Episode 143: Art Gallery of Alberta Funds for the Future

On this episode, our correspondent, Aubrianna Snow, takes us on a journey through the Art Gallery of Alberta‘s curatorial process, and how they create art collections and experiences that are accessible to all. We also learn about the vital role endowment funds play in helping the gallery continue its work for generations to come.

The original Art Gallery of Alberta Fund was established in December of 1989 by the Poole family – one of the first funds established during ECF inaugural year. This fund alone has provided grants more than $2,000,000 to the Art Gallery since its inception. In anticipation of their 100th anniversary in 2024, the AGA established a framework for a family of funds agreement that will secure a sustainable source of funding for the future.

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Image for this episode was supplied.

Transcripts by Karli Drew.


[The Well Endowed Podcast theme music plays]

Graeme Lummer [00:00:25] Hi everyone. Welcome to ECF’s Well Endowed Podcast. I’m Graeme Lummer.

Shereen [00:00:29] And I’m Shereen Zink....

This podcast is a proud affiliate member of the Alberta Podcast Network.

Graeme [00:00:34] Edmonton is full of generous donors who have created endowment funds at Edmonton Community Foundation. These funds are carefully stewarded to generate money that supports charities in Edmonton and beyond.

Shereen [00:00:43] On this podcast, we share stories about how these funds help strengthen our community… because it’s good to be well endowed.

Graeme [00:00:50] On this episode, we learn about how the Art Gallery of Alberta curates art collections and experiences for all to enjoy… and about how endowment funds will help them continue their work far into the future.

Shereen [00:01:00] Yeah, actually, the Art Gallery of Alberta has a really cool relationship with ECF. One of the very first funds that were established here at Edmonton Community Foundation was actually to support the art gallery. It was established back in 1989 by the Poole family.

Graeme [00:01:13] Oh, you mean way back in the late 1900s?

Shereen [00:01:15] Listen… [laughs] we’re not that old yet. Although, I have heard that there are some people who call it the 1900s, so maybe we are that old. But generations from now, when this fund is still providing grants to the gallery… that’s maybe how they’re gonna say it.

Graeme [00:01:31] Given that this fund alone has provided over $2M in grants to the gallery since 1989, the future impact is gonna be super cool to see.

Shereen [00:01:39] But wait, there’s more. In 2019, the Art Gallery of Alberta worked with ECF to create what we call a family of funds to celebrate their upcoming 100th anniversary. Cumulatively, those funds have provided grants of around a hundred thousand dollars since being established.

Graeme [00:01:53] That’s just four years. So it’s not a bad way to develop a funding resource that will grow with your organization.

Shereen [00:01:59] Right!?

[The Well Endowed Podcast jingle plays in background]

Our correspondent, Aubrianna Snow, learned all about how the art gallery is using these funds to continue developing high quality art exhibitions and experiences.

Aubrianna Snow [00:02:08] The Art Gallery of Alberta has existed in some fashion in Edmonton since 1924. In that time, it’s undergone a few key transformations. Its current iteration arrived in the 2000s with the modern redesign of its Churchill Square building, and its renaming from the Edmonton Art Gallery to the Art Gallery of Alberta to better encompass the scope of its work. I had a great conversation with Ashton Raeyr, Head of Development and Patron Engagement at the Art Gallery, about how the organization functions.

So, Ashton, can you tell me a bit about the AGA’s history and how it works?

Ashton Raeyr [00:02:40] The Art Gallery of Alberta is an interesting place. You know, we were founded in 1924, so we’re actually gearing up to celebrate our hundredth anniversary as of next year, which is fantastic. And we are actually Alberta’s only, uh, solely-dedicated art museum. So not only do we operate a really robust gallery space, which is very much dedicated to the idea of public access to arts and programming, but we also maintain a really robust collection on behalf of the province of Alberta. So a selection of pieces, you know, various, both visual an-and sculptural media are also part of our mandate. So, not only are we… operating as a gallery space, but a really important provincial collection. And our-our focus is also ensuring that we provide accessible access to programming and learning for our community. So, uh, another big thing that a lot of people may not know about the gallery is we run a lot of educational programming here at the AGA. So, you know, every day we actually have students coming from Edmonton Public and other, uh, bands of schools from around the region come to do art programming and learning. You know, they connect directly with artists and with our team. So we do a lot for the community in terms of providing arts and access to, uh… to the visual arts.

Aubrianna [00:03:41] So I know the Art Gallery of Alberta offers so much to the community. Are you able to share a little bit more about the specific programs that you folks have?

Ashton [00:03:50] Sure. I’m happy to. So there’s lots to engage, kind of really depending on how folks want to connect with the gallery. But, you know, certainly, uh, as mentioned, one of the best things I think about the AGA as a resource for folks living in the Edmonton area is we have a really robust program of exhibitions that are available through the course of the year. So we cycle, in some cases, upwards of 10 to 12 exhibitions or more through the year at all levels of our gallery. You know, we really focus on ensuring that it’s a nice split between celebrating a diverse range of artists who are both local and national in their scope. Often we’re able to provide some popular exhibitions, but also some really great emerging artists that we’re able to highlight and celebrate, uh, through the gallery. So in terms of visiting the gallery, you know, obviously our-our exhibitions are certainly front of mind, but, uh, we also offer some really cool programming related to the gallery exhibitions. And we’ll do curatorial tours on a regular basis. We have, uh, our all day Sunday program that allows for families to come and enjoy, not only experiencing the gallery spaces, but, uh, some really cool programs and activities in our atrium and-and Manning Hall space.

[00:04:47] We also, uh, run regular community-facing programming through our Ledcor Theatre space. So everything from cinema programming and media that’s related to the themes of the exhibitions that we might be hosting to really cool lectures and artist-led conversations about themes of some of the core work that’s either hosted at the gallery or is related to, uh, some of programming happening here at the space. We also are able to kind of, as mentioned with the— with the educational programming, uh, not only do we work closely with school groups that are coming in, but we also do some great collaborative work with our youth council. They are a group of volunteers who we’re super proud of that come and work with us on a year-to-year basis, and they really take the lead in terms of creating youth-led programming, uh, here at the gallery.

[00:05:25] So, one of the cool initiatives that we run is our Studio Y program. And Studio Y is a… is a great way for the AGA to work with other community-serving organizations who are working with at-risk or underserved youth in the community who are able to, as a part of their programming, come to the gallery, connect with artists or with, uh, art instructors and learn a little bit about the visual arts, techniques for creating arts, how to kinda become makers in some cases as well, which is super cool. So, you know, there’s a broad range of programming that we offer, both for folks who are dropping in at the gallery or who can sign up for programming. There’s also obviously lots of front-facing— You know, our Tours for Tots program is super popular. You know, on a regular basis, we host tours where, uh, families and their-their little ones can come and get both a chance to explore the gallery in a really facilitated way, but also enjoy some activities.

[00:06:10] So top to bottom, we try to really strive, with whatever programming that we’re doing to ensure that we’re offering an accessible range of services and programs where folks, no matter, you know, their capacities to come, are able to enjoy and experience the gallery. And we’re always trying to evolve as well, though that’s kinda our programmatic side, but then we also run some really just cool events here at the gallery. Our Refinery Evening, uh, for instance. Obviously we have a stunning facility here at the gallery and so, we also try to make sure that it’s just a fun place for people to be.

And then we also do quite a few front-facing fundraising and gala initiatives here at the gallery. Uh, two that we’re really well known for are our Art on the Block event, which we host in May of each year, which is really great. Local artists donate pieces from their creations and their works, and through the course of the evening, guests can come and bid on those pieces. And it supports not only local artists, but also funds go directly towards empowering programming here at the gallery, which is a lot of fun. Uh. And then of course, you know, events like our Holly Ball are kind of a community tradition and, you know, we’re always so grateful for the community that steps up to empower the AGA an-and our work through events like that.

Aubrianna [00:07:08] And what do you think the Art Gallery means to the community?

Ashton [00:07:12] Yeah, sure. I think one of the things that I-I really like about the AGA and about our value proposition and kinda the role we play in our community is-is that we mean a lot to many in many different ways. I think, first and foremost, the AGA is such an incredible resource for our community in terms of providing accessible access to the visual arts. For people who may not think of themselves as artsy, this can often be the first time that you’re experiencing or discovering what art is. And… and the cool thing about it is, you know, no matter who you are, there’s gonna be something in the gallery or in one of our exhibitions that speaks to you. And so, just providing a space where people can come and discover what the arts means to them, I think is really important. You know, not only are we able to be a great resource and space for people to discover an-and explore and engage with, really, world class artistry and arts, but I think it’s also a place where people can grow those skills for themselves as well.

[00:08:02] I think, you know, our commitment is to make sure that when people are walking through our doors, that they walk away with something that stays with them. And, you know, the arts is for everybody. I think one of the things that I’ve really loved is-is, since joining the organization, the skills I’ve been able to build in terms of my— [laughs] my-my drawing is not great. But I’ve been able to work with some incredible peers who’ve been able to, you know, teach me some techniques and the idea of how art can impact and support mental health and community connection and can also be a gateway to engaging some significant and important and critical social issues. You know, it’s often a place where conversations start and it’s… it’s also a place where we can represent members of our community that don’t always get a platform.

[00:08:36] Right now we’re working with an incredible collective called 5 Artists 1 Love, and we’ve had the chance to connect with them for many, many years. And through the course of Black History Month, we hosted and are continuing to host their exhibition, uh, in our community gallery. And one of the best things about working with the local community groups an-and advocates and artists that we do is, you know, it’s a space where voices can get raised, where conversations can be had about how we need to create more space for everyone in our community. And I think, yeah, the arts can often be a really critical conduit to that, where it’s a place where we are able to engage these discussions in a way where everyone has a voice and everyone has a chance to be heard. And we can also communicate in a medium that isn’t always the way that we-we do connect with one another.

[00:09:14] So, I think that’s certainly a key part of the value proposition for us, but also just being a resource for culture for our community. So many people don’t often think of the arts as a priority, but I think this is an incredible resource for community members to be accessing, to be engaging, to be evolving their sense of self and their sense of identity around. And the fact that it’s available for anyone to come and experience is, I think, a really important and critical part of our mandate.

Aubrianna [00:09:39] Are you able to walk me through the exhibitions that are on right now?

Ashton [00:09:44] Yes. So your timing is great, actually. We just reset a few of our exhibitions. One that I would absolutely recommend that you come check out is the Generations exhibition, which actually just opened on February 18th. So Generations is a cool show. It’s actually a collection of the, uh, the Sobey family’s private collection. And this is gonna be the first time it’s actually been available for viewing in Western Canada. And we’re actually gonna be the only Western Canadian art gallery that’s gonna be exhibiting the pieces an-and— Absolutely stunning. Some really established Canadian artists, but also some really contemporary Canadian artists as well. So I would say that’s a really great experience and one that I would highly recommend.

Aubrianna [00:10:19] I visited the AGA the day after my conversation with Ashton. He’s right, the Sobey family’s collection is stunning. I spent by far the longest with this collection. There’s really just so much to take in.

Ashton [00:10:31] Another cool one is, uh, Hanny Al Khoury is actually a local artist based here in Edmonton. His, uh, studio’s actually, I believe, in City Centre, which is super cool. So he’s also exhibiting at our RBC New Works Gallery. And a very, very, uh, cool aesthetic. Hanny’s just a great artistic voice in the city. So, would definitely recommend that. And for those that are coming to the gallery, one of the first things that they’ll see is in our main hall space, Dean Drever, who is just a fantastic artist that we worked with for many, many years, has an installation in right now called Pass the Hat, which is this massive installation, uh, of cut paper. And when you come in it-it really is striking. It kinda takes up the whole Manning Hall, main hall space.

Aubrianna [00:11:07] I have to chime in here, too. The installation Pass the Hat by Dean Drever near the front entrance is eye-catching from a distance, but even more so when you get close. The tall and imposing totem pole carving is actually a stack of paper. There’s a smaller one in a little box on the wall so that viewers can really get a sense of the medium. It’s an excellent introduction to Drever’s exhibition on the third floor, which explores racism through a variety of physical mediums.

Ashton [00:11:30] I would say, you know, just even from your first few steps in the door, there’s lots to see at the gallery.

Aubrianna [00:11:35] I know that the Edmonton Community Foundation helps facilitate a lot of the art gallery’s ongoing funding. Are you able to share a little bit about what that’s meant to the AGA?

Ashton [00:11:43] Definitely! We’ve had a really great relationship with ECF for many years. And, I think— Very first thing I have to say is ECF has, I think, got such a great vision for our community in terms of empowering organizations that have a true ripple effect for… for many. ECF has both been, you know, an incredible partner and advocate in terms of recognizing key elements of our necessary funding an-and sustaining, you know, operations and programming here at the gallery. Through their support, ECF has always been really receptive in terms of when we come to them with a particular project or need to ensure that, you know, the AGA can stay viable or can expand as needed or can grow to meet community needs that that’s recognized and that there’s a plan that’s crafted in collaboration that helps us to achieve that goal. And so, I think on that front, ECF has always been a great partner for us as much as it’s been a supporter.

[00:12:29] Similarly, one of the initiatives that we are pushing for right now as a part of our hundredth anniversary is kind of an exciting opportunity, but we’re undertaking quite a large program right now, uh, through the hundredth anniversary, which is called our AGA Always Initiative. And the push there is for us to actually— for the AGA to establish a long-term endowment fund that’ll ensure that the gallery is able to sustain itself into the future. You know, we were so privileged and very fortunate to work with ECF and other key community partners 13 years ago now when, uh… when we constructed the new gallery, which has become, you know, such a landmark for our community. Part of our vision for the hundredth anniversary is to complement the completion of this incredible facility with this sustaining fund that’ll ensure that we’re able to meet growing needs for operations and infrastructural needs to sustain our collections in the gallery space.

[00:13:14] And we are really, really fortunate to be able— in working with ECF already in terms crafting a plan around how this can be achieved working with community supporters that are part of the ECF network to look at how this can be supported. And, you know, our vision is if we can generate a viable endowment fund for the future, that the gallery can really plan for 2, 3, 4 generations ahead. And what I really like about working with ECF and I think I speak for our whole team when I say it, I think ECF thinks multi-generationally in terms of the investments that go into our community. You know, I think it’s often easy for us to kinda think about the immediacy. Ok, where do we see impact today? And there’s always that conversation to be had, I think for a lot of the work that happens here at the gallery. But, you know, the beauty of-of an institution like the AGA is we also need to think into the future to what this is gonna mean for, you know, our grandchildren and our grandchildren’s grandchildren. These collections, these pieces and this facility and institution is something that we wanna make sure we sustain for the future. An-and ECF has always met us in that way.

Aubrianna [00:14:07] So, Ashton, what’s in store for the Art Gallery of Alberta this year?

Ashton [00:14:11] What we’re really excited about is… is obviously, you know, stepping away from the pandemic. Last year was our first full year back in terms of in-person programming. And I think what we’re really excited about is 2023 for us is really looking like a year where we can come back up to full speed in terms of a lot of our regular programming coming back online. We’ve actually piloted some new programming this year, including some front-facing senior’s initiatives, uh, which is super cool. We [inaudible] our first senior’s program as well as a senior’s advisory committee who’s coming together to create some more crafted programming, specifically for folks who are a little bit older that wanna engage with the gallery. I think what we’re also really excited about is, uh, as we’re gearing up for the hundredth anniversary celebration next year, we’re gonna be doing a little bit of kinda drip-feeding through the year and some tied in announcements in terms of what folks can look forward to. A lot of our programming’s gonna really be prefaced on looking forward to that-that hundredth anniversary celebration through this year.

[00:15:00] So I think folks can certainly stay tuned. We’ll be having a lot of updates coming out to the public in terms of what’s gonna be happening, how people can get involved, and really just, you know, welcoming people back to the gallery. Programming is operating at full capacity and we’ve just been so grateful because it feels like every day we’re seeing folks who are coming back to the downtown, folks who are coming back through our doors and events ar-ar-are getting back up to kinda that level of attendance that we were-were always really pleased to see. So, you know, our hope is that, as folks are kinda rediscovering, uh, services and groups and organizations in their community, that we can meaningfully re-engage them to come in and experience the AGA and we can… we can really build some good connections.

Aubrianna [00:15:35] You mentioned that really important anniversary coming up. What are your hopes for the art gallery in the next hundred years?

Ashton [00:15:41] Yeah, wow. What a good question. [laughs] Um. So I think one of the things that we keep going back to through the AGA Always, uh, campaign is the idea of a sustainable vision, but also a vision of growing excellence. You know, we not only wanna be here and continue to maintain our… our value and mission of being an accessible place for our community to access art and to celebrate artistic voices, but we also wanna continue to grow and expand. I think there’s a really great opportunity for the AGA and for Albertan art in general to start to step up in-in a more visible way on the world stage. I think we have some incredible artistic voices that are a part of our province.

So our vision is through this next hundred years to continue to be a platform that elevates Edmonton artists, Albertan artists, to the world stage. To be a place where people recognize artistic excellence, where people come and seek out leading artistic voices and to really be a facility and an institution that is recognized worldwide as a place where true contemporary an-and leading art is being presented and shared with our community.

[00:16:40] So, I think as much as there’s a vision around how we can sustain ourselves, there’s also a vision about how we can strive for excellence. And over the next hundred years, I think we’re confident that we’ll continue to grow in that way with the community’s support. But that’s, I think, really the hearthstone of-of what we’re aiming for is to continue to see the AGA grow and strive to be a more leading global voice in art and in the artistic world.

Aubrianna [00:17:01] Now, the AGA works with something called a family of funds. I wanted to talk to an expert to figure out how it all works. I had the opportunity to chat with Matt Mandrusiak, Donor Advisor at the Edmonton Community Foundation.

Matt, can you tell me a little bit about the Art Gallery of Alberta’s history with the Edmonton Community Foundation?

Matt Mandrusiak [00:17:20] They’ve been a recipient of grants from us for quite some time, and in that time it’s gone from a couple hundred grants totalling about 10 million in funding for their organization. Some of that is coming through donor-advised funds and dollars that have been dedicated by other donors to support the art gallery, and some of that money has been coming from some of the funds that the art gallery itself has created to, uh… to help provide some, uh, predictable, sustainable funding for them over the years.

Aubrianna [00:17:53] So I know the AGA works with a family of funds. What is that and how does it function?

Matt [00:17:59] [laughs] So this— When we use the term family of funds, it very much relates to when we’re… when we’re working with a charitable organization. When we set up a fund structure with a charity, typically when we’re creating their fund agreement, what we like to do is use the structure that creates the ability for multiple funds to be created… underneath sort of the master fund agreement for the organization. And when this starts to happen, when organizations start to create multiple funds, whether it’s the organization creating 1, 2, 3 funds or if it’s donors that are coming to the table with potential dollars to say, “I wanna be a part of this organization long-term, I think creating my own named fund and having your organization manage it is-is a good way to do it.” Once we start to see these multiple funds being created, then we have what we would call a family.

[00:18:59] So, it’s multiple funds that are supporting the organization that are governed by their master fund, and it gives those dollars— those granting dollars back to the organization that set them up year after year in perpetuity. So it’s this really cool way for some organizations to be able to speak to their supporters and their donors about long-term sustainability for the organization and really becomes more of a legacy long-term conversation for that organization and their donors. The art gallery has a couple of these funds, but the ones that are, like, super successful with it are things like the Opera, uh, some of the arts-based organizations. But there are probably— well, there’s dozens and dozens of organizations that we work with that have this family of funds structure and have multiple funds providing income back to them year after year with no questions asked. So, that’s kind of how a family of funds sort of works.

[00:20:02] The AGA is-is not different than a lot of organizations that we work with. They— the organization created a fund for themselves. The first fund set up to support the AGA was probably one of the first funds ever created at ECF with an original gift that was tens of thousands of dollars. It was created by a donor, an individual donor at the time— actually, a family. But they went around and made sure that they created designated funds for the organizations that were most important to them. So there’s been an AGA fund around basically from the beginning, which is really cool. The family of funds, getting back to that, would’ve been created in… 2020. And so, it basically gave the ability for the art gallery to talk to their individuals, their donors, their supporters about what the future of the AGA might look like and how they can potentially support that.

[00:21:04] So what they did was create this family of funds agreement, which basically governs the endowments that they currently have and any potential future funds that may be created. So what’ll end up happening, if the art gallery says— let’s say they go to you. You’re a longtime supporter of the art gallery. You’re making some potential plans. Uh. You’ve been supporting them for a long time. So they’re having a conversation with you about what the future of the art gallery looks like and how you might be a part of that, both now and long after you’re no longer here. The art gallery could potentially say, “We’ve got this structure that we think will really help us now and in the future that we think will be something that you would like to be a part of.” It’s basically creating endowment under your name so that you’re always associated with the art gallery that you’ve known and loved all your life.

[00:22:03] So the donor basically would be able to create this named fund, so we could create it after your name, you would provide the dollars for it. And that fund is basically governed by the agreement that we have in place with the art gallery. The nice peace of mind that the art gallery has, in this sense, is knowing that these dollars are forever locked in with their organization. So they are always going to end up receiving those grants in perpetuity. It just really creates this opportunity for a longer term relationship with that donor that they’ve— they may be able to have that conversation with.

Aubrianna [00:22:43] And why do you think this family of funds structure is helpful?

Matt [00:22:47] It’s an advantage both for the… organization and for the donors. Every organization has the potential to create them. That’s pretty much standard language for any charitable organization that’s establishing a fund here. Some organizations might have, you know, two funds, uh, with— underneath their family. Others might have 20. There have been several that have been really, really successful at being able to create multiple streams of predictable income that they really don’t end up having to work for once— uh, once it’s in place.

From an organizational standpoint, it’s nice for them to be able to offer something different. Every organization needs dollars in for immediate needs right now, there’s no question about that. But each organization also should be looking at what the long-term of their future looks like. And endowment and planned giving is a big part of what that conversation can look like. So, if they do have funds with us, and if they do have the family of funds structure, it’s a big advantage for them to be able to say, “We’re working with Edmonton Community Foundation, we have this structure in place. We know that these dollars are gonna be here long-term. You can either contribute to a current fund that we have or you can look at establishing one that is meaningful to you. It has your name, your family, name it after somebody, whomever it may be.”

[00:24:14] That’s a really nice piece for an organization to be able to take to a donor that’s open to that conversation and say, “Look at what your options might be. Let’s talk about what you want to do to help support this organization.” And for some organizations that are successful with it, and I go back to… to the Opera, they’ve got almost 20 funds that are giving them dollars— that are providing them granting dollars every year, no questions asked. And we saw over COVID, they were one of the organizations, even though they’re an arts-based organization, that performances were closed. They didn’t have any patrons, they weren’t making any money off regular shows, those types of things, right? Their endowment funds were what sustained them through COVID. So these are things that can really be beneficial from an organizational standpoint.

[00:25:04] From a donor standpoint, we tend to see a lot of the people who establish these types of funds do so because they really love the organization that they’re supporting, and they love knowing that their name is forever gonna be associated with this group, both while they’re alive and then long after they’re gone. So it becomes not only a bit of a legacy piece for that donor, but it’s also something that a lot of donors do knowing that they can help provide long after they’re no longer able to do so physically in life. But knowing that they have this opportunity to continue to support the causes that mean something to them for generations to come is a really cool piece for a lot of donors who-who go this route.

Aubrianna [00:25:46] Matt provided some really useful insights on how the funding side functions.

I wanted to let Ashton have the last word on how folks can support the AGA and the important work that they’re doing to build visual arts and culture in Edmonton.

Ashton [00:25:58] Our work is only possible as a result of the support of the community an-and ECF’s, uh, collaboration and partnership has been so instrumental to that. So, I would say, you know, just to add into that, folks who are looking for ways where they can meaningfully direct support through their ECF-directed funds or if they’re looking for other ways to get involved in the community, there are many ways to get connected to the gallery. And your support has a massive impact, not only on our current day-to-day programming and our needs as a— as an organization, but there’s a really cool opportunity as we step into our hundredth anniversary to invest for the future. And we’re-we’re excited to be able to connect with the community.
We’ll be going public with our, uh, announcement around the hundredth anniversary campaign and the initiative for our fund as of next year as we kinda celebrate our birthday.

[The Well Endowed Podcast jingle plays in background]

But, you know, in the meantime, there is a really great cadre of community members who are starting to step up an-and raise their voice and support, and we just wanna express our appreciation and we’re so excited to be able to connect with the community and share more about this in the future.

Graeme [00:26:49] A big thanks to Ashton Raeyr, Head of Development and Patron Engagement at the Art Gallery of Alberta, and to Matt Mandrusiak, Donor Advisor here at ECF, for sharing their time with us.

Shereen [00:27:00] Now is a great time to visit the Art Gallery of Alberta, and I think all the time is a great time to visit the art gallery. Um. But we’ll have a link to their website and to current exhibitions in our show notes, so be sure to check that out.

Graeme [00:27:12] And… if you’re curious about how to set up a fund to support an organization you love, we’ll have links for that too.

Shereen [00:27:17] And as always, don’t miss out on our upcoming granting deadlines and seeing even more great community stories over on our blog.

[The Well Endowed Podcast music plays in background of outro]

Graeme [00:27:24] Well, that brings us to the end of the show. Thanks for sharing your time with us.

Shereen [00:27:28] Yeah, thank you! If you enjoyed it, please be sure to share it with all the artists and art lovers that you know.

Graeme [00:27:32] And if you have time, please leave us a review on Apple Podcasts. It’s a great way to help us grow.

Shereen [00:27:38] And come say hi to us on Facebook. You can share your thoughts and see some pictures.

Graeme [00:27:42] Thanks again for tuning in. We’ve been your hosts, Graeme Lummer—

Shereen [00:27:46] And Shereen Zink.

Graeme and Shereen [00:27:47] Until next time.

Andrew Paul [00:27:50] The Well Endowed Podcast is produced by Edmonton Community Foundation—

Lisa Pruden [00:27:54] And is an affiliate member of the Alberta Podcast Network.

Andrew [00:27:57] This episode was edited by Lisa Pruden.

Lisa [00:27:58] You can visit our website at TheWellEndowedPodcast.com.

Andrew [00:28:02] Subscribe to us on iTunes—

Lisa [00:28:04] And follow us on Twitter at @theECF.

Andrew [00:28:07] Our theme music is by Octavo Productions.

Lisa [00:28:09] And as always, don’t forget to visit Edmonton Community Foundation at ecfoundation.org.

[theme music continues playing for a few seconds after dialogue ends]

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