Creative Capital

In 1999, I became the Founding Director of Creative Capital, an innovative arts foundation that adapts venture capital concepts to support individual artists. Under my leadership, Creative Capital committed more than $40 million in financial and advisory support to 511 projects representing 642 artists. This commitment helped those artists leverage nearly $100 million in additional support. I stepped down from the organization in June 2016 to pursue consulting work and independent research.

  • Note:  These documents reflect my tenure at Creative Capital. For current information about Creative Capital, go to creative-capital.org.

    While I had a 20+ year history in the performing arts and the independent media field prior to starting at Creative Capital, I didn’t have a visual arts background, so there was a lot of curiosity about me in the late 90s! I was asked to speak at the ArtTable luncheon in 2001 that served as a way to introduce me to the visual arts field (take a peek!). Later, I so enjoyed presenting Policies, Prisons and Pranks at the Arts Summit in Denver in 2013. And don’t miss the conversation Heather Bhandari and I had with Arch Gillies, the first President of the Andy Warhol Foundation for the Visual Arts, who was the person with the original vision for Creative Capital.  

    In this section of the website, you can also read various presentations I made about Creative Capital during my tenure there (1999-2016). Instead of sharing all of my many, many overlapping speeches, I’ve chosen a few that represent their various themes.  These presentations often outline our funding methodology and show the tremendous impact Creative Capital had on its grantees and on the many other artists across the country that we reached through our Professional Development Program. They also provide some of my observations about the evolving skill set that artists and arts leaders need now. There are some internal documents as well including an outline for our outreach sessions, directives to panelists, and remarks to the artist grantees at our orientation.  

    I was given an extraordinary opportunity to invent something brand new, something I, and others, hoped would be a more holistic approach to artist support than what was in existence at that time. If you had the opportunity to build something new for artists now, what would it look like?