Funding Research

September 2008, 53 pages. John D. and Catherine T. MacArthur Foundation, 140 S. Dearborn St, Chicago, IL, 60603, 312-726-800, www.macfound.org

2009, 12 pages. WolfBrown, 808A Oak Street, San Francisco, CA 94117, 415-796-3060, www.wolfbrown.com

“Creative capital is the network of understandings, values, activities, and relationships that individuals, organizations, and communities develop when they share what earlier generations have imagined and when they, in turn, generate and pass on what they imagine.”

May 2010, 49 pages. Center for Strategic Philanthropy and Civil Society, Sanford School of Public Policy, Duke University, Box 90524, Durham, NC, 27708, 919-613-7432 www.sanford.duke.edu

2009, 58 pages (12-page special supplement: Impact of the Market Decline). Association of Small Foundations, 1720 N Street NW, Washington, DC, 20036, 202-580-6560, www.smallfoundations.org

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October 2009, 105 pages. PennPraxis, 409 Durham Wing, School of Design, University of Pennsylvania, Philadelphia, PA, 10003, 215-573-8719, www.design.upenn.edu/pennpraxis

Download at: http://issuu.com/pennpraxis/docs/report_publicart

104 pages, November 2009. National Endowment for the Arts, 1100 Pennsylvania Avenue NW, Washington, DC, 20506, (202) 682-5400.

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Recent studies on New York’s creative sector have established that the arts are a key asset in the city’s economic portfolio. Culture Counts: Strategies for a More Vibrant Cultural Life for New York City (2001); Creative New York (2005); and The Arts as an Industry: Their Economic Impact on New York City and New York State (2007) provide ample evidence that the diverse number of cultural institutions, arts-related businesses, and artists in New York generate employment, attract tourism, and enhance the city’s quality of life.

Before the house lights dim at a production of Romeo and Juliet, I look for myself and I am delighted to find myself as I was many years ago: A teenaged boy sitting by himself. I recognize him because he keeps checking the number on his ticket against the number on the armrest. All in all, he is pleased with his seat. He wears a sweater and tie. He reads his program with the intensity I used similarly to scrutinize the actors’ biographies, the director’s notes, and the advertisements for after-theater dining.

Current Funding