I had the great honor of being a student of George Thorn at Virginia Tech (I actually think I was his last graduating student). George and his partner in Arts Actor Research, Nello McDaniel, continue to be among the wisest counselors for theater and dance in the country – we used to call them gurus and I think it still fits. The books that were published by Arts Action Research still grace my bookshelves—and many of my friends.
Interview: George Thorn on the ecology of the arts community
If you’re a struggling arts organization, who would you call for 9-1-1 advice?
Probably George Thorn, the Portland-based independent arts consultant who’s likely in the Rolodex of every arts organization in town.
Off and on for more than four decades, Thorn has advised arts nonprofits around the country to plan and strategize finances, programming, board development and administrative infrastructure. Never, it seems, has this expertise been in greater demand than now, during a recession that has forced most arts institutions to cut budgets in response to, and in anticipation of, a difficult year.
Born in Indiana, Thorn, 72, studied theater at Butler University in Indianapolis and also at Yale University. In 1959, Thorn moved to New York, where he began a career as a stage manager and then general manager of Broadway productions. After three years in Connecticut as the executive vice president of the Eugene O’Neill Theater Center, Thorn began to shift to consulting, eventually starting Arts Action Research with Nello McDaniel.
Thorn and his wife, Nancy, a former theater and television dancer, moved in 1996 to Portland, attracted to the city’s modest scale and scrappy arts scene. Because of his partnership with McDaniel, Thorn spent much of his first 12 years in Portland traveling to New York for work. These days, Thorn spends most of his time in town, though he and McDaniel continue to work together.
Since 1996, Thorn has advised more than 75 Oregon arts and culture institutions of all sizes, disciplines and levels of success, including the Portland Art Museum, Portland Center Stage, Chamber Music Northwest, Northwest Children’s Theater and the now closed Portland Art Center.
Last month, he was honored by The College of Fellows of the American Theatre, an organization based in Washington, D.C., that promotes professional theater.
Recently, Thorn talked with The Oregonian about the financial health of Portland’s arts institutions, the state of fundraising here and other arts issues. The interview was edited for clarity and space.
Q: You were so immersed in New York’s arts world. Why did you leave?
A: Nancy and I left New York in 1974 for a couple reasons. It was the time of New York City’s first economic crisis. This great city was disintegrating. It was also the time of a great transition within professional theater. In the theater, professional producers used to be the ones who put the shows together. But at the time, there was this transition from professionals to people who weren’t professionals but could raise money. I had another business partner back then and together we managed five different shows for one producer. That producer could raise money. But he had no sense of aesthetics. It was just time to move on.
Q: You’ve been an arts consultant during a time that spans the emergence and maturity of nonprofits. What’s been the biggest development?
A: One difference is that there used to be this belief in an institutional model. Whether you were an orchestra, a small gallery or museum, you were supposed to fit into that model. People are now organizing in terms of the way they need to as opposed to the way they are supposed to.
Q: Is that good or bad?
A: It’s a great thing because the idea that one model can serve a collective that is so wide-ranging is not healthy. Many small and midsized organizations tried to fit into a model when they shouldn’t have.
Q: Having witnessed New York’s economic collapse during the ’70s, how bad is this current recession?
A: This is the most serious recession I’ve ever seen. It’s not cyclical. When we come out of this, we will be different. I don’t know how, but we’ll be changed. There’s little in our past experience to help with this.
Q: We’ve seen many arts organizations scale back costs because of the recession. But shouldn’t we expect some to shutter entirely?
A: I would think so. The way I would describe it is this: If a nonprofit was relatively balanced before the crash and endowed with good leadership, then they’ll find their way through this. But if a nonprofit was out of balance financially, then the stress will be a hundredfold.
Q: Nonprofits have made budget cuts. But given the cycle of budgets, isn’t the worst ahead of us?
A: I think everyone is making cuts because income and endowments are down. So in December and January people began to rethink budgets and how to break even. But I think balancing budgets for 2009-10 will be much harder. When the crash happened in October, performance organizations, for example, already had subscriptions, and year-end giving was coming in.
But only now and into next year will we truly see the ramifications on ticket sales, fundraising and memberships. I suggest nonprofits conceptualize not only for the several months left in this year but also for the time carrying forward into next year and beyond. People need to be working on an 18-month cycle now.
Q: What other advice are you giving nonprofits?
A: Be income-driven as opposed to expense-driven. If you are expense-driven, you build an expense budget based on what you want or need to do. Then you create income budgets to balance that. But if you are income-driven, you will develop your expenses responsibly and in line with the money you have.
Q: What’s the single biggest mistake nonprofits make?
A: Growing to a size and scale beyond the mission. That’s when it loses its center, its mission, and tries to become something more than its resources indicate. Of course, it’s easy to understand why this happens: Our society is based on growth. That’s the primary criteria for success: Are we getting bigger, doing more programs? Groups thus feel this pressure to grow bigger. That’s how nonprofits get a mile wide and an inch deep.
Q: Nonprofits talk a great deal about the shallow funding base. Do you think they’re right?
A: Yes. Portland is the most difficult city to raise money that I’ve ever worked in. Portlanders surely appreciate what they have culturally. But what’s missing, to a degree, is an understanding by them that an investment is necessary in order to keep what they have. They have to give money. Another reason is that there is a thin layer of support overall. What the city and the Regional Arts & Culture Council (the nonprofit devoted to arts funding for the Portland area) have done is important in terms of funding, but it can’t compare to other cities. We also have a thin base of corporate funding because so many businesses are moving out. The foundations have been generous but that, too, is a small base.
Q: So it’s difficult to raise money here, but do you think there is actually money to raise?
A: Overall, no. From individuals, yes. The corporations have been doing what they can. But again, that’s a small base compared to other communities in other cities.
Q: You’ve talked in the past about a system of individual donors.
A: There is a window closing on the old system of donors here. The old system is composed of the families who long ago took responsibility for patronizing arts and culture and other sectors of the community — Arlene and Harold Schnitzer, for example. As that generation passes, wealth is spread out across the next generation. But sometimes that next generation doesn’t have the same interests and passions of their parents, though Jordan Schnitzer clearly does. Our large budget organizations, like the Portland Art Museum, will likely get through that closing window. But not others. What will replace that new system? We have some elements already — RACC’s Work for Art program, the Oregon Cultural Trust, maybe a dedicated funding stream down the road. In other words, there are a lot of individuals out there with money, but they aren’t in the arts and culture system.
Q: In the visual arts word, there’s been a dream to create a contemporary art center. There have been various attempts, but each has failed. Can it happen here?
A: I’m not sure there is a level of support for a center of the quality and size we desire. I think the first thing that would have to happen is that people would have to be prepared to commit a significant level of funding. Because if we are talking about a center with national, maybe international, reach and ongoing education programs, then that’s a big price tag — at least a $3 million or $4 million budget.
Q: Why isn’t the support there?
A: I did a presentation about 18 months ago in Seattle. At the time, Seattle had just expanded its museum with a new outdoor sculpture garden. There was also a new great symphony hall and a new library designed by Rem Koolhaas. We just don’t dream like that in Portland. It doesn’t mean we don’t dream. We just dream differently. We dream about light rail, sustainability, bicycles, green culture.
Q: Mayor Sam Adams recently introduced an idea to create a ballot measure for arts funding. What are the chances of such a measure passing?
A: It would happen only with a real educational effort to articulate why arts funding would add value to all of our lives. And we are a long way from that kind of understanding. On the other hand, if the arts community can rally all of its audiences, donors, members, workers and volunteers over one or two issues, then they won’t be stopped.
Q: Don’t you think the recession will affect people’s willingness to give money?
A: Yes, but on the other hand, this is the best time to plan, to strategize, so that when we come out of this recession, we’ll be prepared and ready.
Q: The ballot measure is really the mayor’s idea. But he’s been compromised politically because of the Beau Breedlove scandal. How will that affect any possible measure’s chances?
A: I don’t think the mayor will be that key. What’s more important is whether a grass-roots movement develops. It will be a collective effort that won’t be dependent on any one person.
Q: You and your wife, Nancy, could just enjoy a simple life in Portland after many years on the road and having accomplished so much professionally. Why bother with struggling organizations now?
A: It’s simple. I get to work with terrific people and I love the work that I do.
