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.
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The GIA Library is an information hub that includes articles, research reports, and other materials covering a wide variety of topics relevant to the arts and arts funding. These resources are made available free to members and non-members of GIA. Users can search by keyword or browse by category for materials to use in research and self-directed learning. Current arts philanthropy news items are available separately in our news feed - News from the Field.
2003, 15 pages. Americans for the Arts, 1000 Vermont Avenue NW, 6th floor, Washington, DC 20005, 202-371-2830, info@artsusa.org, www.americansforthearts.org
Through the ages artists with disabilities have been important to our history and culture. Beethoven was deaf, Van Gogh was mentally ill, El Greco was visually impaired. For the most part we do not associate them with their disability. We celebrate their lives for the gifts of music and art that they left in our midst.
2002, 30 pages, Cultural Initiatives Silicon Valley. To order a copy, contact Brendan Rawson, brendan@ci-sv.org or 408-283-8506
A labor of love for individuals committed to the significance and potential of media, Why FUND Media is a timely and worthy follow-up to a 1984 publication by the Council on Foundations titled How to Fund Media. Editor Karen Hirsch seamlessly brings together a series of separate chapters written by media arts experts who've based their chapter essays on extensive consultations with field representatives and grantmakers, and on historical research.
Sitting across the broad desk from David Bergholz, in an office that is clearly being packed up as he pre-pares to retire after fifteen years as president and CEO of the George Gund Foundation, there is a poignant juxtaposition that is very hard to miss. Just outside his office's large, eighteenth floor windows is a magnificent view of the industrial might that made Cleveland a player in years past; huge barges moving under steel bridges that cross an impossibly crooked river. The pewter river flanked by smoking chimneys and orderly cones of slag and salt and iron ore.
This essay is based on a key note address given on Tuesday, October 29, 2002. The talk was preceded by a short media presentation that told the story of Angels in America in Charlotte through sound and images.
The following essay was jointly commissioned by Grantmakers in the Arts for its 2002 annual conference and by the Funders' Network for Smart Growth and Livable Communities as one in its series of Translation Papers.
Introduction
Economic language and ideas have increasingly found their way into discussions of artistic value and cultural benefit. For better or for worse, the discipline of economics has been the lingua franca of public policy discourse for at least the past fifty years. Sometimes the terms resonate harshly on our ears. How do people in the world of arts and culture answer those who speak this language, who try to value cultural activity in terms of economic multipliers, cost-benefit analysis, quantitative outcome measures and, a current favorite, contingent valuation methodology?
2002, 79 pages. RAND Corporation , 1700 Main Street, P.O. Box 2138, Santa Monica, CA 90407-2138 (310) 451-7002, order@rand.org