LEGACY AND LEADERSHIP

2017 GRANTMAKERS IN THE ARTS CONFERENCE DETROIT, MI OCTOBER 28–31 2017 GRANTMAKERS IN THE ARTS CONFERENCE

Conference Sponsors

Anchor Sponsor The Kresge Foundation

Leadership Sponsors Ford Foundation John S. and James L. Knight Foundation

Major Sponsors Bloomberg Philanthropies Surdna Foundation

Presenting Sponsors William Davidson Foundation The Joyce Foundation

Sustaining Sponsors Americans for the Arts Fred A. and Barbara M. Erb Family Foundation Irving S. Gilmore Foundation Walter & Elise Haas Fund Michigan Council for Arts and Cultural Affairs SURDNA FOUNDATION

Supporting Sponsors 3Arts, Inc. The Geraldine R. Dodge Foundation Whistler’s Brother Fund of Berkshire Taconic Community Foundation

The annual conference is GIA’s largest and most complex program. We are grateful for the conference sponsors who help us offer quality programming at a reasonable registration rate by supporting us with this effort. All of our programs throughout the year are supported by a loyal and growing number of funders who believe we are better philanthropists through sharing and exploring together. We are grateful to all of our funding partners, listed on page 36.

COVER IMAGE: Gilda Snowden, Imaginary Landscape, 2006, acrylic on canvas. Photo courtesy of the Oakland University Art Gallery. Gilda Snowden (1954 – 2014) was an influential African American artist, educator, and mentor in Detroit, Michigan. She worked primarily as an abstract expressionist painter, heavily inspired by artists of Detroit’s Cass Corridor neighborhood which is known for its creative community. Learn more about Gilda Snowden at conference.giarts.org/gilda-snowden.html.

2 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 LEGACY AND LEADERSHIP

Welcome to Detroit! I’m confident that I speak on behalf of the entire culturally rich neighborhoods across Detroit. And conference planning committee when I say we a community that continues to nurture and culti- look forward to showing you the rich tapestry of vate the next generation of artists and dreamers culture, history, innovation, entertainment, culi- committed to crafting an even more just and nary excellence and burgeoning optimism that creative city. makes up the city of Detroit. All of that to say, there is a cultural through line Detroit is an asset-rich community with resilience here. It runs deep, it runs wide, and it is palpable deeply embedded in its DNA. A community in the lives of our residents. It is a tremendous whose residents actively engage in shaping a place to consider Grantmakers in the Arts’ vision more just, equitable, and sustainable future. A of arts, culture, and creative expression “connect- place where civic leaders test brave, new ap- ing individuals building resilient communities proaches to urban revitalization. A region that is that help shape responses to societal challenges increasingly focusing on how it can strategically and changes.” target investments to create real opportunity for This is the Detroit you will witness — in precon- residents of color and those of limited means. A ferences, performances, dine-arounds, IDEA LABS, city with an apt motto, penned by Father Gabriel off-site sessions, and a conference focus on social Richard after a terrible fire swept through De- justice and racial equity in arts philanthropy. troit in 1805: “We hope for better things; it will arise from the ashes.” Sammy Davis, Jr. once sang in "Hello Detroit": “You’re a fighter, you’re a lover; you’re strong, Detroit is absolutely a city rising — and, as you and you recover … And there’s so many, many will see, at every step of its resurgence, art and reasons, any time, any season, is the right time culture are important catalysts for that forward to be with you.” For so many, many reasons, momentum. The home of Aretha and Stevie and we believe now is the perfect time and the Diana also gave us Jack White, J Dilla, and Em- perfect season for Grantmakers in the Arts to inem. The city of cultural gems like the Detroit see Detroit’s fight, love, strength, and recovery. Symphony Orchestra and the Charles H. Wright We’re sincerely pleased to share the full story Museum of African American History also show- and the truly unique culture of this extraordinary cases contemporary art pioneers like the Heidel- city with you. We look forward to seeing you! berg Project and Hygienic Dress League. The city that grew up around the designs of Orchestra Regina R. Smith Hall and Diego Rivera’s famous Detroit Industry GIA Conference Chair murals is also the city that, today, is leveraging Managing Director, Arts & Culture design to reimagine our riverfront and to amplify The Kresge Foundation

Thank you to our wonderful Conference Committee Regina Smith George Jacobsen The Kresge Foundation (Chair) William Davidson Foundation John Bracey Sharnita Johnson Michigan Council for Arts and Cultural Affairs The Geraldine R. Dodge Foundation Christina deRoos Katy Locker Kresge Arts in Detroit John S. and James L. Knight Foundation Kimberly Driggins Alycia Socia City of Detroit The Kresge Foundation Sigal Hemy Janet Brown, President & CEO Fred A. and Barbara M. Erb Family Foundation Grantmakers in the Arts Kamilah Henderson Jim McDonald, Deputy Director & Director of Programs Community Foundation for Southeast Michigan Grantmakers in the Arts

3 2017 GRANTMAKERS IN THE ARTS CONFERENCE CONFERENCE INFORMATION AND POLICIES

Registration Conference Name Badges Ambassador Ballroom Foyer Your name badge is required for admission to all except where indicated conference functions, including meals, sessions, and evening events. You will not be admitted Friday, 10/27 4:00 PM – 8:00 PM* to conference events without your badge. Saturday, 10/28 7:00 AM – 9:30 AM** 3:00 PM – 8:00 PM Sunday, 10/29 7:30 AM – 6:30 PM Monday, 10/30 7:30 AM – 2:30 PM Tuesday, 10/31 8:00 AM – 9:00 AM * Friday afternoon registration located in the hotel lobby ** Saturday morning registration for preconfer- ences and tour located in Marquette meeting room (level 5)

Tweet the conference! #GIArts Conference Lounge Conference attendees can enjoy refreshments Prefer your throughout the day on Sunday and Monday in the Brulé room. conference program on your A Brief Word on Fundraising Ethics phone? Simply To preserve the capacity for open discussion, scan this QR code: all attendees must refrain from fundraising or solicitation. Organizations that solicit funds are Conference Bloggers expected to be represented only by individuals GIA is pleased to have Lara Davis, arts education whose roles involve grantmaking, programming, manager at the Seattle Office of Arts & Culture, and/or policy, and not by fundraising or develop- blogging during the conference this year. Read ment staff. Lara’s insights on various topics being addressed at the conference at http://blogs.giarts.org/gia2017/. Audio and Video Recording Audio and video recording of conference ses- Wi-Fi Access sions, presentations, and performances is strictly The hotel meeting rooms, ballroom, and guest prohibited. rooms are equipped basic wi-fi internet. To ac- cess, log on to the wi-fi network called GIA using the password 2017GIA. Guests Registered guests of participants are welcome at the following social events: • Saturday Opening Reception • Sunday evening Dine-arounds • Monday evening Special Event Last-minute guests may be registered at the GIA registration desk for a fee of $150.00. Guests are not permitted at plenary or breakout sessions.

4 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONFERENCE AT A GLANCE

FRIDAY SATURDAY SUNDAY MONDAY TUESDAY

7:00 AM 7:00 AM ( PRECONFERENCES AND TOUR AND PRECONFERENCES

7:30 AM REGISTRATION 7:30 AM

8:00 AM REGISTRA 8:00 AM TION

8:30 AM BREAKFAST BREAKFAST 8:30 AM PLENARY PLENARY -

9:00 AM ) 9:00 AM

9:30 AM 9:30 AM BREAKFAST 10:00 AM PLENARY 10:00 AM

BREAKOUT BREAKOUT 10:30 AM 10:30 AM SESSIONS SESSIONS 90 MIN 90 MIN

11:00 AM REGISTRATION REGISTRATION 11:00 AM

11:30 AM 11:30 AM

12:00 PM 12:00 PM DETROIT PRE- CULTURAL 12:30 PM LUNCHEON LUNCHEON 12:30 PM CONFERENCE AND PLENARY PLENARY SESSIONS COMMUNITY 1:00 PM TOUR 1:00 PM

1:30 PM 1:30 PM

2:00 PM 2:00 PM BREAKOUT 2:30 PM SESSIONS OFF-SITE 2:30 PM 75 MIN SESSIONS AND 3:00 PM EXTENDED 3:00 PM ON-SITE BREAKOUT 3:30 PM 3:30 PM SESSION BREAKOUT 4:00 PM 4:00 PM SESSIONS 60 MIN 4:30 PM 4:30 PM

5:00 PM 5:00 PM REGISTRATION REGISTRATION 5:30 PM 5:30 PM

6:00 PM 6:00 PM NEWCOMERS 6:30 PM RECEPTION 6:30 PM SPECIAL EVENT: 7:00 PM DANCE 7:00 PM DINE- AT THE AROUNDS MUSEUM 7:30 PM 7:30 PM OPENING 8:00 PM RECEPTION 8:00 PM

8:30 PM 8:30 PM

9:00 PM 9:00 PM 5 2017 GRANTMAKERS IN THE ARTS CONFERENCE CONFERENCE SCHEDULE OVERVIEW

SATURDAY OCTOBER 28

Pages 10 7:00 – 4:30 Preconferences 6:00 – 7:00 Newcomers Reception to 11 Page 10 Page 11 8:00 – 4:30 Detroit Cultural and Community 7:00 – 9:00 Opening Reception Tour Page 11 Page 10

SUNDAY OCTOBER 29

Page 12 8:00 – 9:30 BREAKFAST PLENARY

Pages 13 10:00 – 11:30 BREAKOUT SESSIONS to 16 Advancing Solutions to Critical City Creative Forces: Arts Therapies in Military Challenges through Public Art Healing Arts Duluth Cadillac A Organized by Anita Contini Organized by Marete Wester Arts Education Assessment and Grantee Creative Placemaking From the Community Up Capacity Building for the Greater Good Nicolet B Richard A Organized by Sharon LaRue Organized by Wendy Liscow Desegregating the American Dream: Building Financial Equity in Arts Organizations Storytelling and Social Change LaSalle B Marquette B Organized by Glyn Northington Organized by Elizabeth Méndez Berry Cracking the Readiness Code: What It Means Remaking Arts and Culture Strategies in for ALAANA Organizations Response to New Realities Cadillac B LaSalle A Organized by Sharnita Johnson Organized by Regina Smith Creating a New Framework for Arts Way Beyond Programming: Sustainably and Culture in Rural America Engaging Diverse Audiences Nicolet A Richard B Organized by Susan DuPlessis Organized by Stephanie Brown Creating Funding Opportunities for Artists with Disabilities Marquette A Organized by Beth Bienvenu

11:30 – 12:00 BREAK

Page 17 12:00 – 1:30 LUNCHEON PLENARY

1:30 – 2:00 BREAK

Pages 17 2:00 – 3:15 BREAKOUT SESSIONS to 20 Addressing Disasters in 4-D: The Arts Field’s AZ Creative Aging: Building Field Infrastruc- Readiness Toolkit ture via Multisector Investment LaSalle B Cadillac A Organized by Mollie Quinlan-Hayes Organized by Alex Nelson Arts in Medicine: Research and Practice Building Intercultural Leadership at University of Florida Health Nicolet B Marquette A Organized by María López De León Organized by Grantmakers in the Arts

6 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED CONFERENCE SCHEDULE OVERVIEW

Capitalizing Small Cultural Organizations in Mapping Our Assumptions Pages 17 Pittsburgh: A Pilot Funding Collaborative Richard A to 20 Richard B Organized by Emilya Cachapero and Moira Brennan Organized by Janet Sarbaugh Racial Equity in Grantmaking for Individual Co-Creating Theater Online and Off (or IRL) Artists Duluth Cadillac B Organized by Amanda Thompson Organized by Brian McGuigan Engaging Communities for Equitable Access Research, Engagement, and Cultural to High-Quality Arts Education Planning: A New York Story Nicolet A LaSalle A Organized by Michelle Boss Barba Organized by Kerry McCarthy and Jessica Garz Holding Ourselves Accountable Marquette B Organized by Margaret M. Lioi

BREAK 3:15 – 3:45

BREAKOUT SESSIONS 3:45 – 4:45 Pages 21 to 23 Assessing Impact and Measuring What Measuring Youth Arts Impact Matters Marquette B Richard B Organized by Ruth Mercado-Zizzo Organized by Heather Pontonio Out of the Rabbit Hole: Demystifying Co-Design + Collaboration + Creativity the Journey of Impact Assessment = Strengthened Arts Sector Duluth Nicolet A Organized by Vanessa Silberman Organized by Paul Ternes Recalculating the Formula for Success: Cultural Equity, Institutional Power, and New Research on Formulaic Funding Whiteness: A Complex Intersection LaSalle B LaSalle A Organized by Grantmakers in the Arts Organized by Marian Godfrey The Indigenous Arts Ecology and Cross- Detroit Storytelling sector Data Cadillac B Cadillac A Organized by Margaret Morton Organized by Lori Pourier Expansion Arts: Capacity Building and Leader- ship Development in Emerging/Small ALAANA Organizations Nicolet B Organized by Daniel Kertzner

NO-HOST DINE-AROUNDS 6:15 Page 24

MONDAY OCTOBER 30

BREAKFAST PLENARY 8:00 – 9:30 Page 25

BREAK 9:30 – 10:00

BREAKOUT SESSIONS 10:00 – 11:30 Pages 26 to 29 Arts & the Civic Agenda: A Case Study Arts and Social Change: A New Framework of Innovation for Assessing Aesthetics Richard A Cadillac B Organized by Michael Norris Organized by Lulani Arquette

7 2017 GRANTMAKERS IN THE ARTS CONFERENCE CONFERENCE SCHEDULE OVERVIEW CONTINUED

Pages 26 Building Cultural Equity: A Tale of Two Cities Leveraging Grantmaker Priorities With State to 29 Marquette B & Local Elected Officials Organized by Ryan Deal Richard B Organized by Narric Rome How Can Anchor Cultural Institutions Make Maximum Impact? Movements That Matter: How Data-driven Cadillac A Strategies are Building Communities Organized by Susan Feder LaSalle B Organized by San San Wong Investing in ALAANA Cultural Organizations: Reflections from the Community Leadership Perspectives in Place-Based Arts Engagement Project Nicolet A Nicolet B Organized by Sigal Hemy and Jodee Raines Organized by Amy Kitchener Teaching Artistry: From Fragmentation Leadership Development: Investing in to Unity Change Makers Duluth LaSalle A Organized by Jessica Mele Organized by Caitlin Strokosch

11:30 – 12:00 BREAK

Page 30 12:00 – 1:30 LUNCHEON PLENARY

1:30 – 2:00 BREAK

Pages 31 2:00 – 4:30 OFF-SITE SESSIONS & EXTENDED ON-SITE BREAKOUT SESSION to 32 1:50 Buses begin to load ‘Matchmaker, Matchmaker, Make Me a 2:00 Buses begin to depart Match:’ Lessons Learned from Cross-sector Research Partnerships Arts and Juvenile Justice: Structuring Better Detroit Center for Design + Technology Outcomes for Detained Youth Organized by Jamie Hand Museum of Contemporary Art Detroit Organized by Frances Phillips Storytelling Now: Media Artists Empowering People to Tell and Share Their Stories Grassroots Organizing: The Impact of Neigh- Ponyride borhood Art Movements Organized by David Haas Artist Village Organized by Christina deRoos and Ryan Extended On-site Breakout Session Myers-Johnson The Arts Approach to Building Connections between Muslim and Non-Muslim Communi- Leveraging the Power of Arts, Culture and ties: Creative Solutions from the Field Design for Community & Urban Development in America’s Cities Duluth Organized by Cheryl Ikemiya, Maurine Knighton, N’Namdi Center for Contemporary Art and Zeyba Rahman Organized by Michelle D. Johnson

Page 33 6:00 – 8:30 SPECIAL EVENT: DANCE AT THE MUSEUM Detroit Institute of Arts

TUESDAY OCTOBER 31

Page 34 9:00 – 11:00 BREAKFAST PLENARY

8 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONFERENCE PROGRAM

LEGACY AND LEADERSHIP

2017 GRANTMAKERS IN THE ARTS CONFERENCE DETROIT, MI OCTOBER 28–31

CONFERENCE PROGRAM

SATURDAY

7:00 AM– 4:30 PM PRECONFERENCES

Racial Equity in Arts Philanthropy LaSalle B & Cadillac B Gather for breakfast in Marquette AB from 7:00 am – 8:00 am. many of our current portfolios. Grantmakers in Preconference will begin at 8:00 am in LaSalle B and Cadillac B. the Arts’ team of arts philanthropists will lead a Grantmakers in the Arts debuts its new workshop discussion of how our grantmaking can impact on racial equity in arts philanthropy during this change for African, Latino/a, Asian, Arab and day-long preconference. The Center for Social In- Native American (ALAANA) artists and commu- clusion (New York, NY) will provide an overview nities, signifying a new beginning of equitable of the systems that reflect our history and drive philanthropy in the nonprofit arts sector.

Artists & Place: Insights/Incites on Site Artist Village Gather for breakfast in Marquette AB from 7:00 am – 7:45 am. feature stories from individual artists and fellow Participants will load the bus at 7:45 am and depart at 8:00 am. funders and will include small group discussions. Buses will return to the hotel at approximately 5:00 pm. How are artists’ power and positionality used in Individual artists simultaneously occupy and place, especially in the preservation, develop- transform the sites where they reside, work, and ment, or transformation of community? What is perform. This preconference explores artists’ the responsibility, if any, of funders to tear down roles in our understanding of “place”; how their walls that restrict access? In addition to these literal and figurative positions in the arts ecosys- questions, we will interrogate common ideas tem inform, inspire, activate, or sometimes sup- and language used to describe creative work in press their creative work; and the funder’s role places, including the premise that belonging to in supporting or impeding them. The day will community is inherently geographic in nature.

8:00 AM– 4:30 PM SPECIAL EVENT

Detroit Cultural and Community Tour Gather for breakfast in Marquette AB from 8:00 am. Participants The tour will include: will load the bus at 8:45 am and depart at 9:00 am. Buses will return to the hotel at approximately 4:30 pm. • Arab American National Museum Explore some of the unique arts organizations • The Alley Project and communities of Detroit. We will begin with • Mexicantown neighborhood (for a no-host breakfast at the Detroit Marriott at the Renais- lunch at one of several restaurants) sance Center and then board a bus for a day of • Charles H. Wright Museum of African Amer- cultural and community exploration. Joining the tour will be Ed Egnatios, program officer at W.K. ican History Kellogg Foundation, who will provide an over- • Detroit Opera House, Michigan Opera Theatre view of Detroit and its neighborhoods.

10 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED SATURDAY

RECEPTIONS

Newcomers Reception 6:00 PM– 7:00 PM 42 Degrees North Room This casual event for first-time conference at- and staff. The reception will be held in the 42 tendees will provide a quick overview of con- Degrees North room, boasting stunning views ference events to help you get the most out of of the Detroit River and Canada. The conference your conference experience. You will also have Opening Reception will follow immediately after the opportunity to meet GIA’s board members this event.

Opening Reception 7:00 PM– 9:00 PM Ambassador Ballroom The Opening Reception will take place on Satur- Elliot. Elliot has led a quartet for the past eight day evening in the recently renovated Ambassa- years, and his latest record Sonic Refuge was re- dor Ballroom of the Detroit Marriott at the Re- leased in 2017. He has performed internationally naissance Center. The hotel is located in the heart with James Carter, Jimmy Cobb, Marcus Belgrave, of downtown Detroit along the Riverwalk. The Jimmy Heath, Talib Kweli, and many others. Elliot Opening Reception will kick off the conference is the artist-in-residence at Troy High School, in a fun and casual atmosphere, with music pro- and was the director of the Detroit Symphony vided by Detroit-based jazz saxophonist Marcus Orchestra’s Civic Jazz Band in 2012–2013.

11 2017 GRANTMAKERS IN THE ARTS CONFERENCE SUN MORNING

8:00 AM– BREAKFAST PLENARY SESSION 9:30 AM AMBASSADOR BALLROOM

Welcome Janet Brown Grantmakers in the Arts

Remarks Angelique Power The Field Foundation of Illinois

IDEA LAB The IDEA LAB starts the conference day with Bryce Detroit thought-provoking inspiration — an opportunity to hear directly from those creating the work Bryce Detroit is an award-winning music pro- and in the community. Each IDEA LAB will be ducer, composer, performer, and curator. As the hosted by George Jacobsen and feature three pioneer of Entertainment Justice and founder of presentations by innovative artists and thought Detroit Recordings Company, he uses entertain- leaders who continue to break barriers and chal- ment arts to promote new Afrikan and indige- lenge the norm. nous legacies, cultural literacy, new music econ- omies, and emergent media-based organizing Taylor Renee Aldridge strategies. As co-founder of Oakland North End (ONE) Mile Project, he produced the Mothership Taylor Renee Aldridge is a Detroit-based writer Launch: Legacy of Funk concert with funk lumi- and curator and is currently the assistant cura- nary Carl ‘Butch’ Small, bringing together four tor of contemporary art at the Detroit Institute generations of Parliament-Funkadelic alumni. A of Arts. In 2015 she co-founded ARTS.BLACK, a prominent community advocate, Bryce Detroit journal of art criticism from Black perspectives. serves as culture & relations director of Center Aldridge is the 2016 recipient of The Andy for Community Based Enterprises (C2BE), and Warhol Foundation Creative Capital Arts Writers co-founder of Detroit Community Wealth Fund. Grant for short form writing. She received her MLA from Harvard University with a concentra- George Jacobsen tion in museum studies and a BA from Howard University with a concentration in art history. George Jacobsen is senior program officer for Taylor has worked at the Ethelbert Cooper Gal- cultural and civic vitality at the William Davidson lery of African & African American Art (Harvard Foundation. He joined the foundation in Janu- University), and has been awarded the Goldman ary 2017 and manages investments in cultural Sachs Junior Fellowship at The National Museum institutions and gathering places that enhance of American History (Smithsonian Institution). the lives of Southeast Michigan residents; attract She has written for Detroit MetroTimes, ART- new visitors, families, and businesses; and help News, Contemporary And, SFMoMA’s Open define Detroit and the state’s identity beyond its Space, and Hyperallergic. borders. He previously worked for The Kresge Foundation, where he managed its local arts and Jenny Lee culture portfolio, including its investments in individual artists, and led the development of a Jenny Lee is the executive director of Allied Me- multiyear grant initiative to support transforma- dia Projects, a Detroit-based organization that tional neighborhood-based projects across the cultivates media arts strategies for a more just, city. He has a master’s degree in urban planning creative, and collaborative world. Since 2006, she from Wayne State University in Detroit and cur- has led the growth and evolution of the organi- rently serves on his local planning commission as zation in its dual role as a hub for national net- well as the Detroit Creative Corridor Center’s City works of creative social justice practitioners and of Design stewardship board. as a deeply-rooted resource for Detroit artists and activists. She honed the theory and practice of media-based organizing that is at the core of AMP’s work — an approach to social change that relies on deep listening, honoring complex- ity, iteration, and facilitative leadership. She is a mom, a dancer, and a motorcycle rider.

12 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED MORNING SUN

9:30 AM– BREAK 10:00 AM–

10:00 AM– BREAKOUT SESSIONS 11:30 AM

Advancing Solutions to Critical City Challenges through Public Art Duluth Organized and moderated by Anita Contini, Program Lead, Arts, police officers. A winner of Bloomberg Philan- Bloomberg Philanthropies. Presented by Jennifer Evins, President thropies’ Public Art Challenge, this project & CEO, Chapman Cultural Center; Erwin Redl, CEO, Paramedia LLC; demonstrates how temporary public art can be and Brandi Stewart, Arts Team, Bloomberg Philanthropies. an effective approach to addressing critical city When public art creates strategic partnerships issues, strengthening communities, and engaging between artists, cultural organizations, and city artists to develop creative ideas for their cities. government, it can become a powerful platform Presenters will discuss how they structured the for catalyzing change. This session will focus multistakeholder partnership that anchored this on the successes and challenges of a citywide initiative. Participants will be asked to share their art project in Spartanburg, South Carolina that approaches to and questions about facilitating built stronger relations between residents and cross-sector public art collaborations.

Arts Education Assessment and Grantee Capacity Building for the Greater Good Richard A Organized by Wendy Liscow, Education Program Director, The school district partners, as well as survey tools Geraldine R. Dodge Foundation. Presented by Wendy Liscow, for collective impact assessment. Through these Education Program Director, The Geraldine R. Dodge Foundation; tools and combined with group and one-on-one and Deborah Ward, Principal, Ward Consulting. assessment training, grantees have developed How can funders create a learning culture new practical evaluation skills. Presenters will around data collection that serves both the foun- demonstrate the tools, preview new online train- dation and its grantees and helps the arts educa- ing curriculum that builds grantee evaluation tion sector tell a collective story of impact? The capacity, and share the success of these efforts in Geraldine R. Dodge Foundation has developed Trenton, Newark, and across New Jersey. data collection dashboards for grantees and

Building Financial Equity in Arts Organizations LaSalle B Organized by Glyn Northington, Special Initiatives Director, Propel Surdna Foundation, and Propel Nonprofits Nonprofits. Presented by Kate Barr, President & CEO, Propel partnered to develop an Equity Builder program Nonprofits; and Kim Dempsey, Deputy Director, Social Investments, to strengthen the balance sheet for arts and cre- The Kresge Foundation. ative placemaking organizations. The program Arts grantmakers have long been focused on incorporates capital, financial management guid- helping philanthropists and arts organizations ance, and leadership development to address better understand the power behind capital- multiple obstacles to the financial health and ization. The goal is to help arts organizations resiliency of arts and culture organizations. Ses- become more sustainable through unrestricted sion presenters will demonstrate the success of net assets. Investing both grants and program- this program by spotlighting what they learned related investments, The Kresge Foundation, from the pilot program as they launch the next Bush Foundation, Butler Family Foundation, phase of the Equity Builder program.

Cracking the Readiness Code: What It Means for ALAANA Organizations Cadillac B Organized and moderated by Sharnita Johnson, Program Director, The The life cycle and readiness indicators for or- Geraldine R. Dodge Foundation. Presented by Susan Feder, Program ganizations of color look very different from Officer, The Andrew W. Mellon Foundation; Rhonda Greene, Executive their white and multiracial counterparts. The Director, Heritage Works; and Denise Saunders Thompson, President & CEO, The International Association of Blacks in Dance, Inc. one-standard-for-all grantmaking approach is

13 2017 GRANTMAKERS IN THE ARTS CONFERENCE SUN MORNING CONTINUED

10:00 AM– widespread, negatively impacts the growth examining the processes and models that count- 11:30 AM of organizations of color, and contributes to er traditional models of readiness assessment continued cyclical disparity. This session will present a dia- and grantmaking. logue between grantmakers and their grantees

Creating a New Framework for Arts and Culture in Rural America Nicolet A Organized by Susan DuPlessis, Program Director, South Carolina working in a rural community. These perspec- Arts Commission. Moderated by Ken May, Executive Director, South tives will amplify the power of arts, culture, and Carolina Arts Commission. Presented by Susan DuPlessis, Program placemaking as tools that build relationships, Director, South Carolina Arts Commission; Dr. Yvette McDaniel, Director of Choral Activities, Denmark Technical College; and Bob connections, and community in South Carolina’s Reeder, Program Director, Rural LISC. rural “Promise Zone” region. What has been learned? Topics addressed will include how local In a new initiative called The Art of Community: citizens reimagine place and address community Rural S.C., the relevance of arts and culture as issues through the lens of creativity, arts, and leavening agents in rural community develop- culture; how a grantor changed its approach to ment is examined through three perspectives: a get different results; and the array of cross-sector national community development leader, a state partnerships and resources that resulted. arts program director, and a local artist/educator

Creating Funding Opportunities for Artists with Disabilities Marquette A Organized and moderated by Beth Bienvenu, Accessibility Director, barriers to working in the arts, including inacces- National Endowment for the Arts. Presented by Matt Bodett, Visual sible spaces and programs, barriers to training Artist; Lane Harwell, Executive Director, Dance/NYC; and Lisa and education, and misperceptions about ability Hoffman, Executive Director, Alliance of Artists Communities. and talent. Three funders will share how they The current conversation about diversity, equity, have addressed these barriers through targeted and inclusion in the arts has most often addressed funding opportunities for physically integrated inequity in terms of race, ethnicity, and socioeco- dance companies, disabled playwrights, and art- nomic status. But is our field truly inclusive if the ists and writers with spinal cord injuries. Panelists conversation does not address disability? Artists and participants will discuss how funders can fur- with disabilities are producing work across all ther their progress toward diversity, equity, and art forms that reflects both talent and a unique inclusion by providing opportunities for artists voice, but they continue to face numerous with disabilities.

Creative Forces: Arts Therapies in Military Healing Arts Cadillac A Organized by Marete Wester, Senior Director of Arts Policy, of the expansion of NEA Creative Forces: Military Americans for the Arts. Presented by General Nolen Bivens, Healing Arts Network has focused on the devel- President, Leader Six, Inc.; and Margaret Vanderhye, Executive opment of community networks located around Director, Virginia Commission for the Arts. the eleven clinical sites to increase arts opportu- Since 2011, the National Endowment for the nities for military and veteran families and ex- Arts (NEA) has supported creative arts therapies tend support for current and former patients and for service members with traumatic brain injury their families as they transition from treatment and associated psychological health issues at the in a clinical setting to arts programming in their National Intrepid Center of Excellence (NICoE) community. This session will focus on how the Walter Reed National Military Medical Center process of engaging state and local arts agencies, in Bethesda, Maryland, and the NICoE at Fort local funders, and practitioners in partnership Belvoir in Virginia. Recognizing the program’s with military and clinical providers is successfully success, in FY2016 Congress appropriated a breaking down the military/civilian divide and $1.928 million budget increase for the NEA enabling military and veteran populations to be- specifically allocated to expand this military come part of the integrated and resilient creative healing-arts program to eleven sites, reaching all communities in which they live, work, and thrive. branches of military service. A core component

14 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED MORNING SUN

Creative Placemaking From the Community Up 10:00 AM– 11:30 AM Nicolet B continued Organized by Sharon LaRue, Executive Director, Kentucky at the national, regional, and state levels that Foundation for Women. Presented by Debi Chess Mabie, Executive will present new frames for problem solving and Director, Arts Foundation for Tucson and Southern Arizona; Erik inclusion. Interviewees will highlight concrete Takeshita, Portfolio Director, Bush Foundation; and F. Javier Torres, Director of National Grantmaking, ArtPlace America. Interviewed by examples of how community-based creative Judi Jennings, Board Member, Arts & Democracy. placemaking can bring together local agencies, citizens, artists, and cultural organizers to create What can be learned by looking at creative new spaces for civic participation and accomplish placemaking from the community up? Can long-term goals. A facilitated learning exchange urban, suburban, and rural areas cross racial, eco- will engage participants in sharing practical nomic, cultural, and geographic divides to create tools, promising practices, and specific examples effective collaborations? Can arts and culture of overcoming barriers to equitable placemaking lead equitable community development? This and community development. session will feature interviews with grantmakers

Desegregating the American Dream: Storytelling and Social Change Marquette B Organized by Elizabeth Méndez Berry, Director, Voice, Creativity storytelling strategies. But when political insid- and Culture, The Nathan Cummings Foundation. Moderated by ers consider narrative, they rarely include actual adrienne maree brown, Presenter and Facilitator, Allied Media storytellers. In this session, attendees will hear Projects. Presented by Elmaz Abinader, Program Director, VONA; dream hampton, Sole Proprietor, dh; and Yosimar Reyes, Artist in from a group of storytellers whose work shifts Residence, Define American. narratives, from those who have worked close- ly with campaigns, to those who have shifted The picket fence is in peril. Society is living in perceptions in less obvious but equally important a moment of polarization and paranoia — of ways. The thesis: if we want a new world or a attacks on the truth (“alternative facts”) and, new country, someone has to imagine it first. equally chilling, attacks on the American imag- This panel will also offer suggestions for how arts ination (artists and the National Endowment funders can advocate for artists’ pivotal role in for the Arts). The Beltway is buzzing with changing the national discourse.

Remaking Arts and Culture Strategies in Response to New Realities LaSalle A Organized and moderated by Regina Smith, Managing Director, especially alert to the role of the arts in a time Arts and Culture, The Kresge Foundation. Presented by Janet of great national ferment. In this session, a Sarbaugh, Vice President, Creativity, The Heinz Endowments; group of arts grantmakers will present a snap- and San San Wong, Senior Program Officer, Barr Foundation. shot of strategy changes they have made or Creating and adjusting foundation strategy are are considering, including changes based on perhaps the most important aspects of program research such as the National Committee for staff’s work. Often, the power of traditional Responsive Philanthropy’s Fusing Arts, Culture, practices, the weight of a grants workload, and and Social Change, changes based on inter- limited dollars for assessment and evaluation nal shifts, and changes based on the current make true attention to strategy development national climate. Participants will gain insights difficult. Strategy development is especially into the challenges and the rewards of strategy important for arts and culture grantmakers now, change, and share their own stories about their at a time when the definition and relevance of experiences in navigating change within their culture are contested space, when federal cultur- own foundations. al agencies are imperiled, and when the field is

15 2017 GRANTMAKERS IN THE ARTS CONFERENCE SUN MORNING CONTINUED

10:00 AM– Way Beyond Programming: Sustainably Engaging Diverse Audiences 11:30 AM– continued Richard B Organized by Stephanie Brown, Program Officer, The James Irvine change — the kind that goes way beyond pro- Foundation. Moderated by Sarah Lee, President, Slover Linett gramming into the sometimes difficult territory Audience Research. Presented by Josephine Ramirez, Former that a commitment to diversity can set in motion. Arts Program Director, The James Irvine Foundation; Nina Simon, Executive Director, Santa Cruz Museum of Art & History; and As these grantees deepen their organizational Cynthia Taylor, Associate Director of Public Engagement, Oakland capacity to engage communities of color, foster Museum of California. buy-in among board members and staff, change their internal culture, and develop new business How can arts organizations transform themselves models, they are discovering myriad ways to into diverse, equitable, and relevant institutions? learn together. Following the panel conversa- After highlighting promising data from a recent- tion, breakout groups will explore collaborative ly released report about The James Irvine Foun- learning and other supports that could effective- dation’s New California Arts Fund, leaders from ly sustain organizations like these. the program’s cohort will share stories of deep

11:30 AM- 12:00 AM BREAK

16 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 AFTERNOON SUN

LUNCHEON PLENARY SESSION 12:00 PM– 1:30 PM AMBASSADOR BALLROOM

jessica Care moore Performance Introduction by Sharnita Johnson The Geraldine R. Dodge Foundation

Maurice Cox Keynote Introduction by Regina Smith The Kresge Foundation jessica Care moore educator, and former mayor of Charlottesville, VA. He most recently served as associate dean for jessica Care moore is the CEO of Moore Black community engagement at the Tulane Universi- Press, executive producer of Black WOMEN ty School of Architecture and as director of the Rock!, and founder of the literacy-driven Jess Tulane City Center, a university-affiliated practice Care Moore Foundation. Born in Detroit, jessica operating at the intersection of design, urban Care moore first came to national prominence research, and civic engagement throughout when she won on the legendary It’s Showtime the New Orleans community. Cox has taught at at the Apollo competition a record-breaking five Syracuse University, the University of Virginia, and times in a row. Her searing performance of the Harvard University’s Graduate School of Design. poem “Black Statue of Liberty” earned moore several meetings with high profile publishing His experience merging architecture, politics, and companies, but in 1997, she paved her own path design education led to his being named one of and launched a publishing company of her own, “20 Masters of Design” in 2004 by Fast Company. Moore Black Press. An internationally renowned He served as design director of the National poet, playwright, performance artist, and pro- Endowment for the Arts from 2007–2010 where ducer, she is the 2013 Alain Locke Award recipi- he led the NEA’s Your Town Rural Institute, the ent from the Detroit Institute of Arts. Governor’s Institute on Community Design, the Mayors’ Institute on City Design, and oversaw Maurice Cox direct design grants to the design community across the US. In 2013, Cox was named one of the Maurice Cox, planning director for the City most admired design educators in America in the of Detroit, is an urban designer, architectural annual ranking by DesignIntelligence.

1:30 PM– BREAK 2:00 PM

2:00 PM– BREAKOUT SESSIONS 3:15 PM

Addressing Disasters in 4-D: The Arts Field’s Readiness Toolkit Lasalle B Organized and moderated by Mollie Quinlan-Hayes, Deputy ArtsReady, Center for Disaster Philanthropy, and Director and Accessibility Coordinator, South Arts. Presented by the Performing Arts Readiness project have lived Tom Clareson, Senior Digital & Preservation Services Consultant, through disasters, funded disaster-responding LYRASIS/Performing Arts Readiness; Alison Gilchrest, Program Officer, Arts and Cultural Heritage, The Andrew W. Mellon organizations, and developed expertise in pre- Foundation; and Anna Hurt, Assistant Director of Grants and paredness/response actions. In this invigorating Programs, Center for Disaster Philanthropy. session, participants will gain a deep under- standing of four significant resources and their The daunting and serious threat of future practical applicability to their work and practice: disasters is real. Now, a full array of practices, The Disaster Philanthropy Playbook, The Cultural resources, and experts exist to serve the arts Placekeeping Guide and Artist Resources, Grant- field, providing arts organizations with direc- maker Activism Practices, and The Performing tion, wise counsel, and a helping hand. Present- Arts Readiness Project, managed by LYRASIS. ers from The Andrew W. Mellon Foundation,

17 2017 GRANTMAKERS IN THE ARTS CONFERENCE SUN AFTERNOON CONTINUED

2:00 PM– Arts in Medicine: Research and Practice at University of Florida Health 3:15 PM continued Marquette A Organized by Grantmakers in the Arts. Moderated by Janet Brown, in Medicine Programs at the University of Florida President & CEO, Grantmakers in the Arts. Presented by Christina as an example of a comprehensive and leading Mullen, Director, UF Health Arts in Medicine; and Jill Sonke, program in the field. It will also present exam- Director, University of Florida Center for Arts in Medicine. ples of the program’s research, including recent The University of Florida Health is among many outcomes of a randomized control trial study of institutions that support the arts as a means for how live preferential music effects pain medica- enhancing healthcare. The field of arts in health tion usage and cost of care in emergency medi- is experiencing rapid growth and definition, with cine, and the development of a set of indicators arts programs established today in at least half of for assessing how arts participation is associated healthcare institutions in the United States. This with well-being at the community level. Resourc- presentation will explore the practical linkages es developed through the research projects will between the arts and health, looking at the Arts be shared.

AZ Creative Aging: Building Field Infrastructure via Multisector Investment Cadillac A Organized by Alex Nelson, Senior Director of Grants and Programs, meaningful, cross-sector programs. Attendees Arizona Commission on the Arts. Presented by Ashley Hare, Arts will gain understanding about new connections Learning and Community Engagement Director, City of Phoenix and networks that can form when arts fund- Office of Arts and Culture; Alex Nelson, Senior Director of Grants and Programs, Arizona Commission on the Arts; and Ellen Solowey, ing is reframed to impact specific populations, Program Officer, Virginia G. Piper Charitable Trust. explore concrete examples of what building infrastructure looks like in practice using the AZ Creative Aging is a three-year initiative field of aging as context, consider cultural to build infrastructures for transformational responsiveness in cross-sector work, and learn creative aging programs in Arizona. Using AZ how funders can support constituents to engage Creative Aging as a case study, this session will with new sectors, including steps to educate and investigate how private funders, government connect teaching artists, arts organizations, and agencies, and community partners collaborate providers of aging services. on field building through development of local,

Building Intercultural Leadership Nicolet B Organized and moderated by María López De León, President & recognized the necessity of creating an intercul- CEO, National Association of Latino Arts and Cultures. Presented tural approach to leadership development within by ChE, Founder and Artivist Director, #DignityInProgress; Lori the arts and culture field to respond effectively Pourier, President, First Peoples Fund; and Dr. Jumana Salamey, Deputy Director, Arab American National Museum. to the significant shifts that are underway in nearly every facet of our society. The ILI fosters The Intercultural Leadership Institute (ILI) is a and supports intercultural leaders throughout year-long rigorous leadership development pro- our communities to promote a shift in the broad- gram for artists, culture bearers, and other arts er arts and cultural field toward greater intercul- professionals. ILI core partners Alternate ROOTS, tural awareness, resourcing, and action. The core First Peoples Fund, National Association of Latino partners will discuss outcomes from the first ILI Arts and Cultures, and the PA’I Foundation intensive in Mississippi.

Capitalizing Small Cultural Organizations in Pittsburgh: A Pilot Funding Collaborative Richard B Organized by Janet Sarbaugh, Vice President, Creativity, The Heinz In 2013, a group of funders and cultural orga- Endowments. Moderated by Rebecca Thomas, Principal, Rebecca nizations in Pittsburgh attended Grantmakers Thomas & Associates. Presented by Heather McElwee, Executive in the Arts’ Conversations on Capitalization Director, Pittsburgh Glass Center; and Kate Sphar, Senior Program Officer, McCune Foundation. workshop. The dialogue sparked research and conversation about the inadequate access to

18 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED AFTERNOON SUN resources faced by small to mid-sized cultural challenges and investment needs of small orga- 2:00 PM– organizations in the region. In response, a group nizations, readiness for capitalization planning, 3:15 PM continued of funders — The Heinz Endowments, McCune challenges of pooled grantmaking, and benefits Foundation, Pittsburgh Foundation, Benedum of a local-national consulting partnership. Partic- Foundation, and Benter Foundation — invested ipants will have the opportunity to share lessons $1.7 million in a pilot program to strengthen the from their own experiments in capitalization stability and resiliency of local organizations. and to discuss the potential application of new Presenters will share early lessons from this col- models in their communities. laborative experiment, discussing the financial

Co-Creating Theater Online and Off (or IRL) Duluth Organized and moderated by Amanda Thompson, Program Officer, story circles used by Teatro Vision, participants Arts, John S. and James L. Knight Foundation. Presented by Elisa will experience what it is like to participate in Marina Alvarado, Co-director and former Artistic Director, Teatro theater that is cocreated. They will learn how Vision; Matt Cosper, Artistic Director, XOXO; and Adrienne Mackey, Founding Executive Director, Swim Pony Performing Arts. grantmakers can determine the quality of these types of participatory projects and what types In this interactive session, participants will expe- of resources grantees need to be successful. The rience the work of three theater companies that session will explore how the three shows funded engage audiences online and in real life (IRL) to by the Knight Foundation unfolded in Charlotte, create original works of theater. From The End, San Jose, and Philadelphia and how grantmakers a play by Swim Pony that is structured as an on- can support technology experiments in the way line game, to #CAKE, which unfolds over social art is created. media/site-specific performance, to community

Engaging Communities for Equitable Access to High-Quality Arts Education Nicolet A Organized and moderated by Michelle Boss Barba, Program be widely applicable to communities across the Officer for Arts & Culture, The Oregon Community Foundation. state. In strategizing next steps, the foundation Presented by Madeline Baars, Researcher, The Oregon Community is grappling with a variety of questions: How can Foundation; Nick Lupo, Principal, Taft Elementary; and Christine Tell, Studio to School Project Lead, Siletz Bay Music Festival. philanthropy best impact arts education, espe- cially when equity is the goal? As the primary The Oregon Community Foundation (OCF) is in convener and driver of this work, how does OCF year four of its five-year Studio to School initia- meaningfully engage other stakeholders to share tive, exploring how community organizations and in future visioning and implementation? How public schools can work together to create and can learning from the data collected so far best sustain high-quality arts education for under- serve the field? In this session, OCF will share their served youth, especially at the middle school experimental approach with Studio to School, level. Working with eighteen rural, suburban, and hear from grantees, review the draft principles urban project sites, OCF is utilizing grantmaking, developed through evaluation work, and give convening, and a robust evaluation program to other funders an opportunity to share their expe- surface principles and case studies that could riences and ideas.

Holding Ourselves Accountable Marquette B Organized by Margaret M. Lioi, CEO, Chamber Music America. Diversity, Inclusion, and Equity, which includes Presented by Justin Laing, Managing Director, Hillombo LLC; specific success indicators to measure equity out- and Margaret M. Lioi, CEO, Chamber Music America. comes in the distribution of benefits to ALAANA Over the past year, Chamber Music America’s artists and ensembles. This session will share (CMA) board and staff embarked on a process to CMA’s experience of development and imple- incorporate the principles of diversity, inclusion, mentation. Attendees will learn the specifics of and equity into the fabric of the organization. those processes, the challenges inherent in build- With the support of Justin Laing/Hillombo LLC, ing consensus, and strategies to communicate they developed a Statement of Commitment to the commitment to stakeholders.

19 2017 GRANTMAKERS IN THE ARTS CONFERENCE SUN AFTERNOON CONTINUED

2:00 PM– Mapping Our Assumptions 3:15 PM continued Richard A Organized and facilitated by Moira Brennan, Executive Director, to prompting questions by moving to a partic- The MAP Fund, Inc., and Emilya Cachapero, Director of Artistic and ular corner of the room or by arranging them- International Programs, Theatre Communications Group. selves on an imagined line on the ground. The Using the cultural mapping technique, this spontaneous discoveries that take place after session will identify and examine the bias and moving give people the chance to step out of assumptions grantmakers hold as leaders and assumptions. Why should meeting facilitators be facilitators of panel review processes. Cultural neutral? Is using a panel the best way to deter- mapping is a physical conversation that makes mine grantees? Is equity guaranteed if a person differences and similarities visible so that they of color is on the panel? Why should materials can be recognized, examined, and under- be written and in English only? This session will stood. Participants will share their responses explore these questions and more.

Racial Equity in Grantmaking for Individual Artists Cadillac B Organized by Brian McGuigan, Program Director, Artist Trust. bring together three funders of individual artists: Moderated by Angela Gaspar-Milanovic, Director of Grants and a national nonprofit, a state nonprofit, and a Professional Development, Los Angeles County Arts Commission. private foundation. Each will discuss their own Presented by Tony Grant, Co-director, Sustainable Arts Foundation; Ruby Lopez Harper, Director of Local Arts Services, Americans for strategies and initiatives for racial equity, how the Arts; and Brian McGuigan, Program Director, Artist Trust. they have implemented them in their selection processes, and their efforts to engage with artists Many arts organizations are making commit- of color and communities. Panelists and partici- ments to racial equity, but structural racism, orga- pants will have an open conversation to discuss nizational history, and implicit bias, among many ideas and techniques for achieving racial equity other factors, have made this work challenging in their grantmaking programs and identify next for well-meaning grantmakers. This session will steps to turn commitment into action.

Research, Engagement and Cultural Planning: A New York Story LaSalle A Organized by Kerry McCarthy, Program Director - Thriving making of a culture plan? What transferrable Communities, The New York Community Trust; and Jessica Garz, knowledge and experience might inform strate- Program Officer, Thriving Cultures, Surdna Foundation. Moderated gies for planning, cultural equity, and visioning by Kerry McCarthy, Program Director, Thriving Communities, The New York Community Trust. Presented by Nisha Baliga, for a future in other communities? University of Participatory Planning Director, Hester Street; Tom Finkelpearl, Pennsylvania's Social Impact in the Arts Project, Commissioner, New York City Department of Cultural Affairs; and Hester Street Design Collaborative, and the New Dr. Mark J. Stern, Professor, School of Social Policy & Practice, York City Department of Cultural Affairs will University of Pennsylvania. present highlights and key findings from two How did community-engaged design, social years of work which culminated in the newly science research, and arts advocacy inform the released Cultural Plan for New York City.

3:15 PM– 3:45 PM BREAK

20 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED AFTERNOON SUN

3:45 PM– BREAKOUT SESSIONS 4:45 PM

Assessing Impact and Measuring What Matters Richard B Organized by Heather Pontonio, Art Program Director, Emily Hall their diverse portfolios and geographies of work. Tremaine Foundation. Presented by Cezanne Charles, Director The Tremaine Foundation is supporting a national of Creative Industries, Creative Many Michigan; and Heather collaboration to create Artists Thrive, a dynamic Pontonio, Art Program Director, Emily Hall Tremaine Foundation. measurement tool that helps the field see what is Creative Many and the Emily Hall Tremaine Foun- being done now and what can be done different- dation will share how they are using rubrics to ly to improve conditions for artists. Work at both assess their impact and shape strategic planning, organizations is focused on continuous improve- goals, and communications with board members, ment with mechanisms for ongoing engagement, staff, artists, community, and peers. Creative collaboration, and alignment around activities, Many’s focus is increasing collaboration across practices, language, visions, and values.

Co-Design + Collaboration + Creativity = Strengthened Arts Sector Nicolet A Organized and moderated by Paul Ternes, Program Officer, Peter responsibility for content and design to a cohort Kiewit Foundation. Presented by Brigitte McQueen Shew, Executive of grantees and incorporates outcomes-based, Director, The Union for Contemporary Art; and Carla Patterson, mutual accountability between grantees and the Principal, Patterson & Associates. funder. This session will share how it all works, Funders are in the unique position to help lessons learned, results, and thoughts on how the strengthen their community’s arts sector and em- approach might benefit local communities. This power arts organizations to successfully lead the approach led to a seismic shift not only in how way. The solution may be working hand in hand one foundation engages with grantees, but also with grantees to identify sector-wide needs, in how the grantees themselves work collabora- co-design capacity-building sessions, and lever- tively toward an arts sector where the arts do not age peer-to-peer learning. This approach shifts just enhance community, they build community.

Cultural Equity, Institutional Power, and Whiteness: A Complex Intersection LaSalle A Organized by Marian Godfrey, Cultural Advisor and Donor, to these different visions, along with its record Berkshire Taconic Community Foundation. Presented by Justin of investment in each. Can the field increase the Laing, Managing Director, Hillombo, LLC; and Ian David Moss, likelihood of success for each of these visions to Founder & CEO, Createquity. combat racism, including addressing internalized Research conducted by Createquity in 2016 inferiority in ALAANA people and internalized suggests that advocates for cultural equity often superiority in white people? Following brief pre- have divergent visions of what it looks like, sentations, Moss and Laing will begin a dialogue stemming from different interests, histories, and ask participants to join a fishbowl-style and desired futures. Inspired by conversations discussion in which participants will learn from, between Ian David Moss and Justin Laing, this critique, and contribute to research for the field. session will explore philanthropy’s relationships

Detroit Storytelling Cadillac B Organized and moderated by Margaret Morton, Program Officer, elevate diverse voices, identify new narrative Ford Foundation. Presented by Cara Mertes, Director, JustFilms, strategies, and reimagine the future of Detroit Creativity and Free Expression, Ford Foundation; and Bahia Ramos, from a community-led perspective. Attendees Director of Arts, John S. and James L. Knight Foundation. will leave with new insights into how diverse Together with Detroit cultural and media cultural practices can be the basis for integrated practitioners, the Ford and Knight Foundations and forward-thinking approaches to strengthen- will highlight new film, journalism, and writing ing the social fabric of Detroit. initiatives that use a variety of approaches to

21 2017 GRANTMAKERS IN THE ARTS CONFERENCE SUN AFTERNOON CONTINUED

3:45 PM– Expansion Arts: Capacity Building and Leadership Development in Emerging/Small 4:45 PM continued ALAANA Organizations Nicolet B Organized by Daniel Kertzner, Senior Philanthropic Advisor, organizations. A funder and former participant Rhode Island Foundation. Presented by Daniel Kertzner, Senior will discuss how the program works and the Philanthropic Advisor, Rhode Island Foundation; and Valerie unique collaboration among the funders: the Tutson, Executive Director, Rhode Island Black Storytellers. Rhode Island Foundation, a public charity; the The Rhode Island Expansion Arts Program seeks Rhode Island State Council on the Arts, a public to provide emerging/small arts and humanities agency; and the Rhode Island Council for the organizations whose missions and programs Humanities, a nonprofit. As part of this collabo- reflect the diverse people of the state with ration, funders meet on a recurring basis to dis- the tools they need to better compete for cuss and reflect on how issues of equity impact grants. The program focuses on capacity build- their own grantmaking. ing and leadership development in ALAANA

Measuring Youth Arts Impact Marquette B Organized by Ruth Mercado-Zizzo, Arts Expansion Director, work happening in Boston involving the creation EdVestors. Presented by Julia Gittleman, Principal, Mendelsohn, of a grantmaker-supported peer learning com- Gittleman & Associates, LLC; and Ruth Mercado-Zizzo, Arts munity (Youth Arts Impact Network) to explore Expansion Director, EdVestors. and share best practices. Through facilitated What are the best ways for youth arts organi- discussion and Q&A, participants will take away zations to demonstrate their programs’ impact? awareness of issues pertaining to data collection, What are best practices for data collection and program evaluation, and capacity building re- evaluation of arts education programs? What lated to demonstrating the impact of youth arts responsibilities do funders and practitioners programs; ideas for how grantmakers can pro- have to develop these tools and move the field vide technical support through the development forward? In this working session, participants of peer learning networks to share and explore will explore and discuss how to increase the effi- best practices regarding program impact; and ciency of data collection and demonstrate impact knowledge of existing models for demonstrating across the youth arts field. Presenters will share program impact.

Out of the Rabbit Hole: Demystifying the Journey of Impact Assessment Duluth Organized by Vanessa Silberman, Senior Director of a meaningful impact assessment, from deter- Communications & Strategic Initiatives, Mortimer & Mimi Levitt mining a set of assumptions and outcomes it Foundation. Presented by Sarah Lee, President, Slover Linett wanted to measure, to developing an RFP and Audience Research; and Sharon Yazowski, Executive Director, Mortimer & Mimi Levitt Foundation. selecting an outside evaluator, to cocreating the methodology for data collection, to completing Some funders are eager to launch an impact a multiyear study that has informed the work assessment of their grantmaking, yet don’t of the foundation and its grantees. Participants know where to begin. Or the lack of an in-house will then be guided through a set of interactive evaluation team can thwart efforts to launch exercises by a leading evaluator. Attendees will the process. Learn how one mid-sized founda- leave energized with a basic blueprint for their tion embarked upon the journey of creating own assessment frameworks.

22 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED AFTERNOON SUN

Recalculating the Formula for Success: New Research on Formulaic Funding 3:45 PM– 4:45 PM Lasalle B continued Organized by Grantmakers in the Arts. Moderated by Janet Brown, of these agencies are changing to broaden their President & CEO, Grantmakers in the Arts. Presented by Steven funding platforms and provide more equitable Lawrence, Senior Research Affiliate, TCC Group. access to funds for their entire community. The Local and state arts agencies, united arts funds, session features Steven Lawrence, senior research and arts funders supported through voter tax affiliate at TCC Group and former director of initiatives have historically used formula funding research at Foundation Center, who authored as a primary distribution strategy for general op- a research report on the topic published in the erating funds. This session will discuss how some summer 2017 edition of the GIA Reader.

The Indigenous Arts Ecology and Cross-Sector Data Cadillac A Organized by Lori Pourier, President, First Peoples Fund. Presented First Peoples Fund (FPF) supports these financial by Christianne Lind, Program Officer, Northwest Area Foundation; institutions across Indian Country to provide ser- and Lori Pourier, President, First Peoples Fund. vices and resources tailored to meet the needs of The Indigenous Arts Ecology is a cultural asset– artist-entrepreneurs in their communities. In this based model for understanding the rich history session, participants will learn how Native CDFIs and potential of Indian Country. Native Commu- and FPF simultaneously collaborate across sectors nity Development Financial Institutions (CDFI) to gather data that help define best practices for are at the center of the modern Indigenous Arts growing and sustaining creative ecosystems and Ecology alongside artists and culture bearers. the larger ecology into the future.

23 2017 GRANTMAKERS IN THE ARTS CONFERENCE SUN EVENING

6:15 PM Dine-arounds Gather for Departure Taking advantage of being in downtown Detroit, diversity of Detroit and its food scene. Signup this year’s dine-arounds will include a wonderful will be onsite at conference registration on Mon- variety of cuisines and experiences. These no- day. Participation is first-come, first-served. host, informal dinners offer a chance to social- Find your group at 6:15 pm in the Motor Lobby. ize with colleagues and experience the vibrant Departure will begin as soon as groups can gather.

Dine-around Locations Include: The Block Neighborhood Bar and Grill Selden Standard Distance: 2.6 miles Distance: 2.4 miles $$–$$$ $$–$$$ Under the leadership of executive chef Kevin Expect inventive, locally sourced New American Broe, the menu abandons its previous aspirations cuisine at this modern eatery in Midtown, serving at fine dining and instead focuses on deliciously seasonal small plates along with select wines and crafted bar bites, juicy burgers, and entrees that global brews. White brick walls, an open kitchen are explosive in flavor, yet don't break the bank. and roomy seating set the scene.

El Barzon Seva Distance: 4.0 miles Distance: 3.0 miles $$–$$$ $$–$$$ Mexican and Italian fusion. Where else can diners Fresh, imaginative vegetarian cuisine. In the win- start a meal with salsa and chips followed by ter of 2011 they opened their second restaurant fresh homemade pasta such as the Strozzapretti in midtown Detroit (the first is in Ann Arbor, MI). alla Norccina (twisted pasta with montovana They offer a completely vegetarian menu as well sausage, tomato and cream sauce)? as a full bar.

Gold Cash Gold Slows Bar BQ Distance: 2.3 miles Distance 2.2 miles $$$ $$–$$$ Corktown’s Southern-influenced eatery Gold Expect “killer” BBQ that “transports you to St. Cash Gold received a menu revamp last fall with Louis, Texas, and Kansas City” plus “out-of-this- the introduction of a new chef Brendon Edwards. world” mac 'n' cheese at this hipster mecca set in Feast on savory plates of chilaquiles and biscuits a refurbished 19th-century building near the old with mushroom gravy and don’t miss out on the Tiger Stadium in Corktown. daily doughnut special. Vincente’s Cuban Cuisine Rusted Crow Distance: 0.8 miles Distance: 2.8 miles $$–$$$ $$–$$$ Vicente’s Cuban Cuisine was created in 2005 Decked out with reclaimed wood, distressed to give Detroit’s palette and authentic taste of oak barrels, exposed brick and funky steampunk Cuba! Recipes have been handed down through elements, this Foxtown joint offers up signature generations of the Vazquez family, as well as a craft cocktails and local beers, plus American bar few additions from Chilean Chef Roberto Caceres. eats. Seating is available along the 50-foot cop- per bar or in metal-and-leather booths.

24 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 MORNING MON

Registration, Off-site Tickets 7:30 AM Tickets for Monday afternoon off-site sessions distributed per attendee. Ticket exchange can are available on a first come, first served ba- be made throughout the day at the registration sis at the registration desk. One ticket will be table, space permitting.

BREAKFAST PLENARY SESSION 8:00 AM– 9:30 AM AMBASSADOR BALLROOM

IDEA LAB The IDEA LAB starts the conference day with The project is dedicated to Grace Lee Boggs, thought-provoking inspiration — an opportunity Charity Hicks, Sheddy Rollins, and Detroit move- to hear directly from those creating the work ment networks. Invincible/ill is a United States and in the community. Each IDEA LAB will be Artists 2015 fellow and a 2010 fellow of Kresge hosted by George Jacobsen and feature three Arts in Detroit. presentations by innovative artists and thought Linda Campbell is a founding member of the leaders who continue to break barriers and chal- Building Movement Project, a national social lenge the norm. justice organization that focuses on building the capacity of nonprofit organizations for Erik Howard social change work. Along with her national Erik Howard is a photographer and co-founder colleagues, Campbell co-authored the semi- of Expressions and Young Nation in south- nal work, Social Service and Social Change, a west Detroit. Young Nation is a nonprofit in capacity-building model that fosters constit- southwest Detroit that supports youth and uent engagement in community change. She community development through cultural and currently leads the Detroit-based team, where educational initiatives. Young Nation provides the work focuses on issue-based advocacy, civic programming; conducts outreach to engage engagement, and resident leadership develop- and connect youth and adults; facilitates partici- ment. Recently, Campbell collaborated with local patory design processes of programs and spaces; community organizations on the publication of and curates and shares community-driven narra- Changing Conversations, a report citing recom- tives through verbal, oral, and visual mediums. mendations to address the funding gap between Its core programs, The Alley Project (TAP) and philanthropy and organizations led by people of Inside Southwest Detroit (iSWD), use participa- color. Her work is driven by a passionate belief tory approaches that leverage the tools of art in the collective voice and power of community and culture to promote social justice, resident members to shape and transform their communi- voice, and community development. ties for good. Through his work at Young Nation and in the Devon Akmon community, Howard combines his passion for youth and community development with his love Devon Akmon became director of the Arab of photography. He uses group activities such as American National Museum (AANM) in 2013, lowriding and street art as mentoring tools to succeeding founding director Dr. Anan Ameri, who reach out in the community of southwest Detroit. retired in May 2013. Akmon joined the AANM as curator of community history shortly before ill Weaver and Linda Campbell the museum opened in 2005 and was promoted to deputy director in 2009. Under his aegis, the Invincible/ill Weaver is a Detroit-based lyricist, AANM was named one of just 160 Affiliates of the performance artist, and community organizer. Smithsonian Institution and achieved accreditation They co-founded Emergence Media. They are from the American Alliance of Museums, a seal of coordinator of the Detroit Narrative Agency approval earned by just 6% of America’s cultural and a member of the Allied Media Conference institutions. Akmon is a graduate of the Michigan community advisory board. Invincible/ill's artist Nonprofit Association’s Emerging Leaders Class collective Complex Movements created Beware IX and Leadership Detroit Class XXXIV. In 2013, of the Dandelions, an interactive multimedia Akmon was named one of Crain’s Detroit Busi- installation exploring the relationship between ness magazine’s “40 Under 40” business leaders. complex sciences and social justice movements.

9:30 AM– BREAK 10:00 AM

25 2017 GRANTMAKERS IN THE ARTS CONFERENCE MON MORNING CONTINUED

10:00 AM– 11:30 AM BREAKOUT SESSIONS

Arts & the Civic Agenda: A Case Study of Innovation Richard A Organized by Michael Norris, Vice President of External Relations, funders have launched to better align Philadel- Greater Philadelphia Cultural Alliance. Moderated by Maud Lyon, phia's cultural sector with the city's civic agenda President, Greater Philadelphia Cultural Alliance. Presented by Hugh by highlighting the importance of the arts in ear- McStravick, Vice President, Community Relations, PNC; and Romona Riscoe Benson, Director of Corporate Relations, PECO Energy. ly childhood education. Building on the Alliance's advocacy mantra of "Data + Stories = Proof," the As the leading arts advocacy organization in report AGENDA: Pre-K summarized research on southeastern Pennsylvania, the Greater Phila- the positive impact of the arts on young children. delphia Cultural Alliance has been successful The report was supplemented by an array of on- in getting elected officials and civic leaders to line resources, a comprehensive communications understand the economic impact of arts and campaign, a deep network of community part- culture. But it has struggled to educate people nerships, and a special grant program for cultural about the many social and community impacts organizations and pre-K providers. Together the arts also have. In this session, attendees will these efforts resulted in an advocacy model that learn about a new initiative that the Alliance can be used with any aspect of cultural impact and two of Philadelphia's leading corporate arts and replicated in other places.

Arts and Social Change: A New Framework for Assessing Aesthetics Cadillac B Organized by Lulani Arquette, President/CEO, Native Arts and with Indigenous principles to evaluate Native Cultures Foundation. Moderated by Pam Korza, Co-director, artist-driven social impact projects supported by Animating Democracy, Americans for the Arts. Presented by Moira its Community Inspiration Program. The artist Brennan, Executive Director, The MAP Fund, Inc.; and Sage Crump, Culture Strategist/Creative Producer, Complex Movements. collective Complex Movements will share how artists used the framework’s attributes and What makes “arts for change” excellent? inquiry questions to look critically at creative The new Aesthetic Perspectives framework, choices and outcomes of a multimedia installa- developed by artists and allies in Animating tion/workshop exploring connections between Democracy’s Evaluation Learning Lab, describes complex science and justice movements. MAP eleven attributes of excellence that contrib- Fund will describe its use of the framework to ute to artistic potency and social and civic evaluate its application guidelines. Participants effectiveness. The Native Arts and Cultures will receive the framework, the funder compan- Foundation (NACF) will discuss how it applied ion, and NACF’s evaluation report. the “aesthetic-appreciative” framework along

Building Cultural Equity: A Tale of Two Cities Marquette B Organized by Ryan Deal, Vice President, Cultural & Community studies and discussion will address how equity- Investment, Arts & Science Council of Charlotte-Mecklenburg. focused change work began and is continuously Presented by Ryan Deal, Vice President, Cultural & Community supported in these organizations, leading to Investment, Arts & Science Council of Charlotte-Mecklenburg; and Tariana Navas-Nieves, Director, Cultural Affairs, Denver Arts structural changes to investment strategies, & Venues, City & County of Denver. and capacity building through cohort learning. Participants are invited to listen, reflect, con- This session will facilitate discussion and dialogue tribute, encourage, and challenge initiatives, about internal and external system changes success measures, and ongoing challenges as they underway in two local arts agencies (one pub- consider ways to build on or begin inclusion and licly funded and one public-private partnership) equity work inside their own organizations. with an eye toward building cultural equity. Case

26 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED MORNING MON

How Can Anchor Cultural Institutions Make Maximum Impact? 10:00 AM– 11:30 AM Cadillac A continued Organized by Susan Feder, Program Officer, The Andrew W. Mellon involving different kinds of anchor institutions: Foundation. Moderated by Anne Parsons, President & CEO, Detroit New Jersey Performing Arts Center in Newark, Symphony Orchestra. Presented by Karen Brooks Hopkins, Senior New Jersey; AS220, an incubator/performance Fellow in Residence, The Andrew W. Mellon Foundation; Bruno Carvalho, Associate Professor, Princeton University; and Steven space in Providence, Rhode Island; and MASS Wolff, Principal, AMS Planning & Research. MoCA, a contemporary art museum in North Adams, Massachusetts. Presenters will delve into This session will address the question, How can issues such as how anchors can engage in effec- anchor cultural institutions in struggling com- tive partnerships and how cultural organizations munities and communities in transition have can be more influential in regarding community maximum social, economic, and artistic impact? revitalization alongside universities, hospitals, This session will present three case studies and other community institutions.

Investing in ALAANA Cultural Organizations: Reflections from the Community Leadership Project Nicolet B Organized and moderated by Amy Kitchener, Executive Director, and supporting leadership development and Alliance for California Traditional Arts. Presented by Dillon Delvo, technical assistance for hundreds of organiza- Executive Director, Little Manila; Lily Kharrazi, Program Manager, tions. Drawing on the grantmaking approach and Alliance for California Traditional Arts; and John McGuirk, Program Director, Performing Arts, The William and Flora Hewlett Foundation. community of practice developed by the Alliance for California Traditional Arts (ACTA), which This session shares perspectives from a foun- focused on a capitalization strategy, implemented dation partner, an intermediary, and a grantee ethnographic listening, and built upon inherent in the Community Leadership Project, a seven- strengths of the culturally-based organizations, year, $20M initiative that strengthened small grantees developed and integrated the practices and mid-size organizations serving low-income of sustainability, renewable income, and shared communities of color in California. This initiative, leadership within traditional cultural frameworks. supported by The William and Flora Hewlett Highlighting the experience of grantees illumi- Foundation, The David and Lucile Packard Foun- nates what funders can learn about the challeng- dation, and The James Irvine Foundation, seeded es and negotiations for ALAANA-based organiza- collaborations, making general operating grants tions in developing models.

Leadership Development: Investing in Change Makers LaSalle A Organized and moderated by Caitlin Strokosch, President & CEO, leadership at all staff and board levels, resisting National Performance Network / Visual Artists Network. Presented by one-size-fits-all approaches to management, and Teresa Eyring, Executive Director, Theatre Communications Group; ensuring that leaders have both the skills and the Dafina McMillan, Program Manager, Bloomberg Philanthropies; and Harold Steward, Managing Director, The Theatre Offensive. opportunities to be change makers. Presenters will explore these questions through a variety of The future of arts and philanthropic leader- examples, including Bloomberg Philanthropies’ ship requires individuals committed to systems Arts Innovation and Management program; change, to bringing marginalized voices to the the Next Generation National Arts Network, a center, to infiltrating our cultural ecosystem at self-organized group of leaders supporting each every level, and to movements that offer positive other in their leadership development needs; and disruption and seek intersectional solutions. Crit- Theatre Communications Group's suite of leader- ical to this work are recognizing and investing in ship grants and programs.

27 2017 GRANTMAKERS IN THE ARTS CONFERENCE MON MORNING CONTINUED

10:00 AM– Leveraging Grantmaker Priorities With State & Local Elected Officials 11:30 AM continued Richard B Organized and moderated by Narric Rome, Vice President of be part of the solution to the challenges their Government Affairs, Americans for the Arts. Presented by Brian Calley, communities and constituencies face. AftA is Lieutenant Governor, State of Michigan; Mike Duggan, Representative currently partnering with lieutenant governors from Office of the Mayor, City of Detroit; Shelley Taub, Commissioner, Oakland County Board of Commissioners (Michigan). to expand the use of the arts in serving the health needs of active-duty military and veter- To advance the arts and arts education, Ameri- ans, with county officials to pursue arts-based cans for the Arts (AftA) has built and sustained rural economic development strategies, and with long-term strategic partnerships with various mayors on city arts funding and livability issues. associations of public elected officials. In its work This session will present three such officeholders, with these leadership bodies over the past twen- who will share their perspectives on their arts ty years, members have grappled with a varied priorities and discuss how funders might better portfolio of policy issues. Today, an increasing engage and collaborate with officials like them number of state and local government officials to realize shared goals. are recognizing and exploring how the arts can

Movements That Matter: How Data-driven Strategies are Building Communities LaSalle B Organized and moderated by San San Wong, Senior Program uses data-driven, values-based messages and tools Officer, Barr Foundation. Presented by Randy Cohen, Vice President to build public support; DataArts’ community of Research & Policy, Americans for the Arts; David Fraher, empowerment strategy, which provides a DIY President & CEO, Arts Midwest; and Arin Sullivan, Vice President and Director of Programs and Products, DataArts. advocacy tool and online courses to build skills; and Arts & Economic Prosperity 5, an economic In the coming years, the cultural sector faces an impact study carried out in 341 regions across all uphill battle to preserve and deepen America’s fifty states. Presenters will provide examples of investments in the arts. Three major national-level how the initiatives are being applied at the local research initiatives are advancing use of localized and state level by both private and public sector data for arts advocacy and cultural policy develop- arts funders. ment: Arts Midwest’s Creating Connection, which

Perspectives in Place-Based Arts Engagement Nicolet A Organized by Sigal Hemy, Program Officer, Fred A. and Barbara director, and community member will present M. Erb Family Foundation; and Jodee Raines, Vice President an honest examination of the opportunities that of Programs, Fred A. and Barbara M. Erb Family Foundation place-based arts programming presents, as well Moderated by Jodee Raines, Vice President of Programs, Fred A. and Barbara M. Erb Family Foundation. Presented by Amanda as challenges in implementation. Presenters will Bankston, Director of Marketing & Public Affairs, ArtOps; Glenda describe their reasons for engaging in this line McDonald, Founder/Director, McDonald Phelps Foundation; and of work and the impact that it has had on their Maury Okun, President, Detroit Chamber Winds & Strings/ArtOps. organization and community. This session will reflect on such questions as, What impact does Immersed in research studies, implementation the sector’s focus on placemaking have on arts manuals, webinars, and grant guidelines, funders organizations and the communities they serve? can easily lose sight of two important questions: and What groundwork needs to be laid for orga- Why engage in place-based arts strategies? and nizations to successfully operationalize place- Whom do they benefit? In this participatory based arts initiatives? session, a funder, nonprofit president, program

28 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED MORNING MON

Teaching Artistry: From Fragmentation to Unity 10:00 AM– 11:30 AM Duluth continued Organized by Jessica Mele, Program Officer, The William and Flora do proponents of those models work with each Hewlett Foundation. Presented by Glenna Avila, Artistic Director & other. Teaching Artists Guild is trying to change Wallis Annenberg Director of Youth Programs, California Institute that by pulling together a cross section of leaders of the Arts Community Arts Partnership; Kai Fierle-Hedrick, independent consultant; and Miko Lee, Executive Director, to determine a national model for teaching artist Youth in Arts. quality. Participants of this session will hear from existing members of this national partnership Regional fragmentation in the teaching artist and will contribute to the ongoing conversation. field can lead to students experiencing incon- This session is for arts education funders interest- sistent teaching quality and artists receiving ed in getting beyond pockets of excellence and inconsistent compensation and training. Many getting real about a national model for teaching models for training teaching artists and for artist quality. quality assessment exist nationwide, but rarely

11:30 AM– BREAK 12:00 PM

29 2017 GRANTMAKERS IN THE ARTS CONFERENCE MON AFTERNOON

12:00 PM– LUNCHEON PLENARY SESSION 1:30 PM AMBASSADOR BALLROOM

Introduction of GIA Board Members Felicia Shaw Regional Arts Commission of St. Louis

GIA State of the Organization Janet Brown Grantmakers in the Arts

Remarks Angelique Power The Field Foundation of Illinois

Keynote Jeff Chang Introduction by Maurine Knighton Doris Duke Charitable Foundation

Jeff Chang Jeff Chang has written extensively on the themes of multiculturalism, student and political intersection of race, art, and civil rights, and activism, the state of the arts, and the politics of the socio-political forces that guided the hip- abandonment. His first book, Can’t Stop Won’t hop generation. He currently serves as executive Stop: A History of the Hip-Hop Generation, director of the Institute for Diversity in the Arts has garnered many honors — including the at Stanford University. As a speaker, he brings American Book Award and the Asian American fresh energy and sweep to the essential Ameri- Literary Award — for its radical historicism and can story, offering an invaluable interpretation academic chops. at a time when race defines the national con- Chang has been a USA Ford Fellow in Literature versation. His latest book, We Gon’ Be Alright: and a winner of the North Star News Prize. He Notes on Race and Resegregation, questions was named one of “50 Visionaries Who Are why we keep talking about diversity even as Changing Your World” by Utne Reader. With H. American society is resegregating, both racially Samy Alim, he was the 2014 winner of the St. and economically. He argues that resegregation Clair Drake Teaching Award at Stanford Univer- — both racial and economic — is the unex- sity. Chang also co-founded CultureStrike and amined condition of our time, the undoing of Colorlines magazines, and was a senior editor/ which is key to moving the nation forward to director at Russell Simmons’ 360hiphop.com. racial justice and cultural equity. Born and raised in Honolulu, Hawai’i, Jeff Chang Chang’s previous book, Who We Be, is a pow- is a graduate of ‘Iolani School, the University of erful, challenging, and timely cultural history of California at Berkeley, and the University of Cali- the notion of racial progress, tackling pertinent fornia at Los Angeles.

1:30 PM– 2:00 PM BREAK

30 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONTINUED AFTERNOON MON

1:50 PM– OFF-SITE SESSIONS 4:30 PM Because space is limited for off-site sessions, Off-site session schedule: tickets are required. Tickets will be available 1:50 – 2:10 See session descriptions at the registration desk beginning at 7:30 AM for exact departure times on Monday morning. If the tickets for a given 2:30 – 4:00 Session session are gone, you will know that it is filled 4:00 – 4:20 Site visit and can make another choice. Participants should 4:30 Buses depart to hotel gather in the Motor Lobby at 1:45 PM to meet their group before departure.

Arts and Juvenile Justice: Structuring Better Outcomes for Detained Youth Museum of Contemporary Art Detroit Bus loads at 2:00 pm and leaves at 2:10 pm. Organized and moderated by Frances Phillips, Program Director, alone cannot provide the continuum of care Arts and the Creative Work Fund, Walter & Elise Haas Fund. these young people need. Session presenters Presented by Derek Fenner, Arts Learning Program Manager, have spent years working with and designing Alameda County Office of Education; and Robin Sohnen, Executive Director, Founder, Each One Reach One. programs for these youth. They have studied what might be done to keep young people Young people detained in the juvenile justice from being caught up in the system and how system are overwhelmingly youth of color from to reduce recidivism. In addition to sharing their poor communities. Many were arrested for minor research and observations, presenters will en- offences, and many will be rearrested in the gage participants in an arts-centered exercise to future. Arts programs can create safe, creative shape a conversation about the school-to-prison spaces for these youth, yet arts organizations pipeline — a pressing social justice topic.

Grassroots Organizing: The Impact of Neighborhood Art Movements Artist Village Bus loads at 1:50 pm and leaves at 2:00 pm. Organized by Christina deRoos, Director, Kresge Arts in Detroit; oft-mentioned challenges of systemic disinvest- and Ryan Myers-Johnson, Assistant Director, Kresge Arts in Detroit. ment, land speculation, and blight. Simultaneous- Moderated by Ryan Myers-Johnson, Assistant Director, Kresge ly, within these communities resides an intricate Arts in Detroit. Presented by Brittany Bradd, Executive Director, Brightmoor Artisans Collective; John George, Executive Director, network of gardens, farms, and grassroots art Detroit Blight Busters; and Rev. Larry L. Simmons, Sr., Executive spaces that serve as community and cultural hubs. Director, Brightmoor Alliance. Participants will experience and explore the inter- section of art, environment, and community orga- For this off-site session, participants will visit loca- nizing through the lens of Detroit artists leading tions in the Brightmoor and Old Redford commu- place-based interventions in residential houses nities on Detroit’s northwest side. Located outside and public spaces, including neglected parks and the city center, these communities embody the abandoned lots.

Leveraging the Power of Arts, Culture, and Design for Community & Urban Development in America’s Cities N’Namdi Center for Contemporary Art Bus loads at 2:00 pm and leaves at 2:10 pm. Organized by Michelle D. Johnson, Program Officer, The Kresge at various levels across the country. Through a Foundation. Moderated by Wendy Jackson, Managing Director – variety of commendable initiatives, these nation- Detroit Program, The Kresge Foundation. Presented by Matthew al networks are striving to influence the commu- Clarke, Director of Creative Placemaking, The Trust for Public Land; Paul Singh, Senior Director, Community Initiatives, NeighborWorks nity development–related systems and practices America; and Nella Young, Senior Program Director, Initiatives, to create equitable opportunities for low-income Enterprise Community Partners: National Design Initiatives, Boston. people living in cities. Each panelist will discuss their organizational evolution to a focus on cre- Over the past several years, The Kresge Founda- ative placemaking and present examples of their tion has supported a range of national com- work, including highlights of positive changes as munity development–related networks that well as challenges at the neighborhood, national, are embedding arts, culture, and design into and organizational levels. their respective programming and operations 31 2017 GRANTMAKERS IN THE ARTS CONFERENCE MON AFTERNOON CONTINUED

2:00 PM– ‘Matchmaker, Matchmaker, Make Me a Match’ – Lessons Learned from Cross-sector 4:30 PM continued Research Partnerships Detroit Center for Design + Technology Bus loads at 1:50 pm and leaves at 2:00 pm. Organized by Jamie Hand, Director of Research Strategies, ArtPlace goal. But what about the learning curves and America. Moderated by Danya Sherman, Research Strategies, growing pains that come with this new way of ArtPlace America. Presented by John Arroyo, Ford Foundation working? ArtPlace's research team and three Predoctoral Diversity Fellow and Urban Planner, MIT; Nayantara Sen, Co-principal, Art/Work Practice; and Ben Stone, Director of cross-sector researchers and practitioners will Arts & Culture, Transportation for America. engage in a conversation about the challenges encountered when undertaking deeply inter- As both practitioners and funders in the arts sec- sectional work — from day-to-day language tor increasingly reach across the aisle to collabo- barriers to competing conceptual frameworks. rate with partners in the health, safety, transpor- Participants will learn how to anticipate and plan tation, and other fields, breakthrough insights for their own program or research collaborations and new solutions to old problems are everyone’s with those outside the arts sector.

Storytelling Now: Media Artists Empowering People to Tell and Share Their Stories Ponyride Bus loads at 2:00 pm and leaves at 2:10 pm. Organized by David Haas, Vice Chair, Wyncote Foundation. In this session, three experienced media artists Moderated by Sarah Lutman, Principal, Lutman & Associates. will share their work that focuses on the extraor- Presented by Thomas Allen Harris, Executive Producer, Family dinary stories of ordinary people. Through their Pictures USA; Sarah Austin Jenness, Executive Producer, The Moth; and Aisha Turner, Reporter, Milwaukee Public Radio. work they are paving the way to greater under- standing among people and creating meaningful Visionary media artists are engaging with local exchanges that can change perceptions and lives. communities to help people tell and share their Participants will come away inspired to consid- stories. Their efforts build empathy among er new ways to help their own local cultural participants and lift up the hidden narratives organizations and media artists strengthen their that comprise the everyday stories of our era. storytelling and story-sharing capacities.

2:15 PM– 4:45 PM EXTENDED ON-SITE BREAKOUT SESSION

The Arts Approach to Building Connections between Muslim and Non-Muslim Communities: Creative Solutions from the Field Duluth Organized by Cheryl Ikemiya, Senior Program Officer for the Arts, arts organizations, and other key stakeholders Doris Duke Charitable Foundation; Maurine Knighton, Program using a creative approach to advance knowl- Director for the Arts, Doris Duke Charitable Foundation; and Zeyba edge, understanding, and relationships between Rahman, Senior Program Officer, Building Bridges Program, Doris Duke Foundation for Islamic Art. Moderated by Michael Rohd, American Muslim and non-Muslim communities Director, Center for Performance and Civic Practice. Presented for mutual well-being? In this 2.5 hour deep-dive by Ismael Ahmed, Senior Advisor to the Chancellor, University of workshop, attendees will have an opportunity Michigan Dearborn; Isra El-beshir, Director, The Art Station, Illinois to learn about unique solutions that academics, State University; Tariq Luthun, Poet; and Hussein Rashid, Founder, artists, and presenters have conceived to knit islamicate, L3C. communities together through multidisciplinary The exponential rise in Islamophobia is fueling a cultural initiatives at the local and national levels. backlash against Muslim, Arab, and South Asian This session is a 150-minute in-depth workshop (MASA) communities across the country. How can taking place at the conference hotel. funders play a greater role in supporting artists,

32 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 AFTERNOON & EVENING MON

SPECIAL EVENT

Shuttles begin to depart from the hotel 5:45 PM for the Dance at the Museum. Shuttles will loop between the hotel and the Detroit Institute of Arts on a regular basis.

Dance at the Museum 6:00 PM– 8:30 PM On the night before Halloween, conference Upon entering the museum, guests will be attendees will gather at the Detroit Institute greeted by an ensemble of current and former of Arts (DIA) for a celebration and dinner from students of the Carr Center Arts Academy. For 6:00–8:30 PM. The DIA’s collection is among the more than 15 years, the Carr Center has offered a top six in the United States, with about 66,000 comprehensive jazz education program for youth works. A hallmark of the DIA is the diversity of in the Detroit area. Students ranging 10–18 years the collection. In addition to outstanding Amer- old study music theory, improvisation, and jazz ican, European, modern and contemporary, and history; develop technical skills; and learn the graphic art, the museum holds significant works standard repertoire in an intensive multi-week of African, Asian, Native American, Oceanic, academy program. Islamic, and ancient art. In addition to Rivera Court, many of DIA’s gal- The evening’s festivities will be held in DIA’s Great leries will be open to attendees, including the Hall, where guests can enjoy a medley of Detroit’s African American, Impressionist, Contemporary, soul, R&B, and dance tunes from the '60s and Ancient Greek, and American art galleries. '70s with DJ Beige and DJ Yeti; and in the Rivera The museum store will also be open and fea- Court, home to the famous murals of Mexican tures jewelry, gifts, books and media, wall art, artist Diego Rivera (1886–1957). Rivera’s Detroit and home décor. Industry fresco cycle was conceived as a tribute to the city’s manufacturing base and labor force of Buses to the Detroit Institute of Art will begin the 1930s. Rivera completed the 27-panel work in to depart the hotel at 5:45 PM. eleven months, from April 1932 to March 1933. It This event is supported by the Ford Foundation. is considered the finest example of Mexican mu- ral art in the United States, and the artist thought it the best work of his career.

33 2017 GRANTMAKERS IN THE ARTS CONFERENCE TUES MORNING

9:00 AM– BREAKFAST PLENARY SESSION 11:00 AM AMBASSADOR BALLROOM

Welcome Eddie Torres Grantmakers in the Arts

2018 Conference Preview: Oakland Roberto Bedoya City of Oakland, Cultural Affairs Kerry O’Connor The William and Flora Hewlett Foundation Ted Russell Kenneth Rainin Foundation

Remarks Rip Rapson The Kresge Foundation

Keynote Sphinx Virtuosi Chamber Orchestra and Afa Dworkin Introduction by Rip Rapson The Kresge Foundation

Closing Janet Brown and Eddie Torres Grantmakers in the Arts

Sphinx Virtuosi Chamber Orchestra and Afa Dworkin The Sphinx Virtuosi is one of the nation’s most Inspired by Sphinx’s overarching mission, the dynamic professional chamber orchestras. Com- Sphinx Virtuosi works to advance diversity in prised of 18 of the nation’s top Black and Latino classical music while engaging young and new classical soloists, these alumni of the interna- audiences through performances of varied reper- tionally renowned Sphinx Competition come toire. Masterpieces by Bach, Tchaikovsky, Vivaldi, together each fall as cultural ambassadors to and Mozart are performed alongside the more reach new audiences. seldom presented works by composers of color, In addition to a performance by the Sphinx Vir- including Coleridge-Taylor Perkinson, George tuosi, Tuesday’s plenary will also feature Sphinx Walker, Michael Abels, and Astor Piazzolla, Organization’s president and artistic director among others. Afa Dworkin, who will discuss the organization’s Members of the Sphinx Virtuosi have performed work to advance diversity in the field of classi- as soloists with America’s major orchestras, cal music. The Sphinx Virtuosi serves as a bridge including the New York Philharmonic, Cleveland, between Black and Latino communities and the Detroit, Atlanta, Philadelphia, Seattle, and Pitts- classical music establishment. burgh Symphony Orchestras. Members also hold This unique ensemble earned rave reviews from professional orchestral positions, and several The New York Times during its highly acclaimed have been named Laureates of other prestigious debut at Carnegie Hall in December 2004. Allan international competitions, including the Queen Kozinn described their performance as “first- Elizabeth and Yehudi Menuhin. Roster members rate in every way” and “the ensemble produced have completed and continue to pursue their ad- a more beautiful, precise and carefully shaped vanced studies at the nation’s top music schools, sound than some fully professional orchestras including Juilliard, Curtis, Eastman, Peabody, that come through Carnegie Hall in the course Harvard, and the University of Michigan. of the year.” The Sphinx Virtuosi continue to This activity is supported in part by an award from garner critical acclaim during their annual the Michigan Council for Arts and Cultural Affairs. national tours to many of the leading venues around the country.

34 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 ACKNOWLEDGMENTS

SPECIAL THANKS TO THESE DETROIT-AREA ORGANIZATIONS AND INDIVIDUALS adrienne maree brown Charles H. Wright Museum Jamaal May Michigan Opera Theatre Afa Dworkin of African American Dr. Jamana Salamey Museum of Contemporary The Alley Project History Jenenne Whitfield Art Detroit Amanda Bankston Comm. Shelley Taub Jenny Lee Nija Kai Anne Parsons Detroit Center for Design + jessica Care moore N’Namdi Center for Arab American National Technology John George Contemporary Art Museum Detroit Institute of Arts Juanita Moore Nicole Macdonald Artist Village Devon Akmon Rev. Larry Simmons Sr. Ponyride Ben Stone DJ Beige (Sofia Softky) Linda Campbell Rhonda Greene Brad Kik DJ Yeti (Mike McGonigal) Lolita Hernandez Ryan Myers-Johnson Lt. Governor Brian Calley dream hampton Marcus Elliot Sarah Rose Sharp Brittany Bradd Erik Howard Margaret Noodin Sphinx Virtuosi Chamber Bryce Detroit The Gilda Snowden Estate Marsha Music Orchestra Carr Center Youth Jazz Glenda McDonald Maurice Cox Tariq Luthun Band ill Weaver Maury Okun Taylor Renee Aldridge Cezanne Charles Ismael Ahmed Michael Lauchlan Toi Derricotte Michael Zadoorian Wayne Brown

Preconference Planning Committees

Artists & Place: Insights/Incites on Site Melissa Franklin Esther Grimm Ebony McKinney Eleanor Savage The Pew Center for Arts 3Arts (in memoriam) Jerome Foundation & Heritage Ruby Harper San Francisco Arts Cassandra Town Adriana Gallego Americans for the Arts Commission Robert B. McMillen National Association of Sigal Hemy Heather Pontonio Foundation Latino Arts and Cultures Fred A. and Barbara M. Erb Emily Hall Tremaine SuJ’n Chon Family Foundation Foundation Grantmakers in the Arts

Racial Equity in Arts Philanthropy T. Lulani Arquette Randy Engstrom Kerry McCarthy Diane Sanchez Native Arts & Cultures Seattle Office of Arts The New York Community formerly of East Bay Foundation & Culture Trust Community Foundation Vickie Benson Maurine Knighton Angelique Power Janet Brown The McKnight Foundation Doris Duke Charitable The Field Foundation Grantmakers in the Arts Denise Brown Foundation of Illinois Eddie Torres Leeway Foundation Justin Laing Grantmakers in the Arts Hillombo LLC

Detroit Cultural and Community Tour Christina deRoos Kamilah Henderson Sharnita Johnson Alycia Socia Kresge Arts in Detroit Community Foundation for The Geraldine R. Dodge The Kresge Foundation Southeast Michigan Foundation Jim McDonald Grantmakers in the Arts

GIA Board of Directors 2017

Officers and Executive Committee Angelique Power, chair Kerry McCarthy, vice-chair Maurine Knighton, Glyn Northington, The Field Foundation The New York Community secretary treasurer of Illinois Trust Doris Duke Charitable Propel Nonprofits Foundation

Directors T. Lulani Arquette Susan Feder Arleta Little Caitlin Strokosch Native Arts & Cultures The Andrew W. Mellon The McKnight Foundation National Performance Foundation Foundation Ken May Network Denise Brown Ken Grossinger South Carolina Arts F. Javier Torres Leeway Foundation CrossCurrents Foundation Commission ArtPlace America Anita Contini Tatiana Hernandez Ted Russell San San Wong Bloomberg Philanthropies Sharnita Johnson Kenneth Rainin Foundation Barr Foundation Jaime Dempsey The Geraldine R. Dodge Felicia Shaw Laura Zucker Arizona Commission on Foundation Regional Arts Commission the Arts Amy Kitchener of St. Louis Randy Engstrom Alliance for California Gary Steuer Seattle Office of Arts Traditional Arts Bonfils-Stanton Foundation & Culture

35 2017 GRANTMAKERS IN THE ARTS CONFERENCE ACKNOWLEDGMENTS

GIA Funding Partners Funding Partner contributors LEADERSHIP CIRCLE The Geraldine R. Dodge Up to $4,999 are members who choose to Foundation 3Arts, Inc. make contributions above the $100,000 and up The Getty Foundation The Arthur M. Blank Family amount required by the GIA Barr Foundation The Howard Gilman Foundation dues structure. Funding Partner Bonfils-Stanton Foundation Foundation The Chicago Community Trust gifts assist GIA with both The William and Flora Hewlett Jerome Foundation CrossCurrents Foundation general operating support Foundation Lambent Foundation Fund The Richard H. Driehaus and special programs and The Kresge Foundation of Tides Foundation Foundation services, including the annual $50,000-$99,999 Mortimer & Mimi Levitt The Durfee Foundation conference and information Doris Duke Charitable Foundation Fleishhacker Foundation and communication services. Foundation The McKnight Foundation The Fan Fox and Leslie R. The Leadership Circle is made Ford Foundation The New York Community Samuels Foundation up of GIA Funding Partners Hemera Foundation Trust Clarence E. Heller Charitable making gifts of $10,000 and John S. and James L. Knight Quixote Foundation Foundation above. Foundation Walton Family Foundation Kentucky Foundation M. J. Murdock Charitable Trust for Women GIA would also like to CONTRIBUTORS Linde Family Foundation acknowledge its Funding Rosenthal Family Foundation The Wallace Foundation $5,000-$9,999 Polk Bros. Foundation Partner donors who provide David Rockefeller Fund multiyear grants to support The Cleveland Foundation $25,000-$49,999 Denver Arts & Venues Sony Pictures Entertainment GIA. Multiyear contributions Bloomberg Philanthropies Whistler’s Brother Fund are essential for the Fred A. and Barbara M. Erb The Nathan Cummings Family Foundation of Berkshire Taconic development and sustain- Foundation Community Foundation ability of relevant programs. Irving S. Gilmore Foundation The Heinz Endowments The George Gund Foundation Zellerbach Family Foundation The James Irvine Foundation Walter & Elise Haas Fund DONORS PROVIDING The Joyce Foundation City of Los Angeles This listing of contributors MULTIYEAR GRANTS: The John D. and Catherine T. Department of Cultural was compiled as accurately as Barr Foundation MacArthur Foundation Affairs possible from GIA records as Bonfils-Stanton Foundation The Andrew W. Mellon Mertz Gilmore Foundation of 9/6/2017. Errors, however, Doris Duke Charitable Foundation Michigan Council for Arts can occasionally occur. If there Foundation William Penn Foundation and Cultural Affairs are any discrepancies, please The Heinz Endowments The Rockefeller Foundation James F. and Marion L. Miller notify the Development and Hemera Foundation Surdna Foundation Foundation Membership Office at The William and Flora Hewlett Windgate Charitable Emily Hall Tremaine (206) 624-2312. Foundation Foundation Foundation Jerome Foundation $10,000-$24,999 The Andy Warhol Foundation The Kresge Foundation for the Visual Arts The John D. and Catherine T. The Herb Alpert Foundation MacArthur Foundation Americans for the Arts The Andrew W. Mellon Bush Foundation Foundation The Morris & Gwendolyn M. J. Murdock Charitable Trust Cafritz Foundation Rosenthal Family Foundation William Davidson Foundation Emily Hall Tremaine Foundation The Wallace Foundation Windgate Charitable Foundation

GIA Staff Janet Brown Nadia Elokdah Jan Bailie Steve Cline President & CEO Deputy Director & Director Director of Finance Web & Knowledge Eddie Torres of Programs (incoming) & Operations Manager President & CEO (incoming) Kathy Lindenmayer Noah Barnes Monica Thomas Jim McDonald Director of Development Membership Manager Communications & Deputy Director & Director & Membership SuJ’n Chon Publications Manager of Programs Program Manager

Conference Volunteers Lenzi Abma Sarah Fowler Kristen Pierce Community Foundation Propel Nonprofits Arizona Arts Commission for Southeast Michigan

36 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31

GIA Conference Guiding Principles and Practices Grantmakers in the Arts has a long-held commit- • Connecting to the Local Arts Community: ment to engaging the community in each city Conference attendees have the opportunity where the annual national conference is held. to learn about and interact with the culture In planning and producing the GIA Conference, of the local area through preconferences GIA employs a set of principles and practices typically held outside of the hotel, guided which seek to create a positive impact for both cultural tours, dine-arounds at local restau- conference participants and the local communi- rants, and off-site sessions hosted at local ty. As with all GIA programs, the conference is cultural institutions. Cultural venues are also deeply informed by a commitment to racial intentionally selected to represent diversity equity in arts philanthropy. in art form, organization size, and neigh- • Local Planning Committee: In planning borhood, and all venues are compensated each conference, GIA enlists a committee for use of their space. Additionally, the fall of diverse arts funders who are from the issue of the GIA Reader, published each local community. The conference com- year in the weeks before the conference, mittee informs and connects GIA to each often includes articles about and by the region’s unique history and culture, helping local arts community, as well as poetry and to identify local artists, thought leaders, prose by local writers. organizations, and other cultural assets to • Supporting Local Business: GIA works with incorporate into the conference experience. locally owned businesses and non-profits The committee also reviews and helps select wherever feasible and especially prioritiz- session proposals for the conference. es ALAANA-owned businesses. This may • Local Voices & Expertise: GIA intentionally include hotels and other venues, catering, engages a diverse selection of local art- event support, transportation, audio/visual ists and thought leaders, including those services, and more. GIA encourages confer- from African, Latino/a, Asian, Arab, and ence attendees to support local restaurants, Native American (ALAANA) backgrounds, shops, and cultural destinations during their to share their expertise as plenary and stay in the city. keynote speakers and presenters. GIA also • Reducing Environmental Impact: To reduce encourages session organizers, who are waste, GIA does not offer a resource table GIA members from across the country, to for distribution of materials at the GIA Con- consider local artists and thought leaders ference and does not provide conference to take part as panelists and presenters. tote bags or miscellaneous handouts. Con- Artists, performers, and other non-funder ference programs and directories are made participants are always compensated for available digitally for conference attendees their time and expertise. in addition to printed material. GIA also purchases carbon offsets to mitigate the environmental impact of conference-related travel for GIA staff.

37 2017 GRANTMAKERS IN THE ARTS CONFERENCE CONFERENCE HOTEL MAPS

AMBASSADOR BALLROOM LEVEL 3

REGISTRA GIA

TION ORS T ESCAL A Elevators to Breakout Sessions X X and Guest Rooms X X X X X X ELE VAT ORS Elevators to Motor Lobby ORS T

ESCAL A

X X

HOTEL REGISTRATION 42° N

VOLT RESTAURANT

38 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 CONFERENCE HOTEL MAPS

LEVEL 5 (Breakout Session Rooms)

B A

A B

MARQUETTE ORS T LASALLE B A ESCAL A A JOLIET CADILLAC B X X X MACKINAC X RESTROOMS X BALLROOM X X X ELE VAT ORS

RICHARD B DULUTH ORS T A NICOLET ESCAL A BRULÉ A (LOUNGE) B

39 2017 GRANTMAKERS IN THE ARTS CONFERENCE