Private Foundation

2006, 54 pages. John S. and James L Knight Foundation , Suite 3300, 200 South Biscayne Boulevard, Miami, FL, 33131-2349, 305-908-2600

Go here to download PDF.

2006, 74 pages. Foundation Center , 79 Fifth Avenue, New York, NY 10003, 800-424-9836

As part of the Foundation Today Series, this report examines annual growth and development trends for foundations operating in the U.S. The report indicates that, while foundation giving and asset values continued to rise in 2005, they were still below the inflation-adjusted highs of 2000 and 2001.

2006, 277 pages. Routledge, 270 Madison Avenue, New York, NY 10016

Operating outside governments and markets, able to take risks and accept failure, free to cross sectors and redefine professional boundaries

2006, available online. Center for Arts Policy, Columbia College Chicago, 600 S. Michigan Ave., Chicago, IL 60605, 312-344-7985

What do Cirque du Soliel and acid mine drainage have in common? And how do they relate to arts and democracy? You can explore these questions and learn about many other surprising combinations in this mind-expanding new "cyber series" now being distributed free of charge by the Center for Arts Policy at Columbia College Chicago.

2006, 27 pages. Metropolitan Regional Arts Council, 2324 University Avenue West, Suite 114, Saint Paul, Minnesota 55114, 651-645-0402, www.mrac.org

Download pdf at The Bush Foundation website

"Harmony is not an arts destination. We seek the arts at the core of everyday lives. We simply want a more solid community, a well-rounded community, beauty in our lives." — Paula Michel, Harmony Arts Council

"Return with me now to those thrilling days of yesteryear

Imagine throwing an arts event and the entire community shows up. This is oftentimes what takes place in the towns delightfully portrayed in Bright Stars, a publication from the McKnight Foundation in Minneapolis, Minnesota. In Neal Cuthbert's foreword to this award-winning piece, it is underscored that rural communities in Minnesota are suffering in several ways due to listless econo-mies and dramatically shifting demographics.

Very awkward to speak politely about money in public, and yet it is so awkwardly at the heart of our culture. Here is Sophocles, in his Antigone. Creon is speaking, ironically misinterpreting the noblest of motives for the basest: "Money! There's nothing in the world so demoralizing as money. Down go your cities, Homes gone, men gone, honest hearts corrupted, Crookedness of all kinds, and all for money."

We also have Timothy from the New Testament: "The love of money is the root of all evil."

What often is lost in cultural policy conversations or research reports about the visual arts world is an examination of how ethnic-specific cultural practices and the dynamics of non-collecting museums and artist-centered organizations keep the art world from be-ing static and dull, from being victimized by the hierarchies of taste or the technocratic aims of cultural managers. Any analysis of the sociology of the visual arts field needs to speak about the relationship between the aesthetic content of a work and the contexts in which different aesthetic inquiries are supported.

"I believe that if we can keep our values close, our imaginations open, and our stories fierce, we can and will win." - Thenmozhi Soundararajan

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