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.
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I was lucky as a young artist, with the ink still drying on my BFA, to learn about working in the public art field through a Minneapolis-based CETA program in 1977. CETA (Comprehensive Employment Training Act) was a federal jobs program that included several arts initiatives around the country. As gallery director of City Art Productions — the name of the one-year program initiated by Melisande Charles at the Minneapolis Arts Commission — I got to organize exhibits of CETA artists at libraries, plazas, government centers, and parks throughout the city.
DataArts is a national nonprofit service organization that supports data-informed decision making in the arts and cultural sector primarily by providing access to high-quality financial and programmatic data collected through its flagship service, the Cultural Data Profile (CDP).
This article is excerpted from a phone conversation between Anthony Leiserowitz and Alexis Frasz on June 8, 2016.
On May 25, 2016, Grantmakers in the Arts gathered a cross-section of twenty-eight funders from the arts and environmental sectors for the Arts and Environmental Sustainability Thought Leader Forum at the New York Community Trust. Most foundations in attendance were represented by two people: a person from the arts and a person from the environment, each of whom were interested in collaborative work at this intersection. Helicon Collaborative organized and facilitated the session.
The woman on the phone was friendly but insistent. “Look,” she said, “more and more artists and arts organizations are taking on cross-sector community-based work. But this is a complex gig, and, unfortunately, many of them are in over their heads.” It was a blunt assessment, but I knew she was right. “Yeah, I’m seeing the same thing out in the field. So, what do you think is needed?” Her response? … One word: “Training!”
In 2008 I wrote Le facteur C (later translated as No Culture, No Future) because I felt an urgent need to respond to a troubling trend: a growing chasm between the art experiences that were being offered by arts professionals and those being sought out by an ever-growing portion of the public. My book argued that for the arts to thrive and to be a force in our everyday lives, the professional arts sector needed to do more and differently to engage people in the arts in meaningful, life-enriching ways.
What do you believe the arts sector ought to look like twenty years from now? This is a question that every arts funder should be able to answer with a healthy amount of specificity. Whether arts funders choose to acknowledge it or not, much of what we do shapes the future of the field. This point is not intended to give arts funders more power than we actually have but to acknowledge reality. Funders’ actions — including when we choose not to act — prioritize, privilege, and capitalize particular models over others.
Ebony McKinney is a program officer with the San Francisco Arts Commission. She previously held positions with The BRITDOC Foundation in London, Intersection for the Arts, and the Kelly-Strayhorn Theater. She has participated in grant review panels for the California College for the Arts Center for Art & Public Life, the National Endowment for the Arts, the San Jose Department of Cultural Affairs, and the Oakland Cultural Affairs Commission. McKinney was a part of the Emerging Leader Council of Americans for the Arts, where she co-chaired the engagement committee and the Emerging Ideas committee. She currently serves on the citizens advisory committee of Grants for the Arts/San Francisco Hotel Tax Fund. McKinney holds an MA in cultural entrepreneurship and an MA in visual anthropology from Goldsmiths, University of London.
Tuesday, September 27, 2:00pm EDT / 11:00am PDT [PASSED]
- Jonathon Glus, President & CEO, Houston Arts Alliance
- Meg Leary, Director of Programs, United States Artists
Session 10 of the 2016 Web Conference Series.
Web conferences are free to the staff and board of GIA member organizations. The fee for nonmembers is $35.