Philanthropic practice

Pigeon Fancier  Ingrid, what about you — for whom do you curate?

In January I had the privilege to attend the Future Aesthetics 2.0 retreat, co-organized by Marc Bamuthi Joseph, director of Performing Arts of the Yerba Buena Center for the Arts, and James Kass, executive director of Youth Speaks. Participating were twenty-three performance-based artists, Helicon Collaborative partners Holly Sidford and Alexis Frasz, and Cheryl Ikemiya from the Doris Duke Charitable Foundation, which funded the project through its Fund for National Projects.

2013, 111 pages, The Pew Center for Arts & Heritage, Philadelphia, PA

When the Network of Ensemble Theaters (NET) set out to produce MicroFest USA: Revitalize, Reconnect, Renew, we wanted to look at the positive impact that art and artists were having on communities around the country. Our intent was twofold: to acknowledge and advance the pioneering and current work of ensemble theaters committed to community-based practice and positive community change (placemaking), and to foster mutual learning with a wider spectrum of artists, cultural workers, and community partners also contributing to community well-being and social change (placemakers).

Success Looks Different Now: Design and Cultural Vitality in Lower Manhattan is a fluently argued report published in June 2013 by the Architectural League of New York about cultural infrastructure needs in Lower Manhattan.

February 2014, pages. Tucson Pima Arts Council, The Pioneer Building, 100 N. Stone Avenue, Suite 303, Tucson, AZ 85701, (520) 624-0595, www.tucsonpimaartscouncil.org

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   The J.W. McConnell Family Foundation (1.5 Mb)

December 2013, 28 pages. The Center on Philanthropy and Public Policy, Sol Price School of Public Policy, University of Southern California, Lewis Hall 210, Los Angeles, CA 90089-0626, (213) 740-9492, http://cppp.usc.edu

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Holly Sidford, Laura Lewis Mandeles, and Alan Rapp. 2013, 219 pages, Leveraging Investments in Creativity