When it comes to press outreach and relations, doesn't it feel like the more you do, the less you get?  The more advisories and releases you send, the fewer reporters and critics there are and the less space there is to cover the arts.

I had the opportunity in January to participate in a panel convened by the League of Chicago Theatres and the Chicago-based Community Media Workshop titled "The Incredible Shrinking Media and What It Means for Your Arts Organization."  We reflected on the obstacles and opportunities facing artists and arts organizations when it comes to both traditional and new media.

Gordon Mayer of the Workshop moderated, and broadcast superstar Sylvia Ewing, Catey Sullivan of examiner.com, and Kris Vire of Time Out Chicago were our other panelists.

Chicago Public Radio recorded the event: http://tiny.cc/shrinkingmedia.

A sampling of insights and stories shared:

Earlier this week, I was able to attend the fall Cool Culture fair. Cool Culture is an organization that works with Head Start families to increase access to the arts. Founded by two dynamic educators, the organization has welcomed 50,000 underserved families in the New York City area to various cultural institutions. The organization uses a network of community liaisons to break down visitation barriers and provide free visits to New York’s cultural gems. This week’s fair was a chance for the Cool Culture stakeholders—child educators, community liaisons, and cultural organizations—to share best practices and highlights.

One of the highlights of the gathering was a panel describing partnerships between museums and early childhood programs throughout the city. A partnership between the Highbridge Nursery School in the Bronx and The Guggenheim Museum brought up some tactics that really reflect smart arts marketing. All of the panelists spoke wisely to the idea that entry barriers aren’t just for underserved children, they apply to all of us (and limit audience development for all of us).

In January, the Atlantic posed a scary question: "What if the New York Times goes out of business --like this May?"

The answer is even scarier:

It’s certainly plausible. Earnings reports released by the New York Times Company in October indicate that drastic measures will have to be taken over the next five months or the paper will default on some $400 million in debt. With more than $1billion in debt already on the books, only $46 million in cash reserves as of October, and no clear way to tap into the capital markets (the company’s debt was recently reduced to junk status), the paper’s future doesn’t look good.

In this moment of substantial change, most companies are looking inward to determine what adjustments need to be made to their business models to flourish in today's new economic climate. Significant shifts need to be made to address the new reality, and that new reality includes taking a hard look at how consumers get information about the arts.

Since the mid-1980s, newspaper circulation has been declining in the United States, but the current economic crisis has thrown gasoline on the fire, causing huge losses for newspapers nationally. Just recently we have seen four major newspapers cease print publication: the Seattle Post-Intelligencer, the Rocky Mountain News, the Tucson Citizen and the Christian Science Monitor. Additionally, four newspaper companies including the owners of the LA Times, the Chicago Tribune and the Philadelphia Inquirer, have sought Chapter 11 bankruptcy protection. Even before the rapid failure of many printed newspapers, arts coverage in many daily newspapers was shrinking, going from 912 column inches on average in 1998 to 702 column inches in 2003 according to Reporting the Arts II, a study conducted by the National Arts Journalism Program at Columbia University.

A huge shift in communications is about to occur away from organizations pitching stories to mainstream media for coverage and toward setting up institutional distribution channels to cover stories themselves. We have seen this in the past decade as the ways we communicate with our customers have become cheaper, quicker and more segmented. We now have e-mail lists, websites, direct mail, telemarketing, social networking, online video distribution, podcasts, photo streams, and blogs. Some large organizations can currently reach more than one million people using these distribution channels. Considering the New York Times has a circulation of 1.6 million, these distribution channels which used to be considered on the fringes of communications have become almost as powerful for some companies as their local newspaper.