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New Resource: Introducing the Just Transition Investment Framework

From Justice Funders: In 2020, philanthropic institutions in the U.S contributed over 13 times the amount of money to extractive global stock markets as they did to all of their grantmaking focus areas (Source: Climate Justice Alliance).

In response to this horrific imbalance of capital allocation in philanthropy, movement and philanthropic leaders came together to develop a Just Transition Investment Framework that offers a strategy for how philanthropies can shift capital and power to frontline BIPOC communities who are building local regenerative economies.

A Just Transition investment strategy requires philanthropic assets to be divested from the dominant financial system and instead redirected into movement-led, community-controlled institutions that build economic power and self-determination.

Learn more here.

What We’re Watching: Seattle Opera’s Bound

From Seattle Opera: Inspired by a true story, eleventh grade honor roll student Diane Tran is the child of two Vietnamese immigrants who are now divorced. With her father rarely around and her mother gone, Diane feels bound to help provide financially for her family, be both sister and parent to her siblings, and also keep up her honor roll studies. Despite her heroic efforts, a judge sends her to jail for truancy.

Through the lens of an exhausted dream, we follow Diane as she struggles with familial duties, her mother’s abandonment, and the injustices of a system lacking compassion or understanding. As Diane’s mother shares her own reasons for leaving family behind, Diane must make an impossible decision in this “land of laws.”

The piece was composed by GIA’s board treasurer Bao-Long Chu and runs at the Seattle Opera June 9-18. Learn more here.

What We’re Reading: 3 Years After George Floyd, Foundations Say They’ve Changed. Many Racial-Justice Nonprofits Disagree.

“Until 2020 — the year when George Floyd was murdered, setting off a summer of protests demanding racial justice — civil-rights lawyer Ryan Haygood, CEO of the New Jersey Institute for Social Justice, had never raised a dime from two of the state’s biggest grant makers, the Geraldine R. Dodge and Robert Wood Johnson foundations.” said Alex Daniels, Marc Gunther, and Sono Motoyama for The Chronicle of Philanthropy. “Nor had the Rev. Charles Boyer, who leads Salvation and Social Justice, a faith-based nonprofit in Trenton, N.J., that organizes Black churches to advocate on issues of criminal justice, health care, and the wealth and income disparities Black Americans face.”

“For example, on the same day in August 2020, the Packard Foundation and the Lilly Endowment each announced $100 million efforts. The John D. and Catherine T. MacArthur Foundation raised $125 million through a social bond, with the goal that more than half the money would fund nonprofits led by people of color. The money has been distributed, and the share ended up being more than 80 percent.”

“Among the nonprofits that benefited from the bond offering was the Black Emotional and Mental Health Collective, a Los Angeles organization that makes grants, trains organizers, and promotes wellness to people often marginalized by the health-care system, which received $500,000. Data for Black Lives also received a $500,000 award. The Cambridge, Mass., organization supports a network of grassroots racial-justice groups that challenge discriminatory uses of data and algorithms.”

“New announcements continue. Last month, the Ballmer Group introduced a five-year, $42.5 million effort to support Black-led nonprofits that aim to improve economic mobility, and the Raikes Foundation created a new grant-making program to support organizations that seek to build a robust multiracial democracy in the United States as part of its plan to distribute its entire endowment by 2038.”

“Foundations rose to the occasion during the first two years of the decade, Hewitt says, but now they’re reverting to their normal practice of parceling out smaller grants and protecting their endowments. Grant declines are simply the back end of the wave that rolled through the nonprofit sector in 2020 and 2021, Hewitt says.”

“Grants run out but when people understand racism better, they become committed to solving the problem — and that is sustainable change, says Charmaine Mercer, a former program officer at the William and Flora Hewlett Foundation who became the fund’s first chief of equity and culture.”

Read the full article here.

What We’re Watching: It’s Not Your Money: abdiel j. lópez from Justice Funders

From Capital Collaborative by Camelback Ventures: In this episode of “It’s Not Your Money,” Capital Collaborative Funder In Residence, Jessamyn Shams-Lau, talks with abdiel j. lópez from Justice Funders, to share what a ‘Just Transition’ for philanthropy looks like, how some funders are already moving their power to communities, and how anyone can take steps towards healing and community-centered practices. 
 

Watch the webinar recording here.

New Fund: Barr, Kresge, William Penn commit $13 million to arts, culture fund

From Philanthropy News: The Barr, Kresge, and William Penn foundations have announced $13 million in funding to support arts and culture programs that help address systemic and intersectional societal challenges.

The commitments will support the Culture and Community Power Fund (CCPF), a funding collaborative formed in 2022 by Barr, Kresge, and Penn to serve as “a lab for investing in, connecting, and amplifying efforts to help build community power through art and culture.”

CCPF previously awarded unrestricted, multiyear grants totaling $5.8 million to six organizations in five cities—Ashé Cultural Arts Center in New Orleans, the Boston Ujima Project, the Center for Transforming Communities in Memphis, Northend Christian CDC in Detroit, and the Asian Arts Initiative and Village of Arts and Humanities in Philadelphia. Over the next two years, the fund will work with those grantee partners to invest an additional $3.6 million in other organizations, individuals, and groups in their communities to launch new experiments or build on existing efforts. In addition, the fund will invest over $1.5 million to provide opportunities for learning and sharing among practitioners, investors, and civic leaders; commission national research; and learn from and amplify the work of its grantee partners.

“The fund’s work builds upon…the efforts of many others working to advance racial equity and the self-determination of communities most impacted by structural oppression,” said CCPF co-director Erik Takeshita. “By sharing broadly what we are learning…we hope to add to this existing body of knowledge, mobilize more investors, and inspire additional practitioners to leverage the power of art and culture to help build community power.”

Read the full announcement here.

New Fund: A Road Together

From the Field Foundation: In partnership with the MacArthur Foundation, the Field Foundation has launched a new grantmaking program. This program—which we’re calling A Road Together (ART)—is designed specifically for small and mid-sized arts and culture organizations with annual operating budgets up to $1 million and with a strong commitment to equity that are reflective and inclusive of Chicago’s diverse and historically underserved communities. Through this initiative, there will be opportunities to apply for multi-year general operating grants using a participatory grantmaking process, as well as single-year general operating grants outside of the participatory process.

On April 12 & 13, 2023, we held two informational webinars, where Field and MacArthur representatives described our aspiration, working together with future ART grantees, to make a sustainable impact in advancing racial equity by enabling more Chicagoans to dream and flourish while accessing platforms for art and cultural expression.

Learn more and view the webinar recordings here.

Showcase Your Art in Times Square

International Deadline: November 18, 2023 – Exhibit your art on underground trains, digital billboards, and other platforms. Increase your visibility by exhibiting your artwork on a huge screen in Times Square,…

Docuseries “Inspired” to be hosted by Julian Lennon

The children of beloved artists can often be overtaken by the shadows they grew up in—none are a more fitting example than Julian Lennon, son of music legend John Lennon. But across the decades, Lennon has remained focused on his own work as a musician and filmmaker, seemingly finding peace with the conflicted legacy of his neglectful father. His latest endeavour, Inspired, looks to showcase the drive Lennon has to see the beauty and artfulness that fuel our world.

 

Inspired, a docuseries examining the ways environments influence contemporary artists, is to be executive produced and hosted by Julian Lennon. Created by filmmaking duo Guto Barra and Tatian Issa and co-produced by New York-based production company Cargo Film & Releasing, Inspired will see Lennon interviewing artists of varying backgrounds and regions to see what shapes them.

 

Adapted from the Brazilian series first directed by Barra and Issa, Geography of Art—which contained such artists as Keith Haring and Georgia O’Keefe—Cargo states that “[t]he series portrays stories of artists that found inspiration in the colors and landscape of an adopted city – and also of creators that kept using their heritage and their home countries as inspiration for decades after leaving that place.”

 

An artist of international exhibitions himself, Julian Lennon clearly finds great inspiration within the framing of this project, evidenced in his discussion with Variety:

“What’s so special about this series is getting to know an artist and the culture of a place through a specific lens — this unique relationship an artist has with a certain place that gets their creative juices going.”

 

Release dates are still not released for Inspired, but it is sure to be an insightful piece riding the recent wave of tight art world docuseries.

FTX seeks return of $550,000 donation to the Met

The past several years in the art world have been largely denoted by the growing and seemingly unavoidable connection that cryptocurrency and NFTs were having to the industry. The terms became buzzwords across the board and the concept of them seemed almost more prevalent than art itself. While the past year seemed to see an unquestioning acceptance of this new normal within elitist circles, the volatile trajectory of crypto has been marked by a massive downturn—crypto exchange FTX has gone bankrupt and has appealed to the targets of their widespread donations, including the Met, to return their donations.

 

FTX is run by Sam Bankman-Fried, an entrepreneur whose value was estimated to peak at $26 billion, and who in December of 2022 was arrested in the Bahamas and extradited to the U.S. on the grounds of a veritable laundry list of fraud charges. Bankman-Fried had given donations to various institutions and politicians (generously to Democratic candidates as well as Republicans) to the tune of $93 million. FTX has since been scrambling to recover this amount in order to repay creditors.

 

The company had given the Metropolitan Museum of Art $550,000 in donations this year in two instalments, and the Met appears to have accepted returning these funds. In a filing at the United States Bankruptcy Court in Delaware, it stated “The Met wishes to return the Donations to the FTX Debtors, and the FTX Debtors and the Met have engaged in good faith, arm’s length negotiations concerning the return of the Donations.”

 

Whether the collapse of FTX spells a larger decline for the crypto world isn’t precisely evident, it certainly highlights the instability of these partners the art world has chosen to embrace. If nothing else, perhaps it might see a distancing in the quick camaraderie between art institutions and the new money mania of the crypto wave.

Did the Barbie movie cause a global pink paint shortage?

As its release date looms ever closer, the Barbie movie has ever-so-slowly pulled back the veil to confirm for us that this film will be much more than meets the eye. Captivating the public with its bubbly and uniquely stilted energy show in its previews, it makes for a strong contender on the release date it shares with Oppenheimer. The latest oddity to come out about the film—the fact that its production reduced the global supply of pink paint.

 

But is that exactly true?

 

The Barbie movie puts forth a (necessarily) strong visual identity even in just the trailers for the film; one of the primary reasons for this comes from leaning on physical set design over the use of CGI. And with a town of Barbies comes a town of pink—enough to have completely drained the supplies of Rosco’s fluorescent pink paint.

 

While Rosco did in fact run out of the shade, its Dream House-worthy supplies were already low before production on the film had begun. Vice-president of global marketing for Rosco Lauren Proud stated to Los Angeles Times that the company was low on various supplies during the pandemic, and as such they only had so much they could give to the production.

 

A charming tidbit all the same, we should be thankful that there was enough pink in the coffers for the Barbie movie to pull it off. Can you imagine trying to pull off a guest room in salmon?

 

As if.