More campus funders looking to make a low-risk, high-reward investment are turning to that tried and true nexus point for community engagement: the university arts center.
In an arts philanthropy climate where funding tends to flow to urban areas, we speak with Peter Finn, whose Catskill Mountain Foundation has been revitalizing rural communities through the arts since 1998.
Recent gives find the foundation expanding its footprint in and beyond Southern California with an eye towards collaborations that drive social change.
Recent activity from ArtPlace America and Kresge suggests an increased attention to rural communities and a heightened awareness of gentrification concerns in urban areas.
With public funding for the arts under fire, some foundations are keen to make a case for the arts as a shared value across the entire population and not a privilege of coastal elites.
Arts organizations' efforts to make inroads with the business community get a boost from a study arguing that engagement can improve employee performance and retention.
When a 126-year-old institution like Carnegie Hall partners with an L.A.-based social justice group on an initiative focused on the "intersection of arts and youth justice," the grant money flows.
Funders are pushing small arts organizations to boost operational effectiveness in an increasingly uncertain funding climate. We dig into a particularly timely case study out of Chicago.
What’s more interesting than the numbers is the types of arts groups that are getting Pew’s support in Philadelphia. Here are a few themes that have emerged as growing priorities.
Conventional wisdom suggests national funders are stepping away from "legacy" institutions in favor of nimbler, more socially focused upstarts. Recent news out of New York shows otherwise.
Imminent NEA cuts. A lack of support for individual artists. Shifts in grantmaking trends. We survey the arts philanthropy landscape with Bridgitt Evans, founder of VIA Art Fund.
The Orton Family Foundation believes that a "humanities-based approach" to community planning focused on "story-gathering" leads to more engaged citizens and improved social interactions.
Since establishing Crystal Bridges, Alice Walton (who's worth $37 billion) has shown signs of larger ambitions for her arts giving. Now her deep-pocketed museum is getting behind arts education.
Most major arts funders have made engaging diverse audiences a top priority. We dig into how these foundations have adapted grantmaking strategies to meet this goal, and where things are heading.
Michael Bloomberg's $75 million gift to the Shed, an arts center in an upscale development filled with pricey real estate, comes amid rising concerns over equity in the arts and public spaces.
A foundation pledges $10 million to revitalize a depressed town through the arts, agriculture and tourism. Is this a viable turnaround strategy for other distressed places in Amerca?
As FCC chairman Ajit Pai moves to roll back net neutrality regulations, the issue's back in the spotlight. We look at the funders and top nonprofits in the mix.
Longtime progressive media funder Rob Glaser was backing an investigation of Trump's potential Russian connections even before election day. Now, he's stepping up his giving to dig deeper.
Impressed by the Getty Foundation-funded Pacific Standard Time, two funders are backing a similar exhibition in Chicago. What's Art Design Chicago all about?
Can boundary-pushing work act as a powerful artistic statement in our turbulent political climate? The Herb Alert Foundation certainly thinks so.
When journalists challenge the powerful, the powerful often sick lawyers on them. Which is why Pierre Omidyar's First Look Media is beefing up grantmaking to provide legal support to news outlets.
It was only a matter of time before the ancient idea of an arts patron and the much newer idea of venture funding came together in a new thread of arts philanthropy focused on backing individuals.
Pushback to Paul Allen's planned music festival suggests that while maverick mega-donors don't face conventional checks on their giving, they nonetheless have to answer to critics.
When H.F. Lenfest created a nonprofit journalism institute last year, it wasn't clear whether other funders would buy in. An infusion of cash from new donors dispels those doubts. Can this model be replicated?
Founded by Barbara Ehrenreich, the Economic Hardship Reporting Project has been pulling in more foundation grants and gaining traction with an approach that stresses "bottom-up" reporting.
Growing support for nonprofit investigative reporting in the past decade has enabled new scrutiny of drugmakers, insurance companies and hospitals. What's been uncovered?
With federal cuts looming, corporate donors are one place to look for support for the arts. The catch? Organizations need to dial up art's capacity to drive community or social change.
"The whole art world is interested" in Theaster Gates' work through his Chicago-based Rebuild Foundations. Arts organizations should pay particularly close attention.
While everyone in the arts community acknowledges the need to engage millennials, there's less clarity around how to do it successfully. Research from the Wallace Foundation should help.
Interest in public art is surging as funders look for new ways to engage audiences. We take a deep dive into who's funding what in this space, and some questions that are arising.