Readings

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The full version of this report is available here

Introduction

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Introduction

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The League of American Orchestras invited Alan Brown to deliver this keynote at our 2014 conference in Seattle. We were delighted that he turned his attention to the lessons learned from organizations that stay creatively healthy, arguably our most essential role.
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Flaco Jiménez with Los Caminantes (the band he made his first recordings with for Rio Records). San Antonio, mid to late 1950s. Photo courtesy the Arhoolie Foundation, all rights reserved.

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The struggle to ensure that art work is recognized as real work and compensated accordingly is an essential one, and it continues through the efforts of art collectives and organizations, the actions of artists, and countless individual decisions to accept or reject engrossing but unpaid jobs.

— Elyse Mallouk, “On Laboring for Love”
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The Cultural Data Project (CDP) was launched in fall 2004 as a statewide, web-based data collection system for arts and cultural organizations by a group of Pennsylvania grantmakers and arts advocates, including the Greater Philadelphia Cultural Alliance, the Greater Pittsburgh Arts Council, the Heinz Endowments, the Pennsylvania Council on the Arts, The Pew Charitable Trusts (Pew), The Pittsburgh Foundation, and the William Penn Foundation.

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For several years, Grantmakers in the Arts (GIA) members have noted the lack of sector-wide information about support for individual artists. Many funders feel that direct support for artists is a crucial part of the arts funding ecology and one that is underresourced. In the past, however, it has been difficult to assess the extent to which artists are being supported by institutional funders — in fact, it has even been difficult to have a field-wide conversation about the different ways in which artists receive support.

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