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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.
In 2008 I wrote Le facteur C (later translated as No Culture, No Future) because I felt an urgent need to respond to a troubling trend: a growing chasm between the art experiences that were being offered by arts professionals and those being sought out by an ever-growing portion of the public. My book argued that for the arts to thrive and to be a force in our everyday lives, the professional arts sector needed to do more and differently to engage people in the arts in meaningful, life-enriching ways.
Bill Ivey. 2012, 192 pages, Counterpoint.
In his new book we learn about many of the things Bill Ivey doesn’t like:
- banner ads
- smart phones
- the $6 billion yoga industry
- politicians who hide behind polling
- cable news
- $4,000 mountain bikes
- TV in general; cooking shows in particular
And we learn about some of the things Bill Ivey does like:
- Leica cameras
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.”
The following piece is excerpted from the second of a two-part article written for the Community Arts Network, “The New New Deal.” Part one, published in December 2008, was titled, “the New New Deal: Public Service Jobs for Artists.” It described some of the things artists could do with public-service jobs. This excerpt is from part two, published February 24, 2009, “A New WPA for Artists: How and Why.” In this excerpt, Goldbard takes up the question of “why,” what are all the good reasons to support a new WPA for artists.
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.
As conference co-chairs, neither of whom has lived in New Mexico, we were told that the story of art in New Mexico is a story of place, that the regionits landscape, its convergence of cultures, its sacred spacesdefines what and how art is made. We turned to a number of New Mexico artists and writers to give us their inside views of this remarkable region. Among them is Chrissie Orr, a transplant from Scotland, who makes work informed and formed by New Mexico's physical environment.
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.
Re-imagining Orchestras: A forthright report on the mixed results of one foundation's efforts
Stan Hutton
On March 7, 1997, the Los Angeles County Arts Commission, in conjunction with Community Partners, ARTS Inc., and the California Assembly of Local Arts Agencies, convened a workshop titled "Arts Incubators: Building Healthy Arts Organizations and Healthy Economies." The seventy-plus participants included representatives of arts organizations, local arts agencies, municipalities, and foundations.