Funding Research

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.

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.

Background
The cultural sector does not exist in a vacuum. It is being challenged by major demographic, economic, technological, and social factors outside its immediate control. While the commercial arts and individual artists are also struggling to adapt to these changes, for a variety of reasons the nonprofit arts sector has been particularly slow to respond effectively.

"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

2006, 114 pages. Published by the University of Minnesota, Humphrey Institute of Public Affairs, Project on Regional and Industrial Economics (PRIE). Funded by the McKnight Foundation and the Fesler-Lampert Chair in Urban and Regional Affairs, University of Minnesota.

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, 24 pages. Washington State Arts Commission, 711 Capitol Way S. Suite 600, PO Box 42675, Olympia, WA 98504-2675, 360-753-3860, info@arts.wa.gov

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.

2005, 98 pages. National Alliance for Media Arts and Culture, 145 Ninth Street, Suite 250, San Francisco, CA 94103, 415-431-1391

In celebration of its twenty-fifth anniversary, NAMAC invited seven authors with an intimate knowledge of their subject matter to write about overlooked or neglected media arts histories from around the country. Highlights include "Visions and Hindsights: Seattle's and/or Alternative Art Space 1974-1984" by Robin Oppenheimer and a conversation with activist archivists Andrew Lampert and Rick Prelinger by Melinda Stone.

2006, 36 pages. The Meyer Foundation, 1400 16th Street, NW, Suite 360, Washington, DC 20036, 202-483-8294, meyer@meyerfdn.org

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