Individual Donor

2008, 116 pages. Foundation Center, 79 Fifth Avenue, New York, NY, 10003, 212-620-4230, www.foundationcenter.org

http://foundationcenter.org/philanthropyannual

2008, 64 pages. Arts Council England, 14 Great Peter Street, London SW1P 3NQ, UK, 0845-300-6590, www.artscouncil.org.uk

http://www.artscouncil.org.uk/documents/publications/
phpvMEmeh.pdf

2008, 17 pages. The Atlantic Philanthropies, 125 Park Avenue, 21st Floor, New York, NY, 10017, (212) 916-7305, www.atlanticphilanthropies.org

http://atlanticphilanthropies.org/content/download/5238/79869/file/ATLP_advocacy_report.pdf

2008, 197 pages. Published by Indiana University Press, 601 North Morton Street, Bloomington, IN, 47404, (800) 842-6796, www.iupress.indiana.edu

2007, 408 pages. Published by Routledge, 800-634-7064, www.routledge.com

“What are we doing to cultivate new generations of arts activists—artists, arts managers and arts philanthropers?” This question—often asked and long massaged—has an equal number of answers to the individuals attempting to answer it. Under the broader umbrella of inspiring young people to make a difference—through the arts or otherwise—Do Something is an organization that is effectively answering that question with meaningful action.

2008, 32 pages. Funders for Lesbian and Gay Issues, 116 East 16th Street, 7th Floor, New York, NY, 10003, (212) 475-2930, www.lgbtfunders.org

http://www.lgbtfunders.org/files/FLGI%20LGBTQ_POCRprt-F.pdf

Between 2006 and 2008, the Social Impact of the Arts Project, a research group at the University of Pennsylvania (SIAP), collaborated with The Reinvestment Fund (TRF), a community development financial institution, on an investigation of the creative sector's potential contribution to neighborhood economic and community development.

2006, 196 pages. Published by Princeton University Press, 41 William Street, Princeton, NJ, 08540, (609) 258-4900, press.princeton.edu

Danny Newman, who died last year (2007) at the age of eighty-eight, was a major post- World War II patron of the arts, but his contributions were not personal checks. Rather, they lay in helping arts companies—theaters, orchestras, dance groups, operas—build strong, committed audiences, providing the sound financial basis they needed to survive and flourish. His major tool was the promotion of subscriptions, a wide-ranging effort embodied in his book Subscribe Now! Building Arts Audiences through Dynamic Subscription Promotion.