The Investing in Creativity Study in 2003, Has Brought LINC’S Work to the Page and Screen with Great Insight, Imagination, Designed by Brooklyn United and Enthusiasm

1 1 Cornerstones 02 03

Library of Congress Cataloging-in-Publication Data available

ISBN: 978-0-9892522-0-1

Printed by CRW Graphics, USA

Authors Holly Sidford (Helicon Collaborative), Laura Lewis Mandeles (WolfBrown), Alan Rapp (ARstudio) Acknowledgments LINC Staff Contributors William Bryant Miles, Taya Mueller, Shin Otake, Risë Wilson LINC staff wishes to thank all of its funders, grantees, consultants, Managing Editor researchers and thought partners who contributed so much Candace Jackson (LINC) to LINC’s success, and to the development of this publication. LINC’s board and artist council were invaluable throughout the Editors arc of LINC’s work, and offered important assistance in shaping Alan Rapp (ARstudio), Emily Griffin this history. Brooklyn United, LINC’s design partner since the publication of the Investing in Creativity study in 2003, has brought LINC’s work to the page and screen with great insight, imagination, Designed by Brooklyn United and enthusiasm. And finally, we are especially grateful to LINC’s past leadership: Holly Sidford, Sam Miller, and Judilee Reed, who were essential to LINC’s achievements and who ensured that the LINC was made possible by the generous support and contributions of LINC story was documented accurately. the following funders: the Paul G. Allen Family Foundation, the Boston Foundation, the Breneman Jaech Foundation, LINC’s Board of Directors wishes to express our deep gratitude The Brown Foundation, the Morris & Gwendolyn Cafritz Foundation, The Chicago Community Trust, to Candace Jackson for her exemplary stewardship of LINC in our the Cleveland Foundation, The Community Foundation for the National Capital Region, the Nathan final year of operation. Cummings Foundation, The Richard H. Driehaus Foundation, the Doris Duke Charitable Foundation, the Durfee Foundation, the Flintridge Foundation, the Ford Foundation, The Wallace Alexander Thank you all. Gerbode Foundation, the J. Paul Getty Trust, the Greenwall Foundation, the George Gund Foundation, the William and Flora Hewlett Foundation, Houston Endowment, the James Irvine Foundation, the Joyce Foundation, the John S. and James L. Knight Foundation, the Kresge Foundation, the LEF Foundation, the Los Angeles Department of Cultural Affairs, the John D. and Catherine T. MacArthur Foundation, the Massachusetts Cultural Council, the Andrew W. Mellon Foundation, the Eugene and Agnes Meyer Foundation, the John P. Murphy Foundation, the National Endowment for the Arts, the New York Community Trust, the Ohio Arts Council, the David and Lucile Packard Foundation, the Pew Charitable Trusts, the Prince Charitable Trusts, the Rockefeller Foundation, the Surdna Foundation, the Wallace Foundation, the Andy Warhol Foundation for the Visual Arts, and anonymous donors. 4 5

Cornerstones

Table of Contents

10–52

06–09 Cornerstones 01

Introduction by Holly Sidford, 02–03 Helicon Collaborative Timeline Selected LINC Milestones

53 Preface by Roberta Uno, Ford Foundation

Epilogue by Sam Miller & Judilee Reed Timeline 01

Prior to LINC, a lot of “How do we work across resources had gone into disciplines? How do we building either discipline- work across organizational specific initiatives or types? And how do we initiatives built around break out of the arts organizations of a similar sector and work with other type. The arts presenters, important players in our state arts agencies, communities?” discipline service This recognized that a lot organizations, all these of challenges can only matured in the late 20th be addressed by working century. LINC was asking across those lines. a new kind of question: —Sam Miller, LINC (2005–2013) 3 4 5 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013

Creative Communites Sustainability

Innovative Space Awards Rounds Creative Communities Challenge II & Space for Change Planning & Opportunity Fund PreDevelopment Round I Artography Blue Sky, Travel Support & Sustainability Artography General Operating, Creative Communities Challenge Addenda Blue Sky & Travel Support Space for Change Planning & Contemporary Art PreDevelpment Round II Center Program Creative Communities Mar. Partner Artist Awards/ Implementation II Round Tables Creative Communities Artography II USA Grants Creative Communities Implementation III Artography Cycle I Creative Communities Planning Jan. Creative Communities Implementation I Innovative Space Awards Round I Mar. Space for Change Convening Final Website Creative Communities San Francisco, CA Finance Seminar Implementation & Sustainability Creative Communities Lexington, KY June Creative Communities Capstone Event Implementation & Sustainability Mar. Space for Change Convening Apr. Creative Communities June Creative Communities Convening Baltimore, MD Jan. Creative Communities Convening Convening Los Angeles, CA LINC Completes Planning Meeting Santa Fe, NM Creative Kansas City, MO Aug. Creative Communities Apr. Aug. Supporting Diverse New York, NY May Creative Communities Operations Convening Communities Convening July Artography Art Spaces Gathering Philadelphia, PA Convening Documentation Meeting June Space for Change Chicago, IL Space for Change Program Olympia, WA Milestones Nov. LINC Research Meeting Cleveland, OH June Honolulu, HI Real Estate Workshop Boston, MA Sep. Health Insurance Convening Kickoff Meeting Chicago, IL LINC Begins Operations Oct. Artography Convening Oct. Space for Change Convening Seattle, WA Oct. Artography Convening New York, NY Creative New Orleans, LA Dec. Artist Space Crossover: How Artists Build Oct. El Paso, TX Dec. LINC Artist Innovators Group Careers across Commercial, Communities Convening Council Roundtable Boston, MA Nonprofit and Community Work Creative Communities Artist Data Brooklyn, NY Philadelphia , PA Ann Markusen, Sam Gilmore, et al User Guide Ann Markusen and Greg Schrock Artist Space 14 Stories: Building Stronger Building Community: From Rust Belt to Artist Belt: Development: Financing Communities by Supporting Making Space for Art Challenges and Opportunities Chris Walker, Urban Institute American Artists Maria Rosario Jackson, in Rust Belt Cities —conference Developing Artist-Driven Publications William Keens, WolfBrown Urban Institute Artist Space Development: report developed by the Spaces in Marginalized Creating Artist Space: Community Partnership for Arts Communities: Reflections and Making the Case Artists and the Economic Recession How Art Spaces Matter II: Taking a Resources for Artists, City and Culture, Cleveland, Ohio Implications for the Field Maria Rosario Jackson and Survey: Summary of Findings Measure of Creative Placemaking Officials and Developers Maria Rosario Jackson, Florence Kabwasa-Green, Alexis Frasz and Holly Sidford; Anne Gadwa and Anna Muessig, LINC/Community Partners Health Insurance Among Working Urban Institute Urban Institute Helicon & Princeton Survey Metris Arts Consulting Consultants, Inc. Artists in the United States Research Associates International Shana Alex Lavarreda and E. Natural Cultural Districts: Developing Affordable Richard Brown, UCLA Center for Health Insurance for Artists: A Three-City Study Space for Artists: A Summary Health Policy Research Before and After the PPACA Mark Stern and Susan Seifert, Social of Development Projects Funded UCLA/LINC Impact of the Arts Project (SIAP), by the Local Initiatives Support University of Pennsylvania Corporation How Artist Space Matters: LISC/Community Partners Impacts and Insights from Three Why is Gentrification a Problem? Consultants, Inc. Case Studies Stephen Sheppard, Center For Anne Gadwa, Ann Markusen, Creative Community Development and Nathaniel Walton, Metris Arts (C3D), Williams College Consulting 02 Cornerstones Introduction 03

Funder Preface by Roberta Uno

LINC values continuous learning, commissioning numerous Funder Preface research reports as well as building a dynamic, multifaceted learning community—and sustaining it over time. And its emphasis on cross-community and cross-institution sharing, borne out of a Throughout my tenure at the Ford Foundation, LINC has been a trust in the knowledge and experience of its partners, accelerated valued resource and exceptional partner. We’ve supported its work both its grantees’ learning and the creation of new networks of from its early investments in the Creative Communities and health interdisciplinary practitioners across the country. I hear all the care reform to the Artography and Space for Change programs, time from LINC groups about how they seek each other’s advice and at every step it’s been a pleasure to learn with the initiative and and now have a rich network of new colleagues—changing the celebrate its accomplishments. dynamics of how they connect across the U.S.

From the beginning, we shared certain fundamental beliefs Finally, LINC was organized around two related ideas: flexibility and about the importance of the arts to a healthy and just society. adaptability. The landscape changed several times during LINC’s LINC’s leadership in the arts is grounded in those key values, in relatively short life—transformed first by the recession and then by particular its commitment to supporting artists. Artists’ voices and the passage of the Affordable Care Act—and it nimbly responded perspectives—as innovators, culture bearers, educators, community to these shifts, adjusting plans and investments quickly and developers and organizers—came to the fore through LINC’s grant strategically, diminishing any negative impacts, and turning these making, at both the policy level and on the ground. new situations into opportunities.

In this respect, LINC’s commitment to cultural diversity is also LINC aspired to find new models of support for the arts and ensure crucial. Its grantee list is impressively diverse and inclusive: the they were embedded in the lives of diverse communities—a goal International Sonoran Desert Alliance in rural Arizona; Elizabeth that echoes the Ford Foundation’s own values and work. I see Streb, Casita Maria, and Urban Bush Women in New York City; LINC’s influence in the growing conversations and collaborations PA’I Foundation in Honolulu; and Pittsburgh’s City of Asylum, to between a broad cross-section of arts and non-arts funders, name a few. And the initiative has contributed immensely to field community stakeholders, and cultural organizations. In all kinds understanding of how changing demographics impact the work of places—foundations, urban planning offices, neighborhood of artists and the well-being of communities. Importantly, LINC is revitalization projects, local banks and businesses—many more willing to view art making through the lens of cultural diversity and people are now asking, “What roles do artists play in this?” equity—one of the reasons the Ford Foundation partnered with That is LINC's legacy. the initiative as part of our focus on the changing aesthetics in a demographically shifting America. In fact, LINC’s early work on artists’ space needs helped inform the Foundation’s thinking about investing in artist-centered facilities, especially in communities of color, and contributed to the development of the Supporting Diverse Arts Spaces initiative. In that—and many more ways—LINC has been a true thought partner and an invaluable collaborator. Roberta Uno, Ford Foundation

04 Cornerstones Introduction 05

A lot of philanthropic work in the arts and culture extends support to organizations, which then provide indirect benefits to artists. LINC had a very different approach, focused on learning about the kinds of direct support artists need to effectively and efficiently do their work. It also made deep dives into specific communities to identify place-based variables and discern how a solution or approach would work in one location versus another.

—Maurine Knighton, The Nathan Cummings Foundation 06 Cornerstones Introduction 07

Introduction by Holly Sidford

From the Founder

Although I am given credit for being its founder, Chris wanted to submit a “big bet” proposal The design of the research project was unusual Third, the study married the highest standards LINC has many parents and its story really focused on U.S. artists, and we debated possible in several ways. First, it was not just a study of social science research with a practitioner’s began with Susan Berresford and Christine approaches at length. In the end, we agreed that about funding and training for artists, which had pragmatism. I raised the funds for the study Vincent in 1999. Susan, then the President of meaningful change in artists’ support system was been the primary concerns of most previous and worked alongside the research team the Ford Foundation, issued an invitation to the stalled by a lack of information. No important studies in this field. Investing in Creativity was throughout the project, managing some of the foundation’s program staff inviting them to submit and long-lasting change in policy or practice designed to look at artists as members of logistics and contributing to its overall conceptual ideas for “big bet” initiatives—projects or lines was likely to occur without well-grounded, numerous communities—artistic and professional, development. From the beginning, I wanted the of work with the potential to create substantial rigorous and comprehensive research. By the cultural, economic, political and technological. study itself to generate useful products, and to positive change in Ford’s areas of interest. She end of dinner, we had sketched a rough outline It considered artists as freelance workers ensure that the final material hit the ground in a was open to any idea, as long as it had the for a national research initiative that would who need income, but also health insurance, way that would mobilize action at multiple levels. potential to pay off big. engage policymakers, funders, and practitioners; appropriate space and equipment, professional For this reason, we contributed study funds to generate useful new knowledge; and—we networks, and validation. expand and strengthen NYFA Source, the most Shortly after Susan posted her call for proposals, hoped—precipitate multiple “downstream” comprehensive online and interactive database Christine Vincent, Ford’s deputy director for improvements for a diverse range of artists in all Second, the study had both local and national on grants, programs, services, and publications Media, Arts and Culture, invited me to dinner. I parts of the country. dimensions. We wanted to understand how life for artists in the U.S. We also organized regular was then Program Director for Arts, Parks and is lived by artists in specific places, and what meetings with the funders to update them Adult Literacy at the Lila Wallace-Reader’s Digest The concept we outlined that night intrigued could help more of them succeed and contribute on progress, discuss emerging themes, and Fund. Chris and I were colleagues who had Susan and others at Ford, and they gave us a to their communities. Local case studies would explore possible responses. And as soon as partnered on multiple projects and who shared green light to proceed to the next step. Chris be undertaken in nine communities, helping preliminary findings began to emerge, I started a growing concern about what was happening then invited me to plan the research study and artists and policymakers in the selected sites conceptualizing a national initiative that would to support for artists in our country. In the wake organize a national funding consortium to support but also offering insights for other communities. use these results to propel change. of the “culture wars” of the 1980s and ’90s, the the research effort. Together, we invited Maria Multiple national components, including an National Endowment for the Arts had virtually Rosario Jackson to organize and lead a research unprecedented poll on attitudes toward artists, The study was released in 2003, and its findings eliminated its Artists’ Fellowship Program in 1994, team at the Urban Institute. Ultimately, we were were included to shed light on national patterns— provided a marvelous armature for that planning. and this had triggered other cuts to programs and able to attract 38 funders across the country for example, how much funding was available to The research team identified six distinct but inter- services benefiting artists. to contribute to the project—one of the largest artists in different disciplines, and how support related domains that shape the lives of artists and funding consortia ever organized to support a varied in different parts of the country. are critical to their success. I took these findings national arts initiative, and the only one of this as both a call to action and a way to think about scale focused on artists. action. The framework itself offered a new way 08 Cornerstones Introduction 09

The national funding partnership that financed the Investing in Creativity study and the research project’s collaborative design shifted funders’ sense of what is possible to do together to to approach support for artists in different disciplines, at different improve conditions for artists. The study findings altered people’s career stages, and in different places or cultural communities. It understanding of the landscape for artists at national and local also suggested new ways to think about policy and practice at levels and created a conceptual framework for policy and action local, regional, and national levels. that continues to influence leaders’ thinking today.

Roberta Uno, Susan Berresford, Alison Bernstein, and Margaret LINC’s unusual design, flexible grantmaking strategies, research Wilkerson at the Ford Foundation, and an informal group of program, and cross-sector partnerships opened new possibilities advisors including Sam Miller, Cynthia Mayeda, Liz Lerman, and for intermediaries in the arts, and its ten-year lifespan may be a John Killacky contributed important ideas to the planning. Together model for others in the future. LINC’s pioneering focus on the with others involved in the study, we designed the architecture lives of artists in communities changed the thinking of many for Leveraging Investments in Creativity and began raising funds policymakers and community developers and put artists inside for it. The plan for LINC had both national and local components, important economic and community development conversations, organized to reinforce and propel each other. Our idea was that a in many places for the first time. This has expanded artists’ own non-hierarchical partnership between LINC and an array of national ideas about what they can do and how they can benefit themselves and local collaborators could build a network in which any of the and their communities simultaneously. partners could be a leader at any point. In their book The Power of Positive Deviance: How Unlikely Perhaps LINC’S most radical feature was our plan for it to be a Innovators Solve the World’s Toughest Problems, Richard T. time-limited effort that would sunset at the end of ten years. We Pascale, Jerry Sternin, and Monique Sternin observe that “It’s easier designed it this way for discipline and for freedom. By making it to act your way into a new way of thinking, than to think your way a ten-year initiative, we could keep a laser focus on the original into a new way of acting.” LINC and its many partners across the priorities and not confuse our mission or be tempted to shift country did both—they acted their way into a new way of thinking course to sustain the organization when initial funding expired. and they thought their way into a new way of acting. Together Also, given the pace of change, we knew that after a decade, the they produced a wonderful range of innovations, meaningful circumstances of artists would likely have shifted significantly, and it improvements in the lives of artists and communities, and a legacy would be desirable to take stock again and develop a different kind on which we can build an even stronger future. of intervention that took those changed conditions into account.

We now celebrate the many tangible and significant achievements of LINC and its partners. These advances in theory and practice are Rennie Harris Puremovement detailed in the report that follows. But as I look back over ten years of work, I think that ultimately LINC’s most important contributions are conceptual. Holly Sidford 10 Cornerstones Toward a New Support System for Artists 11

LINC: Toward a New Support System for Artists

1 Cornerstones The story of how LINC was founded, its primary programs, and its Foreword overall evolution. This section illuminates LINC’s values in practice over the course of its ten-year lifespan.

Launched as a ten-year initiative in 2003, Leveraging Investments in Creativity (LINC) represents a philanthropic experiment in using information, money, strategy, and partnerships to effect change in 2 the support system for artists in the United States. LINC’s mission was to improve the ability of artists to create work, build social Research + Practice capital, and contribute to democratic values. Between 2003 A complete index of LINC’s published research, highlighting critical and 2013, LINC invested in the work of more than 100 partner findings that can contribute to innovative practices going forward. organizations and disbursed over $18 million to support innovative programs, groundbreaking research, catalyctic partnerships, knowledge-sharing, and other work in pursuit of that mission.

This multi-volume report provides an overview of LINC’s core 3 values and underlying premises, its various activities, and its effects in the field. The report reflects LINC’s distinctive approach to pursuing its goals and highlights lessons from this work that have Case Studies implications for the future. Select examples from LINC’s grantee portfolio, which highlight shifts in thinking and practice to which LINC contributed. LINC was a multi-faceted endeavor, and as such requires a report that captures the multiple dimensions of its efforts. Therefore this review is divided into three sections:

This document can be read straight through, or its content can be sampled according to the reader’s interests. The goal of this report is to provide a comprehensive yet easily accessible reference for those interested in LINC’s story and the meaning of its decade of work. 12 Cornerstones Toward a New Support System for Artists 13

LINC provided risk capital and technical assistance to a range of local organizations, allowing them to develop a concept and take it to scale. Its strong research, coupled with these program results, has informed the foundation community, and forged a pathway that individual funders probably couldn’t have done by themselves. It’s opened a space for the curious to step into.

MAPP International Productions —Regina Smith, The Kresge Foundation 14 Cornerstones Toward a New Support System for Artists 15

Earliest Beginnings: The Investing in Funders of the Investing in Creativity Study The funders included the Paul G. Allen Family Foundation, the Boston Foundation, the Breneman Jaech Foundation, The Creativity Study Brown Foundation, the Morris & Gwendolyn Cafritz Foundation, The Chicago Community Trust, the Cleveland Foundation, The Community Foundation for the National Capital Region, the Nathan In 1998, funding for artists in the United States—a small but Cummings Foundation, The Richard H. Driehaus Foundation, important fraction of total funding for the nonprofit cultural sector— the Doris Duke Charitable Foundation, the Durfee Foundation, was at a dangerous juncture. In the wake of the “culture wars” the Flintridge Foundation, the Ford Foundation, The Wallace of the 1980s and early 1990s and the negative stereotyping of Alexander Gerbode Foundation, the J. Paul Getty Trust, the artists that developed during this time, funding for the National Los Cenzontles Mexican Arts Center Greenwall Foundation, the George Gund Foundation, the William Endowment for the Arts had declined and its direct grantmaking to photo: Armando Quintero and Flora Hewlett Foundation, Houston Endowment, the James artists through the Individual Artist Fellowship Program had been Irvine Foundation, the Joyce Foundation, the LEF Foundation, significantly curtailed. For 25 years, the NEA’s funding had been the the Los Angeles Department of Cultural Affairs, the John D. and largest source of direct support for artists in the country, providing Catherine T. MacArthur Foundation, the Massachusetts Cultural funding crucial to the development of new work as well as general Council, the Andrew W. Mellon Foundation, the Eugene and Agnes support for artists working in all disciplines. Both the negative Meyer Foundation, Kulas and Murphy Foundation, the National attitudes toward artists and the cutbacks in the NEA Fellowship Endowment for the Arts, the New York Community Trust, the Ohio Program reverberated across the field, cooling both public sector Arts Council, the David and Lucile Packard Foundation, the Pew and private efforts to boost support for artists. A number of private Charitable Trusts, the Prince Charitable Trusts, the Rockefeller donors, as well as public funders at the state and local levels, were Foundation, the Andy Warhol Foundation for the Visual Arts, and gravely concerned about the short- and long-term effects of anonymous donors. these developments.

The Ford Foundation took the lead in organizing a national response to the emergency. Understanding that any significant shift in policy or practice would require solid research on which to base recommendations for change, Ford provided seed funding to launch an unprecedented national study of the support system for Led by Maria Rosario Jackson, the study set out to improve artists. Thirty-seven other funders joined them to finance a three- our understanding of who artists are, what they do, and what year research project conducted by the Urban Institute, which mechanisms they need to create fertile environments for their resulted in the 2003 report, Investing in Creativity: A Study of the work. The study posed a set of key questions: Support Structure for U.S. Artists. 16 Cornerstones Toward a New Support System for Artists 17

Why be concerned with artists? How are artists valued in society? What kind of demand is there for their work and social contributions? What kinds of material supports—employment and benefits, grants and awards, and space—do artists need? Are artists’ training programs preparing them for the environments they will encounter? What kinds of connections and networks enable artists to pursue their careers? And what kinds of information are necessary to assess this more comprehensive notion of support for artists? 1

1 Investing in Creativity p. i 18 Cornerstones Toward a New Support System for Artists 19

MAPP International Productions

The resulting research included: in-depth explorations of Case Study Sites: conditions at both the national and local levels, using nine cities Boston • Chicago • Cleveland • Houston • Los Angeles • New York • and several rural sites as case studies; a survey of relevant San Francisco • Seattle • Washington, DC literature on the history and contemporary conditions of working artists across the country; a national poll of attitudes toward artists; and a first-time analysis of a comprehensive database of grants, awards and support programs. Study team members From this extensive fieldwork, Investing in Creativity was released interviewed more than 450 artists, administrators, funders, critics, in summer 2003, and presented at a meeting of Grantmakers in the and media representatives, and conducted numerous focus group Arts (GIA) later that year. discussions. Throughout the course of the research, the study team maintained close contact with the funding consortium and policy The study offered a new framework for thinking about the roles makers to engage in conversations about emerging findings and artists play in communities, and the support they need to do their potential responses. work. The framework posited six dimensions or domains that influence artists’ work and professional success, which are: Many research projects languish after publication because too Urban Bush Women few people have a stake in seeing that the findings actually photo: Erika Clark produce change. In contrast, the Investing in Creativity study was designed in anticipation of an implementation phase. The national Communities & Connections to artists and others both within and outside components were structured to generate a broad overview of the Networks the cultural sector. landscape of support and to suggest opportunities for reform at the national level. The nine community case studies were viewed as laboratories of practice: sites where specific change might be Demand/Markets The extent of markets from which artists can derive financial remuneration. triggered as a result of the research, and which could also serve as models for other communities. Ten national funders supported Information Data sources about and for artists. the project, and each local study was funded by at least five local or regional foundations concerned with that community. Material Supports Access to resources, including employment, insurance, These funders, along with artists and other cultural leaders, were awards, space, equipment, and materials. involved in the research process as it progressed. The parallel process of research and stakeholder engagement primed both Training & Professional Conventional and lifelong learning opportunities. national players and the participating communities for eventual Development implementation. It also established a tenet which has been fundamental to subsequent endeavors: rigorous research, Validation The ascription of value to what artists do. informed by practical challenges in the field, is an essential Ma-Yi Theater Company – Flipzoids precursor to effective change. 20 Cornerstones Toward a New Support System for Artists 21

Investing in Creativity found that artists’ many contributions to society are misunderstood and poorly documented, and thus Using extensive data and illustrative examples, the study explored largely underestimated. This is particularly true for artists working in how each of these domains impact artists at both national and new media, in cultural traditions that are not part of the mainstream local levels and in various artistic disciplines, demonstrating that all (including folkloric forms), and/or at the intersection of social and of the domains must be robust if artists are to thrive. The domain community issues. framework offered artists and their supporters a way to analyze the quality of support structures in their communities and determine The findings of the Investing in Creativity report represented a call priorities for opportunities and results. Using the framework, a given for a major reevaluation of how we can support artists and facilitate community might see that it has adequate training opportunities their contributions to society. The study outlined a set of priorities for artists, for example, but that it lacks sufficient spaces for artistic for action, with these overarching messages: production. Another might have strong information networks, but little direct funding and grant support. • Making a material difference in the lives and creative work of artists requires looking beyond grants and awards In the context of the six domains, Investing in Creativity also (the traditional focus of artists’ advocates). It requires a examined the economics of artists’ lives, confirming that comprehensive, 360-degree examination of the lives of artists, the employment patterns of artists are highly flexible and and all six domains must be addressed in a systematic and unpredictable, and that artists lack health insurance and other strategic way. benefits—patterns similar to those of “contingent workers.” The • Changing policies and practices in the six domains requires study underscored findings from other research about the hard stewards at all levels and new mechanisms to coordinate the facts of artists’ professional lives: key players in the various aspects of the support system. In addition, it requires new alliances to link artists with advocates • A majority of artists are not employed full-time as artists and do in associated sectors, such as community development, health not derive substantial income from their artmaking; care, and affordable housing. • Artists earn less, on average, than other people with • These changes must be rooted in places, in specific comparable education or skill sets; and communities whose economic and social characteristics, • Artists face particular challenges in finding, establishing, and/ processes, and policies are integral to how an artist lives and or maintaining adequate and affordable spaces in which works. Sensitivity to place requires responsiveness to diversity to conduct their work, which in turn impedes their ability to and affirmative efforts to ensure equality of opportunity for actually do it. artists working in the full spectrum of traditions and creative art forms. The study also made the important case that artists are citizens • Long-term strategy must be focused on making a fundamental who can and do serve as community leaders, and argued that New Urban Arts shift in beliefs about how artists relate to society, and bringing strengthening the relationship between artists and the communities about pragmatic changes that better enable artists to conduct in which they live and work can produce benefits for both. their work. 22 Cornerstones Toward a New Support System for Artists 23

Holly Sidford served as the founding president, and was succeeded by Sam Miller, 18 months later, when Judilee Reed also joined LINC as its vice president.2 LINC quickly established a set of program priorities for its national and local work and defined core principles to guide its work overall:

• LINC values artists as the shapers and carriers of cultural values—tradition-bearers, idea generators, change agents, and social entrepreneurs. • LINC values artists as an important sector of the independent LINC 2003-2013 workforce, who generate economic benefits for themselves From Research to Practice: LINC and the communities in which they live. LINC is dedicated to the development of innovative practices that serve and support artists. • LINC values activities that model inclusiveness and diversity as key opportunities in the stewardship of artists’ communities and in the development of organization staff. • LINC values community-based approaches that match local Leveraging Investments in Creativity (LINC) was launched in early skills and knowledge with external expertise to solve problems 2003 in New York City, with $2 million in start-up funding from the Dance Place – February and create opportunities. Ford Foundation, and subsequent investments from Paul G. Allen (Tzveta Kassabova) • LINC supports organizations that utilize collaborative, open- photo: Lillian Cho Family Foundation, John S. and James L. Knight Foundation, and source strategies essential to the acceleration of innovation Rockefeller Foundation. The Investing in Creativity report seeded and achievement. LINC in the most direct way. The six domains of support became 2 Reed served as Executive the scaffolding for LINC’s research and programming work, and Director from 2008 through the study’s exploration of both national themes and place-based late 2011, and Miller continued strategies was carried forward in LINC’s commitment to pursuing throughout as President of To ensure that artists’ viewpoints and perspectives infused its change at both national and local levels. The nine case study LINC’s Board. Candace Jackson, various initiatives, LINC also created an Artists’ Advisory Council. sites became LINC’s first partners in changing the landscape of a former technical advisor The Artist Advisors served as sounding boards and guides for support, through its first program, Creative Communities. The to LINC’s Space for Change both LINC and its partners. They met regularly with staff, attended study’s observation that artists must find allies outside the arts with program, was brought on LINC convenings, visited partner sites and gathered observations whom to achieve their common goals shaped LINC’s actions in board in late 2011 as Managing and ideas that helped LINC refine and improve its programming multiple areas. And the rigorous research on which it was founded Director, to guide LINC through to its conclusion in June 2013. choices. Over LINC’s history, the Artists’ Advisory Council members illuminated the need for continuing a robust program of inquiry on included Paul Bonin-Rodriguez, Favianna Rodriguez, Grisha issues of concern to artists and policymakers. Coleman, Molly Davies, Theaster Gates, Hirokazu Kosaka, Liz Lerman, and Sekou Sundiata. 24 Cornerstones Towards a New Arts Ecology 25

LINC’s ten-year lifespan demanded a quick start-up process and clear strategies for where and how to invest resources. It also meant that rather than focusing on its own organizational sustainability, LINC would seek to make long-lasting changes to the artist support infrastructure through collaborations with a widespread network of organizations and individuals.

LINC’s original program design explored ways to advance national discussion and policy change based on the six domains, while simultaneously working with the original nine sites in the Investing in Creativity study on the issues of greatest importance to each locale. At the national level, it quickly became clear that there were many areas in which LINC was unlikely to have a meaningful impact–building markets for artists’ work, for example, or creating a national technological infrastructure for information exchange. LINC’s work in the creation of national solutions ultimately centered on health care, space, research, and building knowledge networks.

Further, all of LINC’s work, local and national, elevated the importance of the country’s changing demographics and evolving aesthetic practices, and advocated for inclusive policies advancing cultural equality.

La Peña – (Aguacero) photo: Jason Lew 26 Cornerstones Toward a New Support System for Artists 27

Creative Communities: Place-Based Strategies The intellectual framework for Multiple Domains of the six domains from the

As it refined the shape of its national initiatives, During a six-month planning phase, each U.S. Artists study gave us LINC also worked on the local dimensions of community consulted with local artists and its plan. In each of the nine communities in other stakeholders and refined a set of which local case studies had been completed, objectives for a three-year implementation a way to think about and LINC identified community leaders who were project. Preliminary versions of these plans interested in improving the overall support system were circulated among the group of nine for artists. These partners were diverse—nonprofit partners to encourage cross-fertilization of analyze our work from the organizations, service organizations, or a funder ideas. In 2004, LINC also began exploring or funder consortium, depending on the locale. the possibility of adding new communities to very start. The chance to diversify the Creative Communities sites and LINC provided each community with planning with support from the Knight Foundation, added funds to identify a course of action based on the Philadelphia to the Creative Communities cohort. step back from our work six-domain framework outlined in the Investing By early 2005, all nine of the original Investing in Creativity study. Using the framework, each in Creativity communities and Philadelphia community identified one or more domains in had been awarded implementation grants. To and view it in the national which change might be achieved, based on local include the perspectives of rural communities, priorities, assets, and capacity. This approach the South and Midwest, and First Nations, context of a learning ensured that all the communities were united by LINC added four additional sites to the cohort a common framework, but each had the flexibility — Kansas City, Montana, South Carolina and to pursue a plan appropriate to its locale. This Native American artists of the Northern Great community was more strategy recognized the differences among Plains—for a total of fourteen. These additional communities while increasing the chances that communities, like the original nine, used the something learned in one place could be used Investing in Creativity domains as a framework energizing and invigorating or replicated in another. Community priorities to develop locally appropriate plans. By 2009, centered on one or more of the following all fourteen communities had completed their than I could have imagined. themes: space, health care, information, training planning phases and had received three-year and professional development, direct support implementation grants to pursue their goals. and markets. All of the communities’ efforts had the effect of validating artists’ work and their contributions to communities. —Paul Tyler, Metropolitan Arts Council of Greater Kansas City 28 Cornerstones Toward a New Support System for Artists 29

Community Partner(s) Domain(s)

Chicago, IL Chicago Department of Cultural Affairs Artist Space, Direct Support, Information Networks

Cleveland, OH Community Partnership for Arts and Culture Artist Space, Direct Support, Health Insurance & Health Care

Houston, TX Houston Arts Alliance, Houston Endowment Direct Support

Kansas City, MO Arts Council of Metropolitan Kansas City, Direct Support, Information Networks, Training & Professional Development Charlotte Street Foundation,

Los Angeles, CA Center for Cultural Innovation Direct Support, Health Insurance & Health Care, Training & Professional Development

Massachusetts Massachusetts Cultural Council Artist Space, Direct Support

Montana Montana Arts Council Demand & Markets, Direct Support, Training & Professional Development

New York, NY ArtHome, Bronx Council of the Arts, Artist Space, Direct Support, Training & Professional Development New York Foundation for the Arts

Northern Great Plains First Peoples Fund Demand & Markets, Direct Support, Training & Professional Development

Philadelphia, PA Artists U, Pew Fellowships in the Arts, Direct Support, Health Insurance & Health Care, Training & Professional Development Stockton Rush Bartol Foundation

San Francisco/Bay Area, CA East Bay Community Foundation, Direct Support, Training & Professional Development San Francisco Foundation

South Carolina South Carolina Arts Commission Direct Support, Training & Professional Development

Washington, DC Metro Area Community Foundation for the Greater Information Networks, Training & Professional Development Capital Region

Washington Artist Trust Direct Support, Health Insurance & Health Care, Information Networks, Training & Professional Development 30 Cornerstones Toward a New Support System for Artists 31

Health Care and Health Insurance for Artists

In its ten years, the Creative Communities program had three grant cycles—six-month planning grants, implementation grants Investing in Creativity underscored that accessible and (two phases of 2-year grants between $25,000 to $100,000) and comprehensive information addressing the needs of artists replication/challenge grants (2-year grants ranging from $95,000 is seriously lacking, especially in critical areas such as health to $250,000). Due to a number of factors, including challenging insurance. It also reported that health care is a significant concern local circumstances, changes in some organizations’ priorities, and for artists, as it is for other contingent or freelance workers. financial restraints caused by the national recession, several of These findings shaped Health Insurance for Artists, LINC’s the early partners were unable to meet their goals and eventually national initiative to improve artists’ access to health care and the withdrew from the program. information necessary to determine care options.

Eight communities completed the second implementation In keeping with its commitment to strengthen existing resources and replication phases. From 2010 on, in addition to the Ford 2007 and elevate the work of strong partners in aligned sectors, LINC Foundation’s funding, this work was propelled by significant collaborated with The Actors Fund, a national organization that Sep. Health Insurance funding from the Kresge Foundation, which enabled LINC to invest Convening — Seattle, WA had both substantial expertise and unrealized capacity in this more robustly in the most promising local strategies that had been area. With supplemental funding from the Nathan Cummings refined in the preceding years. Through a competitive process, Foundation, LINC’s work with The Actors Fund helped strengthen successful applicant organizations from the existing cohort were and expand its Artists Health Insurance Resource Center (AHIRC). invited to develop specific plans for expanding their work—either Their accompanying online tool provides reference materials and by moving into new geographic areas or by delving deeper in their 2008 information about purchasing private insurance and children’s own communities to reach a broader constituency. Each developed Health Insurance Among health insurance, post-employment options, financial assistance Working Artists in the a business plan demonstrating its capacity to achieve its goals and programs, health savings accounts, medical debt, community United States sustain the work beyond the grant period. By 2013, each of these clinics, dental clinics, assistance programs, and programs eight communities had integrated its LINC work into ongoing local specifically for artists and performers. In its earliest versions, systems or had created mechanisms to replicate its innovations AHIRC focused primarily on resources for performing artists. With in other sites. A few partners—including First Peoples Fund and additional investment from the Doris Duke Charitable Foundation, ArtHome—did both. LINC supported additional research related to health insurance for artists and an expansion of technical assistance programs across In total, LINC committed over $6 million to the Creative the country. The AHIRC database was subsequently expanded Communities program, leveraging more than $16 million in to include information relevant to artists working in the visual arts additional support and seeding over 40 programs that are still and other disciplines, 18 city and regional resource guides were benefiting thousands of artists in over 14 states and tribal nations. published, and online search features were enhanced. 32 Cornerstones 33

LINC and the Creative Communities partners also collaborated with The Actors Fund on Every Artist Insured, a national campaign to educate artists about the Patient Protection and Affordable Care Act (PPACA) of 2010 through ads, other printed materials, and over 20 workshops around the country. These workshops built on and expanded the core curriculum The Actors Fund had offered since 2006 of nearly 250 LINC-sponsored seminars on accessing health care. In addition, LINC commissioned researchers at UCLA on a research report on the implications of the PPACA for artists, Health Insurance for Artists: Before and After the PPACA 2010.*

Along with its work with The Actors Fund, LINC partnered with other organizations to advance knowledge and opportunities for artists’ health care. Artist Trust, LINC’s Creative Community partner in Seattle, focused its early work on insurance for artists in Washington State, seeking to connect artists to high-deductible health insurance programs, community clinics, and information services. The Center for Cultural Innovation in Los Angeles, another Creative Communities partner, developed web-based information resources about health care policy, and in Cleveland, the Community Partnership for Arts and Culture connected artists to group health insurance plans through its program with the Council of Smaller Enterprises (COSE). LINC also partnered with Springboard for the Arts, an artists’ service organization based in the Twin Cities, on its pioneering efforts to connect artists to health services through health fairs, partnerships with community clinics, and vouchers for low-cost medical care. LINC support enabled Springboard to expand its partnerships and extend its reach across four states, connecting with thousands of uninsured or under- insured artists and their families.

During its decade of existence, LINC invested more than $1 million in connecting artists to information and resources that would allow them to access the best health care available.

Project Row Houses – SOS (Tattfoo Tan/GreenHouse Collective) * Research + Practice pp. 58–59 34 Cornerstones Toward a New Support System for Artists 35

Artography: Arts in a Changing America Artography Program Cohort Appalshop (Whitesburg, KY) Arab American National Museum (Dearborn, MI) Partnering lay at the core of LINC’s philosophy, as evidenced by AXIS Dance Company (Oakland, CA) its long-term, multi-faceted collaborations with partners in both the Chicago Public Art Group (Chicago, IL) Creative Communities and Health initiatives. As an intermediary City Lore (New York, NY) between the cultural sector and private funders, LINC also served Diaspora Vibe Cultural Arts Incubator (Miami, FL) as a partner to its investors. The Artography program grew out Installation Gallery (San Diego, CA) of LINC’s partnership with the Ford Foundation, and their shared interest in drawing attention to the ways that demographic La Mujer Obrera (El Paso, TX) change is affecting artistic practice and the cultural fabric of Los Cenzontles Mexican Arts Center (San Pablo, CA) diverse communities. Maine Indian Basketmakers Alliance (Old Town, ME) Ma-Yi Theater Company (New York, NY) Ford provided supplemental funding to LINC to initiate Artography Urban Bush Women – New Urban Arts (Providence, RI) Zollar Uncensored in 2004. Its goals were to support artistically exemplary, diverse, photo: Ayana Hisa PA‘I Foundation (Honolulu, HI) and community-responsive arts organizations; establish a dynamic STREB (Brooklyn, NY) learning community of practitioners to document and share ideas Urban Bush Women (Brooklyn, NY) and practices; and enrich the vocabulary, concepts, and strategies Urban Word NYC (New York, NY) for addressing arts and culture. In two rounds of grantmaking in Vietnamese Youth Development Center (San Francisco, CA) 2005 and 2009, Artography formed a cohort of 18 organizations The Village of Arts and Humanities (Philadelphia, PA) who joined LINC’s learning community and received multi-year grants ranging from $35,000 to $100,000, as well as additional funds for travel, research, and professional development. The program supported another 19 organizations through one-time capacity building grants that ranged from $10,000 to $40,000. As an integrated component of the grants, LINC offered these organizations access to cultural anthropologists and ethnographers who helped to document and share the organizations’ aesthetic practices. LINC also sponsored convenings of the Artography grantees and, at the end of the program, provided supplemental grants enabling groups to continue and further extend their work. In total, Artography invested more than $5 million in organizational development and artistic excellence grounded in cultural equity. Youth Speaks 36 Cornerstones Toward a New Support System for Artists 37

Artography brought a richness to the LINC network. The general operating, documentation, and convening support LINC provided to artists and creative producers representing diverse communities allowed them to come together on their own terms; their creative practices and methods were a fundamental part of our learning system.

—Judilee Reed, LINC (2005–2011) 38 Cornerstones Toward a New Support System for Artists 39

LINC raised awareness of the need for authentic relationships between 2005 artists and neighborhoods and the Artography Cycle I results can be seen in the behavior Oct. Artography Convening New York, NY of urban planners, city councils, and real estate developers, who The Artography program represented a deep exploration into the relationships between communities and cultures, and artistic 2009 expression as a dimension of both. This unusually intensive Artography II are now more alert to the roles partnership with the program’s participants gave LINC new insights into the fundamental integration of art and culture in that artists and culture can play diverse places, especially in communities of color. It also brought attention to a range of organizations, including many that had never in community development. This received recognition from a national funding source, giving them 2010 opportunities to showcase their unique merits, build connections Artography General Operating, Blue Sky & Travel Support with peers across the country, and draw new funding to their is a quiet revolution, an important programs. After the program ended, LINC financed the creation Oct. Artography Convening of an independent blog, artsinachangingamerica.net, designed to El Paso, TX counterpoint to more traditional extend the conversation about these important issues. July Artography The lessons of Artography influenced all of LINC’s subsequent Documentation Meeting top-down approaches. work. The program sharpened LINC’s understanding of art’s role Honolulu, HI in a variety of cultural contexts, and heightened its appreciation for the multi-faceted ways in which artists contribute to their communities through different cultural traditions. This further fortified LINC’s commitment to including the perspectives of artists 2011 and cultural workers from diverse cultural, aesthetic, economic, and Artography Blue Sky, Travel geographic backgrounds in all of its programs and research efforts. Support & Sustainability

—Liz Lerman, LINC Artist Council 40 Cornerstones Toward a New Support System for Artists 41

Space for Change: The results of this field-based work, combined with additional research commissioned from the Urban Institute specific to artist Building Communities through space development, reinforced the lessons coming out of LINC’s Innovative Spaces Artography program. It became clear that cultural organizations with stable access to space behave differently than those for whom space is an issue. This is particularly true for small and mid-sized organizations and organizations rooted in communities of color. Space-rooted organizations can take more risks because Artists’ need for affordable housing and spaces appropriate for they control the use of their facilities, and the spaces of culturally- making art was identified in the Investing in Creativity report as a specific organizations serve as community anchors that promote particularly urgent problem. LINC’s earliest research project was cultural equity. a partnership with Community Partners Consultants and the Local Initiatives Support Corporation (LISC), one of the largest funders Through its various space-related efforts, LINC recognized that of community development in the country, to explore whether an opportunity was emerging to reframe discussions of artist and how LISC local affiliates were investing in artist spaces. The space development—moving it beyond the concerns of individual research report revealed that LISC had funded 11 new artist spaces, organizations and individual artists to a broader context involving generating more than 400,000 square feet of artist workspace community development, cultural equity, transmission of cultural that attracted over $40 million in additional public and private heritage, and the integral role of artists and arts organizations funding.*The extent of this work showed that local community in the life of every community. LINC proceeded to develop two development corporations could see the powerful connections new funding opportunities that would propel that reframing: the between artistic production and effective community development. MetLife Foundation Innovative Space Awards (ISAs) and the Ford At the same time, the Massachusetts Cultural Council, a Creative Foundation Space for Change Planning and Pre-Development Communities partner, took up the issue of space in their local work Grants. Both grants included a suite of complementary supports— and quickly began generating information on effective ways to including the commission of relevant research, facilitation of peer integrate artist space into community development efforts there. learning, and rigorous technical assistance.

* Research + Practice pp. 16–18 42 Cornerstones 43

In 2009, with support from MetLife Foundation, LINC invited applications to its Innovative Space Awards, a competitive national 2009 funding program designed to highlight the role that affordable artist June Space for Change space projects play in community revitalization and community Program Kickoff Meeting development. LINC collaborated with MIT’s Department of Urban Studies & Planning to develop a framework for identifying a broad cross-section of potential award recipients. In two rounds of grantmaking, LINC recognized 12 organizations that reflected the wide spectrum of exemplary projects being developed across the 2010 country—from the International Sonoran Desert Alliance in Ajo, AZ Mar. Space for Change Convening to Side Street Projects in Pasadena, CA—providing unrestricted Los Angeles, CA awards to further advance their work. Additionally, LINC sought to bring greater visibility to these and other outstanding examples of Space for Change Innovative cultural facilities by using the ISA applications it received to seed Space Awards Rounds I &II, Planning & Pre-Development a National Artist Space Database, a searchable online resource Round I where artists, developers, investors, and others could learn from existing models of progressive art space development projects. 2011 Space for Change Planning Innovative Space Awards Cohort & Pre-Development Round II, Travel Support

Artists for Humanity (Boston, MA) Oct. Space for Change AVA Gallery and Art Center (Lebanon, NH) Convening Carnegie Center for Literacy and Learning (Lexington, KY) New Orleans, LA City of Asylum/Pittsburgh (Pittsburgh, PA) International Sonoran Desert Alliance (Ajo, AZ) Kamehameha Schools (Kailua-Kona, HI) Open Book (Minneapolis, MN) 2012 Project Row Houses (Houston, TX) Space for Change Side Street Projects (Pasadena, CA) Opportunity Fund Soo Theatre Project (Sault Ste. Marie, MI) Mar. Space for Change Watts House Project (Los Angeles, CA) Finance Seminar Youngstown Cultural Arts Center (Seattle, WA) Lexington, KY June Space for Change Real Estate Workshop PA‘I – Wearable Arts Fashion Show Chicago, IL photo: Maile Andrade 44 Cornerstones Toward a New Support System for Artists 45

Simultaneously, in partnership with the Ford Foundation, LINC Twelve organizations received planning grants ranging from began developing a program that offered planning and pre- $50,000 to $100,000. As a group, they leveraged LINC’s development grants to organizations integrating artistic spaces investment of nearly $2 million in direct support and technical into equitable community development initiatives. LINC’s early assistance to attract an additional $7.5 million in new funding work and research in space development made it evident that toward their capital budgets. In total, they raised $16.7 million to funding for this critical phase was the most difficult to attract. The create or expand their cultural facilities. And while many of the Ford Foundation Space for Change Planning and Pre-Development projects would have had difficulty attracting financial backing Grant program was designed to provide the spectrum of resources under traditional models of financing and fundraising, LINC that small and mid-sized organizations need to determine whether offered a flexible approach to funding, whether or not support at a project is “right-sized,” “right-timed,” and led by the right people. a planning stage would help an organization develop a stronger Queens Museum of Art financial and programmatic foundation from which a sustainable Following a national open call in 2010, LINC received nearly space could evolve. Combined with extensive and intensive skill- 700 applications from organizations in 49 states, and a rigorous building assistance, the Space for Change cohort was successfully selection process examined the artistic merit, community context, positioned to pursue an array of financing strategies, including financial health, organizational capacity, and business acumen of tax credits and community development block grants, as well applicants. An important criterion for selection was the involvement as conventional grants. Fourteen of the participants in LINC’s of artists and community representatives as leaders in the space space programs were finalists or grant recipients in the National projects. Also considered was the likelihood that LINC funding Endowment for the Arts’ Our Town program and early rounds of would propel collaboration with municipalities, developers, and ArtPlace grants. local stakeholders and lead to the creation of viable, accessible cultural facilities that would contribute to their local economies, as As it had done with its other programs, LINC hosted a series of well as their communities’ social fabric. convenings to promote peer learning among all of the Space for Change grantees, and commissioned additional research to inform the work of its partners and other artist space advocates.* LINC also hosted a continuing series of workshops to help the Space for Change Planning and partners hone their skills in facility development, fundraising, Pre-Development Grant Cohort and management. One of the hallmark features of LINC’s highly engaged grantmaking was a substantial investment (nearly 651 ARTS (Brooklyn, NY) $600,000) in rigorous technical assistance. Space for Change Casita Maria Center for Arts and Education (Bronx, NY) grantees were encouraged to take advantage of opportunities like City of Asylum/Pittsburgh (Pittsburgh, PA) working with the Center for Creative Community Development to Columbia Film Society (Columbia, SC) create statistical models for calculating and analyzing grantees’ Dance Place (Washington, DC) social and economic impact on their local or regional communities; The Heidelberg Project (Detroit, MI) participating in the Kennedy Center’s DeVos Institute of Arts The Heritage Center at Red Cloud Indian School (Pine Ridge, SD) La Peña – Bomberas de la Bahia Management; and receiving direct counsel from a team of leading Intersection for the Arts (San Francisco, CA) (Matty Nematollahi) experts in both arts management and real estate development. In photo: Jason Lew Los Cenzontles Mexican Arts Center (San Pablo, CA) sum, LINC invested nearly $4 million in artist space development Movimiento de Arte y Cultura Latino Americana (San Jose, CA) over its 10-year lifespan, not including the pioneering efforts of its Museum of Contemporary Art Detroit (Detroit, MI) Creative Communities partners in Boston and Cleveland. Northwoods Niijii Enterprise Community (Lac du Flambeau, WI) * Research + Practice pp. 52–54; 61–63; 65–67; 69–71; 77–79 46 Cornerstones Toward a New Support System for Artists 47

Information: Research and Knowledge Networks

While the Investing in Creativity study illuminated academics working on artist-related research. the important contributions being made by artists LINC also sponsored peer-to-peer exchanges, in all kinds of places, it also highlighted the facilitated its partners’ participation in other to Regional Development, a breakthrough study showing that atomized nature of the national artist community national conferences, and generally promoted artists’ activity is a significant contributor to the economic vitality and the lack of organized, consistent, and a self-sustaining flow of relationships, ideas, of communities. LINC invited her to develop profiles of artist strategic advocacy by artists and their supporters. experiences, practices, and evolving knowledge. populations in the initial cohort of nine Creative Communities, and The study showed that, for the most part, local to work with these sites to interpret and apply the data in their efforts to improve conditions for artists were not These two elements—research and knowledge projects. Subsequently, Dr. Markusen released a publication on interconnected and didn’t combine to change networks—operated in tandem to build a understanding employment and careers among California artists, conditions for artists overall. The study also substantial resource pool of quantitative and titled Crossover: How Artists Build Careers across Commercial, pointed to the lack of coordinating intelligence, qualitative data and establish continuing Nonprofit and Community Work.* at both the national and local levels, that could pathways for peer-led, field-tested learning. connect the various initiatives, accelerate “Counting benefits” centered on the contribution of artists’ live/ learning, and deepen impact. The initial concern for counting artists derived work space to community revitalization in urban neighborhoods. In from Investing in Creativity’s recognition that 2007, LINC supported two additional Urban Institute reports, one LINC stepped into this gap, developing an census and Bureau of Labor statistics data on financing for artist space and the other on the case for investing information strategy to bridge disparate efforts significantly underestimate the artist workforce. in artist spaces. With support from the Ford, Kresge, and Surdna and build knowledge about effective work in Narrow definitions of employment and the Foundations, and working with research partners at the Social multiple domains and at multiple sites. LINC’s fact that many artists make their living through Impact of the Arts Program (SIAP) at the University of Pennsylvania, information strategy had two components: non-artistic jobs required fresh approaches to the Center for Creative Community Development (C3D) at Williams commissioning research and building knowledge understanding the demographics and labor College, and Metris Arts Consulting, LINC produced additional networks through a national learning community. economics of the artist population. LINC sought research studies addressing the challenges and opportunities in The goal of the research program was to address to understand the range of definitions that are artist space development, and explored the connection between many of the gaps in information about artists used to collect statistics about artist populations cultural development and community health, economic growth, and that Investing in Creativity had highlighted, and and perform analyses and studies; the data social change. A number of LINC’s Creative Communities partners to build a comprehensive understanding of the sources and their usefulness; and the gaps in also commissioned and published research as part of their work, nature of the artist population (where it is located, each definition. Ann Markusen, an economist including the Center for Cultural Innovation, Community Partnership how artists are supported, and how they support based at the University of Minnesota, quickly for Arts and Culture, Massachusetts Cultural Council, and the San communities). Resulting studies focused on emerged as an important partner in this work. In Francisco Foundation and East Bay Community Foundation. counting artists, counting benefits, and counting the summer of 2003, Dr. Markusen published The resources, creating an informal alliance of Artistic Dividend: The Arts’ Hidden Contributions * Research + Practice pp. 24-26 48 Cornerstones Toward a New Support System for Artists 49

The scientific method and the artistic process are the two greatest problem-solving methodologies ever developed. Like scientists, artists begin with questions, they do research, and they share their results with peers and the public. Like art, science progresses not through a series of brilliant, perfect discoveries, but through a constant stream of failed experiments punctuated by minor breakthroughs and, occasionally, by a major one. Negative results are as crucial as positive results. And like science, art has both cutting-edge researchers whose work is difficult to explain to a layperson and popularizers who make the work accessible to a wide audience.

—Andrew Simonet, Artists U 50 Cornerstones Toward a New Support System for Artists 51

Simultaneously, LINC placed a heavy emphasis on convening grantees and partners in all its programs, and worked to cross- fertilize learning among various program initiatives. National and local partners convened at least once a year, beginning with the first Creative Communities meeting in New York City in January 2004 and culminating in the final LINC gathering across program Past as Prologue areas in Kansas City in June 2012. Altogether, LINC hosted more than 20 national meetings, bringing together artists, practitioners, researchers, funders, political leaders, and experts in sectors The founders of Leveraging Investments in Creativity chose the beyond arts and culture to discuss practical challenges, review new name for this experimental initiative with intention. They hoped research, analyze the progress of LINC-sponsored projects, and to leverage the findings and recommendations of the Investing in debate and refine strategies for building support for artists.* Creativity study into multiple approaches in multiple communities, meaningfully enhancing conditions for artists. They also hoped to Participants in LINC convenings represented a wide spectrum leverage new investments—financial, intellectual, social, political, of organizations—grassroots cultural centers, state arts councils, and technological—into the systems that enable artists to make museums, service organizations, performing arts presenters, social work, build social capital, and contribute to democratic values. And service organizations, community development corporations, they hoped to leverage new thinking about the nature of creativity dance companies, tribal nations, film societies, private foundations, itself and the role that artists play in making our neighborhoods and hip hop organizations, folklore organizations, literary centers, communities livable. universities, and think tanks. This diversity encouraged and ensured lively debates, which were both reassuring and Over the course of ten years, LINC invested more than $18 challenging and sped the exchange of information about million toward these goals, for programs and services benefiting emerging aesthetic practices as well as effective artist support artists and their work in communities across the country. Tens strategies in different contexts. The fruits of this can be seen in the of thousands of artists and community members were touched widespread borrowing of ideas and the adoption or adaptation of directly by programs supported by LINC—through its grants, specific strategies from one partner or grantee to others. And this convenings, research publications, online information resources, knowledge exchange is likely to continue, as many of the personal and other programs and activities. Not all of LINC’s efforts were and organizational bonds created and nurtured in LINC’s meetings successful, of course, but the return on the investment was will last long after its end. substantial by any calculus.

However, the money and the numbers are only part of the LINC story, and for many associated with its work, not the most important one. LINC exercised its greatest leverage in propelling a change in conventional concepts about artists in society. The Investing in New Urban Arts Creativity study, and LINC’s work building on its findings, reinforced * Cornerstones pp. 04–05 52 Cornerstones Epilogue 53

Epilogue

It was a privilege and a pleasure to work with Ultimately, knowledge has been LINC’s most Holly and Roberta to bring LINC to life in 2004. enduring currency. Practice (knowledge) and We first encountered the Investing in Creativity research (information) shared within and between report at the New England Foundation for the Creative Communities, Space for Change, the emerging view that artists are not a special Charitable Foundation, the John S. and James Arts (NEFA). Its key findings deeply resonated and Artography partners has validated our and segregated interest group but an essential L. Knight Foundation, MetLife Foundation, the with our understanding of the challenges faced expectation that transparent interdependence part of any healthy, vibrant, and adaptive National Endowment for the Arts, the Rockefeller by the regional and national independent artists could create lasting benefits for all involved. community—people who contribute critically to Foundation, and the Surdna Foundation— that our Foundation was committed to serving. making all communities creative and just. It was provided financial and intellectual backing at We welcomed the opportunity to work with We hope that these documents (punctuated by not a coincidence that many of the major events critical junctures, as did more than 20 local LINC’s original animators to fashion a ten-year LINC’s final convening at the Ford Foundation in American society during the LINC decade—the funders who extended LINC’s investments by strategy that would both reveal and increase on May 14, 2013) will give our extended network housing crisis, the economic recession, the health supporting its partners’ work in communities the productivity that American artists offer their a clear view of LINC’s aspirations, expectations, care debate, and demographic shifts documented across the country. respective communities. and accomplishments. At the heart of our shared in the 2010 Census—were issues that LINC endeavor was a belief in challenging communities addressed, because artists are community Did LINC improve conditions for all of the two From the beginning, LINC’s design and to move beyond simple support of artists’ needs, members too, and these issues impact their lives million-plus artists in the United States? No. Many implementation was a collaborative process and to look instead at building community-artist and welfare directly. Such crisis points also reveal of the problems identified in Investing in Creativity informed by our local and national partners, partnerships toward shared goals. opportunities for artists to contribute to national persist, and artists in all communities still struggle our artist council members, our board, and our and local responses. to make a living from art, find the housing and funders. We understood that place matters; that We are grateful not only to our originators, and workspaces they need, secure necessary resource allocation strategies had to be tailored to our Board, but also to Candace Jackson and The breadth and depth of LINC’s impact equipment, and access health insurance and to the particular circumstances inherent in each the other LINC staff who advanced LINC’s efforts on particular communities, artists, and other critical supports. But inspired by the LINC community. We learned as we went along, up until our final hour. So many talented people organizations—and on the larger conversations opportunity to think in fresh ways about the role revising and adapting our plans in an effort to be played essential roles over the past decade. Our about policy and practice that are taking place of artists and how to support their work, the LINC as flexible and responsive as the situation in each deepest thanks to you all. at the national and local levels—reflect both partners advanced the idea that artists abound community demanded. the insightfulness of the Investing In Creativity in every community and that they can make report and the imagination, enterprise, and essential contributions to the health and vitality We were cognizant of not just place, but also determination of LINC’s staff, advisors, and of each community, if given the opportunity and our specific time. The 2000 Census confirmed partners. Great credit goes to the Ford support to do so. On this important foundation, rapidly changing US demographics, and LINC’s Foundation for seeding the LINC experiment, and the next phase of work can begin. programs—particularly as refracted through the sustaining its work over a decade. Other funding lens of the Artography project—were committed partners—particularly The Kresge Foundation, to identifying and supporting practices that would the Paul G. Allen Family Foundation, the help us all understand the impact and value of Nathan Cummings Foundation, the Doris Duke these changes. Sam Miller & Judilee Reed 1 Research + Practice 2 3

2 Research + Practice Table of Contents

08–77

04–07 LINC: The Research/Practice Continuum 78–81 02–03

Index of LINC Research, Reports, and Publications Index of Reports by Programmatic Tag Introduction 02 Research + Practice Introduction 03

Introduction

Chicago Artists Resource (CAR) photo: Cage & Aquarium LINC’s founding was rooted in research, and the recognition that reports contributed to the field’s intellectual capital, but they also an underlying lack of knowledge about artists is a fundamental served as practical road maps for LINC’s programs and for those of impediment to improving conditions for them. Increasing useful many of its partners. Research conclusions were accompanied by knowledge about artists was the goal of the Urban Institute’s specific recommendations for LINC action, and often connected to Investing in Creativity study, and the resulting report acknowledged other aspects of field practice. In just one example, LINC’s interest that numerous assumptions about artists in the United States are in place-based work and the structures of support for artists in not informed by recent, systematic, or cohesive research. Even an communities led it to the Social Impact of the Arts Project (SIAP) at accurate count of the number of artists in our population eludes the University of Pennsylvania, which had previously developed us. The lack of accurate knowledge permits outmoded systems of the concept of naturally occurring cultural districts (NOCDs). LINC support to be sustained. In order to be effective, new mechanisms commissioned SIAP to apply this concept to case studies of are needed, ones built on a fresh and contemporary understanding cultural district development in Baltimore, Philadelphia, and Seattle 1 Investing in Creativity, ii. of who artists are and what they do.1 (“Natural” Cultural Districts: A Three-City Study, 2012). This work helped SIAP—in partnership with The Reinvestment Fund and The integration of research and practice used in the Investing in the city of Philadelphia’s Office of Arts, Culture and the Creative Creativity study became central to LINC’s unique profile in arts Economy—qualify for one of the first research grants awarded by philanthropy. The summaries and excerpts assembled here provide the National Endowment for the Arts, for the purpose of extending an index of LINC’s published research and a distillation of the key this new research methodology to other areas of Philadelphia. findings and conclusions of these studies. All of these reports are available as free downloadable PDFs at www.lincnet.net. As LINC sunsets, this body of research and information can continue to help artists and organizations of various kinds. It also This list illustrates the range of approaches that LINC employed provides a baseline of data for a new generation of researchers, to capture and transmit useful knowledge about artists, funders, and cultural workers interested in the issues of artists, commissioning work from academics, program managers, innovative research methods, and the important synergy between foundation representatives, consultants, artists, and organization research and practice. administrators—a spectrum of voices representative of the field’s numerous constituencies and more diverse than most prior arts research had reflected.

This list also illustrates the integrated research-to-practice philosophy that LINC and its partners embodied. LINC International Sonoran Desert Alliance commissioned nearly 20 major reports and publications, all of (ISDA) — Hia C-ed O’odham leader which were informed by and connected to practice. The research Lorraine Marquez Eiler photo: Jewel Clearwater 04 Research + Practice Index of LINC Research, Reports, and Publications 05

Index of LINC Research, Reports, and Publications 2006 Crossover: How Artists Build Careers across Commercial, Nonprofit, and Community Work Ann Markusen w/ Sam Gilmore, Amanda Johnson, Titus Levi, Andrea Martinez Creative Communities, Survey/Data-Driven Practice

Indexed chronologically, the reports are also identified by the following programs and key concepts: Artist Space 2007 Artist Space Development: Financing Health Care Urban Institute: Chris Walker Place-Based Strategies Artist Space Survey/Data-Driven Practice Convening/Proceedings Artist Space Development: Making the Case Creative Communities Urban Institute: Maria Rosario Jackson w/ Florence Kabwasa-Green Artist Space, Place-Based Strategies

2003 Investing in Creativity: A Study of the Support Structure for U.S. Artists 2008 Creative Communities: Artist Data User Guide Urban Institute: Maria Rosario Jackson, w/ Caron Atlas, Kadija Ferryman, Joaquin Ann Markusen w/ Greg Schrock Herranz, Jr., Florence Kabwasa-Green, Carole Rosenstein, Daniel Swenson, Creative Communities, Place-Based Strategies, Survey/Data-Driven Practice Eric Wallner

Creative Communities, Place-Based Strategies, Survey/Data-Driven Practice From Rust Belt to Artist Belt: Challenges and Opportunities in Rust Belt Cities Community Partnership for Arts and Culture 2004 Developing Affordable Space for Artists: A Summary of Development Creative Communities, Place-Based Strategies, Survey/Data-Driven Practice Projects Funded by the Local Initiatives Support Corporation (LISC) LISC, Urban Institute, Community Partners Consultants Health Insurance Among Working Artists in the United States Artist Space, Place-Based Strategies UCLA Center for Health Policy Research: Shana Alex Lavarreda and E. Richard Brown Health Care, Survey/Data-Driven Practice Creating Artist Space: Resources for Artists, City Officials, and Developers Community Partners Consultants Artist Space 06 Research + Practice Index of LINC Research, Reports, and Publications 07

2011 Space for Change 2nd Annual Convening Booklet LINC Artist Space, Convening/Proceedings

Creative Communities Challenge Grant Convening Booklet 2010 14 Stories: Building Stronger Communities by Supporting LINC American Artists Creative Communities, Convening/Proceeding WolfBrown Creative Communities, Place-Based Strategies How Art Spaces Matter II: The Riverside, Tashiro Kaplan, and Insights from Five Artspace Case Studies and Four Cities Creative Communities Challenge Grant Convening Booklet Metris Arts Consulting: Anne Gadwa, Anna Muessig LINC Artist Space, Survey/Data-Driven Practice Creative Communities, Convening/Proceedings Building Community: Making Space for Art How Artist Space Matters: Impacts and Insights from Three Urban Institute: Maria Rosario Jackson Case Studies Artist Space, Place-Based Strategies Metris Arts Consulting: Anne Gadwa, Ann Markusen, Nathaniel Walton Artist Space, Survey/Data-Driven Practice 2012 Developing Artist-Driven Spaces in Marginalized Communities: Reflections and Implications for the Field Space for Change 1st Annual Convening Booklet Urban Institute: Maria Rosario Jackson LINC Artist Space Artist Space, Convening/Proceedings Creative Communities Challenge Grant Convening Booklet Artists and the Economic Recession Survey: A Summary of Findings LINC Helicon Collaborative: Alexis Frasz, Holly Sidford; Princeton Survey Research Creative Communities, Convening/Proceedings Associates International Health Care, Survey/Data-Driven Practice “Natural” Cultural Districts: A Three-City Study Social Impact of the Arts Project (SIAP), University of Pennsylvania: Mark Stern, Health Insurance for Artists: Before and After the Patient Protection Susan Seifert and Affordable Care Act of 2010 Place-Based Strategies Helicon Collaborative, UCLA Center for Health Policy Research

Health Care Why is Gentrification a Problem? Center for Creative Community Development (C3D), Williams College: Stephen Sheppard Artist Space, Place-Based Strategies 08 Research + Practice The Research / Practice Continuum 09

2003

Investing in Creativity: A Study of the Support Extracts creative communities; Structure for U.S. Artists place-based strategies; Urban Institute: Maria Rosario Jackson, w/ Caron Atlas, Kadija Ferryman, This project was undertaken to expand our thinking about who artists are, what survey / data-driven Joaquin Herranz, Jr., Florence Kabwasa-Green, Carole Rosenstein, Daniel they do, and what mechanisms interact to create a hospitable—or inhospitable— practice Swenson, Eric Wallner environment of support for their work. It is useful to begin this overall report on our findings with the reasons society should be concerned with artists, the focus of previous research focusing on the cultural sector, and the contributions this project makes to the knowledge base. Supported by a consortium of 38 funders, the seminal Investing in Creativity report created the groundwork for LINC’s ten-year program of research, grantmaking, convening, and other activity and inspired the work of Although they are often stereotyped as removed from everyday life and societal numerous other organizations. Conducted by the Urban Institute under the processes, artists are fundamental to our cultural heritage and their work is often a direction of principal investigator Maria Rosario Jackson, who continued to crucial part of community life. Artists work in diverse settings ranging from studios collaborate with LINC for its duration, the report sought to develop “a new and cultural institutions to schools, parks, and various kinds of community centers understanding and appreciation for who artists are and what they do.” and social change organizations. They work in all sectors–nonprofit, commercial, public, and informal ones. Artists create paintings, films, music, plays, poems, and other works that reflect the diversity, aspirations, hopes, fears, and contradictions of our society. The work of artists inspires, celebrates, mourns, commemorates, and causes us to question aspects of contemporary life and the human condition.

In these and other roles, artists are a growing part of the U.S. workforce. But they are typically underpaid in relation to their education, skills, and societal contributions. Moreover, given the multiple roles they play in society, they are often under-recognized and under-valued by funders and policymakers inside and outside of the cultural sector, as well as by the media and the public at large.

Movimiento de Arte y Cultura Latino Americana (MACLA) – Salsa Flash Mob 1012 RESEARCH + APPENDICES The Research / Practice Continuum 11

Study Framework

This study takes a comprehensive approach of material supports, the condition of training to understanding support for artists. Our and professional development opportunities, approach explicitly recognizes that the cultural artists’ access to communities of support and sector operates not in a vacuum, but in specific professional networks, and the availability of communities whose economic and social information for and about artists. While our focus characteristics, processes, and policies are in this project has been on the environment of integral to how each artist lives and works. This support for artists in all disciplines (in particular environmental approach is different from, but cities and rural places), the framework can also inclusive of, the conventional focus on grants, be applied in other ways. One can apply the awards, and similar direct financial support. It also six dimensions of the framework to understand requires a different analytical and measurement support for any subset of artists. For example, by framework from the more common one that draws utilizing the framework, one can ask the status of distinctions between artists only by discipline. validation, demand/markets, material supports, training and other elements of the framework for In this study, our environmental approach leads choreographers, or for Asian-American artists, or us to use place as the organizing principle for our for emerging artists in all disciplines—in places research and findings. Thus, we have developed ranging from neighborhoods to nations an analytical framework along the six major and beyond. dimensions of a place that make it hospitable or inhospitable to artists: Communities & Networks, Demand/Markets, Information, Material Supports, Training & Professional Development, and Validation.* In other words, we assert that to understand the health and vitality of the artists’ support structure in any given place, one must understand the status of validating mechanisms, the strength or weakness of the demand and market for artists’ work, the kinds and scope

Queens Museum of Art – Panorama of the City of New York * Cornerstones p. 23 12 Research + Practice The Research / Practice Continuum 13

Conclusion and Recommendations

Our study presents a comprehensive framework for analyzing, monitoring, and improving the support structure for artists in the United States. Our concept includes the conventional grants and awards typically associated with support, but it encompasses much more because it recognizes the importance of the wider environment in which an artist works.

To be effective in improving conditions for artists, the framework as a whole and its individual dimensions need stewards at all policy and action levels— local, state, regional, and national. These stewards can be artist-focused Priorities for Action organizations, funders, training institutions, public policy officials, and other players. Even if their primary work focuses on only one dimension of artists’ support, the stewards need to keep their eye on the whole framework, and work together to address its weaknesses. This requires better coordination Encourage better public understanding of who artists are, what they do, among key players in the various dimensions of the support system, as well and how they contribute to society. A large part of this involves addressing as new alliances with groups outside the arts whose interests are aligned, the artistic and demographic diversity of artists. We list this priority first such as advocates for affordable housing, community development, and because many of the other priorities hinge on it. Arriving at a better public better health coverage. understanding of artists requires gathering better information about the broad array of artists working in the U.S. today, the diverse career paths they take in pursuing their artistic goals, and the multiple ways in which they contribute to society. It involves creating language to better convey artists’ diversity and contributions.

But it also requires people inside and outside of the cultural sector— educators, the media, art critics, public policymakers, funders, community leaders, cultural brokers, and artists themselves—to move beyond only an “art for art’s sake” concept and support a more expansive interpretation of artmaking that is consistent with artists’ realities. For many players, this will require a significant change in how they think about and relate to artists; for others, it will require thinking about artists as potential partners in a wide range of societal issues for the first time.

Movimiento de Arte y Cultura Latino Americana (MACLA) – (TurboMex) 14 Research + Practice The Research / Practice Continuum 15

2004

Developing Affordable Space for Artists: A Extract artist space; Summary of Development Projects Funded by place-based strategies the Local Initiatives Support Corporation (LISC) Vibrant communities thrive on the energy, diversity, and creativity of their LISC, Urban Institute, Community Partners Consultants residents, businesses, and cultural organizations. The arts and cultural activities play a vital, symbiotic role in the development of a healthy community. It is clear that arts organizations and artists themselves have been a driving force in the revitalization of many communities. Further, This report documents ways in which the Local Initiatives Support the arts can bring social acceptance and understanding to disparate Corporation (LISC) had supported the development of artist space prior to communities. 2004. The report highlights the unique conditions under which artists work, and how these conditions can make artists valuable to their communities. The intent of this summary is to provide examples of artist space projects It describes 11 LISC-funded artist space developments, which represented created by community-based developers across the country. Responding to more than 400,000 new square feet of development, 170-plus new units of the complex, diverse needs of the community and creating new solutions artist workspace, and more than $40 million in public and private funding. are skills learned by necessity and invention by people working in both These projects were all developed by local affiliates of LISC in response to community development and the arts. These activists have impressive skills local opportunities. The report illustrates a variety of strategies for nonprofit in common and are adept at: organizations to plan, finance, and develop such spaces, and details how community-based developers forged collaborations, solved problems • Making the most with limited resources by working financial magic, creatively and effectively, and made the most of limited resources. often from necessity. • Being extremely creative problem solvers, whether creating new programs, developing strategies to make housing affordable, or presenting multi-disciplinary, complex exhibitions or performances in inadequate spaces and limited funds. • Forging collaborations—including unusual private/public sector partnerships—to get the job done, and engaging people new to an issue, both of which create long-term results for the community and the individuals involved. 16 Research + Practice 17

Overall Recommendations

• Connecting with the surrounding community and with the targeted artist community early on in the project has proved to be critical to project success. • Most projects benefit from having a mechanism in place to facilitate making connections between artists seeking space and developers experienced in providing it. • Because many of these projects are juggling multiple funding sources, they need resources that help them manage their financing, as well as those that help them identify relevant funding sources. • More projects are needed that meet the needs of performance artists, whose needs differ greatly from those of visual artists. Performance spaces need to conform to different codes than gallery spaces, and may attract different audiences. • Organizations need examples of successful artist-space projects that they can present to banks and other funding agencies to demonstrate the potential markets for their products. • Partnerships have played a key role in many project successes. Resources to facilitate building partnerships around artist-space projects would be highly valuable.

651 ARTS – Ronald K. Brown (25 Years) photo: Julieta Cervantes 18 Research + Practice The Research / Practice Continuum 19

2004

Creating Artist Space: Resources for Artists, Extract artist space City Officials, and Developers

Community Partners Consultants Developing affordable space for artists to live and work is a complicated process. Funding for affordable housing often does not take into account the unique needs of artists. Developers must work within existing zoning regulations that often limit their ability to create live/work units (or even This report is drawn from a more comprehensive report completed by work space) in atypical neighborhoods. Most significantly, perhaps, is the Community Partners Consultants in October 2003, entitled Creating Artist harsh reality of artists seeking affordable space within the context of rising Space: Report to the Boston LINC Working Group. That analysis includes real estate prices and a drastic reduction in public and private support for recommendations for strategic action for creation of artist space in the their art. Boston, MA area and identifies artist space projects in the cities of Boston, Cambridge, and Somerville. The Boston LINC Working Group implemented The value of the arts as an economic development tool is increasingly many of the recommendations of this report. apparent. Many cities and neighborhoods are using the development of artist space as an effort to revitalize their community. At the same time, some residents in affordable neighborhoods fear the rise in housing value that can accompany the gentrifying impact of artists moving into their areas. The dynamic can be a two-edged sword. The fact remains, however, that increasing the supply of affordable space for artists to live and work is vital.

In an effort to use the best of an individual or organization’s talent and expertise, connections and partnerships should be forged between community-based developers and artists seeking space. The development community has the expertise, experience, and capital needed to create space. The artists offer an automatic market for new space and the energy and creativity to help revitalize communities. In many communities, older space that is not necessarily appropriate for residential or commercial reuse would be ideal for artist live/work space or artist studios. The key is finding the right set of developers who seek to create affordable space and are able to obtain a fair profit while recognizing the unique space and financial requirements of most artists. The Village of Arts & Humanities 20 Research + Practice The Research / Practice Continuum 21

In a sense, LINC was never about what artists need from the community. It was about what communities need from artists. The idea was to shift the notion that artists are a group that requires certain kinds of entitlements to the idea that artists as a group can create and add value to communities.

—Sam Miller, LINC (2005–2013) 22 Research + Practice The Research / Practice Continuum 23

2006

Crossover: How Artists Build Careers across Extract creative communities; Commercial, Nonprofit, and Community Work survey / data-driven practice Ann Markusen w/ Sam Gilmore, Amanda Johnson, Titus Levi, For decades, the art world and the general public have viewed artists Andrea Martinez and arts activity as compartmentalized into three separate spheres. In the commercial sector, artwork is organized by for-profit organizations and marketed by self-employed artists and companies in a hotly competitive and highly segmented marketplace. In a nonprofit sector that has rapidly This study challenges conventional wisdom about individual artists’ expanded since the 1970s, the work of artists and arts organizations is relationship to the commercial and nonprofit sectors by showing how mission-driven and motivated by factors other than financial return, relying artists in California move fluidly between the commercial, nonprofit, and heavily on patronage and philanthropy instead. In the community sector, community sectors. Their ability to do so, the study concludes, is a major artwork is rarely remunerative but is pursued for cultural, political, and stimulant to regional economic activity and the quality of life, although aesthetic reasons. this reality has been under-counted and under-appreciated in economic impact studies. Economic impact analyses rarely account for artists’ contributions to non-arts businesses and other organizations that improve In this study, we delineate the three sectors and address how they products, marketing, and employment satisfaction. Nor do such studies are organized, including the motivations and conventions that govern consider the role of artists in stimulating innovation and attracting and each one. We pull together a number of hypotheses about how artists retaining businesses and people to a community. This report also provides navigate these sectoral divides. To reach artists, we used a web-based illustrative and instructive case studies of artist crossover and makes survey, soliciting responses by working with dozens of arts and cultural recommendations about what artists, commercial entities, nonprofits, organizations in the San Francisco Bay and Los Angeles metropolitan funders, government agencies, and others can do to remove barriers to areas, which host the two largest artistic populations in California and productive movement by artists from sector to sector. rank first and third in the nation in density of artists in the workforce. We paid particular attention to part-time, ethnic, and community-based artists who are often left out of surveys and undercounted in the Census. We also interviewed more than fifty artists from a diverse mix of disciplines, ages, races, ethnicities, immigrant statuses, and incomes about their own experiences at crossover. 24 Research + Practice 25

We found the results rather astounding. Artists move among sectors far more fluidly than we had thought, and if money were not an issue, most would cross over even more than they presently do. They report that each sector provides distinctive channels and support for artistic development. We believe that the study findings have far-reaching implications for how leaders in each sector might acknowledge the contributions of the others and cooperate to encourage greater cross-fertilization.

In sum, our findings reveal broad crossover practice and artists’ desires to move more fluidly among the sectors. They demonstrate that experience in different spheres often enriches artists’ development, work quality, income, and vision of the possible. Artists articulated many good ideas for how the regional arts ecology can become more crossover-friendly. Many of these ideas involve inexpensive attitude shifts or smarter uses of existing space, staff, and programs. Others require commitments of new, expanded, and more strategic resources. Both are good investments for not-for-profit, community, and cultural industry leaders.

Arts Council of Metropolitan Kansas City – Artist INC CulturalDC – Old-Fashioned New Media photo: Chris Dahlquist photo: Brandon Webster Photography 26 Research + Practice The Research / Practice Continuum 27

2007

Artist Space Development: Financing Extract artist space Urban Institute: Chris Walker

Project Occupancy | Affordability The most compelling motivation for the creation of artists’ spaces is the This report is the result of research conducted in 2004 and 2005, following shortage of appropriate spaces that are both affordable and available on up on the findings in Investing in Creativity regarding the impacts of the market. Artists and their supporters have, therefore, a strong interest gentrification on artists. LINC commissioned the Urban Institute to survey in ensuring that projects remain affordable, and occupied by artists, for as artist spaces around the country and study seven communities in which long as possible. spaces had been developed. Different forms of project ownership meet these objectives to varying degrees. As artists who have been renters can attest, for-profit landlords are The report: generally free to raise rents as overall housing prices rise, even if it means displacing artists who can no longer afford their units. If artists own their • Examines different types of space and developers of artist space units, their mortgage payments are typically fixed, thereby shielding them projects, showing points of overlap and correspondence in their from the most serious effects of rising prices. So long as artists can afford motivations and the types of projects they develop; the initial cost of ownership, their units remain affordable over the long • Looks at project process, focusing on how projects are developed, the term. However, there are no guarantees that subsequent buyers will be effect of local regulation on features of design that project developers artists, meaning that over time, units once affordable to and occupied by and occupants find important, and the different types of ownership and an artist may disappear from the artist-occupied stock. occupancy arrangements that projects have adopted; • Analyzes the relationship between local real estate markets and local systems; how this synergy can be used to mobilize capital, expertise, and political clout; and how these affect overall costs and risks of investing in artist space projects; and • Proposes specific recommendations for artists space development supporters as they consider actions to promote due consideration of artists space needs in the communities in which they operate.

Khmer Arts Academy 28 Research + Practice The Research / Practice Continuum 29

Recommendations

The most important steps public funders, foundations, intermediaries, and Form co-ops: Artist space development supporters should encourage other supporters of artists can take to increase support for artist spaces is formation of limited-equity cooperatives as a way to promote both long- to play a more active role in the community and economic development term affordability and continuing occupancy by artists in the projects they systems within which they work. These systems consist of the relationships develop. Cooperatives retain some important advantages over rental among developers, lenders, community development agencies, properties (even nonprofit-owned ones) and condominiums. foundations, and others who work together to mobilize and allocate resources to accomplish community revitalization goals. Encourage the arts in community plans: One of the most concrete strategies for longer-term support of artist space development is to At all levels of these systems, participants have discovered and acted upon encourage inclusion of arts and cultural elements in community plans, and the deep connections between artists’ work and residence and the strength government agency observance of the priorities outlined in the plans. of local communities. Specific recommendations include: Tailor public subsidies for artists: Public subsidy programs should be Appeal to developers: Supporters of artist space development would tailored to the various types of artists’ spaces and the different ways in do well to recognize, and appeal to, the arts-related motivations of many which they are created; e.g., a menu of financing options should match the nonprofit and for-profit developers and lenders, many of whom seem to different types of subsidies that live-work and studio projects require. recognize the value of artists as project residents and community activists. Studio space = economic development: Promoting concentrations of studio Introduction of mixed-use project elements: Commercial and nonprofit spaces would appear to be a low-cost way to promote creation of new space, for example–as well as community programming, like youth arts clusters of economic activity. In weak market cities, where other prospects education—offer a way to reinforce and demonstrate the community value for economic growth are few, artist space creation may be an important of artists’ spaces. These spaces should become standard practice in artist springboard for both economic and residential market strengthening. space development. Work with CDCs: Because the strength of the nonprofit development system Include artist studios in mixed-use projects: Development of scattered- seems to be highly correlated with the likelihood that affordable artists’ site, mixed-use properties is an interesting and promising new strategy for spaces will be developed, cities with a strong community-based nonprofit revitalization of older commercial corridors, a growing focus of community sector appear to offer fertile ground for national promotion of artist space economic development practitioners. Artists’ studios and living spaces along development as a revitalization strategy. these corridors represent one of the few suitable uses for spaces no longer appropriate for most modern retail. 30 Research + Practice The Research / Practice Continuum 31

Extract

This research suggests artist space development has momentum and that this is a good time for the field to grow. The number of artist space 2007 initiatives is increasing and interest in pursuing projects is on the rise. The capacity to bring efforts to fruition needs to be strengthened through the grooming of more people who know how to execute artist space developments in its many forms. This can be achieved by cultivating Artist Space Development: Making the Case opportunities for exchange among seasoned artist space practitioners to artist space; identify fruitful practices, as well as the creation of artist space curricula Urban Institute: Maria Rosario Jackson w/ Florence Kabwasa-Green place-based strategies and mentoring opportunities that enable those interested in artist space to acquire the necessary skills. That said, there are signs that such practices are already becoming more sophisticated and that artist space developments are benefiting from a broad range of allies. This report looks at the same artist space field research as Artist Space Development: Financing, but through the lens of economic development, Policymakers, funders, residents, and other stakeholders are interpreting civic engagement, community collective action, and community quality the role and value of artists in society in a more positive light, and artists of life. The report analyzes how artist space development has been are increasingly sought after as catalysts for positive community change. It positioned within the context of other policy priorities, particularly in the is an opportune time for artists and their advocates to play a more assertive arts, community development, and urban revitalization realms, and outlines role in encouraging artist space development by strategically cultivating arguments for artist space projects in these areas. The study focuses on 23 more supporters and building the arguments and evidence that artist space projects in which a case for support had to be made to the public sector, is a viable investment, for many different reasons. Last, while the focus foundations, or investors. of this inquiry involved identifying ways in which cases for artist space development support were made, in our research, we also saw evidence of interesting and innovative artist space developments that came to fruition without having to make an explicit case for support for artists.

The Effects of Artist Space Development on Artists

Effects related to ASD availability and development infrastructure • Increased variety and quantity of ASD options and approaches • Artists’ mobilization and politicization around affordable space • Creation of artist-developers, advocates, and intermediaries • Identification of new allies and resources to support ASD

ASD effects on artists’ relationships to broader community • Increased interaction between artists and community through ASD common space and community programming • Increased ability of artists to demystify the creative process for the public as a result of open studios and similar programs • Heightened visibility of artists as a viable professional group 32 Research + Practice 33

The Effects of Artist Space Development on Community

Social effects of ASDs • Increased arts-based programming for residents as well as formal and informal opportunities for cultural participation • Availability of additional multipurpose space for community residents’ use • Diversification of low-income communities • Youth development • Promotion of ethnic pride • Increased inter-generational interaction

Economic effects of ASDs • Promotion or formation of creative clusters as a result of immigration of artists • Increase in cost/value of real estate, leading to revitalization or gentrification • Small-scale increase in job opportunities • Diversification of community development strategies • Inclusion of ASD in cultural and community plans

The ability of artist-developers and advocates to operate effectively inside and outside of the arts world is essential. For artist spaces to thrive, artist- developers and advocates have to be able to work comfortably with people such as bankers, representatives from a range of regulatory agencies, community leaders concerned with quality of life, business people and elected officials, among other players, over the long term. There are already some artist-developers and advocates who have mastered this. They, as well as people from the community development realm and the business sector who have experience with artist space development, need regular, periodic opportunities at the national level to compare and share their best practices and lessons learned.

Movimiento de Arte y Cultura Latino Americana (MACLA) – City Portraits (Marcos Ramirez) 34 Research + Practice The Research / Practice Continuum 35

One of the great values of the original Investing in Creativity report and subsequent research that LINC commissioned is that these reports are based on the lived experiences of artists. Rather than relying on a statistical or cold science approach, they relate or testify how artists are working in and across communities. These stories have helped develop and sustain new conversations and new policies.

—Paul Bonin-Rodriguez, LINC Artist Council 36 Research + Practice The Research / Practice Continuum 37

2008

Creative Communities: Artist Data User Guide Extract creative communities; Ann Markusen w/ Greg Schrock place-based strategies; You may wonder whether 2000 Census data is good enough for what you survey / data-driven most want to know. This data is the only evidence we have that captures practice The inadequacy of statistical data describing the artist populations of artists adequately by artistic discipline, industry, income, employment American communities, the 50 states, and the country as a whole presents status, recent migration patterns, and a large number of socioeconomic a challenge for those seeking to understand and advocate on their behalf. characteristics (including age, race, gender, immigrant status, education, While recognizing the limitations of decennial census data, LINC believed and homeowner status), at metro and large city as well as state the data was a place to start to give its Creative Communities more detailed geographical levels. These findings were first made available in the fall of understanding of the size and nature of artist populations in their respective 2003—the next decennial Census data will not be available until 2013.... geographic areas. The census is the only source that begins to capture Although the numbers and features of artists may have changed since artists by artistic discipline, industry, income, employment status, recent 2000, this data allows you to compare metro and state artists in your region migration patterns, and a large number of socioeconomic characteristics with those in other places, a comparison that is not apt to have changed (including age, race, gender, immigrant status, education, and homeowner dramatically over the past seven years. status), at metropolitan as well as state levels. To aid the Creative Communities’ planning, Markusen and Schrock developed individualized data sets and maps for each community’s state and metropolitan region You can use this data, along with other types you may have, to educate from the 2000 U.S. Census, and then created this manual to guide Creative people about your artistic workforce. Artists, in particular, are often thrilled Communities in using the data to inform their work. to see themselves in numbers and to see how they compare with other workers and artists elsewhere. They often feel so invisible. The data are useful in crafting policies that address funding and services for artists such as housing, health care, and public arts grants. They are also useful for helping your state and local leaders, including arts organization managers, politicians, and cultural affairs, planning, and economic and community development staff design creative city and cultural industry policies. Advocacy groups will find them useful for underscoring the over- or under- representation of artists in your region and showcasing the disciplinary and arts industry specializations in the regional economy. The data can be used to build support for arts education and targeted infrastructure, workforce development, and industrial policies.

Artists U photo: Sarah Sanford 38 The Research / Practice Continuum 39

2008

From Rust Belt to Artist Belt: Challenges and Opportunities in Rust Belt Cities creative communities; place-based Community Partnership for Arts and Culture strategies; survey / data-driven practice

LINC’s Cleveland partner, Community Partners for Arts and Culture, has been the driving force behind a series of conferences in the Midwest focused on the role of artists in addressing the problems of cities that have lost their manufacturing base. This study looked at the needs of Rust Belt cities and the artists in their communities, and explored the mutual benefits of working together more intentionally. It catalogued the many benefits artists can bring to beleaguered post-manufacturing urban environments, including economic activity, population growth, property value increases, citizen engagement, and civic vitality. For artists, these areas offer attractions including a lower cost of living, the presence of long- standing, high-quality cultural assets such as museums, theaters, and other institutions, less competitive and more collegial artist communities, access to markets, and the availability of diverse and affordable artist spaces. The study makes recommendations for changes in public priorities and policies, and suggests actions that the private and public sectors can take to promote the creative economy.

Dance Place – (Dakshina/Daniel Phoenix Singh Dance Company) photo: Stephen Baranovics 40 Research + Practice The Research / Practice Continuum 41

2008

Health Insurance Among Working Artists in Project Row Houses – ZeRow House the United States health care; survey / data-driven UCLA Center for Health Policy Research: Shana Alex Lavarreda and practice E. Richard Brown Extract

This report used data from the Current Population Survey (CPS) of the The environmental scan of the Rust Belt and discussion of the benefits United States Census Bureau to examine the insurance status of artists that artists can bring to communities show that artists can serve as major around the country. CPS data captures information about working catalysts for economic resurgence in the region and its struggling professional artists, but tends to exclude those who rely primarily on other industrial cities. jobs to support themselves. Based on 2004-06 data, the study found that artists are more concentrated in relatively expensive private insurance Conversely, artists also have much to gain from settling in and becoming markets, whereas workers in other occupations more routinely receive actively engaged in community development activities in Rust Belt cities. employer-based coverage. The study also found that younger artists do not While artists alone are not going to be able to bring the Rust Belt back have access to employer-based health insurance, do not seek coverage from decades of decline, they and the cities themselves clearly have a lot to under public programs, and have generally higher uninsured rates than gain from working together, sharing challenges, and making creative use of older artists do. existing assets.

For the Rust Belt, artists have the ability to jumpstart widespread revitalization, reinvigorate communities, build creative workforces, and improve the region’s quality of life. For artists, the Rust Belt can provide access to affordable space, a strong and supportive arts and cultural sector, professional development and networking opportunities, and outlets for engagement in community affairs. While the debate will undoubtedly continue over the necessary components to bring the Rust Belt back from decline, it is evident that artists have a significant role to play in renewing

industrial cities and positioning them for future success, moving the region The Village of Arts & from Rust Belt to Artist Belt. Humanities

Artists U 42 Research + Practice The Research / Practice Continuum 43

Extract

Although some regional variation exists, consistent national patterns emerge However, privately purchased health insurance may be out of financial from this analysis of the health insurance of artists using the 2004-2006 reach for many artists. It tends to be more expensive than group coverage, Current Population Survey data sets. First, people who characterize their such as that obtained through an employer, because of: 1) the high main occupation as that of artist are more likely to have a higher income administrative costs associated with frequent enrollment and disenrollment; than the general adult population, but still have similar rates of being and 2) medical underwriting, in which each applicant is evaluated by the uninsured. Nearly one in five artists is uninsured (18%), compared to 19% insurer with respect to his or her risk for using health services. Medical of all adults. With 69% of working artists having a household income of underwriting results in higher expenses for older artists and those with over 300% FPL (Federal Poverty Level), the uninsured rate should be lower health problems. Older artists and those with health problems often are than that of the general population, in which only 58% have comparable excluded altogether from the individual health insurance market, except household incomes. Artists, however, have rates of job-based coverage in the handful of states that require insurers to cover all persons without similar to those of the general population, instead of the higher rates that respect to health status or age and to use some form of community rating. would be expected with their higher income. Additionally, artists have LINC and others have examined collaborative projects to bring affordable lower rates of public coverage, and it is the higher rate of purchase of individual market insurance products to artist populations; these efforts insurance on the individual market that keeps the uninsured rate similar to could be expanded, with a particular focus on affordability for artists with the general population. household incomes below 300% FPL.

Second, lower-income artists lack access to employment-based coverage at Finally, the low rates of Medicaid coverage could be partially due to much higher rates than their higher-income counterparts. The consistently eligibility rules, but also partially to a lack of education among artists high rates of privately purchased insurance, particularly in California, keep regarding possibilities for public coverage. Education about available the uninsured rate from ballooning past one-third of all lower-income options would move these rates upwards, as artists apply for public artists (34%). Finally, younger artists have higher rates of being uninsured coverage in the states in which they might be eligible. compared to older artists, which is consistent with the general population but suggests particular action among artists.

These patterns suggest several possible avenues for improving health insurance coverage for artists. LINC and its collaborators already support efforts to expand employment-based coverage, particularly among artists who work in small businesses or are self-employed. Also, from the high rates of privately purchased coverage, it is clear that the artist population values health insurance and is willing to participate in the individual market.

Watts House Project 44 The Research / Practice Continuum 45

2010

14 Stories: Building Stronger Communities by Supporting American Artists creative communities; place-based strategies WolfBrown

This publication, a snapshot of the cohort of LINC’s 14 Creative Communities, chronicles the ways that the six domains of the Investing in Creativity study were being pursued in a variety of cultural, geographic, demographic, and economic circumstances. The report reflects upon LINC’s earliest ambitions and how those plans were playing out in community laboratories at the halfway point of LINC’s decade of existence. It delves deeply into each community’s specific circumstances, resource allocation, and strategies, and candidly assesses those communities whose efforts did not meet their original expectations.

Project Row Houses – Hearth House (Luanne Stovall, Toni Tipton Martin/GreenHouse Collective) 46 Research + Practice The Research / Practice Continuum 47

Extract

As the active Creative Communities continue to develop their programs These themes (and there may be others) cut across programs around the domains that have framed their efforts from the beginning, and transcend boundaries. For example, the willingness to take other ways of thinking about their issues also merit attention. For example, calculated risks—to make a “big bet” even at the community a number of themes run through the 14 stories and offer other angles on level—has proven to be essential from site to site. One need only the challenges of implementation and on the interplay between artists and look at the extraordinary commitment to the CAR initiative on the the organizations working with them. Each theme raises a question for part of Chicago’s Department of Cultural Affairs; the bold thinking further exploration in the months ahead: reflected in Artists Trust’s pursuit of adequate health insurance for artists; the investment in rigorous professional development Transformation and Adaptability training in Los Angeles, Cleveland, Kansas City, Philadelphia, and What will transformation look like in each community, and is adaptability South Carolina; the efforts to get funding directly into the hands the gradual process of getting there? of individual artists in New York and San Francisco; the success of funding partners in Massachusetts in developing live-work space for Infrastructure and Capacity artists; the wide sweep, both geographic and cultural, of initiatives Will the work in the Creative Communities leave behind a better, lasting in Montana and the Northern Plains; and the gambles taken in the infrastructure and increased capacity? midst of structural change in the Greater DC region and Houston.

Community Support and Market Demand Heritage Center Is community support for artists ultimately only as strong as the impact it photo: Juliana Brown Eyes has on the marketplace?

Diversity What degree of diversity has been achieved in your Creative Communities program and what more do you anticipate?

Reciprocal Partnerships How can we encourage reciprocal partnerships based on parity in the stakes held, the effort invested, and the benefits realized?

Risk-Taking and Risk Capital Where will the needed risk capital come from post-LINC?

STREB – London Eye photo: Julian Andrews 48 Research + Practice The Research / Practice Continuum 49

As a time-bound initiative, LINC was free of the need to sustain and promote itself, and could instead devote its full resources to deepening the expertise of artists, organizations, and research centers, ultimately raising their visibility and value within the field.

—Judilee Reed, LINC (2005–2011) 50 Research + Practice The Research / Practice Continuum 51

2010 Extract

How Artist Space Matters: Impacts and Insights Metris Arts Consulting’s data provide ample evidence that the three case artist space; from Three Case Studies study spaces do matter, both for in-house arts tenants and for surrounding survey / data-driven neighborhoods and regions. Artists have advanced their careers through practice Metris Arts Consulting: Anne Gadwa, Ann Markusen, Nathaniel Walton shared synergies with others in their buildings, enhanced reputations, and gains in time and productivity. The general public and members of the larger arts communities have increased access to arts offerings. Interviewees not only cited the direct rehabilitation of historic warehouses Metris Arts Consulting developed three in-depth case studies showing as a benefit, they also credited the artist spaces with catalyzing other how artist spaces benefit the artists and arts organizations who live and development and providing their neighborhoods with an ongoing cachet. work there, their neighborhoods, and their regions. Artspace Projects, a leading national nonprofit real estate developer for the arts, developed the three spaces in the Twin Cities area: the Northern Warehouse Artists’ Conclusions and Next Steps Cooperative, the Tilsner Artists’ Cooperative, and the Traffic Zone Center Their research allows them to share the Northern’s, Tilsner’s, and Traffic for Visual Arts. A range of research methods—including interviews, Zone’s impacts, highlight different outcomes, and probe why variations surveys, and statistical modeling—measure the impact of artist space on occur. Arts tenants, neighborhoods, and regions reap an array of benefits. appreciation in property values, and capture artist spaces’ contributions to These spaces strengthen artists’ careers through time and productivity neighborhood change and the perceived social, physical, and economic gains, the enhancement of reputations and identities, and the facilitation value of such developments. of networking and the sharing of equipment, knowledge, and skills. They expand arts offerings, both for the public and for larger arts communities. The artist spaces not only transformed vacant eyesores and restored historic structures; community members also credit them with helping spur area redevelopment and providing lasting artist cachet. Metris’ data indicates these spaces increase area property values, but they found few red flags to indicate that they triggered gentrification-led displacement. The spaces support, attract, and help retain artist entrepreneurs, who in turn enhance regional economic competitiveness. Neighborhood businesses receive boosts from spending by artist residents and visitors. The spaces also contribute modest social benefits, including fostering artists’ civic involvement, providing public gathering spots, and increasing safety.

New Urban Arts photo: Norlan Olivo 52 Research + Practice 53

Interviewees also inferred which factors helped or hindered broad neighborhood and regional outcomes. They thought artists with greater senses of investment in their spaces and neighborhoods would be more civically active and provide more frequent arts offerings to the public. They named factors that increase artists’ vested interests, including spaces with a residential component, literal ownership, and long artist tenures. Some community members thought a critical threshold of artists or arts activity must be reached to trigger spillover benefits. They perceived that live/ work spaces, larger spaces and projects developed in areas with a pre- existing density of artists or arts activity add to the requisite critical mass. Physical links to the surrounding neighborhood were thought to help leverage the economic, physical, and social benefits a neighborhood might experience, as opposed to isolated spaces. Interviewees thought higher frequencies of arts events and the presence of arts or community-oriented commercial tenants provide relatively greater public benefits. Lastly, Metris Arts Consulting heard artists and other community members articulate that the challenges faced by artists and Artspace limit their ability to affect broad community goals. By getting their own houses in order, they are better positioned to turn their focus and energies outward. Although, as the evidence illustrates, artist spaces can and do provide neighborhood and regional benefits, Metris views an artist space’s core function as supporting in-house artists and arts organizations. Metris encourages those seeking to use artist space to achieve revitalization objectives to do so in concert with other efforts.

Artist Trust – Cleave (John Grade) 54 Research + Practice The Research / Practice Continuum 55

2010 Extracts

The research findings confirm what artists and those who work with Artists and the Economic Recession Survey: them know experientially—that most artists struggle to make ends meet health care; A Summary of Findings financially and that this struggle is even more pronounced in tough survey / data-driven economic times. The study also confirmed our observation that artists practice Helicon Collaborative: Alexis Frasz, Holly Sidford; Princeton Survey are remarkably resourceful in crafting their work lives and creative in Research Associates International responding to the ebbs and flows of opportunity. Perhaps most importantly, the study found that a significant majority of artists feel especially inspired now, excited by changes they see taking place in our society, and optimistic about the future despite their current financial challenges. LINC, in partnership with Helicon Collaborative and Princeton Survey Research Associates International, developed the Artists and the Economic Recession Survey to provide high-quality and timely information to funders More and more U.S. workers now cobble together livelihoods in ways and artist service organizations. The survey sought to understand artists’ that artists have been doing for years. In sectors like journalism, health financial circumstances a year into the recession, and how artists were care, teaching, technology, and other areas in the business sector, responding and adapting at that time. LINC partnered with 35 arts service more workers are beginning to craft careers like artists—self-directed, organizations across the U.S., who invited their members to take the study’s opportunistic, and less dependent on institutions. Artists may lead this electronic survey in either English or Spanish. The response was substantial: trend, but they are not alone. 5,380 artists nationwide completed the survey between July 20 and August 17, 2009. Half of surveyed artists reported a decrease in their art-related income from 2008 to 2009, including 18 percent who saw it decrease by In addition to offering programs and policies specifically tailored to artists’ 50 percent or more. The decreases were due to lower sales, lower prices/ needs, we need to advance programs and policies that support hybrid fees, smaller and fewer grants, and fewer opportunities to present or work lives and 21st-century employment constructs for the growing perform their work. Teaching and residency opportunities also decreased. number of people who choose or are forced in this direction. By working Despite the recession, a large percentage of respondents reported feeling on both fronts, we will enlarge the number and kinds of resources optimistic about the future and confident about the positive role artists can available to artists and will recognize the multiplicity of ways artists now play in strengthening communities in difficult times. pursue their creative lives. 56 Research + Appendices The Research / Practice Continuum 57

2010

Extracts Health Insurance for Artists: health care Before and After the Patient Protection and Affordable Care Act of 2010 Purchasing insurance as an independent worker is expensive at best, and nearly impossible for those who have been uninsured for a long Helicon Collaborative, UCLA Center for Health Policy Research time or have a pre-existing condition. In addition, Medicaid benefits have previously been restricted to adults with children, which excludes many younger or childless artists.

This study combined a deeper look at data from the LINC/Helicon/PSRAI Artists and the Economic Recession Survey with data from the federal This dilemma is played out repeatedly for the tens of thousands of artists government’s Current Population Survey of March 2009. The UCLA Center in this country who are hired to perform or create work on short-term for Health Policy Research conducted an analysis of the data gathered contracts. They take a gamble every day in working without the safety by the Artists and the Economic Recession Survey to determine the net of insurance. characteristics of “adequately” and “inadequately” insured artists in the U.S. The study also addressed how the provisions of the Patient Protection and Affordable Care Act (PPACA) of 2010 would affect individual artists’ access The number of inadequately insured artists are higher than uninsured to adequate health care coverage. The LINC/Helicon/PSRAI survey, which artists at every income level, and are double for artists who earn $60,000 allowed respondents to self-identify as artists, demonstrated a much higher a year or less. Unlike the trend in other professions, insurance does not rate of inadequate insurance in artists than in the general population. Unlike seem to improve with age. the CPS data, the survey showed this situation did not improve as artists age. The report suggested that the health insurance exchanges provided for in PPACA would have a major impact on the state of artists’ health The 2010 Patient Protection and Affordable Care Act has the potential insurance by allowing artists without employer-covered care to access to significantly improve health care conditions for individual artists and health insurance at much more affordable rates than those available in the the owners of small creative sector businesses, who often have trouble existing private market. acquiring adequate health insurance. Yet the degree to which this potential is realized is dependent on how the law is implemented on the state level and whether it outlasts the Obama administration. Advocates and service organizations who work on behalf of artists must stay informed and put pressure on political and public sector leaders to interpret the law in ways that are favorable to the public, of which artists are a part. The better- organized this campaign is, bringing all kinds of artists together and joining the “arts” cause with other causes in the public interest, the more effective 651 Arts – Lions Will Roar (Nora Chipaumire) photo: Donald Rockhead it will be—in both the short term and the long run. 58 The Research / Practice Continuum 59

2011

How Art Spaces Matter II: The Riverside, Tashiro Kaplan, and Insights from Five artist space; Artspace Case Studies and Four Cities survey / data-driven practice Metris Arts Consulting: Anne Gadwa, Anna Muessig

This report builds on the methodologies of the first How Spaces Matter report (2010) and adds new case studies. It describes the benefits of artist space development for artists and communities, while noting that little hard evidence yet exists for a direct causal relationship between the establishments of art space and gentrification.

Appalshop – Thousand Kites project (performer Maurice Turner) 60 Research + Practice The Research / Practice Continuum 61

Extract

Our research distills how and why these art spaces benefit arts tenants Across all case studies, interviewees articulated the factors that and their broader neighborhoods and regions. These spaces strengthen enhance or handicap successful project outcomes, even though artists’ careers through time and productivity gains, enhanced professional different project objectives, project sizes, tenant mixes, governance reputations, increased networking, collaboration, and skill, knowledge, structures, and neighborhood contexts drive varied outcomes and equipment sharing. Some artists experience increased income, and across case studies. These factors include: a greater number increase the percentage of income they earn from their artwork. Arts businesses and organizations report similar benefits, • Affordable, stable, and physically appropriate space for artists and artists and arts groups value the cross-fertilization that occurs from and arts groups co-housing artists and arts businesses. Beyond the art spaces’ walls, the • Effective internal governance and artist investment broader community also benefits. Each of our case studies rehabilitated and • Active, dynamic, and artistically rigorous internal communities repurposed an underutilized historic building and many were credited with • Opportunities for public access and engagement spurring physical investment in the vicinity and attracting new residents. • Geographic connectivity, arts density, and complimentary community-development initiatives We found scant evidence suggesting these art spaces triggered population displacement, and some preserved art space in once artist-rich We recommend that art space proponents use these guidelines neighborhoods with rapidly rising real estate pressures. To varying degrees, to strengthen proposed projects or evaluate possible remedies to these art spaces also delivered social benefits, infusing downtrodden areas weaknesses in existing spaces. with civically active artist residents who help increase safety and livability. The larger community also valued expanded opportunities to participate in arts events and interact with artists. Some spaces serve as nationally and regionally replicated models or anchor arts districts. Through the benefits they offer, art spaces support, attract, and retain artists and other arts entrepreneurs, which can enhance a region’s economic competitiveness. Through increased demand from visitors and artist residents, art spaces also modestly bolster local non-arts businesses.

La Peña – (Urubanda) photo: Jason Lew 62 The Research / Practice Continuum 63

2011

Building Community: Making Space for Art artist space; Urban Institute: Maria Rosario Jackson place-based strategies

This report asks how art spaces might be incorporated into comprehensive community planning and revitalization strategies. It urges policy makers, urban planners, and community developers to look at arts and culture through a broad lens, considering the impact of both individual and collective art experiences on health, education, and economic development, as well as a range of other social concerns such as civic engagement, transmission of heritage, intergenerational and cross-cultural understanding, social cohesion, and citizen stewardship of their communities.

Community Partnership for Arts and Culture (CPAC) STREB 64 Research + Practice The Research / Practice Continuum 65

Extracts

Urban planners, community developers, and policymakers in various fields, including the arts, do their best to improve existing communities Third, people engage in arts and cultural activity for reasons and design new places in which to live and work. However, when inherent to art itself—for the aesthetic and technical attributes—but thinking about art and culture, they often revert to conventional notions frequently also because they want other benefits for themselves, of art spaces: large venues for the presentation of professional art, cultural their families, and their communities. . . . There is also greater districts concerned primarily with the consumption of art products, and and more sophisticated research about how the arts contribute to live/work spaces for artists. But how might art spaces be incorporated education outcomes and economic development, the two most into comprehensive community planning and revitalization strategies if we Ananya Dance Theatre – Kshoy!Decay! developed areas of research on the effects of the arts. photo: V. Paul Virtucio better understood (a) the full range of artistic activity that people value, (b) the importance of arts and creative outlets for all people, (c) the roles that artists play in society, and (d) the kinds of art spaces that robust cultural Through recent research concerned specifically with artists involved vitality requires? in “hybrid” work—often outside the conventional cultural sector and at the intersection of art and other fields—we found that such artists are driven by one or some combination of the following desires: In addition to considering conventional venues and activities related to the (a) to be of service to communities or to pursue social justice– presentation of professional art for consumption, it is necessary to think related issues; (b) to connect to multiple and nontraditional publics about a broader range of activities and places implicated in the concept of and markets—audiences, collectors/consumers, students, amateur cultural vitality. A place with cultural vitality has a character and identity artists—in different ways; and (c) to deal with problems outside the based on the creative and artistic contributions and aspirations of its arts and be at the cutting edge of problem solving and invention, citizenry. Research has linked dimensions of cultural vitality to economic often in research contexts. development, attachment to place, positive health outcomes, and civic engagement, among other desirable effects. In the United States and other countries, there is a heightened consciousness of creativity as a major economic engine. Interest First, cultural participation ranges from amateur to professional activities; in the “creative economy,” “creative cities,” and similar ideas often includes the cultural expressions of ethnic, racial, age, and special have led to an increased awareness of the presence of artists and interest groups that may not be validated or adequately represented in their possible impacts on communities. At the same time, there large mainstream cultural institutions; and occurs in diverse places. have been some important strides in research to develop a more nuanced understanding of the economic and social effects of the arts (and artists), although more of this work is needed. Second, while cultural participation has been understood primarily as audience participation, people often participate in cultural activities in various other ways. People also want to participate actively in creative processes. They want to go to concerts and plays and to see visual art, but they also yearn to make music, dance, tell their stories, and create meaningful objects and experiences that express their thoughts, feelings, Ma-Yi Theater Company – The Romance of Magno Rubio and aesthetics. photo: Matt Zugale 66 The Research / Practice Continuum 67

2012

Developing Artist-Driven Spaces in Marginalized Communities: Reflections and artist space Implications for the Field Urban Institute: Maria Rosario Jackson

This essay explores the hypothesis that the lines between 501(c)3, commercial, and Do-It-Yourself development efforts are beginning to blur and inform one another. To underscore the emerging and entrepreneurial nature of this type of development, the essay includes an analysis of the macro-level implications of blended development strategies for artists’ training and professional development, nonprofit community development practice, and commercial development practice.

Center for Cultural Innovation (CCI) photo: Seth Joel Photography 68 Research + Practice The Research / Practice Continuum 69

Extracts Appropriate Spaces

Without question, affordability of space is a feature that attracts many artists to live and/or work in moderate- and low-income communities. But there are other important factors that draw artists to marginalized Artists and developers interviewed stressed the necessity of being neighborhoods. Some reasons are pragmatic; others are philosophical. The as clear as possible about the purpose and the length of time that overriding theme, however, is that where many people see only blight and the space will be needed. Given trends towards cross-disciplinary, deficiency, artists can see assets, opportunity, possibility, and potential multimedia, and socially engaged work, they noted that adaptable, for transformation. Artists often recognize and are inspired by both the flexible space is often desirable. However, it can be difficult to meet the needs of multiple and diverse users. Artists must ask: Is assets and challenges of marginalized communities, and many are eager to it the kind of place that the artwork demands? Will it support the participate in problem-solving using arts and creativity. They passionately kinds of relationships that artists seek to have with the public? believe in the power of the creative process. For example, if a key element of the work involved is attracting people to it (as audiences or active participants), is it accessible by public transportation? Is parking adequate? Is it reasonably safe? For artists, it is important to consider the following questions in deciding on the most appropriate organizational structure to pursue: Another set of questions to consider involves land use ordinances, regulations, and the politics of place. For example, if the art form • Is the structure suitable for the artist or artists’ mission, philosophy, involves higher noise levels than those permitted by regulations, and style of work? is mitigation possible given existing physical conditions and • What is the best structure for attracting contributed resources and the budget? Or if an artist requires industrial-grade equipment generating earned revenue, given the nature of the work and the to make art, is it permissible within existing zoning and land use designations? Are there, or have there been, competing characteristics and circumstances of the community? interests for the use of the site? Given the history of the site, will • What structure is most suitable to the temperament(s) of the artist people in the surrounding community and other stakeholders in or artists? the neighborhood support or oppose the space? For all artists, especially those without pre-existing ties to the community, it is For stakeholders in the project who are not artists, the questions might essential to do the homework of learning the lay of the land, as differ somewhat. While there may be interest in and concern for the artist previously noted, before any commitments are made. or artists’ mission, work style, and temperament, there are likely to be other factors in play. These may include overlapping concerns about community circumstances as well as interests related to monetary profit or other kinds of outcomes—such as economic development and revitalization, and increased public safety and civic engagement, among others.

Site selection is a crucial aspect of developing artist-driven spaces. Among artists and developers alike, there was concern that in the face of the urgent need for affordable space and the possible desire to serve a

community, artists often do not sufficiently consider important questions Youngstown Cultural Arts Center when selecting a site. photo: Denny Sternstein 70 Research + Practice The Research / Practice Continuum 71

Extracts 2012 From 2010 to 2012, with LINC support, the Social Impact of the Arts Project (SIAP) at the University of Pennsylvania undertook a study of “natural” cultural districts in Baltimore, Philadelphia, and Seattle. “Natural” Cultural Districts: A Three-City Study place-based strategies Social Impact of the Arts Project (SIAP), University of Pennsylvania: SIAP developed the concept of a “natural cultural district” as a way to rethink Mark Stern, Susan Seifert the relationship of the arts and culture to neighborhood development. Instead of beginning with a particular organization or project, “natural” cultural districts view community revitalization through the lens of the community cultural ecosystem. This report examines three naturally occurring cultural districts (NOCDs) in Baltimore, Philadelphia, and Seattle. All three cities appear to be experiencing a decrease in the size and strength of medium-sized SIAP research has demonstrated that concentrations of cultural assets nonprofit organizations, but the process is most obvious in Seattle, which (including nonprofits, businesses, and resident artists) are a reliable indicator is dominated by extremes: large, established cultural organizations and of neighborhood revitalization. Cultural clusters improve the chance that a a proliferation of many smaller entities, many of which are for-profit. The neighborhood will see its poverty rate decline and it population increase. research also explores how the growth of the informal cultural sector—artists They reinforce ethnic and economic diversity. They stimulate social network who are neither incorporated nonprofits nor commercial firms—is rapidly formation both within and across neighborhoods. These social networks changing the character of neighborhood cultural districts in Philadelphia and are the critical mechanism for translating cultural assets into social and Baltimore. The findings suggest that the key to building successful cultural economic regeneration. communities is to examine the ecology in which individual organizations and artists operate, rather than viewing them in isolation.

In all three cities, the social impact of the arts is caught in two cross- cutting currents, but the nature of those currents varies with the context. The two currents are social inequality and diversity. None of the cities can resist the broad national and international explosion in inequality, although its effects can be mitigated to some extent through economic growth. Diversity is more complicated. Although three dimensions of diversity— economic, ethnic, and household—are present in all three cities, their prevalence and interactions vary. 72 Research + Practice The Research / Practice Continuum 73

One surprise of the project has been the varied relationships between One of the findings of our project has been that the trends affecting the social geography and cultural ecology across the three cities. Only two cultural world in general have a specific set of spatial effects. Here, we factors—distance from downtown and household diversity—played focus on their implications for developing and managing cultural spaces. significant roles in all three cities. We expected socioeconomic status— Conventionally, issues about cultural space have been tied to the viability which is so important in Philadelphia—to play a prominent role across of cultural organizations. Established cultural organizations typically raised cities, but this was not the case in Seattle, where the richest neighborhoods the funding and managed their own spaces. Although there are many did not have the highest cultural asset scores. The same contrast between examples of how this process diverted organizations from their central the eastern cities and Seattle held for the relationship of cultural resources mission, developing its own facility was a way for an organization to to educational attainment, occupational status, and poverty. demonstrate that it had arrived.

Yet, in a world in which established cultural organizations have become The study proposed two ways of viewing “natural” cultural districts— an endangered species, the idea of one organization/one space no longer by their cultural ecology and by their socio-economic and location seems viable or even desirable. Increasingly, this suggests a separation of advantage.... Where cultural ecology provides a means of understanding the tasks of developing and managing spaces and the withdrawal of most the internal development of neighborhood clusters, the social geography cultural organizations and projects from involvement in either. analysis allows us to understand how cultural assets influence community well-being in the context of inequality and exclusion. We can differentiate districts into those that succeed in the context of social advantage—high One surprise that has emerged from this study has been the degree to market and market districts—from those that must overcome legacies of which art and culture are divorced at the community level. [. . .] Although exclusion and discrimination—civic clusters. This typology focuses our arts funders have continued to support cultural equity, their focus tends attention on the social and economic benefits of cultural engagement and to be on diversifying elite cultural institutions rather than feeding the on the challenges to the achievement of cultural equity. grassroots. Meanwhile, the changing demographics of our cities are changing what these grassroots look like. Overall, the concentration of cultural assets in a neighborhood is associated with declining poverty in 2000 and from 2005-2009, even when we control for per capita income in 2000. All three types of “natural” cultural districts In conclusion, we found that the two forces—increasing inequality and carry with them a set of social benefits, including higher rates of social increasing diversity—influence the trajectory of the arts and culture diversity, improved public health outcomes, and declines in ethnic and in all three cities, albeit in different ways. We doubt if both trends are racial harassment.... Unfortunately, for civic clusters, the considerable social sustainable. Indeed, it appears to some extent that inequality has been benefits of cultural districts do not translate into economic benefits for the killing off diversity. Whether they both can survive, or if not, which will residents.... This gap between the social and economic benefits of civic survive is a dilemma for the arts—and for society as a whole. districts poses one the most significant challenges for the translation of cultural policy into social policy. 74 Research + Practice The Research / Practice Continuum 75

2012

Why is Gentrification a Problem? artist space; Center for Creative Community Development (C3D), Williams College: place-based strategies Stephen Sheppard

The authors describe the qualitative economic impacts of cultural arts organizations, and track the impact of the social networks of select LINC Space for Change grantees. They suggest that the problems of gentrification are found less in the diminished value of housing stock or the 2012 displacement of individuals and families, and more in the loss of incentives for community building and civic engagement. In addition to this white paper, the accompanying suite of materials includes Visitor Maps, Economic Impact Models, and Social Network Analyses.

Chicago Public Art Group (CPAG) photo: Dorothy Parry

Youth Speaks 76 Research + Practice The Research / Practice Continuum 77

Extracts In order to test the hypothesis that increasing turnover or risk of displacement in the housing market is associated with different levels of Social and political concern with gentrification has waxed and waned community improvement actions, we must identify a source of data that several times since the term was first coined in 1964 to describe the is widely available for US communities and provides a plausible measure movement of middle class families into the former working-class of such actions. Since “community improvement actions” can include neighborhoods of London. Since then the phenomenon has been a source everything ranging from informally organized neighborhood cleanup crews of debate for both scholars and policy makers in the US, Europe and up to large community development organizations and public agencies elsewhere. Some have viewed it as either a beneficial or at worst neutral with budgets in the millions of dollars, finding systematic and reasonably undoing of the “white flight” abandonment of central city neighborhoods accurate measurements of these activities is likely to be a problem. that took place in many cities during the period from the mid-1940s through the late 1960s. Perhaps this gentrification would return some wealth, tax base and modicum of affluence to urban neighborhoods that In the introduction to this paper, we advanced the hypothesis that a had been hard hit by loss of businesses, jobs and tax-payers. more interesting consideration of gentrification looks at it as a problem for the neighborhoods and communities that are potentially subject to gentrification, rather than the individual poor households that reside One other perspective perhaps deserves separate mention. This is that in or might move away from areas subject to gentrification. The risk of gentrification may or may not be unfortunate for the original or displaced displacement from gentrification can change the incentives of residents to residents, but that it is a “natural” or even “organic” part of urban engage in any of the variety of activities that can improve a community. The development. Thus Brueckner and Rosenthal (2009) see gentrification as a risk of displacement that is characteristic of gentrification imposes a social natural consequence of the process of aging with a durable housing stock, cost on the neighborhood. This cost is borne by the community as a whole and present a model that has gentrification as an outcome expected to and not by only those persons who are poor or those who are displaced. eventually take place in all cities. A related perspective might accept that gentrification has some adverse consequences, but that policies designed to prevent it altogether would be worse—providing a sort of urban apartheid in Hopefully these findings can also improve our general understanding which economic classes or ethnic subgroups have particular neighborhoods of how cities function and how urban political processes work. to which they are entitled. From this, it is feared, it is a short step to say that One economist charged with discussing Vigdor’s 2002 paper, “Does these are the neighborhoods to which they should be restricted. Gentrification Harm the Poor?” began his remarks with “I have always been skeptical of gentrification’s critics. The way some of them carry on….” This type of sentiment and reaction to the critics of gentrification is not atypical, In this paper we argue that by focusing on the individuals who are but it seems a shame to stop with the skepticism, rather than proceed to displaced from the neighborhoods by gentrification and sometimes only ask why so many are critical and why they sometimes succeed in blocking on the displaced poor, analysts have been considering the wrong problem development seen as contributing to gentrification? In the context of the and looking for harm in the wrong places. A more interesting consideration arguments advanced and supported above, we can view the critics as of gentrification looks at it as a problem for the neighborhoods and endeavoring to make a claim to remain in their neighborhoods and reap communities that are potentially subject to it, rather than the individual the benefits of the community improvement actions they have worked hard poor households that reside in or might move away from those areas. to provide. In this sense such claims are seen to be less of an annoying mystery, and more a source of economic efficiency. 78 Research + Practice Index of Reports 79

Index of Reports by Programmatic Tag Health Care

• Health Insurance Among Working Artists in the United States (2008) • Health Insurance for Artists: Before and After the Patient Protection and Affordable Care Act of 2010 (2010) Artist Space • Artists and the Economic Recession Survey: A Summary of Findings (2010)

• Developing Affordable Space for Artists: A Summary of Development Projects Funded by the Local Initiatives Support Corporation (2004) • Creating Artist Space: Resources for Artists, City Officials and Developers (2004) • Artist Space Development: Financing (2007) Place-Based Strategies • How Artist Space Matters: Impacts and Insights from Three Case Studies (2010) • Space for Change 1st Annual Convening Booklet (2010) • Investing in Creativity: A Study of the Support Structure for U.S. • How Art Spaces Matter II: The Riverside, Tashiro Kaplan and Insights Artists (2003) from Five Artspace Case Studies and Four Cities (2011) • Developing Affordable Space for Artists: A Summary of Development • Space for Change 2nd Annual Convening Booklet (2011) Projects Funded by the Local Initiatives Support Corporation (2004) • Building Community: Making Space for Art (2011) • Artist Space Development: Making the Case (2007) • Space for Change Financial Workshop I (2012) • Creative Communities Artist Data User Guide (2008) • Developing Artist-Driven Spaces in Marginalized Communities: • From Rust Belt to Artist Belt: Challenges and Opportunities in Rust Reflections and Implications for the Field (2012) Belt Cities (2008) • 14 Stories: Building Stronger Communities by Supporting American Artists (2010) • Building Community: Making Space for Art (2011) • “Natural” Cultural Districts: A Three-City Study (2012) • Why is Gentrification a Problem? (2012) • Developing Artist-Driven Spaces in Marginalized Communities: Reflections and Implications for the Field (2012) 80 Research + Practice Index of Reports 81

Convening/Proceedings

• Space for Change 1st Annual Convening Booklet (2010) • Creative Communities Challenge Grant Convening Booklet (2010) • Space for Change 2nd Annual Convening Booklet (2011) Youth Speaks • Creative Communities Challenge Grant Convening Booklet (2011) • Creative Communities Challenge Grant Convening Booklet (2012) Survey/Data-Driven Practice

• Investing in Creativity: A Study of the Support Structure for U.S. Artists (2003) • Crossover: How Artists Build Careers across Commercial, Nonprofit Creative Communities and Community Work (2006) • Artist Space Development: Making the Case (2007) • Creative Communities Artist Data User Guide (2008) • Investing in Creativity: A Study of the Support Structure for U.S. • From Rust Belt to Artist Belt: Challenges and Opportunities in Rust Artists (2003) Belt Cities (2008) • Crossover: How Artists Build Careers across Commercial, Nonprofit • Health Insurance Among Working Artists in the United States (2008) and Community Work (2006) • How Artist Space Matters: Impacts and Insights from Three Case • Creative Communities Artist Data User Guide (2008) Studies (2010) • From Rust Belt to Artist Belt: Challenges and Opportunities in Rust • Artists and the Economic Recession Survey: A Summary of Findings Belt Cities (2008) (2010) • 14 Stories: Building Stronger Communities by Supporting American • How Art Spaces Matter II: The Riverside, Tashiro Kaplan and Insights Artists (2010) from Five Artspace Case Studies and Four Cities (2011) i Case Studies 2 01

3 Case Studies Table of Contents

54–55

02–03 LINC Board, Artist Council, and Staff

56–85 04–53 Introduction

Grantee & Partner Case Studies Appendix 02 Case Studies 03

Introduction

LINC supported over 100 different organizations and partnered with numerous others over the course of ten years. Capturing all of these lines of work and distinct projects is beyond the scope of this publication. Here we offer snapshots of just 18 of the LINC collaborations—a glimpse of the variety and scope of efforts made by LINC and its partners to improve conditions for artists and increase recognition of artists’ many contributions to their communities. Please refer to the Grantee & Partner Appendix for the full listing of grantees and partners, and visit www.lincnet.net for comprehensive breakdowns of grantee and program activity.

STREB – London Eye photo: Julian Andrews 04 Case Studies The Actors Fund 05

Case Study: Local Partnerships—The Building Blocks of National Networks

Health Insurance The Actors Fund Initiative

www.ahirc.org

New York, NY The Actors Fund is a national human services organization that helps professionals in the performing arts and entertainment fields by providing programs and services for those in need, in crisis, or transition. In 1998, The Actors Fund created the Artists Health Insurance Resource Center (AHIRC) and accompanying website in response to its constituents’ growing need for access to affordable health care.

Recognizing AHIRC as the leading mechanism for increasing artists’ AHIRC – Every Artist Insured by 2014 campaign access to information and health care services, LINC approached The Actors Fund about a partnership that would further expand AHIRC‘s reach to artists across the country. With LINC’s support and the cooperation of leaders in LINC’s Creative Communities, The Actors Fund significantly expanded its connections to artists working in all disciplines. LINC funding enabled AHIRC to develop Through its work with LINC, The Actors Fund realized the value LINC City and Regional Guides, succinct and comprehensive of local partnerships. Its greatest successes in reaching artists booklets that help artists understand their health insurance options have occurred when it has partnered with local organizations and and direct them to local health care providers, including sliding- built upon local networks. The Center for Cultural Innovation in scale clinics, in their communities. The Actors Fund has produced California, Springboard for the Arts in Minneapolis, and Chicago and distributed 19 guides as well as the booklet “Every Artist Artists Resource—all LINC partners—are just a few of the local Insured,” which offers an explanation of the Patient Protection partners with which The Actors Fund collaborated. and Affordable Care Act and what it means for artists’ access to health care. In addition, The Actors Fund conducted workshops “What was most distinctive about our relationship with LINC as and other educational events in LINC’s Creative Communities, co- a funder and as a partner,” said Barbara Davis, Chief Operating sponsored by local arts organizations, and its Every Artist Insured Officer of The Actors Fund, “is that LINC not only supported our Tour provided seminars on the topics of getting and keeping health mission to have every artist insured, but made that mission part of insurance in more than twenty cities. its own and one of the goals of each of its Creative Communities.” 06 Case Studies ArtHome 07

Case Study: Experimentation, Refinement, Replication

Creative ArtHome Communities Program www.arthome.org ArtHome

Brooklyn, NY

ArtHome’s mission is to help artists build assets and equity through financial literacy, home ownership, self-sufficiency, and the responsible use of credit. After identifying existing asset-building programs with good data, scalable practices, and successful track “As our process and programs evolved, so did LINC’s support,” said records that are not currently serving artists, ArtHome works with ArtHome founder and Executive Director Esther Robinson. “The leaders in these systems to expand their reach to artist populations. initial planning grant let us test our theories. The implementation Areas of focus include homebuyer training programs, matching grant allowed us to solidify our New York pilot. The expansion grant savings programs, and peer lending systems. grant helped us build a network to replicate successes in other communities. The adaptable, responsive program design that LINC For example, in order to educate New York Mortgage Coalition encouraged has become an integral part of our process.” (NYMC) about the artist community, and to help artists understand the services offered by NYMC and related agencies, ArtHome produced a series of publications, including the Homebuyer Handbook, the Foreclosure Prevention Handbook, and Mortgage Qualification Strategies for Artists and Independent Workersin English, Spanish, and Chinese.

The success of ArtHome’s programs has triggered replication efforts in two LINC communities: ArtHome is now partnering with Springboard for the Arts in Minnesota and Community Partners for Arts and Culture in Cleveland to educate these sites regarding its approach. The Homebuyer Handbook is now available for artists in Minnesota. 08 Case Studies AXIS Dance Company 09

Case Study: Building Stronger Organizations by Investing in the Artist Workforce

Artography AXIS Dance Company Program

www.axisdance.org AXIS Dance Company

Oakland, CA

AXIS Dance Company is a contemporary repertory company During the grant period, AXIS experienced growth at home season whose mission is to create, support, and educate audiences performances, as well as increased national exposure. The home about physically integrated dance. Through a unique brand of season audience grew from 57% in 2009 to 80% in 2011. In 2012, collaborative processes in which dancers with and without physical the company’s touring schedule was so heavy that it curtailed its disabilities create and perform as peers, AXIS has created an home season. The demand for AXIS can be attributed, in part, to aesthetic that is distinctly its own. In addition to maintaining a robust company appearances on FOX TV’s So You Think You Can Dance, touring schedule, AXIS provides educational workshops in all of the which gave millions of people the chance to become familiar locations in which it performs. with AXIS, and gave AXIS the opportunity to further its mission to broaden perceptions of both dance and disability. Many viewers As part of the Artography cohort, AXIS was awarded operational wrote the company to say that watching the performance inspired support specifically to increase compensation for its dancers and them to pursue (or reconnect with) dance, regardless of their teaching artists. LINC resources allowed the dancers to receive physical abilities. Post-LINC, AXIS is well-positioned to continue a competitive part-time salary, group health insurance benefits, to grow its audience and touring schedule, and the company professional development and transportation reimbursement, and has residencies around the country planned through 2015. Its consistent opportunities to teach, perform, and tour with AXIS. By workshops in Oakland have attracted participants from across the increasing its compensation of artists, AXIS was able to increase its US, Canada, and Poland. program activity, which also expanded its network of relationships. In addition, as artists became better compensated by and more “We’ve learned that community engagement is not just the deeply engaged with AXIS, they were able to form deeper, more responsibility of one,” said Artistic Director Judith Smith, “but authentic relationships in the community and effectively become dancers and all employees can be involved in creating meaningful ambassadors of the company. and sustained relationships with our communities.” 10 Case Studies 11

LINC tried to take on an artist’s model of knowing; an artist’s way with information and exchange. As an organization concerned with individual artists, LINC sought a different way of framing questions—and actively recognized the skills of artists as they contribute and apply to worlds even outside the realms of art works.

—Grisha Coleman, LINC Artist Council 12 Case Studies Center for Cultural Innovation 13

Case Study Guiding Artists to Profitable Self-Employment

Creative Center for Cultural Innovation Communities Program (CCI)

www.cciarts.org

Los Angeles, CA

Center for Cultural Innovation (CCI) photo: Seth Joel Photography

Analysis of the 2000 Census by the Special Equal Employment Opportunity Tabulations and additional research by economist Center for Cultural Innovation (CCI) Ann Markusen indicated that California is home to nearly one-fifth photo: Seth Joel Photography of the nation’s entire artist population. The Center for Creative Communities (CCI) was founded in 2001 to help this large and diverse population of artists sustain their artistic work and lives, particularly in the three areas most densely populated by artists: LINC also enabled CCI to develop the Artists United for Health Los Angeles, the Bay Area, and San Diego. CCI focuses its Care website, an advocacy portal to increase artists’ information programs on three issues: entrepreneurial training, grantmaking about and participation in the state’s universal health care proposal, and convening, and research for and about artists. in 2008. This pilot project served as the inspiration and model for The Actors Fund’s national online advocacy platform. LINC support With LINC support, CCI created and formalized the Business of also allowed CCI to create the “Citizen Philanthropy Project,” an Art (BoA) entrepreneurial training program and published two online portal to support artists and social innovators working editions of the companion textbook, Business of Art: An Artist’s in communities. Guide to Profitable Self-Employment. The BoA workshops have reached more than 10,000 artists across California. This series is “We believe that the ultimate quality and vitality of cultural life now supplemented by a program providing customized, one-on- in California will depend on the strength of the full range of one counseling to artists to follow basic entrepreneurial training. artistic voices and expressions,” said CCI President and CEO Based on the success of these programs, CCI is considering online Cora Mirikitani. “LINC’s support between 2004 and 2012 was delivery mechanisms and partnerships with academic institutions to instrumental in helping the development of a young organization extend its reach. with big ambitions.” 14 Case Studies Chicago Artists Resource 15

Case Study Data Resources For Artists, By Artists

Creative Chicago Artists Resource Communities Program (CAR)

www.chicagoartistsresource.org

Chicago Artists Resource (CAR) photo: Cage & Aquarium

Chicago, IL The Investing in Creativity report called attention to the need In 2012, the CAR website was transferred to the Chicago Artists for better information and data resources for and about artists. Coalition (CAC), an arts service organization that has been The Chicago Department of Cultural Affairs used LINC support serving individual artists since 1974. The transfer of ownership to create the Chicago Artists Resource (CAR) website. With a tag and administration was an exciting development, as it allows line reading “For artists by artists,” CAR provides an artist-curated CAR to operate with the nimbleness and flexibility of a dynamic directory of resources, links to local and national organizations, technology project. articles by national leaders in artist professional development, and the viewpoints, images, artwork, and experiences of Chicago artists. A pioneer in aggregating such resources for artists online, CAR offers comprehensive information about professional services, consultants, facilities, and fabricators; articles on health care and other arts issues; and an online guide for artists and arts organizations interested in buying and leasing space in Chicago.

CAR has developed into a comprehensive site, featuring more than 4,000 links and 4,000 community-contributed posts. Traffic is robust—76,000 visitors use CAR more than 200 times a year. A LINC Sustainability Grant enabled CAR to explore the potential for syndication, offering localized versions of the site’s infrastructure, content, expertise, and best practices to other regions. CAR’s approach to syndication was a bottom-up network of Artist Resource (AR) sites driven by local content, local needs, and local organizations and personnel, but with a national identity and

centralized technical structure that can be customized to fit the Chicago Artists Resource (CAR) needs of a given community. photo: Cage & Aquarium 16 Case Studies City Lore 17

Case Study Grassroots Partnering to Preserve Cultural Heritage

Artography City Lore Program

www.citylore.org

New York, NY

City Lore documents, presents, and advocates for grassroots often little-known communities of poets and musicians. In each cultures in New York City through four programs: urban folklore location, a local “poetry ambassador” is cultivated to co-curate the and history, cultural preservation, arts education, and grassroots program, fostering organic partnerships with the city’s ethnic and poetry traditions. In a city whose residents represent nationalities new immigrant communities. from around the globe, City Lore stands at the epicenter of the nation’s rapidly changing cultural demographics. In addition to “Partnering with LINC gave City Lore the stability it needed to outdoor exhibits, publications, online resources, and educational do its most creative, cutting-edge work,” said Executive Director services, City Lore’s programs include open-air multilingual Steve Zeitlin. That cutting-edge work is seen in the full integration poetry performances and collaborations with other New York of cultural heritage and community building. As Dr. William organizations including Urban Word, a LINC partner. Westerman, ethnographer for LINC’s Artography program, wrote, “It’s hard to understand what City Lore does in terms of art-making With support from LINC, City Lore invested in stabilizing their without first understanding how folklorists think of the concept operations and developing each of its program areas, producing of art. It is as if in Western society what is seen as the arts is more innovative work and reaching larger audiences. With the help equivalent to the visible light in the spectrum, whereas folklorists of major investments from LINC and The Rockefeller Foundation’s see the art across the whole spectrum, from ultraviolet to infrared. Cultural Innovation Fund, City Lore created the POEMobile, an That full range of creative expression is what concerns the mission innovative open-air poetry projection system and mobile stage that of City Lore, and it includes history and memory, language and projects poems in many languages on walls and buildings across religion, food and gardens, lace and place.” the city in tandem with live readings. Conceived as an “open source library” of poetic diversity and a traveling cinema of words, the POEMobile is both an exciting live experience and part of a lasting effort to inscribe and disseminate the works of diverse and 18 Case Studies 19

We as a field are challenged by the degree to which the demographic makeup of this country is changing before our very eyes. Certainly that means something about what the body of artists looks like and where they practice, the communities in which they practice, and how they get work done. And yet too many of us are funding as we did in the last century.

—Sam Miller, LINC (2005–2013) 20 Case Studies Community Partnership for Arts and Culture 21

Case Study Artists as Community Investors

Creative Community Partnership for Communities Program Arts and Culture (CPAC) Community Partnership for Arts and Culture (CPAC)

www.cultureforward.org

LINC support also enabled CPAC to develop the Creative Cleveland, OH Workforce Fellowship, which it funded with public support through Cuyahoga Arts & Culture. This program provides $20,000 For fifteen years, the Community Partnership for Arts and Culture unrestricted fellowships to 20 artists each year; each recipient (CPAC) has been working to strengthen and unify Cleveland’s arts also receives a COSE Arts Network membership and a tuition and culture sector. An unusual consortium of cultural organizations, waiver for the AEI course. CPAC also organized four “From Rust funders, business and political leaders, and other allies, CPAC Belt to Artist Belt” conferences, reaching more than 600 artists conducts research, pilots new approaches for boosting the cultural and other professionals involved in community development in sector, and advocates for resources, policies, and practices that the Midwest. Building on the lessons of these conferences and will integrate the arts and artists into the fabric of Cleveland-area using its final funding from LINC, CPAC piloted a program of home communities. ownership in one of Cleveland’s re-developing neighborhoods. In collaboration with the Northeast Shores Development Corporation Cleveland was one of the cities included in the Investing in (the community development corporation for North Collinwood), Creativity study, and CPAC was an energetic partner throughout NoteWorthy Federal Credit Union, and other partners, CPAC LINC’s life. With LINC’s support, CPAC focused on building developed a loan pool to help artists purchase or repair dwellings artists’ business capacities through two initiatives: the Artist in the neighborhood. CPAC’s Artists in Neighborhood grant as an Entrepreneur Institute (AEI), and the Council of Smaller program, also supported by LINC, incentivizes community-based Enterprises (COSE) Arts Network. AEI is an artist-focused course arts projects in the same area of the city—nearly 20 so far. that helps artists with all aspects of business operations, including: marketing, branding, raising capital, managing intellectual capital, “LINC funding allowed us to be more inventive in each of our artist- bookkeeping, and accounting. After successfully piloting AEI, CPAC based programs,” said Tom Schorgl, President and CEO of CPAC. worked with its local small business association to integrate it “LINC’s support of research, investments in pilot programs and the into COSE’s offerings, while simultaneously encouraging COSE to development of productive partnerships helped improve CPAC’s include artists as members and expand other services for the artist artist initiatives. Every project led to another opportunity, and LINC’s population. AEI was the first program of its kind in the Midwest, and flexible venture money allowed CPAC to act on each one.” it has since been adopted in Florida by Broward County’s Cultural Division and in Charlotte, NC by the Arts & Science Council. 22 Case Studies Dance Place 23

Case Study Building Spaces, Invigorating Places

Space for Change Dance Place Program

www.danceplace.org Dance Place – (Dakshina/Daniel Phoenix Singh Dance Company) photo: Enoch Chan

Washington, DC

Dance Place is both a pipeline to the national stage for emerging dancers and choreographers and a neighborhood hub for community-based education and youth development. The Dance Place – (Dakshina/Daniel Phoenix center is open nearly every day of the year, and delivers a range Singh Dance Company) of programming to more than 750 people—audiences, dance photo: Enoch Chan professionals, and students— each week. Once a year, the organization transforms its street into a continent of cultures as DC’s home for Dance Africa. In 2012, Dance Place expanded its street presence to include hands-on outdoor art activities through the District’s Temporium project (a product of the National Endowment for the Arts’ Our Town program). Dance Place has helped nurture an impressive roster of professional alumni and graduates, many of Dance Place – (Dakshina/Daniel Phoenix Singh Dance Company) whom return as faculty members and/or parents of new students. It Support from LINC allowed Dance Place to invest in thorough photo: Steven Baranovics has also been an engine of economic and community investment planning to renovate and expand its facilities, and in so doing, for the Brookland neighborhood of Washington, DC. to reinforce its position as a driving force in Brookland’s next chapter and the neighborhood’s future as a home to artists. Dance Place’s commitment to permanent investments in artist The latter was evidenced by a recent commitment by Artspace space is grounded in its own history. Understanding that its mission Projects, a major national developer (and LINC partner), to create to transform lives through performing arts and creative education affordable live/work artist units adjacent to the Dance Place facility. programs required firmly planted roots, when Dance Place was Dance Place has helped transform what was once considered an displaced from the gentrifying Adams Morgan section of DC in undesirable neighborhood into a destination for artists and other 1986, the organization’s founding leadership quickly moved to creative people, with a wide array of dynamic art programs, both acquire a permanent facility and purchased their Brookland facilities homegrown and world-class. 24 Case Studies East Bay Community Foundation and San Francisco Foundation 25

Case Study R&D for Artists – Research, Develop, Implement, Improve

East Bay Community Foundation – (Puja Santi Dancers) photo: Sara Gambina Belknap Creative East Bay Community Foundation Communities With LINC’s early investment, San Francisco and East Bay were Program and San Francisco Foundation able to attract funding from the Hewlett, James Irvine, Surdna and Wattis Foundations and individual donors, and distributed (EBCF) close to $700,000 in grants for new work by more than 180 artists between 2005 and 2010. The matching component triggered www.ebcf.org / www.sff.org more than $730,000 in donations from over 3,100 individual donors, with contributions ranging from two dollars to $10,000. San Francisco, CA Many of these donors had never before given to an artist’s project, Research from the Investing in Creativity study and Joan Jeffri’s and some formed long-lasting relationships with the artists they Information on Bay Area Artists III (2004) report revealed that there funded. To disseminate the lessons from this initiative, the partners were fewer grant programs for artists in the Bay Area than in many commissioned a psychographic study of donors, by WolfBrown cities with far smaller artist populations. The research also showed and Helicon Collaborative, which provides useful information on that despite high levels of education, more than 60% of Bay Area the motivations of donors and effective strategies for attracting artists earned less than $7,000 from their art annually. Leaders at individual donors to artists’ projects. four regional community foundations (in San Francisco, the East Bay, Marin County, and the Peninsula) used this information to spur Not only did the program help artists help themselves, it influenced new strategies to increase support for artists in creating new work funders’ thinking. One of the initial investors, the James Irvine and attracting new donors. With planning and early implementation Foundation, used the Fund for Artists’ concepts in its Communities funds from LINC, these foundations created the East Bay Fund for Advancing the Arts program, which invested in 13 communities Artists, a multi-faceted program of grants, technical assistance, to build the capacity of local arts organizations and connect new research, and donor education. donors to arts opportunities. That program garnered $23 million in new funds at the community foundations, stimulated $5 million in The central feature of the Fund for Artists was its Matching new grants, and inspired 121 new philanthropists to support the arts. Commissions program, developed by the San Francisco Foundation and the East Bay Community Foundation to support the creation of new artwork by local artists and expand the pool of individual donors engaged with artists and their work. As John Killacky, a Program Officer at the San Francisco Foundation at the time, said, “Artists have difficulty raising funds they can use to create new work and more grants and contributions for this are needed. We could see that future growth in giving is going to come from individual donations, not foundation or corporate support. So East Bay Community Foundation – (Nina Erlina) we thought, why not try to help artists help themselves?” photo: Dan Clurman 26 Case Studies First Peoples Fund 27

Case Study Artists as the Shapers & Carriers of Cultural Values

Creative First Peoples Fund First Peoples Fund Communities Program www.firstpeoplesfund.org

First Peoples Fund

With LINC’s support, the Fund developed a set of awards that use direct support to validate cultural transmission and reinforce it with Rapid City, SD professional training and market development. FPF supports artists Since 1995, First Peoples Fund has worked to honor and support through all stages of entrepreneurial development, from micro- creative, community-centered First Peoples artists, and to nurture entrepreneurship to small business development and beyond. the collective spirit that allows them to sustain their peoples. More than 100 Native artists have been recognized through FPF’s Located in Rapid City, South Dakota, FPF focuses primarily on tribal Community Spirit, Cultural Capital, and Artist in Business communities in the Great Plains, but also collaborates strategically Leadership Awards. with other tribal nations and partners across the country. In its work with LINC, FPF focused on the domains of demand/ First Peoples Fund also provides coaching to tribal community markets and training/professional development to achieve its development organizations that work with emerging artists, goal of cultural preservation and transmission. In the words of encouraging the development of loan funds, training in financial FPF’s founder and director, Lori Pourier, “Building knowledge, literacy, and other technical assistance programs. In its work with respect, and demand for the artistic work of Native people ensures artists and its assistance to other organizations serving Native that ancient civilizations and diverse cultures are remembered, communities, First Peoples Fund nurtures artists and art and culture honored, and given the power to continue on to the future.” as engines for economic empowerment and sustainability, central to the process of strengthening tribal nations. It also ensures that the traditional place of the arts and artists in Indian culture is activated to help Native communities thrive. “In “LINC took a leadership role in recognizing the significance of American Indian communities, art is at the heart of household Native artists and their potential in transforming tribal communities economic life, at the heart of community mobilization, and at aesthetically, socially, and economically,” said Pourier. “The the heart of cultural revitalization and self-determination,” said leadership qualities of artists as professional culture bearers Pourier. “Native artists play a critical role not only in the direct … emerged more clearly for FPF through LINC meetings and production and sale of art, but in the construction of effective, connections provided by the LINC network. Networking with culturally appropriate, social networks for community and economic communities outside of Indian Country through LINC’s convenings development.” FPF works to overcome common misperceptions helped us appreciate the real differences in experiences of our that have excluded artists from having a voice in the work being artists, and the form that technical assistance and support must done within Indian communities. take in our communities.“ 28 Case Studies 29

Believing that artists are at the brink of finding ways to address community challenges requires trust. The philanthropic community has to try to keep up with artists’ innovation and make decisions that enable the new approaches to be part of the criteria guiding their portfolios.

—Theaster Gates, LINC Artist Council 30 Case Studies International Sonoran Desert Alliance 31

Case Study Artists as Drivers of Community & Economic Development

Space for Change International Sonoran Program Desert Alliance (ISDA)

www.isdanet.org

Ajo, AZ

The International Sonoran Desert Alliance (ISDA) was formed in 1993 by members of the Tohono O’odham Nation and residents of Sonora, Mexico and Ajo, Arizona. Ajo is a small town in the heart of the Sonoran Desert—10,000 square miles of the hottest, most fragile desert ecosystem in North America. ISDA’s mission is an uncommon blend of concern for community, culture, and environment. It is rooted in the belief that environmental conservation and preservation can—and should—coincide with a community’s economic sustainability.

In the words of Executive Director Tracy Taft, “We started out as an environmental organization, then became a community development organization, then took the arts and the creative energy of the arts as our primary tool for community and economic development, and became an arts organization. But we are an arts organization that is thoroughly wrapped up and committed to community development, economic development, and social development.”

In 2009, ISDA received the MetLife Foundation Innovative Space Awards grand prize in recognition of the outstanding model provided by its Curley School. A site of significant local history that was an abandoned school, the Curley School has now been transformed into affordable live/work spaces for 30 artisans, artists, International Sonoran Desert Alliance (ISDA) – Hia C-ed O’odham leader Lorraine Marquez Eiler and creative home businesses. This 7.5-acre, eight-building campus photo: Jewel Clearwater 32 Case Studies International Sonoran Desert Alliance 33

International Sonoran Desert Alliance (ISDA) – (Ajo Memory Project) photo: Jewel Clearwater International Sonoran Desert Alliance (ISDA) – (Lorraine Marquez Eiler) photo: Jewel Clearwater

includes an auditorium with an indoor/outdoor stage, a retail gallery, a business incubator, and work, classroom, and collaboration spaces. It was the biggest economic development project ISDA had ever undertaken. Working with regional and national partners, the organization secured Low Income Housing Tax Credits that allowed ISDA to attract artistic talent to the town and create new economic opportunities for local residents. The redevelopment of the campus also catalyzed new investment in the area overall and raised property values for surrounding homeowners.

One of the distinguishing features that earned ISDA the top Innovative Space Award was its extensive and effective community organizing practices. Ajo is a former copper mining town whose “We’re using the arts as the catalyst for economy was hit hard when the mine closed in the mid-1980s. local economic development and historic During planning for the Curley School project, ISDA engaged its preservation,” said Taft. “By sponsoring programs surrounding community through a series of meetings to discover that share and promote traditional O’odham if the project had full support and would address local concerns. practices and Mexican cultural crafts, we’re Of the 400 people who attended the final community meeting to upending the old social order in Ajo, which was approve the project, only four voted against it. This extraordinary originally built as three separate and segregated consensus can be attributed to the transparency with which ISDA mining towns. And at Curley, people are living communicated its vision, solicited community members’ input, and together and working together across cultures responded to questions and concerns about the project and/or and across generations, creating social change International Sonoran Desert Alliance (ISDA) – (Ajo Memory Project) community needs. through the arts.” photo: Jewel Clearwater 34 Case Studies Los Cenzontles Mexican Arts Center 35

Case Study Addressing American Demographic Shifts In & Through The Arts

Artography Los Cenzontles Mexican SPACE FOR CHANGE Arts Center (LCMAC) PROGRAM www.loscenzontles.org

Los Cenzontles Mexican Arts Center

San Pablo, CA

Los Cenzontles Mexican Arts Center, based in San Pablo, CA, is a band, a nonprofit organization, a music academy, a community Los Cenzontles Mexican Arts Center space for youth and families, and a hub for Latino artists–all of which work in tandem to amplify the community’s Mexican roots in the Bay Area and beyond. Founded in the 1990s by local artists responding to the needs of Latino youth, Los Cenzontles uses art, centers, and representative of politically marginalized cultures music, dance, and culture to foster ethnic pride and identity and and communities,” said Eugene Rodriguez, Executive Director of build the local economy. Los Cenzontles is a leader in the Mexican Los Cenzontles. “Yet these overlooked programs often are the roots revival, bringing that heritage alive for new generations. ones actively responding to their audience’s interests and needs. Community arts organizations are institutions that are multi-faceted Through the Artography program, Los Cenzontles was able and holistic, a kind of second home for many families, serving both to strengthen its program offerings, expand its community the community and the art. If we want to make real lasting change, relationships, and conduct planning to fortify its hybrid nonprofit we need to support organic expressions of art in neighborhoods model, which generates revenue through both philanthropic and like ours.” commercial strategies. By growing its philanthropic donor bases and its partnerships with popular musicians simultaneously, the Los Cenzontles serves as a zocalo—a center for community organization has made headway in securing its long-term future. gatherings—and is expanding its facility in response to the growth of its program and its community. Support from LINC allowed the “For too long, mainstream funders have only considered group to think strategically about the best way to pursue facility classical or jazz as art. There have been cultural and genre updates. This investment in careful planning has positioned the biases against organizations that, like Los Cenzontles, act at organization to enter a new phase of development—both in terms the intersection of local communities, outside metropolitan of its capital project and the organization’s future. 36 Case Studies Maine Indian Basketmakers Alliance 37

Case Study Stepping Back to Step Forward

Artography Maine Indian Basketmakers Program Alliance (MIBA)

www.maineindianbaskets.org

Maine Indian Basketmakers Alliance (MIBA) – weaver Ganessa Bryant Old Town, ME

New partnerships have been critical to this period of renewed activity and organizational development. In collaboration with The Maine Indian Basketmakers Alliance (MIBA) is an arts service the University of Maine, MIBA was able to sustain community organization focused on preserving and documenting the ancient basketry workshops on all four of the tribal reservations, and tradition of ash and sweet grass basketmaking among the Maliseet, offered artist-in-residence and demonstration programs at the Micmac, Passamaquoddy, and Penobscot Native American tribes Hudson Museum. MIBA has worked closely with First Peoples Maine Indian Basketmakers Alliance of Maine. In addition to craft and award programs, MIBA focuses Fund (a fellow LINC grantee) and the Four Directions Development (MIBA) – weaver Eric Otter Bacon on sustaining the tradition through expansion of the commercial Corporation (FDDC, an inter-tribal community development financial market for baskets, stewardship of the natural supply of basket institution), to create professional development workshops for materials, and active outreach, education, and apprenticeship the next generation of basketmakers, including arts marketing opportunities for younger members of the tribes. and professional development trainings for new entrepreneurs. Currently, MIBA is collaborating with FDDC to develop a branding LINC partnered with MIBA during a period of significant shift in the strategy for a virtual marketplace and a new online Artists Directory. latter’s organizational infrastructure. At the start of the relationship, MIBA also collaborates with the Abbe Museum, the Hudson MIBA had been forced to close its seven-year-old gallery, unable to Museum, and the University of Maine on an Ash Task Force to sustain it during the national recession and subsequent decrease preserve the endangered ash tree from which the traditional in tourism. With funding from LINC over a period of eight years, baskets are woven. and by developing relationships with partners in LINC’s learning community, MIBA refocused its efforts on building infrastructure, “MIBA deeply appreciates the capacity-building and sustainability developing artist support and professional development programs, funds provided by LINC over the past few years, at a time when and expanding to new live and online markets. One clear measure the organization and its artists were in great need of validation of their progress: in 1993, there were 55 founding members with an and support,” said Executive Director Theresa Secord. “Artistically, average age of 63, but through the efforts of MIBA’s newly formed programmatically, and organizationally, MIBA was able to move inter-generational apprenticeship program, its membership now forward in strong collaborations so future success and stability numbers over 200, with an average age of 40. is now ensured.” 38 Case Studies 39

LINC has really pulled the field of artist spaces together in a lot of ways. They’ve given this field a name and created a kind of quasi-trade association for and with us.

—Henry Reese, City of Asylum/Pittsburgh 40 Case Studies Massachusetts Cultural Council 41

Case Study Expanding Spaces for Artists to Live and Work

Creative Massachusetts Cultural Council Communities Program (MCC)

www.massculturalcouncil.org / www.artistlink.org

Boston, MA Planning and implementation grants from LINC allowed Creative Communities partner Massachusetts Cultural Council (MCC), a state agency, to organize and launch the ArtistLink program to provide artists with affordable, stable facilities in which to live and work. The groundwork was laid for this initiative by early research commissioned by MCC and its local partners. Creating Artist Space: Report to the Boston LINC Working Group (2003) outlined key principles in developing artists space, and Creating Artist state. ArtistLink also offered a program of pre-development loans Space: Resources for Artists, City Officials and Developers (2004) to artists that recognized the importance of planning to the success offered a comprehensive guide for action. With this research of any project. LINC itself learned much from the Massachusetts base, ArtistLink focused on three issues key to the development model and incorporated planning grants and online information of artist space: the artists’ needs, public officials’ concerns about resources in its national Space for Change program. community development and revitalization, and developers’ interest in creating financially feasible and sustainable projects that In the last phase of its work with LINC, ArtistLink supported a enhance property values. challenge grant program for municipalities, which encouraged cities and towns to integrate artist space planning into city-wide Since its launch in 2005, the program has facilitated the creation economic development activities. It also launched a grants and of 83 artist space projects in 42 Massachusetts communities, with technical assistance program to help artists’ spaces assess future a total of 645 new units of live/work or studio space for artists. capital needs—including green building enhancements, safety, This impressive track record was the result of a comprehensive accessibility, and the integration of new technologies. Reviewing approach that included free technical assistance services related a community development plan for Gloucester, MA that calls for to design studies, ownership models, building code compliance, artists to help bring activity to the commercial downtown, Cultural financing strategies, and related themes; web-based services that Facilities Fund Program Director Jay Paget said, “Ten years later, provided tools for artists, municipalities, and developers; and an we have the perfect convergence of artists, knowledge, political up-to-date, searchable database of available artist spaces in the will, and available property.” 42 Case Studies Montana Arts Council 43

Case Study Developing Market Opportunities

Creative Montana Arts Council (MAC) Communities Program www.art.mt.gov

Helena, MT Montana Arts Council

The Montana Arts Council (MAC) is the state agency that was To extend the impact of this program, MAC also supports a coach established to develop the creative potential of people and training program that equips the certified artists to train other artists communities across Montana, and to advance education, economic across the state. These regional networks diminish the isolation vibrancy, and community revitalization through the arts. MAC used that many rural artists find a challenge to both their creative work LINC support to develop and expand its Artists to Market program, and market success. With LINC’s support, the Artists to Market a three-part course designed to help visual and craft artists in rural program has reached more than 100 artists and enabled them to and Native American communities increase their earned income. develop sustainable businesses. Supporting visual, crafts, and textile artists, this comprehensive initiative was one of few arts- The Montana Artrepreneur Program (MAP) has provided 40 hours based programs to attract support from the US Department of of training for cohorts of up to 20 artists in regions throughout the Agriculture’s Rural Community Development Initiative. state. Program participants develop a market-ready portfolio by completing an “Artrepreneur’s Toolbox,” resulting in a portfolio and LINC’s support gave MAC ”the flexibility and endorsement to e-portfolio, business plan, résumé, and other professional materials. change and adjust to rural needs and demands and support small Each participant’s marketing portfolio is reviewed by a jury, which clusters of creative people to effect change—this lies at the core of qualifies him or her for “market-ready” certification. The artists who our success,” said Cinda Holt, Business Development Specialist at achieve this certification are then provided with a set of market MAC. “This rich environment of learning and validation will continue opportunities, including trips to out-of-state markets and galleries, to feed our artists and our agency.” mentorships, and other business connections. 44 Case Studies PA‘I Foundation 45

Case Study Tradition, Social Justice, and Arts & Culture

Artography PA‘I Foundation Program

www.paifoundation.org

PA‘I Foundation Honolulu, HI

PA‘I Foundation — Wearable Arts Fashion Show photo: Maile Andrade

The PA‘I Foundation, based in Honolulu, Hawaii, is a halau–an “LINC’s support propelled this little halau into a national discussion academy for teaching traditional Hawaiian dance. Created in the of indigenous artwork and indigenous nonprofit organizations,” 1980s by kumu hula (master dancer) Vicky Holt Takamine, PA‘I said Vicky Takamine. “Not many funders look to legitimize halau advocates for traditional Hawaiian arts in Hawaii and abroad. or recognize the social work and the social justice work that are part of our legacy in this community. LINC recognized that our For nearly three decades, PA‘I offered its programs in a variety community engagement and activism is not limited to the activities of temporary and unreliable spaces, including a school cafeteria. of the halau, but extends to other forms and concerns of cultural Dancers had to move furniture both before and after class, and and political expression in the greater native Hawaiian community. PA‘I’s workshops and rehearsals were often suspended when We are focused on tradition, social justice, and arts and culture. schools needed their space for other uses. With LINC support, And we are not alone. There needs to be more funding to support PA‘I was able to expand its programming, launch a website, and this work—ours, and others like us.” publicize its activities. Through an alliance with fellow LINC grantee First Peoples Fund, PA‘I artists received business training, and LINC connections also resulted in touring engagements for PA‘I in New York City and other locations. All these efforts strengthened PA‘I Foundation’s organizational and financial base, which allowed it to open a dedicated interim studio in 2011, and to plan for a permanent home scheduled to open in 2015. 46 Case Studies 47

LINC was one of our angel investors. They knew what we needed before I really understood how much we needed it. They were early adopters of the idea that spaces are hubs for change. They gave us the feeling of having a partner in it all.

—Edgar Arceneaux, Watts House Project 48 Case Studies Rebuild Foundation 49

Case Study Risk-Funding to Propel Growth

SPACE FOR R ebuild Foundation CHANGE

www.rebuild-foundation.org

Chicago, IL Chicago-based Rebuild Foundation activates creative community “LINC took bigger risks and offered deeper support to fewer resources to build vibrant neighborhoods, and catalyzes local organizations than a typical funder,” said Gates. “It offered a economies by incubating small businesses, spurring creative particularly helpful framework around emerging practices related architectural rehabilitation, and organizing programs that engage to creativity. And being a sun-setting nonprofit was a brilliant idea. neighborhood residents in the arts. Rebuild was founded by Focus ambition relative to time.” Theaster Gates, himself an artist, to extend the community-building work he had been doing as part of his artistic practice. “The artist is an anomaly in the urban sphere,” said Gates. “We are sometimes doing work that’s complementary to, and sometimes counter to, the traditional forms of space reallocations, space reinvestment, and space development. But the artist is key to the arsenal of reinvestment in poor places.”

Support from LINC enabled the Rebuild Foundation to strengthen its operating capacity in Chicago and expand to new projects in Detroit, Omaha, and St. Louis. In each site, Rebuild enlists a team of artists, architects, developers, educators, and community activists to work together to integrate arts programs, apprenticeship training, and entrepreneurial projects into community-driven placemaking and neighborhood revitalization. LINC support enabled Rebuild to hire additional staff, formalize internal systems, and professionalize communications—while expanding its corps of volunteers in each of its project sites at the same time. All of this elevated Rebuild Foundation’s national visibility and brought added attention to its innovative model of artist-led and culture-based community redevelopment. 50 Case Studies Springboard for the Arts 51

Case Study Healthy Artists and Healthy Communities

Health Insurance Springboard for the Arts Initiative

www.springboardforthearts.org

St. Paul, MN For twenty years, Minnesota-based Springboard for the Arts has offered professional development assistance and other resources to artists. In 2007, Springboard and Minnesota Citizens for the Arts conducted a statewide study of individual artists, Artists Count. Among other results, the survey revealed that artists in Minnesota are twice as likely to lack health insurance as the average citizen (15% versus 7.5%). This finding heightened Springboard’s interest in addressing health care issues for artists. The organization quickly realized that it could not reinvent the system of health care for artists in the state, but it could connect artists to a variety of existing services that they had not been fully utilizing.

With LINC support, Springboard organized an ongoing series of Artists’ Health Fairs to explain resources available in the state, and established a partnership with the Neighborhood Involvement Program to create a voucher plan offsetting artist-patients’ costs at participating medical and dental clinics. In addition, Springboard developed guides to health care and health insurance in Minnesota as well as Iowa, North Dakota, South Dakota, and Wisconsin. Springboard also established an emergency relief fund to help artists with emergency medical bills. Since 2007, over 4,000 artists and their families have used the services of Springboard’s Artists’ Access to Health Care initiative. The program has become Springboard for the Arts – Community Supported Art (CSA) project an inspiring model for other service organizations interested in photo: Scott Streble increasing artists’ access to health care and health insurance, and organizations around the country are using Springboard’s Replication Toolkit to improve services to artists in their regions. 52 Case Studies 53

LINC’s trust in our evolving process was itself a form of capital – an especially useful one for a small organization in a challenging economic moment. It is a capital that can be invested even when dollars are in short supply but it is the form of capital that large foundations are least likely to advance. Witnessing LINC’s trust in our process, our partners redoubled their commitment. Witnessing our partners’ buy-in, potential future partners were encouraged to come on board. It’s a virtuous cycle.

—Esther Robinson, ArtHome 54 Case Studies Board / Artist Council / Staff 55

Board /

Artist Council / LINC Board of Directors LINC Staff Staff Current Current

Samuel A. Miller, President Candace Jackson, Managing Director Theodore R. Aronson, Treasurer William Bryant Miles, Operations Coordinator Angie Kim Taya Mueller, Program Manager LINC was staffed by a small group of energetic and dedicated John Plukas Shin Otake, Program Assistant people who contributed their experiences as artists, producers, Samina Quraeshi Risë Wilson, Program Director presenters, funders, and program planners to the LINC experience. Lisa Versaci Their combination of entrepreneurial and inventive talents and Past practiced management and financial skills were essential to LINC’s dynamic and flexible approach, its commitment to the core values Past Ryan Breaux of inclusiveness and collaboration, and its ability to stretch its all its Liz Lerman Robert Carabay resources—human and financial. Cynthia Mayeda Josephine Chuang Donald R. Melville Crista Farrell The members of LINC’s Board of Directors served as steady and Sandra R. Smith Karen Garrett thoughtful guides throughout LINC’s arc of work, appropriately Toni Hsu supporting or challenging staff to reach LINC’s potential. Their belief Jane Jung in the power of the LINC idea was constant, and they contributed in Samuel A. Miller innumerable ways to the success of the venture as a whole. Namorya Nelson LINC Artist Council Linda Park-Luppi Parita Patel Nicholas Pelzer Judilee Reed Current Jacquelin Sibblies Paul Bonin-Rodriguez Holly Sidford Grisha Coleman Edwin Torres Theaster Gates Liz Lerman

Past

Hirokazu Kosaka Favianna Rodriguez Molly Davies Sekou Sundiata 56 Case Studies Grantee & Partner Appendix 57

AR — Artography Program Grantee & Partner CACP — Contemporary Art Center Program CC — Creative Communities Program Appendix HI — Health Insurance Initiative

RS — Research SFC — Space for Change Program SPO — Special Opportunity

SFC 651 ARTS Brooklyn, NY The mission of 651 ARTS is to deepen awareness of and appreciation for the contemporary performing arts and culture of the African Diaspora and to provide professional and creative opportunities for performing artists of African descent.

HI The Actors Fund New York, NY The Actors Fund is a national human services organization that helps professionals in the performing arts and entertainment fields by providing programs and services for those in need, in crisis, or transition. In 1998, The Actors Fund created the Artists Health Insurance Resource Center (AHIRC) and website in response to its constituents’ growing need for access to affordable health care.

CC Alaska Native Arts Foundation Anchorage, AK Established in 2002 by a group of artists and leaders, Alaska Native Arts Foundation (ANAF) was (ANAF) created to improve the economic well-being of Alaska Native artists, invigorate education and training of the next generation of Alaska Native artists, increase global awareness of Alaska Native cultures, create opportunities to inform about the diverse cultural expressions of Alaska’s indigenous peoples, and to stimulate demand for and establish fair market pricing for works of art by Alaska Native people.

SPO Alternate ROOTS Atlanta, GA Alternate ROOTS is an organization based in the Southern US whose mission is to support the creation and presentation of original art, in all its forms, that is rooted in a particular community of place, tradition, or spirit. As a coalition of cultural workers we strive to be allies in the elimination of all forms of oppression. ROOTS is committed to social and economic justice and the protection of the natural world and addresses these concerns through its programs and services.

AR Amrita Performing Arts Rancho Cordova, CA Amrita Performing Arts is an international NGO based in Phnom Penh, Cambodia, with US nonprofit status and a mission to help revive the wide spectrum of Cambodia’s traditional performing arts and pursuits in contemporary dance and theater. Amrita Performing Arts has recently joined forces with Cambodian Living Arts (CLA) to enter into an administrative collaboration. This sharing of resources will provide a cost-effective means for Amrita to continue to develop its current programs while sharing its expertise in production management with CLA. 58 Case Studies Grantee & Partner Appendix 59

AR Ananya Dance Theatre Minneapolis, MN Artistic director Ananya Chatterjea founded Ananya Dance Theatre (ADT) in 1996 after witnessing (ADT) political theater as a form of consciousness-raising in communities of color. Using the Indian classical- dance form Odissi as her choreographic starting point, Chatterjea innovated a style that articulates social critique while advancing artistic excellence. Her original choreographic model for practice and performance transforms the company’s factual research, storytelling, and creative activities into metaphor and powerful movement.

AR Appalshop Whitesburg, KY Appalshop is a nonprofit multi-disciplinary arts and education center in the heart of Appalachia producing original films, video, theater, music and spoken-word recordings, radio, photography, multimedia, and books. Appalshop is dedicated to the proposition that the world is immeasurably enriched when local cultures garner the resources, including new technologies, to tell their own stories and to listen to the unique stories of others.

AR Arab American National Museum Dearborn, MI The Arab American National Museum (AANM) is the first and only museum in the United States (AANM) devoted to Arab American history and culture. AANM is committed to dispelling misconceptions about Arab Americans and other minorities by bringing their voices and faces to mainstream audiences.

CC ArtHome Brooklyn, NY ArtHome’s mission is to help artists build assets and equity through financial literacy, home ownership, self-sufficiency, and the responsible use of credit. After identifying existing asset-building programs with good data, scalable practices, and successful track records that are not currently serving artists, ArtHome works with leaders in these systems to expand their reach to artist populations. Areas of focus include homebuyer training programs, matching grant savings programs, and peer lending systems.

CC Artist Trust Seattle, WA Artist Trust is a non-profit organization whose sole mission is to support and encourage individual artists working in all disciplines in order to enrich community life throughout Washington State. Artist Trust raises funds from an array of sources in order to give financial grants to individual artists, serve as a professional information resource for artists, and provide recognition and support for the contributions artists make to the lives of the people of Washington State.

SFC Artists for Humanity Boston, MA Artists For Humanity (AFH) partners Boston teens with professional artists/designers to design, create (AFH) and sell art products. In the process, young artists develop entrepreneurial skills, and introduce audiences to their voice, vision and virtuosity. AFH apprentices have produced fine art and creative products for Boston’s largest firms and organizations.

CC Artists U Philadelphia, PA The mission of Artists U is to provide individual performing artists with planning and professional development programs that are comprehensive, local, long-term, and artist-run. Artists U seeks to empower artists to leverage their talents and accomplishments toward individual goals and visions.

CC Arts Council of Metropolitan Kansas City, MO The Arts Council’s mission is to advance and support the arts to benefit the Kansas City region. This is Kansas City (ArtsKC) accomplished by focusing on three strategies: increase funding for the arts and cultural initiatives from diversified and sustainable sources; increase awareness of the arts and culture and their impact on quality-of-life issues in the community; and establish the arts as integral to economic development and other key civic and business initiatives. 60 Case Studies Grantee & Partner Appendix 61

RS Artspace Projects Minneapolis, MN Established in 1979 to serve as an advocate for artists’ space needs, Artspace effectively fulfilled that mission for nearly a decade. By the late 1980s, however, it was clear that the problem required a more proactive approach, and Artspace made the leap from advocate to developer. Artspace is now a national leader in the field of developing affordable space that meets the needs of artists through the adaptive reuse of historic buildings and new construction.

SPO Ashé Cultural Arts Center New Orleans, LA Located in Central City, New Orleans, Ashé Cultural Arts Center has established a successful practice of cultural art presentation and production, community development, artist support, and the creation of partnerships and collaborations that amplify the impact and reach of its outreach and support efforts.

CACP Asia Society New York, NY Asia Society is the leading educational organization dedicated to promoting mutual understanding and strengthening partnerships among peoples, leaders and institutions of Asia and the United States in a global context. Across the fields of arts, business, culture, education, and policy, the Society provides insight, generates ideas, and promotes collaboration to address present challenges and create a shared future.

CACP August Wilson Center for African Pittsburgh, PA The August Wilson Center for African American Culture engages regional and national audiences in American Culture its mission of preserving, presenting, interpreting, celebrating and shaping the art, culture and history of African Americans utilizing the rich history, legacy and culture of African Americans from Western Pennsylvania as a foundation.

SFC AVA Gallery & Art Center Lebanon, NH AVA Gallery and Art Center (Alliance for the Visual Arts) is dedicated to promoting the visual arts through exhibitions and educational programs that nurture, support and challenge New England artists, and to providing art classes for children, teens and adults of all levels and abilities.

AR AXIS Dance Company Oakland, CA AXIS Dance Company is a contemporary repertory company whose mission is to create, support, and educate audiences about physically integrated dance. Through a unique brand of collaborative processes in which dancers with and without physical disabilities create and perform as peers, AXIS has created an aesthetic that is distinctly its own. By working in this new physical language, AXIS aims to make a lasting impact on contemporary dance that broadens the perceptions of both dance and disability.

CACP Bebe Miller Company New York, NY The mission of Bebe Miller Company is to support the artistic vision of choreographer Bebe Miller in (BMC) creative, cross-disciplinary explorations and in creating and performing new works. Seeking to expand the language of dance, Miller’s work encompasses choreography, writing, film, video and digital media. Committed to keeping dance available to a wide spectrum of people, the Company is also dedicated to providing access to the creative process and expression to diverse people in a community.

SPO Bindlestiff Studio San Francisco, CA Originally opened in 1989, Bindlestiff Studio became the only permanent, community-based performing arts venue in the nation dedicated to showcasing emerging Filipino American and Pilipino artists. 62 Case Studies Grantee & Partner Appendix 63

CC Bronx Council on the Arts Bronx, NY Founded in the early 1960s, the Bronx Council on the Arts (BCA) is a non-profit organization whose (BCA) mission is to encourage and increase the public’s awareness and participation in the arts, and to nurture the development of artists and cultural organizations.

CC Cannonball Miami, FL Building on the wake of a ten-year history as LegalArt, Cannonball is familiar and collaborative, and yet completely unpredictable. Based in downtown Miami, Cannonball is known for its advocacy and innovative programs supporting today’s artists. Core initiatives include: SeminArt, providing free educational and professional development services to artists; LegalLink, an in-house legal advice and referral service for artists and arts organizations; and the Residency Program, which offers long-term live/work space for local artists and short-term residencies for visiting cultural producers.

SFC Carnegie Center for Literacy & Learning Lexington, KY The Carnegie Center is a non-profit family learning center devoted to helping all citizens improve their quality of life. Their open-door policy invites people young and old to learn something new. They offer seasonal classes in writing, computer literacy, graphic design, and language; tutoring for students grades K-12; vibrant youth and family programs and exhibits, readings, and other arts-related events designed to encourage among Central Kentuckians an appreciation for all art forms and for learning in general

SFC Casita Maria Center for Arts Bronx, NY The mission of the Casita Maria Center for Arts and Education is to empower youth and their families and Education by creating a culture of learning through high-quality social, cultural, and educational opportunities. The opening of the new Casita Maria Center for Arts and Education building will allow the organizaiton to triple the number of New York City students able to participate in their in-school and after-school arts and education programs.

CC Center for Arts Policy (CAP), Chicago, IL From 1994-2008, the Columbia College Center for Arts Policy (CAP) was a key player in the discussion Columbia College of the arts as an essential part of education. Columbia College Chicago closed CAP at the end of the 2008 fiscal year in order to focus resources at a time of growing financial challenges to higher education.

RS Center for Creative Community Williamstown, MA The Center for Creative Community Development (C3D) is a Williams College research center Development (C3D), Williams College committed to serving as a national focal point for research, education and training on the role of the arts in community development. C3D undertakes research on the economic and social impacts of arts and cultural organizations in communities around the US, and has developed tools and techniques for measuring and articulating these impacts in a diverse range of communities.

CC Center for Cultural Innovation Los Angeles, CA The Center for Cultural Innovation (CCI) was launched in 2001 to promote knowledge-sharing, (CCI) networking, and financial independence for individual artists and creative entrepreneurs by providing business training and grants and loans, as well as by incubating innovative projects that create new program knowledge, tools, and practices for artists in the field. CCI taps leading experts from both the non-profit and commercial business sectors to develop next-generation tools and support systems for artists. 64 Case Studies Grantee & Partner Appendix 65

AR Centro de Servicios de Oakland, CA Centro de Servicios de Alameda County is a resource center open to everyone. Its guiding mission Alameda County is to help poor and low-income families secure their basic needs and rights and become self- sufficient and productive citizens. Services include food distribution, a thrift store, translation services, immigration and citizenship services, senior group, literacy classes, youth programs, and more.

AR Chen Dance Center (CDC) New York, NY Chen Dance Center is a recognized leader in dance and a leading Asian American arts institution. CDC realizes its mission to provide moving experiences in Asian American and contemporary dance through its three affiliate programs: H.T. Chen & Dancers; School; and Theater.

CC Chicago Artists Resource Chicago, IL Chicago Artists Resource (CAR) is an innovative arts service website administered by the Chicago (CAR) Artists Coalition. CAR is an online extension of the capabilities, resources and leadership of the city’s cultural community and a demonstration of Chicago’s commitment to the important contribution successful artists make to a vital, world-class city. CAR provides artists with information on a wide range of issues related to professional practice and a connection to local, national and international resources.

AR Chicago Public Art Group Chicago, IL The Chicago Public Art Group’s mission is to unite artists and communities in partnership to produce quality public art and to extend and transform the tradition of collaborative, community involved, public artwork.

AR City Lore New York, NY City Lore documents, presents, and advocates for grassroots cultures in New York City through four programs: urban folklore and history, cultural preservation, arts education, and grassroots poetry traditions. In a city whose residents represent nationalities from around the globe, City Lore stands at the epicenter of the nation’s rapidly changing cultural demographics. In addition to outdoor exhibits, publications, online resources, and educational services, City Lore’s work includes open-air multilingual poetry performances and collaborative projects.

SFC City of Asylum/Pittsburgh Pittsburgh, PA City of Asylum/Pittsburgh (CoA/P) provides sanctuary to writers in exile from their native countries. (CoA/P) CoA/P enables writers to continue writing while in exile by providing housing, medical benefits, a living stipend, and help in securing publishers and long-term employment.

SFC Columbia Film Society Columbia, SC The Columbia Film Society is a community arts organization whose aim is to stimulate discussion and (CFS) enhance appreciation of media arts in the community by presenting a wide variety of alternative films and sponsoring media arts events and educational programs.

CC The Community Foundation for Washington, DC The mission of The Community Foundation for the National Capital Region is to strengthen the the National Capital Region Washington metropolitan region by encouraging and supporting effective giving and by providing leadership on critical issues in the community. The Foundation is part of a network of some 700 community foundations nationwide, each a tax-exempt, public charity made up of charitable funds established by individuals, families, corporations and other organizations. 66 Case Studies Grantee & Partner Appendix 67

CC Community Partnership for Arts Cleveland, OH The Community Partnership for Arts and Culture (CPAC) operates with a mission of strengthening and Culture (CPAC) and unifying greater Cleveland’s arts and culture sector. CPAC sets direction with the arts and culture sector, positions arts and culture as a driving force in building a vibrant community, informs community decision-making through credible research, and provides opportunities for the community’s diverse arts and culture constituencies to join together on shared interests and objectives.

CC CulturalDC Washington, DC CulturalDC creates opportunities for artists and arts organizations that stimulate economic development and improve quality of life. CulturalDC envisions the arts driving economic and community development as an integral part of DC’s vibrant metropolitan area, and its scope includes service to artists and arts organizations, property owners, developers, and residents throughout the DC metropolitan area.

CACP Dance Exchange Takoma Park, MD Dance Exchange is an intergenerational company of artists that creates dances and engages people in making art that arises from asking: Who gets to dance? Where is the dance happening? What is it about? Why does it matter? Dance Exchange serves as an incubator for creative research, bringing ideas to action through collaborations that range from experts in the field of dance to unexpected movers and makers.

SFC Dance Place Washington, DC The mission of Dance Place is to transform lives through performing arts and creative education programs that inspire personal growth, professional success, physical wellness and community engagement. Through truly affordable and free programs, Dance Place serves diverse audiences, artists, students, families, adults, and children in the greater Metropolitan DC area.

AR Diaspora Vibe Cultural Arts Miami, FL Diaspora Vibe Cultural Arts Incubator (DVCAI) is a local arts organization offering support and Incubator (DVCAI) exhibition opportunities to emerging artists from Latin America and the Caribbean Diaspora. Working closely with young artists within the community, DVCAI actively promotes the skills and creative expression of its artists.

CC DiverseWorks Houston, TX DiverseWorks is a non-profit art center dedicated to presenting new visual, performing, and literary art. By encouraging the investigation of current artistic, cultural, and social issues, DiverseWorks builds, educates, and sustains audiences for contemporary art. Known for its groundbreaking artistic education programs and distinguished by its financial stability, DiverseWorks serves as an open venue for artists, a training ground for future arts administrators, and a model for arts centers across the country.

CC East Bay Community Foundation Oakland, CA The East Bay Community Foundation (EBCF) is a leading resource for mobilizing financial resources (EBCF) and community leadership to transform the lives of people in the East Bay with pressing needs. The Foundation brings together the financial resources and leadership capabilities of its charitable fund holders with those of government, business, private foundations, and non-profit service providers in coordinated and integrated grant making, campaigns, and programs to make change.

AR En Foco Bronx, NY Through touring exhibitions and publications, En Foco provides both emerging and mid-career artists with professional recognition, honoraria and technical assistance. It disseminates their work though the quarterly bilingual journal Nueva Luz, and its touring gallery program mounts temporary exhibits in public libraries, universities, banks and other community spaces, thereby reaching a broad public. 68 Case Studies Grantee & Partner Appendix 69

AR Everett Providence, RI Everett is a cross-disciplinary, cross-generational, and cross-cultural ensemble of dance and theater artists creating, performing, teaching and engaging a diverse community through the arts. Guiding Everett’s mission is a deep belief in collaboration, experimentation and the artist’s role in creating a just, equitable and joyous future.

RS E-Volve Foundation Philadelphia, PA The E-Volve Foundation is powered by a broad network of people with a common passion for democratic principles, sustainable development and the promotion of a better and just world. Their goal is to support a variety of new efforts, serve as a facilitator and connector between people who are doing great things and people who are interested in supporting those efforts, and promote great examples of local power being built and used to solve social problems.

CC First Peoples Fund Rapid City, SD First Peoples Fund’s mission is to honor and support the creative community-centered First Peoples artists, and nurture the collective spirit that allows them to sustain their peoples. The FPF vision is to communicate to the world the roots and philosophy of Indigenous artistic expression and its relationship to the collective spirit of First Peoples. FPF strives to provide support and voice to the creative indigenous artists who share their inspiration, wisdom, knowledge, and gifts with their communities.

HI Fractured Atlas New York, NY Fractured Atlas empowers artists, arts organizations, and other cultural sector stakeholders by eliminating practical barriers to artistic expression, so as to foster a more agile and resilient cultural ecosystem.

RS Fund for Folk Culture Santa Fe, NM Fund for Folk Culture is a nonprofit organization dedicated to the dynamic practice and conservation (FFC) of folk and traditional arts and culture throughout the United States. Through the combined services of grantmaking, convening, research, and publications, and in partnership with donors and colleagues, FFC supports the work of folk and traditional artists and strengthens local, regional, and national organizations in its field.

AR Global Action Project New York, NY Global Action Project (G.A.P)’s mission is to work with young people most affected by injustice to (G.A.P) build the knowledge, tools, and relationships needed to create media for community power, cultural expression, and political change. Founded in 1991, G.A.P has provided media-arts and leadership education for thousands of youth living in underserved communities across New York City and the country.

SPO Hawai’i Arts Alliance Honolulu, HI Hawai’i Arts Alliance for Arts Education, founded in 1980, is a statewide private non-profit for the arts. They represent 105 organizations and 300 individuals, a combined statewide membership of over 35,000. They are recognized both locally and nationally for their achievements. Their mission embraces education, community and advocacy.

SFC The Heidelberg Project Detroit, MI The Heidelberg Project (HP) is an open-air art environment in the heart of an urban community on (HP) Detroit’s east side. Tyree Guyton, founder and artistic director, uses everyday discarded objects to create a two-block area full of color, symbolism, and intrigue. Now in its 25th year, the HP is recognized around the world as a demonstration of the power of creativity to transform lives. HP offers a forum for ideas, a seed of hope, and a bright vision for the future. 70 Case Studies Grantee & Partner Appendix 71

RS Helicon Collaborative Brooklyn, NY Helicon Collaborative is a network of professionals with expertise in research and policy formation, strategy development, capacity building, fundraising, evaluation and other dimensions of nonprofit practice. They help organizations achieve their goals by stimulating their creativity and resourcefulness, and helping them become more relevant and effective.

SFC The Heritage Center, Red Cloud Pine Ridge, SD The mission of The Heritage Center is to collect, preserve and exhibit the fine arts and tribal arts Indian School of Native Americans, concentrating on the fine arts of all Native Americans and the tribal arts of the Lakota, in order to nurture a greater appreciation of their culture.

AR Hip-Hop Theater Festival Brooklyn, NY Hip-Hop Theater Festival (HHTF) presents professionally-executed theater written by and about the (HHTF) hip-hop generation; ignites dialogue and social change through performance arts; and invigorates the theater in general by nurturing the creation of innovative work within the hip-hop aesthetic.

AR Hmong American Institute for St. Paul, MN The Hmong American Institute for Learning (HAIL), formerly known as Hmong Arts Connection, is an Learning (HAIL) arts organization with a mission to promote and inspire artistic expressions of Hmong culture that draws from both traditional and contemporary forms of Hmong art.

CC Houston Arts Alliance Houston, TX Houston Arts Alliance (HAA) is a 501(c)(3) nonprofit arts organization that exists to enhance the quality (HAA) of life and tourism in the Houston region by supporting and promoting the arts through programs, initiatives and alliances. HAA distributes over $3 million in grants to approximately 220 nonprofit arts organizations and individual artists. In addition, HAA manages the city’s civic art collection of 450 artworks, as well as new acquisitions.

SPO Ifetayo Cultural Arts Academy Brooklyn, NY Ifetayo Cultural Arts Academy is an arts and cultural organization dedicated to supporting the creative, educational and vocational development of youth and families of African descent. The organization strives to enhance their lives by providing programs in cultural awareness, performing and visual arts, as well as academic instruction, health and wellness, and professional skills development. In addition, they provide social services to students and their families either directly or through referrals to strategic partners.

AR InSite San Diego, CA InSite (formerly Installation Gallery) is dedicated to the realization of bi-national collaborative arts partnerships among non-profit and public institutions in the San Diego-Tijuana region. Operating through a unique collaborative structure that is based on the active participation of cultural and educational institutions in the US and Mexico, InSite is focused on promoting artistic investigation and activation of urban space.

SFC International Sonoran Desert Ajo, AZ The mission of the International Sonoran Desert Alliance (ISDA) is to design and implement Alliance (ISDA) environmental, cultural, real estate, and business development projects intended to preserve and enrich the environment, culture, and economy of the Sonoran Desert. ISDA is committed to fostering communication, understanding, and cooperation among the diverse cultures residing in the area. 72 Case Studies Grantee & Partner Appendix 73

SFC Intersection for the Arts San Francisco, CA Intersection for the Arts develops, produces, and presents experimental work in the performing, literary, visual, and interdisciplinary arts, and supports Bay Area artists through residencies, fiscal sponsorship, incubation, networking, consulting, education, and community engagement programs.

SFC Kamehameha Schools Honolulu, HI The mission of Kamehameha Schools is to improve the capability and well-being of Hawaiians by operating an educational system serving over 6,900 students of Hawaiian ancestry at K-12 campuses on O‘ahu, Maui and Hawai‘i island, and at 31 preschool sites statewide. They extend their educational reach into the community to serve over 40,000 additional learners annually through a range of programs and community collaborations including community charter school support and literacy enhancement programs for public school children.

CC Kellogg School of Management, Chicago, IL The Kellogg School of Management is the business school of Northwestern University. Founded in Northwestern University 1908, it has historically been ranked as one of the top business schools in the world.

AR Khmer Arts Long Beach, CA The Khmer Arts Ensemble is a renowned 29-member professional touring dance and music troupe based in Takhmao, Cambodia. The Khmer Arts Academy offers young members of the Greater Long Beach Cambodian community and others to achieve a high level of excellence through year-round classical training. Its free workshops serve approximately fifty apprentice dancers.

SPO La MaMa Experimental Theatre New York, NY Since Ellen Stewart founded La MaMa in 1961, it has given artists support with free theater and rehearsal space and equipment. La MaMa wants artists to feel free to explore their ideas, and translate them into a theatrical language that can communicate to any person in any part of the world.

AR La Mujer Obrera El Paso, TX La Mujer Obrera is building a justice movement that respects the strengths and assets that immigrant women bring to the United States. La Mujer Obrera’s artistic and aesthetic practice employs community development initiatives to counteract the negative and destructive impacts of free trade and immigration policies on the border community of El Paso, TX. All of the organization’s work, whether social or artistic, seeks to preserve, adapt, and promote the diverse, living traditions of Mexican people.

AR La Peña Cultural Center Berkeley, CA La Peña is a vibrant community cultural center with a national reputation and a global vision that promotes peace, social justice and cultural understanding through the arts, education and social action. As a welcoming gathering place, La Peña provides opportunities for artists to share diverse cultural traditions, to create and perform their work, and to support and interface with diverse social movements.

AR Lalakea Foundation Hilo, HI Lalakea’s mission is to promote and perpetuate Native Hawaiian Cultural practices through teaching and learning. Lalakea supports the World Conference on Hula, Ka’Aha Hula o Halauaola, which is held every four years. 74 Case Studies Grantee & Partner Appendix 75

AR / SFC Los Cenzontles Mexican Arts San Pablo, CA Located in San Pablo, California, Los Cenzontles Mexican Arts Center (LCMAC) is an artist-driven Center (LCMAC) organization committed to the education, performance, and production of Mexican-American arts in the East Bay neighborhood and beyond. Since its inception, Los Cenzontles has implemented programming that addresses the needs of both new and existing communities, an approach that is reflected in its artistic practice.

AR Maine Indian Basketmakers Old Town, ME The Maine Indian Basketmakers Alliance (MIBA) is an arts service organization focused on preserving Alliance (MIBA) and documenting the ancient tradition of ash and sweet grass basketmaking among the Maliseet, Micmac, Passamaquoddy, and Penobscot Native American tribes of Maine.

SPO MAPP International Productions New York, NY MAPP International Productions provides support and opportunities for challenging artistic voices to be fully heard and engaged by placing live work on the stages of performing arts venues worldwide, and by creating opportunities for discussion, learning, and civic engagement that encourage appreciation of different cultures and perspectives.

CC Marin Community Foundation San Francisco, CA The Marin Community Foundation’s mission is to encourage and apply philanthropic contributions to (MCF) help improve the human condition, embrace diversity, promote a humane and democratic society, and enhance the community’s quality of life, now and for future generations.

RS Markusen Economic Research St. Paul, MN Ann Markusen is a force for original research and education in urban planning, regional science, Services and political economy. Areas of expertise include arts, culture, and economic development; regional economics and planning; industrial and occupational planning; and economic impact of high technology, and military spending. Dr. Markusen is a Professor (Planning & Public Policy) and Graduate Faculty (Geography, Applied Economics) at the Hubert H. Humphrey Institute of Public Affairs at the University of Minnesota, and Director of Project on Regional and Industrial Economics.

CC Massachusetts Cultural Council Boston, MA The Massachusetts Cultural Council (MCC) is a state agency that promotes excellence, access, (MCC) education, and diversity in the arts, humanities, and interpretive sciences to improve the quality of life for all Massachusetts residents and contribute to the economic vitality of our communities. The MCC is committed to building a central place for the arts, sciences, and humanities in the everyday lives of communities across the Commonwealth.

RS Massachusetts Institute of Cambridge, MA The mission of MIT is to advance knowledge and educate students in science, technology, and other Technology (MIT) areas of scholarship that will best serve the nation and the world in the 21st century. The Institute is committed to generating, disseminating, and preserving knowledge, and to working with others to bring this knowledge to bear on the world’s great challenges. aR Ma-Yi Theater Company New York, NY Founded in 1989, Ma-Yi Theater Company is a Drama Desk and Obie Award-winning not-for-profit 501(c)(3) organization whose primary mission is to develop and produce new and innovative plays by Asian American writers. Since its founding, Ma-Yi has distinguished itself as one of the country’s leading incubators of new work shaping the national discourse about what it means to be Asian American today. 76 Case Studies Grantee & Partner Appendix 77

aR Miami Light Project Miami, FL Miami Light Project (MLP) is a not-for-profit cultural organization which presents live performances by (MLP) innovative dance, music and theater artists from around the world; supports the development of new work by South Florida-based artists; and offers educational programs for students of every age.

CC Montana Arts Council Helena, MT The Montana Arts Council (MAC) is the state agency that was established to develop the creative (MAC) potential of people and communities across Montana, and to advance education, economic vibrancy, and community revitalization through the arts.

SFC Movimiento de Arte y Cultura San Jose, CA MACLA is an inclusive contemporary arts space grounded in the Chicano/Latino experience that Latino Americana (MACLA) incubates new work in the visual, literary, and performance arts in order to engage people in civic dialogue and transform society.

SFC Museum of Contemporary Art Detroit, MI The mission of the Museum of Contemporary Art Detroit (MoCAD) is to present art at the forefront of Detroit (MoCAD) contemporary culture. As a non-collecting institution, MoCAD is responsive to the cultural content of our time, fueling crucial dialogue, collaboration, and public engagement.

CC National Performance Network New Orleans, LA National Performance Network (NPN) supports artists in the creation and touring of contemporary (NPN) performing and visual arts. Founded in 1985 by David White at Dance Theatre Workshop in New York, NPN was created to address the issues of artistic isolation and the economic constraints of moving art around the country and the sharing of artistic and community voices. From a beginning of 14 organizations as “primary sponsors,” the network now numbers 61 NPN Partners.

AR New Urban Arts Providence, RI New Urban Arts is a nationally recognized arts studio and gallery for high school students and emerging artists in Providence, RI. Its mission is to build a vital community that empowers young people as artists and leaders to develop a creative practice they can sustain throughout their lives. New Urban Arts recruits and trains artists from a range of backgrounds to mentor high school students in free after-school and summer programs.

SFC Northwoods NiiJii Enterprise Lac du Flambeau, WI The Northwoods NiiJii Enterprise Community members include The Lac du Flambeau Band of Lake Community Superior Chippewa, The Menominee Indian Tribe of Wisconsin, and The Sokaogon Chippewa Community of Mole Lake. Partnerships extend to federal and state agencies, local and tribal governments, private businesses, foundations, non-profit organizations and individuals. NiiJii’s programs work because they are initiated and led by members of the community it serves.

SFC Open Book Minneapolis, MN A nonprofit organization founded by The Loft Literary Center, Milkweed Editions, and Minnesota Center for Book Arts, Open Book is a haven for flourishing creative writing, publishing, and printing arts activity in Minnesota. Since opening its doors in 2000 as the first organization of its kind in the nation, Open Book remains dedicated to fostering a vibrant book community and ongoing artistic collaboration, and providing a home for the literary arts. 78 Case Studies Grantee & Partner Appendix 79

AR PA‘I Foundation Honolulu, HI The PA‘I Foundation is engaged in a mission to support and advocate for native Hawaiian artists. The Foundation sees native Hawaiian art practices as a form of resistance, and often uses art for organizing and empowerment. As a kumu hula (master teacher), founder Vicky Holt Takamine is a driving force behind movements to recover language, cultural traditions, healing practices, voyaging, navigations, and agricultural practices of a people that are now the minority population in their ancestral land.

CC Peninsula Community San Francisco, CA Established in 1964, Peninsula Community Foundation (PCF) granted more than $1.1 billion to nonprofits Foundation (PCF) locally, nationally and internationally and was a philanthropic partner to more than 750 families, individuals and corporations focused on solving the most challenging problems, improving the quality of life and inspiring greater civic participation throughout the region. PCF is now a part of Silicon Valley Community Foundation, which serves San Mateo and Santa Clara counties.

AR Philadelphia Folklore Project Philadelphia, PA The Philadelphia Folklore Project (PFP) is a 26-year-old independent public folklife agency committed (PFP) to paying attention to the experiences and traditions of “ordinary” people by building critical folk cultural knowledge, sustaining vital and diverse living cultural heritage in communities in our region, and creating equitable processes and practices for nurturing local grassroots arts and humanities.

RS Princeton Survey Research Princeton, NJ Princeton Survey Research Associates International (PSRAI) is an independent firm dedicated to high- Associates International (PSRAI) quality research providing reliable, valid results for clients in the United States and around the world. PSRAI offers innovative research design, methodologically sound procedures, careful supervision of data collection, sophisticated data analysis and clear, insightful and engaging reports.

RS Princeton University Princeton, NJ Princeton University is a vibrant community of scholarship and learning that stands in the nation’s service and in the service of all nations. Chartered in 1746, Princeton is the fourth-oldest college in the United States. Princeton is an independent, coeducational, nondenominational institution that provides undergraduate and graduate instruction in the humanities, social sciences, natural sciences and engineering.

SFC Project Row Houses Houston, TX Project Row Houses (PRH) is a neighborhood-based non-profit art and cultural organization in (PRH) Houston’s northern Third Ward, one of the city’s oldest African-American communities. Artist and community activist Rick Lowe founded PRH in 1993 as a result of discussions among African-American artists who wanted to establish a positive, creative presence in their own community.

SPO Queens Museum of Art Queens, NY The Queens Museum of Art (QMA) is dedicated to presenting the highest quality visual arts and (QMA) educational programming for people in the New York metropolitan area, and particularly for the residents of Queens, a uniquely diverse, ethnic, cultural and international community.

SFC Rebuild Foundation Chicago, IL Rebuild Foundation is a non-profit, creative engine focusing on cultural and economic redevelopment and affordable space initiatives in under-resourced communities in Detroit, Omaha, St. Louis, and Chicago. Each city enlists a team of artists, architects, developers, educators, and community activists, who work together to integrate the arts and alternative entrepreneurship into a community-driven process of place-making and neighborhood transformation. 80 Case Studies Grantee & Partner Appendix 81

AR Rennie Harris Puremovement Philadelphia, PA The work of Rennie Harris Puremovement (RHPM) encompasses rich and diverse African-American (RHPM) traditions of the past while simultaneously presenting the voice of a new generation. RHPM performs to sold out audiences at venues in the U.S. and abroad including including the Grande Halle de la Villette in Paris, Reichhold Center in St. Thomas, the Kennedy Center in D.C., MCA in Chicago, the Holland Dance Festival, Kiasma Museum in Helsinki, Spoleto Dance Festival, the Wilma Theater in Philadelphia, and the Nervi Festival in Italy.

CC The Richard H. Driehaus Foundation Chicago, IL The Richard H. Driehaus Foundation benefits individuals and communities by supporting the preservation and enhancement of the built and natural environments through historic preservation, encouragement of quality architectural and landscape design, and conserving open space. The Foundation also supports the performing and visual arts, investigative reporting, and government accountability and makes grants to organizations that provide opportunities for working families who remain poor.

CC The San Francisco Foundation San Francisco, CA The San Francisco Foundation (TSFF) is an incubator for community investment, original ideas, (TSFF) and passionate leadership. Since 1948, TSFF has been a leading agent of Bay Area philanthropy, cultivating a family of donors sharing a commitment to the Bay Area. Together, they give millions of dollars a year to foster strong communities, respond to local needs, and elevate public awareness.

SFC Side Street Projects Pasadena, CA Founded in 1992, Side Street Projects is a completely-mobile, artist-run nonprofit organization. Their mission is to give artists of all ages the ability and the means to support their creative endeavors. Side Street Projects is part of a growing alternative practice of artists who operate outside the gallery system by working inside communities. They engage in “complex public negotiations” rather than object making.

RS Social Impact of the Arts Project (SIAP), Philadelphia, PA The Social Impact of the Arts Project (SIAP) is a research group at the University of Pennsylvania’s University of Pennsylvania School of Social Policy & Practice in Philadelphia. SIAP was formed in 1994 to ask questions about and develop methods to examine the impact of the arts and culture on community life. The primary research focus is the relationship of the arts to community change, with a particular interest in strategies for arts-based neighborhood revitalization and social inclusion.

SFC Soo Theatre Project Sault Ste. Marie, MI The Soo Theatre Project’s mission is to enrich the quality of life in Sault Ste. Marie by bringing talented entertainers, local artists, and quality events to the historic Soo Theatre stage. STARS (Soo Theatre Arts Resource Studios) is a program that offers classes in dance, yoga, theatre, music, and the visual arts, private music lessons, and opportunities to participate in performing groups.

CC South Carolina Arts Commission Columbia, SC The South Carolina Arts Commission (SCAC) is an autonomous state agency governed by a nine- (SCAC) member Board of Commissioners. For more than 40 years, the agency has worked to make it possible for every citizen in the state to enjoy and benefit from the arts, including those who do not have a lot of money or live in a large city. The Commission’s programs and activities fall into three major domains of public participation and service: Artist Development, Arts Education, and Community Arts Development. 82 Case Studies Grantee & Partner Appendix 83

AR The Southwest Center, Tucson, AZ A research unit of the College of Social and Behavioral Sciences of the University of Arizona, University of Arizona the Southwest Center has a threefold mission: to sponsor and facilitate research on the Greater Southwest, to publish exemplary work growing from that research, and to act in service to citizens of the region through programs of teaching and outreach. In all three areas special emphasis is given to strengthening individual and institutional ties to our colleagues at universities and cultural centers in the Republic of Mexico.

HI Springboard for the Arts St. Paul, MN Springboard for the Arts is an economic and community development organization for artists and by artists. Their work is about building stronger communities, neighborhoods, and economies, and they believe that artists are an important leverage point in that work. Springboard for the Arts’ mission is to cultivate vibrant communities by connecting artists with the skills, information, and services they need to make a living and a life.

CC Stockton Rush Bartol Foundation / Philadelphia, PA The Stockton Rush Bartol Foundation believes that arts and culture are essential parts of a vibrant PEW Fellowships in the Arts / community; a catalyst for meaningful communication and connection; and that all citizens deserve Philadelphia Center for Arts and Heritage access to compelling creative experiences. These experiences should be grounded in strong artistic practice and relevant to a wide range of cultural traditions and aesthetics.

AR STREB Brooklyn, NY S.L.A.M. (the STREB Lab for Action Mechanics) is an open-access venue and artist-driven community institution. The company has developed an extensive calendar of programs including two annual home performance seasons, year-round classes for children and adults, a summer camp, an Emerging Artist Commissioning Program, KIDS IN CONTROL (a program for at-risk youth in partnership with the Greenpoint YMCA), and TEEN ACTION (an education initiative in collaboration with the El Puente Leadership Center).

AR Urban Bush Women Brooklyn, NY Founded in 1984 and based in Brooklyn, NY, Urban Bush Women (UBW) seeks to bring untold and (UBW) under-told stories of disenfranchised people to light through dance as told from the perspective of women and members of the African Diaspora community. UBW’s work seeks to create a more equitable balance of power in and beyond the dance world via ongoing professional education, development of new audiences, nurturing young talent, and presenting bold, life-affirming dance works in a variety of settings.

RS The Urban Institute Washington, DC The Urban Institute gathers data, conducts research, evaluates programs, offers technical assistance overseas, and educates Americans on social and economic issues—to foster sound public policy and effective government. The Urban Institute builds knowledge about the nation’s social and fiscal challenges, practicing open-minded, evidence-based research to diagnose problems and figure out which policies and programs work best, for whom, and how.

AR Urban Word NYC New York, NY Urban Word NYC provides a safe and supportive space where youth can discover their own powerful voices through the changing poetics of spoken word and hip-hop. Urban Word serves over 25,000 teens in in all five New York City boroughs, awards over $350,000 in scholarships each year, hosts an annual college fair, and organizes the Creatively College Bound program, which uses poetry, spoken word, and hip-hop to guide high school juniors and seniors in writing creative and powerful admissions essays. 84 Case Studies Grantee & Partner Appendix 85

AR Vietnamese Youth Development San Francisco, CA Vietnamese Youth Development Center (VYDC) provides direct assistance to Southeast Asian Center (VYDC) and neighborhood youth by empowering them to participate actively in the development of their community. VYDC prepares young people to transition successfully into adulthood by providing comprehensive case management, employment, educational services and socially enriching activities in the Tenderloin community and throughout San Francisco.

AR The Village of Arts & Humanities Philadelphia, PA The mission of The Village of Arts & Humanities is to support the voices and aspirations of the community through providing opportunities for self-expression rooted in art and culture. The Village inspires people to be agents of positive change through programs that encompass arts and culture, engage youth, revitalize community, preserve heritage and respect the environment.

CACP Walker Art Center Minneapolis, MN The Walker Art Center is a catalyst for the creative expression of artists and the active engagement of audiences. Focusing on the visual, performing, and media arts of our time, the Walker takes a global, multidisciplinary, and diverse approach to the creation, presentation, interpretation, collection, and preservation of art. Walker programs examine the questions that shape and inspire us as individuals, cultures, and communities.

SFC Watts House Project Los Angeles, CA Watts House Project (WHP) is an artist-driven neighborhood redevelopment organization, wherein (WHP) artists and design professionals, in collaboration with the Watts Towers area residents, employ art as an economic and community development engine to promote and enhance the quality of residential life in the Watts neighborhood of Los Angeles. WHP revitalizes the neighborhood and re-imagines the environment through inventive programming, community involvement, and functional and creative housing renovations.

SPO Wing Luke Museum of the Asian Seattle, WA Located in the heart of Seattle’s Chinatown-International District, the Wing Luke Museum of the Pacific American Experience Asian Pacific American Experience is dedicated to immersing people in uniquely-American stories of survival, success, struggle, conflict, compassion and hope. The Wing is a Smithsonian Affiliate, a partnership with the Smithsonian Institution.

RS WolfBrown San Francisco, CA WolfBrown is a cross-disciplinary team of professional consultants with experience in fundraising, marketing, planning, research, evaluation, program design, arts education and other areas. Their consultants have had distinguished careers as practitioners prior to becoming consultants. They have counseled hundreds of organizations in almost every state and their publications, methodologies, and bodies of work have had a positive impact on a number of fields.

SFC Youngstown Cultural Arts Center Seattle, WA Youngstown Cultural Arts Center is an inclusive, contemporary multi-arts space based in the Delridge neighborhood of Southwest Seattle that incubates and inspires new arts participants, art-makers, and organizations from multicultural, intergenerational communities in order to engage in civic dialogue and meaningful community transformation.

AR Youth Speaks San Francisco, CA Youth Speaks was founded in San Francisco in 1996, and remains committed to working with Bay Area youth to find, develop, publicly present, and apply their voices as leaders for social change. Youth Speaks works with close to 40,000 Bay Area youth each year.