"Is The Age Of The Foundation Over?" Thoughts From an Artist

One big reason I have this blog, is to say a few things that I feel need to be said. Many artists feel that there are deep problems with the traditional arts funding process that go way deeper than just a lack of money-but surprisingly few will say so publicly.

Happily, in these very hard times, more creative people are stepping outside the system and developing many new ways of getting money.

A Cleveland Artist and blogger has a great post on the subject (you may have seen her work at Boxheart)

Let’s face it, many people who sit of boards or head up foundations are living in a bubble going for the same kinds of projects time after time. In fact, how many artists or writers get grants or funding consistently? Quite a few! It’s almost as if they’ve proven they got funding from one reputable source, then it’s okay to give the green light because it looks good for the foundation to be in the know, not to mention an opportunity for press. Again, most board members and judges don’t go out of their comfort zone (ask any of them if they know about new art movements, and they don’t), and many really don’t care but are partaking for social cache. Then there are the ones who grant to former colleagues (cough*cough* NEA grants cough*), former students, or as in the case of a Rome Prize juror — their girlfriend. It really is like winning the lottery sometimes and not just based on reputation or quality of what you do. This isn’t to say everyone who gets awarded isn’t deserving, but it can be very spotty at best.

Further on...

Now here’s the funny part: everyone I know who has been denied grant or bank loans went to the internet and got funding. In fact, many got over-funded! Thanks to websites like Kickstarter, funding isn’t based on a small group of old ladies who don’t like nudes in art or a guy in a bad suit looking at your credit score.

Great Article: Regrets of a Former Arts Funder

This might be one of the best essays on the history of American arts funding and it's often deep failures to support viable institutions or more importantly, living creative communities. The author, John Killacky was former arts and culture program officer at the San Francisco Foundation.

There is a crisis here, as arts funding remains disproportionately skewed toward the classical behemoths. With organizations like Philadelphia Orchestra and New York City Opera imploding because of structural deficits, I worry that precious philanthropic resources will be further diverted to maintaining what was, instead of capitalizing a more representative future. By merely preserving the past, we fail as cultural stewards and act irresponsibly.

Finally, my last “philanthro-past” reflection: it is time to give up the false dichotomies and biases between professional/amateur, high/low, esoteric/popular, and contemporary/traditional. Instead, philanthropy should be investing in the cultural interests that allow people who live in our communities to lead more expressive lives.

This would truly be representative arts philanthropy.

Likely will be back with more thoughts.