progress of a field from its infancy to a more established community, but also the approach and philosophy of one man to the field as a whole.  Klein left the foundation in October 1986, and his departure marks the end not only of a particular era at the Rockefeller Foundation, but also of an era of a specific kind of funding philosophy, In which a single Individual dictates the direction and intent of the grants awarded, with a primary belief in providing for the needs of the individual artist.


The Rockefeller Foundation is structured into six programs: Agricultural Sciences, Arts and Humanities, Equal Opportunity, Health Sciences, International Relations, and Population Sciences, as well as a Special Interests and Explorations fund for proposals that are not covered precisely by these categories.  In 1985, these programs dispensed close to $43 million in grants, of which $7.4 million (14.60/0) was in the arts and humanities program.  The foundation has a self-perpetuating board of trustees of some 20 members (until 1981 it had at least one Rockefeller family member), who elect the foundation's president, currently Richard Lyman.

The arts program, which was a separate program from 1973 to 1983 and is now combined with the humanities program, has dispensed an average of $3 million annually.  It is not divided into specific disciplines, although it has been structured (with humanities) along certain vague, yet controlling guidelines: support for the creative person; strengthening secondary school education through the arts and humanities; enhancing the American public's understanding of international affairs through the arts and humanities; and forging connections between artists, humanists, and society.  Until recently, the arts program has been a somewhat flexible one, with its director having a substantial amount of freedom in choosing what monies to give to what media.  Grants of up to $50,000 (in the 1960s, the figure was $25,000, in the 1970s, $35,000) are made at the discretion of the director and do not require the approval of the board of trustees.  While the arts and humanities program currently supports several fellowship programs in which grants are often made through nominations from the field and panels, most of the grants awarded in the arts since the late 1960s have been made by Klein himself.  In the field of media arts, where no such fellowship program exists, Klein has been solely responsible for all but a few of the grants awarded.4

In tracing the history of the grants awarded in media and television through Klein's program, a mixture of strategy and eclecticism becomes apparent.  Several trends can be traced: support for artists' projects under the aegis of public television, the funding of programs intended to foster a cross cultural exchange of ideas, individual grants to artists, and the funding of equipment resources (specifically postproduction facilities) for artists.  There is also a smattering of small, somewhat unexpected grants, which indicates a desire to respond to the moment and a distinctly personal style. Howard Klein came

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