As a writer who often ponders music and its many audiences, I spend a lot of time thinking about how some artists thrive, while others don’t, in places far from their first home. As listeners, members of an audience, we hear something that feels real, powerful, to us, and we feel connected to the experience of someone who may seem not much like us. From this experience we have a single urgent response: how can we share this with the world? You’ve got to hear this…
Search
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.
Download:
Public and Private Cultural Exchange-Based Diplomacy (2.2 Kb)
2010, 547 pages, The Aspen Institute, One Dupont Circle NW, Ste 700, Washington, DC, 20036, 202-736-5800 www.aspeninstitute.org
Download:
2007, 32 pages, www.tdavid.net
Because an intermediary organization (IO) is being asked to take on a function for a foundation, lines of power and authority can become blurred, especially in cases when an outside entity is making grants and convening key parties with the foundation’s dollars and under the foundation’s imprimatur. Tom David offers a series of best practices and outcomes based on interviews with over 50 foundations who have partnered with IOs:
2010, 504 pages, The Aspen Institute, One Dupont Circle NW, Ste 700, Washington, DC, 20036, 202-736-5800 www.aspeninstitute.org
Download:
Beyond Price: Value in Culture, Economics, and the Arts; Edited by Michael Hutter and David Throsby; Cambridge University Press, 2007, 324 pages
The art that matters to us … is received by us as a gift is received. Even if we have paid a fee at the door of the museum or concert hall, when we are touched by a work of art something comes to us that has nothing to do with the price.
— Lewis Hyde
— Lewis Hyde
When I was in college, I had a great work-study job at an organization that placed students in internships with local nonprofits. It was a small outfit and a jack-of-all-trades sort of job. I answered phones, mocked up application forms, stuffed envelopes, filed, ran errands, organized open houses, and learned how to write a business letter. It wasn’t the sort of job you’d want to stay in for too long, but it was a fabulous introduction to the nonprofit sector. It gave me practical office skills to boot.
How are artists weathering the economic downturn? Artist Trust wanted to take the pulse of the Washington State artist community and to consider what programmatic solutions Artist Trust and others might offer. Between March 15 and April 15, 2009 nearly 700 artists responded to an online survey. The survey was not designed to collect data for quantitative analysis; rather, it was conducted as a way to gain an informal snapshot of artists’ personal situations.
As funders we have three main challenges: first, getting a handle on the extent and impact of the recession; second, exerting leadership — being bold, positive, and opportunistic without being insensitive; and third — and most important — asking ourselves the same tough questions that we are asking grantees: how do we slip the vice-like grip of old mindsets and behaviors and adapt so we increase our relevance, resilience, and meaningful contributions to our community?
— Foundation President
— Foundation President