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Arts Funding Snapshot: GIA's Annual Research on Support for Arts and Culture

March 27, 2018

Published in the Winter 2018 edition of GIA Reader, the latest edition of GIA's annual Arts Funding Snapshot will include "Foundation Grants to Arts and Culture, 2015," based on the most recent completed year of Foundation Center data, and "Public Funding for the Arts, 2017," prepared by the National Assembly of State Art Agencies (NASAA). Reina Mukai, research manager for the Foundation Center, and Ryan Stubbs, research director for NASAA, share their insight into what these findings reveal about the current arts grantmaking environment.

Racial Equity in Arts Philanthropy: Statement of Purpose

October 17, 2017

In 2015, Grantmakers in the Arts board of directors approved this statement of purpose for their work in racial equity in arts philanthropy to increase arts funding for ALAANA (African, Latino(a), Asian, Arab, and Native American) artists, arts organizations, children, and adults.

Recalculating the Formula for Success: Public Arts Funders and United Arts Funds Reshape Strategies for the Twenty-First Century

July 20, 2017

Grantmakers in the Arts is pleased to announce the release of new research on the formula-based funding practices of public arts funders and united arts funds. Through interviews with sixteen leaders of public arts funders and united arts funds, Recalculating the Formula for Success documents the new ways that these funders are approaching their work, rethinking longtime practices, and adapting to changing environments.

Foundation Funding for Arts Education: An Update on Foundation Trends

April 10, 2015

To document the size and scope of arts education grantmaking by US foundations, Foundation Center and Grantmakers in the Arts collaborated on a 2005 report. The report examined foundation grantmaking for arts education between 1999 and 2003 and represented the most comprehensive analysis of foundation arts education support available. This new report updates the analysis of foundation arts education funding through 2012 and illustrates how support for arts education has evolved during a period of pronounced economic volatility and dramatic political and technological change.

The Funder and the Intermediary, in Support of the Artist: A Look at Rationales, Roles, and Relationships

December 1, 2014

This article, examining the ecology of funders' use of intermediaries and regranting organizations, came about as a direct offshoot of GIA's Research Initiative on Support for Individual Artists, begun in 2011. As the research team worked to map the pathways that support followed from funder to artist, a complex map of options and routes began to emerge, and intermediaries and regranters were often part of that picture. It became increasingly clear that this was an essential and important part of the overall system. It also emerged that this was an area of philanthropic practice that had been little examined, and about which little had been published. Interviews with funders during the research work also revealed that while a number of foundations were using intermediaries, their practices had independently evolved, and a wide range of methods and procedures were in use. What follows is the first tangible product of GIA's Research Initiative on Support for Individual Artists. In her analysis, Claudia Bach provides both an overview of the range of philanthropic practices involving intermediaries and regranters, as well as an exploration of a number of related topics and questions that emerged during the course of this work.

A Proposed National Standard Taxonomy for Reporting Data on Support for Individual Artists

September 11, 2014

This report examines the lack of sector-wide data on artist support for individual artists, the lack of a common taxonomy to explain the different forms of artist support, and the lack of benchmark data to track artist support over time. Recognizing that this is a complex picture and that support comes in many forms and from diverse sources, Grantmakers in the Arts (GIA) has developed a taxonomy that permits comprehensive, systematic tracking of support to individual artists. This collaborative effort complements GIA's longstanding work in benchmarking arts funding overall and will give arts funders and service providers a better understanding of the ecology of artist support, thereby allowing them to improve and expand overall support for individual artists of all creative disciplines.

Arts Funding Snapshot: GIA's Annual Research on Support for Arts and Culture, 2014

September 1, 2014

Foundation Center offers these key findings from GIA's thirteenth snapshot of foundation giving to arts and culture. The definition of arts and culture used for this snapshot is based on the National Taxonomy of Exempt Entities and encompasses funding for the performing arts, museums, visual arts, multidisciplinary arts, media and communications, humanities, and historical preservation. Most importantly, the findings tell us about the changes in foundation giving for the arts between 2011 and 2012 by a matched set of 714 funders and the distribution of 2012 arts and culture giving by the 1,000 largest US foundations by total giving.1 They are based on all arts grants of $10,000 or more reported to Foundation Center by these sets of the largest US foundations, hereafter referred to as "the sample".2 The Center has conducted annual examinations of the giving patterns of the nation's largest foundations for close to four decades.

Arts Funding Snapshot: GIA's Annual Research on Support for Arts and Culture, 2012

January 1, 2012

Includes: Foundation Grants to Arts and Culture, 2010: A One-year Snapshot, and Public Funding for the Arts: 2012 Update

Arts Funding Snapshot: GIA's Annual Research on Support for Arts and Culture, 2011

January 1, 2011

Includes: Foundation Grants to Arts and Culture, 2009: A One-year Snapshot, Public Funding for the Arts: 2011 Update, State Arts Agencies in the FY2012 Legislative Session: Challenges, Headlines, What's Working, and How Are Private Funders Responding to Cuts in Public Funding?

Entering Upon Novelty: Policy and Funding Issues for a New Era in the Arts

October 13, 2010

The organizational structures and underlying assumptions necessary to thrive in this new development phase for the arts will be quite different from those that served us well -- or that we took for granted -- even in the recent past. Where before we were structured for growth, future success will mean being structured for sustainability; growth capacity as a measure of success will be replaced by "adaptive capacity."This basic change in business assumptions will better reflect the trajectory of contemporary life. Sociologist Zygmunt Bauman suggests we are now living in globalized environments that bypass interdependency and are full of "endemic uncertainty." Living self-determined lives that are independent of the social and cultural norms of the past, people are "looking for engagement, for experiences that they themselves can feel part of creating."We are becoming used to the shift from "proprietary" software to "open-source"; now our organizations have to undergo a similar shift, to accommodate the new "architectures of participation" that Clay Shirky writes about.What all this means is that the ability of an arts organization to adapt its programs, strategies, structures, and systems to address continuous external change and seize fleeting opportunities will become a leading indicator of success and a primary measure of organizational health. In this new era, successful organizations will more deeply recognize and engage with the creativity and artistic potential of the larger community, and the dominant organizational model will change to one that is porous, open, and responsive.This shift will require new forms of strategic thinking, organizational nimbleness, and a commitment to remaining transitory (not to efficiency, specialty, and technical rigidity). Wider definitions of success will center on helping foster "expressive lives" in our communities (a term introduced to arts policy by Bill Ivey), more than on developing a professional cultural community for its own sake. As Samuel Jones wrote recently, "We have moved from a model of provision to one of enabling. The role of the cultural professional has changed."

National Capitalization Project 2010 Summary

September 30, 2010

Presents suggestions for funding practices to strengthen arts and cultural organizations' capitalization and sustainability, including encouraging groups to build surpluses and reserves and improving knowledge of capital markets and markets for the arts.