Show Me the Money is an earnest attempt to get people to talk about money in the visual arts.

Lize Mogel, The Business of Art/NonN-Profit Art Practice, 2009, image courtesy of the artist

Organizations and Art Spaces – Directories and Personal Histories:

Project Space Survival Strategies
A web-based publication that functions as an organizational resource through the presentation of surveys regarding the survival strategies of currently fifty independent alternative project spaces internationally, organized by Elysa Lozano for Autonomous Organization and presented by Invisible Venue.

SITE/PROJECT PROFILES by Temporary Art Review
A series of profiles/interviews with spaces from around the country.  Temporary Art Review is a platform for contemporary art criticism that focuses on alternative spaces and critical exchange among disparate art communities. Artistic strategies are increasingly diverse and there is unprecedented fluidity between the various roles individuals inhabit as artists, critics, curators, collaborators and collectives. Temporary Art Review traces these temporary alliances and strategies, providing a record of their development and presenting critical discussion around the projects that emerge.

Art Spaces Directory
The Art Spaces Directory is an international guide to the sites where contemporary art and artists are nurtured, interrogated, and sustained. Building on the Museum as Hub model, the 2012 New Museum Triennial, “The Ungovernables,” incorporated lengthy consultation with a network of curators, organizations, and artists from around the world, including Museum as Hub partners. Their contributions have inspired the Art Spaces Directory, a resource guide to over 400 independent art spaces from ninety-six countries around the world.

Phone Book published by ThreeWalls
PHONEBOOK 3 is a directory of independent art spaces, programming, and projects throughout the United States and a collection of critical essays and practical information written by the people who run them.

Listing of Canadian Artist Run Art Centers
ARCs emerged in the early 1970s in several Canadian cities. These venues, also called Parallel Galleries, developed as a response to a lack of appropriate exhibition spaces for artists whose priorities were non-commercial, and/or who were not established enough in their careers to be showing in institutional or public galleries. Today a network of over 100 exhibition and production centres spans the country and continues to provide support and invaluable exposure opportunities for contemporary artists.

Exhibtions:

Other Options: a show curated by InCUBATE
Other Options is a traveling exhibition/research project that went to five cities in 2007-2008.
“We at InCUBATE believe that the spectrum by which artistic and cultural production can be organized goes far beyond the limitations currently set in place by the popularized and polarized models of for-profit and non-profit incorporation.” 

The Collective Foundation
This research & development organization presented via six experimental programs, mini-exhibitions and partner projects. This permeable organization of over 100 contributors was founded at the Yerba Buena Center for the Arts in San Francisco in April of 2007. The mission of this organization was to propose and prototype an array of services for artists and arts organizations while investigating new resources and locating practical ways of reducing administration and overhead.

Then + Then Again – Practices within an artist-run culture, 1969-2006
Then + Then Again – Practices within an artist-run culture, 1969-2006 was an archival retrospective exhibition curated by media artist and artist-run centre pioneer and theorist, Clive Robertson that took place at The New Gallery in Calgary, Alberta, Canada in January 2011. This exhibition provided a unique opportunity to revisit the “how’s” and “why’s” of artist collectives networking within an ever-changing alternative culture and the productivity of intergenerational exchanges.

Artists Run Chicago
Artists Run Chicago was an exhibition showcasing the energy and audacity of some of the most noteworthy artist-run spaces that have influenced the Chicago contemporary art scene over the past decade that took place throughout Chicago During May – July 2009. Chicago has long been known for cultivating a strong entrepreneurial/Do-It-Yourself spirit in business and the arts.

Other Publications and Resources:

decentre
A book about artist-run culture that hopes to describe the breadth and quality of artist-initiated programs, projects and events, the issues we face in this milieu and how effectively we deal with them, that aims to both celebrate artist-run culture and demonstrate the vital role artist-initiated activity plays in the larger cultural scene.

Group Work, published by Temporary Services
A Compilation Of Quotes About Collaboration From A Variety Of Sources And Practices.

Artist Run Spaces of the Future
The Artist-Run Space of the Future is a compendium of resources and ephemera on artist-run culture, gathered by the Institute for Applied Aesthetics. Inside is a collection of resources, essays and ideas concerning the future of artist-run spaces and their evolving models of operation and connectivity.

A Study of the Support Structure for U.S. Artists, published by the Urban Institute
The study and this resulting report, which includes information on ways in which the environment of support may be improved over the long haul, offers a real opportunity to make a difference in the artistic landscape of this country. We hope it receives a wide readership and that its useful insights can prove the basis for a new approach to investing in creativity.

ARTIST COLLECTIVES SURVEY
for the book, Dark Matter: Art and Politics in the Age of Enterprise Culture (Pluto Press, 2010),  Gregory Sholette asked artists about their collaborative efforts, whether they formalized their structures, if and how they have been recognized by the art world, and why they work collaboratively.

B Corporation
Basically, I think the purpose of a B Corporation is to write into law the fact that there are two equally important measures for shareholders: profit and benefit.
A benefit corporation is a class of corporation required by law to create general benefit for society as well as for shareholders. Benefit corporations must create a material positive impact on society, and consider how their decisions affect their employees, community, and the environment. Moreover, they must publicly report on their social and environmental performances using established third-party standards. States that have currently passed B Corporation legislation are California, Hawaii, Illinois, Maryland, Massachusetts, Louisiana, New Jersey, New York, South Carolina, Vermont, and Virginia.  learn more here>>

L3C
From what I understand, the main purpose of the L3C is to allow initiatives to apply for Program – Related Investments from Foundations at startup.  It seems there are other benefits as far as structure and tax flexibility as well.
An L3C is a for-profit, social enterprise venture that has a stated goal of performing a socially beneficial purpose, not maximizing income. It is a hybrid structure that combines the legal and tax flexibility of a traditional LLC, the social benefits of a nonprofit organization, and the branding and market positioning advantages of a social enterprise.  The L3C is designed to make it easier for socially oriented businesses to attract investments from foundations (through Program – Related Investments) and additional money from private investors.   Thus far, legislation permitting the L3C structure has been passed in Illinois, Louisiana, Maine, Michigan, North Carolina, Rhode Island, Utah, Vermont, and Wyoming and the federal jurisdictions of the Crow Indian Nation of Montana and the Oglala Sioux Tribe.   learn more here>>