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2019-06-13
Fractured Atlas;
The Chicago region is a hub for arts and culture and boasts a thriving dance community. What do we know about the dance sector in Chicagoland (defined in this report as Cook, DuPage, Kane, Lake, McHenry, and Will Counties in Illinois and Lake County, Indiana)? And what do the data reveal about opportunities and challenges facing dancers, dance organizations, and the sector as whole?
2019-05-17
Media Impact Funders;
Both radio and audio are being used in exciting ways to reach new audiences, spark civic engagement and dialogue across diverse communities, examine science and advance disability education, and much more. Radio, in particular, is garnering significant support from philanthropy across a range of programming themes. While perhaps considered a less dynamic media format in recent years, compared to extraordinary growth in web- and mobile-based media grantmaking, funding data tell a different story. Radio receives a significant share of philanthropic funding, particularly when compared to television and film and video.
2019-04-01
Animating Democracy;
A challenge for artists and funders in this intersectional work is to advance both aesthetic and community aims. How do programs balance community development needs and goals with opportunities for artists to experiment? What kinds of supports are needed to help community partners, crucial to the impact of the work, fully engage with artists? What services best support artists who are building their capacity for public realm production and community engagement? What funding strategies and practice standards help ensure projects that meet high marks for both aesthetic achievement and community value?
In the spirit of advancing field dialogue in this arena, Americans for the Arts and the Barr Foundation are happy to share the findings of a National Scan of Programs Supporting Art in the Public Realm. The scan, while not intended to be comprehensive, highlights overarching themes and offers snapshots of 30 programs supporting and building capacity for artists to work in the public realm. Detailed summaries from interviews with seven selected programs provide additional insights.
This scan was conducted to inform future directions of the New England Foundation for the Arts' (NEFA) Creative City program. Creative City's pilot phase offered direct support for artists at varied stages of experience and career to exercise their creative power to excite the public imagination and engage Boston's diverse communities. A report on Creative City's pilot phase and videos highlighting its value and impact in Boston can be found at: nefa.org/CreativeCityLearning.
2019-02-25
European Foundation Centre (EFC);
The field of arts and culture is at the core of philanthropy, and is among the most important areas of funding for philanthropic organisations in Europe. This mapping, produced by the EFC's Arts and Culture Thematic Network, sheds light on how activities carried out by the organisations engaged in this field are diverse in both themes and approaches, covering different sub-areas and with a clear interest in multidisciplinary arts and crosscutting areas and issues.
2019-02-25
European Foundation Centre (EFC);
The field of arts and culture is at the core of philanthropy, and is among the most important areas of funding for philanthropic organisations in Europe. This mapping, produced by the EFC's Arts and Culture Thematic Network, sheds light on how activities carried out by the organisations engaged in this field are diverse in both themes and approaches, covering different sub-areas and with a clear interest in multidisciplinary arts and crosscutting areas and issues.
2019-01-31
NORC at the University of Chicago;
The International Connections Fund (ICF) was established in 2008 with the goal of helping Chicago nonprofit organizations advance their work by collaborating with peer organizations abroad. While eligibility criteria for ICF grants have shifted over the program's lifespan, this core mission has remained unchanged. During the life of the ICF program, MacArthur has administered 14 grant cycles, making 141 grants totaling more than $5.8 million. The majority of these grants—133 in all, totaling $5.4 million—have been awarded to support arts and culture projects. These projects have enabled Chicago artists, audiences, and arts and culture organizations to participate in international exchanges with counterparts from 63 different countries on six continents.
Ten years into the program, MacArthur commissioned NORC at the University of Chicago to take stock of how the program has operated; learn what impact it has made on ICF grantees, their collaborators, and audiences; and consider how the program can best serve future grantees as ICF enters its second decade. The evaluation reviewed 12 ICF grant cycles that took place between 2008 and 2016, during which 114 grants were made to 91 different arts and culture organizations.
2019-01-28
Andrew W. Mellon Foundation;
In 2014, Ithaka S+R partnered with The Andrew W. Mellon Foundation, the Association of Art Museum Directors (AAMD), and the American Alliance of Museums (AAM) to study the representational diversity within art museums through quantitative means. To collect this data, Ithaka S+R developed a survey instrument which was administered to directors of AAMD and AAM member art museums.
Four years later, we have administered a similar instrument to these museum directors in order to gauge the extent to which museum staff have changed demographically in recent years. The instrument was slightly expanded, affording new insights into the composition of art museum employees.
Key Findings
Gender remains majority female; museum leadership positions have grown five percentage points more female in last four years.
In curatorial roles, management positions are about 15 percentage points more male than non-management roles.
Museum staff have become more racially and ethnically diverse over the last four years.
Among intellectual leadership positions, education and curatorial departments have grown more diverse in terms of race/ethnicity, while conservation and museum leadership have not changed.
2018-12-01
Oregon Community Foundation;
What happens when cultural organizations and artists/creatives receive early investment to stretch their practices and work in new ways when developing new work? This report documents the lessons learned from the first four years (2014-2017) of projects supported by Oregon Community Foundation's (OCF) Creative Heights Initiative. We hope that insights gained from these projects will build the capacity and confidence of other artists, creatives, and non-profits looking to stretch their creative practice, and encourage support for promising new work.
2018-11-01
Aspen Institute;
This year, the focus of the annual State of Native Youth report is on the people, initiatives, and organizations that make up the Gen-I Network.
2018-07-18
Kresge Foundation;
This paper examines critical needs or opportunities to help the Creative Placemaking field continue taking root in community planning, and to better contribute to expanded opportunity and equity in low-income communities. Several years into the advancement of Creative Placemaking, the language and general premise are taking hold. The term is now widespread in the arts and culture field, and increasingly in community development and urban planning. Yet critical gaps in the field must be addressed if Creative Placemaking is to flourish and be an integral part of community development.
2018-06-01
JLI CONSULTING, LLC;
The Anderson-Beck Fund of the Hawaii Community Foundation supported a study of the economic and cultural vitality of performing arts on Hawaii Island.
2018-05-28
Los Angeles County Arts Commission;
This report is an evaluation of a range of outcomes at the four sites in the Creative Graffiti Abatement Project in Los Angeles County. This report evaluates the success of arts-based strategies in shifting perceptions, increasing positive activity, reducing graffiti vandalism, building a sense of community ownership and building capacity for future arts and culture activities at the sites. While this report takes a summative approach to evaluating outcomes, the evaluator was embedded in planning and public engagement activities throughout the project, combining elements of a developmental evaluation approach with strategies from ethnographic inquiry. The report offers detailed recommendations for public art commissioning agencies, arts organizations, artists and evaluators implementing similar projects.
