Community Foundation

Very awkward to speak politely about money in public, and yet it is so awkwardly at the heart of our culture. Here is Sophocles, in his Antigone. Creon is speaking, ironically misinterpreting the noblest of motives for the basest: "Money! There's nothing in the world so demoralizing as money. Down go your cities, Homes gone, men gone, honest hearts corrupted, Crookedness of all kinds, and all for money."

We also have Timothy from the New Testament: "The love of money is the root of all evil."

What often is lost in cultural policy conversations or research reports about the visual arts world is an examination of how ethnic-specific cultural practices and the dynamics of non-collecting museums and artist-centered organizations keep the art world from be-ing static and dull, from being victimized by the hierarchies of taste or the technocratic aims of cultural managers. Any analysis of the sociology of the visual arts field needs to speak about the relationship between the aesthetic content of a work and the contexts in which different aesthetic inquiries are supported.

Grantmakers in the Arts has been in existence for a brief two decades, and yet even within the ranks of long-time GIA conference attendees and the veterans who are among GIA's leaders today, there is no common recollection of the organization's prehistory and the moment of its founding. History generally belongs to the domain of the humanities rather than the arts, but nonetheless it is slightly embarrassing that a professional arts philanthropy organization, which has come to exercise substantial influence it its field, has no record of its founding.

Jim Collins says that greatness is not a function of circumstance. Greatness, he says, is largely a matter of conscious choice, and discipline. In his 2001 book, Good to Great ¹, Collins articulated the principles he believes differentiate companies that become great from those that do not. In his recently published monograph, "Good to Great and the Social Sectors" ², Collins addresses how these principles of greatness apply to nonprofits. Collins' framework for greatness in the social sectors encompasses five areas:

As arts funders, we often perceive our capacity to direct financial resources to worthy arts organizations as the most valuable tool at our disposal. That's probably correct and, indeed, as it should be. After all, most of our institutions have been established by donors for the core purpose of grantmaking, and the law mandates that we award grants for public benefit.

The past year has brought forward several thoughtful investigations into the future of nonprofit leadership. Among other commentaries, Investing in Leadership by Betsy Hubbard (Volume 1) and Kathleen P. Enright (Volume 2) — published by Grantmakers for Effective Organizations — and Daring to Lead, 2006, by Jeanne Bell, Richard Moyers, and Timothy Wolfred — published by CompassPoint and the Meyer Foundation — are thoughtful and meaty.

This article is dedicated by the author to the memory of Mois Cruz Sánchez. Moisés, like Filemon, was a native of San Juan Mixtepec in La Mixteca in Oaxaca. He was a migrant farmworker. His dream was that Mixteco citizens in his village elect one of their own to the village governing body, independent of the local caciques [political bosses]. He fulfilled that dream and was elected mayor of his village four years ago. He also worked for the transnational organizing of the Mixteco people and founded an organization for that work.

"I believe that if we can keep our values close, our imaginations open, and our stories fierce, we can and will win." - Thenmozhi Soundararajan

Introduction

2005, 65 pages. Institute for Innovation in Social Policy, Vassar College, Box 529, Poughkeepsie, NY 12604, 845-452-7332. For copies contact opdycke@earthlink.net

The second in a series based on a national survey (the first was 2002), this report looks at participation in artistic and cultural experiences in the US in quantifiable terms as well as in ways such experiences affect the well-being of participants. One key finding is that 78 percent of respondents "believe that attending art events helped them to see things from other people's perspectives."

2005, 78 pages. McKnight Foundation, 710 Second Street South, Suite 400, Minneapolis, MN 55401, 612-333-4220

Beginning with an honest appraisal of the way changing economic factors have reshaped Minnesota's rural communities, this elegant publication highlights artistic projects and the individuals who have helped maintain or restore cultural vitality to different towns throughout the state.