Support Hyperallergic’s independent arts journalism.
The Ford Foundation, the second-largest philanthropic foundation in the US (by assets; it ranks 10th in terms of giving), will restructure its grant-making program to focus entirely on fighting global inequality, the Chronicle of Philanthropy reported. The foundation will also devote more of its resources to providing nonprofits with operational support rather than funding short-term projects.
The changes are being spearheaded by the Ford Foundation’s president of two years, Darren Walker, who wants to create a “‘social-justice infrastructure’ reminiscent of the support [the organization] provided nonprofits during the civil-rights era,” according to the Chronicle. To that end, Walker and his team have identified five “drivers of inequality” and six areas in which nonprofits are working to fight that inequality: civic engagement and government; creativity and free expression; gender, ethnic, and racial justice; inclusive economies; internet freedom; youth opportunity and learning.
Notably, this means that Ford — which was one of nine foundations that pledged money in the “grand bargain” to help settle Detroit’s bankruptcy (and save its art museum) — will continue to fund arts organizations. “But to catch the grant maker’s attention, artists, filmmakers, and choreographers will need to focus on social justice and challenge ‘dominant narratives’ that perpetuate inequality,” says the Chronicle.
Equally important is the foundation’s shift to subsidizing more nonprofit operating expenses rather than one-off projects. The model of project-driven philanthropy has long been identified as a problem that prevents nonprofits from building stable structures and keeps them in a funding rat race. Walker received more than 2,000 responses to a letter he wrote after his first year on the job, and those “led him to believe that the foundation was ‘project-supporting nonprofits to death’ without providing essential basic support,” the Chronicle reports. The foundation now plans to “invest in organizations as partners,” as Walker explained it in a letter published online yesterday, allocating up to $1 billion over the next five years — 40% of its grants budget — to unrestricted operational support.
The new model will inevitably bring its own challenges — Walker concede that it will “almost certainly … result in fewer grants, and, most likely, fewer grant recipients” — and the recalibration of one private philanthropic foundation (albeit a major one) is a far cry from the larger systemic overhaul some say we need. But Walker’s changes for Ford are nonetheless heartening at a time when the values of arts organizations’ other big sources of funding — corporations — feel increasingly at odds with the realities of the rest of the world.
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.