Visual arts

by giarts-ts-admin

2007, 235 pages. National Guild of Community Schools of the Arts, 520 8th Avenue, Suite 302, New York NY, 10018, (212) 268-3337, www.nationalguild.org

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2008, 36 pages. Alliance of Artists Communities, 255 South Main Street, Providence, Rhode Island, 02903, (401) 351-4320, www.artistcommunities.org

www.artistcommunities.org/files/files/Visions_from_the_New_California.pdf

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by giarts-ts-admin

2007, 103 pages. University of New South Wales Press Ltd, Sydney, Australia www.unswpress.com.au (publisher); Sherman Contemporary Art Foundation, Paddington NSW (sponsor). Available through Hopkins Fulfillment Services, University of Washington Press, (800) 537-5487

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2008, 328 pages. Published by University of California Press

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2004, 55 pages. ArtsMarket, 1125 W. Kagy Blvd., Suite 100, Bozeman, MT 59715, (406) 582-4766, www.artsmarket.com

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by giarts-ts-admin
Is a trend developing that favors drawing foundation leaders from the for-profit sector rather than from philanthropy or the nonprofit sector? If so, does it change senior grantmaking staff's challenges and opportunities? Would a more corporate view of private philanthropy affect how foundations view the arts?
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2007, 79 pages. The Boston Foundation, 75 Arlington Street, Boston, MA 02116, (617) 338-1700, www.tbf.org
PDF Online: www.bostonindicators.org

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by giarts-ts-admin
When assessing the results of the work of arts organizations, do we measure the right things? Can we measure whether the art itself is good? This continues a dialogue that began in GIA Reader, Vol. 17, No. 3.

Bruce Sievers, Skirball Foundation; Diane Ragsdale, The Andrew W. Mellon Foundation (co-presenters, moderators); Suzanne Callahan, Dance USA (interlocutor).

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by giarts-ts-admin

2007, 33 pages. City of Santa Monica, Community and Cultural Services Dept., 1437 4th Street, Suite 310, PO Box 2200, Santa Monica, CA 90407

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A conversation between essayist John Rockwell and Linda Breneman (Breneman Jaech Foundation) about cultural patronage today, from the perspectives of a journalist and an individual donor. Funders with varying relationships to living patrons, donors' estates, and philanthropic institutions chime in on how risky, enduring art is—or might be—supported.
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