In an article in the latest issue of the GIA Reader entitled “What Will the Future Look Like?: Generational Change in the Arts Sector,” Emiko Ono of The William and Flora Hewlett Foundation discusses generational differences in the arts and culture workforce, from cultural values to working styles, and their implications on the future of arts leadership.
Blogger Lara Davis posts her final thoughts on the 2016 GIA Conference:
An article in the latest issue of the GIA Reader, “Advancing Racial Equity: Racial Equity Funders Collaborative in Minnesota”, discusses the formation and work of the Racial Equity Funders Collaborative, a group of Minnesota funders working to advance racial equity in arts philanthropy.
2016 GIA Conference blogger Ebony McKinney wraps up her postings with final observations:
How can I become more aware of physical or language barriers to information or resources? What categories or characterizations limit expressiveness? How can I welcome work that links justice and beauty or tradition and innovation? In what ways, small and large, can I create inclusive platforms, move out of the way and support artists who then thrive?
GIA conference blogger Ebony McKinney summarizes the session Artists and the New Economy, held on Tuesday, October 18:
This field-wide temperature check and list of implications resulted in Creativity Connects: Trends and Conditions Affecting US Artists, released in September 2016, with support from Surdna Foundation and Doris Duke Charitable Foundation. This report is somewhat of a refresh of Investing in Creativity, a 2006 paper from the Urban Institute authored by Dr. Maria Rosario Jackson. One of the major innovations of Jackson’s analysis was a framework that contained six structures that artists need to do their work. Validation, Demands and Markets, Material Supports, Training, Communities and Networks, and Information remain a focal point today.
Lara Davis reports on her Monday session at the 2016 GIA Conference:
Ebony McKinney reports from Saint Paul on Monday sessions at the 2016 GIA Conference:
- Artists moving from conventional discipline based systems of creation and presenting such as gallery presentations and dance performances to hybrid contexts that utilize their training in new ways and to reflect larger community concerns like social justice, urban planning, public architecture, health and human services
- Further suggestions that economic conditions for artists imitate challenges in other segments of the work force really related to the gig economy. For example, high cost of housing, insufficient protections and limited access to capital to push forward enterprises
While I think everyone in the room understands that contributed income is important, other types of financial support have to be considered and included. In this scenario the resources, beyond the $2B described above, could potentially be expanded to include other resource systems. This could have transformational and lasting effects for arts and culture and for the last few years, Surdna, Kresge and others have been looking to alternative finance – “financial channels and instruments that lie outside of traditional finance systems such as commercial lending or banks” according to Reed.
Ebony McKinney posts from the 2016 GIA Conference:
Lara Davis posts from the 2016 GIA Conference in Saint Paul, Minnesota: