#national-endowments

#national-endowments

Twenty-five years ago, the UK made the bold and generous gesture of making its national museums free to all. Suddenly, anyone from anywhere in the world could gaze at iconic works of art by the greatest artists in history without having to pay a penny.

Most for-profit companies still confine nonprofit relationships to corporate philanthropy. Donations flow through foundations, annual reports highlight community contributions, and nonprofit engagement is framed as evidence of corporate responsibility.

WolfBrown found that Eugene had an abundance of art; however, the town needed more support from the business sector. The results showed that "we punched above our weight for a community our size," said Kelly Johnson, executive director of the nonprofit Arts & Business Alliance of Eugene, which the city created in 2008 to link the arts and business communities.

Why do I get to be the runner, and these guys get to be the homeless guys on the corner? Why can't we all be runners? She didn't have an answer. It would've been easy to let that question dissolve with her footsteps. Most people would have. But Mahlum saw something in those men that others had missed.

We can find a middle ground. PSU could reduce the size of its planned theater to between 800 and 1,200 seats, clearing the way for the Keller to be remodeled as a mid-size 1,500 to 1,800 seat venue.

The 6th edition of Earth 2026 juried awards invites artists worldwide to explore and express the power, beauty, and resilience of our wounded planet as we approach World Earth Day.

Bregman claims, 'Today the whole of Europe risks turning into one big Venice, a beautiful open-air museum. A great destination for Chinese and American tourists. A place to admire what was once the centre of the world.' This statement encapsulates the concern that Europe is losing its cultural significance.

Losing staff could be detrimental to the projects we worked on, and there was a growing dissatisfaction with how meetings were run. These mostly one-sided discussions left the quieter half of us feeling pushed aside, like our thoughts didn't matter much. If things stayed this way, I worried the good people on our team would start quitting one by one.

I've always thought it would be good to acquire an old warehouse in every town throughout the land and convert it into low-rent community workspaces for artists, local charities and small businesses getting off the ground. A kind of people's WeWork. What would others do with a humungous, but not unlimited, pile of dosh to benefit society? Roland Freeman, West Yorkshire Send new questions to nq@theguardian.com.

These cuts threaten shovel-ready projects, major employers, and rural and urban communities across the state. And they come at a time when [Oregon] arts funding is already among the lowest in the nation. Legislators had been considering cutting nearly $900,000 in arts and culture funding when the session started on Feb. 2.

In the early 20th century, sociologist Max Weber noted that sweeping industrialization would transform how societies worked. As small, informal operations gave way to large, complex organizations with clearly defined roles and responsibilities, leaders would need to rely less on tradition and charisma, and more on organization and rationality. He also foresaw that jobs would need to be broken down into specialized tasks and governed by a system of hierarchy,

On January 15, the National Endowment for the Humanities (NEH) announced $75.1 million for humanities projects across the country. Presented as part of President Donald Trump's January 25, 2025 executive order, "Celebrating America's Birthday," the move is the latest example of how the Trump administration is increasingly using federal funding as a vehicle to achieve its broader goals of reshaping higher education.

The change in the administration's tactics in Minneapolis is not a retreat. Instead, they are regrouping and planning another mode of attack, with the hopes that their repression might be met with resistance that is easier to control and contain. People who garner their relevancy and power through the dehumanization and oppression of others will do whatever it takes to cling to their soulless sense of self.

Over the years, I've worked as a consultant on numerous federal grant projects from the US Department of Agriculture and elsewhere that focused on local economic development and were granted to nonprofits serving their communities. But since the 2024 elections, the focus of my work-and that of the small New Mexico-based consulting firm, Prospera Partners, that I lead-has shifted to help nonprofits develop strategies to sustain themselves despite federal cuts in funding and to programs that once supported their work.

I've seen this before-many times, in fact. What you're describing is not unheard of in the nonprofit sector. Founder energy is one of the most powerful forces driving new missions into the world. It can also be one of the riskiest. Many organizations, especially those built from lived experience, passion, and necessity, begin with little more than a vision, a problem to solve.

IMLS says it is seeking "uplifting and positive narratives of our shared American experience,"

The day after Whitelaw testified, the state economist said that Oregon now has about $300 million more to spend than previously expected. The new revenue forecast does not mean the budget is in the black, however. There are new demands for the available dollars, including $600 million in upgrades to the Moda Center to retain the Portland Trail Blazers, a recently announced $50 million shortfall in Portland Public School funding,

Artists make California vibrant, innovative and culturally rich, yet our state ranks 35th nationally in per capita arts funding. When the state budget allocates just 53 cents per person to the arts, it's clear how little we're investing in the creative workers who shape the state's identity and economy. California's artists are delivering extraordinary value with minimal investment. Imagine what a stronger commitment to the arts could do for our communities, our economy and our future.

Both of those ideas were torpedoed when I read this article about Daniel Lurie's's 31 hand-picked avatars meant to reshape San Francisco's charter (and we all know that his picks never result in any blunders). I looked at this 31-faced cavalcade of (mostly) capitalists and thought it only slightly less oligarch-ish than his onboarding team from last year. Sure, this one doesn't have Sam Altman, but this one's so nakedly appealing to business interests that it doesn't need Altman.

It's impossible to imagine New York City without art, or contemporary art without New York City. This is where you come to see the best of the best, or to take part in making it. This country's international standing is down in the gutter, thanks to Trump, but this city is still a living, rolling dream. Right now, we're waiting to see who's going to be Mayor Mamdani's pick for cultural affairs commissioner. It's an important role that determines where the city's budget priorities will lie and who'll get a seat at the table. Gonzalo Casals, who served as culture commissioner under Mayor de Blasio, and Mauricio Delfín, who co-directs the Culture & Arts Policy Institute with Casals, have some urgent thoughts on the matter. It's a must-read not just for Zohran (send him a link if you're on texting terms), but for everyone who cares about art in this city.