Private Foundation

Kudos to Retiring Board Members
The fall 1998 conference in Chicago will signal the end of GIA board service for a remarkable group of leaders. Each one of the six individuals leaving the board, along with Ben Cameron who departed mid-year, has given magnificently of themselves in building GIA into a much richer and more participatory provider of services to its membership.

As they return to regular membership in GIA, these individuals leave a board far more responsive to its members, supported by a wonderfully facilitative staff, and serving many more arts grantmakers.

In June 1998 the New York Regional Association of Grantmakers held a forum on "Conflicting Visions of Philanthropy" and I was invited to place the recent criticism of the field of philanthropy in historical perspective. [See page 44 for a short report on the session as a whole.] My objective at the forum, and in this revision of those remarks, is to put the problem in bold historical relief and to provide a context for understanding the long tradition of criticism of foundations and philanthropy. In doing so, I want to make five basic points.

1.

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.

Donors' Guide to Gulf Coast Relief & Recovery
2006, 71 pages. New York Regional Association of Grantmakers, 79 Fifth Avenue, Fourth Floor, New York, NY 10003-3076, 212-714-0699

PDF available for download at the organization's website.

Giving in the Aftermath of the Gulf Coast Hurricanes
2006, 29 pages. Foundation Center, 79 Fifth Avenue, New York, NY 10003, 800-424-9836

PDF available for download at the organization's website.

In October 2005, the Canada Council for the Arts published preliminary findings in a study, "Comparisons of Arts Funding in Selected Countries." This research on the part of the Council is intended to "support the case that additional arts funding is needed in Canada in order for Canadian arts organizations and artists to thrive and to function on the same level as their peers in other countries." Its findings are available on the Canada Council's web site.

2006. International Federation of Arts Councils and Culture Agencies , 372 Elizabeth St, Surry Hills Sydney, PO Box 788, Strawberry Hills 2012 NSW, Australia, info@ifacca.org

2006, 54 pages. John S. and James L Knight Foundation , Suite 3300, 200 South Biscayne Boulevard, Miami, FL, 33131-2349, 305-908-2600

Go here to download PDF.

2006, 74 pages. Foundation Center , 79 Fifth Avenue, New York, NY 10003, 800-424-9836

As part of the Foundation Today Series, this report examines annual growth and development trends for foundations operating in the U.S. The report indicates that, while foundation giving and asset values continued to rise in 2005, they were still below the inflation-adjusted highs of 2000 and 2001.