Advocacy and Public Policy

2004, 152 pages, Center for Arts Policy at Columbia College Chicago

2004, 51 pages. Published by Pew Internet & American Life Project, 1100 Connecticut Avenue NW, Washington, DC, 20036, 202-296-0019, www.pewinternet.org

Download Report: http://www.pewinternet.org/Reports/2004/Artists-Musicians-and-the-Internet.aspx

2004, 20 pages. Published by the John S. and James L. Knight Foundation, 200 South Biscayne Boulevard, Suite 3300. Miami, FL, 33131-2349. 305-908-2600.

Download pdf: http://www.knightfoundation.org/dotAsset/221173.pdf

2004, 58 pages. Alliance for Justice, www.allianceforjustice.org, 202-822-6070

Download Report: http://www.afj.org/for-nonprofits-foundations/resources-and-publications/pay-for-publications/investing-in-change-1.html

Undated, 40 pages. Published by Public Knowledge, 1875 Connecticut Ave. NW, Suite 650, Washington, DC, 20009, 202-518-0020, www.publicknowledge.org.

Download pdf: http://www.publicknowledge.org/pdf/citizens_guide_to_drm.pdf

January 7, 2005. Hosted by the Ford Foundation and organized by Grantmakers in Film and Electronic Media's (www.gfem.org) Working Group on Electronic Media Policy. Co-sponsored with Grantmakers in the Arts, the Funders Network on Trade and Globalization (www.fntg.org), and the New York Regional Association of Grantmakers (www.nyrag.org).

The following remarks were presented at a symposium that was part of the 2004 Ars Electronica Festival: TIMESHIFT—The World in Twenty-Five Years. This festival for art, technology, and society was founded in 1979 and is held annually in Linz, Austria. Joan Shigekawa, associate director of Creativity and Culture at the Rockefeller Foundation, spoke on the final panel of the symposium, “TOPIA,” which was designed to “present scenarios around a wide variety of topics relating to art, technology, and society.

As one of the three vice presidents of the Ford Foundation who issued the January 8, 2004 memo, I am fascinated and impressed by Ruby's description of Creative Capital's process for dealing with the memo. She and her colleagues correctly understood that Ford was not operating in a vacuum. We were responding to new Federal legislation that required us to review our own grantmaking and monitoring processes to insure that they conform to the new law. Importantly, we chose to make our values explicit in the memo rather than repeat the exact language of the legislation.

I believe it is time to begin a conversation about a new model for building a vibrant arts landscape. Since I left federal service in the fall of 2001, I have had an opportunity rare for former chairmen of the National Endowment for the Arts—the chance to create a research center engaging the very issues that fascinated me during my tenure with the endowment.

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