Readings

Catherine Maciariello
This panel intends to examine the purpose and value of what we do from the personal, institutional, and public perspective. We ask your indulgence and ask you to fly with us at 35,000 feet. We are talking about relationships, multiple meanings, and civic dialogue that enable an exchange of ideas that elevate and enrich both art-making and civic life.

During the 2002 Council on Foundations annual conference, Kent (Oz) C. Nelson, the former chairman and CEO of United Parcel Service, said that he believed that all giving, even corporate giving, should come "from the heart." Several people cheered; some groaned. But, Reatha Clark King, then president of the General Mills Foundation, remarked that finding a corporation's heart is the real problem.

The full text of this article is not yet available on this site. Below is a brief excerpt.

These remarks were presented at the Art Museum Development Association Conference at the Getty Center in Los Angeles on April 23, 2004. They are presented here with permission from John Killacky.

Keeping dreams alive in this period of draconian change is daunting, but I am a hopeful person. This is not the time to merely work harder to make things better. We need to adapt and work differently.

The full text of this article is not yet available on this site. Below is a brief excerpt.

The full text of this article is not yet available on this site. Below is a brief excerpt.

The Broad Art Foundation, based in Santa Monica, California, was founded by philanthropists Edythe and Eli Broad in 1984 to encourage and strengthen a greater public appreciation of contemporary visual art. Under the leadership of director and curator Joanne Heyler, the foundation operates as an educational and lending source for the nearly 800 art works in its collection, rather than as a standard grantmaking program.

What roles will arts and cultural organizations and funders play in the November 2004 election?

One effect of attacks on the leading agencies supporting cultural pluralism in the not-for-profit sector, which began with the Reagan administration and continued through the Clinton presidency to the present day, has been to elevate the U.S. commercial arts at the expense of the not-for-profit arts.