Arts Intranet

In the last decade federal and state governments have joined with local governments throughout the country as important and necessary sources of support for the arts and culture. This development, in partnership with continually increasing support from the private sector, is making it possible for the arts to reach more and broader segments of the population, in line with the growing awareness of and demand for arts and cultural participation that have accompanied changes in socio-economic levels. As opportunities for the arts and culture have increased, it has become important to establish a

In the issues closing essay, the author examines how research in the arts and culture can help to find new ways of thinking about cultural production and policy including the production, financing, marketing, distribution, operation, consumption, and social roles of the arts and entertainment.

In the fall oa 1991, 100 corporate managers participated in an in-depth survey that examined staffing, policy, priorities and the service needs of those responsible for contributions and related community relations activities. These companies had contributions budgets of more than $1.357 billion, or over 20 percent of the estimated $6.0 billion contributed by all U.S. companies in that year. Based on the results of the survey, a number of trends were identified. What follows is a summary of the key findings.

In the booklet, The Arts and the Poor, by Judith Murphy and Ronald Gross, which was sent to Symposium participants, there is a chapter called The unfinished experiment. It is about television and education.

In the 20th century business and technology have strongly influenced all forms of entertainment. The arts and other types of entertainment can no longer be regarded as totally independent; in many ways, their very existence now depends on advances in business and technology.

In recent years, business corporations have begun to play an increasingly important role in the encouragement and development of American art. Sometimes referred to as modern Medicis, these corporations have, through their participation in art programs, moved to assume cultural and intellectual leadership of their communities.

In July, 1986, at Wingspread, the home of the Johnson Foundation in Racine, Wisconsin, the Center for Effective Philanthropy joined with the Johnson Foundation in sponsoring a Colloquium among foundation professionals on The Conduct of Foundations: Current and Recurrent Issues, Among the needs for improvement in the conduct of foundations which were cited and discussed at some length in that conversation was the selection by trustees of areas of human concern in which to work.

In January 1977, the Human Resources Development Committee of the Board of Directors of the Corporation for Public Broadcasting (CPB) endorsed the formulation of the Task Force on Minorities in Public Broadcasting. The purpose of the Task Force was to assist the CPB Board of Directors in the development of policies that will maximize the growth, development, employment and participation of minorities in all aspects of public broadcasting.

In her introduction to The Cost of Culture: Patterns and Prospects of Private Arts Patronage, Margaret Jane Wyszomirski notes that three of the book's four essays focus on specific sources of private arts patronage, while the fourth has examined the interaction of public and private patronage through the device of the matching grant.

In February, 1981 the New York Community Trust contracted with Michael Washburn and Associates to conduct an evaluation of the effectiveness of the New York Community Trust Grant Program under the Arts and Culture guidelines developed in 1977. The study was designed to provide insights into the following four key topic areas: 1. Success of the grants. 2. Implications of changes in the funding environment. 3. Applicant views of New York Community Trust review process. 4. Internal operations.

In collaboration, The Conference Board, Corporate Voices for Working Families, The Partnership for 21st Century Skills, and The Society for Human Resource Management conducted an in-depth study of the corporate perspective on the readiness of new entrants into the U.S. workforce by level of educational attainment.

In 1989, the Arts and Business Council and Metropolitan Life began a unique collaboration on behalf of the arts in New York City - creation of the Special Events Task Force project. The results were an exciting new opportunity for MetLife employees to work together on a major project to benefit the broader community, and to bring new friends, resources and recognition to community-based nonprofit arts organizations.

In 1963, The Rockefeller Foundation completed a half century of activity directed toward the well-being of mankind throughout the world, as its charter defined its purpose. In the course of these fifty years, the Foundation, through its trustees, officers and field staff, has carried out a broad program, comprising grants to educational and research institutions, a number of operating projects conducted by its own staff members, and fellowships to provide for individuals of promise to develop their full professional potential.

If you are about to enter the world of grantmanship, the following pages will give you some ideas about the nature and feeding habits of the beast known as foundations. This creature comes in all shapes and sizes, and it is estimated that the U. S. abounds with a population of more than 22,000 of them. The ability and the willingness of the foundation beast to fund programs and projects are controlled by many factors which include everything from the animal known as super-beast (the government in general, and Internal Revenue Service in particular) to the wishes and quirks of the donors,

Identities are collective before they become individualized, and the arts have always been used to establish the parameters of identities. The question then arises; what and whose memory and history are to be included or excluded, defined and sacralized, by and through the arts? The answer to that inherently political question sets the boundaries of the collectivity, be it nation, ethnic group or the arts community itself.

I believe corporations do indeed have obligations. And today, I'd like to focus on what I think those obligations are. Specifically, I'll cover three things: How I believe a company should conduct itself in responsibly running its own affairs; How it can apply its special expertise in a programmatic way to aid its community; and How it can contribute philanthropically to the betterment of society.

How many beleagured chairmen of orchestra, theatre, opera, dance and museum boards have at some stage of their annual battles with budgets toyed with the solution of a united fundraising appeal to serve all the arts? Typically, the boards of cultural organizations have first-hand experience of federated fundraising in their community's United Fund or Community Chest. This tempts them to ask why such a solution, which has evidently worked so well over the years to answer health and welfare needs, should not be equally applicable to the arts.

A Report from the First Joint Convention of Americans for the Arts and the National Assembly of State Arts Agencies

Are significant new trends developing in philanthropy or are we witnessing an evolution that has been underway for decades? Are the new donors so different from their predecessors? This Monograph examines these questions, and considers how the trends are affecting giving in the cultural sector and the associated lessons for arts agencies.

Guide to Corporate Giving in the Arts 2 is an updated and expanded edition of the 1978 landmark publication by the American Council for the Arts. The book has been created with the recognition that while the business community has been developing a strong and growing support for the arts, specific information about the arts contributions policies and priorities of individual corporations is often hard to find.

Grants for Film, Media and Communications lists 2,106 grants of $10,000 or more with a total value of $185,875,317 by 533 foundations mostly in 1992 or 1993. It covers grants for journalism and publishing, film and video, radio and television, general media and communications technology, censorship issues pertaining to audiovisual and print media, public television, and radio stations, journalism and communications departments and programs within academic institutions, media institutes, university presses, and the publication and film programs of a wide variety of agencies.

From a speech given at the 15th Encore Awards Luncheon of the Arts and Business Council, Waldorf-Astoria Hotel, New York City, 30-Oct-1979. The author is Chairman of the Board of Allied Chemical, and a member of the Business Committee for the Arts.

For the past two decades, the Foundation Center has published a comprehensive listing of all private grantmaking foundations and operating foundations in the . The volume, called the National Data Book, was published between 1973 and 1992.

For 28 years, the Arts and Business Council has been a major catalyst in New York City in creating win-win partnerships between nonprofit music, dance, literary and visual arts organizations and the for-profit business community. Many of our programs now reach beyond New York City and have impact throughout the country.

Few people would argue with the notion that New York City is the major cultural center in the . In fact, people all over the world look to our city for creativity, leadership and standard setting in the performing and visual arts. As New York's community foundation, the New York Community Trust has a special responsibility to try, within its limited resources, to help our city remain preeminent.

Explores the many different ways that culture affects and relates to patterns of human activities and policy realms.

Excerpts from remarks made at the Business Committee for the Arts annual dinner, New York, April 3, 1974. -- It's a special pleasure for me to be able to participate in this 7th annual meeting of the Business Committee for the Arts.

Excerpts from remarks following dedication of Alexander Calder's sculpture, Eagle, by Fort Worth National Bank for the Plaza of its new headquarters building, February 15, 1974, Fort Worth, Texas.

Excerpts from notes by Nancy Hanks, executive secretary, Rockefeller Brothers Fund, Special Studies Project, prepared for the National Industrial Conference Board, meeting of Council of Executives on Company Contributions, held at the Homestead, Hot Springs, Virginia, June 1, 1967.

Excerpts from a speech to the Friends of City Center of Music and Drama, New York State Theatre, New York City, 9-Dec-1968. The author, formerly Under Secretary of State and Secretary of the Treasury, is president, U.S. and Foreign Securities Corporation, New York, and chairman of the Business Committee for the Arts.