The Saskatchewan Arts Board is an arms-length funding agency that provides grants, programs and services to individuals and groups whose activities have an impact on the arts and the people of Saskatchewan. Established by the Government of Saskatchewan in 1948, it was the first agency of its kind in Canada.
The professional and management staff of the Arts Board provides consultation services in a variety of areas including community and organizational development, research, information, advocacy and communications. In addition, the Arts Board is involved in a number of partnerships and co-operative arrangements with like-minded organizations and manages the world's largest collection of art objects exclusively by Saskatchewan artists.
The importance of the input and feedback of the community it serves is a priority throughout the Arts Board's operations and is formalized within the Arts Board Act, 1997. Although officially appointed by the Lieutenant Governor-in-Council, one-third of the members of the Arts Board’s board of directors is chosen from a list of nominees provided by the arts community. This process assists in ensuring the Arts Board is representative of the thoughts, ideas and directions of the community itself. The board reports to the province’s minister responsible for the Saskatchewan Arts Board.
Read more about Saskatchewan Arts Board: History, Arts Funding Programs, Permanent Collection, Art Rental, Lieutenant Governor's Arts Awards, Annual Art Exhibitions, Supporting Indigenous Artists, Creative Industries, Partnerships, 100 Years of Heart: Celebrating Saskatchewan's Centennial, External Links, News Stories
Famous quotes containing the words arts and/or board:
“I haven’t seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the company’s behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)
“Midway the lake we took on board two manly-looking middle-aged men.... I talked with one of them, telling him that I had come all this distance partly to see where the white pine, the Eastern stuff of which our houses are built, grew, but that on this and a previous excursion into another part of Maine I had found it a scarce tree; and I asked him where I must look for it. With a smile, he answered that he could hardly tell me.”
—Henry David Thoreau (1817–1862)