Purpose:
The Pew Charitable Trusts commissioned RMC Research Corporation to gather information about policy agendas, policy concerns, and policy research efforts of private foundations that are designed to inform cultural policy and/or that have implications for policy building of a national scope. The purpose of the information is to inform policy planning by the Cultural Program of The Pew Charitable Trusts.

Carol Fineberg's examination of the Annenberg arts education initiative for New York City public schools examines another problem of implementation. The announcement of a 12-million dollar matching grant from the Annenberg Foundation in December 1995 might have been called a window of opportunity. The following year was spent in organizing the program that would implement this policy opportunity. Fineberg's presentation suggests a number of potential pitfalls in the original policy design and in its subsequent structuring. Choosing to work with particular stakeholders, such as teachers

The new 1997/1998 Grant Guide series provides you with up-to-date information on the grants recently awarded in your field. With descriptions of hundreds - often thousands - of foundation grants ($10,000 or more) recently awarded in your subject area, these Grant Guides will help you to: Locate funders for your specific project - the subject index lets you search for grantmakers by hundreds of key words. Discover the grantmakers that favor your geographical area - the geographic index directs you to foundations that have funded projects in your state or country. Target foundations by grants

Describes and assesses data resources on arts organizations that inform policy makers, arts managers, and researchers working in the arts fields

No Mercy reveals the rather shocking truth about how the New Right Conservatives have managed to gain the advantage in setting the country's political agenda through sheer ingenuity, determination, focused efforts and persuasive use of the media.

The period since the last audit (1993) has been one of gradual recovery for the arts - at least in terms of the support the industry has received from the business world. In 1989, the country had emerged from the excitement of the bicentennial year, and during that time, every tenth company (11%) supported the arts in some way. Excluding the acquisition of art objects like paintings and sculptures, they spent some $47 million. By 1993, the incidence of support had slipped to 9 percent, the value of support then being worth $57 million. Today, the first signs of a recovery in this industry

This report describes an innovative experiment in grantmaking that began in New York City in 1991 called the Arts Forward Fund (The Fund). The initiative involved a consortium of thirty-six grantmakers responding to a severe funding crisis in the arts community. The Fund's primary purpose was to support a limited number of demonstration projects for arts organizations, which, in the face of the financial crisis, would help them explore new options for long-term viability.

This article has been condensed from a report commissioned by the President's Committee on the Arts and Humanities. The original report, published in spring 1996, included an executive summary, notes on methodology and sources, a subsection on the Institute of Museum Services, a section on the role of tax policy, and two appendices which listed the top 25 funders of grants in the humanities and in the arts and culture. The President's Committee compiled data from a wide range of sources to present a composite picture of private support for the arts and humanities. The report discusses

Arts organizations today face many challenges, including changing audiences, constricted revenues, escalating costs, and a highly competitive and volatile funding environment. They also exist in a changing political climate where the relationship of the arts to the public is, in many quarters, being challenged, questioned, and reconceived. In this environment, grantmakers are searching for effective strategies to help organizations strengthen themselves by building their capacity to adapt to change, developing productive management structures, improving their financial base, and living

During the 1990s, there has been an increasing awareness that support for cultural activities must extend beyond traditional public sector mechanisms. Government grants and other programs of support are wide ranging but they are under increasing pressure from an expanding cultural sector and its activities. To supplement the use of public funding in the cultural sector attention is becoming more focused on the private sector - and especially the corporate sector - as a source of additional financial assistance through both donations and business sponsorships.