Ceramics Unexpected
A Strategic Direction for The Clay Studio
S t ra t e g i c P l a n F Y 1 4 - F Y 1 8
Contents
I.
Executive Summary
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II.
Process / Timeline
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III.
Plan Philosophy
2
IV.
Who We Are
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a.
Organizational History
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b.
Current Programming
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c.
Mission / Vision
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d.
Core Values
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e.
Operating Principles
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V.
Operating Environment: Change Observations
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VI.
Our Mandate
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VII.
Objectives 1-5
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VIII. Financial Information
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IX. Conclusion
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a.
Appendix A: Summary Findings
b.
Appendix B: Participants
c.
Appendix C: Financial History
d.
Appendix D: Implementation Grid
cover image: Jae Won Lee, Untitled, from the January 2013 exhibition, Jae Won Lee
Acknowledgements
front of the building, The Clay Studio
John McCann, Partners in Performance Participants in our surveys, focus groups, national calls Board and Staff of The Clay Studio
This project has been supported by the Pew Center for Arts & Heritage
reception for Sandy Simon exhibition, 2012
I. Executive Summary The Clay Studio (TCS) is at an important moment in its history. As we approach our 40th Anniversary in 2014, we have a demonstrated history of growth, innovation, and service to the community. We also realize that there are many changes in the field of ceramics, in nonprofit practice, and in the city of Philadelphia. The expiration of our favorable lease in 2018 is accelerating a process of self-discovery, value clarification, and impact. At the same time, we are conscious of the fact that a facility is simply a tool by which we deliver our mission. Decisions about our facility must advance a mission to serve the community, allow us to present the best programming, and assure that we maintain healthy operations. The status quo is not an option for The Clay Studio – we simply do not have the time to react to these changes, we must lead. In less than five years, The Clay Studio faces three primary options for survival. One, we could renegotiate our lease at substantially higher market rates. Two, we could make a multi-million dollar offer to purchase buildings that we have already outgrown. Or three, we could prepare for the disruption of a move and the high costs associated with the build out of an alternate facility. The Board has concluded that one thing is very clear; TCS will soon realize substantially higher operating costs and must generate additional earned and contributed resources to meet this challenge. A multi-million dollar capital campaign is a reality for TCS in the coming three to four years. In order to succeed, we must lay a foundation now that engages more people, attracts more investors, and delivers a compelling message about our mission. This plan has been developed as a guide for The Clay Studio to successfully navigate this critical and timely phase of our growth. II. Process and Timeline Our current Strategic Plan is scheduled to expire in mid 2013. We have accomplished many of the key directives in this plan around the promotion of artists, administrative capacity, and financial soundness. In 2012, we were awarded a grant from the Philadelphia Cultural Management Initiative (PCMI) to update our strategic direction. This constituent-focused process utilized surveys, focus groups, phone interviews with national thought leaders, and a
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daylong retreat with board and staff. All told, we had direct contact with over 400 people in our community; arming us with real-time feedback and guidance. This plan was drafted for board and staff feedback and (will be) circulated in the community for final mark-up in March / April 2013. The final plan was (will be) submitted for board approval in May 2013. III. Plan Philosophy We will make a difference in the world through exciting, unexpected, and innovative educational programming that engages our community. Success will be measured by greater impact on our artists and community of students, increased individual support, increased program quality, expanded partnerships, and the completion of a capital campaign and facility project. IV. WHO WE ARE: Organizational History
The Clay Studio founders (from left to right) Jill Bonovitz, Kathie Regan Dalzell, Kenneth Vavrek, Janice Merendino (not pictured, Betty Parisino)
The Clay Studio (TCS) was founded in 1974 as a collective of five artists in search of a shared studio space. This group offered ceramic classes and small-scale exhibitions for the public. In 1979, The Clay Studio formed a Board of Directors and became a nonprofit organization. Early one winter morning in 1980, fire consumed the facility, and TCS nearly folded. Yet, with the tenacity of a new board, the dedication of our artists, and the vision of a few donors, TCS rose from the ashes and set itself back in business. As the organization recovered from the fire, it sought a visionary new director. Jimmy Clark, appointed in 1986, built upon the organization’s recovery, secured a permanent new home, and expanded the mission of TCS beyond its communal roots. It was at this time that TCS entered into a 30-year lease with a philanthropic-minded landlord who believed in the growth of Old City as an arts destination. This facility, the fourth home for TCS, also housed several other arts organizations – making 137-139 N. Second Street an instant arts community. This was the start of Old City’s famous First Friday coordinated openings. Clark, who had roots in European ceramic circles, brought a series of highly visible European exhibitions and artists into Philadelphia. In 1994, TCS added a mobile clay program, The Claymobile™, offering ceramic classes to schoolchildren in the Philadelphia region. At the time of Jimmy’s retirement, the organization had attained a strong international reputation, helped to transform Old City, and was gaining attention as a local service provider. The next leader would inherit an organization with a strong creative reputation, yet with limited administrative capacity.
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Claymobile founder Kathryn E. Narrow standing in front of a Claymobile van
Amy Sarner Williams, a friend of TCS since its early days, took over as the new Director in 2002. She immediately split the director role into one executive and one artistic position, and appointed a seasoned ceramic art dealer & artist, Jeffrey Guido, as the Artistic Director. This team, of Amy and Jeff, greatly expanded on TCS’ tradition of excellence while tackling nonprofit governance growing pains. During Williams’ tenure, the board improved its governance practices, strengthened its financial position, and expanded its professional staff. Under Guido’s leadership, the reputation of excellence grew in the exhibitions, resident artist programs, educational programming, and additional earned income streams were created. As the result of an expansion in 2007 TCS became the sole occupant in 137-139 N. Second Street. Upon her retirement, Williams had built an organization that had effective policies, strong finances, and an unparalleled reputation in the field. In 2011, the Board conducted a national search and hired Christopher R. Taylor as the new President. As had happened twice before, the new executive would inherit a strong organization with fundamental challenges on the horizon. During the search, the Board was focused on maintaining the organization’s tradition of excellence, navigating a difficult economic climate, and the 2018 lease expiration. Taylor, the organization’s first trained arts administrator, working closely with staff and board, has initiated a community-focused strategic planning process and has begun to tackle the looming facilities issue. This plan reflects The Clay Studio’s belief that nonprofits must first serve the community before asking the community to support the organization. IV. WHO WE ARE: Current Programming EDUCATIONAL PROGRAMS The Clay Studio School focuses on active learning and experimentation through classes, workshops, and special events. Coursework for beginner, intermediate, and advanced students is taught by accomplished and experienced instructors. Students enjoy a clean and wellmaintained facility, 17 fully functioning gas and electric kilns, a glaze lab, a school store, and a
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knowledgeable group of staff and interns. The School serves more than 2,300 students annually. The Associate Studio Program is, in many ways, an extension of our school. Ranging from hobbyists to professionals, we offer 40 local ceramic artists affordable, 24-hour access to a communal facility, equipment, and educational programming. In an effort to reach young artists,
Work Excahange unloading a kiln
we offer 13 additional slots as a Work Exchange (Intern) Program. In exchange for one day of work per week, the Work Exchange intern receives free rent in the Associate Program, reducedcost materials and firings, and opportunities for professional development. The Claymobile™ is an innovative outreach program in our educational and community-service mission. Founded in 1994, this 100% mobile program consists of two fully stocked vans that travel to under-served partner sites throughout the Greater Philadelphia region. Each year, we partner with approximately 75 sites including schools, community centers, homeless shelters, and youth detention centers. The program provides an exciting arts education curriculum in science, social studies, math, and the humanities, with the goal of bringing a creative, hands-on component to established academic standards. The vast majority of Claymobile students are low-income, minority youth who have never had access to arts education in their schools and communities. ARTISTIC PROGRAMS Our Resident Artist Program provides 12 emerging ceramic artists with studio space, exhibition opportunities, teaching positions, new networks, and individualized mentoring. Thanks to a recent two-year grant, we have been able to offer these studio spaces at no cost to the Residents. Each artist may elect to stay for up to five years – the longest ceramic residency program in the field. The success of this program is clearly demonstrated in the success of our Resident alumni, whose work has been included in numerous private collections and major exhibitions around the country and the world. The Clay Studio shop
The Clay Studio Shop and Gallery provide the public with an opportunity to purchase and live with new
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ceramic art pieces. Collectors can find important work to add to their collections, students and resident artists can be exposed to new techniques, and the artists on display are given an opportunity to make a living. The Shop represents over 100 of North America’s finest makers of functional pots, cups, plates, and vases. Our exhibitions, more than 20 each year, are known as a showcase of innovative, diverse contemporary clay artwork. IV. WHO WE ARE: Mission, Vision, Principles Mission The mission of The Clay Studio is to provide a unique learning environment in which to experience the ceramic arts. Vision The Clay Studio is a world-class arts organization, serving all those who seek to learn within the ceramic arts. Being world-class means being the best in terms of our innovation, curriculum, artist educators, and community interactions. We value the creative struggle. WHO WE ARE: Core Values • • • •
We place a premium on having the highest artistic standards and innovative educational programming We value our role as a leader in the local community as well as the international field of ceramics We will meet our constituents on their level of experience and interest while providing opportunities to have a deeper engagement with our mission We will be responsive to and reflect the communities in which we operate
WHO WE ARE: Operating Principles • We will remain flexible during this transition • We will form lasting partnerships as well as those on a per-project basis • We will only initiate projects that can be fully conceptualized, executed, and evaluated • We will capitalize on our strengths while addressing our weaknesses with resolve • We will operate in an efficient, ethical and directed way, being honorable stewards of the public trust V. Operating Environment: Change Observations Since it’s founding in 1974, The Clay Studio has evolved from humble beginnings as an artist collective into an internationally respected ceramic arts institution. As the 40th Anniversary approaches in 2014, we are given a great opportunity to reflect on decades of service and reflect on the changes that have taken place in the past four decades. Change has been present in everything we do. We have witnessed the emergence of new technologies, evolving artist motivations, more sophisticated arts audiences, changing community demographics, new fund raising landscapes, and challenges to our physical plant & business model. We must match these changes with focus, determination, and experimentation. Below is a listing of key external changes, which are affecting the operating environment for The Clay Studio.
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CHANGE OBSERVATION: Arts audiences are engaging arts programming in new ways Arts organizations around the world are finding new ways of engaging audiences in order to increase their relevancy and long-term solvency. The most successful organizations are orienting their activities within a wider community context and encouraging broader participation in their mission. Traditional marketing outlets are in flux, social media is on the rise, and participation trends have moved toward one-off experiences as opposed to serial participation. Change Response: The Clay Studio has been implementing new methods of engagement through the use of new communication tools, flexible scheduling, and increased handson activities. Continued expansion of our audience will require us to establish meaningful partnerships, improve our marketing, increase outreach activity, and present programs that are more accessible to the general public. The Clay Studio will need to strengthen its service to its existing audience while being deliberate in how the programmatic “welcome mat� is extended to a broader population. CHANGE OBSERVATION: The operating dynamics within Philadelphia and the nation are constantly evolving The City of Philadelphia has changed drastically since The Clay Studio was founded in 1974. If our founders were looking for studio space today, there would be hundreds of space options and organizations to facilitate their creativity. The Old City neighborhood has become a highly gentrified community. Several other residency programs are available nationally and internationally. These changes impact a number of the clients that we serve and the financial reality of our operations. Change Response: The Clay Studio has remained a competitive option for studio and resident space by offering educational opportunities for Residents and Associates while keeping the costs well below market rates. Our Claymobile program has stepped in to address a reduction in arts education through schools & social service providers around the city. As we experience changes in the City and beyond, we must create partnerships, clarify our value to the community, and maintain flexibility to adapt to the future.
Insatallation by Associate Jennifer Johnson
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CHANGE OBSERVATION: Nonprofit funding has been moving beyond traditional philanthropic models toward more social enterprise, investment, and self-sufficiency Around the country, foundations and philanthropists are becoming more interested in those nonprofits who can demonstrate long-term sustainability. Through the financial crisis, foundations held back, individual giving dipped, and corporate donations have nearly stopped. New models such as sponsorship, venture philanthropy, and social enterprise are replacing more traditional methods of giving. Change Response: The Clay Studio has worked over the past decade to achieve a healthy mix of earned and contributed income – approaching a nearly 50/50 mix. We must create new opportunity for investment and identify new income streams. We will have to alter our programming and planning processes to increase partnerships that have financial returns such as sponsorships, social venture capitalists, and other models. CHANGE OBSERVATION: Our annual operating budget, which has been subsidized by our low facilities costs, will rise in the coming five years The fact that we are leasing a facility with favorable rental rates is a double-edged sword. On one hand, the low costs have allowed us to put resources toward growth. On the other hand, these low rates have masked the true costs of operating The Clay Studio. In 2018, we will find a four to five fold jump in costs without a correlating expansion of income opportunities. Change Response: Our Board is investigating a variety of options for our facility and must remain open to options that are yet to be discovered. This plan and the recommendations herein will guide our decisions around a new facility and the funding streams that we will finance our future operations.
Growth Opportunity The Transition Response Understand the New Environment
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VI. OUR MANDATE: Create a Sustainable Cycle of Growth All of the listed changes are outside of our control. We cannot control new audience engagement models, evolving societies, philanthropic models, or real estate prices. We will create a stronger organization by serving more people and communicating our impact more widely.
Have a Greater Impact Generate Greater Resources
Refine Ceramic Arts and Educational Programs
Expand the Community of Ceramic Arts Enthusiasts Increase Visibility with Improved Messaging
VII. OBJECTIVES AND STRATEGIES: How we will get there A: Serve the Community: Attract Believers B: Communicate Our Impact: Demonstrate Results & Build Brand C: Be a Stronger Organization: Build our Strength A: Serve the Community: Attract Believers OBJECTIVE 1: Expand our community of ceramic arts enthusiasts though engaging programming and operations Our challenge to change begins with the best front-line delivery and customer focus within our programs. Every participant in every program should feel as though they have entered into a supportive community where hands-on learning is central. We will engage a partnershipcentered strategy to reach more people and more effectively engage them in our mission. Strategy A: Strategy B: Strategy C: Strategy D:
Create new internal practices that facilitate improved community engagement opportunities Respond to the changing dynamics of the field of ceramics and widen our reach into the community Recognize our role as a community asset and increase our connections to community service, social service, and neighborhood development initiatives Diversify our Board, Staff, Constituency, and our Partnerships
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OBJECTIVE 2: Integrate all of our programs in ways that are consistent with our educational mission The Clay Studio is established as an arts-based educational nonprofit institution. We have had great success in providing a learning environment for amateurs and professionals alike. Moving forward, we will remain committed to this core value. Strategy A: Strategy B: Strategy C:
Add specific learning outcomes and curriculum for each program area of The Clay Studio Assess the impact of programming on our participants to make continuous quality improvements Revise the organizational chart to improve the education team who will oversee implementation of educational strategies
B: Communicate Our Impact: Demonstrate Results & Build Brand OBJECTIVE 3: Communicate our commitment to education, service, and artistry; resulting in better engagement and philanthropic investment With the implementation of a comprehensive marketing strategy, every department will have the tools to propel new levels of message delivery, audience loyalty, and improved events-based initiatives. Our fundraising activities will create sustained growth in membership, institutional gifts, corporate giving, national grants, and access to government programs. Strategy A: Strategy B: Strategy C: Strategy D:
Develop a compelling message for those inside the organization to help them communicate better and advance fundraising goals Create engagement opportunities to move casual users and visitors into investors of the organization’s future Cultivate and secure more major individual donors, corporate sponsors, and national funders Create opportunities for giving outside of Philadelphia
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C: Be a Stronger Organization: Build our Strength OBJECTIVE 4: Build a sustainable organization known for its healthy culture, innovative practices, and adaptive leadership Adaptive leadership will be required across the organization. Strong and informed governance; visionary and mutually supportive staffing; and an ever-growing cadre of engaged volunteers will be required to assure long term success. Every member of the board will need to play a significant role in widening our network among major donors from Philadelphia, around the country, and internationally. A stewardship committee will become the foundation for a formal capital campaign committee, which will be tasked with high-level visibility for The Clay Studio as well as setting and achieving campaign goals. An array of active board committees will be charged with outlining facility needs, advancing a partnership agenda, increasing visibility, strengthening governance, and assuring future financial stability.
Board meeting, 2012
Strategy A: Strategy B: Strategy C: Strategy D: Strategy E: Strategy F:
Restructure the board committees in ways that better serve the long-term vision Create a waiting list for the board Attract and retain the best and most talented staff and volunteers Provide the staff with the support staff and resources required to accomplish their service Further refine and perfect our capitalization strategy, including operations, working capital, change capital, and endowment Increase our earned income opportunities across the organization, but specifically within the shop, gallery, and outreach programs
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OBJECTIVE 5: Create a facility that is a dynamic, flexible, 21st century resource to enhance mission delivery and facilitate our long-term vision Addressing the facility issue remains a top priority and it will be the culmination of our activity within the community. We cannot build in a vacuum and we do not build for ourselves – we must do this for the community. Strategy A: Strategy B: Strategy C: Strategy D: Strategy E: Strategy F: Strategy G:
Clarify our organizational priorities so that decisions concerning our physical plant will best meet the needs of our current and future constituents Develop a limited set of viable options for solving The Clay Studio facilities needs Create capital campaign seed funding in service to the work of the Building and Business Committee Engage the services of the right consultants to accomplish this major project Investigate public programs, government grants, and other initiatives that will support the physical plant needs Conduct feasibility study to inform the design of the Capital Campaign Outline a successful Capital Campaign strategy
VIII. Financial Information Over the past decade, The Clay Studio has realized significant growth, due in large part to its most recent expansion in 2007. Below is a breakdown of our financial highlights since FY2003 (through FY13 Budget). • Total Income has increased by 69% (from $956K to $1.61 million) o Earned income has grown at an astounding 96% ($374K to $733K) • School income growth by 113% (from $156K to $332K) • Gallery income growth by 220% (from $75K to $241K) • Sublet income has shrunk by 64% (from $28K to $10K) due to expansion and lack of sub-leasers in the space. o Contributed Income has grown by 51% ($582K to $879K) • Foundation growth by 116% (from $212K to $460K) • Trustee growth by 71% (from 38K to $75K) • Government shrinking by 51% (from $62K to $31K) •
Expenses have kept pace at 64% (from $960K to $1.57 million) o Staff growth has caused increase of 106% (from $302K to $621K) o Depreciation from leasehold improvements is up 110% (from $45K to $95K) o Cost savings includes 14% savings in Marketing and 27% savings in Fundraising costs
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All things being equal (and they won’t be), if TCS kept the same growth pace over the next decade (FY13 - FY23), we would have $3.3million income and $2.8million in expenses and a surplus of $500,000.
With the potential of a new facility coming online in the next half-decade, we would need to keep the same pace in our growth areas while keeping costs under control. We will need to examine opportunities for growth in income, how a new facility will advance those goals, and the changes
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in programming that will advance these goals. An updated business plan and capitalization strategy will be required to advance these growth goals. IX. Conclusion The Clay Studio has demonstrated, over the past four decades, that it has the capability to grow in ways never anticipated by its founders. The efforts of a dedicated board and creative staff have led to a series of physical plant expansions, two major national conferences, a highly professional staff, and new ways of serving the community. The challenge for the next five years is to grow at a pace that is equally transformational. This plan outlines a community-based educational focus to this growth. It encourages The Clay Studio to think about the facility in terms of how it will better impact the community. It requires more partnerships, innovation and a compelling message. It also demands excellent operations along the way. Set against the backdrop of a new and ever-changing 21st Century, The Clay Studio has an opportunity and an obligation to meet these challenges head on.
For more information on how you can help us achieve the goals set forth in this plan, contact: Christopher R. Taylor, President 215-925-3453 x12 ctaylor@theclaystudio.org
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APPENDIX A: Summary Findings The Clay Studio Strategic Planning Process Facilitator’s Perspective John McCann, Partners in Performance May 2013
“Everything---in the ceramics field--- is fluid right now, a fertile time of examination and transformation, a reset moment.” Field Key Informant Context As The Clay Studio advances from plan development to implementation, Partners in Performance was asked to share some perspective from its role as process facilitator and observer. What follows is a short commentary that is intended to: a) summarize some of the perceptions from key informants outside the organization and constituents like artists, board members, faculty, and staff that reside within the boundaries of The Clay Studio; b) share a point of view about the critical areas of leverage that can be of value in advancing the commitments named within the plan, and; c) to identify some areas where momentum is already beginning to build. Operating environment To a person, the outside informants we interviewed identify the current period as one of huge opportunity for all those in clay and ceramic arts to examine current practices and priorities in light of seismic shifts which are underway. What were once a strictly adhered to craft that emerged from a certain set of studios is changing dramatically. It’s now more about a ‘multiple’ histories of ceramics. This is having two influences; merging the gap between art and craft; and opening up new and quite varied audiences. People are finding new ways to use materials. As an example, at Art Basel, the most interesting work in ceramics is no longer on a pedestal. Ceramics is now a multi genre discipline. Students are being trained in new ways. It’s now moving rapidly toward an interdisciplinary fashion, more training in mixed media, and more incorporation of technology into the training environment. Students are no longer aspiring toward a career in the teaching field, a familiar destination for decades. Today’s graduates want independence, connectivity, and autonomy. The fundraising environment for ceramics and with any specific art form is now much more challenging. This presents an opportunity for artists (like the resident artists at TCS) to engage across the community in ways that embrace community development, education, social service, advancing to greater equity in the access to arts education. Collectors are getting older, and there are fewer in the range of 20-50 years old than there were thirty years ago. Organizations are merging, partnering and collaborating across boundaries like never before, going it alone is a less viable strategy. The ‘networked’, boundary spanning organization is the one that’s flourishing. These enterprises tend to be more community-minded, and more engaged with their constituents. Technology is now woven into everything, not simply as a way to support the development of work, but shaping what is defined as ceramic art; and moreover who is to be considered an artist. The new partnership between Haystack Mountain School of Craft and the Massachusetts Institute of Technology Center for Bits and Atom is one of more than a dozen digital fabrication spaces across the globe (FABLABS). In the future, fabricators and designers might well reside on two different sides of the planet. Finally, amateur pursuits are now a key pathway for how people are spending leisure time. More people of all ages, especially retirees are looking for high quality classes, in learning
environments where they feel comfortable, and that are convenient to access. People with discretionary time seek ‘centers for learning’, physical spaces to replace the community centers of the past, simply where people could gather passively. This is the context within which the future priorities of The Clay Studio must be considered and advanced. Leverage areas To advance the strategic plan objectives within to this rapidly changing environment---and based on observation, document review, survey data and focus groups responses Partners in Performance perceives three critical areas of leverage for The Clay Studio. An ever increasing clarity of purpose Decide where The Clay Studio fits into in the national clay and ceramic arts ecology. Forty years is a long time, and over that period the organization has build a reputation for, at times, being highly innovative (Claymobile), being a national leader (hosting NCECA conferences), and recognized as artistically significant (Artist Residency Program). Yet, when, in late 2012, informants were asked about the core purpose of The Clay Studio, responses ranged widely (nurture artists, promote ceramics, educate the public, etc.). While providing a sizeable roster of what the organization does; folks had a much harder time in communicating the purpose in doing them. With the significant operational and capital fundraising ahead, it will be critical for The Clay Studio to clarify and communicate to its potential investors the impact it seeks to have and the public value it aspires to generate. The newly developed mission statement: “…to provide a unique learning environment in which to experience the ceramics arts,” should go a long way in clarifying why certain programs are pursued, others refined, and some discontinued. Such clarity should also provide a helpful framework for resolving conundrums like: “Why is our support of a Philadelphia youngster ‘mucking around with clay’ as vital and legitimate as providing a five year residency to a preeminent clay artist from Hong Kong?” Fundamentally, through its strategic plan, The Clay Studio is stating that it exists to serve a range of equally important constituents through an array of equally important programs---all within a framework of learning and experimentation. A clear purpose should also contribute to greater coherence in the messaging emanating from The Clay Studio. This level of clarity is vital to building the individual donor base, sustaining foundation support, and acquiring sponsors for specific programs, exhibits, and initiatives---all precursors to a successful capital campaign. People need to understand how their investment in a specific activity serves the purpose, and ergo will have a worthwhile impact. And internally, in order for board and staff meetings to legitimately and effectively focus on the future (“An organization is what it talks about”.) the vision, mission, and objectives must be clear, and kept in constant conversation. This is especially true with the board. The Clay Studio can ill afford to nickel and dime its time on wasteful tactical and/or operational pursuits. Nonprofit boards are most helpful when their focus is on four key areas of inquiry: • •
What is our vision and for whom is it relevant? Basically, why does what we’re committing ourselves to matter? What is our strategy, and what evidence are we seeing that tells us that it’s working? Where
• •
do we need to adapt our strategy; and what are we doing to make those changes? How are we allocating our assets, both human and financial, and what is the rationale for such an allocation? Are we engaging in a ‘future-based’ inquiry; or are we spending our time re-hashing things that have happened and over which we have no control?
Clarity of purpose is the only gateway to this level of governance dialogue. The building of organizational cohesion Basically, a majority of informants described The Clay Studio as a balkanized organization. Near the beginning of the process an anonymous survey responder stated: “The Clay Studio has all the potential in the world, but this sense of different levels on the totem pole because of status… needs to somehow be done away with. Break down the barriers!” This theme was echoed in every one of the seven internal focus groups: • “There’s a need for greater cohesion.” • “Create more balance between the constituent groups…instead of so much tension between them”. • “The place is fractured.” • “Communications are broken.” • “We don’t know who other people are, not even the other faculty.” • “Fix the communications problem, between floors.” The rebuilding of social capital (openness-trust-cohesion) at The Clay Studio is absolutely essential. Without it, the organization will not possess the shared awareness, openness, and trust that are critical to survival, not mind success. These are the building blocks of achieving the objective of building a sustainable organization with a healthy culture. When asked to self identify the markers of such a culture, informants across all social impact sectors (arts and culture, social justice, education, community development, etc.) name three essentials: “I know where I fit in and what contribution I am making to the vision being accomplished. I know the people I work with and understand their role in relation to mine. My voice is heard, and my contributions are considered.” People yearn to ‘see the system’ of which they are a part and to understand how they can influence that system and in so doing, contribute to the impact The Clay Studio is having on the world. Increased innovation and responsiveness The Claymobile, at the time of its inception, was viewed across the country as one of the most groundbreaking ways for an arts institution to move beyond its walls, to break down the barriers created by fixed location, lack of transportation, and the cost of participating. Numerous studies about arts participation cite Claymobile as a groundbreaking case study. But the launch of Claymobile was almost 20 years ago. And, a worthy question posed by outside informants and by internal constituents relates to what The Clay Studio has done since that time (1994) that is truly innovative. Internal perceptions vary on the degree to which the organization actually values innovation. In a cross constituent focus group, comprising Associates, Resident Artists, faculty, and others, by a ratio of four to one, the group stated that the organization was more ‘traditional’ than it was ‘innovative’. Food for thought.
When in each focus group, respondents were asked to identify specific organizational strengths, there was no direct reference to innovation. The rapid, nonlinear changes in the landscape of ceramics; the emergence of new technologies and their application to teaching, design, and fabrication; and the uncertain and dynamical financial climate demands organizations examine current practice, take risks, and learn from these experiences. A focused approach to innovation: challenging long held assumptions; generating new ideas and approaches; and prototyping the best of those ideas is essential to advancing the key objectives of the strategic plan. Such innovation is best supported by a staff and board that are open and adaptive regarding their approach to plan implementation. This means that some strategies, while thoughtfully developed and rendered, will prove not to be the strategies required to achieve success. Board, staff, artists must all engage---in a systemic way--- in an open transparent dialogue that engages with the results they are seeing and the degree to which the prevailing strategy is achieving the impact the plan calls for; and be willing to adapt the strategy, and alter the approaches in ways that may be contrary to the good thinking that went into formulating the plan in the first place. Evidence of building momentum Finally, from an observer role, Partners in Performance has witnessed strides being made in these leverage areas. Momentum is evident. • •
• •
The plan takes a point of view on the future, with a clear, compelling and concise vision and mission, a firm statement of values and principles, and a plan philosophy that mandates innovation, excellence, and impact. There is an emerging environment of greater openness, making more space for engagement across the organizational domains, more room for input from staff and others. This was quite evident in the recent all-day plan implementation session where staffers together crafted the implementation grid, with the Executive Director playing the role of scribe and ‘validator’ of the input from staff. The recent board meeting where the draft plan was discussed was one of real inquiry, and a focus on the future; and this is in sharp contrast to the planning meeting in late February where advocacy and debate ruled the day. The successful March gala; the results of recent donor cultivation efforts; along with the launching of the young supporters group and the reinvigorating of the alumni community are all signs that The Clay Studio is beginning to increase its circle as support…the first step in readiness for a successful capital campaign.
In addition to the critical nature of these three key leverage areas, the plan’s focus on diversity, messaging and marketing, and on achieving a flexible 21st century facility are consistent with the feedback we solicited from external informants and internal constituents. Finally, it has been a joy to be engaged with The Clay Studio, thank you for the opportunity!
APPENDIX B: Participants Survey Summary Groups – November 1 – 15, 2012 Focus Groups, November 26 & 27, 2012 National Calls, December 14 & 17, 2012 Retreat, February 21, 2013 National Contributors – March 14 – 28, 2013
Community Members Alice Antonelli, Nonprofit Finance Fund Kim Armstrong, Strategic Consultant Beth Feldman Brandt, Stockton Rush Bartol Foundation Graham Copeland, Old City District Eileen Cunniffe, Arts and Business Council Tom Kaiden, Philadelphia Cultural Alliance Albert & Tina LeCoff, Center for Art in Wood Pam Lethbridge, Artist Mark Lueders, Former Resident Artist, The Ceramic Shop Frank Murphy, Principal, Gen. George C. Meade School (Ret.) Rick Snyderman, Snyderman-Works Galleries Ken Vavrek, Artist, Clay Studio Founder Amy Sarner Williams, Former Clay Studio President (Ret.) Board Members Brian Bernhardt Kathie Dalzell Lynne Dorman Lynn Fryckberg Jim Fulton Hiroe Hanazono Marge Brown Kalodner Elaine Kelly Nick Kripal Rachel Laibson Heeseung Lee Tim Levin Therese Obringer Margot Palley Judy Pote Franz Rabauer Marianne Tebbens Arnie Weiss Etta Winigrad Staff Jennifer Martin, Vice President Jeff Guido, Artistic Director (fmr.) Julia Erlichman, Director of Development Annette Monnier, Outreach Program Director Naomi Cleary, Manager of Sales and Communications Yvonne Lung, Graphic Designer / Marketing Coordinator Julie Shanahan, Development Coordinator Dennis Ritter, Studio Manager Jenna Savage, Executive Assistant Wynn Bauer, Gallery Assistant Mallory Wetherell, Gallery Assistant (fmr.)
Friends / Artists / Instructors / Community Members Tina Cheung, Work Exchange Jerry Bennett, Artist Lynne Berman, Associate Ben Feiss, Current Resident Artist Vicky Gold, Associate Cheryl Hendershott, Associate Jennifer Johnson, Former Associate Ryan Kelly, Former Resident Artist Carol Klein, Associate Adam Ledford, Work Exchange Lauren Mabry, Current Resident Artist Jordan Mcdonald, Current Resident Artist Julie Moon, Current Resident Artist Peter Morgan, Current Resident Artist Yinka Orafidiya, Work Exchange Bob Parsky, Associate Adelaide Paul, Former Resident Artist Hope Rovelto, Artist Larry Spitz, Associate Janice Strawder, School Instructor Mune Taguchi, Former Resident Artist / Instructor Daniel Teran, School Instructor Grace Tessein, Work Exchange Carol Ventura, Associate David Walters, Associate Deb Williams, Instructor John Williams, Former Resident Artist Kensuke Yamada, Current Resident Artist Matt Ziemke, Current Resident Artist Accra Zuberi, Claymobile Instructor National Advisors Elisabeth Agro, Philadelphia Museum of Art Julia Galloway, Montana State University Marc Grainer, Collector and former board member Peter Held, Ceramics Research Center, Arizona State University Paul Kotula, Michigan State University Steven Lee, Archie Bray Foundation Katherine Ross, School of the Art Institute of Chicago Paul Sacaridiz, University of Wisconsin, Madison Judy Schwartz, New York University Linda Sikora, Alfred University
THANK YOU!
APPENDIX C: Financial history FY 2003 - FY 2013
APPENDIX D: Financial Forecast With Finance and Executive Committee – FY14
APPENDIX D: Implementation Grid FY 2014 - FY 2018
We are “the place to go” for ceramic art programming Peer organizations will see us as an open and willing partner We have a welcoming environment We are known for our expertise - both the best service and the best objects Financial success Fun, Smart, Contemporary There is a sense of urgency - “People are beating down our doors for this programming”
We have been tapping the same audience over and over - cycling through same lists We are welcoming, but still a “best kept secret in Philadelphia” Lacking a message or marketing push to really sell ourselves We are well recognized in our field Our main way of working beyond the walls is Claymobile (and internet) - we should plan for more outreach opportunities
A lack of organizing / far advance planning Staffing capacity is at its max - more people will be needed (both paid and volunteer) Our current physical plant is fighting our ability to expand and serve more The Philadelphia community doesn’t know us very well or how to tap our expertise We may need a customer service training / audience engagement training We have to create a demand for our work
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Desired State
Gaps / Challenges
Current State
Expand our community of ceramic arts enthusiasts though engaging programming and operations.
Objective 1
B. Respond to the changing dynamics of the field of ceramics and widen our reach into the community
A. Create new internal practices that facilitate improved community engagement opportunities
Strategy
Convene a 40th Anniversary Committee to launch anniversary program plans
Identify at least three partnerships with science and technology organizations
Design and implement relevant programs and initiatives using guest curators and 40th Anniversary opportunities
Host a planning meeting that includes customer first focus
Engage the services of a marketing / audience consultant
Initiating Steps
Summer/Fall 2013
Summer 2013
Summer/Fall 2013
Spring 2013
Date Due
Director of Development
President
Artistic Director
Vice President and all department heads
Leadership
40th Anniversary year is planned and executed
Science and technology partnerships are formed for residency, exhibitions, and claymobile
High tech show is planned with new Artistic Director including sponsorship opportunities
Pre Planned activity makes marketing more efficient and our programs are more tied together
Early Indicators of Progress
CeramicsPrograms reflect the interests of 21st Century ceramic makers and audiences
Sponsorship and philanthropic granting opportunities are secured in support of major technology discussion about
The Clay Studio is presenting a broader range of ceramic art applications and processes are examined in greater depth
More efficient delivery of our operations
Greater understanding and knowledge of our mission across the community
Long Term Outcomes
D. Diversify our Board, Staff, Constituency, and our Partnerships
C. Recognize our role as a community asset and increase our connections to community service, social service, and neighborhood development initiatives
Assess the current line-up of programming and replace two programs in the 2013/2014 schedule that include new diverse audiences
Convene a diversity task force made up of board and members of the community
Identify partnerships for each TCS program during June Planning session
Host a communitywide meeting with partners and natural allies
Ongoing
Summer 2013
Fall 2013 and Spring 2014
Spring 2013
Fall 2013
Senior Staff
President and Board Chair / Governance Chair
Senior Staff
Our programs begin to attract more ethnicities and races
Appoint at least 2 board members from varied ethnic and racial backgrounds
Partners are built into all TCS programs
Partnerships reflect a focus on Educational mission / educational outcomes
Deeper partnerships are formed within programs
We are respected for our diverse programming and the diversity of our board & staff
The Clay Studio mirrors the ethnic make-up of Philadelphia
We are recognized as a natural partner in Philadelphia and across the field of ceramics
Increased focus on our community surrounding our physical plant location
Strategic partnerships are essential elements of all TCS programming & delivery
A lack of integration across our programming Taking early steps to integrate educational outcomes / more to be done Segregation and lack of communication across programs and constituent bases Everyone thinks that one program or the other is prioritized in the organization Programs feel segregated by physical space - and reinforced by lack of cross programming
Communication needs to be increased across programs Communication about program intentions, success measures, and limitations needs to be increased We are not addressing some areas as well as we could We should increase the Board’s knowledge about the product and processes We will need to add more support staff to fully integrate these goals
• • • • •
• •
Desired State
Current State
• • •
Our constituents (current and potential) have a richer and more in-depth learning experience We have better member communications There are lots of programmatic “welcome mats” out for access to the ceramic arts and processes We have a strong message formed about our service We have a strong sense of community around the ceramic arts
• • • • •
Gaps / Challenges
Integrate all of our programs in ways that are consistent with our educational mission
Objective 2
B. Assess the impact of programming on our participants to make continuous quality improvements
A. Add specific learning outcomes and curriculum for each program area of The Clay Studio
Strategy
Develop evaluation methods for the 2013/14 programming schedule
Set goals in the planning sessions and have more evaluation methods built in
Diagram each program to fully understand program limitations / outcomes
Host a crossdepartmental planning session to clarify educational outcomes that are consistent with plan objectives
Initiating Steps
Ongoing
Spring and Summer 2013
Fall 2013/ Spring 2014
Spring and Summer 2013
Date Due
Vice President and President
Senior Staff
Leadership
More regular assessments and program improvements
Surveys are better analyzed and circulated regularly
All Programs have input into the annual schedule - no one program drives the others
An organization-wide plan is developed across departments
Early Indicators of Progress
Measurable impact is achieved, documented, and communicated to constituency and community
Continuous improvement is attained across The Clay Studio administration / program heads and the constituency
Quality is a keystone of all TCS programming
Those engaged with The Clay Studio have a full understanding of their programs and how they fit into the organization as a whole
Long Term Outcomes
C. Revise the organizational chart to improve the education team who will oversee implementation of educational strategiesimplementation of educational strategies 2014
FY 2015
Present an outline of department restructure to the Education Committee Seek funding for newly restructured education department Director of Development
President / Vice President
Funding is secured for positions and resources in new education department
A plan is adopted to restructure the education department
Ongoing funding is secured for the Education Department
Educational outcomes are an essential consideration in program planning and implementation
Gaps / Challenges
Current State
Desired State
Objective 3
We don’t have a unified easy “pitch” Hard to communicate our “why” We often recite our “what” as opposed to our “why” - we need more altitude in our messaging Development is suffering without the best language for The Clay Studio
Marketing has been de-centralized - missing a staff member to be on top of the message Missing a true and strong galvanizing purpose How do develop a message that is tailored to individual programs yet reflective of the whole organization
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• • •
•
• • •
We have developed a message that communicates our attractors - fun, smart, ahead of curve, contemporary There is a greater awareness about The Clay Studio We have a bigger and more effective tag line We have a unified message that is well understood and each team member (board and staff) can effectively tailor it to their needs Our Philanthropic message / language increases our fundraising effectiveness
•
Communicate our commitment to education, service, and artistry; resulting in better engagement and philanthropic investment
Host a messaging session with key members of board and staff
Engage a consultant to identify audience engagement processes and opportunities
B. Create engagement opportunities to move casual users and visitors into investors of the organization’s future
Initiating Steps
A. Develop a compelling message for those inside the organization to help them communicate better and advance fundraising goals
Strategy
FY 14
FY 14
Date Due
President / Marketing Committee
President / Marketing Committee
Leadership
Increased giving by major individual donors in the $5,000 and up range
Increased membership above 750 individuals
Message is more clearly understood across the organization
Early Indicators of Success
Larger investment base is in place for a capital campaign
All internal constituents can speak clearly about The Clay Studio’s impact and role in Philadelphia and beyond
Long Term Outcomes
D. Create opportunities for giving outside of Philadelphia opportunities for giving outside of Philadelphia
C. Cultivate and secure more major individual donors, corporate sponsors, and national funders
Determine roles and duties for the Alumni Committee specific to the 40th Anniversary year
Recruit a national advisory board of 10 20 individuals
Determine roles for the Advisory Committee
Creating a detailed 24-month development plan and strong stewardship committee
FY14
FY15
FY 15
Ongoing
FY 14
President / Board Chair / Director of Development
President / Marketing Committee
Alumni participates in 40th Anniversary year and suite of events
A national advisory and donor committee is formed
Increased giving by major individual donors in the $5,000 and up range
Increased membership above 750 individuals
The 40th Anniversary facilitates a sustained and engaged Alumni network
National group of advisors becomes a significant source of funding for TCS
Corporate sponsorship is a critical component of the annual income for exhibitions and programs
A national individual donor base is established
National institutional funders (foundations and government sources) are regularly supporting The Clay Studio's operations and programming
Build a sustainable organization known for its healthy culture, innovative practices, and adaptive leadership
There is a waiting list for board service Current board is highly engaged with talents and enjoying their service to The Clay Studio The Clay Studio is financially stable with investment and working capital reserves Salary and benefits are adequate / competitive within like-sized organizations There are clear and calm communications - the staff is energized Board committee structure is strong and effective
The culture is generally healthy with a plan to address weaknesses Finances are tight - annual budgets are bare-bones and barely being met Salaries and benefits are competitive, but annual budget tightening could restrict growth
Support staff is needed to continue the existing service level - let alone growth Business model will need to be examined for growth The next appointees for the board will need to have fundraising networks Ongoing budgets have to reflect a “growth mode” for The Clay Studio
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• • • •
Objective 4
Desired State
Current State
Gaps / Challenges
B. Create a waiting list for the board FY 14 and Ongoing
FY 14
Convene the Executive and Governance committees to improve board satisfaction and increase effectiveness
Improve orientation for new board members
Ongoing
FY 14
FY 14
Clarify committee duties and attract new committee expertise from outside the existing board
A. Restructure the board committees in ways that better serve the long-term vision
Date Due
Survey board around satisfaction and effectiveness
Initiating Steps
Strategy
President, Board Chair, and Governance Chair
President and Governance Chair
Leadership
Individual board members know their expectations and are more satisfied with their service
We have a needsbased recruitment strategy
Clear orientation creates more engaged board of directors
New Committee members are attracted and engaged around specific duties
Early Indicators of Success
Board satisfaction is high and individual members are effective toward achieving TCS goals
Board networks are expanded
Board cultivation is ongoing and fruitful
Non-board committee members become a “board in training�
Board committees provide essential leadership toward annual and long-term TCS goals
Long Term Outcomes
D. Provide the staff with the support staff and resources required to accomplish their service
C. Attract and retain the best and most talented staff and volunteers
Host a quarterly staff meeting to explain the financial picture of The Clay Studio
Increase staff engagement in the annual budgeting and monthly financial reporting processes
Increase volunteer engagement in programs and presentations
Create targeted professional development opportunities for staff
Update all position descriptions
FY 14 and Ongoing
CY 14
FY 14 and Ongoing
CY 14
Vice President and President
Volunteer coordinator
Vice President and President
Staff is more fluent in the financial realities of The Clay Studio
Resources are aligning with needs
Volunteers are playing a key role in programming
Job descriptions will be updated and expectations are more clear
Growth and budget allocations are informed “from the ground up�.
A strong base of volunteers is essential to the delivery of TCS programming
The Clay Studio has a productive, satisfied, and adequately compensated staff
F. Increase our earned income opportunities across the organization, but specifically within the shop, gallery, and outreach programs
E. Further refine and perfect our capitalization strategy, including operations, working capital, change capital, and endowment
FY 14 and Ongoing
FY 14
Refine the role of the Finance Committee and attract four new members
Convene department heads to identify 3 to 5 earned income opportunities
FY 14 and FY 15
Engage the services of the Nonprofit Finance Fund around business and capital planning
Finance Committee
Vice President and Department Heads
President, Board Chair, and Governance Chair
Present 3 well conceived earned income opportunities to the Finance Committee
Establish financial goals of capitalization strategy
NFF engaged for capital and business planning
A newly formed Finance Committee is focused on future
Securing earned income opportunities raise the TCS profile in the community
Sustained earned income is an appropriate and essential facet of TCS’ financial stability
The business model is a driver for the new facility and location
The Clay Studio has one year of operating reserves in the bank.
Create a facility that is a dynamic, flexible, 21st century resource to enhance mission delivery and facilitate our long-term vision
A facility that fits our current programming mix and allows for smart growth An open and flexible space for programming Better than “adequate” funding to build and sustain a new facility Interactive community space that is welcoming and accessible for more people A higher philanthropic profile - we are worthy of investment
Current space is limited and we have two locations (Claymobile and Main Site) We have an artificially low rent based on 1989 negotiations We have good foundation support but low individual investment
We have a major capital campaign on the horizon - and we’re not ready now There is not a full consensus that we actually need to move We have to radically expand our major donor investment We have to expand membership base by a factor of 10 for a successful capital campaign
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• • •
• • • •
Objective 5
Desired State
Current State
Gaps / Challenges
Initiating Steps
Develop a set of facility recommendations that are consistent with program growth on a ten-year time horizon
Present options to the full board for a vote before the end of calendar year 2013
Strategy
A. Clarify our organizational priorities so that decisions concerning our physical plant will best meet the needs of our current and future constituents
B. Develop a limited set of viable options for solving The Clay Studio facilities needs CY 13
CY 13
Date Due
Full Board
President, Vice President, and Building & Business Committee
Department heads, Building & Business Committee, and Executive Committee
Leadership
Board is committed to the decisions
Options are fully understood and a limited set of options is agreed upon
There is clarity to our needs
Facilities needs are outlined according to smart growth for programming
Early Indicators of Success
The hard decisions are made about the space and they drive the a search for space
TCS programmatic growth is an essential driver in determining the facility needs
Long Term Outcomes
D. Engage the services of the right consultants to accomplish this major project
C. Create capital campaign seed funding in service to the work of the Building and Business Committe
Create a budget that acts as seed funding for Campaign and Feasibility consultant work
Approach major individual and institutional donors with the new strategic plan
Develop a case for support for campaign seed funding
FY 15
FY 14
FY 14 and FY 15
President and Executive Committee
Full Board
Director of Development, Stewardship Committee, and President
We have raised the funds to initiate a capital campaign and consultants are engaged
We have a strong case for support to initiate a capital campaign
Next strategies can commence (below)
We have clear campaign goals and a plan for the facility project
Next strategies can commence (below)
Seed funding of $250,000 is raised to initiate and plan a capital campaign
G. Outline a successful Capital Campaign strategy
F. Conduct feasibility study to inform the design of the Capital Campaign
E. Identify public programs, government grants, and other initiatives that will support the physical plant needs
Develop a roster of competing campaigns in the region
Investigate other successful local campaigns and create the best model for TCS
Engage the right feasibility research consultant
Full Board
FY16
FY 17
Director of Development, Stewardship Committee, and President
President, Director of Development, and Executive Committee
President and Executive Committee
FY 15
FY 16
FY 15
FY 15
Meet with local officials and lobbying firms
Design a compelling case for support
CY 14
Investigate public financing options for major facility project in the state of PA / City of Philadelphia
Capital campaign goals are established for construction, move, business interruption, and life after the move
We have identified lead gifts for the campaign
We have identified a campaign committee structure (chair and members)
We are in the pipeline for granting opportunities specifically those with long time horizon for approval
A move is scheduled and new operations commence in new facility
The Clay Studio has a more sustainable major donor base for the future
Campaign is successful with financial stability postcompletion
Next strategies can commence (below)
We have identified lead gifts with a viable donor pyramid for a capital campaign
Next strategies can commence (below)
We have secured all the public money and granting that could be available