Art is not magic; most artists are not all that different from other people. However, many of them developed a skill or asset that most of us haven’t: a fascination for the undercurrent in our society, in our social encounters, in our practices, in our organizations.
Jaap Warmenhoven, Stanford Social Innovation Review
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Ralph Smith, the 2007 Conference Chairman, issued a challenge in his welcome message – “that all who attend will leave with renewed energy, capacity and resolve to make a positive contribution toward meeting the challenges of our time.”
Arts and education grantmakers at an historic gathering in Santa Fe in October of 2007 agreed on the need to forge a new vision for public education in the United States and to collectively explore how the arts can help shape and realize that vision.
Convened by Grantmakers in the Arts and Grantmakers for Education, more than 100 foundation representatives met formally for the first time under the aegis of their two affinity organizations to debate and discuss the role of the arts in education.
Changing media policy has affected and will continue to shape how art is made and distributed, whose voices are heard, and who has access to those voices. To take an angle on this multifaceted subject, we invited two articulate media experts into a conversation about their workwork that has profound implications for artists and for social justice activists. Jenny Toomey, executive director of the Future of Music Coalition, interviews Loris Taylor, executive director of Native Public Media.
Documentary Filmmakers' Statement of Best Practices in Fair Use
2005, 8 pages
The New Deal: How Digital Platforms Change Negotiations between Public Media and Independent Producers
2006, 16 pages
Center for Social Media, American University, 4400 Massachusetts Avenue NW, Washington, DC 20016-8080, 202-885-3107, socialmedia@american.edu
"I believe that if we can keep our values close, our imaginations open, and our stories fierce, we can and will win." - Thenmozhi Soundararajan
Introduction
America is on the threshold of a significant transformation in cultural life. There have been many cultural shifts in recorded history: Gutenberg's invention of the printing press and the rise of the reading public; the growth of a mercantile class and the birth of private art markets independent of the church and the king; the invention of gas streetlights and the beginning of urban nighttime entertainment. The most recent cultural transformation, still with us today, was set in motion on the threshold of the twentieth century.
On March 1, 2005, the first convening to share the findings of Deep Focus: A Report on the Future of Independent Media was held in San Francisco, the geographic community studied for this project1.
Early in 2004, the Graduate Center of the City of New York convened ten small to mid-sized arts organizations to talk about what had happened to them in an experimental, internet-based project funded by the Ford Foundation. The ten, from across the country, are community-based cultural organizations; they share a commitment to emerging and experimental artists and art forms, and a commitmentequally firmto their local or nearby communities. Despite their similarities of mission, the ten were not familiar with each other's work.
The following remarks were presented at a symposium that was part of the 2004 Ars Electronica Festival: TIMESHIFTThe World in Twenty-Five Years. This festival for art, technology, and society was founded in 1979 and is held annually in Linz, Austria. Joan Shigekawa, associate director of Creativity and Culture at the Rockefeller Foundation, spoke on the final panel of the symposium, “TOPIA,” which was designed to “present scenarios around a wide variety of topics relating to art, technology, and society.