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Julie Goodman
Julie Goodman
Department Head, Arts & Entertainment Enterprise; Associate Professor, Arts Administration & Museum Leadership



URBN Center, 210H

Julie Goodman joined Drexel University in the fall of 2011, and served as the graduate arts administration program’s director from 2012-2017. She was previously Executive Vice President for the Greater Philadelphia Cultural Alliance, where for twelve years she led advocacy, field research, community engagement, and grant making efforts. At Drexel, she conducts research, advises students, and teaches courses in arts advocacy, cultural policy, and organizational strategy. She also works on consulting projects with arts organizations and artists such as Spiral Q Puppet Theatre and Fleisher Art Memorial. Goodman is a former board member and Treasurer of the Association of Arts Administration Educators (AAAE) and the Stockton Rush Bartol Foundation. She also served as Chair of the Mayor’s Cultural Advisory Council for the Philadelphia Office of Arts, Culture, and the Creative Economy, and chair of the Philadelphia Cultural Fund. Julie holds a BA in Public Policy from Duke University and an MFA in Dance from Temple University. Her research explores intersections of policy and practice in arts and culture, and examines the value of arts and culture to individuals and communities. Julie's current research projects include the PA Humanities Discovery Project and


MFA Dance, Temple University, 1998
BA Public Policy, Duke University,1994

Goodman, Julie and Jim O’Connell. “Reimagining Through Crisis Management: The 2020 AAAE Conference,” In Teaching Cases in the Philanthropic and Nonprofit Sector, edited by Emma A. Powell and Paloma Raggo, 325-347. Sagamore Press, 2023. 


Goodman, Julie. Christopher Columbus Statue on Marconi Plaza: Review of Public Survey Submissions. Survey analysis and report commissioned by the City of Philadelphia, October 2020. 


*Goodman, Julie. “Fleisher Art Memorial's BYOP (Bring Your Own Project) Initiative: Devising a Program Model." American Journal of Arts Management 7, no. 2 (2019): 1-16. 


*Goodman, Julie. “An Exploration of Arts Advocates’ Use of Experimentally-Designed Arts Program Research.” Journal of Arts Management, Law and Society 48, no. 4 (2018): 243-258. DOI:  10.1080/10632921.2018.1494067 


*Hawkins, Julie Goodman, Neville Vakharia, Andrew Zitcer & Jean Brody. “Positioning for the Future: Curriculum Revision in a Legacy Arts Administration Program.” The Journal of the Arts Management, Law, and Society 47, no. 1 (2017): 64-76. 


*Zitcer, Andrew, Julie Hawkins and Neville Vakharia. “The Arts as Fundamental - and Fragile - in Community Life.” February  22 2017. 


*Hawkins, Julie G. “My idea of ‘the arts’ has changed: A Case Study of Using Active Research in a Community and Cultural Planning Course.” American Journal of Arts Management 4, no. 2 (2016). 


*Hawkins, Julie. “Urban Cultural Policy and the Creative Economy.” In The CQ Press Guide to Urban Politics and Policy in the United States, edited by Christine Keller Palus and Richardson Dilworth, 391-400. Los Angeles, CA: SAGE Publications, Inc, 2016.  


Cunniffe, Eileen and Julie Hawkins. “Staging a Comeback: How the Nonprofit Arts Sector Has Evolved Since the Great Recession.” The Nonprofit Quarterly (Winter 2015): 16-24. 


*Zitcer, Andrew, Julie Hawkins, and Neville Vakharia. “A Capabilities Approach to Arts and Culture? Theorizing Community Development in West Philadelphia.” Planning Theory & Practice 17, no. 1 (2015): 1–17. 


*Hawkins, Julie. “Countering Critique: Expressing the Value of the Arts through the Artistic Rebuttal Project.” The Journal of Arts Management, Law, and Society 45, no. 2 (2015): 110-118. 


Hawkins, Julie, Neville Vakharia, and Andrew Zitcer. “A Fragile Ecosystem: The Role of Arts & Culture in Philadelphia’s Mantua, Powelton Village & West Powelton Neighborhoods.” Drexel University, 2014. 


*Hawkins, Julie. “Leveraging the Power of Individuals for Arts Advocacy.” The Journal of Arts Management, Law, and Society 42, no. 3 (2012): 128-140. 


Hawkins, Julie and Tom Kaiden. "From Implication to Innovation: 2011 Portfolio and Lessons From the Field" Philadelphia Social Innovations Journal 10 (2012): 1-11. 


*indicates peer-reviewed publication 

My research examines the strategies of individual artists, cultural organizations and communities, particularly as they relate to arts advocacy, cultural policy, and community planning. Guiding this work is a drive to better understand the value of arts and culture to individuals and communities, as well as how this value is expressed. I believe that this knowledge is critical to the success of the arts and arts leaders in a time of change for the profession.

The predominant theme of my research is arts advocacy, and the value of arts and culture to individuals and communities. Increasingly, this work has led me to support arts advocacy’s return to incorporating and promoting what McCarthy et al in Gifts of the Muse (2004, xi) term as intrinsic arguments, or those that describe intangible, unquantifiable benefits, such as increased empathy for others, as opposed to instrumental, or quantifiable, benefits like economic impact. Following an emphasis on instrumental arguments for the arts in the wake of the Culture Wars, arts advocates have in recent years steadily moved back towards embracing these intrinsic values (Strom & Cook 2004; McCarthy et al 2004). My research supports this trend not by proving how those benefits occur, but by demonstrating how and why they are recognized by and resonate with the individuals and communities that receive them.

 My research agenda informs my professional practice in the field. In 2015 I served as a co-chair of Philadelphia Mayor Jim Kenney’s Transition Team for Culture, Community, and Recreation, for which I co-authored a comprehensive report with cultural policy recommendations for the new city administration. In the same year, I was appointed to the Mayor’s Cultural Advisory Council, and to the Pennsylvania Governor’s Advisory Board for Community Development. I also facilitated the Philadelphia Artists Summit, a community-wide discussion attended by 150 people to discuss the challenges facing Philadelphia’s individual artists, including how artists can work together to advance favorable policy change.

In my professional practice, I work with cultural and philanthropic organizations on strategic planning, and the assessment and evaluation of programs. This leads to a deeper understanding of how value is understood by practitioners, as well as how it is expressed in their programs and communicated and presented to others, knowledge which in turns supports my academic research regarding the value of the arts to individuals and communities. I have served as a program advisor and grant application reviewer for the Philadelphia Cultural Fund and the Barra Foundation, and I am currently a board member of the Stockton Rush Bartol Foundation, as well. I am also working for Spiral Q, a nonprofit arts organization in West Philadelphia, on the assessment and redevelopment of their in-school residency program evaluations, and as a program advisor to visual artist and community organizer JJ Tiziou. I recently served as a program evaluator for SUNY-Purchase’s Bachelor of Arts in Arts Management program, and facilitated aspects of a strategic planning retreat for The Bearded Ladies Cabaret. 

As an arts administration educator, I feel that one of the most important takeaways I can equip students with is an understanding, beyond their own personal beliefs, of why the arts matter, and the knowledge and insight to navigate the fact that for others, these reasons can differ. Students who choose to enter a program in arts administration instinctively find the arts to be of high personal value. Understanding their own motivations to that end, as well as how that value is (or in some cases, is not) manifest for other people and communities can make a critical difference in students’ ability to achieve the goals they have set for themselves in their careers. Whether as marketing directors, major gifts officers, community arts organization leaders, cultural policy practitioners, teaching artists, or any other position in the field, the ability to understand why the arts matter from a point of view different than one’s own is crucial to forming the kind of effective engagement and partnerships with others that favorably impact not just the arts, but the people and communities they serve. This idea, to help the next generation of arts leaders recognize the many different ways that the arts can matter to others, helps guide my research agenda.