Philanthropic practice

2012, Theatre Bay Area, San Francisco. Clayton Lord, editor.

Spurred on by technological advances, the number of aspiring professional artists in the United States has reached unprecedented levels. The arts’ current system of philanthropic support is woefully underequipped to evaluate this explosion of content — but we believe that the solution to the crisis is sitting right in front of us. Philanthropic institutions, in their efforts to provide stewardship to a thriving arts community, have largely overlooked perhaps the single most valuable resource at their disposal: audience members.

Recently I served as a panelist for the National Science Foundation’s Antarctic Artists and Writers Program. Forty-nine applicants wanted to be embedded in scientific research teams. They sought to explore the ethos, mythologies, and realities of this extraordinary continent.

Composers wanted to listen to the wind, water, animals, and shifting ice. Visual artists hoped to delve into infinite striations of whiteness: the effects of transparency on ice, the glitter of ice crystals, and light and shadow patterns on the surface and internal features of the frozen landscape.

He sat less than two feet away, with just the bare table between us. Everything seemed to be going well. We were talking about the value of creativity and innovation in education, commerce, and culture, and how incorporating creativity principles into curriculum development would improve school culture across his district. There were fervent nods of agreement, as we seemed unified in our conviction of the importance of creativity in developing twenty-first-century learning skills.

Why will some people engage with art in one setting, but not another? For example, why will someone watch great drama on television at home, but never darken the door of a theater? Why will someone listen to classical music in a place of worship, but not a concert hall?

Enriching our culture and engaging diverse and underserved communities, small arts organizations pop up, flourish, and sometimes flounder, mostly under the philanthropic radar. They often foster artistic expressions not adequately served by larger organizations.

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   Forum on Equity in Arts Funding (1.6 Mb)

20 pages, March 2012. Grantmakers for Effective Organizations, 1725 DeSales Street NW, Suite 404, Washington, DC, 20036, (202) 898-1840, www.geofunders.org.

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   Is Grantmaking Getting Smarter? (2Mb)

February 2012, 31 pages. The Paul G. Allen Family Foundation, 505 5th Avenue South, Suite 900, Seattle, WA 98104, www.pgafoundations.com.

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Caron Atlas, Project Director and Editor. 2011, 200 pages, Arts and Democracy Project, Brooklyn, New York

Bridge Conversations is an inspiring collection of interviews, dialogues, and essays with artists, arts administrators, activists, and politicians using the arts to build, reflect, and improve community. It is thoughtfully constructed and inclusive in those selected to participate, their topics, and their approaches.