Artist as Philanthropist V1 - Grantmakers in the Arts

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1 See Louis Comfort Tiffany Foundation, http://www.louiscomforttiffanyfoundation.org/.2 See Rotch Travelling Scholarship, http://www,rotch.org/.3 FC Stats, Foundation Center’s, Statistical Information Service, 2007.4 Elizabeth T. Boris, Loren Renz, Asmita Barve, Mark A. Hager, and George Hobor, FoundationExpenses & Compensation, How Operating Characteristics Influence Spending (Washington, DC: UrbanInstitute / Foundation Center, 2008). http://www.urban.org/url.cfm?ID=3112815 FC Stats, Foundation Center's Statistical Information Service, 2007.6 Foundation Center, Key Facts on Family Foundations, rev. ed. (New York: Foundation Center, April2008). http://foundationcenter.org/gainknowledge/research/pdf/keyfacts_fam_2008.pdf7 Source: Artnet. These types of data are available widely from similar online sites. For the purposesof this research, however, the list is not published here out of respect for the privacy of artistswho have not chosen to create a foundation at this time.8 National Taxonomy of Exempt Entities, Urban Institute, National Center for Charitable Statistics,http://nccs.urban.org/classification/NTEE.cfm.9 The Andy Warhol Foundation for the Visual Arts, http://www.warholfoundation.org/.Appendix A.3 Quantitative Profile of the Artist-Endowed Foundation Field 9
IntroductionIn March 2007, the Aspen Institute Program on Philanthropy and Social Innovation providedsupport to AEA Consulting in response to its proposal to undertake quantitative researchand develop a data profile of artist-endowed foundations (A-EFs) in the United States. Thisresearch is one component of the Aspen Institute's National Study of Artist-EndowedFoundations, an initiative to describe the dimensions and behaviors of artist-endowedfoundations and suggest ways to enhance their impact as the field expands. Led by principalinvestigator Christine J. Vincent, the Study is part of a larger effort by the Aspen InstituteProgram on Philanthropy and Social Innovation to examine new demographics and trends inthe philanthropy field in order to increase knowledge and strengthen practice. In September2008, the initial findings of this research were updated and further developed by HeliconCollaborative. This report reflects findings of the updated and extended analysis.The Study is the first known attempt to define and describe the artist-endowed foundationfield. Identified A-EFs represent less than one-tenth of a percent of the total universe of71,000 private foundations in the US, but are growing in number and have particularrelevance to the visual arts. Little understood in either the private foundation or not-forprofitcultural fields, A-EFs are worthy of study because of their increasing numbers, andalso because their distinctive asset mix and active engagement in the contemporary art fieldset them apart from the majority of other foundations. The Study's research program seeksto illuminate the origins, evolution, current status, and future trajectory of this population,which is a potential force shaping visual arts philanthropy, as well as stewarding thiscountry's significant contemporary art patrimony.The Aspen Institute’s National Study of Artist-Endowed Foundations involves six researchcomponents:1) quantitative research, including a census and data profile, examination of trends in A-EF formation and focus, and projection of the field's future development;2) bibliographic research to identify professional literature about and relevant to artistendowedfoundations;3) qualitative research based on interviews with individuals influential in creating andleading artist-endowed foundations to learn about variables that impact A-EFs;4) focus group convenings with foundation donors, managers, and advisors to explorepractical and policy issues influencing the field;5) preparation of briefing papers authored by independent scholars to address criticalissues identified during quantitative and qualitative research; and10 The Artist as Philanthropist: Strengthening the Next Generation of Artist-Endowed Foundations
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SUMMARY OF CONTENTSVOLUME IPrefaceA
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the artist as philanthropiststrengt
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TABLE OF CONTENTS: VOLUME IPreface.
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December 2010 Update to TextThese s
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PREFACEThis research and disseminat
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even less about the bases on which
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information, spur additional resear
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ACKNOWLEDGEMENTSThe Study's researc
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focus group convenings. Despite hav
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EXECUTIVE SUMMARYAn artist-endowed
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ending 2005, while the smallest fou
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Foundations created by artists are
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Grants and Charitable Sales of Artw
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Realistic assumptions about artArti
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1) clear visibility of artist-endow
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PART A.FINDINGS: OVERVIEW OF THE FI
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I. INTRODUCTIONThe chapters of this
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independent criteria. For the Study
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information returns (Forms 990-PFs)
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1.2 AUDIENCES AND USE OF THE STUDYR
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areas. In general, the Study report
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1.3 REFLECTIONS ON TERMINOLOGYTermi
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CharitableIn common usage, charitab
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2. FIELD DIMENSIONS AND TAXONOMYThi
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artist's death. The average age of
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status grew by 55.9 percent between
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oader factor, however, could be the
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to have been intended for lifetime
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2.2 FOUNDATION TAXONOMY: TYPES OFAR
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Grantmaking foundations also might
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of program-related revenues as well
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an educational program providing in
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undermining the foundation's charit
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2.3 OTHER PHILANTHROPIC FORMS USEDB
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Examples of community foundation fu
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addition, public charities are unli
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3. FIELD HISTORY AND INFLUENCESThe
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elief to unwanted pets. 12 This was
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ecame known as the Lorser Feitelson
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emaining assets were granted to the
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As of 2010, the list of prominent a
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3.2 INTERNAL INFLUENCES: ARTISTS'DE
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Albert Bloch, Adolph Gottlieb, Hans
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sellers at public auction, did not
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On the assumption that board compos
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3.3 EXTERNAL INFLUENCES: PUBLIC TAX
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In this view, the lack of incentive
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foundation formation historically.
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need for formation of those artist-
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30 John Henry Merryman, Albert Else
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4. FIELD CHARITABLE ACTIVITIESMakin
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4.1.1 Grants to IndividualsSupport
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To develop careers of under-recogni
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The Leeway Foundation (Ruling Year
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The Artists' Legacy Foundation (Rul
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In a few cases, prizes and awards a
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4 Joan Mitchell Foundation, http://
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4.1.2 Grants to OrganizationsMost a
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Kent House, Monhegan Museum, Maine;
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through the University of South Aus
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exhibitions, artists' projects, res
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Animal WelfareGrantmaking by the Ed
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Rockefeller University; and Spanish
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Services, Takoma Park; Museum of To
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4.1.3 Grants of ArtworksMany artist
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violating its donor's intent, which
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study purposes, and an optimal fit
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the artist's honor, now the Burchfi
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University, Florida, including 200
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elated to the collected works, such
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4.2 DIRECT CHARITABLE ACTIVITYOVERV
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Loans to MuseumsAs do lending libra
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DatabasesBeyond their own artists'
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Public ProgramsTo support their mis
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artists' residency programs as a pr
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The Slobodkina Foundation (Ruling Y
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Tate Modern, London, UK, drew on lo
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4.3 ACTIVITIES OF ARTISTS' LIFETIME
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Support to Individual ArtistsThe tw
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Photojournalist Arthur Griffin (190
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The Harpo Foundation (Ruling Year 2
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28 See Ellsworth Kelly Foundation,
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5. FIELD PROSPECTSThis section of t
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Two primary factors informing the c
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In the long view, the art market ha
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For all of these reasons, many arti
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the significance of these criteria,
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1 See Rotch Travelling Scholarship
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5.2 RECOMMENDATIONS: STRENGTHENINGT
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Effective Practice in Foundation Go
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Artist-endowed foundations with com
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5.3 RECOMMENDATIONS: PRIORITIES FOR
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economic activities that enable bro
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significant impact on subsequent ef
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APPENDIX A.1THE STUDYAppendix A.1 T
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Presentations of Preliminary Findin
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James T. Demetrion, Director Emerit
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Gordon Marsh Esq., Trustee, Leon Po
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Ruth Ann Stewart, Clinical Professo
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D. Study Committee MembersAlan J. A
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APPENDIX A.2THE FIELDAppendix A.2 T
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The History of Philanthropy in the
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Edie, John A. Congress and Private
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Toepler, Stefan. "Operating in a Gr
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Palmer, Stacy. "IRS Panel Finds Pro
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B. Snapshot Profiles: Largest Artis
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Artist-Endowed FoundationsReporting
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2005 Assets: $1,542,2902005 Charita
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URL:2005 Assets: $2,407,6872005 Cha
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HANS GUSTAV BURKHARDT, Painter and
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WILLEM DE KOONING, Painter1904-1997
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PAUL DYCK, Painter and Collector191
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HELEN FRANKENTHALER, PainterBorn 19
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EDWARD GOREY, Illustrator and Autho
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The Renee and Chaim Gross Foundatio
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JEROME HILL, Painter, Filmmaker, an
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JASPER JOHNS, Painter, Sculptor, an
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WOLF KAHN, PainterBorn 1927EMILY MA
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2008 Assets: $12,849,5732008 Charit
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2008 Assets: $58,668,7672008 Charit
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RICHARD MEIER, Architect and Collag
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NELTJE, Painter and PrintmakerBorn
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YOKO ONO, Sculptor and Conceptual A
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ALBIN POLASEK, Sculptor and Educato
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HERB RITTS JR., Photographer1952-20
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2005 Charitable Purpose Disbursemen
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2005 Assets: $6,612,3072005 Charita
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SAUL STEINBERG, Draftsman, Illustra
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CY TWOMBLY, Painter and PrintmakerB
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URL: http://senormartin.net/index.h
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C. Foundation PublicationsMany diff
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esearched and compiled by Kavie Bar
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Albers, Josef. Photographs of Josef
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Program PublicationsLeeway Foundati
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ROMARE BEARDEN, Painter, Printmaker
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———. Charles E. Burchfield: W
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Burkhardt, Hans, Peter Frank, and T
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JOSEPH CORNELL, Sculptor1903-1972Th
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WILLEM DE KOONING, Painter1904-1997
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———. Dorothy Dehner: Anticipa
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LILLIAN H. FLORSHEIM, Sculptor and
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Francis, Sam. Sam Francis und Bern:
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WILLIAM GLACKENS, Painter and Illus
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———. The Glorious Nosebleed.
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Gottlieb, Adolph, Miche#le Brun, Sa
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Harbison, Robert. Thirteen Ways: Th
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KEITH HARING, Painter and Cartoonis
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Haring, Keith, Piergiorgio Castella
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Brennan, Francis, and Christie, Man
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Amgott, Madeline, Robert De Niro, a
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Page 306 and 307: HOWARD KOTTLER, SCULPTOR1930-1989Ho
Page 308 and 309: PETER A. LAIRD, AnimatorBorn 1954Xe
Page 310 and 311: BEATRICE MANDELMAN, Painter1912-199
Page 312 and 313: McNeil, George, Graham Ashton, and
Page 314 and 315: Museum of Northwest Art and Marylhu
Page 316 and 317: Function: Grantmaking foundation su
Page 318 and 319: Onslow Ford, Gordon. Gordon Onslow
Page 320 and 321: JACKSON POLLOCK, Painter1912-1956LE
Page 322 and 323: HILLA REBAY, Painter, Museum Direct
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Page 326 and 327: Rothschild, Judith, and David Cohen
Page 328 and 329: Program PublicationsInselmann, Andr
Page 330 and 331: AARON SISKIND, Photographer and Edu
Page 332 and 333: General Market PublicationsSlobodki
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Page 336 and 337: LOUIS COMFORT TIFFANY, Painter, Des
Page 338 and 339: Warhol, Andy, Henry Geldzahler, and
Page 340 and 341: Warhol, Andy. A Printbook from the
Page 342 and 343: HAROLD WESTON, Painter1894-1972Haro
Page 344 and 345: APPENDIX A.3QUANTITATIVE PROFILE OF
Page 346 and 347: Quantitative Profile of theArtist-E
Page 348 and 349: Table of ContentsQuantitative Profi
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Page 368 and 369: Section 4: Creation of Artist-Endow
Page 370 and 371: Figures 6.1-6.2The total annual con
Page 372 and 373: Section 9: Assets Held by Artist-En
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Page 378 and 379: Emerging TrendsThe findings reporte
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Page 386 and 387: ReportsA. Identified Artist-Endowed
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Appendix A.3 Quantitative Profile o
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2. Basis Census of Artist-Endowed F
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3. Field Snapshots:Five-Year Interv
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4. Creation of Artist-Endowed Found
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5. Lifetime and Posthumous Artist-E
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7. Annual Artist-Endowed Foundation
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8. Donor Contributions as a Percent
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9. Artist-Endowed Foundation Assets
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11. Annual Artist-Endowed Foundatio
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