Community Foundation

2005, 65 pages. McKnight Foundation, 710 Second Street South, Suite 400, Minneapolis, MN 55401, 612-333-4220

Carolyn Bye, executive director of the Metropolitan Regional Arts Council, writes in the introduction that You Are Here reports on the "small steps" taken by communities in the Twin Cities suburbs since the publication of A New Angle: Arts Development in the Suburbs in 2002. The report features profiles of twelve suburban art projects and a detailed pull-out map showing where to find them and many others.

The recently formed GIA Community Foundations Working Group has begun to plan a variety of initiatives in response to members' interest in learning more about how community foundations work and the different ways they support the arts. Members who attended the GIA conference in 2003 and heard Lucy Bernholz's plenary remarks could not forget the facts about the remarkable current and projected growth in donor advised funds.

The annual conference of the International Funders of Indigenous Peoples (IFIP) met for two days at the Ford Foundation and the United Nations in May of 2006. In her opening remarks, Evelyn Arce-White, IFIP executive director, noted that it was rare to have funders, Indigenous Peoples, and NGOs together in the same room and that the value of such a meeting was not to be measured in financial terms but should be considered spiritual in nature. The spirit of this idea was evident throughout the conference.

The hallmarks of a just and civil society reflect the values of artistic freedom and the rights of free expression. Increasingly these rights are threatened by the "clearance culture" that is found in most creative industries and assumes that almost no quotation can be used without permission from the owner. Fair Use is an important yet often misunderstood legal right.

These thoughts were sparked by attending the Council on Foundations 57th Annual Conference, "Philanthropy: Investing in the Vision of Progress." I was especially engaged by the plenary remarks of George Soros and Newt Gingrich.

A growing number of scholars and writers have been tracing the multiple connections between the arts and economic vitality during the past decade. A recent book by anthropologist Maribel Alvarez, There's Nothing Informal about It: Participatory Arts within the Cultural Ecology of Silicon Valley (2005) has drawn a new set of connections for me and raised the possibility that informal, or participatory, cultural practices may have greater meaning in an economic context than I previously recognized.

America is on the threshold of a significant transformation in cultural life. There have been many cultural shifts in recorded history: Gutenberg's invention of the printing press and the rise of the reading public; the growth of a mercantile class and the birth of private art markets independent of the church and the king; the invention of gas streetlights and the beginning of urban nighttime entertainment. The most recent cultural transformation, still with us today, was set in motion on the threshold of the twentieth century.

2005, 48 pages. The Potlatch Fund, 801 Second Avenue, Suite 304, Seattle, WA 98104, 206-624-6076.

Based on a series of talking circles of tribal leaders and funders, this handsome report reviews the history of Native peoples and the role of art in tribal culture, examines the program priorities of funders, and identifies strategies for supporting Native arts and artists. The extensive bibliography is also a valuable tool for grantmakers.

2005, 18 pages. Harvard Project on American Indian Economic Development, Harvard University, 79 John F. Kennedy Street, Cambridge, MA 02138, 617-495-1480.

Download pdf: www.ksg.harvard.edu/hpaied/pubs/pub_161.htm

2005, 40 pages. New York State Council on the Arts, 175 Varick Street, 3rd floor, New York, NY 10014-4604, 212-627-4455.

PDF available for download on website.