Intersection for the Arts
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"Up" is the number of experts who agree that the nonprofit has had the most impact in the
field. "Down" is the number of experts who disagree that the nonprofit has had the most impact in field.
Headquarters Location: San Francisco, CA
Founded: 1965
Mission: Intersection pursues innovative models and strategies in order to assert the role that cultural space plays in building and re-building community. In fact, our work has always kept ever-evolving notions of "community" at its core. With the shifting dynamics of technology, time, audiences, and social space, we seek ways of forging deeper and more relevant connections. We believe that art can animate and engage community and neighborhood spaces like nothing else.
Tags:
bay area, arts & culture, art space, theatre, gallery, hybrid projects, live literature, jazz, education, community development
Summary
Stories
Expert Reviews
Leadership
From the Nonprofit
Leadership
Deborah Cullinan.
Deborah Cullinan is the Executive Director of Intersection for the Arts. She is also on the Boards of the California Arts Advocates and the Diabetic Youth Foundation and is a proud parent at Commodore Sloat Elementary School.
See full bio.
Financial Data
Overhead Ratio:
n/a
Total Revenue:
$3,202,789
From the Nonprofit
The nonprofit has not added any comments yet. If you are a representative of this nonprofit and would like to leave a comment, please email us at
feedback@myphilanthropedia.org
with your request.
Contact Info
E-Mail:
chida AT theintersection.org
Phone:
415-626-2787
Facebook:
Address:
446 Valencia Street
San Francisco, CA 94103, USA
Twitter:
Story:
Playwright, Erin Cressida Wilson, had this to say about her experience with Intersection for the Arts:
Intersection for the Arts is the most amazing arts organization I've ever seen in my life. There are other organizations in this country that say they do what Intersection does, and they are a lot more famous. But only Intersection does it with such complete conviction. They naturally and organically embrace their community through the arts, through theater and their readings, and they don't discriminate in any way.
You don't have to be this color or that ethnicity or that gender or sexuality to play on their ball field. For me, as a white woman writing about people on the edge -- some of whom are black, straight, gay, Latino -- I've had a very hard time breaking into some of these more famous institutions because my visual look doesn't correspond to what I am writing about. This is the only organization in the country that is organically interested in your work and not what grants they can bring in with it.
Meeting Sean [San Jose, Intersection program director]changed my life. Campo [Santo] did my play 'Hurricane' before they hooked up with Intersection. I had all but given up making theater because I could not find collaborators in this country. I had met Sean through the Bay Area Playwrights Festival in '85, and I showed him all my work, including my novella 'Trail.' He encouraged me and worked with me closely in turning it into a play for him. And then he was cast in it, and it became a work by Intersection. It was incredibly rewarding because I had all but given up writing. (Source: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/06/16/DDGU8D8DOK1.DTL#ixzz0xSCsBI5q)
Expert Reviews of Intersection for the Arts
Evidence of Impact Summary:
Intersection is a leader in the field, producing high quality work. Their audience - young, multi-racial - is among the most diverse in the region. Intersection is constantly looking to its immediate community in San Francisco's Mission District to make sure their art is a reflection of that community. They have been able to attack issues of race and class head-on. Their incubator program has nurtured hundreds of individual artists and fledgling organizations to artistic/financial independence and is an invaluable service -- one for which demand exceeds the organization's current capacity.See expert comments.
Organization Strengths Summary:
Above all, experts praise Intersection for their most outstanding, dynamic, visionary Executive Director, as well as the rest of the staff. They are firmly rooted in the community with real ties to the stories and lives of the people in their neighborhoods. Financially, Intersection has been run on a lean budget and produces far in excess of its budget and square footage. Finally, their Incubation program has been hugely important to many artists in the Bay Area.See expert comments.
Areas for Improvement Summary:
Experts' main criticism of Intersection is that they have outgrown their physical location so the quality of their work is being compromised. They need to build a more diverse board with financial strength to help them scale to the appropriate level. Some experts believe Intersection could be a little more thoughtful about the kinds of programs they run and could increase the variety in their work. They could improve their marketing efforts to reach a broader audience, as well.See expert comments.
Expert Comments: Evidence of Impact
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Impact |
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They create, produce, and distribute innovative, genre-breaking, high quality artistic work. They serve as an incubator and fiscal sponsor, providing infrastructure for many and a wide range of artists and arts organization. They are a leader in mobilizing multiple communities in creative holistic ways. They experiment with, articulate, and develop innovative partnerships re: the role and value of arts in non-arts sectors, e.g., technology, social services, education, etc. | ||
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Their productions are almost always terrific! Their houses are always full! Their audience - young, multi-racial - is among the most diverse in the region. They work in multiple art forms: dance, theater, music, visual arts. Their leadership is inspiring - specifically ED Deborah Cullinan and Artistic Directors Sean San Jose and Kevin Chen. Their community outreach programs run deep and are successful in both expanding audience and artistic collaborators. I can keep going.... | ||
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The education and community engagement programs, in particular, contribute to both the organization's local community as well as the arts and culture field in general by engaging participants in both the creative process and the administrative/business elements of both running an organization and producing work. It teaches young people the value of art and the realities of making it. It's artistic programming across a range of disciplines is also innovative and strong. The incubator program has nurtured hundreds of individual artists and fledgling organizations to artistic/financial independence and is an invaluable service -- one for which demand exceeds the organization's current capacity. | ||
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They have a consistent track record for creating and presenting challenging, high-quality artwork in theater, jazz, visual arts, and literature. They have developed a young, diverse audience for their work and a loyal following. Intersection's extensive fiscal sponsorship program helps emerging artists test their ideas and seek funding to realize them. | ||
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Intersection, a multidisciplinary arts organization in the Mission District, supports new work in theatre, dance, visual arts, music, and poetry/literary arts. By giving artists a "home" to make work, Intersection nurtures the next generations of creators in all disciplines. Over its nearly 50 year existence, Intersection has provided space for hundreds of artists and their audiences. | ||
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Intersection is simultaneously impacting the arts community and the Mission district where it is seated. Across the visual and performing arts, Intersection has a strong tradition of supporting local artists in realizing influential work. Beyond their programming, Intersection for the Arts also serves an important role as a fiscal sponsor for dozens of San Francisco artists. | ||
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Intersection incubates artistic programs and organizations. They serve as fiscal sponsor for over 100 Bay Area arts groups, enabling them to receive grants. They also educate and advocate for the Bay Area cultural sector. | ||
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Intersection is a terrific incubator of new work and incredibly supportive of artists. At the same time it is deeply involved in the community and strives to be as accessible and inclusive as possible. | ||
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Intersection has a cross-disciplinary reach in its programming in literature, visual art, theatre, dance, and music which is very ambitious for a small organization. Intersection is also one of the longest living cross-disc arts organizations in San Francisco. They have a very strong and meaningful neighborhood interaction as well as a wider civic and national engagement with social issues. | ||
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I have not personally worked with or been in a lot of contact with Campo Santo as I have with the other organizations I've recommended. That said, I have watched and read their materials for several years and I highly value their approach to engaging untrained community members in their creative process. This practical engagement in the arts and creative processes is what my work is most about and I appreciate that Campo Santo and Hybrid Project are a living example of it. They are not about arts as simply entertainment or patronage. In particular the Hybrid Project is such a great model to engage communities in issues that are important to them and utilize an artistic medium (theater) to inspire thought and action on those issues. I've been to their shows and heard of their approach to play making with Sean San Jose, the Campo Santo artistic director. He also just impresses me with his seriousness of purpose about how and why he makes his art this way and what art can do in the world. | ||
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Intersection has acted as a home and/or sponsor for many important emerging to mid-career artists in the Bay Area in creating and disseminating new work and voices. | ||
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Intersection for the Arts has greatly advanced Bay Area arts policy by co-leading the Arts Forum initiative. This initiative has hosted candidate forums on the arts and raised the visibility for the arts and culture sector as a whole. They also consistently produce high quality, culturally relevant artistic work (both visual and performing) through partnerships with Campo Santo and other Bay Area artists. | ||
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There is good awareness of this organization and its programs in the community, particularly in the Mission and SOMA. Their programs reflect and sometimes even shape the social and cultural life of these areas. | ||
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This organization is a leader in the field, nationally, in a number of ways. It's multidisciplinary is organic, breaking form in performance, literature and visual arts, and setting new standards for community integration. They have evolved a mix of micro-local community-based practices woven with leading artists in the national field; they've a deep commitment to diversity of cultural perspective, aesthetic, class, and age. It makes for a unique environment in the building, one where the quality of the art is top notch but the feel of it is that of a community organization. The leaders are very active in local and national cultural policy discussions. Particularly in their theater work, they are sustaining and promoting the careers and plays of important American writers whose aesthetics are more challenging for the mainstream nonprofit theater movement to embrace. These artists continue to impact the field, largely as a result of having such a deep and broad connection to Intersection and their audience. It's a remarkable achievement. I absolutely give the highest possible recommendation for this organization. | ||
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They are able to serve many artists/the public through varied programming. | ||
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Besides their challenging exhibitions and residency program, Intersection manages a incubator program that helps so many small organizations in the Bay Area in creating exceptional work of arts and performances. | ||
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Intersection for the Arts is authentically connected to the San Francisco community, and serves as an exemplar organization. They serve artists by commissioning new work and fiscal sponsorship of important projects. They engage the community in a larger dialogue about the issues of importance in today's society. | ||
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Intersection does a vast amount in a small space. The organization nurtures experimentation by its resident artists, offers them space to collaborate to create new hybrid dance/theater/music/visual/literary genres, and creates partnerships with dozens of other arts organizations, as well as community service and advocacy orgs. Productions at Intersection attack issues around race and class head-on, are unafraid of controversy, and provoke conversations that reverberate throughout the community. I think particularly of "Angry Black White Boy" and "Fist of Roses"... two collaborative pieces that addressed race/identity and domestic violence respectively. Not only was I moved by the performances, but the conversations they sparked continued for months across multiple communities of colleagues and acquaintances. | ||
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Being the largest fiscal sponsor of smaller arts and arts education endeavors in San Francisco they're providing a huge service to the community (both the artistic community and the community at large). | ||
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I find there's no other organization like Intersection that involves its neighborhood community into all aspects of its artistic process, and no one seems to do it as authentically as Intersection does. It has high impact in its community and high impact in the art it presents, which is always relevant and political. | ||
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Intersection is doing the most exciting, innovative work in the Bay Area, producing extraordinary art while at the same time experimenting deeply with structure. They are the first name that occurs to anyone wishing to study exemplary community engagement, or to look at an example of truly diverse audiences, but none of this is at the price of the quality of their art. | ||
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With programs already in place to support and present new theater, dance, music, and fine art, Intersection for the Arts reaches across disciplines and encourages cross-pollination of artistic ideas. | ||
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Intersection for the Arts has been willing to be a home for performance artists, writers and directors. This is an organization that is truly artist focused and connected with the community - particularly youth. | ||
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Intersection has had an impact through its development of new theater works, through its support of new work, and through it's collaborative process. | ||
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Situated in the Mission District, this organization reaches out to a diverse community and stages work that directly addresses the lives of its audience. | ||
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Intersection has done a brilliant job of connecting to the community of the lower Mission. They have developed work of relevance to the Latino community and to the low income community with whom they share proximity. The feeling (the vibe) of Intersection is one of openness and inclusivity. No one is made to feel like they don't belong when they cross that threshold. They have done very exciting work with young visual artists and muralists and graffiti artists. One feels like there is an authentic bridge being made with the streets, especially in the visual arts area. | ||
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Their incubation programs allows artists to develop projects at a pace that is appropriate for the work. They present a wide range of performance work that is nurturing cutting edge artists and these performances generally have community components that engage and educate. | ||
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I recommend Intersection specifically because of their incubator program, which allows small startup artists and groups the chance to develop over time under the wing of a larger, more infrastructure-heavy organization. | ||
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They are a small organization that serves diverse audiences, maintains core resident artists and arts organizations, and provides fiscal sponsorships for dozens or organizations. | ||
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Intersection has created an extraordinary model for synthesizing various art forms, including theater, visual arts, spoken word and music. Each form influences and is influenced by the other within the Intersection walls. And Intersection is constantly looking to its immediate community in San Francisco's Mission District to make sure their art is a reflection of that community. | ||
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Intersection has a strong community impact and a strong sponsorship program for artists. | ||
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Intersection is deeply connected to their community (San Francisco's Mission District) and a hotbed of artistic innovation in multiple disciplines. Intersection reaches out to partners across fields--social services organizations, major production houses like Cal Shakespeare Theatre, etc. It has a consistent voice in arts-related issues in San Francisco and the greater Bay Area. | ||
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Intersection for the Arts is another pillar of this community. Their programming is diverse and deeply rooted in each of the communities it serves. Intersection also runs a highly successful fiscal sponsorship program that makes it possible for so many small projects and organizations to run at all. | ||
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Over their 40+ years, they remain one of the most artist-focused groups in San Francisco. They present and teach art. They provide a valuable place for creative people to explore what it means to be human at any particular time. Intersection has maintained its original mission while being able to flex its services to meet the changing needs of the community. The greatest impact and most enduring force of Intersection is their intergenerational programming. It may not be measurable at this point in time, but I strongly believe that over time this intentional connection of creative older and younger people will yield not only excellent ideas , but also excellent opportunities to bridge the chasms of the novice and the experienced, the young and the old that are unfortunately encouraged in the broader western culture. Intersection has also been a supporter of Campo Santo, its resident theatre company for about 10 years. | ||
Expert Comments: Organization Strengths
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Outstanding Leadership and Staff |
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Their distributed staff leadership model is great. They are active in education and advocacy efforts. | ||
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They have smart leadership and creative approaches to making art and running an arts organization. Their relationships with artists and community members are sincere, profound and born of years of investment. | ||
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Their board and staff leadership are remarkable. The efficiency and effectiveness with which they operate is wonderful. | ||
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They have dynamic, visionary leadership, and staff. | ||
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This is an under-staffed organization that has made up for its size by hiring people who can wear many hats, work 24/7, and have a calling for what they do. | ||
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They have passionate and hard-working staff. | ||
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Several of the leaders worked together for over 10 years, giving the organization a very stable base while being very experimental in their programming. | ||
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They have strong leadership, at the Board and staff level. The leadership under ED Deborah Cullinan is exemplary. They are also well structured and solid from an operational point of view. | ||
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The long-term leadership and program staff-- Deborah Cullinan, Sean San Jose and Kevin Chen-- are universally respected. The support staff are hard-working and generous with their time and resources, often sharing resources and information with fellow nonprofits. Intersection's Fiscal Sponsorship program is a leader in the industry, and is crucial to the success of hundreds of independent artists. | ||
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The leader of this organization (Executive Director Deborah Cullinan) is one of the co-chairs of the California Arts Advocates, which I think plays a critical role in connecting smaller organizations and individuals to advocacy efforts that directly impacts their work. | ||
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It has terrific leadership under Deb Cullinan and the rest of staff is superb as well. | ||
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Intersection has strong leadership, and recently secured major capital funding. They have tremendously talented and committed staff. | ||
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I have observed the staff to be deeply committed, very skilled in creating great art with little resources and tuned in to the rest of the arts community in the Bay Area. I am not able to comment on finances or operations - other than an experience where the staff pulled together to provide support and fundraise for an ensemble member who was seriously ill. | ||
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Campo Santo is a great company (resident artists at Intersection) and Sean San Jose is a beacon of engaged, politically aware theater. His association with the Bay Area's hottest playwrights, Phillip Gotanda and Octavio Solis, etc. has been a real benefit to keeping theater alive and vital in the Bay Area. Also, Executive director, Deborah Cullinan, is one of the most articulate spokes people for interdisciplinary arts and artists in the region. | ||
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They have very strong executive director leadership. The ED is well informed, engaged, and active in broader city, state, and national advocacy. | ||
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They have great staff and operations. | ||
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Deborah Cullinan is a shining light, an indefatigable presence, a creative, patient team-builder. They have outstanding multi-media galleries and theatres, with a diversity of exhibits, performances, workshops, and community conversations. I will never forget their poetry presentation with offerings from the homeless. | ||
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The staff at Intersection is incredible. From the executive director to the interns, every staff member makes sure he or she is available to their audiences, funders, and artists. They take care to make wise choices about their future directions and it certainly is felt when you walk in their space. | ||
Community-First Focus |
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The leadership is stellar across the board. The group has a deep sense of place, with real ties to its surrounding community rather than simply being located there. | ||
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Consistent and stable leadership and a non-hierarchical staff structure characterize this organization. One great strength is its connection to community, both geographical in the Mission, and in affinities. Operating out of a comparatively tiny space, Intersection produces far in excess of its budget and square footage. | ||
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Intersection is deeply rooted in and draws inspiration from its neighborhood; they reflect back to the audience stories drawn from their own backyard. In addition, Intersection is incredibly resourceful with their finances, providing a lot of bang for the buck. | ||
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Deborah Cullinan is a leader who helps bridge areas of need. She is a very community based leader who has developed strategic partnerships with many organizations. They are currently looking to purchase a building that will allow for a deeper and more stable presence for this organization. | ||
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Intersection's incredibly deep roots in the community are also incredibly unique and vital -- I hope that more organizations can follow Intersection's lead to develop a pan-arts organization strongly and indelibly part of the community in which it lives. | ||
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Intersection has a major impact in their community. It also serves communities of color which are traditionally undercapitalized. | ||
Strong Financial Management |
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Intersection has a dynamic, brilliant executive director and strong leadership team. Its financial record-keeping and audits are clean and thorough. | ||
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The long-term leadership staff has remained loyal to the organization and have continually broadened and deepened the mission and programming. Their prudent financial planning has ensured their longevity. | ||
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They have managed to remain artist-focused throughout the tenure of the current leaders. Budgets have remained focused on art, the management and staff have remained lean and balanced. They remain entirely accessible to the neighborhood, even while achieving high marks in cutting edge work. | ||
Fiscal Sponsorship and Incubate Artists |
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Intersection has strong, active, and visible leadership and staff. They are also a reliable arts fiscal sponsor. | ||
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The Hybrid Project and Campo Santo with Intersection for the Arts as the umbrella for both have a really interesting way of holding a multidisciplinary arts space together while having very distinct programs and projects fluidly working through it. (They also have a jazz and visual art program at Intersection.) While I know the work of Campo Santo best, I think it a testament to Intersection that all these various projects are contained within the larger center and indeed intersect without subsuming any of the projects or thereby loosing the uniqueness and individual goals of these individual projects. I have seen that happen in many multidisciplinary arts spaces over the years and a general blandness seems to set in that I don't see with Campo Santo, The Hybrid Project, and their relationship to Intersection for the Arts. | ||
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They have creative, articulate, and committed staff leadership that consistently has forged new paths and ways of working within their local community and with multiple publics. They also act as an umbrella for other artists and groups who are developing new material and/or programs that diversify the range of cultural opportunities for creators and audiences. | ||
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Intersection has incredibly strong executive leadership in Deborah Cullinan. She is a highly respected and innovative leader in the arts and culture field. Intersection's fiscal sponsorship of small and mid-size non-profits is a huge asset to our sector and supports a diverse range of artistic work. | ||
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Intersections has been a local leader in the Bay Area Arts in artistic quality. They cultivate and incubate projects that develop local talent. | ||
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Intersection is an incubator that supports the new life of the written and spoken word, visual art exhibitions and installations, and jazz performances. Just take a look at the individual projects and programs that they support through the fiscal sponsorship program. The fiscal sponsorship and organizational consulting for newly formed arts groups is a valuable service to the community. Their criteria, process, and procedures are well stated. Intersection advocates for these creatives and provides a means for the public to donate to each of the incubator groups. The longevity of Intersection and its ability to share their connections and knowledge of how to form and sustain an arts project or a full fledged arts organization is outstanding. | ||
Effective at Marketing |
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They do great word-of-mouth marketing. They also partner with other organizations in the community. | ||
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Intersection has excellent leadership in Deborah Cullinan and their goals that are ambitious but not unrealistic -- that's because their goals are rooted in the community first. Their marketing is no-frills and as such, extremely honest and effective. | ||
Expert Comments: Areas for Improvement
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Build Out the Board |
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They could use increased diversification in revenue streams, a larger, stronger board of directors, and a new facility - more space for existing activities. | ||
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It has made some progress in board development, but should continue that effort to broaden the expertise on its board and bring on a few members with financial resources. It would benefit from a staff member dedicated to development. | ||
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Intersection has a relatively weak board for such an active organization. In addition, perhaps because of the relatively flat staff structure, "process" takes up more time than warranted. | ||
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They could use a larger board that can provide more financial support and leadership to help them find a new home facility for expansion. | ||
Larger Space and More Staff |
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They could pay their staff better (to avoid burn out). They could use more physical space to run programs simultaneously. They could partner with a better resourced mission-aligned partner - perhaps from the for profit sector. | ||
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Remaining in its current facility is starting to inhibit its growth and artificially curtail its potential greater impact. Many more people could be served via its community engagement, artistic programming, and incubator programming in a larger space and with more staff. The organization is well aware of this and to a large extent, the situation is outside its control, but worth mentioning. | ||
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Intersection could use facilities that would better allow them to maximize their ambitious vision. They are on their way, with significant foundation and city agency support, however individual donors will have to make a new facility come to fruition. | ||
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They need a more balanced earned to contributed income ratio. They need to expand their administrative and physical structure to enable the organization to increase artistic and technical assistance programs. | ||
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They need better physical space for presentation of exhibitions and events. | ||
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Personally, I think that Intersection needs a new building to host and conduct more programming and become a home for all the projects that they fiscally sponsor. | ||
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Intersection is at a critical juncture in its growth and needs to determine how best to reach the next level in its ambitions and organizational structure. | ||
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They could use a better venue. | ||
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We always want them to have more money, pay staff, and artists better. | ||
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Intersection needs to move to a larger space and they need to expand their gallery space if they intend on keeping that program. | ||
Being Spread Too Thin Negatively Impacts Quality |
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There is occasionally a disparity between their potential and their ability to create a sustainable, strategic plan that allows them to "scale." Their effort/yield ratio needs to be adjusted. | ||
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My sense is that the organization can spread itself too thin in taking on too many ideas and partnerships at once. The result can mean that the organization's engagement with any ONE issue (gender identity for youth, prison advocacy, domestic violence) can sometimes be superficial and limited. | ||
Better Marketing Strategies |
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The Hybrid Project seems to dive right in to heavy issues: War and Occupation of Iraq, HIV-Aids, Death and many others. Theater then makes a show and sometimes these issues are left opened up and by the way-side to move on to the next theater piece. Perhaps there would be a way to create some sustainable (off shoot activity) in the communities they engage in an issue before they move on to the next play. I say this knowing this is hard, they are a theater company after all, not a social service agency. Still what they do is powerful and it could be figured out how to build in on-going work around some of these issues. Also, they have pretty good email and online marketing but you don't hear of them much outside of San Francisco and in print, journals and Theater Bay area, etc. | ||
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They do what they do well but could be better known to general arts public. The gallery space is cramped and not optimal for the quality of the work shown. | ||
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An area for improvement would be to broaden their marketing efforts, though they do get work within their resources. | ||
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It seems like their marketing/communications could be improved with some funding. | ||
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They need to do more marketing outreach to non-members, people outside of their regular audience base. | ||
Take on Advocacy and Leadership Role |
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It would be great to see Intersection for the Arts increase their leadership role in the community. Deborah Cullinan is the main (and effective) public face of the organization, and it would be great to see other representatives of the organization out in the community more. | ||
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I would love to see them take an even more active advocacy role, perhaps more in the San Francisco Bay Area than statewide (necessitated by CAA leadership). | ||
Offer Even More Variety |
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They have a bit of an over-reliance on certain performers. | ||
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Intersection could, with additional resources, potentially have a more consistent programming schedule and could expand the circle of artists they work with most frequently. | ||
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There's abundant variety at Intersection -- it would be great to see even more variety in the kind of shows, music, and art swirling through the building. | ||
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They should run more intergenerational programs. | ||
Document Processes and Share with Others |
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They need time to codify their methodologies so that they can share what they are doing with the field. Too much of their great work is evaporating as it happens, not fully informing the field-- it's all so organic for them and so consuming that they are not always aware the fundamental difference between what they are doing and how its done in the rest of the world. Their impact is powerful on their community and on the region. There are companies all over the country that could be finding solutions to intractable problems with relevance, sustainability, and the art/community balance if they had time (and the incentive) to develop their role as a mentor to the field. | ||
More Thoughtful in Work |
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They have done some culturally specific work that I think needed culturally competent artistic guidance (quality of Spanish, really understanding and capturing in performance aspects of culture). | ||
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Intersection sometimes seems to teeter on the edge of allowing projects to overstay their welcome, and sometimes seems to allow locality and "home grown" to get in the way of quality of work. | ||
Broaden Horizons |
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Some of their resident artists could benefit from exposure beyond their cozy locale on Valencia Street. Also, while the resident artists are great, I sometimes think they are produced too much at the venue. It would be nice to see other artists and companies given some opportunities. | ||
Leadership
Deborah Cullinan
Executive Director
Executive Director
From the Nonprofit
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