New York City Cultural Agenda Fund
in The New York Community Trust
Supporting Cultural Advocacy, Policy, and Equity in New York City
The New York Community Trust, the Booth Ferris, Lambent, and Robert Rauschenberg foundations, and the David Rockefeller Fund created the New York City Cultural Agenda Fund in The New York Community Trust to strengthen the City’s arts advocacy network and advance cultural policy and equity. The Fund aims to:
- Strengthen Advocacy – Fortify and connect the network of arts and culture advocates in New York City;
- Influence Policy – Promote a cohesive and equitable cultural policy and integrate culture into City policies across multiple sectors; and
- Build Equity – Ensure small, community arts groups, groups led by people of color, and culturally and economically diverse artists are as valued for their contributions to the City’s cultural ecology as larger institutions.
In December 2014, the Fund made its first grant of $125,000 to the University of Pennsylvania’s Social Impact of the Arts Project. For more than 20 years, this Project has conducted research that demonstrates non-economic value generated by the arts. As part of a multi-city study on social wellbeing, neighborhood transformation, and the arts, the group will develop comprehensive measures of social wellbeing for New York City—including an inventory of cultural assets—and document the relationship between wellbeing and the City’s cultural ecology.
Proposals are not being accepted at this time. Please check back for updates in February 2015.
If you are a funder interested in joining the Fund, please contact Coordinator Salem Tsegaye at email@example.com or 212-686-0010 x658.
In early 2014, The New York Community Trust and the Lambent Foundation brought together New York City arts and cultural advocates to learn how groups were mobilizing in a moment of mayoral transition. A number of advocates were engaged in individual efforts to influence policy. Many believed comprehensive cultural policy could improve advocacy coordination, but the field first needed to address inequities in power, influence, and opportunity among the City’s arts and culture organizations, producers, and participants.