Classical musics are comparatively rare; they seem to need for their existence not only a leisured class able to command a quantity of surplus resources but also a situation where that class is to some degree isolated from the majority of the people and possesses the social power to represent its own tastes as superior.
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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.
Documentary Filmmakers' Statement of Best Practices in Fair Use
2005, 8 pages
The New Deal: How Digital Platforms Change Negotiations between Public Media and Independent Producers
2006, 16 pages
Center for Social Media, American University, 4400 Massachusetts Avenue NW, Washington, DC 20016-8080, 202-885-3107, socialmedia@american.edu
Grantmakers in the Arts has been in existence for a brief two decades, and yet even within the ranks of long-time GIA conference attendees and the veterans who are among GIA's leaders today, there is no common recollection of the organization's prehistory and the moment of its founding. History generally belongs to the domain of the humanities rather than the arts, but nonetheless it is slightly embarrassing that a professional arts philanthropy organization, which has come to exercise substantial influence it its field, has no record of its founding.
As arts funders, we often perceive our capacity to direct financial resources to worthy arts organizations as the most valuable tool at our disposal. That's probably correct and, indeed, as it should be. After all, most of our institutions have been established by donors for the core purpose of grantmaking, and the law mandates that we award grants for public benefit.
"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
2005, 17 pages. Heritage Preservation, 1012 14th Street, NW, Suite 1200, Washington, DC 20005, 202-233-0800
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2006, 114 pages. Published by the University of Minnesota, Humphrey Institute of Public Affairs, Project on Regional and Industrial Economics (PRIE). Funded by the McKnight Foundation and the Fesler-Lampert Chair in Urban and Regional Affairs, University of Minnesota.
This time it was the catastrophic devastation in the Gulf States. Last time it was the 9/11 attack. Before that were the floods in North Dakota, the earthquakes in San Francisco and Seattle, and Hurricane Hugo in South Carolina, and then
Each time disaster strikes — whether natural or man made — communities face inestimable emotional and economic suffering. When artists, arts organizations, and cultural institutions are affected by these disasters, the confusion and bewilderment about what to do and how to help extends very directly to us as arts grantmakers.
May 2005, The Urban Institute, 2100 M Street, N.W. Washington, DC 20037, (202) 833-7200, www.urban.org
"The idea that expressive activities contribute to building and preserving communities has become an increasingly important part of economic development and community revitalization discourse in cities, towns and nations around the world."
Carole Rosenstein, Ph.D.
On March 1, 2005, the first convening to share the findings of Deep Focus: A Report on the Future of Independent Media was held in San Francisco, the geographic community studied for this project1.