Since we embarked on our new leadership journey, I (in my role as Chair of the Fractured Atlas Board) have been asked a number of times “Why take the risk?” As Fractured Atlas is in the risk business with regard to innovation and services for our members, the better question to me is why not take the risk – it's what we do. This brief post is an outline of the benefits thus far, as well as an honest admission about what we still haven’t figured out. (My fellow board member Chris Mackie will be writing on the detailed list of what we have yet to resolve and design – this will be a quick pass in anticipation of his contribution which is coming soon.)

Renting a studio often seems out of reach for artists, but there comes a point when you simply can no longer work or practice out of your home. For some artists, this might be about not annoying your neighbors or roommates. For others, it might be about stepping up your game as art takes up a bigger portion of your attention. It might be about creating better boundaries between your creative practice and the rest of your life so that you can focus better. It might be about building a creative community. For performers, it might be about putting on a play, concert, or screening that is accessible to a wider audience.

Caitlin Strokosch serves as president and CEO of the National Performance Network (NPN), a national peer organization-based arts service organization. She has been working professionally as an arts administrator for about 20 years but is a classically-trained cellist who has also sang and played guitar in a punk band. We sat down with Caitlin in New Orleans to talk about what’s happening in the creative communities of New Orleans and how NPN has worked with artists across the country to help advance their careers.

Teach someone to fish… This platitude has been variously ascribed to ancient philosopher Laozi or medieval philosopher Maimonides. Either way, it’s been with us a long time, you’ve all heard it, and I don’t need to expand upon it here. However banal it may be, the sentiment is a major part of our guiding philosophy here at Fractured Atlas.

When you’re raising money as an artist, it’s easy to spend all your energy on soliciting new donations. Whether you’re busy leveraging connections, creating crowdfunding campaigns, writing solicitation letters, crafting elegant social media communications, or all of the above, it can feel like a full-time job. Once the donation finally comes in, however, things are just getting started.

What is risk? Risk is uncertainty and a chance of loss. Everyone faces risk. There are everyday risks -- when you drive a car, when you’re unsure if you’ve left the stove on, if you leave your camera on the train — and then there are those risks that you encounter when making art — when you produce a play and deadlines are missed, transfer a painting and knock into a wall, throw a fundraiser and a volunteer gets food poisoning, teach a class and a student slips and falls, the list goes on.. You can try to protect yourself against risk in several ways:

The Harkness Foundation is accepting applications for their Dance Grants. Description The Harkness Foundation for Dance is a private grant-making foundation dedicated to invigorating and supporting the dance art fo rm, predominantly in New York City. Since its inception the Foundation has contributed significantly to the dance field, extending grants to over 560 organizations. The Harkness Board of Trustees meets three times annually to consider proposals.

Laurel True is a mosaic artist specializing in public and community-based artwork. She facilitates trainings and teaches people how to make large-scale mosaic murals and architectural mosaics. Laurel’s work can be found in streets all over the world but has also been commissioned for commercial and residential installations. She has been a member of Fractured Atlas since 2011 and recently sat down with us to talk about her work, life as an artist in New Orleans, and how being a member of Fractured Atlas has helped to improve the business side of her arts projects.

Making art is not an easy process. You need all the help and support you can get to make your vision come true. Your support system can include your friends who send you encouraging texts in the midst of an exhibition install, patrons who monetarily fund your project, visitors who attend your artist talks, and institutions that provide additional programs and services. This moving, breathing ecosystem includes the arts service organization.

When you set out as an artist to answer the question, "How do I make art?" there is a whole host of funding and labor considerations you may not initially consider. Supplies funding, as well as management of the business aspects of an artist's work, can prove cumbersome and overwhelming. They can also seem far removed from your true mission of creating your actual art. But there are many options out there to provide artist help and support you on your path.