Emmett Carson, Silicon Valley Community Foundation

TITLE: CEO and President

FUNDING AREAS: Education, arts, and the environment

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Emmett D. Carson, PhD, founded the Silicon Valley Community Foundation (SVCF) in 2006, merging two of the largest community foundations in the world to do so. SVCF has $3 billion in assets, and Carson now oversees its work with donors and corporations while managing funds well. He continues to be the Bay Area's largest grantmaker—and the largest international grantmaker among community foundations in the United States.

His foundation bio shares: 

Emmett D. Carson, Ph.D., is the founding CEO of Silicon Valley Community Foundation and led the unprecedented merger of the two community foundations that created it. In the process, he has pioneered a new, 21st century community foundation model in which individuals and corporations can pursue their philanthropic dreams in Silicon Valley, across the nation and around the world. This new approach to giving explains SVCF’s remarkable growth in assets under management from $1.7 billion in 2007 to over $13.5 billion by the end of 2017. It also accounts for the inspiring generosity of SVCF’s donors, who have provided $5.6 billion in philanthropic capital to nonprofit organizations since 2007.

Before SVCF, Emmett had a distinguished 12-year career as CEO of The Minneapolis Foundation and, prior to that, was the first leader of the Ford Foundation’s U.S. and global grantmaking program on philanthropy and the nonprofit sector. An international thought leader in philanthropy and the nonprofit sector, he has published more than 100 works on philanthropy and is an authority on issues of social justice, public accountability and African American giving. He has been recognized by the Nonprofit Times as one of the most influential nonprofit leaders in the U.S. more times than any other person. Emmett is the recipient of honorary degrees from Indiana University, Morehouse College, Becker College and The National Hispanic University. He received both his master’s and Ph.D. degrees in public and international affairs from Princeton University and his bachelor’s degree in economics, Phi Beta Kappa, from Morehouse College.


Sean Elwood, Creative Capital

TITLE: Director, Programs and Initiatives

FUNDING AREAS: Film/Video, performing arts, literature, and visual arts

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Besides being an occasional curator, collector, publisher, writer, and painter on his own time, Sean Elwood is first and foremost the current Director of Programs and Initiatives for Creative Capital, a title he assumed in 2010. His bio on LinkedIn shares: 

ean Elwood is the Director of Programs & Initiatives for the Creative Capital Foundation, a national nonprofit that provides integrated financial and advisory support to artists pursuing adventurous projects in all disciplines (www.creative-capital.org). 

Since joining Creative Capital in 2000, Sean has served as Grants Officer, Acting Director of the MAP Fund (an ancillary program of Creative Capital), the Director of Grants & Services and, since 2010, as Director of Programs & Initiatives. 

Prior to Creative Capital, he was Curator/Collection Manager for the Seattle Arts Commission, Director at Ronald Feldman Fine Arts, and Manager of the Art Residency Program at Centrum Foundation. He founded SEEDITIONS Art Publishing Company and Fuller/Elwood Gallery in Seattle. He currently serves on the board of Triple Canopy, and on advisory boards for Lower East Side Printshop, Watts House Project and the Dieu Donné Papermill. 

For over 35 years, Sean has made, bought, sold, published, restored, collected, donated, traded, studied, curated, written about, talked about, thought about, and otherwise facilitated the creation of artworks while spending most of his time in the company of artists. He holds a BA and MA in Visual Arts.

Fred Eychaner, Alphawood Foundation

TITLE: President

FUNDING AREAS: Gay rights, domestic violence, AIDS/HIV research and treatment, environment, arts and art education, and architecture preservation

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Due to his success as president and CEO of Chicago-based Newsweb Corp., Fred Eychaner started the Alphawood Foundation, and through it he has quietly given millions of dollars to Democratic candidate campaigns, gay rights advocacy groups, and arts organizations. His Chicago LGBT Hall of Fame bio shares: 

Fred Eychaner, 70, chairman of Newsweb Corporation, President of Alphawood Foundation, for his philanthropy, his public service, and his support of Chicago’s LGBT communities.

Fred Eychaner is chairman of Newsweb Corporation and President of Alphawood Foundation. In 2014, he was included in Chicago Magazine’s list of the 100 most influential Chicagoans; he is known for his philanthropy in the city, especially his support of LGBT organizations, HIV support organizations, arts institutions, public spaces, and historic preservation.

Eychaner was born in DeKalb, Illinois, in 1944. He attended the Medill School of Journalism and founded Newsweb Corporation, which prints a variety of newspapers, in 1971. A series of negotiations subsequently led to his acquisition of WPWR–Channel 50, which he sold in 2002. In 2005, he launched WCPT-AM, Chicago’s progressive talk radio station.

Throughout several political cycles, Eychaner has been a top Democratic donor; in the 2012 election cycle he was the top contributor to Democratic Super PACs. Many of his political donations have been made in support of LGBT rights, in particular the drive for marriage equality in Illinois. A great deal of the LGBT infrastructure in Chicago bears his stamp; he is the largest donor to the AIDS Foundation of Chicago and has been instrumental in the creation and ongoing viability of a number of the most influential LGBT rights organizations in the state.

In 2014, Eychaner received the Lambda Legal National Liberty Award, which represented the first time that this prestigious honor has recognized an individual outside of New York or Los Angeles. In his acceptance speech, he looked back on more than forty years of LGBT progress, from those who resisted the police at Stonewall, to members of ACT UP fighting for their lives against HIV and AIDS, to the lesbians who gave blood when gay men could not, to the hatred spawned by Reagan-era Republicans, to Irwin Keller and Jonathan Katz of Gay and Lesbian Town Meeting fighting for rights in Chicago in the 1980s, up to the recent struggle to win marriage equality.

Always remember, never forget,” he chanted at several points. For Eychaner, the evening offered a chance not only to celebrate successes but also to reflect upon how many gains have been won in a spirit of unity and togetherness. “The grassroots process,” he recalled. “Fighting in the trenches, one phone call at a time. There was a time when most Americans did not know that they knew an LGBT person. The process of coming out; coming out to friends, our family, our coworkers has led us to where we are today.”

In September 2010, President Barack Obama appointed Eychaner a General Trustee to the Board of Trustees of the John F. Kennedy Center for the Performing Arts. He also serves on the boards of the Joffrey Ballet and of the Art Institute of Chicago and as a trustee of the Asian Art Museum in San Francisco, California.

Olive Mosier, William Penn Foundation

TITLE: Director, Arts Funding

FUNDING AREAS: Arts and culture, arts education, and creating public arts spaces

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Olive Mosier manages the William Penn Foundation's cultural grantmaking and administers its "strategies for effective funding as well as managing her own portfolio of grants" in the area. Her foundation bio shares:

Olive joined the Foundation in 2000 and since that time has managed its arts portfolio and related initiatives. Additionally, she serves on Mayor Nutter’s Cultural Advisory Council and, for six years, served on the board of Grantmakers in the Arts, a national affinity group. Olive was involved in the founding and implementation of the Pennsylvania Cultural Data Project and sat on its governing board, helping launch the initiative into a national program and later as an independent nonprofit organization.

Prior to joining the Foundation, Olive served in a White House appointment during the Clinton Administration as Director of the Office of Policy Research & Analysis at the National Endowment for the Arts, working with both Jane Alexander and Bill Ivey.

For four years, Olive worked as Executive Vice President and COO at the National Assembly of Local Arts Agencies (NALAA; now Americans for the Arts) and for five years served as Executive Director of National Artists’ Equity Association, both in Washington, DC.  At NALAA, Olive oversaw operations, served as staff liaison to the board, and assisted in policy and advocacy initiatives. At Artists’ Equity, she worked with an all-artist board to educate artists on business principles and to pass legislation like the Visual Artists’ Rights Act and consumer protections such as improved toxicity labeling for art materials.

Olive holds a M.A. in arts management from American University, studied art history at the graduate level at Northwestern University and earned a B.F.A. from Howard University.

Charles C. Bergman, The Pollock-Krasner Foundation

TITLE: Chairman and CEO

FUNDING AREAS: Painters, sculptors, print makers, and artists who work on paper 

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Charles C. Bergman is a man who wears many hats. Most notable of these is his very active role as Chairman and CEO of The Pollock-Krasner Foundation, an organization he was instrumental in founding. He also holds a chairmanship at the New York Foundation for the Arts as part of their Leadership Council and sits on the National Council at the National Arts Journalism Program at Columbia University. He's been a member of New York City's Cultural Affairs Advisory Commission and Harvard's Art Museum's Overseers Committee. And that's still only a fraction of his involvement. Where does he find the time?

In 1985 Bergman was asked by the estate of Lee Krasner, the artist and widow of Jackson Pollock, to set up a foundation that would provide for "worthy and needy artists" in accordance with the wishes set forth in her will. Bergman went on to create The Pollock-Krasner Foundation and acted as its first Chief Operating Officer and Executive VP and set up the template for the foundation's grant system. He, along with an anonymous committee, is very active in the foundation's current grant-making. The Pollock-Krasner Foundation is geared to specifically fund painters, sculptors, graphic, mixed media, and installation artists for everything from studio rentals and artists' supplies, to healthcare needs and money to single parent artists for child care.

But The Pollock-Krasner Foundation is only the tip of the iceberg for Bergman. He has a long history of involvement in both the arts world and the philanthropy world in many different capacities. Bergman served on the New York State Council on the Arts under George Pataki and is a former member of the Board of Trustees for Miami's National Foundation for Advancement in the Arts, now known as the National YoungArts Foundation. He also has a history of involvement with Very Special Arts in Washington, D.C., an international network of organizations involved in arts programs for people with disabilities. The VSA is an affiliate of the John F. Kennedy Center for the Performing Arts and has partners nationwide.

Bergman has also sat on boards and committees at New York's Alliance for Young Artists & Writers, an adjunct to the Scholastic Art & Writing Awards, the Sculpture Committee of the Park Avenue Malls Planting Project, and the National Council of the Glimmerglass Opera. He's also former Vice President of the Inter-American Foundation for the Arts, an international nonprofit based in New York that is purportedly the first private cultural exchange program between the United States and Latin America.

Through it all Bergman has always retained his position at The Pollock-Krasner Foundation, playing a very hands-on role in the distribution of over $54 million in grants in the years since 1985. The gifts have gone to over 3,500 artists in 72 different countries across the globe.

Quoted in an interview with Drew Steis in Making a Living As an Artist, Bergman says of the Pollock-Krasner grants, "The delicate balance of artistic merit and financial need is our dual criteria for making these grants. And it is a tough call... You don't have to be in some dire catastrophic illness to get a grant from us. Our grants are very much for artists and for the normal slings and arrows of outrageous fortune, as I like to say."

He's also very proud of the support the foundation gives for artists in medical need. "We are very concerned about the medical, dental, psychological, and surgical needs of an artist... When illness, particularly catastrophic illness such as AIDS, hits an artist it can be devastating. We are the only private foundation that I know of in the country that is actually giving grants directly to individuals with AIDS, providing, of course, that they meet the artistic merit criteria."

Bergman has also acted as advisor in the private world to the "ethical investment group" Foursome Investments, now known as Frog Capital. The thread that connects most all of Bergman's endeavors is his love of art and his soft spot for those in need, two of the best qualities for someone in his line of work.

Cate Fox, MacArthur Foundation

TITLE: Senior Program Officer

FUNDING AREAS: Chicago arts & culture-- theater, dance, musical groups, museums, exhibitors, and visual arts

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Cate Fox is a senior program officer at the MacArthur Foundation. Her foundation bio shares: 

Cate oversees the arts & culture in the Chicago Commitment program area.
Most recently, Cate served as a senior consultant at The Alford Group, a consulting firm to the nonprofit community. Over nearly seven years with Alford she helped a diverse set of nonprofit organizations, including those in the arts, to evaluate programs, assess organizational strength, conduct strategic planning, and increase fundraising. Previously, Cate worked with the Girl Scouts of the U.S.A. to revise their international programs and structure. Prior to that work she held a variety of positions within the nonprofit sector.
Cate received a Master of Arts degree in Peace and Development Studies with first class honors from the University of Limerick (Limerick, Ireland), and a Bachelor of Arts cum laude from Hollins University (Roanoke, VA). 

Cheryl Ikemiya, Doris Duke Charitable Foundation

TITLE: Senior Program Officer for the Arts

FUNDING AREAS: Performing arts, contemporary dance, and jazz and theatre artists

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: As senior program officer for the Arts at the Doris Duke Charitable Foundation and co-chair of the New York Grantmakers in the Arts, Cheryl Ikemiya has her finger on the pulse of non-profit arts in the United States. Her foundation bio shares: 

Cheryl Ikemiya is senior program officer for the arts at the Doris Duke Charitable Foundation. She works together with the Arts Program staff to plan, implement, review and evaluate its strategy and programs. As the former co-chair of the New York Grantmakers in the Arts, she organized programs for more than 60 arts grant-making institutions in New York City to discuss issues related to grant making and to the visual, performing, literary and media arts fields. She served on the initial Task Force for the New York State Cultural Data Project.
Prior to joining the foundation, Ikemiya was the assistant director of the Performing Arts Program at the Japan Society, Inc., a national nonprofit, cultural and educational institution in New York City. She produced and managed traditional and contemporary Japanese performing arts, artists’ residencies, commissioning projects, national tours and arts-in-education programs.
Ikemiya received a Bachelor of Arts degree from Oberlin College and Master of Arts in Asian art history from the University of Hawaii as an East-West Center grantee. She serves on the board and is an ordained Buddhist priest and assistant minister at the New York Buddhist Church. She has volunteered at Beth Israel Hospital in its pastoral care program.

Jeanne Sakamoto, The James Irvine Foundation

TITLE: Director of Program Operations

 CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Jeanne Sakamoto has a long history working with big names in the California arts grantmaking world. Before becoming a Senior Program Officer of the Arts at The James Irvine Foundation in 2007, she spent three years there as a Program Officer and Program Associate. Her foundation bio shares: 

Jeanne Sakamoto was appointed Director of Program Operations in April 2016, having previously served in Irvine’s Arts program as Senior Program Officer, Program Officer, and Program Associate beginning in 2004.
Prior to joining Irvine, Jeanne worked at the Japanese American Cultural and Community Center in Los Angeles, one of the largest ethnic arts and cultural centers in the country. She worked at the center as a J. Paul Getty Grant Multicultural Intern, Program Assistant, Donor and Community Relations Manager, Assistant to the President, and as Director of Special Initiatives, directing the planning and execution of major community development projects and communications activities.
Jeanne currently serves on the board of directors of Taikoproject, an ensemble of premiere taiko drummers dedicated to promoting and advancing the American art of taiko. She holds a Bachelor of Arts degree in communications studies with a specialization in business administration from the University of California, Los Angeles. She is also a graduate of Georgetown University’s Nonprofit Management Executive Certificate Program.
Jeanne is based out of Irvine's Los Angeles office.

Mariët Westermann, Andrew W. Mellon Foundation

On paper, Mariët Westermann is an illustrious academic with a trail of publications and prominent posts at NYU. As a person, she appears approachable, and humble. And if you watch one of several lectures available on YouTube, you can see a joyful passion for the arts bubbling under her practical exterior. Westermann joined Mellon as Vice President and Program Officer for Art History, Conservation, and Museums in 2010. Previously, she was living Abu Dhabi as provost and chief academic officer of a young NYU campus. She also spent six years as director of NYU's Institute of Fine Arts. Originally from Holland, she came to the states for a liberal arts education at Williams College, and completed her MA and Phd at NYU. She certainly didn't abandon academics for philanthropy, and is currently focusing her research on painting in European culture, and role of the Garden of Eden in various religions.
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Susan Feder, Andrew W. Mellon Foundation

What stands out about Susan Feder is not her life-long devotion to music history, criticism, and publishing. It’s not even her unbridled love of music. Above all, Feder is a champion of musicians. You can find her enthusiasm splashed all over the liner notes of notable composers like Phillip Glass and Joan Tower. Notably, she served as editorial coordinator of the New Grove Dictionary of Music and Musicians—the musicologist’s 20-volume bible. Before becoming Program Office for the Performing Arts at the Andrew W. Mellon Foundation in 2007, she spent twenty years nurturing the careers of composers at G. Schirmer, Inc. It took a seat at Mellon to lure her away from the excitement of working directly with artists and “hearing their music created and sustained by the world’s finest performers.” Today, she continues to gush over (and skyrocket the careers of) emerging composers like Gabriela Lena Frank, whose music she called “extraordinarily life affirming.”
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Joan Weinstein, Getty Foundation

TITLE: Deputy Director

FUNDING AREAS: Access to art collections, art history, conservation

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Dr. Joan Weinstein first joined the Getty in the early 1990s, for what she thought would be merely a temporary position. She remains there to this day, now as Deputy Director of the Getty Foundation. Though she first made her mark as an art historian of early 20th century German art, Weinstein has grown into a champion of post-war Los Angeles art movements, such as Chicano murals and skate culture. When she speaks, her even tones belie an enthusiasm for the arts that's as strong as any young idealist, and a deep pride in the Getty Foundation's accomplishments.

As a young art history scholar, Weinstein studied at UCLA and became an Assistant Professor of Fine Arts at the University of Pittsburgh. Her focus was early 20th century German art, and an Edward Dickson Travel Fellowship enabled her to dig into German archives firsthand. In 1990, the University of Chicago Press published her groundbreaking book, The End of Expressionism: Art and the November Revolution in Germany, 1918-19. Her perspective on modern German art was a break from conventional interpretations, and her work remains formative for a new generation of art historians.

Weinstein joined the Getty as a Senior Program Officer of the Getty Grant Program before it morphed into the Getty Foundation. Back then she helped to award collaborative research grants, post-doctoral fellowships, and curatorial research fellowships to artists and scholars at home and abroad. Her position has changed several times since, from Associate Director, to Interim Director (at the time colleague Deborah Marrow was filling in as Interim President and CEO), to Deputy Director. Whatever the title, she has remained part of the close core of Getty leaders and officers of the Getty Foundation, Getty Research Institute, Conservation Center, Museum, and Trust.

In 1993, she helped found the Getty's Multicultural Undergraduate Internship program, which funds paid summer positions for diverse students at Los Angeles museums and arts organizations. In 2006, she supported Rescue Public Murals, a Heritage Preservation initiative to document and preserve public murals throughout the US. "Public murals are vital community assets," said Weinstein, "and a national strategy to document and preserve them will benefit artists, scholars, and the broader public." She was also behind the 2008 decision to pledge continued funding to museums and preservation efforts in sub-Saharan Africa. This included support to PREMA, a training program for African conservators that aimed to "train the trainers…to find solutions" in their home countries.

In recent years, Weinstein has been busy co-directing Pacific Standard Time, a multi-year collaboration of more than 60 cultural institutions throughout southern California. Through PST, Weinstein, along with Deborah Barrow, supported investigations into "the films of the African American L.A. Rebellion to the feminist happenings of the Woman's Building; from ceramics to Chicano performance art; and from Japanese-American design to the pioneering work of artists' collectives." Their goal was to capture the post-war art history of Los Angeles before its cultural significance could be lost.

At the Getty, she helps guide and define the foundation's directive to advance "the understanding and preservation of the visual arts locally and throughout the world." She upholds this vision across the four funding priorities of art history, conservation, collections, and professional development. Her track record shows that the projects Weinstein consistently throws her weight behind are multicultural, embody history, and engage a community. Here is a video profile of Weinstein the arts administrator, and the person.

Antoine Wilmering, Getty Foundation

TITLE: Senior Program Officer

FUNDING AREAS: Access to art collections, art history, art conservation

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Antoine M.Wilmeringcomes from an esteemed old breed of arts conservators—the kind who honed their skills in years of meticulous studio practice. It seems he is too busy rolling up his sleeves, going on site visits, and lovingly restoring overlooked cultural artifacts to be seen giving too many presentations or speaking to the press.

Wilmering perfected his craft at the Metropolitan Museum of Art, where he spent 12 years in Objects Conservation. He is an expert—perhaps the expert—on furniture and wooden objects conservation, serving as an educator and consulting in this arena for institutions worldwide. His post as Senior Program Officer at the Getty Foundation allows him to pioneer special international conservation efforts like MOSAIKON and the Panel Paintings Initiative.

While at the Met, Wilmering led the team that reinstalled the Gubbio studiolo. That mouthful was the private 15th century study of Federico da Montefeltro, and is now a famous work of Italian Renaissance art. The walls of the study are elaborate intarsia panels—an intricate wood inlay technique that is right up Wilmering's alley. The history, materials, and techniques of intarsia represent just one corner of his vast knowledge and fine woodworking and restoration skills. Multiple publications from this and other Met conservation projects bear witness to his experience.

Wilmering came to the Getty after a four-year stint teaching at Tainan National University of the Arts in Taiwan. While there he studied the long-term effects of airborne fungi on museum objects in galleries and display windows in southern Taiwan. He joined both the Getty Trust and the Getty Foundation as a Program Officer in 2004. In his Los Angeles post, he continues to focus on objects conservation—a passion that apparently won't be squelched.

One of his passion projects at the Getty is MOSAIKON, a consortium of centers and committees working "to develop innovative models for mosaics preservation around the Mediterranean." Its central goal is to train and equip local technicians to properly care for mosaics using sustainable materials. Wilmering is also at the helm of the Panel Paintings Initiative, which unites the Getty Foundation, Museum, and Conservation Institute to train conservators to restore and stabilize historic multi-panel pieces like the Ghent Altarpiece. Wilmering says it is an attempt to "[revive] the old workshop model… in which a master passes on his or her expertise to apprentices." He speaks about the Panel Paintings Initiative in-depth in this video press statement.

The Getty Foundation's previous conservation initiatives have focused on architectural conservation and treatment or restoration of monuments. Philadelphia's Fairmount Park Association received funding to reinstall and care for the renowned Louise Nevelson sculpture, Atmosphere and Environment XII. Swiss architect Le Corbusier's La Maison Blanche was restored through a Getty grant, as was a 16th century Rajput-Mughal palace complex in Jodhpur, India. The Getty Foundation also completed a three-year cycle of grants to preserve L.A.'s own historic and cultural sites.

Currently, grantmaking in the area of conservation prioritizes projects that "promote the interdisciplinary practice of conservation… and foster collaboration between conservators, art historians, conservations scientists, and other heritage professionals." They are looking to train and support a new generation of conservators that are at least as skilled as Wilmering. Since 2009, all conservation grants have fallen under the MOSAIKON or Panel Paintings Initiative umbrellas, and were primarily awarded to European institutions. Historically, the focus of grantmaking has been much broader, and the Getty will surely shift initiatives in due time. 

Deborah Marrow, Getty Foundation

TITLE: Director

FUNDING AREAS: Access to collections, art history, and conservation

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Deborah Marrow serves as director of the Getty Foundation, the arts grants wing of the palatial J. Paul Getty Trust. She's kept a rock-solid grip on that position since 1989. There are few arts administrators as broadly connected, widely revered, and unquestionably powerful as Marrow.

"No one is trained to be a grant maker," said Marrow in 1990. "Everyone falls into the field from somewhere else. I fell into it from art history." Marrow was quite a successful art historian, specializing in 17th century French and Italian art and writing a book on Florentine arts patron Maria de Medici, the woman who effectively made grants to Peter Paul Rubens. Now Marrow is emulating her subject — only she fosters other historians. Her first years as a grantmaker were focused on projects such as the study of Japanese hand scrolls and the repair of crumbling murals in Mexico City.

Marrow has been with the Getty since 1983, when she joined the foundation to launch a publications program that underwrote and published scholarly works on art history. Throughout the years, she has stepped in as interim director of the Getty Research Institute and interim president and CEO of the Trust. During her tenure, she has since overseen the distribution of some $300 million in arts grants to institutions worldwide.

Friends and colleagues of Marrow's describe her as sincere and a natural networker who loves meeting people from all walks of life. She doesn't hide out in her office hunched over a desk—she leads by walking the building, visiting with her colleagues, and starting conversations. She values relationships, collaboration, and democratic competition. At the Getty, she's responsible for transforming its fellowship program from insular and elitist to open, competitive, and panel judged.

Marrow is both L.A.-centric and globally minded. The contradiction makes sense when you consider that Los Angeles itself is a sprawling Petri dish of cultural encounter and globalization. When the Berlin Wall came down, Marrow responded with the Central and Eastern European Initiative, a fund for the region's libraries and scholars. When Hurricane Katrina broke loose, she created the Fund for New Orleans to rebuild damaged collections and historic sites. An ongoing program, Connecting Art Histories, aims to draw art historians in impoverished or oppressive countries into conversation and collaboration with other scholars.

Of all her grantmaking overtures, Marrow's magnum opus is Pacific Standard Time: Art in LA, 1945-1980. She spent a decade seeking to "[rescue] the endangered history of art in Los Angeles in the postwar decades, and [share] its stories with the public." She distributed millions of dollars to museums and centers to create books, archives, and permanent collections. Her labors came to fruition in 2012, with a six-month long festival of exhibitions, shows, performance, lectures, public art, and more. Hundreds of sites and millions of visitors participated in her vision. In a statement released in January 2013, Marrow indicated that the momentum of Pacific Standard Time and the model of "large regional collaboration" will continue to inform the Getty Foundation's interests, activities, and grants.

A Los Angeles Times staff writer described Marrow as "an arts administrator who knows how to keep her balance and sense of clarity." This was exactly what the Getty needed when, in 2006, then president Barry Munitz resigned over allegations that the museum was holding looted antiquities. That was Marrow's first foray as interim Getty president (her second would come in 2010), and both times all of Los Angeles breathed a sigh of relief when she took the helm.

Believe it or not, Marrow did have a life before the Getty—she has lived multiple lives, in fact. She is an art historian hailing from the University of Pennsylvania, where she earned her undergrad degree and completed her PhD, punctuated by a master's from Johns Hopkins. She worked at the Philadelphia Museum of Art, taught art history here and there, and continues to serve as trustee of UPenn and a board member of Town Hall Los Angeles. In one incarnation she was on the National Trust for Historic Preservation committee of the White House Millennium Council. Even harder to believe is that, on top of it all, Marrow has remained happily married for 41 years and raised three children.

At the Getty Foundation, Marrow and five other senior staff steer Getty Trust funds toward individuals and institutions that "strengthen art history as a global discipline, promote the interdisciplinary practice of conservation, increase access to museum and archival collections, and develop current and future leaders in the visual arts."

Take a look at this clip to hear Deborah Marrow describe some of the Getty Foundation's funding priorities, and online arts journalism, in her own words.


Joel Wachs, The Andy Warhol Foundation for the Visual Arts

TITLE: President

FUNDING AREAS: Contemporary visual art, arts writing

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Joel Wachs is a Harvard graduate, originally from Los Angeles. He practiced corporate tax law for some years in LA, and in 1971 he ran for City Council and eventually won in a run-off election against incumbent James Potter. Wachs went on to spend the next 30 years in service in the city council, where he was was responsible for the passage of a landmark anti-AIDS discrimination law in 1985, one of the first of its kind in the nation.  

This may seem like an incongruent beginning for someone who would eventually become president of an organization like the The Andy Warhol Foundation for the Visual Arts, but Wachs was always a vigorous supporter of the arts and a keen collector of modern art himself (and remains one, frankly acknowledging that he spends half of his salary on purchasing art). He's also been an arts advocate; through his leadership, the Los Angeles City Council passed legislation in 1988 establishing the seminal Los Angeles Endowment for the Arts. 

Wachs went on to many other successes in politics (he assumed the presidency of the Los Angeles City Council in 1981) and a few losses. He eventually ran for mayor of LA three different times, but lost each election. In 2001, after his last loss, he resigned from his city council position to assume the presidency of The Warhol.

The Andy Warhol Foundation for the Visual Arts has many avenues of support for contemporary art, including the promotion of writing about such art. The foundation divvies up its grantmaking into three major categories:

  • Warhol Initiative – Since the inception of this program, participating institutions like 911 Media Arts Center, Momenta Art and Artists Space have received grants totaling over $8 million.
  • Arts Writing Initiatives – For those who make their observations on paper regarding their thoughts on contemporary visual art. Art writers can apply for grants that range from $7,000 to $30,000 (bloggers and new media writers included).
  • Regional Regranting – These grants are awarded to support individual artist communities around the country.

The Warhol has also thrown its financial support behind Creative Capital, another relatively large arts grantmaking organization awarding grants to individual artist communities. Not including the $17 million The Warhol has granted Creative Capital over time, the foundation awards an average of around $13 million annually through its other grantmaking programs.

As president, Wachs has been a steadfast supporter of the mission of the foundation. In a recent interview he explained their overall aim, stating:

"We accomplish our mission by supporting artists and the nonprofit arts organizations that support and serve artists, including nonprofit arts publications. The grants, which are given primarily to organizations in the United States, are used for the creation, presentation, and documentation of art, with a particular emphasis on art that's experimental, challenging in nature, and often under-recognized. We also vigorously defend freedom of artistic expression whenever it's under threat, whether by joining in lawsuits or by supporting people who have been censored or have had their artistic expression compromised. And from time to time we step in when there's a weather-related emergency by supporting artists and arts organizations that are affected by such a disaster."

Interestingly Wachs only met Warhol once in his lifetime, but he has gone on to do some very bold things as head of the organization that bears the artist's name, including dissolving the foundation’s authentication committee and selling off its entire art collection in order to fund an additional $5 million to $7 million in grants each year. Wachs was also instrumental in the foundation's long-term commitment to Creative Capital in 2009, which has proven to be a fruitful relationship.

Though his route to head a contemporary art foundation was an unusual one, Wachs has always had an affinity for Warhol the artist and what he exemplified in Wachs' mind. "[Warhol] believed that being different was not something to be afraid of,” said Wachs in an interview. “He was really the one person in the visual arts field who had a remarkable impact on our culture and who affected my life.”

As a gay man who came out publicly during his last unsuccessful mayoral campaign, Wachs knows what it's like to swim against prevailing tides. Though he began in politics, he undoubtedly understands the plight of the artist, and self-admittedly and unabashedly loves giving the foundation's money out to those who he feels deserve it.

In a L.A. Times interview, Wachs reflected:

"When I came here, we were giving away about $3.5 million in grants, and now we're giving away between $13 [million] and $14 million a year. We've been able to have a real impact on nonprofit arts organizations — not just in major cities. In many cases we're the primary supporter of an arts foundation in a bright red state. Even during the recession, when the economy was bad, you would still find in every community — in Oklahoma, North Dakota, Alabama, Mississippi — small arts organizations popping up like flowers coming up out of the cracks of sidewalks."

JOEL WACHS, Warhol Foundation President, speaks at Charlotte Street Foundation luncheon from Charlotte Street Foundation on Vimeo.

Lynda Resnick, Resnick Family Foundation

TITLE: Co-President

FUNDING AREAS: Art, education, health, environment

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Lynda Resnick is the co-president, alongside her husband Stewart Resnick, of the Resnick Family Foundation. While her foundation doesn't publish her official bio, a recent Aspen Institute bio shares:

Lynda Resnick is vice chair and co-owner, along with her husband Stewart Resnick, of The Wonderful Company. This privately held, Los Angeles-based multi-billion dollar global company is dedicated to harvesting health and happiness around the world through its iconic brands, bringing consumers everywhere the freshest, highest quality pistachios, almonds, citrus and pomegranates; bottling the finest water and wines; and creating colorful floral arrangements that truly touch the heart.

From the orchard to family dinner tables, The Wonderful Company’s vertically integrated business model ensures the highest standard of quality, integrity and consumer satisfaction across all its brands. As a result, every year, nearly half of all American households purchase The Wonderful Company’s products, which is a reflection of the husband-and-wife team’s deep commitment to inspiring healthier choices by growing wholesome foods that nourish naturally. This long-standing commitment is evident in their market share, with Wonderful Pistachios, Wonderful Halos, POM Wonderful, FIJI Water, Teleflora and JUSTIN Wine all ranking #1 in their respective categories.

Mrs. Resnick runs worldwide marketing and product development for The Wonderful Company and all of its brands, and she is renowned as the creative spirit behind such innovative and inspiring campaigns as Teleflora’s successful “Flowers in a Gift”; for making POM Wonderful, the antioxidant-rich pomegranate juice, a national sensation; and for producing the iconic Wonderful Pistachios commercials. She also authored the best-selling book on marketing, Rubies in the Orchard.

In 2015, she ranked #11 among Forbes’ inaugural Top 50 Most Successful Self-Made Women in America, and in 2012, she was awarded an honorary Doctorate of Humane Letters by New York’s prestigious Bard College.

Central to Mrs. Resnick’s successful approach is “doing well by doing good,” a core value that places tremendous importance on corporate social responsibility. Under her personal supervision, The Wonderful Company continues its rich heritage of giving back, especially in the communities in which its employees live and work, specifically California’s Central Valley and the island nation of Fiji. Through the generosity of the Resnicks and The Wonderful Company, an average of $40 million or more is contributed annually, which is largely directed toward ongoing community development efforts; a new comprehensive employee health and wellness program, featuring two fully staffed health clinics; and robust educational initiatives ranging from scholarships, school grants, two preschools, art programs and summer schools to the acclaimed Wonderful Agriculture Career Prep program and Wonderful College Prep Academy, a Central Valley charter school established by the Resnicks in 2009. To date, the couple’s varied educational programs have already enriched the lives of more than 60,000 Central Valley youth.

Mrs. Resnick’s extensive philanthropic interests and activities extend beyond The Wonderful Company, including her role as a major donor to and board of trustees vice chair of the Los Angeles County Museum of Art; an executive board member of The Aspen Institute board of trustees; a member of the Milken Foundation executive board; and a board member emeritus for the Philadelphia Museum of Art, among others.

Mrs. Resnick is a proud parent of five and grandparent of four, and she calls Beverly Hills and Aspen home.


Don Howard, The James Irvine Foundation

TITLE: President and CEO

FUNDING AREAS: Arts, California democracy, youth programs

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Don Howard is the president and CEO of The James Irvine Foundation. His foundation bio shares: 

Don Howard is President and Chief Executive Officer of The James Irvine Foundation. He led the Foundation’s recent transition to a focus on expanding economic and political opportunity for Californians who are working but struggling with poverty. Before becoming CEO in 2014, he served as Executive Vice President, directing Irvine’s program and grantmaking activities.
Prior to joining Irvine in 2012 Don was a partner at The Bridgespan Group, where he served as a strategic advisor to nonprofit and foundation leaders, and led Bridgespan’s San Francisco office for more than a decade. Earlier in his career, Don helped corporate leaders formulate strategy and improve the effectiveness of their organizations as a Principal at Booz Allen Hamilton and later as a Managing Director at the Scient Corporation.
Don grew up in Long Beach, California, and came to the Bay Area to earn his bachelor’s degree in industrial engineering at Stanford University, where he also obtained his M.B.A. from the Graduate School of Business. He has written, spoken, and taught classes on issues of philanthropic strategy, nonprofit management and funding, and social entrepreneurship.
As a volunteer, Don has been an activist around HIV and other health-related issues, serving in the past on advisory boards at the San Francisco Department of Public Health; University of California, San Francisco; and the National Institutes of Health. He has acted as an advisor to the boards of several San Francisco community organizations and served on the board of the San Francisco AIDS Foundation. Don also has worked extensively outside the United States, including a volunteer posting with a USAID-sponsored initiative to provide business advice to private enterprises in Central Europe.

Kerry McCarthy, The New York Community Trust

TITLE: Thriving Communities, Arts and Historic Preservation Program Director

FUNDING AREAS: Performing arts, classical arts, education, justice, and historic art preservation

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

IP TAKE: McCarthy makes grants with two primary goals: First, to "help arts organizations attract broader audiences and provide opportunities for artists from diverse backgrounds." And second, to support landmark preservation projects in low-income and minority neighborhoods and restoration projects in places that "represent significant and overlooked aspects of New York City's history."

PROFILE: Beginning in 2009, Kerry McCarthy was a program officer for The New York Community Trust. And with more than 20 years' experience in museum and arts administration, McCarthy certainly knows her way around New York’s robust arts landscape. Today she serves as the program director for the Thriving Communities and Arts and Historic Preservation programs.

Previous to joining The Trust, McCarthy ran a consulting company serving New York City nonprofit arts organizations, as well as more than 20 years of experience in museum and performing arts administration with organizations spanning the Queens Museum of Art to Jim Henson Productions.

McCarthy received her bachelor's degree from Seanee: The University of the South. She then made the pilgrimage to NYC, receiving her master's in Folk Art Studies from New York University. She is also a graduate of Coro's Leadership New York Program.

The Trust—one of the largest private funders of NYC's nonprofits, making roughly $130 million in grants locally each year—has long been a supporter of the city's arts organizations. Currently, The Trust's arts program has a strong undertone of building equity in the arts and expanding arts access to diverse audiences.

For arts organizations in New York, The New York Community Trust funds projects aimed at underserved communities throughout the region. Specifically, grants are made to organizations that promote diversity and expand access, develop young artists from minority or disadvantaged backgrounds, and strengthen arts advocacy. The Trust has also a goal of improving arts education in public schools.

"The arts help people learn how to think critically and independently come up with ideas," McCarthy said in a statement. "They also help children develop problem-solving skills. But more important, the arts are an expression of our common humanity and our culture."

In December 2011, the foundation made nearly $500,000 available to eight arts organizations in NYC, with the hope that "[our] participation will foster commitment to reintegrating arts into the school curriculum." This commitment to arts education certainly plays a significant role in shaping the foundation's arts funding approach.

Another example of an arts education grant that highlights this approach came more recently when McCarthy made a $25,000 grant for Arts Horizon's ArtsBeat program, which sends teaching artists into four hospitals throughout New York City to work with special-needs young people ages 11 to 21. The ArtsBeat program addresses many of the foundation's arts goals, such as expanding access, providing educational opportunities, and working with underserved and younger arts audiences.

"We hope that this grant brings joy to a special community of young New Yorkers," McCarthy said at the time. "Arts programming has transformational powers and is a vitally important part of the healing process."

The foundation's arts program has also made a push to engage young people using 21st century technology. The Trust's Hive Digital Media Learning Fund supports organizations that use technology to educate young people. The fund provided more than $1 million in funding to several organizations. New York Grantmakers in the Arts—an organization McCarthy cochairs—wrote a great blog post about the program.

For arts funding, The Trust prioritizes midsize groups with operating budgets of more than $250,000, as well as ethnic groups that provide arts learning and other arts projects outside of Manhattan. The Trust also supports professional development opportunities for young artists from its Van Lier Fellowship Fund.

The Trust also provides financial support for historic preservation in low-income and ethnically diverse neighborhoods. Their preservation grantmaking is centered on projects that foster collaboration between preservation groups and neighboring communities.

The El Barrio Artspace is a recent example of a foundation preservation grant, which is a project to convert a 19th century school into a living and work space for 90 artists and their families. The Trust and McCarthy made a $50,000 grant to form a community advisory board for the project, and a second $50,000 was used to develop plans that would meet federal, state, and local requirements for low-income housing and historic preservation funding.

Interested grantseekers can find information online, including the foundation's current requests for proposals.

Felicity Hogan, New York Foundation for the Arts

TITLE: Director of NYFA Learning 

FUNDING AREAS: Professional development for artistis

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Felicity Hogan serves as the Director of NYFA Learning at the New York Foundation for the Arts. Her LinkedIn bio shares:

Born in the United Kingdom, Felicity Hogan was originally trained as an artist. Since residing in the United States she has expanded her skills to arts administration and curating with over 15 years experience in commercial, alternative and non-profit spaces. 

Currently, Ms Hogan is Director of NYFA Learning at New York Foundation for the Arts (NYFA) providing professional development opportunities for artists and arts administrators through programs such as NYFA’s Artist as Entrepreneur Boot Camp focusing on the business side of the creative practice for artists and Doctor's Hours providing one-on-one consultations for artists. Felicity coordinates NYFA’s Emerging Leaders Boot Camp program that has provided leadership skills to 50 NYC Metropolitan arts administrators since 2013. 

Additionally, she also manages the Immigrant Artist Program (IAP) that serves immigrant artists through the monthly Con Edison Immigrant Artist Newsletter, IAP Resource Directory, and direct support through IAP’s Mentoring Program that pairs immigrant artists with artist mentors. Through her work with immigrant artists she was selected to participate in Coro NY's Immigrant Civic Leadership Program (ICLP) in 2015. 

In September 2011, Ms. Hogan was selected and participated in NAMAC’s Leadership Institute for Visual Arts Organizations. Ms. Hogan served as Executive Director of Artists Alliance, Inc., a non-profit organization whose programs include a residency program and exhibition space, Cuchifritos located on the Lower East Side of Manhattan. (2008-11). She is also a member of the Curatorial Advisory Board at EFA Project Space where she participated in the inaugural Studio Residency for New York City Arts Workers in 2010. Felicity is committed to the arts community through numerous activities at institutions in New York and nationwide, including her presence on advisory boards, selection panels, lectures, workshops, and visiting guest critic.

Thomas Gaehtgens, The J. Paul Getty Trust

TITLE: Director, Getty Research Institute

FUNDING AREAS: Fine arts, visual arts, and art history

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Thomas Gaehtgens serves as director of the Getty Research Institute, which included the following bio in its announcement of Gaehtgens's upcoming 2018 retirement:

Thomas W. Gaehtgens received his doctorate in 1966 at the Institute of Art History at the Universität Bonn and his habilitation in 1972 at the Universität Göttingen. In 1979, he was a Fellow at the Institute for Advanced Study in Princeton. Between 1980 and 2006 he served as professor at the Freie Universität in Berlin. He was a Getty Scholar at the J. Paul Getty Center for the History of Art and the Humanities, Santa Monica, from 1985 to 1986. In 1992, he organized the 26th International Congress of Art History in Berlin and served as the president of the Comité International d’Histoire de l’Art (CIHA) from 1992 to 1996. Professor Gaehtgens taught at the Collège de France in 1995 and held the position of European Chair at the Collège de France between 1998 and 1999. He was director of the Deutsches Forum für Kunstgeschichte/Centre allemand d’histoire de l’art in Paris, an organization he founded in 1997. In 2004, he received an honorary doctorate at the Courtauld Institute of Art. Since 2007, he has been the director of the Getty Research Institute in Los Angeles. Professor Gaehtgens was awarded the Grand Prix de l'Académie Française pour la Francophonie in 2009. In 2011, he received an honorary doctorate from the Paris-Sorbonne, and was elected a fellow of the American Academy of Arts and Sciences. In recognition of his influential scholarship, Gaehtgens was awarded the prestigious Prix Mondial Cino del Duca 2015 by the Institut de France. His research interests include eighteenth- to twentieth-century French and German art history, as well as the history of the museum.


Carrie Haslett, Terra Foundation for American Art

TITLE: Program Director of Exhibition & Academic Grants

FUNDING AREAS: Arts education, visual arts, museums

CONTACT: Visit PeopleFinder for email and phone number (paid subscribers only)

PROFILE: Carrie Haslett shared the following bio:

Carrie Haslett is the Program Director for Exhibition and Academic Grants at the Terra Foundation for American Art. She also directs the foundation’s work in China and several special initiatives. Prior to joining the foundation in 2006, Dr. Haslett was the Joan Whitney Payson Curator of Modern Art at the Portland Museum of Art and the Martin Z. Kruse Research Associate in American Art at The Huntington Library. She has also held positions at the Cleveland Museum of Art, The Studio in a School Association, and two auction houses. She received her Ph.D. in the History of Art from Bryn Mawr College.