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Artist as Philanthropist V1 - Grantmakers in the Arts

Artist as Philanthropist V1 - Grantmakers in the Arts

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4.3 ACTIVITIES OF ARTISTS' LIFETIMEFOUNDATIONSMany artist-endowed foundations are established after <strong>the</strong> artist's death under <strong>the</strong>provisions of <strong>the</strong> artist's estate plan or by action of a surviv<strong>in</strong>g spouse or o<strong>the</strong>r heirs orbeneficiaries. There is also a clear pattern of artists creat<strong>in</strong>g foundations dur<strong>in</strong>g <strong>the</strong>irlifetimes <strong>as</strong> a means to engage <strong>in</strong> charitable activities, ei<strong>the</strong>r pursu<strong>in</strong>g a personalphilanthropic agenda through grantmak<strong>in</strong>g or undertak<strong>in</strong>g a charitable project of particular<strong>in</strong>terest. Although <strong>the</strong> percentage of foundations created after artists' deaths h<strong>as</strong> risen s<strong>in</strong>ce1995, more than a third of <strong>the</strong> foundations with data available for analysis were createddur<strong>in</strong>g <strong>the</strong> lifetimes of <strong>the</strong> <strong>as</strong>sociated artists. For <strong>the</strong> Study's purposes, foundationsestablished dur<strong>in</strong>g artists' lifetimes, and with <strong>the</strong>ir founders liv<strong>in</strong>g, are referred to <strong>as</strong> artists'lifetime foundations.In most c<strong>as</strong>es, <strong>the</strong> activities of artist-endowed foundations dur<strong>in</strong>g <strong>the</strong>ir founders' lifetimesare dist<strong>in</strong>ctly different from <strong>the</strong> same foundations' activities after <strong>the</strong> artists' deaths. Forexample, <strong>the</strong> <strong>as</strong>sets of artists' lifetime foundations typically do not <strong>in</strong>clude artists' own<strong>in</strong>tellectual properties or artists' own artworks. These types of art <strong>as</strong>sets usually areconveyed to <strong>the</strong> foundation by bequest and, once received, <strong>in</strong>fluence a foundation'scharitable activities <strong>in</strong> a variety of ways (for example, if <strong>the</strong>y are <strong>in</strong>tended <strong>as</strong> charitable-useresources for direct charitable activities). As ano<strong>the</strong>r example, artists' lifetime foundationsthat were vehicles for <strong>the</strong>ir founders' personal philanthropy are likely to formalizegrantmak<strong>in</strong>g after <strong>the</strong> artist's death. In light of <strong>the</strong>se differences, it is useful to look at <strong>the</strong>activities of artists' lifetime foundations <strong>as</strong> a specific category.This chapter reviews a representative sample of charitable activities undertaken by artists'lifetime foundations. Examples <strong>in</strong>clude activities of artists' lifetime foundations <strong>in</strong> priordecades, both foundations that cont<strong>in</strong>ue to exist today and those that were term<strong>in</strong>atedsubsequently, along with activities of artists' lifetime foundations currently. 1 An importantrelated topic, governance and conflict of <strong>in</strong>terest considerations for artists with lifetimefoundations, is discussed <strong>in</strong> Section 7. Form<strong>in</strong>g, Susta<strong>in</strong><strong>in</strong>g, and Term<strong>in</strong>at<strong>in</strong>gFoundations. That discussion also notes artists' considerations <strong>in</strong> choos<strong>in</strong>g lifetime orposthumous establishment of a foundation.Foundation ResourcesFoundations created dur<strong>in</strong>g an artist's lifetime typically receive annual or periodic f<strong>in</strong>ancialcontributions from <strong>the</strong>ir founders and often make grants or expend funds for programs orspecial projects equal to <strong>the</strong> contributions received. <strong>Artist</strong>s' lifetime foundations operat<strong>in</strong>gon this type of p<strong>as</strong>s-through b<strong>as</strong>is usually are modest <strong>in</strong> scale. Roughly one-third ofPart A. F<strong>in</strong>d<strong>in</strong>gs: Overview of <strong>the</strong> Field 125

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