ARTS AND THE NEW AMERICAN CITY: YOU DRAW THE MAP

Grantmakers in the Arts 2008 Conference October 12-15, 2008 , WELCOME TO THE 2008 GIA CONFERENCE IN ATLANTA!

“South of the North, yet north of the South, lies the City of a Hundred Hills, peering out from the shadows of the past into the promise of the future. I have seen her in the morn- ing, when the first flush of day had half-roused her; she lay gray and still on the crimson soil of Georgia; then the blue smoke began to curl from her chimneys, the tinkle of bell and scream of whistle broke the silence, the rattle and roar of busy life slowly gathered and swelled, until the seething whirl of the city seemed a strange thing in a sleepy land.”

W.E.B. DuBois

More than 100 years later, the “tinkle of bell and scream of whistle” has been replaced by the whoosh of rapid commuter transport and the beeps and trills of telecommu- nications, but the “rattle and roar of busy life” continues to be heard in Atlanta – the country’s fastest growing metropolitan area – and home to an innovative and vibrant arts community. And, a community, like many others, that finds itself, suddenly facing an uncertain future in the Fall of 2008.

As this conference program goes to press, we find ourselves in the middle of a national economic crisis. Each day brings news of another bank failure or buyout. Wall street tumbles while congress and the White House wrangle over federal bailout proposals.

The conference planning committee has responded by developing and expanding conference programs, sessions, and roundtables that will address this topic from dif- ferent perspectives.

Central to this question will be a special session co-sponsored by for the Arts on Tuesday. Jeremy Nowak, president of The Redevelopment Fund and a member of the of Directors of the Federal Reserve Bank of Philadelphia, will present an up-to-the minute assessment of the current economic situation and look ahead to what we might expect in the new year. He will be joined by moderator Ben Cameron, arts program director for the Doris Duke Charitable Foundation, to field questions from the audience.

Please see the session schedule for other related sessions and roundtables.

Lisa Cremin 2008 Conference Chair Director, Metropolitan Atlanta Arts Fund

1 CONFERENCE INFORMATION

A Brief Word on Fundraising Ethics Resource Center Tickets for Off-Site Sessions Roundtable Discussions To preserve the capacity for open dis- Each year we end up recycling hundreds Some sessions on Monday and Tuesday 8:00 – 9:00 AM cussion, all attendees must refrain from of publications and reports that go un- afternoon will be held off-site at Atlanta GIA continues the tradition of informal fundraising or solicitation. Organiza- claimed. This year there’s a new “green” arts and cultural institutions. breakfast roundtable discussions, this tions that solicit funds are expected plan in place. Participants were asked year on Monday and Wednesday morn- Because these sessions will have a maxi- to be represented only by individuals to send ONE sample copy of reports, ings only. Roundtable discussion topics mum capacity, tickets for each day’s site whose roles involve programming and/ publications, or research for the resource will be listed in the program, and there visits are available when the registration or policy, and not by fundraising or room, and make the commitment to are open spaces if you would like to desk opens that morning. When the tick- development staff. mail or email copies to attendees who organize a last-minute discussion. ets for a specific session are gone, you request a copy. Through a miracle of will know that the session is at capacity Several roundtables will address aspects Name Badges modern technology, participants will be and can make another choice. of the recent economic downturn. See able to “sign up” for those publications Your name badge is required for admis- the schedule for details and check the they wish to have sent to them. sion to all conference functions, includ- bulletin board by the registration desk ing meals, sessions, and evening events. for last-minute additions. Never Been to a GIA Conference? Registration Hours New participants are invited to meet GIA’s board, staff and other GIA mem- On arrival at the Omni CNN Center, bers at a “Newcomers Reception” please pick up your conference materi- on Sunday at 5:30 pm at the Atlanta als, including your name badge, at the Contemporary Arts Center. Shuttles will conference registration desk in the North begin departing the hotel at 5:15. Tower that will be open: On Monday evening there will also be a Friday, Oct. 10 4:00 pm – 6:00 pm series of informal dine-around dinners (for pre-conference departures) that provide opportunities to meet new Saturday, Oct. 11 8:00 am – 10:00 am colleagues and make connections. (for pre-conference departures)

Sunday, Oct. 12 12:00 pm – 7:00 pm

Monday, Oct. 13 7:30 am – 6:00 pm

Tuesday, Oct. 14 7:30 am – 6:00 pm

Wednesday, Oct. 15 7:30 am – 11:00 am

2 C O N F E R E N C E S P E C I F I C A T I O N S

North Tower CONFERENCE INFORMATION M1/Street Level

Omni Hotel at CNN Center 100 CNN Center, Atlanta, GA 30303 Down to Parking 404-659-0000

Up from Parking

A

Porte Cocheré

D o g w d C O N F E R E N C E S P E C I F I C A T I O N S

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North Tower M2/International Ballroom Level A North Tower M2/International Ballroom Level Redwood Marietta Street Freight C o t n w d B Elevator E l e v a t o r s

Pre-Function Lobby

C Escalators

Outdoor Terrace International Ballroom B

D E F North Tower M1/Street Level International Boulevard Opens A to Georgia M1/Street Level Specifications World Congress Floor Square Ceiling Floor Portable Schoolroom Banquet Center Hollow PreE-xFhuibnitcstion Lobby 2 Room # Footage Dimensions Height Covering Walls Theater 18" 30" 60" 72" RecepPtliaozna Square 8'x10' 10'x10' Dogwood M1 3,547 49'9"x69'6" 11'-6" Carpet Yes 400 246 204 288 290 375 94 22 18 Dogwood A M1 1,955 49'9"x38'5" 11'-6" Carpet Yes 222 138 114 160 160 211 52 12 10 Dogwood B M1 1,592 49'9"x31'1" 11'-6" Carpet Yes 177 108 90 128 130 162 42 10 8 Magnolia Juniper C e n t r Pre-Function M1 2,850 - - Carpet No - - - - - 300 - - - B u s i n e Pre-Function Cottonwood M1 1,243 24'5"x50'7" 11' Carpet Yes 138 84 69 96 100 130 30 - - Lobby 1 Cottonwood A M1 611 24'5"x24'5" 11' Carpet Yes 66 39 33 48 50 63 14 Pre--Func-tion Lobby 3 Cottonwood B M1 632 24'5"x25'3" 11' Carpet Yes 72 45 36 48 50 68 16 - - Cypress Sycamore Redwood M1 997 24'9"x39'6" 11' Carpet No 111 69 57 80 80 105 24Morsel’s - - Escalators Meeting room capacities are determined by use of the “Arranger & Comfort Calculator,” a standardized meeting room capacity measurement system used by Meeting Professionals International. 60" banquet capacities are based on 8 persons per table. 72" banquet capacities are based on 10 persons per table. Street Entrance Outdoor Terrace International Boulevard

M2/International Ballroom Level Specifications 3 Floor Square Ceiling Floor Portable Schoolroom Banquet Hollow Exhibits Room # Footage Dimensions Height Covering Walls Theater 18" 30" 60" 72" Reception Square 8'x10' 10'x10' International Ballroom M2 14,196 163' x 87' 18' Carpet Yes 1,580 978 810 1,168 1,170 1,500 - 110 82 International Ballroom A M2 1,181 36'4" x 29'3" 18' Carpet Yes 133 81 69 96 100 126 32 4 3 International Ballroom B M2 1,226 42' x 28'8" 18' Carpet Yes 138 84 69 104 100 132 34 4 3 International Ballroom C M2 1,187 36'4" x 29'3" 18' Carpet Yes 133 81 69 96 100 126 32 4 3 International Ballroom D M2 3,320 38' x 87'2" 18' Carpet Yes 366 228 189 272 270 347 - 20 16 International Ballroom E M2 3,320 38' x 87'2" 18' Carpet Yes 366 228 189 272 270 347 - 20 16 International Ballroom F M2 3,962 38'9" x 87'2" 18' Carpet Yes 444 276 228 328 330 421 - 25 20 Pre-Function Lobby 2 M2 5,200 - - Carpet No - - - - - 525 - 10 5 Pre-Function Lobby 3 M2 1,674 - - Carpet No - - - - - 175 - - - Pre-Function Lobby 1 M2 1,540 - - Carpet No - - - - - 160 - 4 4 Juniper M2 774 24'9" x 26'8" 10'-6" Carpet No 88 54 45 64 60 84 18 - - Cypress M2 623 27'6" x 21'2" 10'-6" Carpet No 66 39 33 48 50 63 14 - - Sycamore M2 623 27'6" x 21'2" 10'-6" Carpet No 66 39 33 48 50 63 14 - - Magnolia M2 814 26'7" x 26'8" 10'-6" Carpet No 88 54 45 64 60 84 18 - - Meeting room capacities are determined by use of the “Arranger & Comfort Calculator,” a standardized meeting room capacity measurement system used by Meeting Professionals International. 60" banquet capacities are based on 8 persons per table. 72" banquet capacities are based on 10 persons per table. SPECIAL EVENTS

Newcomers Reception Leo. Costume design by Robin Jones. Dine-around Dinners Corporate Grantmakers Institute Sunday, October 12, 5:30 pm Using movement, paper, chalk, and Monday, October 13, 6:30 pm Tuesday, October 14 – 8:00 to 11:30 Atlanta Contemporary Art Center costumes that evolve throughout the various locations Organized by Beth Ree, Target course of the piece, Layers will explore Corporation New participants are invited to meet the ways we layer ourselves, literally Monday night is dinner on your own. Sponsored by Bank of America GIA’s board, staff and other GIA members and metaphorically. We have made reservations for groups of at a “newcomers Reception” beginning at eight to ten at an eclectic mix of Atlanta Join corporate giving colleagues in a 5:30 at the Contemporary Arts Center. An element of the piece will be the op- restaurants. Each dine-around dinner broader discussion of “why arts” in portunity for conference participants will be hosted by an Atlanta funder. Shuttles for the Newcomers reception the corporate philanthropy portfolio, to write notes to departing executive discuss the changing landscape of arts will leave from 5:15 pm to 5:30 pm. director Anne Focke that will become You can organize a group around a specific topic for discussion, or just go philanthropy and the role of corporate part of the dance, and be deposited in a funding, and participate in facilitated Opening Reception birdcage that will be presented to Anne out for a relaxed dinner with some new colleagues. Sign up will be at the regis- conversation on topics specific to Sunday, October 12, 6:00 – 8:30 pm on Wednesday. tration desk. corporate giving such as sponsorship Atlanta Contemporary Art Center Nicole Livieratos is founder and direc- marketing, in kind contribution, em- Join us for the opening party! The Atlanta tor of Gardenhouse Dance, a company Special dine-arounds include Pizza ployee engagement, tax implications, Contemporary Art Center is an artist-led blending work in dance, video, and and a Movie.. Join Grantmakers in Film measurement and evaluation. organization that has been in opera- + Electronic Media for dinner and a performance art. Nicole received her This session is open only to corporate tion since 1973. The opening party will screening of The Last Conquistador. BFA in dance from the University of funders. feature music, hors d’oeuvres and liba- Arizona. As a performer she worked What are the roles and responsibilities of tions, an exhibition of photographs by with San Francisco choreographers public art and the importance of docu- Harnessing the Power of Art as Minneapolis artist Paul Shambroom, an Joanna Haigood and Gail Chodera and menting the creative process for a wider a Force for Change opportunity to meet the current artists- in with Ann Carlson, Mitchell audience? You’ll dine on pizza as you in-residents in the Center’s fourteen Rose, and the Pearson Dance Company. see these questions and more captured Tuesday, October 14 – 8:00 to 11:30 studios, and a special gift for attendees Nicole has received numerous grants for beautifully on film. Along with film- The Art and Social Change Funders Work- ing Group Strategic Planning session. from the former Nexus Press. choreography and is a recipient of the maker John Valadez, we’ll debate the role of public art; the responsibilities of art- Mayor’s Fellowship Award in the Arts Does your foundation support art pro- Shuttles for the Opening Reception will ists, civic leaders, funders who support for Dance from the City of Atlanta and grams that encourage young people to leave beginning at 5:45 pm, and run the creation and placement of the work, a King Baudouin Foundation grant for abandon despair and aspire to greatness. continuously through the evening. the unforeseen impact art can have on cultural study in Belgium. Nicole has Have you supported cultural programs multiple publics, and the challenges and been a guest instructor at Jacob’s Pillow that have transformed communities and Gardenhouse Dance Performance importance of capturing it all on film. for their Curriculum in Motion program galvanized neighbors to work collective- Sign up will be at the registration desk. Monday, October 13, all day and continues to work in schools teach- ly? Have you funded media and media various locations ing curriculum with movement to grades Another special dine-around, organized outreach initiatives that have created Throughout the day Monday, in and kindergarten through high school. by the Atlanta host committee will dine understanding, where before there was confusion and misunderstanding? Does around conference activities, Garden- Funding for the creation of Layers was at the Museum of Contemporary Art your work concretely bear witness to house Dance will be performing Layers, provided in part by the Fulton County Georgia – MOCA GA. MOCA GA’s col- your commitment to justice, equity and a performance piece by Gardenhouse Board of Commissioners under the guid- lection features more than 500 works fairness? If you believe in the power of Dance director, Nicole Livieratos. Per- ance of the Fulton County Arts Council. by Georgia artists and includes a variety formers are Blake Beckham and Anna of media – paintings, prints, sculpture, art to change individuals, communities photography, and installation pieces. and even a nation; and you are willing to Sign up will be at the registration desk. share your skills and experience, please

4 SCHEDULE AT A GLANCE come to The Art and Social Change Friday, October 10 Monday, October 13 Funders Working Group Strategic Plan- 4:00 pm - 6:00 pm Registration desk open for 7:30 am - 9:30 am Continental breakfast ning session. Melinda Weekes of the pre-conference departures 7:30 am - 6:00 pm Registration desk open Interaction Institute for Social Change 6:00 pm Rural Funders Pre-conference departs 8:00 am - 9:00 am Breakfast Roundtables will facilitate the development of an 6:00 pm Social Justice Pre-conference departs 9:30 am - 11:00 am Opening Plenary Session organizational plan and structure for the 11:30 am - 1:15 pm Luncheon Plenary Saturday, October 11 sustained efforts of the Working Group. Kenny Leon Keynote 8:00 am - 10:00 am Registration desk open for GIA Members Meeting Special Plenary Presentation by pre-conference departures 1:45 pm - 3:15 pm Breakout sessions Jeremy Nowak of the recent 9:00 am Understanding the Changing Arts Environment 3:30 pm - 5:45 pm Breakout sessions, Site Visits Economic Downturn Pre-conference departs 6:30 pm Dine-arounds Tuesday, October 14, 6:15 pm 8:30 pm Grantmakers Cabaret Tuesday, October 14 Woodruff Arts Center, Rich Auditorium 9:00 pm Social Justice Pre-conference returns Co-sponsored by Americans for the Arts to Omni Hotel 7:30 am - 9:30 am Continental breakfast 7:30 am - 6:00 pm Registration desk open Sunday, October 12 Jeremy Nowak, president of The Rede- 8:00 am - 11:30 am Corporate Grantmakers Institute velopment Fund and a member of the 9:00 am Social Justice Pre-conference departs 8:00 am - 9:30 am Breakout sessions Board of Directors of the Federal Reserve for Martin Luther King Historic Site 10:00 am - 11:30 am Breakout sessions Bank of Philadelphia, will present an up- Noon - 7:00 pm Registration desk open 11:45 am - 1:30 pm Luncheon Plenary to-the minute assessment of the current 1:00 pm Sweet Auburn Avenue/Martin Luther King Samina Quraeshi Keynote economic situation and look ahead to Historic District Tour departs Edgar Arceneaux Keynote what we might expect in the new year. 1:00 pm Atlanta BeltLine Tour departs 1:45 pm - 4:45 pm Off site sessions (mostly) He will be joined by moderator Ben 4:00 pm All pre-conferences return to Omni Hotel These sessions have a maximum capacity. Tickets for each day’s site visits Cameron, arts program director for the 5:15 pm - 8:30 pm Buses circulate to opening receptions are available when the registration desk opens that morning. Doris Duke Charitable Foundation, to 5:30 pm Newcomers Reception, Atlanta Contemporary 6:15 pm - 7:30 pm Special Plenary Presentation by Jeremy field questions from the audience. Arts Center Nowak of the recent Economic Downturn and 6:00 pm Opening Reception, Atlanta Contemporary Reception and Dinner at High Museum Immediately following this session Arts Center we will walk across the plaza to the Wednesday, October 15 High Museum. 7:30 am - 9:30 am Continental breakfast 7:30 am - 9:00 am Registration desk open Reception and Dinner at 8:00 am - 9:00 am Breakfast Roundtables the High Museum of Art 9:30 am - 11:00 am Breakout sessions Tuesday, October 14, 7:30 pm 11:30 am - 1:30 pm Luncheon Plenary Woodruff Arts Center, Bruce Ferguson Keynote High Museum of Art Closing events Join your colleagues for cocktails and dinner in the Weiland Lobby of the High Museum of Art.

5 MONDAY OCTOBER 13 CONFERENCE SCHEDULE

7:30 - 9:30 Monday field. Open to all conference participants interested 5) Conquering the Imposter Syndrome: Breakfast service in the topic. A Conversation between Emerging and M2/International Ballroom Level, Ballrooms E and F Established Grantmakers 3) Getting Connected in GIA Organized by Peter Handler, program officer, The Richard H. Driehaus Foundation; with Erin Pizzonia, program associate 8:00 - 9:00 Monday Organized by Alan Cooper, executive director, Mid-Atlantic ArtWorks for Kids, Hunt Alternatives Fund; Naomi Jackson, Arts Foundation, and Lisbeth Cort, deputy director for ad- program associate, Rockefeller Brothers Fund; and Ed Jones, Roundtables vancement, Grantmakers in the Arts M2/International Ballroom Level, Ballrooms E and F vice president, Philanthropic Services, J.P. Morgan Private GIA members new and old are invited to join our Bank; Joan Shigekawa, Associate Director, Creativity and Culture, The Rockefeller Foundation 1) What Do We Mean when We Say..... Creating Member Engagement Committee for a discussion a Glossary on Arts Education on ways to get the most out of your GIA member- How do young grantmakers work effectively when Organized by Jeanne Butler, consultant, Grantmakers in ship. Share your questions and interests and they’ll grant seekers are older and more experienced? How the Arts, Ann McQueen, the Boston Foundation, Klare Shaw, help you get more plugged in. Plus, you can view the have more seasoned grantmakers responded to the the Barr Foundation, and Sarah Solotaroff, the Chicago searchable Online Library and Member Area resourc- power imbalances and other challenges in their jobs? Community Trust es on GIA’s web site right on the spot! Here’s a great What strategies can young grantmakers employ to GIA is creating a web resource on Arts Education. One chance to get connected with the colleagues, resourc- build their knowledge, networks, and credibility in important aspect of the resource will be a Glossary of es, and member networks that interest you most. the field? Arts Education Terms for funders. While we recog- Related questions we hope to explore in this inter- nize this will not be the definitive glossary, we have 4) The Aspen Institute’s National Study of Artist- generational discussion include: identified a number of words/phrases that are useful Endowed Foundations: A Discussion of Find- in arts education terminology. This roundtable will ings and Opportunities for Dissemination • Was there a defining moment when you felt like give participants one final look at the draft glossary Organized by Charles C. Bergman, The Pollock-Krasner you had become a professional grantmaker? before it goes on the website. The Glossary is one part Foundation, Pamela Clapp, The Andy Warhol Foundation of GIA’s Arts Education planning. During this discus- for the Visual Arts, and Christine Vincent, Director, The Aspen • For seasoned grantmakers, what challenges did sion we’ll also focus on other future program plans. Institute’s National Study of Artist-Endowed Foundations you experience at the beginning of your philan- thropy careers? How have you overcome these The first in-depth look at private foundations challenges? 2) Systems of Support for Native Arts endowed by visual artists in the U.S. has identified Organized by Jane Preston, director of programs, New Eng- almost 300 foundations, created from 1938 to 2007. • What would you recommend as essential knowl- land Foundation for the Arts; and Dawn Spears, Native arts Of those now in existence, half were formed since edge for the field of arts philanthropy? coordinator, New England Foundation for the Arts 1995 and are associated with major art world figures The IllumiNation cohort, seven grantmaking or- as well as regional artists around the country. Data 6) The Current Economic Environment ganizations supported by funding from the Ford analyzed for 239 foundations confirm more than $2 and its Impact on Philanthropy billion in assets, including $1 billion in art assets, Foundation’s Indigenous Knowledge and Expressive Organized by Virginia A. Hepner, board member, Metropoli- Culture program, has worked together over the past and more than $954 million in aggregate charitable tan Atlanta Arts Fund, with Barry Berlin, CFA, Atlantic Trust three years to build capacities for national grants purpose disbursements over the 1990-2005 period. programs supporting Native American artists and Christine Vincent, Study Director, will present find- Barry Berlin, CFA, will host a discussion on the organizations. Members of the cohort attending the ings about the dynamic nature of these foundations, current economic environment and share perspec- GIA conference will start the roundtable conversa- how they implement charitable and educational tives of his clients on the impact of the economy on tion with lessons learned from national grant making missions, and what factors spur growth and influence their philanthropy. Barry is a Managing Director of to Native artists and organizations, then address the success. Opportunities will be discussed to share Atlantic Trust, a firm that manages investments for work still to be done to develop sustainable and de- findings in local communities. select families and foundations. He has over 25 years pendable funding systems to advance the Native arts of experience assisting high net-worth families with

6 MONDAY OCTOBER 13 CONFERENCE SCHEDULE

their investments and philanthropic interests, and sang and protested as part of the Student Nonviolent 11:00 - 11:30 Monday has been active with a variety of arts and cultural Coordinating Committee. Their songs and music Break institutions as a board member and advisor. He has played an important role in the Civil Rights move- Throughout the day Monday, in and around confer- also held Leadership roles with the Atlanta Society of ment. During their initial tour, the group performed ence activities, Gardenhouse Dance will be perform- Financial Analysts for several years and served as its alongside numerous folk music luminaries, including ing Layers, a performance piece by Gardenhouse president from 1998 to 1999. Pete Seeger, Bob Dylan, Joan Baez, and Peter, Paul, Dance director, Nicole Livieratos. and Mary, and in June 1963, 7) The Ins and Outs of Fiscal Sponsorship identified the Freedom Singers as “the ablest per- An element of the piece will be the opportunity for conference participants to write notes to departing Organized by Melanie Beene, Alliance for forming group” to emerge from a broad field of Traditional Arts folk musicians. executive director Anne Focke that will become part of the dance, and be deposited in a birdcage that will What are the benefits and liabilities for founda- Gary Pomerantz be presented to Anne on Wednesday. tions funders in working with fiscal sponsors of the arts projects that they fund? What are the questions Gary Pomerantz is an author and journalist, and 11:30 - 1:15 Monday that they should ask to make sure there is adequate serves as a lecturer in the Department of Communi- financial and programmatic oversight? When is it cation at . His first book, Where Keynote/Luncheon Plenary most appropriate to refer “emerging ideas” to fiscal Peachtree Meets Sweet Auburn, a multi-generational M2/International Ballroom Level, Ballrooms E and F sponsorship rather than starting their own 501(c)(3)? saga about Atlanta’s racial conscience, was named a And what do those fees cover? 1996 Notable Book of the Year by The New York Times. Kenny Leon A graduate of the University of California, Berke- Kenny Leon is Founding Artistic Director of True ley, Pomerantz worked for nearly two decades as a 9:00 - 9:30 Monday Colors Theatre Company, launched in Atlanta in journalist, on staff for The Washington Post and The 2002. Prior to founding True Colors, Kenny served Break Atlanta Journal-Constitution, initially as a sportswrit- an unprecedented 11-year tenure as Artistic Direc- Throughout the day Monday, in and around confer- er and then writing columns, editorials, and special tor of the Alliance Theatre Company. He sits on the ence activities, Gardenhouse Dance will be perform- projects. He served from 1999-2001 as Distinguished Board of the New Globe Theatre, New York, NY; and is ing Layers, a performance piece by Gardenhouse Visiting Professor of Journalism at a mentor for the Theatre Development Fund’s Open Dance director, Nicole Livieratos. in Atlanta. Doors program, also in New York. An element of the piece will be the opportunity for conference participants to write notes to departing Mayor Shirley Franklin 12:50 Monday executive director Anne Focke that will become part When elected mayor of Atlanta in 2001, Shirley Members Meeting of the dance, and be deposited in a birdcage that will Franklin became the city’s first woman mayor, and Hear from GIA board members and executive direc- be presented to Anne on Wednesday. the first African-American woman to serve as mayor tor at the annual GIA Membership Meeting. Confer- of a major southern city. Franklin gained a Bachelor ence packets include a booklet of materials for the 9:30 - 11:00 Monday of Arts degree in Sociology from Howard University meeting: an agenda, a brand-new strategic planning Opening Plenary and continued her education earning her Masters framework for GIA, financial information, and more. M2/International Ballroom Level, Ballrooms A,B,C,D of Arts degree in Sociology from the University of . Prior to her second term re-election, 1:15 - 1:45 Monday Freedom Singers Franklin was named one of the US’ five best big city mayors by TIME Magazine. Break The Freedom Singers are led by Rutha Mae Harris, a Throughout the day Monday, in and around confer- member of the original 1962 Freedom Singers who ence activities, Gardenhouse Dance will be perform- ing Layers, a performance piece by Gardenhouse Dance director, Nicole Livieratos.

7 MONDAY OCTOBER 13 CONFERENCE SCHEDULE

An element of the piece will be the opportunity for will look at both sides of professional development We will hear from a participating arts organization conference participants to write notes to departing delivery in the arts. about its experience collecting and using data as a executive director Anne Focke that will become part specific part of its grant, with the goal of designing of the dance, and be deposited in a birdcage that will Hip Hop and Philanthropy: The New Giving! more effective strategies to build participation and be presented to Anne on Wednesday. then assessing the results; from Sandra Radoff, who Cypress, M2/International Ballroom Level leads the foundation’s technical assistance team for Organized by Sarah Latimer, trustee, Dallas Austin the arts initiative, about providing technical as- 1:45 - 3:15 Monday Foundation sistance to grantees with widely varying needs and Afternoon Sessions The session will be a discussion with three or four levels of research experience; and from Ann Stone, Arts Education: Sink or Swim: Professional successful hip-hop artists and the responsibilities senior research and evaluation officer at Wallace, Development in the Arts: A Lifeboat for they feel in giving back to their communities. Each about why the foundation decided to build support Educators? will describe his/her individual Foundations and the for research and evaluation into its grants, the dif- successes/opportunities they have experienced. ferent purposes the results serve, and the challenges Juniper, M2/International Ballroom Level and opportunities associated with the program. Organized by Moy Eng, performing arts program director, This will include a panel discussion, moderated by a and Julie Fry, program officer, The William and Flora Hewlett seasoned artist and professor from the Atlanta com- Foundation. Facilitated by Angie Kim, program officer, The New Media Art 101 Getty Foundation. Presented by Moy Eng; Julie Fry; Mark munity. The following questions will be answered: Slavkin, vice president for education, Music Center: Perform- International Ballroom A, M2/International ing Arts Center of County; Warren Simmons, • What has your journey to philanthropy been? Ballroom Level When did it start? executive director, Annenberg Institute of School Reform at Organized by Ruby Lerner, president and CEO, Creative Brown University; and Stan Hutton, senior program officer, • How did you select the focus of your foundation? Capital Foundation. Presented by Lauren Cornell, executive Clarence E. Heller Foundation. Why? director, Rhizome (an affiliate of the New Museum in New • What are the barriers to other artists giving back? York); artist Mark Callahan, artistic director, Ideas of Creative According to the most recent SRI report commis- Exploration; and other artists TBD. sioned by the Hewlett Foundation, An Unfinished • How would you describe generosity in philanthro- Canvas: Teacher Preparation, Instructional De- py in your community? Personal? Professional? The term “New Media Art” was coined in the 90s to livery, and Professional Development in the Arts, describe an emerging movement of art engaged with few elementary teachers participate in arts-related Arts Evaluation in Practice: Answering the Internet and networked technologies. Over its professional development, particularly if they are the Important Questions relatively short history, the New Media Art field has in low-performing schools. Only 12% of elementary Cottonwood A, M1/Street Level evolved tremendously, moving in many directions and forging new genres, such as internet-based art, classroom teachers received professional develop- Organized by Janet Sarbaugh, senior program director, arts & ment in connecting standards-aligned arts learning culture program, the Heinz Endowments, and presented by Ann robotics, and software and bio art, amongst others. with other subject areas. The barriers are numerous, Stone, senior research and evaluation officer, Wallace Founda- Binding these diverse practices is a shared corre- including lack of time, lack of support from school tion, and Sandra Radoff, president, S. Radoff Associates spondence with culture, in that New Media Art is necessarily tied to the technological materials that leadership, and lack of appropriate and affordable How do arts grantmakers respond to the increas- have become increasingly fundamental to the fabric training opportunities. Does professional develop- ing pressure to demonstrate evaluative results? Can of life around the globe. The session will include a ment in the arts matter in providing quality educa- evaluation be structured as both qualitative and brief history of the field, a presentation of seminal art tion? How do non-arts teachers, principals, district quantitative? Can the process and the results be use- works as well as emerging practices and forms, and superintendents and administrators become en- ful, and not burdensome, to grantees? This session touch upon models for exhibition, preservation and gaged enough to want to spend the money, time and will feature a close look at The Wallace Foundation’s collection. Artists will supplement the talk with 5-10 effort in workshops and conferences? Are there more recent practice of building support for research and minute presentations. effective ways of providing arts professional devel- evaluation into arts organization grants and provid- opment, such as web-based resources? This session ing associated technical assistance.

8 MONDAY OCTOBER 13 CONFERENCE SCHEDULE

Gen-X report and cultural exchange after 9/11 will be published • The Mississippi Arts Commission and Blue Cross/ International Ballroom B, M2/International in the Summer of 2008 to prompt a new adminis- Blue Shield of Mississippi Foundation teamed to Ballroom Level tration to create a proactive program in support of address a youth obesity epidemic international cultural exchange. This research brings Organized by Greg Charleston, president, Arts Council • A governor’s improvement initiative spurred a part- together data on public and private support for cul- of Indianapolis and Dave Lawrence, vice-president, Arts nership between the Alabama State Council on the Council of Indianapolis. Presented by Greg Charleston; Dave tural exchange as well as research on the challenges, Arts and Black Belt Community Foundation Lawrence; Rebecca Ryan, 2EO / founder, Next Generation successes, smart practices and trends of engagement Consulting; and Marti, 2EO, Next Generation Consulting by participating arts and cultural organizations. • In a diverse, fast-growing area, a long-term “mar- Indianapolis cultural organizations have been Additionally, it looks at the history of public-private riage” succeeds between the Knight Foundation grappling to engage younger patrons as audience partnerships and the new technologies being utilized and Miami-Dade Division of Cultural Affairs members, volunteers, board members, and donors. in the promotion of cultural content for public diplo- Public and private partners bring different ex- The ramification of this among people aged 25 to macy purposes. This session builds on the introduc- pertise and opportunities to the table, and often 40 inspired the Arts Council of Indianapolis to hire tory conversation begun at the 2007 GIA conference discover stronger leverage and expanded resources nationally recognized economist Rebecca Ryan and on this same subject. We hope to galvanize the mem- together – join the discussion on finding and build- her firm, Next Generation Consulting, to help. Since bers of Grantmakers in the Arts by giving participants ing great partners. 2005, they have been conducting research and strate- the tools to make the case for supporting cultural ex- gies to engage younger patrons in the arts. Following change and to make them aware of the other players a benchmark study, they conducted a series of cus- and concurrent policy conversations that affect the Successes and Failures of Leveraging tomer experience site visits to organizations, man- future of cultural exchange and cultural diplomacy. Challenge Grants aged extensive multi-city research, hosted a national Dogwood B, M1/Street Level summit, and are continuing with granting programs Partnering in the South: The Merengue, Venture Organized by John R. Killacky, program officer, arts and and work one-on-one with organizations on best Capitalism and the Grassroots culture, The San Francisco Foundation. Presented by John practices around the country. The Arts Council and Killacky; Ben Cameron, program director for the arts, Doris Dogwood A, M1/Street Level Duke Charitable Foundation; Diane Sanchez, director of NGC will also host another national Next Audiences Organized by Mollie Lakin-Hayes, deputy director, Southern grantmaking and donor services, Eastbay Community summit in 2009 in Indianapolis. Arts Federation. Presented by Mollie Lakin-Hayes, Felecia Foundation; and Judilee Reed, executive director, Leveraging Jones, executive director, Black Belt Community Foundation; Investments in Creativity Gerri Combs, executive director, Southern Arts Federation; Robert Sterling Clark Foundation Report on Lorenzo Lebrija, communities program director for Miami, Throughout the years, grantmakers have tried chal- Cultural Exchange and Cultural Diplomacy The John S. and James L. Knight Foundation; Malcolm White, lenge grants in an effort to increase organization’s executive director, Mississippi Arts Commission. Cottonwood B, M1/Street Level fund development capacities, i.e. Ford’s mid-sized Organized by Margaret Ayers, president, Robert Sterling Clark What do middle-school ballroom dancing, arts coun- arts organizations, Duke’s presenting organizations, Foundation. Presented by Margaret Ayers; with Aimee Full- cil “venture funding” and funding/training/network- Leveraging Investments in Creativity, and the East Bay man, cultural policy consultant, Robert Sterling Clark Foun- and San Francisco Community Foundation’s small dation; Karen Brooks Hopkins, president, Brooklyn Academy ing for small arts organizations have in common? of Music; Ralph Samuelson, senior advisor, Asian Cultural They’re the result of energetic, creative partnerships arts organizations. Representatives of these founda- Council; and Sandra Gibson, president and CEO, Association between Southern public and private funders: tions will speak candidly on the successes and short- of Performing Arts Presenters. comings of these programs and dialogue with our peers about similar programs in their foundations. A new report commissioned by the Robert Sterling Clark Foundation on U.S.-based cultural diplomacy

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Understanding the Changing Arts Environment: develop thriving neighborhoods. Maria Rosario-Jack- Grantmakers will gain an understanding of the state An Economy in Recession son, Director of the Culture, Creativity and Commu- of the rapidly expanding field of community cultural Sycamore, M2/International Ballroom Level nities Program at the Urban Institute in Washington, development in higher education and its potential D.C. will introduce the speakers. impact on the arts ecology. The session will begin Organized by Marian Godfrey, Pew Charitable Trusts, and John E. McGuirk, James Irvine Foundation. Presented by Mar- with an overview of the report’s methodology and a ian Godfrey; John McGuirk; Bill Ivey, director, Curb Center for 3:15 - 3:30 Monday summary of its findings. A facilitated discussion with Art, Enterprise, and Public Policy at Vanderbilt University; the audience about the report’s impact on the field Break and Tom Kaiden, chief operating officer, Greater Philadelphia and on arts grantmaking will follow. Cultural Alliance. Throughout the day Monday, in and around confer- ence activities, Gardenhouse Dance will be perform- Presenters and participants will report and discuss ing Layers, a performance piece by Gardenhouse How a Partnership Transforms American the proceedings of the pre-conference Understand- Dance director, Nicole Livieratos. Education Through the Arts ing the Changing Arts Environment: Putting Recent WALK TO THIS OFFSITE SESSION. Research to Work for You with a focus on the current economy and ways funders can rethink our program 3:30 - 5:45 Monday Meet your guide on the M2/International Ballroom policies and strategies to support our constituent arts Afternoon Sessions Level near the exit doors by Morsel’s. organizations during this recession. Imagining America Reports: How New Demand Imagine It! The Children’s Museum of Atlanta for Civic Engagement Is Transforming Campus Creativity Levers: A Framework for Investment and Community 275 Centennial Olympic Park Dr in Neighborhood Change Organized by Susan McCalmont, executive director, Kirkpat- Juniper, M2/International Ballroom Level International Ballroom C, M2/International rick Foundation and Jeanne Butler, consultant. Presented by Organized by Dudley Cocke, trustee, The Bush Foundation. Susan McCalmont; Sandra S. Ruppert, director, Arts Educa- Ballroom Level Presented by Dudley Cocke and Jamie Haft, staff/research tion Partnership; and Edith Harvey, director, Improvement Organized by Joan Shigekawa, associate director, Creativity principal, Imagining America. Program, U.S. Dept. of Education, Office of Innovation and and Culture, the Rockefeller Foundation. Presented by Jeremy Improvement. Nowak, president, the Reinvestment Fund and Michael Imagining America: Artists and Scholars in Public Johnson, president, Em Johnson Interest, and moderated by Life (IA) is a consortium of 85 colleges and universi- An education in and through the arts can make a Maria Rosario-Jackson, director of the arts and cultural and ties that are re-imagining the possibilities of higher significant contribution to student achievement, community, the Urban Institute. education by using the arts, humanities, and design economic development, and community life. The Powerful evidence and new perspectives presented to transform their institutions into centers for civic Arts Education Partnership (AEP) – a Washington by two CEOs from the fields of urban finance and engagement and democratic community renewal. In D.C.-based national coalition of more than 100 arts, urban real estate development demonstrate how the September 2008, IA issued “The Curriculum Project education, business, philanthropic and government social, economic and cultural benefits of the arts can Report: Culture and Community Development in organizations—demonstrates and promotes the combine to create new vitality for the redevelopment Higher Education,” written by Arlene Goldbard and essential role of the arts in the learning and devel- of urban neighborhoods. funded by the Nathan Cummings Foundation and opment of every child and in the improvement of Syracuse University. The report synthesizes nine America’s schools. AEP serves as the nation’s lead- Jeremy Nowak, President of The Reinvestment Fund, months of research into the obstacles and oppor- ing source for timely and accurate information on a regional Philadelphia-based financial economic tunities to integrate community cultural develop- arts education policy, research, and advocacy. Meet development organization, and Michael Johnson, ment education into college curricula. Hundreds of the new Director of AEP, learn latest research find- President of Em Johnson Interest, an Atlanta and community artists, educators, and friends of the field ings and discuss how partnerships, such as those San Francisco-based real estate development firm, took part in the interviews and surveys on which the developed through AEP, can help advance an agenda will present the case-making framework and on-the- report is based. designed to keep the arts strong in public schools. ground reality of investing in culture as a strategy to

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The Tales of Four Cities: Art as a Creative Diverse Approaches to Achieving Diversity Cities benefit from residents who, when engaged in Strategy in Civic Systems & Process Dogwood B, M1/Street Level the arts, develop the basis for building social capi- tal and community identity. Successful efforts to WALK TO THIS OFFSITE SESSION. Organized by Angie Kim, program officer, The Getty Founda- tion. Presented by Angie Kim, Jessica Chao, vice-president, increase arts participation rely on knowledge of local Meet your guide on the M2/International Ballroom Rockefeller Philanthropy Advisors, and Vincent Robinson, markets and employ strategies that respond to local Level near the exit doors by Morsel’s. founder and managing partner, 360 Group. conditions. Encouraging arts organizations to work together to address issues of shared concern strength- Metro Atlanta Chamber of Commerce Grantmakers affect greater diversity through giving ens the arts sector and empowers multiple organiza- 235 Andrew Young International Blvd as well as through our other roles as employers, con- tions to succeed. When, in 2006, The Wallace Founda- Organized by Pam Korza, co-director, Animating Democracy, sumers, and civic participants. The first part of this tion began to concentrate grantmaking in cities, there Americans for the Arts and Barbara Schaffer-Bacon, co-direc- session will feature updates on the groundbreaking tor, Animating Democracy, Americans for the Arts. Presented emerged new opportunities for raising visibility for study, Philanthropy in a Changing Society: Achiev- by Mary Briggs, director of cultural development programs, arts participation and sharing knowledge and best Arlington Cultural Affairs, Arlington, VA; Pat Finnigan, assis- ing Effectiveness through Diversity that analyzes 25 practices. In this session, representatives from The tant city manager, City of Portland, Maine; Marty Pottenger, years of data from Council on Foundations on di- Wallace Foundation, the Greater Philadelphia Cul- director of the Arts and Equity Initiative, Terra Moto Inc and versity programs; findings from an evaluation of the City of Portland Maine; Michael Rohd, founding artistic tural Alliance and the Pew Charitable Trusts describe Getty Foundation’s 16-year old diversity internship director, Sojourn Theatre; and Betsy Rosenbluth, northeast strategies and approaches to building participation director of projects, Orton Family Foundation program that offers a lens through which to perceive in the arts that emerge from the needs of an entire how the issues around diversity have changed; and city rather than those of an individual organization. In innovative efforts across the country, artists are a presentation on ways in which grantmakers can Panelists will describe joint marketing efforts, shared working with and within city systems to reinvigorate achieve greater impact through a focus on diversity. mailing lists, the learning network and, as part of their public processes and advance civic goals. In Port- Following this, the majority of our time will be in a current plan, Engage 2020, a new research effort to land, ME, artist Marty Pottenger is engaging local moderated conversation with members to converse create a cultural index that measures levels of cultural artists with City Departments, from police to DPW, about the role diversity plays in our grantmaking: engagement across the entire region. in artmaking to foster cross-cultural understanding. Does diversity foster creativity and how? Has diversity Toward revitalizing a traditionally African-American become too overwhelming to deal with? Why should neighborhood in Arlington, VA, county staff and citi- grantmakers achieve diversity? How have the defini- Funding Innovation in the Arts zens have been working with a folklorist to re-imagine tions of diversity changed over the years, and where International Ballroom A, M2/International their neighborhood’s central square. In Chicago, are we now? What can we do to increase diversity in Ballroom Level Hartford, and Portland, OR, artist Michael Rohd aims grantmaking and in the field? Organized by John McGuirk, arts program director, The to deepen conversations about housing and urban James Irvine Foundation, Presented by John McGuirk; growth through “Built,” a project stimulating civic Richard Evans, president, EmcArts, Inc; Ben Cameron, Improving Arts Participation as engagement via site-specific, game-based perfor- program director for the arts, Doris Duke Charitable a City-wide Endeavor mances. And, in rural Vermont, the Orton Family Foundation; Lorenzo Lebrija, program director, Miami- Dade/Broward, John S. & James L. Knight Foundation. Foundation is piloting an effort to integrate artists Dogwood A, M1/Street Level into community planning in small towns. This session Organized by Catherine Fukushima, program officer, The In our 21st-century world, major rapid changes explores what difference art makes in public process Wallace Foundation. Presented by Catherine Fukushima; are the norm, from leaps in technology to shifts in Tom Kaiden, chief operating officer, Greater Philadelphia and what is needed to deploy creative resources to re- Cultural Alliance; and Gregory T. Rowe, deputy director, demographics to new trends in audience behavior. engage citizens in planning for their communities. culture, The Pew Charitable Trusts Even for leading arts institutions, playing by the old rules isn’t enough anymore. The result: innovation is now essential to the ongoing success of today’s arts and culture institutions. But how do we get beyond

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innovation as a buzzword to making real innovations New York during prohibition, is set for release in 2009 We know that art can be a powerful vehicle for work for arts institutions? This session will feature by Crown Publishers. He lives in the San Francisco building community and facilitating change. But three funders of artistic innovation and a researcher Bay Area with his wife and their three children. what about the practical realities of hybrid projects who has developed a rubric to analyze the innova- that have multiple goals, multiple audiences, and a tive capacity of arts institutions. Based on recent Who Defines Culture? Artists, Funders, dynamic, bottom-up orientation that can challenge research, practical lessons and examples from the the Marketplace? conventional thinking about timelines, budgets and field, explore the true meaning of innovation for arts deliverables? This session will use the neighborhood Redwood, M1/Street Level organizations, and how funders can help innovative narrative as a platform for discussion about the Organized by Judi Jennings, executive director, Kentucky projects succeed. opportunities and practical challenges associated Foundation for Women and Tommer Peterson, deputy direc- tor for programs, Grantmakers in the Arts. Presented by Dee with creative place-based approaches that blend Discussion with Keynote Presenter Davis, president, Center for Rural Strategies, Roger Fer- socially-based arts practices and creative community Gary Pomerantz nandes, Native Arts Committee co-chair, Potlatch Fund, Ana- development/community building practices. Par- Maurine Lara, author; and Vanessa Whang, senior program ticipants will share insights on using a wider lens for Sycamore, M2/International Ballroom Level consultant, Rockefeller Philanthropy Advisors. examining, evaluating and supporting socially-based Join conference keynote Gary Pomerantz for This question, first posed at the 2006 conference practices between arts and non-arts groups, and get an informal discussion. in Boston and further explored last year in Taos, is tips on connecting to practices and funding streams now a conference session open for discussion by outside of the art world to support socially sophisti- Gary Pomerantz is an author and journalist, and all participants. cated projects. serves as a lecturer in the Department of Communi- cation at Stanford University. His first book, Where When a line is drawn around what constitutes Art, Philanthropy and Social Change Peachtree Meets Sweet Auburn, a multi-generational “culture,” what (and who) is on the other side? Who saga about Atlanta’s racial conscience, was named draws the line? As funders, how do our practices play Cottonwood A, M1/Street Level a 1996 Notable Book of the Year by The New York a role in ratifying or denying what is culture and what Organized and presented by John Bare, vice president, Times. His next book, Nine Minutes, Twenty Seconds is not? What are our responsibilities as funders to The Arthur M. Blank Family Foundation (2001), about an air crash, has been published in understand the cultures that surround us – including This interactive session will stimulate discussion Britain, Germany and and was termed by The those that transcend or ignore the traditional borders and enable participants to harvest examples illus- London Evening Standard “a flawlessly constructed of ethnicity and national origin? trating how art and philanthropy have (or have not) narrative... a masterpiece of nonfiction storytelling.” played a role in recent social change movements, His most recent work, WILT, 1962, a meditation on Invited artists and presenters will each provide a including movements related to civil rights, the en- race, celebrity, small towns and ’s brief opening salvo in the form of a story. Partici- vironment, women’s rights and global development. legendary 100-point game, was named an Editors’ pants will be invited to add their stories in a “Call and The results will inform arts grantmaking going Choice selection of 2005 by The New York Times, and Response” format and Judi and Tommer will then forward, as leaders look for ways to move the field was called by Entertainment Weekly “a slam dunk of attempt to facilitate the ensuing melée. beyond the relatively narrow, short-term metrics a read.” Powerful & Possible! The Practical Realities that are increasingly used to judge success – and A graduate of the University of California, Berke- of Art as a Vehicle for Building Community instead focus on ways arts philanthropy can add ley, Pomerantz worked for nearly two decades as a & Promoting Change greater value for society, particularly as part of larger journalist, on staff for The Washington Post and The social change movements. This is especially impor- Atlanta Journal-Constitution, initially as a sportswrit- International Ballroom C, M2/International tant in today’s philanthropic environment, where er and then writing columns, editorials, and special Ballroom Level social entrepreneurship is on the rise. The session projects. He served from 1999-2001 as Distinguished Organized by Janis Foster, executive director, Grasssroots organizer will produce a report from the session to Grantmakers. Presented by Janis Foster and Mike Blockstein, Visiting Professor of Journalism at Emory University share with GIA membership. principal, Public Matters in Atlanta. His newest book, set in Kansas City and

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5:45 - 6:30 Monday 7:30 - 9:30 Tuesday a wide range of areas including: education, neighbor- Break Breakfast service hood development, economic sustainability, civic Throughout the day Monday, in and around confer- M2/International Ballroom Level, Ballrooms E and F participation and cultural equity. The arts and social ence activities, Gardenhouse Dance will be perform- justice working group invites conference participants ing Layers, a performance piece by Gardenhouse 8:00 - 11:30 Tuesday to an interactive strategic planning session led by Melinda Weekes of the Interaction Institute for Social Dance director, Nicole Livieratos. Extended Morning Sessions Change. Please share your skills and experiences as Corporate Grantmakers Institute we participate in a variety of innovative formats that 6:30 Monday Sponsored by Bank of America will move us forward with an action plan for 2009. Dine Arounds (Various locations) 8:00 am – 11:30 am, Walnut Room, M3/Street Level 8:00 - 9:30 Tuesday Monday night is dinner on your own. We have made Organized by Beth Ree, Target Corporation. Presented by Beth Ree; Pam Korza and Barbara Schaffer-Bacon, co-directors, Morning Sessions reservations for groups of eight to ten at an eclectic Animating Democracy, Americans for the Arts; Ann Stone, mix of Atlanta restaurants and organized dinners at senior research and evaluation officer, Wallace Foundation; Arts Education: Sink or Swim: Expanded local artist’s studios. You can organize a group around Shirley Mitchell, market development lead, Bank of America Learning Time: A Way to Keep Balance? Foundation; and Dwight Allen Blevins, Bank of America. a specific topic for discussion, or just go out for a Juniper, M2/International Ballroom Level relaxed dinner with some new colleagues. Sign up Join corporate giving colleagues in a broader dis- Organized by Moy Eng, performing arts program director, at the registration desk. cussion of “why arts” in the corporate philanthropy and Julie Fry, program officer, The William and Flora Hewlett Foundation. Facilitated by Frances Phillips, senior program portfolio, discuss the changing landscape of arts Special dine-arounds include Pizza and a Movie.. Join officer, Walter and Elise Haas Fund. Presented by Moy Eng; Grantmakers in Film + Electronic Media for dinner philanthropy and the role of corporate funding, and Julie Fry; Katrina R. Woodworth, Senior Researcher, SRI and a screening of The Last Conquistador. What are participate in facilitated conversation on topics spe- International; Jennifer Davis, president, Massachusetts 2020 Foundation; and Dr. Beverly L. Hall, superintendent, Atlanta the roles and responsibilities of public art and the cific to corporate giving such as sponsorship market- Public Schools. importance of documenting the creative process for a ing, in kind contribution, employee engagement, tax wider audience? You’ll dine on pizza as you see these implications, measurement and evaluation. California elementary schoolchildren spend less time questions and more captured beautifully on film. in school than the national average, according to a This session is open only to corporate funders Along with filmmaker John Valadez, we’ll debate the recent study by SRI, commissioned by the Hewlett and separate registration is required. role of public art; the responsibilities of artists, civic Foundation. Findings in Allocating Funding and leaders, funders who support the creation and place- Instructional Time for Elementary Arts Education Harnessing the Power of Art as a Force for ment of the work, the unforeseen impact art can have indicate that there is a correlation between the length Change: The Art and Social Change Funders on multiple publics, and the challenges and impor- of the school day and access to arts instruction. A pi- Working Group Strategic Planning Session tance of capturing it all on film. lot program in Massachusetts, the Expanded Learn- 8:00 am – 11:30 am, Redwood, M1/Street Level ing Time Initiative, has allowed 26 elementary and Organized by Claudine Brown, program director, arts and middle schools to lengthen the school day by nearly culture, the Nathan Cummings Foundation. Presented by two hours, providing more time for core subjects and Claudine Brown; Melinda Weekes, Interaction Institute for art and enrichment programs often lost in a shorter Social Change; and Daryl Campbell, Interaction Institute for Social Change. school day. This session will look at the benefits of engaging kids for more minutes in the classroom, Arts and social change is not just a funding focus, and the challenges faced by educators in extending it also offers strategies for arts funders involved in learning time.

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New Foundation Leaders and the Arts Social Networking, Web 2.0, etc. During this 90-minute session, we will discuss the What Changes May Lie Ahead? Building an Individual Online Presence need for disaster preparedness and response within Dogwood A, M1/Street Level International Ballroom A, M2/International the arts sector and the costs to artistic careers and creative economies without it. Join members of the Organized by Janet Sarbaugh, senior program director, arts & Ballroom Level Coalition and others as we describe the overall vision culture program, the Heinz Endowments, and Holly Sidford, Organized by Josh Phillipson, program associate, The Metro- president, Helicon Collaborative. Presented by Holly Sidford; politan Atlanta Arts Fund. Presented by Michael David Mur- for the Coalition’s mobilization plan and various proj- Philip Henderson, president, Surdna Foundation; Peter phy, photographer and program manager, Atlanta Celebrates ects underway. The Coalition seeks input from the Hutchinson, president, the Bush Foundation; and Robert Photography and Kate Harlan, Paideia High School student. GIA membership on the Coalition’s vision and advice Vagt, president, the Heinz Endowments. on increasing disaster planning and awareness in the Social networking… Web 2.0… If you’ve paid atten- A number of prominent foundations at the national, arts sector. tion over the last couple years you’ve heard these regional and local level have appointed new presi- terms. These Social Networking applications can be dents in the past 12 to 24 months. Such leadership portrayed as frivolous but they are very real tools Discussion with Keynote Presenter transitions are likely to increase in the years ahead, in especially in youth communities and for artists. Bruce Ferguson keeping with the larger generational shift in the non- This session will include an overview of what is out Cypress, M2/International Ballroom Level profit sector. Very few of the new foundation leaders there touching on some of the major social network are likely to come from the arts sector, and many will Join conference keynote Bruce Ferguson for applications, a live demonstration of how a real have had little direct experience with our field. an informal discussion. high school student lives on Facebook – consuming, What inspires these new leaders about their founda- creating, commenting on art (and other things), and Bruce W. Ferguson is an independent art curator tions’ arts grantmaking? What information will they a discussion with a photographer about building a and critic who has worked internationally for more need to understand our sector, and to sustain or personal brand online, creating a career online and than thirty years. “I have spent most of my profes- increase their foundations’ commitment to arts and bringing an audience along from offline to online sional life in one way or another facilitating artists,” culture? How do these new presidents view the arts and back again. Throughout this session we will dis- Ferguson says. cuss how tools of Web 2.0 work for artists (and rarely alongside other foundation priorities? What do they Bruce has recently become the director of F.A.R. against them). see as the most compelling case for arts funding and (Future Arts Research) at Arizona State University in what are their ideas about the connections between Phoenix. Other recent projects include consulting to the arts and their foundations’ larger missions? How Getting Engaged: A National Disaster the Art Gallery of Ontario in Toronto to develop long- can we best manage this important field-wide transi- Mobilization Plan for the Arts Community range strategies and goals for a complete museum tion to the benefit of artists, arts organizations, and International Ballroom B, M2/International renovation by architect Frank Gehry. Bruce previ- the creative sector as a whole? Ballroom Level ously served as the Dean, School of Arts at Colombia This session will feature a facilitated conversation Organized by Cornelia Carey, executive director, Craft University; President and Executive Director of the Emergency Relief Fund. Presented by Cornelia Carey; Amy with three new foundation presidents and their New York Academy of Art; and is the founding Direc- Schwartzman, arts consultant, Craft Emergency Relief Fund tor and first biennial curator of SITE Santa Fe, in program officers, exploring issues relevant to the on behalf of the Coalition; Craig Nutt, Craft Emergency Relief full range of arts foundations. Fund; Ellen Fleurov, Ellen Fleurov & Associates LLC, and Pa- Santa Fe, New Mexico. trice Walker Powell, deputy chairman for states, regions and local arts agencies, National Endowment for the Arts. Bruce has curated more than 35 exhibitions for institutions such as the Louisiana Museum in Co- The Coalition for Artists’ Preparedness and Emer- penhagen, the Barbican Art Gallery in London, the gency Response, a national network of arts councils, Winnipeg and Vancouver Art Galleries in Canada, and arts service organizations and arts funders, is mov- the Institute of Contemporary Art in Boston. He also ing from research and study to action developing organized exhibitions in the international biennales resources and networks for artists and arts organiza- of Sao Paulo, Sydney, Venice, and Istanbul. tions to draw upon before, during and after disasters.

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What Is – or Can Be – the Role of Community crafting strategies to attract the creative class. Tom 9:30 - 10:00 Tuesday Foundations in Funding Artists and Arts Schorgl from Cleveland’s Community Partnership Break Related Initiatives for Arts and Culture will share research done for a 10:00 - 11:30 Tuesday Sycamore, M2/International Ballroom Level national conference his organization recently hosted on arts-based community development and lead a Organized by Daniel Kertzner, community philanthropy Late Morning Sessions officer, Rhode Island Foundation and presented by Daniel conversation based on the final draft of a white paper Kertzner; Mindy Fried, Ph.D. and Claire Reinelt, Ph.D., evalu- that explores both the opportunities and the chal- Hooked (A participatory session for knitters) ators; and Wanda Miglus, community philanthropy associ- lenges of this work. Sycamore, M2/International Ballroom Level ate, Rhode Island Foundation. The session will include a 10-15 minute overview of Organized by Hoong Lee Yee Krakauer, executive director, Queens Council on the Arts In this workshop, we will present the notion that the material by Tom followed by discussion and reac- community foundations have an important role in tion to the paper from GIA members. for those obsessed by the magic of a beautiful string supporting the creative practice of artists within their flowing through fingers communities. We will discuss the value and effects of New Look Philanthropy: Models For the Next wrapped round wooden needles the different roles that artists play in service to their Generation of Givers emerging as something handmade practice and in the case of artist-community collabo- cabled, twisted, looped, slipped, draped, laced International Ballroom C, M2/International ration, as it impacts civic engagement. The Rhode draped, wrapped, tied Island Foundation has funded initiatives that include Ballroom Level an artist-community partnership called New Works, Organized by Kristen Madsen, senior vice-president, The and an initiative that funds individual artists to pur- GRAMMY Foundation/MusiCares Foundation. Presented by Kristen Madsen; Shawn Wilson, CEO, Usher’s New Look for the curious – sue their creative vision called the McCall Johnson Foundation; Nancy Lublin, CEO, Do Something; and Kurt a chance to fall in love with this passionate activity Fellowship – two different but not mutually exclusive Aschermann, president, Charity Partners. approaches. We would like the audience to leave with an understanding of the important role community The conference theme of examining the shifting foundations can play in supporting artists and arts- boundaries and demographics of new American come with your own project related initiatives. cities also opens the door to an exploration of shift- or ing trends in philanthropy – both in new models come learn how to knit of giving, and in new faces being engaged in the From Rust Belt to Artists Belt a simple yet fabulous, to die for, must have wrap! giving cycle. It can be argued that the “Me Genera- Cottonwood A, M1/Street Level tion” resulted in a lost generation of philanthropers. Organized by Deena Epstein, senior program officer, George However, that trend is giving over to new generations At the same time Gund Foundation, with Tom Schorgl, Cleveland’s Commu- of Americans who are placing an increasing level nity Partnership for Arts and Culture. Presented by Deena we will be exploring Epstein; Tom Schorgl; and Kristin Tarajack, fellow, Commu- of importance on supporting causes that matter to ways we can keep those nity Partnership for Arts and Culture them and finding new vehicles through which to who make art out of the box make a difference. in the loop. From Syracuse to Buffalo to Pittsburgh to Cleveland, older cities are looking at ways in which artists can This panel will present the experience of several some materials will be provided help revitalize these communities and create a new organizations founded by newcomers to the world vision for industrial America. Learn how communi- of giving who are actively engaged in new models Art is an unruly activity. of grantmaking – utilizing innovative methods and ties are turning negatives (urban sprawl, foreclosed Like love, online gambling and many of life’s myster- tools and leveraging their efforts into small armies properties, vacant factories) into positives (affordable ies, the creative process rarely concerns itself with of new philanthropers. housing, unusual spaces and low cost of living) and categorical constraints. A growing number of artist now make work in nimble, nonlinear ways that

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spring defiantly outside the grasp of our funding cri- and the superintendent of the Dallas Independent GIA’s Indigenous Resource Network Meeting teria. They are individual artists that gravitate around School District which serves 180,000 students K-12. Redwood, M1/Street Level a project and disperse upon completion, collectives Participants will be encouraged to map their cities’ Organized by IRN co-chairs, Lori Pourier, president, First with nonprofit cheekbones but no official status, efforts to pool resources and coordinate activities to Peoples Fund, and Elizabeth Theobald Richards, program profit and nonprofit hybrids. officer, Media, Arts and Culture, The Ford Foundation. make arts learning accessible to more children. This session will ask participants: How do we do this? The Indigenous Resource Network is an interest What is our commitment to change? Can we look at Online Tools for Grantmakers and Artmakers group within GIA of Native American funders and innovative models in the field? What does leadership funders with an interest in Native topics. All partici- International Ballroom A, M2/International look like in these new paradigms? pants are welcome to this informal meeting. Ballroom Level Let’s figure out how to keep everyone in the loop. Organized by Vincent Stehle, Program director, nonprofit sec- tor support, Surdna Foundation. Presented by Vincent Stehle; Variations on a Theme: Achieving Diversity Nicholas Reville, executive director, participatory culture from the Inside Out It Takes A City: Surrounding Children foundation and Bob Ottenhoff, president, Guidestar. with the Arts International Ballroom C, M2/International Online technologies are opening up new opportuni- Ballroom Level Dogwood A, M1/Street Level ties for grantmakers and artmakers. Most impor- Organized by Barbara Saunders, program officer, The Organized by Mary Trudel, senior communications officer, tantly, new technology tools are lowering the cost Arthur M. Blank Family Foundation. Presented by Barbara The Wallace Foundation. Presented by Mary Trudel; Rory and breaking down barriers to distributing digital Saunders; Paul Hogle, vice president for institutional ad- MacPherson, senior program officer, The Wallace Founda- vancement and learning, The Atlanta Symphony Orchestra; tion; Gigi Antoni, executive director, Big Thought; Susan content, even while they present a dizzying set of is- Penelope McPhee, president, The Arthur M. Blank Family Bodilly, director, RAND Education; and Dr. Michael Hinajosa, sues for artists to navigate. At the same time, technol- Foundation; and Penny Smith, arts & culture management superintendent, Dallas Independent School District. ogy is transforming the way grantmakers do their fellowship manager, Chicago Community Trust. own work, allowing them to collect more information Even as curriculums narrow across the country, many While strategies to increase participation by di- more efficiently than ever before – but perhaps to communities are aiming to make the arts a central verse audiences at arts and culture organizations the point of information overload. This session will part of the learning and development of all children. often center on programming and marketing, some help grantmakers understand how their grantees can This session explores how school, cultural, and city organizations are including an additional approach: use digital distribution tools and also how to manage leaders and funders are collaborating in six urban diversifying their fields “from the inside out.” In this their own data more effectively. areas – Alameda County in Northern California, session, we’ll explore the efforts of organizations Boston, Chicago, Dallas, Los Angeles County and that have made the commitment to bring artists and New York City – to build on existing assets to develop Telling Your Own Story and Other Stories As Well administrators of underrepresented communities coordinated arts learning systems. Dogwood B, M1/Street Level to their respective fields. What is working? What is Using findings from recent reports from the RAND Organized by Lisa Cremin, director, Metropolitan Atlanta required of the institutions, the program participants, Arts Fund, and presented by Rob Cleveland, storyteller. Corporation, this session will present a framework and the funders who support the programs? What are key lessons learned, and how have these programs and lessons learned for inspiring local community In this workshop, professional storyteller and award- evolved over time? Session attendees will learn about commitment to arts learning. winning children’s author Rob Cleveland will talk initiatives that are reaching new milestones along about the importance of storytelling. Stories are a Presentation of findings will be from the new RAND the road to diversity, and practical ideas that can be vital part of the fabric of our lives, whether they be “Revitalizing Arts Education through Community- adapted for programs in their communities. stories that we grew up with, or stories about our own Wide Coordination” report, amplified by “on the lives. Stories are often the best way to make a case ground” insights from Dallas, one of the cities A three-minute video introducing the Atlanta Sym- for the value of an issue. One of the purposes of art is studied in the report, by the Executive Director of Big phony Orchestra’s Talent Development Program, fol- tapping into the stories that bind us all together. At- Thought, the city’s arts and cultural education agency lowed by a facilitated conversation with the present- tendees will be both entertained and enlightened. ers and the audience.

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The Creative Economy Sector: At Last, and what we produce, how we produce it, how we ex- keep coming in at the same time as the A Definition! perience it, and how we share it? How is the democ- capital monies. ratization of digital tools blurring the distinctions Cottonwood B, M1/Street Level • Staffing and the use of consultants. between creator and consumer, expert and amateur, Organized and presented by Rebecca Blunk, executive direc- tor, and Jane Preston, director of programs, New England tastemakers and fan base? When do we want or not The session will also cover the big picture questions: Foundation for the Arts. want to commodify culture? are there economic headwinds that should keep the campaigns in port or are there situations in which Funders in all arenas have become increasingly OMG! Another Capital Campaign! competing campaigns can cause everyone to sink. aware that creative enterprises and individuals con- tribute significantly to local and regional economies, Juniper, M2/International Ballroom Level Finally, the session will discuss the creative roles as fueling other sectors and contributing to the revital- Organized by Peter Handler, program officer, The Richard H. well as the funding roles that grantmakers can take Driehaus Foundation. Presented by Chuck Thurow, execu- ization of communities. As various interpretations of in these situations. tive director, Hyde Park Art Center; Philip Verre, chief operat- the creative economy model have spread, it has been ing officer, High Museum of Art; and Mike Levine, associate challenging to identify who and what can be con- vice president for Development, University of Chicago 11:45 - 1:30 Tuesday sidered part of this economic sector. New England Medical Center. Foundation for the Arts, building on 30-years of cre- Luncheon Plenary Grantmakers hear from every arts organization that ative economy research, has put forward a definition wants a building of its own or wants to expand a Samina Quraeshi and standard methodology to measure the cultural current building – even when its web site has “WE An educator committed to preparing students for an workforce and cultural enterprises utilizing widely DO NOT GIVE TO CAPITAL CAMPAIGNS” in flashing increasingly interconnected global world, Samina is available U.S. data sources. This session will be an neon. Whether a funder contributes may not be as also an award-winning author, artist and designer. opportunity to discuss applications of the creative important as the leadership the grantmaking com- She has devoted her life to cultivating the vital rela- economy definition in New England and beyond, munity can provide to institutions embarking on a tionship between art and culture through national including regional examples such as ArtsMove in capital campaign. and international initiatives as a way to foster greater Chattanooga, TN. understanding among people. A capital campaign is so filled with land mines, The Medium is the Message: Revisited especially for smaller arts organizations, that the Edgar Arceneaux International Ballroom B, M2/International idea of initiating one has some of the same appeal Los Angeles-based artist Edgar Arceneaux received Ballroom Level as vacationing in Baghdad. a BFA from the Art Center College of Design in Pasa- Organized by Jessica Chao, vice president, Rockefeller This session will explore the territory through two dena and a MFA from the California Institute of the Philanthropy Advisors and Vanessa Whang, senior program case studies, one of which is the Hyde Park Art Center consultant, Rockefeller Philanthropy Advisors. Presented by Arts in Valencia. Arceneaux is currently directing the Jessica Chao; Vanessa Whang; Jean Cook, deputy director, of Chicago. Watts House Project (WHP), an artist-driven urban Future of Music Coalition; Ken Freedman, station manager, revitalization project centered around the historic WFMU; Frank J. Oteri, composer advocate, American Music Topics include: Watts Towers in Watts, California. Center, and founding editor, NewMusicBox. • The markers of readiness that indicate that a par- This session will include AV samples of internet- ticular arts organization is capable of taking on a Egbert Perry based services – e.g., digital radio, streaming, rights- campaign. Egbert L. J. Perry is Chairman and Chief Executive cleared downloads, and social networking sites – as • The appropriate sizing of a campaign: how much Officer of The Integral Group LLC in Atlanta, Geor- a jumping off point for a lively discussion on how money is really needed. gia. Mr. Perry is an honors graduate of the University musicians (and other artists) are finding their way of Pennsylvania where he received both Bachelor through the 21st century’s “Gutenberg moment.” • The necessary structural and financial planning and Master of Science degrees in Civil Engineering How are new media affecting the cultural realm that is needed so that day-to-day operating funds from the University’s Towne School, and a Master

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of Business Administration degree with majors in mathematics. Yet, the private sector has invested Tupac accomplished a lot during the span of his Finance and Accounting from its Wharton School. In millions of dollars in efforts to improve the quality life. At an early age, he wrote and organized family 1990, he was elected as the eleventh graduate in 250 and amount of arts education that is taking place in productions, casting himself as the lead and his older years to be named to the “Gallery of Distinguished public schools today, believing the arts to be a vital cousins in supporting roles. Tupac formally trained at Engineering Alumni” of the University’s Engineering part of education. Though many policy changes are the 127th Street Ensemble and Baltimore School for School. Under his leadership, Integral has developed wrought in the public sector, past experience evi- the Arts. At the age of twelve, Tupac experienced his a reputation as an innovator in the field of urban dences the powerful role that private sector can play first formal stage role as the character “Travis” in the infill mixed-use and mixed-income developments. In in the ultimate outcome. This session with experts in stage play Raisin In the Sun. The play was performed addition to Atlanta, the company has developed proj- arts education funding, policy and practice, will ad- at the Apollo Theatre in Harlem. Tupac was eventu- ects and made real estate investments in over twelve dress NCLB’s impact on the arts in schools, including ally cast in several feature films and recorded several other metropolitan markets across the country. the ways in which NCLB, state and local policy affect chart-topping albums. In fact, he released the first- arts education provision to students and in schools. ever double hip-hop CD and remains the top selling 1:45 – 4:45 Tuesday Participants will engage with the experts and each Hip-Hop artist of all time. other in discussing how legislative mandates are af- Offsite Sessions (mostly) fecting – both positively and negatively – the work of Because these sessions will have a maximum capac- Going Green at the Office: Cutting Carbon and their grantees, as well as their own education funding ity, tickets for each day’s site visits are available other Sustainable Practices for Foundations practices. The session will include an interactive dis- when the registration desk opens that morning. Theatrical Outfit: The Balzer Theatre at Herren’s cussion on what is needed to improve the environ- When the tickets for a specific session are gone, you 84 Luckie Street NW ment for the arts in public education in the future. will know that the session is at capacity and can Organized by Luis Davila, enhancing the field director, make another choice. Environmental Grantmakers Association. Presented by Site Visit to Tupac Shakur Foundation Luis Davila and Alex Szabo, CEO, The Green Office. Buses departs at 1:45 pm. Meet your guide on the Tupac Amaru Shakur Center for the Arts M2/International Ballroom Level near the exit Grantmaking isn’t the only way to support the envi- 5616 Memorial Drive, Stone Mountain, Georgia doors by Morsel’s. ronment! Whether or not you fund environmental Organized by Tene Traylor, program officer, Community causes, you have many opportunities to alleviate Foundation of Greater Atlanta. climate change, prevent pollution and protect eco- Will the Arts Be “Left Behind” in 2009? Founded in 1997 by Afeni Shakur, mother of the systems. By adopting sustainable practices at your Center for Puppetry Arts multi-talented Tupac Shakur, the Tupac Amaru organization, you will be supporting healthy and just 1404 Spring Street NW Shakur Foundation works to bring quality arts train- outcomes for both the natural environment and hu- Organized by John Abodeely, manager, arts education, ing to our young people. A broad range of training manity. This interactive session will provide practical Americans for the Arts. Presented by John Abodeely; Marete information and resources to help guide foundations Wester, director of arts policy, Americans for the Arts; and is offered via the Annual Performing Arts Day Camp Laura Reeder, founder and executive director, Partners for held at the Tupac Amaru Shakur Center for the Arts. that are interested in improving the sustainability Arts Education. Disciplines include creative writing, vocal technique, of their operations and events. Topics to be covered acting, stage set design, dance, poetry & spoken include: steps towards becoming carbon neutral; The No Child Left Behind Act has had major impact word, and the business of entertainment. The Per- energy conservation; ‘green’ materials and supplies; on schools’ ability to deliver arts education: there is forming Arts Day Camp is open to students ages 12- sustainable food and beverages; waste reduction and ample evidence that instructional time for the arts 18. The Foundation is currently working to create and low-carbon travel. Join colleagues from the Environ- and other subject areas is being reduced because preserve an institution for Hip-Hop & Urban Culture mental Grantmakers Association and the Green Office of other federal testing mandates for reading and at the Tupac Amaru Shakur Center for the Arts. to learn best practices for going green at the office.

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Web 2.0 and Beyond Discussion with Keynote Presenter Arts & Cultural Centers as Anchor Institutions SESSION IN HOTEL: International Ballroom B, Samina Quraeshi Fox Theatre M2/International Ballroom Level SESSION IN HOTEL: Cypress, M2/International 660 Peachtree Street NE Organized and moderated by Helen Brunner, director, Media Ballroom Level Organized by Penelope L. McPhee, president and trustee, The Democracy Fund. Presented by Celia Alario, Web 2.0 “Imagi- Arthur M. Blank Family Foundation and Virginia A. Hepner, Join conference keynote Samina Quraeshi for neer”; Tim Quirk, vice president of programming, Rhapsody board member, Metropolitan Atlanta Arts Fund. Presented by America; and Jenny Toomey, program officer for media and an informal discussion. professors Eugenie Birch and Susan Wachter, co-directors of cultural policy, Ford Foundation. the Penn Institute for Urban Research; Mary Navarro, senior An educator committed to preparing students for an program officer, The Heinz Endowments; and Kevin McMa- How can artists and arts organizations take advantage increasingly interconnected global world, Samina is hon, president, Pittsburgh Cultural Trust. of social networking, Twitter, Flikr, Mogulus, texting, also an award-winning author, artist and designer. Anchor Institutions are universities, hospitals, blogs, digital radio, Miro and the next new thing? She has devoted her life to cultivating the vital rela- sports facilities, performing arts centers and muse- What policies need to be put in place to protect these tionship between art and culture through national ums, large churches and local corporations. In many new platforms? Innovative communication tech- and international initiatives as a way to foster greater cities, anchor institutions serve as engines for urban niques are proliferating at a rapid rate and there is understanding among people. renaissance (or even survival) and are magnets for opportunity in the future media environment for cre- As an artist, writer and photographer Samina brings economic development and urban revitalization. ative work and deeper levels of message penetration. the multifaceted story of Islamic culture in South Asia They can also contribute to urban reinvention and to the international stage. As a teacher of community civic pride, and attract coveted knowledge indus- New Solutions for Old Challenges studies and design she is committed to intellectual try workers and suburban spenders. How do these Spelman College Museum of Fine Art and cultural diversity and exhibits wide-ranging institutions differ in organization and impact, and 350 Spelman Lane, SW knowledge of issues related to interdisciplinary work. what are the unique characteristics of arts and Organized by Veronique Le Melle, former Grantmakers in As a senior executive in academia and government cultural anchors vis-à-vis other institutions? What the Arts board member, and Bill Aguado, executive director, she is committed to collaboration and strategic alli- role do grantmakers play in their support of these Bronx Council on the Arts. Presented by Veronique Le Melle; ances. A natural leader, with organizational savvy and anchors? This session will include a discussion with Bill Aguado; Juana Guzman, president, National Association of Latino Arts and Culture; and Crystal K. Jones, major gifts management skill, she demonstrates a diplomatic grantmakers and urban planners. officer, California Community Foundation. acumen for allocating resources and creating part- nerships between private and public sectors, be- Is There Culture Beyond the Soaps on Wisteria Ethnically specific organizations continue to face tween NGO’s and government officials and between Lane? Art in the ’Burbs: What’s There, What’s unique challenges within their organizations and the academy and the community. Not, and Why You Should Care within their communities. This session will examine the development of new models and strategies to With the cultural emergency that faces our world Cobb Energy Centre for the Performing Arts address the paradigm shift that is necessary in order today, Samina Quraeshi’s voice, through her art, her 2 Galleria Parkway for these organizations to continue to progress. This advocacy and her academic initiatives is one that Organized by Lisa Cremin, director, Metropolitan Atlanta Arts conversation will be designed to also address new in- promotes and envisions healing through understand- Fund. Presented by Carolyn Bye, author of A New Angle: Arts Development in the Suburbs; Flora Maria Garcia, CEO, Metro come generating and sustainability strategies within ing of our collective humanity while honoring and Atlanta Arts & Culture Coalition; Beth Schapiro, president, diverse communities of color. supporting our diverse traditions. the Schapiro Group, Inc.; and Samuel S. Olens, chairman, Cobb County Board of Commissioners

Using the greater Atlanta region as the microcosm, this session will examine some of the myths and realities about cultural life in the suburbs and why many suburban areas are embracing the arts.

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First there were cities, then there were suburbs; now 4:45 - 5:15 Tuesday 7:30 - 9:30 Wednesday are there regions? How and where do arts take place Break Breakfast service when 4+ million people live in a geographic area M2/International Ballroom Level, Ballrooms E and F and the “city” is only 464,000 people? Using the new 5:15 Tuesday Cobb Energy Centre as the backdrop this session will Buses depart for the Woodruff Arts Center, 8:00 - 9:00 Wednesday explore ways that the arts are energizing suburban High Museum, and will run continuously. Roundtables regions and at the same time helping arts organi- M2/International Ballroom Level, Ballrooms E and F zations grow audiences and revenue. How have 6:30 Tuesday suburbs changed from the stereotypes we may still 1) Emerging Grantmakers: A Call to Action harbor about them? As funders make difficult choices Special Plenary Presentation on the State of the U.S. Economy by Jeremy Nowak Organized by Michael Bigley, program officer, The Morris about funding priorities, what is the rationale for and Gwendolyn Cafritz Foundation supporting suburban arts organizations? Woodruff Arts Center, Rich Auditorium Co-sponsored by Americans for the Arts How can emerging grantmakers make a difference Beyond Grants: Comprehensive Support at their workplace and in their communities? What As this conference program goes to press, we find for Individual Artists burning questions do you still have about the field? ourselves in the middle of a national economic crisis. This breakfast conversation aims to identify some SCAD Atlanta Each day brings news of another bank failure or buy- key areas where individuals new to the field (whether Organized by Ruby Lerner, president and CEO, Creative out. Wall street tumbles while congress and the White that is weeks or years) hope to make a greater impact. Capital Foundation and Carolyn Somers, executive director, House wrangle over federal bailout proposals. Joan Mitchell Foundation. Presented by Ruby Lerner; Carolyn Current challenges will be discussed, along with resources and action steps for addressing those chal- Somers; Lauren Cornell, executive director, Rhizome (an af- Jeremy Nowak, president of The Redevelopment filiate of the New Museum in New York); and David Dom- lenges head on. brosky, executive director, Center for Arts Management and Fund and a member of the Board of Directors of the Technology, Carnegie Mellon University. Federal Reserve Bank of Philadelphia, will present an up-to-the minute assessment of the current eco- 2) Los Angeles County Municipal Arts Funders Support for individual artists takes many forms. This nomic situation and look ahead to what we might Common Application session will look at the innovative ways artists are expect in the new year. He will be joined by modera- Organized by Leslie Ito, director of grant programs, Los Ange- being supported that go beyond the traditional grant tor Ben Cameron, arts program director for the Doris les County Arts Commission; with Joe Smoke, City of Los Ange- les, Cultural Affairs Department – Co-Presenter/Facilitator making most arts funders are familiar with. Duke Charitable Foundation, to field questions from Panelists will discuss efforts that originate in the arts the audience. This breakfast conversation would share the work of the Los Angeles County Municipal Arts Funders community as well as look at the unique ways that This session will be followed by: the commercial sector has provided patronage and (composed of the LA County Arts Commission, City opportunities to artists. of LA Cultural Affairs Dept and five other munici- 7:30 Tuesday palities) who worked for over six months to develop Additionally we will look at ways that artists are Reception and Dinner at the High Museum of Art and launch common questions for their grant ap- developing cutting edge alternative programs to plications. In adopting the California Cultural Data Woodruff Arts Center, High Museum of Art advance their (own) careers. Project, the municipalities of LA County took this Join your colleagues for cocktails and dinner in Particular attention will be paid to the use of technol- opportunity to re-examine our grant applications the Weiland Lobby of the High Museum of Art. ogy by funders and artists alike. and create common questions to ease the application process for our grantees. We hope that the audience will learn about the value and process of forming common grant application questions.

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3) Youth Arts Advocacy - in your schools, Board’s 2006 report “Are They Really Ready to Work” 6) Moving Ahead: Strategies and Actions for in your city. that found a startling lack of many applied skills, the Art and Social Justice Working Group Organized by Janna Schwarzs, Hunt Alternatives; including creativity, among incoming workers, while Organized by Claudine Brown, arts program director, The Klare Shaw, Barr Foundation at the same time reporting a very high rating of im- Nathan Cummings Foundation; Klare Shaw, Senior Advisor portance of those same skills by employers. The new for Education, Arts & Culture, Barr Foundation; Judi Jen- How do you see your role as a funder in advocating nings, Executive Director, Kentucky Foundation for Women; research explored more deeply corporate assessment for public funding? Come advise, share stories, and Denise Brown, Executive Director, Leeway Foundation; of creativity – What are its qualities or indicators? Caron Atlas, Consultant lessons learned as we move towards a 21st century How is it measured? How is it nurtured? By contrast, education in and outside of school. Boston funders school administrators were asked a similar battery Join members of the Art and Social Justice Work- are in the early stages of supporting the new super- of questions to see if those responsible for educating ing Group to discuss what we learned during our intendent to build a more robust, comprehensive our youth view creativity in the same way as those pre-conference and conference session on strate- arts education delivery system and are considering we are counting on to hire them. This session will use gic planning and to brainstorm possible next steps how to maximize other sources of public revenues the Roundtable recommendations and the findings for the group. Members of the Working Group will for youth arts. Learn about our progress and support of this research, as a springboard for dialogue with provide a brief overview of where we are now and the fellow colleagues in efforts across the country. grantmakers on how this issue is affecting policy and major outcomes of the strategic planning session.. funding strategies within their foundation. Participants will then be invited to engage in creative 4) Thinking Creatively and Competing Globally – thinking about how to help the Working Group move Building the 21st Century Workforce forward on the identified strategies and potential 5) High Net Worth Donors and Philanthropy: Organized by Marete Wester, director of arts policy, Bridging the Gap action steps for the group. The emphasis will be on Americans for the Arts discussing forward thinking action steps enacting the Organized by Shirley Mitchell, senior vice president, Bank new strategies around art and social justice for the At the 2007 GIA Taos Journey conference, Americans of America Charitable Foundation, and Quanda Allen, Working Group. All interested funders are invited for the Arts shared preliminary findings from its most vice president, Senior Philanthropic Relationship Manager, Bank of America to participate. recent National Arts Policy Roundtable, convened annually in partnership with Robert Redford and the Bank of America’s High Net Worth and Philanthropy Sundance Preserve. In October, 2007, a group of 30 Study, developed in partnership with the Center 7) Crisis in Audience Development – are arts leaders from the foundation, corporate, government, on Philanthropy at Indiana University, broke new organizations really positioned to make use and academic arenas gathered at the Roundtable to ground while confirming certain commonly held of mass media tools such as television and address the question: What role can and will the arts beliefs and uncovering new giving models amongst the internet? play in building a 21st century workforce that is both the wealthiest 3.1% of U.S. households. The survey Organized by Sonia Tower, Community Development and Re- lations Advisor, and Chad Gutstein, Executive Vice President, knowledgeable and creative? New research, commis- provides the most comprehensive view to-date of Ovation TV sioned to help inform the work of the Roundtable the charitable giving practices and motivations of and released in March, 2008, offers powerful new wealthy and affluent households. An update to the While there is enormous interest on the part of arts perspectives on why efforts to improve our educa- study, entitled Portraits of Donors, reveals specific funders and arts organization leadership in develop- tional system must incorporate arts education as a behavioral patterns and unique personality traits ing the necessary tools for audience development, key component to ensure our global competitiveness. among 12 types of wealthy and ultra wealthy donors. the reality is that few arts organizations and institu- The research was conducted in partnership with The Come discuss the trends that are changing the face tions are truly utilizing the mass marketing oppor- Conference Board, and the American Association of of philanthropy in America. tunities available to them through television and the School Administrators. This followed the Conference internet. This roundtable will look at the need for organizations to become more competent in market- ing in an increasingly visual and virtual world and discuss the challenges and opportunities in doing so.

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8) Council on Foundations: The Philanthropic 9:00 - 9:30 Wednesday Arm in Arm: Engaged Grantmaking in Local Response to the Economic Downturn 2008- Break Communities 2009 Redwood, M1/Street Level 9:30 - 11:00 Wednesday Organized by Mary Dwyer Pembroke, vice president strategic Organized by Susan Jenkins, Cherokee Preservation Foun- initiatives, Council on Foundations Morning Sessions dation and Tommer Peterson, Grantmakers in the Arts. Presented by Susan Jenkins; Tommer Peterson; Lori Pourier, As this conference program goes to print, the Council Arts Education: Sink or Swim: Integrating president, First Peoples Fund; and Ken Gordon, executive on Foundations is developing a series of appropriate he Arts: A Bridge across Subject Areas director, Potlatch Fund initiatives to help define philanthropy’s role in the Juniper, M2/International Ballroom Level current economic downturn. Recognizing the collec- This session will focus on challenges and strategies tive nature of the field of philanthropy – sometimes a Organized by Moy Eng, performing arts program director, for grantmakers whose mission requires them to and Julie Fry, program officer, The William and Flora Hewlett make grants over many years in communities that movement bigger than our individual giving struc- Foundation. Facilitated by Frances Phillips, senior program have a limited number of nonprofit organizations tures – the Council is seeking input on ways we can officer, Walter and Elise Haas Fund. Presented by Moy Eng, best collectively meet this leadership moment for the Julie Fry, Arnie Aprill of the Chicago Arts Partnership in Edu- appropriate for grant support and a limited number field of philanthropy. cation (CAPE), and Nancy Carr, visual and performing arts of individuals with the experience and skill required consultant, California Department of Education. to lead those organizations. This session is based on the report of the same name, that interviews with ap- 9) Giving During Recessions and Economic National research and experience has demonstrated proximately 30 individuals working in a range of set- Slowdowns that utilizing the arts to teach other non-arts subject tings, including grantmaking to First Nations, Native Organized by Del Martin, CFRE, Alexander Haas Martin + areas can build greater learning success and help American and Aboriginal Peoples; grantmaking in Partners Inc, and chair of Giving USA Foundation to close the achievement gap for underperforming students. With arts education generally provided rural areas; and grantmaking in developing countries. In September 2008, Giving USA Foundation pub- by a mosaic of generalist classroom teachers, arts These communities in which these grantmakers work lished a special issue of Giving USA Spotlight on specialists and teaching artists, integration can be often have the following similarities: “Giving During Recessions and Economic Slow- a formalized system of using the arts to deepen the • Limited choice of potential grantees. downs.” This issue looks at recessions and economic understanding of concepts that cross disciplines. • Limited number of potential leaders for slowdowns and their impact on charitable giving in On the other hand, the arts can be a natural way to community organizations. order to help nonprofit organizations anticipate what supplement curriculum and engage students in their • Few philanthropic resources. MIGHT occur in 2008 – 2009 and plan accordingly. own learning. This session will look at whether arts • Long-term relationship between grantmaking There are two different types of analysis: 1) Descrip- integration provides a connection to other subject ar- institution and community. tion of recessions/slowdowns and giving by donor eas in an effective manner, whether teachers typically • A sense that the community is entitled to the type, and 2) Description of recessions/slowdowns under-trained in the arts have the facility or time to grantmaking resources. and giving by type of recipient. This roundtable include them in the classroom, or whether integra- • A culture that differs significantly from the will examine and discuss the research. tion diminishes teaching the arts for its own sake. mainstream.

What are the implications of these characteristics for grantmaking practice? First, it means that the grant- maker’s legitimacy comes from serving the needs of the community. To gain and maintain legitimacy, the grantmaker must be a steward for the community’s endowment. This is not the case in many other set- tings, where the grantmaker’s legitimacy derives from adherence to the will of the benefactor.

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Crowdsourced Philanthropy program designed to make classical music more Discussion with Keynote Presenter Dogwood B, M1/Street Level accessible to people of all ages and musical back- Edgar Arceneaux grounds through television, the web, radio, DVDs, Organized by Lorenzo Lebrija, Miami program director, Sycamore, M2/International Ballroom Level John S. and James L. Knight Foundation. and in the classroom. How did SFS build the strategy? What worked? What hasn’t? What are the lessons for Join conference keynote Edgar Arceneaux Can the “wisdom of crowds” help us make better other traditional arts institutions and arts funders for an informal discussion. grants? For years, corporations have used “crowd- looking to broaden audiences for classical art forms Born in 1972, Los Angeles-based artist Edgar Arce- sourcing” to solve problems, develop new ideas, via new technologies and marketing approaches? neaux received a BFA from the Art Center College of research trends and create content. Two years ago, Design in Pasadena and a MFA from the California the John S. and James L. Knight Foundation asked And what about the uninclined? Seth Schiesel, who Institute of the Arts in Valencia. In addition he’s “can we use crowdsourcing in our grant making?” covers video games and culture for The New York participated in artist in residencies at the Skowhegan This year, Knight Foundation developed an “arts Times, will discuss consumption patterns in the School of Painting and Sculpture in Maine, Project contest” to find out what sorts of ideas could come broader media and arts universe. Opera, television, Row Houses in Houston and at the Fachhochschule from Miami. The result was 1,643 entries in six weeks: video games, museums, online social networks Aachen in Germany. He’s had solo exhibitions at the some good, some bad, some outstanding. In this ses- and music are all competing for the same finite UCLA Hammer Museum, Los Angeles, Kitchen, NY, sion we’ll discuss the basics of crowdsourcing, what minutes of leisure time. Mr. Schiesel will look at the the San Francisco Museum of Modern Art, Susanne worked, what didn’t in the Knight Foundation con- trends and some of the potential insights purvey- Vielmetter Los Angeles Projects and The Studio test, and how you can create your own crowdsourced ors of traditional media and arts can glean from Museum of Harlem, New York. His work was recently philanthropy program. how younger generations interact with their digital entertainment experiences. included in the Whitney Biennial 2008. Arceneaux’s work resides in public collections including the Whit- Activating Cultural Consumers Through ney Museum of American Art, New York; the Walker Mediaopoly! Technology Art Center, Minneapolis; the UCLA Hammer Museum Dogwood A, M1/Street Level Cottonwood B, M1/Street Level and the Carnegie Museum. Organized by Mary Trudel, senior communications officer, Organized by Alyce Myatt, executive director, Grantmakers Arceneaux is currently directing the Watts House Wallace Foundation. Presented by Mary Trudel; Seth Schiesel, in Film + Electronic Media. Presented by Alyce Myatt and The New York Times; and John Keiser, general manager, San Jeff Perlstein, program coordinator, Grantmakers in Film + Project (WHP), an artist-driven urban revitalization Francisco Symphony Electronic Media. project centered around the historic Watts Towers in Watts, California. WHP is a large-scale artwork-as- Like any new tools, information and communica- Comcast! YouTube! Google! NewsCorp!!! Use GIANT urban-development engaging art and architecture as tions technologies have early adopters and laggards. FUZZY DICE to play the life-size game “MEDIAOPO- a catalyst for expanding and enhancing community. What are the best strategies to claim a share of con- LY!” You’ll navigate the world of BIG MEDIA – print, The neighborhood surrounding the Watts Towers sumers’ increasingly overscheduled leisure time? This broadcast, and the Internet – while learning what presents a stark contrast to the well-maintained aes- session explores shifts in technology, the impact on you need to know to effectively grow the arts and thetics of this national monument, and currently the individual and social behavior, and what this means culture landscape. “Mediaopoly!” will help funders residents have limited means to capitalize socially or for arts organizations and funders who want to see understand what’s at stake – what we gain or lose economically on this cultural currency. WHP oper- their investments in technology projects be effective. in access, innovation and democracy – and how to stem the tide. ates with the understanding that social and econom- John Keiser, General Manager of the San Francisco ic challenges are tied to basic ecological problems Symphony, will present a case of the SFS’s attempt to You are your own game piece! You’ll move around a and aims to develop an incremental, nuanced and reinvent its 19th century institution for the 21st with room with giant mediaopoly “real estate” designa- sustainable model that marries ecological concerns its “Keeping Score” multi-platform initiative. “Keep- tions posted on the walls of the meeting room. and practice with social and cultural remedies. By ing Score” is the San Francisco Symphony’s five-year creating a physical and social infrastructure for creativity, WHP will catalyze artistic production and community pride of place, forming partnerships that can lead to real solutions, hope, and change. 23 WEDNESDAY OCTOBER 15 CONFERENCE SCHEDULE

GIA Web Site, Reader, and Communications: deeply engage young people; stimulate their best An informal discussion will take place with Erin Potts, A Members Forum efforts; enhance their confidence, creativity and founder of Air Traffic Control, which works with mu- Cypress, M2/International Ballroom Level generation of art; and provide them with knowledge, sicians around amplifying their role in social issues, skills and experiences to improve the quality of their and organizer of the Free Tibet Concerts; musician Organized and hosted by GIA Reader editors Frances Phillips, senior program officer, Walter and Elise Haas Fund, Anne lives. The Skillman Foundation’s Culture & Arts Youth Jon Langford, co-founder of The Mekons, and others. Focke, executive director, Grantmakers in the Arts, and Development Initiative (CAYDI) offers insights and Tommer Peterson, deputy director for programs, Grantmak- addresses the foundation’s role in stimulating effec- 11:30 - 1:30 Wednesday ers in the Arts. tive programming. Participants will have the oppor- Luncheon Plenary Join fellow GIA members to discuss and imagine tunity to: Bruce Ferguson future possibilities for GIA’s Reader, web site, and • Understand how a foundation can foster effective other communications programs. This session will arts programming through its relationship with Bruce W. Ferguson is an independent art curator build on annual gatherings of Reader contributors at grantees and critic. He recently became the director of F.A.R. previous conferences, but will expand the scope of • Identify key elements, best practices and outcomes (Future Arts Research) at Arizona State University in the discussion to include a wider array of communi- from research and CAYDI grantees Phoenix. Previously he served as the Dean, School of cations tools. Focus groups at last year’s conference • Identify new approaches to integrating youth de- Arts at Colombia University; President and Executive identified as a high priority the development of GIA’s velopment principles with culture & arts programs Director of the New York Academy of Art; and is the web site and its use of electronic communications. • Receive a copy of the Brandeis University CAYDI founding Director and first biennial curator of SITE If this is of interest to you or if you’ve ever written or study monograph Santa Fe, in Santa Fe, New Mexico. suggested content for the Reader you are welcome to participate in this informal get-together. Engaging Artists to be Agents of Social Change Tribute and Farewell to Anne Focke Currently, GIA’s communications programs include International Ballroom A, M2/International This is a surprise, of course, so we’re not printing it the Reader, the web site, phone forums, research on Ballroom Level in the program. Be sure to be there. It will be fun! arts giving with the Foundation Center, conference Organized by Cuong P. Hoang, director of programs, Mott proceedings, and other periodic periodicals, both Philanthropic. Presented by Erin Potts, founder of Air Traffic print and electronic. With the Reader as a touchstone, Control; Jon Langford, musician; and Hakim Bellamy, social this work contributes to GIA’s reputation for intellec- and community programs coordinator, New Mexico Office of African American Affairs. tual focus and is the glue that holds together every- thing it does. These programs keep communication Given this moment in our country’s history – on the going, stimulate new discussion, create a record, and cusp of a new presidential administration, when engage members who cannot participate in person. there is widespread dissatisfaction with the status quo, with major challenges facing us in the near Integrating Youth Development Principles future – the arts can play a seminal role in bringing with Arts and Culture people together to create change by building aware- Cottonwood A, M1/Street Level ness around key issues and inciting collective action. In this increasingly complex and diverse world, Organized by Sharnita Johnson, program officer, The Skill- man Foundation. Presented by Sharnita Johnson; Della M. the arts continue to serve as a powerful convener Hughes, The Heller School for Social Policy and Manage- across age, class, gender, and other differences that ment, Brandeis University; and Rick Sperling, founder and can divide society. Come learn about how artists, as CEO of Mosaic. the gravitational center of this coming together, are Integrating youth development principles with arts agents of social change in today’s big debates and and culture seems natural – intentional methods to how the foundation community can be a partner.

24 2008 CONFERENCE SUPPORT AND GIA FUNDING PARTNERS

2008 Conference Support Host Committee The Chicago Community Trust Los Angeles Department The AEC Trust Penelope McPhee, co-chair Funding Partners 2008 Robert Sterling Clark Foundation of Cultural Affairs Americans for the Arts Arthur M. Blank Family Foundation Funding partners are GIA members The Cleveland Foundation Lubo Fund Atlanta Convention & Visitors Bureau Virginia Hepner, co-chair who choose to make contributions David H. Cofrin and Christine Eugene and Agnes E. Meyer Foundation Metropolitan Atlanta Arts Fund of $1,000 or more above the amount Tryba-Cofrin Foundation Anonymous Atiba Mbiwan required by our dues structure. The Community Foundation O’Grady Foundation Bank of America The Zeist Foundation Funding Partner support assists with of Greater Atlanta The Virginia G. Piper Charitable Trust Arthur M. Blank Family Foundation Barbara Richardson costs of our programs and services, E. H. Corrigan Foundation The Fan Fox & Leslie R. Samuels City of Atlanta Office of Cultural Metropolitan Atlanta Arts Fund including our annual conference, Geraldine R. Dodge Foundation Foundation Affairs Barbara Saunders other gatherings, publications, and Federal Home Loan Bank of Atlanta Sewell Family Foundation The Coca-Cola Company Arthur M. Blank Family Foundation information services. Fulton County Arts Council Sony Pictures Entertainment David H. Cofrin and Christine Camille Love Holder Construction Foundation Archie D. and Bertha H. Walker Tryba-Cofrin City of Atlanta Office of Cultural Affairs $25,000 and up Kraft Foods, Inc. Foundation The Community Foundation Carolyn Morris The Paul G. Allen Family Foundation The Charles Loridans Foundation Zellerbach Family Foundation for Greater Atlanta Alternate Roots JPMorgan Chase Mertz Gilmore Foundation Cooper Foundation David H. Cofrin and Christine The Coca-Cola Company MetLife/MetLife Foundation Nathan Cummings Foundation Tryba-Cofrin The Nathan Cummings Foundation The Joan Mitchell Foundation R. Howard Dobbs, Jr. Foundation David Mitchell Doris Duke Charitable Foundation Peter Norton Family Foundation Federal Home Loan Bank City of Atlanta Office of Cultural Affairs Ford Foundation The Pollock-Krasner Foundation, Inc. Ford Foundation Gerri Combs The Heinz Endowments Prince Charitable Trusts Fulton County Arts Council Southern Arts Federation The William and Flora Hewlett Rasmuson Foundation Walter & Elise Haas Fund Ife Williams Foundation The Rockdale Foundation John H. and Wilhelmina D. Harland Fulton County Arts Council The James Irvine Foundation Surdna Foundation, Inc. Charitable Foundation, Inc. Imani Burnett The William Penn Foundation Emily Hall Tremaine Foundation Merrill G. & Emita E. Hastings Southeastern Council of Foundations The Rockefeller Foundation Andy Warhol Foundation for the Foundation Jamil Zainaldin The Wallace Foundation Visual Arts Holder Construction Foundation Georgia Humanities Council ING/ING Foundation Jo Ann Haden Miller $10,000 – $24,999 $1,000 – $4,999 James Irvine Foundation ACVB Foundation The AEC Trust Atherton Family Foundation Kentucky Foundation for Women Josh Phillipson Altria Group Hans G. & Thordis W. Burkhardt The Charles Loridans Foundation Metropolitan Atlanta Arts Fund Americans for the Arts Foundation Lubo Fund, Inc. Kathy Palumbo Anonymous Breneman Jaech Foundation Metropolitan Atlanta Arts Fund The Community Foundation Atlanta Office of Cultural Affairs California Community Foundation William Penn Foundation for Greater Atlanta Arthur M. Blank Family Foundation The Christensen Fund Quixote Foundation, Inc. Kayron Bearden R. Harold Dobbs Foundation Columbia Foundation The Rockdale Foundation The Foundation Center, Atlanta The Durfee Foundation The Beatrice L. Schottenstein Fund Southern Arts Federation Kenny Blank Fidelity Foundation of The Columbus Foundation Terry and Margaret Stent Arthur M. Blank Family Foundation The Getty Foundation Gaylord and Dorothy Donnelley Turner Broadcasting Lisa Cremin Walter and Elise Haas Fund Foundation Wachovia Nonprofit and Metropolitan Atlanta Arts Fund John H. and Wilhelmina D. Harland The Richard H. Driehaus Foundation Philanthropic Services Lisa Mount Charitable Foundation Fund for Folk Culture Woodruff Arts Center Alternate ROOTS ING Foundation The Wallace Alexander Gerbode Zeist Foundation, Inc. Lisa Wilson Jerome Foundation Foundation Fulton County Arts Council The Kresge Foundation GRAMMY Foundation Conference Planning Committee Mollie Lakin-Hayes The John D. and Catherine T. The Greenwall Foundation Lisa Cremin Southern Arts Foundation MacArthur Foundation The George Gund Foundation Metropolitan Atlanta Arts Fund, Neil Williams The David and Lucile Packard Merrill G. & Emita E. Hastings conference chair Vassar Woolley Foundation Foundation Foundation Anne Focke Pattie Johnson Terry and Margaret Stent HRK Foundation (MAHADH Fund) Grantmakers in the Arts The Foundation Center, Atlanta Wachovia Securities The Joyce Foundation Funding for this program is provided Veronique LaMelle Rob Smulian The Zeist Foundation Kentucky Foundation for Women by the Fulton County Board of former Grantmakers in the Arts The Community Foundation Laird Norton Family Foundation Commissioners under the guidance board member for Greater Atlanta $5,000 – $9,999 LEF Foundation of the Fulton County Arts Council. Ruby Lerner Shirley Mitchell The Herb Alpert Foundation Mortimer Levitt Foundation Creative Capital Foundation Bank of America American Express Company Lilly Endowment Janet Sarbaugh Veronica Njoku Annenberg Foundation The Liman Foundation The Heinz Endowment Fulton County Arts Council Atlanta Convention & Visitor’s Bureau Linde Family Foundation, a Donor Tommer Peterson Vincent Murphy Foundation Advised Fund of Combined Jewish Grantmakers in the Arts Tanne Foundation The Boston Foundation Philanthropies

25 GRANTMAKERS IN THE ARTS

GIA Board of Directors 2008 Grantmakers in the Arts Claire Peeps, GIA president 604 West Galer Street The Durfee Foundation Seattle, WA 98119-3253 Angie Kim, GIA vice president 206-624-2312 (voice) The Getty Foundation 206-624-5568 (fax) Helen Howarth, GIA treasurer [email protected] The Rasmuson Foundation www.giarts.org Alan W. Cooper, GIA secretary Mid Atlantic Arts Foundation Vickie Benson McKnight Foundation Lisa Cremin Metropolitan Atlanta Arts Fund Ben Cameron Doris Duke Charitable Foundation Dudley Cocke The Bush Foundation Peter Handler The Richard H. Driehaus Foundation Ann McQueen The Boston Foundation Olive Mosier The William Penn Foundation Frances N. Phillips Walter and Elise Haas Fund Lori Pourier First Peoples Fund Beth Ree Target Corporation Janet Rodriguez JPMorgan Chase Regina Smith Arts & Science Council of Charlotte/ Mecklenburg, Inc. Benna Wilde Prince Charitable Trusts

GIA Staff Steve Cline, web/knowledge manager Lisbeth Cort, deputy director for advancement Jabu Dayton, administrative manager Anne Focke, executive director Sarah Nason, operations & program assistant Linda Mikkelsen, conference planning consultant Tommer Peterson, deputy director for programs Mylinda Sneed, membership coordinator Julie Sponsler, deputy director for administration

26 GRANTMAKERS2008 GIA CONFERENCE IN ATLANTA! IN THE ARTS Grantmakers in the Arts PRSRT STD. 604 West Galer Street U.S. Postage Seattle, WA 98119-3253 PAID Seattle, WA Permit No. 210