Content in this section engages with ideas around philanthropy and arts funding around the world. For a look at the United States, start with Grantmakers in the Arts conference or, for a global perspective, check out essays from Romania, Mexico, and Canada.
The Latest
Essay
Creative Labor, Creative Conditions, and the Case for May Day
by Nataki Garrett
11 June 2026
Video
IETM Oulu Plenary Meeting 2026
Can I Bite the Hand that Feeds Me? Power and Responsibility in Arts Funding
Monday 15 June and Wednesday 17 June 2026
Oulu, Finland
Essay
What Makes a Theatre an “Apartheid Free Zone”?
by Theater Workers for a Ceasefire, Maria Aparo, Sulu LeoNimm, Liz Duran Boubion
Jennifer Sokolove talks about funding work around climate change, and how organizations can reimagine granting to support work at the intersection of art activism.
Is there really no institution in 2014 that will sponsor an ongoing annual study of American women playwrights working in theater seasons around the country (and directors, producers, designers, for that matter)? What if there were a way to fund some sort of new national study, to formalize a precise methodology of what shows/seasons to count and when, and get an accurate assessment of what the gender equity percentages for women playwrights in the United States really are in 2014? If we can’t find an institution or university that will fund this (which seems a shame), is there a DIY way to organize an all-inclusive study that includes every region of the country? Can we pool our resources and do this?
Adam Burnett and Jud Knudsen imagine a world without arts funding and wonder: could that actually be the impetus we need to rethink how and why we make theater?
P. Carl asks if the virtual connectedness of the twenty first century theater community can provide the place for artists to move beyond the brick and mortar settings of the current regional theater movement, and into greater creative freedom.
Can I Bite the Hand that Feeds Me? Power and Responsibility in Arts Funding
Monday 15 June and Wednesday 17 June 2026
Oulu, Finland
IETM Oulu Plenary Meeting 2026 livestreams the opening session which confronts the power structures embedded in arts funding as well as livestreams the "pitchorama".
Creative Labor, Creative Conditions is a national campaign led by the Doris Duke Foundation bringing together coordinated activations across the U.S. to center artists in a national conversation about the future of artistic labor. This series explores the activations and the various answers to the question: What are the conditions artists need in order to thrive?
Nataki Garrett reflects on the May Day activation that kicked off the Doris Duke Foundation’s Creative Labor, Creative Conditions campaign. She shares how the day highlighted the essential labor of artists and poses the question: what do artists need in order to do that essential labor?
The Apartheid Free Zone (AFZ) campaign is a form of nonviolent action aimed to end complicity with apartheid Israel. In this interview, Theater Workers for a Ceasefire joins representatives of the first three AFZ theatres to discuss the role of theatre in the international struggle for peace and justice.
In Florida, state and local arts funding has become the site of an ideological battle. Zachary Rivera discusses the impact of these funding cuts—and the work of Floridian theatremakers who know that art is precious enough to fight for.
Series
ART/New York Fall Forum
ART/New York convenes their first Fall Forum to foster community, support collaboration, and encourage resource sharing among their members.
Series
culturecapital:online
Two players compete online for sweet art money in culturecapital, the arts economy trading card game
culturecapital is a live art project that takes the form of a collectible card game and living archive. The project is constructed from two sets of data: (1) hundreds of interviews with artists about their experiences making performance in Canada and (2) five years worth of municipal, provincial, and federal public funding data on performing arts companies. Using this information, the game strives to create a context in which players can question, understand, and celebrate how value is determined, shifted, and produced within theatre, dance, and live arts in Canada. No prior knowledge of art or games is required.