GIA Reader (2000-present)

Bill Ivey. 2012, 192 pages, Counterpoint.

In his new book we learn about many of the things Bill Ivey doesn’t like:

• banner ads
• smart phones
• the $6 billion yoga industry
• politicians who hide behind polling
• cable news
• $4,000 mountain bikes
• TV in general; cooking shows in particular

And we learn about some of the things Bill Ivey does like:

• Leica cameras

Peter H. Pennekamp with Anne Focke. 2013, 34 pages, Kettering Foundation, Dayton, Ohio, Washington, D.C., and New York, kettering.org.

The Jerome Foundation, St. Paul, Minnesota, and the Camargo Foundation, Cassis, France, are now operating under a single governance and integrated management structure.

Grantmakers in the Arts began work on capitalization in 2010. Ever since then we’ve debated not using the word “capitalization,” but it has prevailed. In our work, the term is synonymous with financial health and the resources needed to meet an organization’s mission. In 2010, GIA published recommendations for grantmakers regarding actions they could take that would improve the undercapitalized nature of the nonprofit arts sector.

Grantmakers in the Arts began its work to enhance the arts in federal education policy in 2012 when it created the Arts Education Funders Coalition, an interest group within GIA that is open to funders with an arts education passion and portfolio, whether they are members of GIA or not. Led by a small advisory committee, we contracted with Penn Hill Group, a Washington, D.C., policy and lobbying firm with expertise in education.

One:

We begin with history. The Slave Codes of SC, 1739:

While the title of GIA’s 2012 Thought Leader Forum — Racial Equity in Arts and Culture Grantmaking — may have left something to be desired in the excitement department, the content of the discussions that took place was such that the two and a half days we spent together in June and two additional days we gathered in November revealed principles/approaches toward racial equity that I hope will have value to colleagues. The goals of the initial forum were as follows:

I am currently writing an essay for a university art gallery exhibition catalog about how the early nineteenth-century invention of photography marked a change in art and spiritual consciousness; and thus dwelling on the postindustrial trajectories of art and science. I have so many extra notions that I created this separate cloud of thought. Apologies if this musing seems too general. I present it here to excite dialogue and receive feedback through the GIA Reader.