Family Foundation

Family Foundation

by giarts-ts-admin

Jaime Cortez was an arts and culture fellow at the San Francisco Foundation for two years. At the end of his fellowship, he and the other outgoing fellows were asked to read a prepared farewell statement to the board and staff of the foundation. Following is his closing presentation, given on July 9, 2008.

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by giarts-ts-admin

2007, 408 pages. Published by Routledge, 800-634-7064, www.routledge.com

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by giarts-ts-admin

2008, 23 pages. TCC Group, 31 West 27th Street, 4th Floor, New York, NY 10001, (212) 949-0990

http://www.tccgrp.com/pdfs/MaximizingFoundationEffectiveness.pdf

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by giarts-ts-admin

Rutgers University Press, New Brunswick, New Jersey, and London, 2008, 297 pages, Edited by Diane Grams and Betty Farrell.

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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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by giarts-ts-admin

2008, 328 pages. Published by University of California Press

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2007, 7 pages. The William Penn Foundation, Two Logan Square, 11th Floor, 100 North 18th St, Philadelphia, PA 19103, (215) 988-1830, www.williampenfoundation.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

1007, 36 pages. The Forum of Regional Associations of Grantmakers, 1111 19th Street NW, Suite 650, Washington, DC 20036, (202) 467-1120, www.givingforum.org

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by giarts-ts-admin
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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