Howie Fisher

In this article the Transmission Project contests the convention of collecting “best practices” and offers in its place a narrative approach to assessing nonprofit organizations’ efforts to build their capacity. The Transmission Project calls this approach Honest Practice.

Dewey Schott

Leading Creatively panelists
Meet our eight panelists who will be participating in NAMAC's Leading Creatively Blog Salon, happening December 13-17, 2010. We've assembled a thoughtful team of leaders, consultants, educators, and practitioners for this week-long discussion of current issues in leadership in the arts.

Elisa Kreisinger and Anne Jonas

Full Disclosure: I’m a political video remix artist and writer blogging at PoliticalRemixVideo.com. At this year’s Open Video Conference, I participated in the panel, Remix Theory and curated the video remix program which ran throughout the FIT venue. My participation in the conference began last year as a curator and panelist and I’m involved with the open video movement because of their continued support for remixers, Fair Use and online digital rights.

Morgan Sully

Learn more about this site's new content areas and ways you can participate.

Helen De Michiel

Capacity means the ability to accomplish, change, remodel, or act on something that is a necessity, but often invisible because it is part of the operations or architecture of an organization. Since nonprofits must focus so intently on the work that becomes their public face, they do not have an easy ability to re-engineer the infrastructure hidden below. Since 1999, NAMAC has offered modest capacity building grants -- much like capital infusions to either start or complete a much-needed home improvement project.

Will K. Wilkins

Real Art Ways, like many other alternative spaces at the time (1991), hadn't put much effort into raising money from individuals. Most of our support had come from the government—at first from the CETA jobs program, then later and increasingly from the State arts commission and multiple programs at the NEA.

Lisa Foster

In June 2004 Film Arts completed its groundbreaking Member2Member appeal, raising $40,700 from over 400 members. This member-driven appeal re-connected Film Arts with our community and its core values and raised six times more money than Film Arts’ regular direct mail appeals. It is also our first fundraiser using email, with 16% of all gifts arriving via the Web. With the exception of a $10,000 matching gift from Board Chair Henry Rosenthal, no gift was larger than $500 – truly a grassroots effort.

Greg Lucas

he Media Arts Project (MAP) represents over 250 regional media arts practitioners, enthusiasts and students in Western North Carolina. A nimble grassroots organization, the MAP operated for over two years as an unfunded, all-volunteer effort. At the behest of the local Community Foundation, MAP presented an informational forum on the creative economy and the multimedia industry in Asheville. That meeting spurred a local philanthropist—without any application or solicitation—to offer six months of operating budget, and staff funding. That allowed us to continue our work with a single paid staff member and numerous ad hoc volunteers.

Cora Smilkovich

The day before I started to do my search for a donated building, I attended a Michigan Association of Community Arts Agency's Kim Klein fundraising convention in Dearborn, MI. Our organization is in the seed stages of funding so we are working on a volunteer basis. A lady I met at the convention told me that her group rented out a donated building at a rate of $1 a month the whole year. This seemed like an impossible request for the Art Café to ask for. She told me that because her town was run down the arrangement had been easy to work out.

Steven Jenkins

After years of applying to The Andy Warhol Foundation for the Visual Arts for support of San Francisco Cinematheque's public programs, and after years of receiving polite rejection letters, we finally earned the foundation's support in late 2003. We received a two-year grant totaling $50,000 ($10,000 more than we requested), with one-half delivered in late 2003 and the second half to be delivered in late 2004.