I’m currently a writer, organizer, and advisor who has had a full work life without ever having a job that someone had before me; either the job was new or I made it up – the role or the organization. My focus has been in the arts and civil society. I’ve worked full-time, part-time, and on contract and have served as founder, director, writer, editor, consultant, collaborator, manager, and educator in nonprofit, for-profit, government, freelance, and informal settings. I post my writing and short essays on my website, “Carrying On” <annefocke.net>.
I work with words and ideas, sometimes alone, but more often in concert with others. I’m an intentional generalist and always have new things in mind. I’ve never had an easy time describing my work, though at the beginning I simply assumed that, among other things, I was an artist. Lately, I’ve realized that it’s still an integral part of my identity. I’m glad to be in my 70s, exploring this phase of my life with enthusiasm and purpose and with wonderful colleagues, friends, family, and two grandkids.
You can reach me at <email@example.com>.
I’m finishing my third and final year with the Jini Dellaccio Project, a pilot project for older artists that I co-founded with Sarah Cavanaugh, a writer, photograper, and active philanthropist. With that backing, I’ve been able to develop my writing, create a year-long residency as the inaugural Alum in Residenceat the University of Washington’s School of Art + Art History + Design, establish regular bi-monthly open office hoursgiving me the chance to share my experience with others and gain new knowledge myself, and give time and energy to Common Field, a new national network for artist spaces and arts organizers.
I was the first executive director of Grantmakers in the Arts (1999-2008) and co-editor of its journal, the GIA Reader (1991-2009). Among others, my current and recent contract work includes editing for Lucy Bernholz, “philanthropy wonk” and founder of the Digital Civil Society Lab at Stanford (2010-present); planning and editing for the Community Democracy Workshop (2010-2015); and facilitating retreats for Copper Canyon Press and SOIL, an artist collective.
I’ve founded or helped develop nonprofit, for-profit, and informal enterprises including the Jini Dellaccio Project (2016-present); Penny U, a conversation series about civic issues with Town Hall Seattle (2014-present); the Community Democracy Workshop (2009-2014); What’s Up?, an informal monthly conversation series with artist Carolyn Law (2002-2013); Arts Wire, a national online network for the arts (1989-1995); Artist Trust, a 30-year-old nonprofit organization supporting Washington state artists (1986); Artech, a 40-year-old for-profit art handling company (1978), and and/or, an artists’ organization (1974-1984).
My published writing includes: “Unpaid, in Spite of Their Value,” in a Pacific Standard column titled, “The Future of Work and Workers” (2015); “Imaginary Needs and a Raucous Caucus,” commissioned by Grantmakers in the Arts for its Reader(2015); Philanthropy and the Regeneration of Community Democracy,” co-author with Peter Pennekamp, published by the Kettering Foundation (2013); Trimpin: Contraptions for Art and Sound, general editor and author of the introductory essay, published by University of Washington Press (2011), and others.
I was the first staff person for the City of Seattle’s arts agency, first director of its public art program, and director of Bumbershoot (the City’s annual arts festival) the year it got its name. I was the first assistant in education at the Seattle Art Museum and received a BA in Art History from the University of Washington in 1967. The Anne Focke Gallery in Seattle’s City Hall acknowledges my contributions to the city, where I’ve lived for over 50 years.
And if you want even more detail, click here.