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.
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Setting the Stage
With a population of over 2.3 million and one-in-four residents being foreign-born, Houston is the most ethnically diverse metro area in the nation. The city’s arts programs and cultural offerings are robust in number and breadth, and its vibrancy unfolds along the numerous bayous and highways. Most years see 11 to 16 million visitors traveling to the city for arts and cultural events. Houston’s nonprofit arts and culture sector, a $1.1 billion industry, employs more than 25,000 people.
Artist Distrust Open Letter, a group of artists, including three of the five AIA panelists, published an open letter capturing their experiences with the funder as being “inequitable, opaque, and unresponsive to community needs” with “long-held practices that have unjustly impacted Black, Indigenous, and otherwise racialized peoples.” Image courtesy of Artist Distrust.
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.
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.
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.