Higher ed has been relatively immune from the kind of socially driven arts philanthropy currently permeating the curatorial and performing arts spaces. Here's a sign that this is changing.
Funding trends in Wilmington, Delaware, provide a sobering reminder to arts organizations everywhere: It's not just government funders that are in retreat.
Another scrapped renovation project—after the usual cost overruns and recriminations—may cause mega-donors to think twice before supporting risky capital expenditures. Then again, maybe not.
News out of Philadelphia suggests that when "highbrow" performing arts groups tap into unique local assets to boost audience engagement, funders respond.
The foundation's support for a high school arts training program is another example of this freewheeling yet strategic funder venturing into areas where other funders are scarce.
While Dr. Dre's sale of Beats to Apple didn't quite make him a billionaire, the hip hop mogul netted plenty of cash. We take a look at Dre's emerging philanthropy, including a recent performing arts gift.
It's a scary time for music education organizations, so we figured some good new would be appreciated. We check in with a foundation that provides donated instruments to support music education programs.
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.
Faced with dwindling subscribers, changing demographics and potential labor unrest, music ensembles need more help than ever. We look at who's stepping up and how.
With arts patrons increasingly giving to areas not based on either coast, regions like the Rust Belt are positioning themselves as vibrant and viable arts destinations. For proof, we turn to the Iron City.
With music programs again facing cuts, we figured it was a good time to check in on VH1's Save the Music Foundation's digital and classroom-based efforts promoting music education.
Hollywood TV producer Thomas C. Werner's philanthropy not only involves Boston and Los Angeles, but several other cities in the U.S. We take a look at this family's multiregional giving.
Funders haven't given up on classical music, or striving for more diversity in the ranks of classical musicians. We look at a $2.5 million grant to a consortium serving students across Greater Philadelphia.
Multi-million-dollar capital campaigns are fraught with risk even under the best of circumstances. So what happens when an organization's leader walks away mid-project?
Donors have recently embraced a seemingly intuitive concept: Why try to lure classical listeners in a traditional setting when you can engage them in a wide range of places they already are?
We rarely come across big gifts earmarked for the field of "American music." An exception to this rule, courtesy of the estate of a Texas billionaire, surfaces some theories as to why this is.
This is one of the few foundations in the country that is exclusively dedicated to music education and music philanthropy—as along as you're in or near Philly.
Women composers accounted for only 1.8 percent of the total pieces performed in the 2014-2015 concert season. Fortunately, some deep-pocketed funders are on the case.
The League of American Orchestras believes composers should engage their community. This thinking infuses its Music Alive residency program.
When cultural institutions come to rely less on ticket sales and more on private donors, it can alter their missions in ways that are both unsettling and encouraging. Exhibit A right now: orchestras.
Have we reached a point in journalism's decline in which foundations have to band together to fund cultural and criticism at an esteemed national publication? It sure looks like it.
Pabst Blue Ribbon making grants to indie bands has to be peak hipster, certainly in the context of philanthropy. But then again, given how tough it is for musicians to make ends meet, it’s not a bad idea.