This is the first part of a two-part series on individual artist support written by Marc Zegans and published by GIA. Following-up to his GIA Reader article from 2017, Zegans offers his perspective on the cycle of creative growth that artists experience throughout their careers, and opportunities for grantmakers to re-examine how they develop and adjust their practices to meet nonlinear needs.
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.
Consider downloading RE-Tool so you can follow along as you read this article. Many of the topics in this article refer directly to RE-Tool, including specific page references.
As arts funders, we know that extensive research has shown that the presence of arts and culture activities at the neighborhood level can improve health and safety and promote a sense of well-being among residents. But how do we identify what activities already exist in a community and, as important, where there are gaps so we can be proactive in advancing a community’s livability?
We need to engage with a dynamic world, a world that will not return to a steady state after the challenge. We don’t live in a world of change but rather one that is asking us to constantly create.
— Ian Prinsloo, The Rehearsal Process
The quest for support for the arts is continuous. We search for ways to seed or increase the flow of dollars, looking for more philanthropic capacity from every purse. It is never as bounteous as the need.
During the past two decades, cultural planning practice in the United States has fallen behind that in parts of the world where cultural plans are required in city general plans, broader definitions of culture have been adopted, more domains of city planning have been integrated, and theoretical debate has progressed further. In the United States there is neither a field of cultural planning nor of cultural planners.
If there is in society a collective consciousness, then art is its imagination. Imagination is different from fantasy, which conjures up desires divorced from reality; imagination is creative problem solving that assesses what is available and re-creates it into something new, better, or self-satisfying. Detroit has been short on many things over the past fifty years — economic prosperity, functioning city services, racial justice, validation — but it is astonishingly long on imagination and creative problem solving.
The primary thread in my professional life over the past thirty years has been an attempt to understand, engage, and foster innovation and creativity in professional practice, public service, and the arts. For fifteen years or so I worked with foundations as a teacher, trainer, and advisor, focusing on strategic grant making, innovation in philanthropy, portfolio development, and program evaluation.
In many ways, it has been a heartening year for champions of the literary arts.
In 2015, Americans for the Arts partnered with the National Endowment for the Arts to conduct the Local Arts Agency Census, the most comprehensive survey of the local arts agency field ever conducted. Its purpose was to illuminate the ever-adapting role these organizations play in ensuring the arts have a vital presence in every community.