Receiving us at the Fund Center was a man with a bony build, wearing glasses, and looking lively. That's senior librarian Bruc-Gum. Quickly getting to work, he turned on his computer, went online, and directed us to the Center's website that was displayed on the large screen in front of us. This website provides a detailed introduction to the Center, its activities and the funds that support the arts. The Foundation Center is an independent national service organization founded by foundations in 1956. According to FORD Foundation documents, it is the leading organization in the United States for institutional funding and is dedicated to serving the grant seekers, funders, researchers, policy makers, the media and the public. The mission of the Foundation Center is to support and promote the philanthropy of organizations through the foundation, increase public understanding of the field, and help grant seekers succeed. To do this, the Center collects, organizes and disseminates information about sponsorship activities in the US; Conduct and support research on development trends in this field; provides education and training on the grant-seeking process, and provides public access to information and services through the Center's Web site, through publications, through 5 libraries or learning centers collection, and through a nationwide network of collaborative collections. One of the Center's missions is to provide information and professional references to the public at the Art Center's 5 libraries with more than 200 other organizations across the country.

Right next to the room where we sat listening to the presentation was a library of the Center. The reading room of this library is equipped with about two dozen computers with internet connection. We see that every machine has someone to look up information. Like the Center's four other libraries, this reading room is open free of charge, allowing readers to access a unique collection of documents about philanthropic activities. Highly qualified librarians are available to help users learn about grant research through the Center's publications and other print and electronic resources, including application forms. grant applications, books and periodicals on charitable and non-profit grant management, foundation annual reports and reports on corporate sponsorship, websites and other focused documents into charity activities.

The Foundation Center offers free or at-cost basic training programs on grant research, introductions to donors and their grants, and related topics in all 5 Center offices as well as other locations, including: Foundations for Fundraising, a free weekly resource on the grant research process for nonprofit organizations; Free corporate sponsorship programs, how to effectively use online information sources, how to quickly look up information, how to write sponsorship letters, search for sponsorship for individuals, list of sponsors, movies about fundraising. etc.

The Foundation Center publishes the Foundations Yearbook - a classic reference for grant-seekers, now available on CD-ROM, online and in print, along with some 50 yearbooks, guides and other reports.

The ability to convey information of the website controlled by the center really impressed me. Updated and expanded daily, the Foundation Center website (http://www.fdncenter.org) highlights and analyzes the latest funding trends, providing a list of top donors , information on Center-sponsored training programs and workshops, providing easy access to a range of online fundraising resources, including: Charity News - an information service weekly with articles related to charity; The center's online yearbook - a searchable database of the 10,000 Largest Funds in America; network with hundreds of donor and other nonprofit organizations' websites.

The Foundation Center also provides an online virtual library (http://www.fdncenter.org/onlib/) that anyone can access with just a computer connected to the internet. Applications on this virtual library include: Instantly answer questions by E-mail, Foundation Finder (a free search tool with basic information on 50,000 US donors), courses short course on writing grant letters, introduction to the grant-seeking process, Online resources on the nonprofit sector (a bibliographic database of 18,000 citations, with many abstracts) , and The Online Bookshelf (an abridged version of the Center's key monographs on fundraising and nonprofit management).

While introducing the Center's publications and websites, the senior librarian repeated again and again that the CD-ROMs published and distributed by the Center were very expensive, only to schools or institutions. large to use for many new miners to buy, and Others should access the information contained in this CD-ROM online at one of 200 free access points located in various locations in the United States. Seeing how well the information is organized on this CD-ROM, I was about to buy a disc for my agency's computer engineers to consult, but the senior librarian repeated that the price was very high, and wanted to To buy, you need to go to the place of sale - which is a small counter located in the library right next door. Thinking that a CD-ROM would cost a few hundred dollars at most, when visiting the library, I stopped at the publication counter, and was startled by the CD-ROM price tag: $1,150/disc! The price of accessing the internet to exploit this information is not cheap: 150 USD a month! Thus, issuing CD-ROMs and organizing online information services are also a significant source of revenue for the Center. And so, the content of information on the network is "sold" at a very high price, while the money spent on accessing the network is very low. That contrasts with the reality of the Internet in our country: information providers (ICPs) not only do not receive money, but also have to pay rent for the transmission line, and how much profit is gained from accessing the Internet. Internet access and information exploitation are all focused on the Telecommunications industry! It is worth noting that these revenues as well as those obtained through other services such as selling souvenirs and selling food and drinks that the Fund Center as well as other cultural organizations perform, are exempted. tax.

I was also surprised to learn that to carry out such a series of tasks, the Fund Center only had 5 people!

New York Art Foundation (NVFA)

Located on the 14th floor, number 155 Avenue of the Americas, the New York Art Foundation has not very spacious offices. Welcoming us was Mr. Thaod S. Begu, Managing Director of the Foundation. He introduced us in detail about the fund, and at the same time had very sincere confidants.

According to documents from the FORD Foundation and its Director, the New York Arts Foundation was established in 1971 by the New York State Arts Council as an independent organization to support the development of artistic activities. statewide. From the beginning, the foundation has operated as a creative development organization, a catalyst, advocate and incubator for program development and financing in the arts. Today, it caters to independent artists, encouraging their freedom to grow and create, as well as creating opportunities for the public to enjoy and understand art. The New York Foundation for the Arts achieves this through financial and informational support for artists and organizations that directly serve artists, through support for community-based arts activities. community, and through building collaborative relationships with other arts organizations in New York and across the country.

Throughout its operation, as an intermediary organization in the field, the New York Foundation for the Arts has found many ways to develop and provide grants, refinances, loans, as well as other financial support and other information services to meet the ever-changing needs of a diverse and changing arts community. Through educational information programs, the New York Foundation for the Arts is always looking for more effective ways to broaden participation in all arts, as well as broaden the understanding of audiences. and the general public about the role of artists and art organizations in their lives, in their communities, as well as in society in general. At first, the New York Art Foundation only served the state of New York, but gradually coordinated and expanded its scope of activities to regional, national and even international levels.

In 1973-1974, the New York Foundation for the Arts initiated a pilot project that lasted several years and was later recognized nationally as the Artist-in-Residence program, which supported the introduction of the program. This program is taught in schools and communities throughout the state. This program continues today as Artists in Pedagogy, part of a diverse and comprehensive educational program. The New York Foundation for the Arts' educational programs grew to include acting as a hotbed for a number of important arts disciplines as well as a number of arts institutions.

Participation in the development of a variety of art movements and art organizations has become one of the programs of the New York Foundation for the Arts. In 1984, the New York Arts Foundation was selected by the New York State Arts Council to administer the National Artist Fellowship Program, and to administer the public service portion of the foundation in the name of artists and audiences. . The program has since expanded to directly sponsor New York State artists in 16 arts disciplines. Over the past 20 years, the New York Arts Foundation has developed a wide variety of funding and refinancing programs for individual artists as well as for arts entities, covering a wide range of activities. The New York Art Foundation currently sponsors 300 projects by artists and 60 start-ups.

The New York Art Foundation expanded its reach in the 1980s by participating in a number of important conferences and studies. In 1984, the New York Art Foundation in collaboration with Columbia University Arts and Culture Research Center provided statistical data on the life, living and working conditions of artists in the state of New York. Yooc. A similar program of research has emerged across the country, which has been repeated and expanded in recent years. The New York Arts Foundation is nationally recognized as a communications service provider. Another crucial factor in the New York Arts Foundation's growth as an information service provider was the 1984 launch of FYI, the Foundation's quarterly magazine. for those who live and work in the arts, and a decade later by the Fine Arts Hotline. Currently, the magazine has a circulation of 20,000 copies serving artists and art units in all art branches across New York State and across the country. The hotline developed with the help of a consortium of donors across the country, led by the Marie Walsh Sharpe Art Foundation. Currently, it continues to directly support fine art artists across the country.

In recent years, the New York Art Foundation has emerged as a leader in addressing technology and its role in the arts community. The New York Arts Foundation's efforts in this area begin with It begins with a statewide artist research project that involves the use of technology to create art. As a result, the New York Art Foundation has established a new category of scholarship for artists: Computer Arts. The New York Art Foundation has published the Digital Yearbook: New York State Art Resources, both in text and online. A new funding program including Grants for Arts and Technology Planning and Technical Assistance for Arts and Technology is also underway.

Today, the New York Arts Foundation demonstrates organizational strength and leadership in its roles as sponsors and service providers for artists, arts institutions and communities. extensive art in New York. The Foundation's Web site describes all programs currently underway and represents the most recent efforts to maintain leadership in providing effective services and supporting the arts and generous community. the masses of which it is a part.

The New York Arts Foundation has brought artists to most school districts across New York; providing financial sponsorship to hundreds of newly formed organizations; has also supported organizational capacity through grants and credits. The New York Arts Foundation also supports strengthening institutional infrastructure and expanding school resources to serve the entire community.

Through the report of the Foundation Center and the New York Art Foundation, we see that in the US there are quite special organizational models, with a flexible and practical cultural management mechanism that helps cultural activities to be organized. Artistic culture can find many sources of funding.

In the United States, arts organizations can be divided into two groups: nonprofits, and commercial (for-profit) arts organizations.

Commercial organizations are like other commercial enterprises, they also try and they believe that the public will pay money to see or buy art products, so they will market the products. This product reaches the public mainly through ticket sales.

Non-profit art organizations tend to produce products based on their inherent artistic values. These organizations do not hope to be able to make a profit or offset costs with revenue from ticket sales. So they have to find other ways to support themselves. To address this situation, the United States has developed various forms of support for these not-for-profit organizations, sometimes referred to as "public-private partnerships".

On the public partner side, there are three levels of direct government support:

Federal (National Center for Funding the Arts)

States (e.g. New York State Arts Council)

Local (City and Regional Arts Councils)

There is also indirect support in the form of tax breaks for gifts to not-for-profit arts organizations that have been approved by the government, which is a very important benefit.

Individual partners include foundations, businesses and individuals, most of which are supported by individuals' money; donate equipment, services and supplies; and volunteering. Most of these contributions can earn their owners a tax break.

At a glance, seeing that the US does not have a Ministry of Culture, I thought that the US government did not manage art and culture and did not invest in art and culture, but looking deeply into the operating mechanism, we found that this is a rather good management measure. closely and with no small investment - investment by tax policy, by creating opportunities for art and culture to be invested through sponsorship of organizations and individuals. Through the tax authorities, the Government has a firm grasp of each sponsorship that companies spend on the arts. The foundations themselves are also funded for the operation, as the New York Arts Foundation generates $12 million annually, of which $4 million is funded by the government.

When we asked about how to raise money for art grants, Mr. Thaod S. Bego, Managing Director of the Foundation, said: If people want to raise money, they have to go through an organization from charity, that way they can receive tax exemptions on the funds they sponsor. The New York Arts Foundation allows donors to use their tax IDs to transfer funds, which then fund art units. He also added that, in order to decide on funding for art units to be objective, the Fund's Board of Directors does not participate in deciding which units to sponsor; This task is assigned to a Board hired by the Fund consisting of 30 people. Based on information about art units and funding sources, the Board will decide which units to sponsor without depending on any suggestions of the Fund's Board of Directors.

Mr. Director confided: "I have been working at this Fund since 1973, at that time there were only 2 members, now there are up to 40 people working regularly or seasonally. I have gone through the process of development, difficulties, rise of the Foundation, seeing changes in social processes. Now there are many programs management training, but I did not receive any training, I worked and studied at the same time. We are not part of the Government, so we can do many things that the Government cannot do, such as taking the lead in fighting for the rights and policies for artists, raising funds for artists and the arts. To work effectively, we always listen to two sides: the Government's requests as well as those of the art community and artists." After a few discussions about the Fund's funding activities, Mr. Director confided: "New York also has its own way of sponsoring officials - newly elected officials, if they find an industry they like, they sponsor it, hoping to be re-elected in the next term. I don't like this type - it's political, it's not good because it doesn't provide policies to support culture. If a certain art unit is not liked by the official, it will never receive money." After the applause of the audience, the Director said: "Currently, there is a change in government. New York state government. That is to implement rotation in the members of the State Council: out of 51 people elected to the State Government, 35 must be newly elected. I think this regulation will make arts funding from the government more objective."

Talking about art units in New York, the Director commented: "We do not have a specific model, there is no longer a dividing line between non-profit and profit activities, but the Non-profit will create an arm to develop profit. Organizations and individuals who say they are non-profit have separated themselves from reality. In the cultural field, there may be professional artists with artistic skills. Amateur artists, many times we create a barrier between professional and non-professional fields, profit and non-profit. The struggle of arts and culture is not necessarily profit or non-profit, but is to serve or not to serve the community".

The Fund's Director said that the Foundation's headquarters is located near the World Trade Center, so it was blocked after September 11 for security reasons, fortunately the delegation arrived at the time it was ordered to operate again. He said he witnessed America's terrifying moment when the World Trade Building exploded and collapsed, and witnessed people jumping from high floors, so he was deeply hurt. deep in his heart, but he had to get up and look towards the future. Along with the loss of life and property at the World Trade Center, the New York art world also lost 1 artist, 1 studio, 2 art organizations in the September 11 disaster and many works. Art is destroyed or damaged, many art organizations whose activities are affected need to be funded. Currently, smoke and dust from the rubble still cover many studios, many works of artists, it takes a lot of money and effort to clean them. On the other hand, due to the security situation and psychological reasons, people do not attend art activities in the World Trade Center area anymore, making art organizations and theaters located in this area. devastated. Even the Metropolitan Fine Arts Museum, which attracts more than 5 million visitors a year far from this area, has also reduced its activities, the number of visitors decreased by 60% in the first days. He said the city has raised a lot of money, and the Fund also received a lot of sponsorship applications from artists and art organizations, but the Fund has not yet been able to respond. He bitterly commented that the artists themselves were also victims of the September 11 disaster, indirect victims and often forgotten. He is campaigning to set up an Artists Renewal Fund, with the aim of restoring works, artworks and artistic activities. He emphasized that the responsibility of artists after the September 11 disaster is to recreate art, to make art continue to beautify life, to act as a bridge between people. I have remarked that the intellectuals and genuine Americans that I come into contact with when talking about the September 11 disaster only talk about re-creation of life, and no one talks about hatred.