This week, I spent three-plus days in Chicago to catch the annual Grantmakers in the Arts Conference. Some of you might remember that I blogged last year’s conference in Brooklyn for GIA; it was an incredible (and exhausting) experience during which I churned out more words in a shorter period of time than I probably willRead More
Fictional Foundation Fun, part III
So, a few weeks ago while we were working on this project, I asked Adam Forest Huttler to post a question on the Fractured Atlas blog asking what types of bills artists find difficult to pay — either because of fundraising restrictions or because they’re just too expensive. My basic goal with this was toRead More
What Do I Mean By An Artistic Marketplace?
In a recent post here, I threw around this idea of an artistic marketplace, as distinct from the market itself. I had thought I came up with the idea in one of my Thoughts on Effective Philanthropy posts from last year, but perhaps not surprisingly, I discovered that Adam Forest Huttler had articulated it muchRead More
On awards for established artists
The Harold and Mimi Steinberg Charitable Trust has come under some criticism recently for its decision to give the first $200,000 Steinberg Distinguished Playwright Award–aka the “Mimi”–to “Angels in America” creator Tony Kushner, already the recipient of a Pulitzer, an Emmy, and two Tonys. The Times story indicates that publicity is an explicit goal behindRead More
Art and politics
I mentioned how I was surprised that at the National Performing Arts Convention in Denver, political speech at the plenary sessions was so openly embraced. Well, maybe I shouldn’t have been: according to the NEA’s Artists in the Workforce report (pdf), eight of the top ten states by number of artists per capita are blueRead More
Professionals vs. Amateurs (part 2)
One of the reasons I’ve found it challenging to keep up with Createquity at times is the sheer volume of material that my RSS reader brings me into contact with every day. Knowing that my colleagues in the blogosphere are generating so much high-quality material themselves makes me feel that much more pressure to makeRead More
Professionals vs. Amateurs
Back when I was working for the American Music Center, one of the most common and maddening riddles that would come up with respect to our members was “what does it mean to be a professional composer?” The normal sense of “professional” implies earning one’s living from one’s work in that field; but only aRead More
Thoughts on Effective Philanthropy: Part V – Meeting the Artists Where They Are
To view the rest of this series, click here. One of the memes that’s been coming out of the “best practices” camp for philanthropists the last few years is that organizations need more general operating support, rather than the project support that many funding entities are accustomed to providing. The advantage of general operating supportRead More
Thoughts on Effective Philanthropy: Part IV – Funding Activity, Not Individuals
To view the rest of this series, click here. For years, artists have complained about the National Endowment for the Arts’s 1996 decision, under pressure from Congress, to eliminate individual artist fellowships (except for literature). Nevertheless, it seems that a number of local and private arts agencies and foundations have instituted programs in the pastRead More
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