Portrait of Baldwin from the Ford Foundation Collection
In 1959, James Baldwin was already recognized as a talented writer, but he needed financial support to finish a novel he was working on, which explored issues of race, homosexuality, and the urban environment.
The Ford Foundation had recently created a Humanities and Arts program, and awarded Baldwin a $12,000 creative writers’ fellowship.Foundation-Administered Project (FAP) #05900121. Program for Creative Writers. Ford Foundation grants FA732C, RAC.
The result was the long acclaimed and path-breaking novel, Another Country. A 1962 letter preserved in the archives spells out the significance of this gesture of support to Baldwin’s life and career.Baldwin, James. Ford Foundation records, American Literary Manuscripts FA718, Box 1, Folder 1, RAC.
Baldwin wrote:
“[H]ad it not been for the Ford Grant, I would either be tearing up until now, or I would have abandoned it. […] An abandoned novel can act as an obstruction which will destroy one’s writing life. For a writer, the destruction of his writing life is exactly the same thing as the destruction of his life.”
In this timeline, we will follow the path Ford Foundation programs took from the early beginnings to the end of the twentieth century. By no means comprehensive, this selection of grants, large and small, demonstrates the breadth and evolution of funding creativity over the decades.
In 1970, Governor Nelson Rockefeller and the Museum of Primitive Art found themselves at the center of a delicate diplomatic negotiation over an allegedly stolen piece of Mayan art.
Rachel Wimpee is Associate Director for Research & Engagement at the Rockefeller Archive Center. She holds an interdisciplinary PhD in French literature and French studies, with research interests in gender, cultural representation, and the role private giving plays in social change.
In this timeline, we will follow the path Ford Foundation programs took from the early beginnings to the end of the twentieth century. By no means comprehensive, this selection of grants, large and small, demonstrates the breadth and evolution of funding creativity over the decades.
In 1970, Governor Nelson Rockefeller and the Museum of Primitive Art found themselves at the center of a delicate diplomatic negotiation over an allegedly stolen piece of Mayan art.
In the late 20th century, the Ford Foundation’s attempt to translate microlending methods from Bangladesh to the United States revealed false assumptions about poverty, social context, and individual entrepreneurial spirit that undergirded microlending experiments.