James Bewley, The Andy Warhol Foundation for the Visual Arts

TITLE: Senior Program Officer

FUNDING AREAS: Visual arts, writing, fine art

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

PROFILE: James Bewley is a Senior Program Officer at The Andy Warhol Foundation for the Visual Arts. His website bio shares: 

James Bewley is Senior Program Officer at the Andy Warhol Foundation for the Visual Arts in New York. Prior to joining the Foundation, he served as Director of Public Programs & Education at the UCLA Hammer Museum in Los Angeles where he was responsible for organizing hundreds of lectures, screenings, and cultural events. Bewley is also a visual artist, performer, and writer, whose work has been presented at venues around the country, including recent appearances at the SF Sketchfest, Hell Yes Festival in New Orleans, ANT Fest at Ars Nova, NYC Podfest, SOLOFEST, and the Gotham Storytelling Festival. He has participated in the acclaimed storytelling/comedy events How I Learned SeriesTom Shillue’s A Funny StoryThe Soundtrack SeriesLiterary Death MatchPunch Up Your Life with Pete Holmes & Jessi KleinSplit PersonalityYum’s The Word, and Dead Darlings.
He began his comedy career in San Francisco with the sketch group, Killing My Lobster and performed with Theatre de la Jeune Lune in Minneapolis. Bewley is also an alumni of Robert Wilson’s Watermill Center for new works on Long Island. He received training at the Upright Citizens Brigade Theatre in Los Angeles. He is a co-creator and voice talent for the award-winning web animations, Strindberg and Helium, and is the producer and host of the performance/podcast project, Dale Radio. A member of SAG-AFTRA, Bewley received an honorary BA in Theater from Brown University and his BFA in sculpture from the Rhode Island School of Design. He lives in Brooklyn.

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.

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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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.

VIDEO:

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.