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Summer 2015 Edition of GIA Reader Online

The latest issue of GIA Reader has been added to the online library. You can read articles about arts education from Richard Kessler and Margaret Hasse, articles on equity funding from Judi Jennings and Denise Brown, an interview with artist Ann Hamilton from Krista Tippett, a piece on the Creative Caregiving Initiative from Margery Pabst Steinmetz, and much more.

Erik Takeshita to join Bush Foundation as Portfolio Director, Community Creativity

Erik Takeshita, Director of Creative Placemaking for the Local Initiatives Support Corporation (LISC), will join the Bush Foundation as its Portfolio Director, Community Creativity. Takeshita will oversee development and execution of the Foundation’s programming around arts-based community development efforts. Takeshita has over 20 years of experience working at the intersection of community development and the arts. Since 2008 he has led a breadth of work at LISC, including designing its “Central Corridor as Cultural Corridor” creative placemaking project.

The Boston Foundation Welcomes New Arts & Culture Director

Allyson Esposito, a veteran arts and philanthropy advocate, has been hired as the new Director of Arts & Culture for the Boston Foundation. Esposito comes to Boston from the City of Chicago, where since 2012 she has served as director of the city’s Cultural Grants Program in the Department of Cultural Affairs and Special Events. In that role she was charged with fostering partnerships and lasting relationships in Chicago’s non-profit arts sector, independent artists, and for-profit art institutions.

Ellen Holtzman to Retire from Henry Luce Foundation

After 23 years as program director for American art at the Henry Luce Foundation, Ellen Holtzman will retire on September 30. Her successor will be Teresa A. Carbone who previously served as American art curator at the Brooklyn Museum. Dr. Carbone will join the Luce Foundation in early August.

NEA Selects New Director of Folk and Traditional Arts

The National Endowment for the Arts has selected Clifford Murphy as its new director of folk and traditional arts, effective August 24, 2015. Murphy will manage NEA grantmaking in folk and traditional arts, oversee the NEA National Heritage Fellowship program, and represent the agency to the field. Murphy is currently director of Maryland Traditions, the folklife program of the Maryland State Arts Council (MSAC). In 2011, Murphy launched the state’s first Maryland Traditions Folklife Festival, and also manages the Maryland Traditions grant program supporting apprenticeships and projects. Murphy also produces the state’s annual Achievement in Living Traditions and Arts (ALTA) Awards.

In Search of the Magic Formula for Philanthropy

From Phil Buchanan, writing for The Chronicle of Philanthropy:

Foundation staff and major donors may not hear much direct criticism of their foundations or giving, surrounded as they are by grantees and grant seekers. But it seems like everyone has a point of view on what philanthropists should be doing: You can’t flip through more than a few pages of The Chronicle of Philanthropy or Stanford Social Innovation Review — and recently The New York Times and Wall Street Journal — without finding an article with the words “foundations should” or “philanthropists should.”
New NEA Research on Arts Participation among People with Disabilities

Nearly 28 million U.S. adults have some type of disability related to hearing, sight, cognition, walking, and other activities of daily living. A Matter of Choice? Arts Participation Patterns of Disabled Americans offers the first nationally representative analysis of arts-participation patterns among people with disabilities.

The 1960’s Had a Great Impact On Me

From T. Lulani Arquette, President/CEO of the Native Arts and Cultures Foundation, and a current member of the GIA Board of Directors:

In my lifetime, I have not seen this level of racial discrimination and hatred in our country since the 1960’s and early 1970’s. As a very young girl, too innocent to understand what was going on, but intuitive enough to know that something very wrong was happening, I remember seeing on national television these horrific images of police dogs and fire hoses turned on the demonstrators in Birmingham, the violence at the Pettus Bridge in Selma, and the burning neighborhoods of the Watts riots in Los Angeles. These images from Alabama and California flashed on TV screens across our nation and stayed with me for a long time.
Creative New York Reports on New York's Creative Sector

A new report from the Center for an Urban Future looks into the state of New York’s creative sector to see how the people working there are doing in the wake of the city’s economic surge and the transition to a new administration. After an unprecedented investment in cultural capital projects and a strong emphasis on promoting tourism during the Bloomberg administration, New York Mayor Bill de Blasio is taking steps to ensure that opportunities to produce and consume culture are broadly shared and that working artists and creative professionals can afford to live and work there. Creative New York proposes more than 20 steps that the de Blasio administration can take to address and ultimately overcome the chief obstacles documented in the report, that was authored by Adam Forman with financial support from New York Community Trust, Robert Sterling Clark Foundation, Laurie M. Tisch Illumination Fund, Rockefeller Brothers Fund and Edelman.

Denver's Bonfils-Stanton Goes All In for the Arts

By Ray Mark Rinaldi, Fine Arts Critic for The Denver Post:

Change comes slowly in the world of private foundations, and there’s a kind of comfort in that. Foundations are the bedrock funders of important institutions, like hospitals, universities and museums, and their dedicated giving is crucial to cities that count on their cash. But three years ago, Denver’s Bonfils-Stanton Foundation took a chance on change. Long a contributor to causes across the board, from homeless shelters to opera companies, the organization began steering all of its funding toward the arts. Culture needed the money, the thinking went, and by targeting one area, the foundation could set itself apart from its peers and become a real player in the community.