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<\/p>\n <\/p>\n <\/p>\n <\/p>\n I’m currently a writer, organizer, and advisor who\u00a0has 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 \u2013 the role or the organization. My focus has been in the arts and civil society. I\u2019ve worked full-time, part-time,\u00a0and 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>.<\/p>\n I\u00a0work with words and ideas, sometimes alone, but more often in concert with others. I\u2019m an intentional generalist and always have new things in mind. I\u2019ve 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\u2019ve realized that it\u2019s still an integral part of my identity. I’m glad to be in my 70s, exploring\u00a0this phase of my life with enthusiasm and purpose and with wonderful colleagues, friends, family, and two grandkids.<\/p>\n You can reach me at <aafocke@gmail.com<\/a>>.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n More specifics<\/strong><\/p>\n I\u2019m finishing my third and final year with the Jini Dellaccio Project<\/a>, a pilot project for older artists that I co-founded with Sarah Cavanaugh, a writer, photograper, and active philanthropist. With that backing, I\u2019ve been able to develop my writing, create a year-long residency as the inaugural\u00a0Alum in Residence<\/a>at the University of Washington’s School of Art + Art History + Design, establish regular bi-monthly open office hours<\/a>giving 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.<\/p>\n I\u00a0was the first executive director of Grantmakers in the Arts (1999-2008) and co-editor of its journal, the\u00a0<\/span>GIA Reader\u00a0<\/em>(1991-2009). Among others, my current and recent contract work includes\u00a0editing for Lucy Bernholz, \u201cphilanthropy wonk\u201d 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.<\/p>\n I’ve\u00a0founded 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\u2019s 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\u00a0<\/span>and\/or<\/em>, an artists\u2019 organization (1974-1984).<\/p>\n My published writing includes: \u201cUnpaid, in Spite of Their Value,\u201d in a Pacific Standard <\/i>column titled, \u201cThe Future of Work and Workers\u201d (2015); \u201cImaginary Needs and a Raucous Caucus,\u201d commissioned by Grantmakers in the Arts for its Reader<\/i>(2015); Philanthropy and the Regeneration of Community Democracy,\u201d\u00a0<\/i>co-author with Peter Pennekamp, published by the Kettering Foundation (2013); Trimpin: Contraptions for Art and Sound<\/i>, general editor and author of the introductory essay, published by University of Washington Press (2011), and others.<\/p>\n I was the first staff person for the City of Seattle\u2019s arts agency, first director of its public art program, and director of Bumbershoot (the City\u2019s 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\u2019s City Hall acknowledges my contributions to the city, where I’ve\u00a0lived for over 50 years.<\/p>\n<\/a><\/p>\n