, economic impact and assess how international programs affect American artists’ careers. Surveys were given to visual artists in attendance at the past 3 conferences with email follow-ups. In addition to rating TCE’s programs - qualitatively and quantitatively - and providing demographic information, questionnaires asked for the number and kind of programs the artists attended or participated in as a result of TCE’s initiatives and the impacts on their work and careers. Data was cross-tabulated to access the programs’ success from different viewpoints. This information helped refine past programs and TCE is committed to continuing to annually conduct and biennially publish evaluations of its programs’ impacts to refine its activities and provide TCE and others with statistical evidence to advocate the benefits (e.g. economic, social, etc) of the visual arts in our communities. TCE plans to continue to use this methodology to access its progress.

5. What have and haven’t you accomplished so far?

Please see above as well as our published program evaluation at
http://www.transculturalexchange.org/about/evaluations.htm