Typically when businesses decide to support the arts they do so through a grant-giving mechanism or through a program that places employees as volunteers and consultants in arts organizations. But, I've noticed a different kind of interaction between the profit-making and not-for-profit art worlds in recent years. Some business people have set up foundations dedicated to improving the ethical and cultural context in which their own professions practice.
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"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
We live in a world of "widespread hostility toward the United States and its policies."1 This antipathy is not limited to the countries and peoples that are directly affected by the U.S. "war on terror" and its attendant pol-icies, but includes many of our former allies and fellow democracies. A friend who just returned from a year in Spain reports that she spent a significant amount of time and energy convincing people she met there that the U.S.
2002, 72 pages. ISBN 0-9676467-6-6. Published by Art International, 251 Park Avenue South, New York, NY, 10010-7302, 212-674-9744, www.artsinternational.org
Online: http://www.artsinternational.org/knowledge_base/wp/PhaseII/ica2_toc.htm
Ensembles are marked by a sustained commitment to collaboration..... The ensemble process allows for the development of a distinctive artistic vision and language unique to all artists involved.
— excerpt from the Flintridge Foundation theater mission
Art collector, philanthropist, and software entrepreneur Peter Norton, inventor of Norton Utilities, established his family foundation with his wife Eileen Norton in 1989. Based in Santa Monica, California, the Foundation has an endowment of approximately $33 million; its giving last year was close to $4.5 million. The primary focus of the Foundation is on contemporary visual arts nationwide.
The Rhode Island Foundation, founded in 1916, is one of the oldest and largest community foundations in the United States. It is also one of a small number of statewide community foundations. In 2000, the Foundation's assets exceeded $400 million. RIF's grantmaking areas are children & families, economic/community development, education, and arts. The arts grantmaking area has several program foci.
March 2000, 29 pages, executive summary; 126 pages, narrative report. ArtsMarket. Copies are available from Walter and Elise Haas Fund, One Lombard Street, Suite 305, San Francisco, California 94111, (415) 398-4474.
Sitting around tables at a conference center last May, we each joined five other participants in imagining and illustrating possibilities for artists who work in community arts programs for youth. We were part of a group of around thirty people convened as a working group first in San Jose, California in May 2000 and again in October in Minneapolis, Minnesota. Our aim was to explore how to build understanding and action toward the sustainable involvement of artists and arts professionals in youth and community development.