GIA Reader (2000-present)

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For the past decade, landmark research has begun proving what many creatives have long known: the arts have an equity problem. And it is widespread. Despite cultural phenomena like the hit Broadway musical Hamilton, asymmetries are ubiquitous in the production and consumption of the arts.

As grantmakers, we often ask our applicants to amplify their impact through collaboration, but what happens when we turn this mandate on ourselves and join forces with other funders to magnify our giving?

The following is an excerpt from a longer essay, “Dynamics of Difference,” inspired by several years of work with Peter Pennekamp, then head of the Humboldt Area Foundation. In a 2013 paper we co-wrote, Peter distilled principles that establish conditions for what he calls “living, breathing, on-the-street democracy.” One of these principles is the “dynamics of difference,” the idea that working with our differences can bring about positive outcomes.

Digging Up

It’s Friday night. A Netflix subscriber is sitting on their couch, scrolling through an endless feed of entertainment options. They pass by the next episode of Stranger Things, skip over the Marvel movies, shrug at Friday Night Lights. Finally, they land on the latest environmental documentary film release. They grab their blanket and popcorn and eagerly press play.

“Contested Memory” is an essay series I recently wrote for Monument Lab (see http://monumentlab.com/news/2019/2/24/the-rebel-archive). In the first two essays, I drew from a range of theorists and writers to examine how the historical record is constructed through active erasure and probed at the radical potential that imagination holds for charting black cartographies of freedom.