In 2013, around a table at the San Francisco Tenants Union, the Anti-Eviction Mapping Project (AEMP) was formed among community activists with the intention of documenting eviction and tech-led speculative displacement in San Francisco.1 While the project founders imagined they’d only be creating one or two data visualization maps of evictions, the project has since grown in scale, methodology, and geography.
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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.
When the novel coronavirus pandemic hit, like most people — and especially in my role as co-chair of the GIA Racial Equity Committee, with colleague Randy Engstrom, director at the City of Seattle Office of Arts and Culture — we agreed we wanted to say something to address the loss of life, ways of life, and the devastation the arts community was experiencing.
It started in Fall 2016, when Staten Island Arts — the local arts council for the fifth borough of New York City — was approached by Kerry McCarthy and Michele Kumi Baer of The New York Community Trust, Betsy Dubovsky and Laura Jean Watters of The Staten Island Foundation, and Karen Rosa of the Altman Foundation. This group of concerned funders had observed that Staten Island’s arts programming audiences weren’t racially diverse, and came to us seeking to partner on a program that would thoughtfully address the issue.
A new report from Exponent Philanthropy and PEAK Grantmaking addresses changes in funding since the coronavirus pandemic.
"It’s time to have a real discussion about board and staff engagement when it comes to equity change so that the whole organization can collaborate to seed and root transformative change," Kelly Bates wrote recently in Interaction Institute of Social Change.
Responding to: How can cultural grantmaking interrupt institutional and structural racism while building a more just funding ecosystem that prioritizes Black communities, organizations, and artists?
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Cultural grantmaking changing to support Black artists and cultural communities comprises three elements: healing, community, and connection.
Responding to: How can cultural grantmaking interrupt institutional and structural racism while building a more just funding ecosystem that prioritizes Black communities, organizations, and artists?
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The change I would like to see in cultural grantmaking is a values shift. As we seek to support Black artists and communities in the future, we must recognize the system operating today which heavily invests in large, white institutions, and centers around and funds organizations and programs rather than people.
"Imagine what could be accomplished if the city of Boston and any of the 26 Massachusetts Gateway Cities reinvested the millions of dollars now spent policing schools—often with questionable results—in arts instruction!" write Barbara Wallace Grossman and Jonathan C. Rappaport, in a recent post.
The Howard Gilman Foundation Board of Trustees recently approved an increase from a 5% to a 7.5% payout for the Foundation’s 2020 grants budget, bringing the total of that budget to $34.5M, according to the press release.