GIA Reader (2000-present)

“Why have we become so inadequate, as arts leaders, at really talking about the inherent value of the arts?” asked Claire Peeps (Durfee Foundation) in a 1999 article titled “Why Art?” in the GIA Newsletter (precursor to the Reader). Claire's question was stimulated by her experience with a sabbatical program through which the Durfee Foundation provided “time off” to leaders in the nonprofit sector in Los Angeles.

This was one of several responses to the question "Is Theater Important?" published by The New York Times on Sunday, February 23, 2003.

Introduction

In February 2002, the Walter and Elise Haas Fund convened 150 representatives of San Francisco Bay Area arts and cultural organizations, philanthropic organizations, and government to discuss audience development in the context of a changing economy. The first day of the program was made up of panels and speakers. The second day was dedicated to an open space meeting – inspired by a previous collaboration with the Wallace Reader's Digest Funds in November 2000.

Why the fine arts in education are vital

Ramon C. Cortines, executive director of the Pew Network for Standards-Based Reform at Stanford University, comments:

As a nonprofit publisher, I sometimes scan databases for foundations who might support what we do. Often, I’ll find myself reading about a foundation whose values and scale seem totally compatible with our programs. Ah, an ally against the forces of ignorance! My heart warms, my hopes rise. Then, under “restrictions,” the red light flashes: “We do not fund publications.”

The Urban Institute's study of the support structure for U.S. artists, Investing in Creativity: A Study of the Support Structure for U.S. Artists, was undertaken to expand thinking about who artists are, what they do, and what mechanisms are needed to support their work. (See page 41 for a preview of the report.) The report began with the following section about the study's motivation and why society should be concerned.