2011 TC Research
Teachers College, Columbia University
Teachers College Columbia University

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Joan Jeffri

Professional Background

Educational Background

B.F.A. cum laude, Boston University, 1967

Bristol Old Vic Theatre School, Bristol, England, 1965-66

Columbia University, 1964-1965

Northwestern University, 1961

Graduate course-work, Columbia University, 1975

Brooklyn College in theatre management, 1972

Herbert Berghof Studio with Uta Hagen

Scholarly Interests

ARTS MANAGEMENT


LIVING ARTISTS


EDUCATIONAL SERVICE


Selected Publications

ABOVE GROUND: Information on Artists III Special Focus New York City Aging Artists (2007), New York: Research Center for Arts And Culture, Teachers College Columbia University.

Respect for Art: Visual Arts Administration and Management in China and the United States, with Yu Ding, (2007) Beijing:  Intellectual Property Publishing House.

Dedicated to Dance:  The New Jersey Dance Needs Assessment Project (2006), New York: Research Center for Arts and Culture, Teachers College Columbia University.

“After the Ball is Over: Career Transition for Dancers Around the World”, International Journal for Cultural Policy, 11:3 (November 2005), 341-355.

“Arts Administration Education in the United States: an historical overview, Arts Research, Central Academy of Fine Arts, Beijing, China, 2004.

‘”Managing Uncertainty: The Visual Arts Market in the United States “ in Understanding International Art Markets and Management, ed Iain Robertson, London: Routledge, 2005.

“Research on the Individual Artist: Seeking the Solitary Singer”, Journal of Arts Management, Law and Society”Research on Artists”, Washington DC:  Heldref Publications, xxxiv, 1, 9-22.

“Jazz Musicians: The Cost of the Beat,” Journal of Arts Management, Law and Society, Washington DC: Heldref Publications XXXIII: 1, spring 2003.

Changing the Beat: A Study of  the Worklife of Jazz Musicians, Volume I: Executive Summary, National Endowment for the Arts, San Francisco Study Center and the Research Center for Arts and Culture, NYC, January 2003. National Endowment for the Arts Research Report #43.

Changing the Beat: A Study of the Worklife of Jazz Musicians, Volume II: American Federation of Musicians, National Endowment for the Arts, San Francisco Study Center and the Research Center for Arts and Culture, NYC, forthcoming 2003.

Changing the Beat: A Study of the Worklife of Jazz Musicians, Volume III: Respondent Driven Sampling, National Endowment for the Arts, San Francisco Study Center and the Research Center for Arts and Culture, NYC, forthcoming 2003. 

“Jazz Networks: Using Respondent-driven Sampling to Study the Network Structure of Two Jazz Musician Communities.” Unpublished paper to be delivered at the American Sociological Assocation Annual Meeting, Atlanta, August 2003.

"Finding the Beat: Using Respondent-Driven Sampling to Identify Jazz Musicians" with Douglas Heckathorn, POETICS, xxviii: 4, 2001.

Editor, Special Issue, "Tracking the Invisible: Identifying Artist Populations," POETICS, xxviii: 4, 2001.

Information on Artists II (6 Volumes), Research Center for Arts and Culture, Columbia University, New York City, 1998.

Arts Money:  Raising It, Saving It and Earning It.  University of Minnesota, Minneapolis, 1989.  Second Edition.

The Emerging Arts:  Management, Survival, and Growth.  Praeger Publishing, New York City, 1980.

biographical information

Joan Jeffri is the Director of the Program in Arts Administration at Teachers College, and Director of the Research Center for Arts and Culture. She is the past president of the Association of Art Administration Educators. From 1981-1990, she served as an executive director of The Journal of Arts Management and Law. She is author of Arts Money: Raising It, Saving It, Earning It (1989); The Emerging Arts: Management, Survival and Growth (1990), and editor of Artisthelp: The Artist's Guide to Work-Related Human and Social Services (1990); and The Actor Speaks, The Painter Speaks, and The Craftsperson Speaks (Greenwood Press, 1994, 1993, 1992), as well as numerous studies on artists, including "Information on Artists I and II" and "The Artists Training and Career Project." Her first careers were as a poet, with Louis Untermeyer as her mentor, and an actress, appearing in the national tour of The Homecoming, in the Boston Company of The Effect of Gamma Rays on Man-in-the-Moon Marigolds and with the Lincoln Center Repertory Company in New York City.

office location

413 Main Hall

professional experiences

 

ARTS MANAGEMENT

1985- present              RESEARCHCENTER FOR ARTS AND CULTURE, Teachers College, Columbia University

Director and Founder, interdisciplinary research center sponsored by Teachers College, Graduate School of Business and ColumbiaLawSchool.  Focus is on applied research in arts management and arts law.  Major projects on artists' labor market, training and career development, international programs.      

1991-  present             PROGRAM IN ARTS ADMINISTRATION, TeachersCollege, Columbia University

Director of expanded interdisciplinary M.A. Degree Program in the Department of Arts and Humanities with courses in the Graduate School of Business and the ColumbiaLawSchool; core teacher.

Director of expanded interdisciplinary M.A. Degree Program in the Department of Arts and Humanities with courses in the Graduate School of Business and the ColumbiaLawSchool; core teacher.

 

1993- present   SCHOOL OF THE ARTS, ColumbiaUniversity Member-at-Large.

 

1989-1991       PROGRAM IN ARTS ADMINISTRATION, School of the Arts, Columbia University

Director of MFA Program and Professor.

 

1981-1990       JOURNAL OF ARTS MANAGEMENT AND LAW

Executive Editor.  Policy making, design, and development of scholarly journal formerly called Performing Arts Review.  Responsible for 24 consulting editors, special issues on Public Policy and the Arts, Labor Relations and the Arts, Social Responsibility and the Arts.

 

1975-1989       COLUMBIA UNIVERSITY, School of the Arts and GraduateSchool of Business

Adjunct Professor.  Development and teaching of graduate courses in arts management,  arts marketing, and research in the performing and visual arts.

 

1974-1975       SCHOOL OF THE ARTS, Columbia University

Coordinator of Program Development. Organization of public programs and events, liaison work with professional groups, community organizations, on-campus agencies.  In charge of major development plan--grant writing, patrons, public relations.

1973-1975                   NEW YORK STATE COUNCIL ON THE ARTS

and 1984-1986             Consultant giving technical advice to theatre companies in areas of education, training, programming, marketing, funding.

 

1973- present                          FREELANCE CONSULTANT

Consultant to arts and educational programs, to corporations and service agencies including the Theatre Development Fund, University of Hong Kong, Cultural Center of Belem, National Foundation for Jewish Culture, NARAS, the Artists' Foundation, CAPS, Chesebrough-Pond's, Gallery Associates of New York State, IBM, Greater Philadelphia Cultural Alliance, Wharton Business School, CUNY, SUNY, LaSalle College, and/or, Playback Theatre, KARYX Corporation, International Theatre Bibliography.

 

 

PERFORMING ARTS

 

1966-1971                   PROFESSIONAL ACTRESS

Credits include: National company, The Homecoming, Lincoln Center Repertory Company: King Lear, The Miser, The Inner Journey, The Year Boston Won the Pennant; Boston company, The Effect of Gamma Rays on Man-in-the-Moon Marigolds; Columbia University Repertory Company, Major Barbara; Foothill Playhouse, Once Upon a Mattress, Salad Days; WEVD Radio, WNYC Radio, The Apple Man.

 

 

EDUCATIONAL SERVICE

1970-1974                BOARD OF HIGHER EDUCATION, City University of New York

Administrative Coordinator, four annual conferences on teaching basic skills, the arts, educational technology, teacher training with special emphasis on the open enrollment policy of CUNY.

1970-1972                   EDUCATION PROFESSIONS DEVELOPMENT ACT SUMMER INSTITUTE FOR COLLEGE FACULTY, a Department of H.E.W. Program

Program Coordinator of institute to train teachers and to develop curricula for basic skills, the arts, languages, and the sciences.  Use of videotape as a teaching tool.

 

1968-1969                   MENORAH HOME AND HOSPITAL, Brooklyn, New York

Drama and Speech instructor.  Development of a theatre program for senior citizens. Special problems in language, reading comprehension, alienation.  Directed the Fantasticks with senior citizens.

current projects

Open Exchange, International Distance Learning Seminar for US and Soanish museum educators, Program in Arts Administration, Museum of Modern Art, Reina Sofia Museum, Madrid

Telling Their Story: A Study of Storytellers in the United States
Using the method of Respondent-driven sampling, this study concentrates on the needs and realities of storytellers involved in Performance, Presentation and Practice, ranging from indigenous, to paid to organizational storytellers.

Information on Artists III
An update of information on living artists in San Francisco.

professional organization membership

Board Member and Past President, Association of Arts Administration Educators

Research and Information Committee, Americans for the Arts

Planning Committee, Arts Management Research Clearinghouse, University of Oregon

Chair, Research Collaborations and Opportunities Committee, Association of Arts Administration Educators

Chair, Research Mentoring Committee, Association of Arts Administration Educators

League of Professional Theatre Women, 1999

Short-Term Senior Scholar Fulbright Fellowship, Australia, 1996

Member, Association Litteraire et Artistique Internationale

Steering Committee, The Arts Research Centre of Canada

Co-President, International Arts Medicine Association

Member, League of Professional Theatre Women

Member, ArtTable

Member, Actors' Equity Association

Member, Screen Actors Guild

principal publications

ABOVE GROUND: Information on Artists III Special Focus New York City Aging Artists (2007), New York: Research Center for Arts And Culture, Teachers College Columbia University.

Respect for Art: Visual Arts Administration and Management in China and the United States, with Yu Ding, (2007) Beijing:  Intellectual Property Publishing House.

Dedicated to Dance:  The New Jersey Dance Needs Assessment Project (2006), New York: Research Center for Arts and Culture, Teachers College Columbia University.

‘"Managing Uncertainty: The Visual Arts Market in the United States " in Understanding International Art Markets and Management, ed Iain Robertson, London: Routledge, forthcoming 2004.

"Research on the Individual Artist: Seeking the Solitary Singer", Journal of Arts Management, Law and Society (forthcoming 2004)

"Jazz Musicians: The Cost of the Beat," Journal of Arts Management, Law and Society, Washington DC: Heldref Publications XXXIII: 1, spring 2003.

Changing the Beat: A Study of  the Worklife of Jazz Musicians, Volume I: Executive Summary, National Endowment for the Arts, San Francisco Study Center and the Research Center for Arts and Culture, NYC, January 2003. National Endowment for the Arts Research Report #43.

Changing the Beat: A Study of the Worklife of Jazz Musicians, Volume II: American Federation of Musicians, National Endowment for the Arts, San FranciscoStudyCenter and the ResearchCenter for Arts and Culture, NYC, forthcoming 2003.

Changing the Beat: A Study of the Worklife of Jazz Musicians, Volume III: Respondent Driven Sampling, National Endowment for the Arts, San FranciscoStudyCenter and the ResearchCenter for Arts and Culture, NYC, forthcoming 2003.

"Jazz Networks: Using Respondent-driven Sampling to Study the Network Structure of Two Jazz Musician Communities." Unpublished paper to be delivered at the American Sociological Assocation Annual Meeting, Atlanta, August 2003.

"Finding the Beat: Using Respondent-Driven Sampling to Identify Jazz Musicians" with Douglas Heckathorn, POETICS, xxviii: 4, 2001.

Editor, Special Issue, "Tracking the Invisible: Identifying Artist Populations," POETICS, xxviii: 4, 2001.

The Playwright's the Thing! A Report for the Theatre Development Fund on American Playwrights, Research Center for Arts and Culture, Teachers College, Columbia University, New York City, 1999.

"The Sociology of the Artist," Encyclopedia of Aesthetics , OxfordUniversity Press, New York City, 1998.

Information on Artists II (6 Volumes), ResearchCenter for Arts and Culture, Columbia University, New York City, 1998.

"A decade of change," International Arts Manager, 43-46, June 1998.

"The Arts in Arts Management Education: Meeting the Changing Needs of Arts Managers" with Jennifer Radbourne, Aesthetex: Australian Journal of Arts Management, VII: 2, 54-64, Summer 1997.

"The View From Over Here," Arts Training, Australia, Fall 1997.

"Philanthropy and the American Artist: A Historical Overview," European Journal of Cultural Policy, III : 2, 207-233, 1997.

Nature's Journeymen in The Business of Being an Artist, ed. Janet Summerton, City University of London, 1995.

Artists Who Work With Their Hands: Painters, Sculptors, Craft Artists and Artist Printmakers, a Trend

Report 1970-1990 with Robert Greenblatt, in Artists in the Workforce, Research Project #37, National Endowment for the Arts, Washington, D.C., 1996.

"Professionalism and the Visual Artist," with David Throsby, European Journal of Cultural Policy, London, I: 99-108, 1994. 

Editor, New Curriculum in Nonprofit Law in Central and Eastern Europe: A Resource Book, Columbia University, 1994.

Editor, New Curriculum in Nonprofit Law, Columbia University, 1993.

Exchange Council, New York City, 1993.

Editor, The Actor Speaks:  Actors Discuss Their Experiences and Careers, Greenwood Publishing Group, Inc., Westport, CT., 1994.

Editor, St. Petersburg 2003: Cultural Policy and Economic Development, A Resource Book, Citizen

"The Independent Arts," background paper, Citizen Exchange Council, St. Petersburg 2003, New York City, 1993.

Editor, The Painter Speaks:  Artists Discuss Their Experiences and Careers, Greenwood Publishing Group, Inc., Westport, CT, 1993.

Editor, The Craftsperson Speaks:  Artists in Varied Media Discuss Their Crafts, Greenwood Publishing Group, Inc., Westport, CT, 1992.

Artists Training and Career Project:  Actors, with Robert Greenblatt and Catherine Sessions.  Research Center for Arts and Culture, Columbia University, New York City, 1992.

Artists Training and Career Project:  Painters, with Zoe Friedman and Robert Greenblatt.  ResearchCenter for Arts and Culture.  Columbia University, New York City, 1991.

Artists Training and Career Project: Craftspeople, with Robert Greenblatt and Mary Greeley.  Research Center for Arts and Culture.  Columbia University, New York City, 1991.

Arts Money:  Raising It, Saving It and Earning ItUniversity of Minnesota, Minneapolis, 1989.  Second Edition.

Editor, Information on Artists.  12 vols.  ResearchCenter for Arts and Culture.  Columbia University, New York City, 1989.

Editor, Artisthelp: The Artist's Guide to Work-Related, Human and Social Services.  Neal-Schuman, New YorkCity, 1989.

"Between Extremities: The Artist Described," with Robert Greenblatt, Journal of Arts Management and Law, XIX: 1, 1989.

 "Training the New Philanthropists," Social Responsibility and the Arts, Journal of Arts Management and  Law, XIX:  2, 1989. 

Arts Money:  Raising It, Saving It and Earning ItUniversity of Minnesota, Minneapolis, 1989.  Second Edition.

Arts Money:  Raising It, Saving It and Earning It.  Neal-Schuman, New York City, 1983.  First Edition.

The Emerging Arts:  Management, Survival, and GrowthPraeger Publishing, New York City, 1980.

A&HG 4100: Master's essay: Arts administration

Permission from program coordinator/director required. To maintain continuous residency and receive advisement on the masters essay, students who have registered for the 60 required points of coursework and have not completed the masters essay must continue to register for this course after six terms including summers. Special tuition: the equivalent of 1 point of credit.

A&HG 4170: Principles and practice in arts administration

Permission from program coordinator/director required. Basic overview in arts administration covering major areas of concern to small, medium, and large institutions. Specific aspects of arts management, planning, program development, artist relations, marketing, and fundraising.

A&HG 4370: Practicum in arts administration and arts education

Permission from program coordinator/director required. Supplement to the required internship. Work with organizations or on projects on or off-campus; work must meet test of relevance to students program of study, supervisor approval, and judgment of satisfactory performance. At least 30 hours during the term; no more than 1 point per term; no more than 3 points during the course of the program for practicum.

A&HG 4470: Internship in arts administration and arts education

Permission from program coordinator/director required. Internship arranged with host institutions on an individual basis, taking into account the students needs, interests and capacities, and the hosts abilities to integrate those with its operation in an educationally useful manner. Twenty hours per week over four months or the equivalent.

A&HG 4576: Master's seminar in arts administration B: Research apprenticeship

Interview required. Supervised individual apprenticeship to ongoing projects in arts management, arts law, arts and cultural policy and data and information gathering on living artists.

A&HG 4970: Supervised individual research in arts administration and arts education

Permission from program coordinator/ director required. Independent research in arts administration.

A&HG 5174: Principles and practice in arts administration: Visual arts

Permission from program coordinator/director required. Prerequisite: A&HG 4170. A continuation of A&HG 4170 with special reference to the application of management principles and skills to the visual arts, including museums, commercial and cooperative galleries, artists spaces, public art, and corporate and individual collectors and artists.

Centers and Projects

Research Center for Arts & Culture
Website: http://www.tc.columbia.edu/centers/rcac/

Caught between paying homage to the artistic spirit and to the almighty dollar, the arts sector must deal with issues of social welfare, censorship, public policy, and arts law and management while simultaneously dedicating itself to the continual development of significant artistic ideas and images. While arts organizations continue to rise to this challenge, it has become increasingly clear that institutional survival in the arts at the expense of the artists themselves is no survival at all. It is for this reason that artists and arts organizations must be encouraged and aided. Part of this assistance comes in the form of reliable and consistent information which helps us to understand the needs and objectives of these constituents in their own terms.

The Research Center for Arts and Culture (RCAC), as both a service and a resource, provides data and ideas for applied research, education, advocacy, policy making, and action. In addition to the vast resources of Columbia University, including the considerable cooperation and participation of the faculty, an advisory board of artists, administrators, and members of the legal and business professions offers continuous support to the Center, helping it to provide services and expertise. Collaboration and cooperation with service organizations, trade publishers, and arts institutions strengthen the RCAC's unique position and enable it to translate its findings into useful, practical forms.

The Research Center for Arts and Culture is committed to:

  • Providing long-term, systematic research and documentation on the condition, needs, and situation of the living artist in America
  • Exploring the relationship between the public, individual artists, and the arts sector
  • Serving as an auspice for research by scholars, students and professionals in arts management education and training around the world
  • Providing a forum for research and discussion about cultural policy, arts education, and arts law issues

Who We Serve

Artists, arts institutions, academics, researchers, private funders, policy makers and students all use the Center's research and resources for a variety of purposes. Although the data are distributed to a wide array of constituents, a frequent request for data comes from individual artists. These data show that many artists have similar career paths, goals, and obstacles, particularly in relation to their status in society.

Constituents have used the Center's research in the following ways:

for Artists:

  • As part of a support network for artists
  • As ammunition for bank loans
  • To develop a plan for artist housing

for Advocacy:

  • To justify arts advocacy to local and national legislators

for Education:

  • To educate the staff and board members of arts funding agencies and organizations
  • As educational materials in the classroom
  • To argue for additional classroom space for art in schools

for Research:

  • To include in research on sampling techniques and methods for finding populations of artists and musicians
  • To develop surveys and techniques for replicating the Center's work with local and international artists

for Support:

  • To assist in the restructuring of a foundation's arts initiatives

for Information:

  • To include in arts-related publications

for Business:

  • As background by local developers for downtown redevelopment

For more information e-mail us at rcac@columbia.edu