Asm cmppo ryp_artprize


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Resourcing your Practice - a guide for funding your career and a how to for writing compelling proposals as an artist.

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Asm cmppo ryp_artprize

  1. 1. Resourcing Your Practice: Managing a Hybrid Life INDEPENDENT ARTIST NYFA & ARTSERVE HOSTED BY ARTPRIZE October 6, 2010
  2. 2. Investing in your future Employment = People paying you to learn
  3. 3. BA Theatre Studies OSU 1992 - 1997 Archiving Assistant Theatre Research Institute OSU 1994 - 1997 Digital Archivist Assistant Allott & Lomax Consulting Engineers 1997- 1998 Marketing Associate Oregon Group Architects 1998 - 2001 Community Arts Services Associate Culture Works 2001 - 2002 VP, Community Arts Services Culture Works 2002 - 2003 Independent Curator and Consultant Self-employed 2003 - 2004 Administrative Director New Media Scotland 2004 Executive Director New Media Scotland 2004 - 2007 Director of Creative Industries ArtServe Michigan 2008 - Present Career History
  4. 4. <ul><ul><li>ArtServe is the leading statewide advocate for arts and culture in Michigan. </li></ul></ul><ul><ul><li>ArtServe Michigan equips and engages a growing grassroots network of advocates for arts, culture and arts education in Michigan. </li></ul></ul><ul><ul><li>Artists and arts and cultural organizations contribute significantly to Michigan's economic vitality. ArtServe programs connect you to resources, information and networks needed to remain competitive and expand support for our advocacy work. </li></ul></ul>Advocate. Support. Connect.
  5. 5. Creative Industries? <ul><li>Committed to developing and supporting the creative and professional potential of artists and creative practitioners working in Michigan. </li></ul><ul><li>Our programs and services are designed to unleash creativity , create confidence , support excellence and innovation , and provide knowledge and skill building to individual practitioners. </li></ul><ul><li>Director of Creative Industries? </li></ul>
  6. 6. Director of Creative Industries <ul><li>I work with both emerging and established creative industries practitioners who are working at the forefront of their respective disciplines. This includes: </li></ul><ul><ul><li>artists (performing, visual, sound/music, literary, film/video, art & technology and emerging fields) </li></ul></ul><ul><ul><li>designer-makers (craft artists - particularly those working with new technology and/or developing new materials or techniques) </li></ul></ul><ul><ul><li>designers (exhibition, experimental and socially-engaged practices) </li></ul></ul><ul><ul><li>architects (exhibition, experimental and socially-engaged practices) </li></ul></ul>
  7. 7. <ul><li>Artist </li></ul><ul><li>Curator </li></ul><ul><li>Arts Administrator </li></ul><ul><li>All shows and all work incur a financial cost. </li></ul>
  8. 8. Performance: Language Audiences Interaction Sculpture: Objects Spaces Making
  9. 9. Performance: Language Audiences Interaction Sculpture: Objects Spaces Making Technology
  10. 10. ‘ buying in does not mean selling out’. Oh and here’s some work with how they were resourced
  11. 11. A Country Road. A Tree. Evening. Philadelphia Fringe Festival, Pennsylvania, 16 - 19 September, 1999.
  12. 12. A Country Road. A Tree. Evening. Self-financed the materials of this work but won in-kind support for its presentation at the festival including travel, room, per diems, technical labor, invigilation, and sound and lighting equipment .
  13. 13. cross-platform, Intersculpt:uk 2003 Museum of Science and Industry Manchester, UK
  14. 14. cross-platform, Intersculpt:uk 2003 Museum of Science and Industry Manchester, UK Received small production grant of £1800 from Arts Council England ($3600)
  15. 15. <ul><ul><li>Revenue: Total amount a project or business receives to offset related expenditure. </li></ul></ul><ul><ul><li>Expenditure: Total amount of project or business costs including labor, materials, professional fees, marketing/pr, overhead, salaries, benefits and taxes, etc. </li></ul></ul>
  16. 16. <ul><ul><li>Self-Financed: Project or business that receives its main source of revenue from personal income, instead of acquiring it from external sources such as grants, exhibition/professional fees, commissions, investors or lenders. In most cases this is income earned as a salaried or hourly worker for an employer that an artist uses to support their practice. </li></ul></ul><ul><ul><li>In-Kind: Donations of goods and services rather than cash. </li></ul></ul><ul><ul><li>Production Grant: grant funds to produce a new self-initiated work of art. </li></ul></ul>
  17. 17. Gimbalgolf, Crazy Art Golf Show Northern Quarter Gallery Manchester, UK 2004
  18. 18. Gimbalgolf Received commission and exhibition fee from gallery part of a fundraiser exhibition for gallery
  19. 19. Mute Objects COMMISSIONED BY STOREY GALLERY//FOLLY//LITFEST Virtual Public Art Project, Sound and Video Production/Editing and Flash Action Scripting and Animation.
  20. 20. Mute Objects Received commission from Folly for virtual version and also received a £17,000 R & D grant from Arts Council England ($34,000)
  21. 21. <ul><ul><li>Commission: When an individual or organization employs an artist to execute a particular project, the process and the resulting work are termed a ‘commission’. </li></ul></ul><ul><ul><li>Exhibition Fee: Varying by size of organization and scope and duration of exhibition, these are the negotiated fees that the artist expects to be paid for exhibiting their work as part of solo, two-person, group shows, festivals and temporary works in the public realm. </li></ul></ul>
  22. 22. <ul><ul><li>R&D Grant: Research and development grants fund the first phase or prototyping of work. While these types of grants are most common in academia and in design professions, there are some funders interested in funding early phases of artworks. Public art and urban design competitions are examples of R&D funding when there are associated fees for developing the idea. Interdisciplinary idea competitions and prototyping tech competitions are also common examples in the US. </li></ul></ul>
  23. 23. Was part of a £17,000 R & D grant from Arts Council England and received £1000 enterprise funding from Sparc Aberdeen to develop it as a revenue generator for us and other designers on the site as earned income . Identityware
  24. 24. et dukkehjem Received a $5,000 travel bursary to Macedonia for exhibition, in-kind support , and $4,000 University of Michigan production grant . $3,000 Self-financed. Total project budget $12,000
  25. 25. <ul><ul><li>Enterprise Funding: Business or project seed funding to develop a business plan for a new product or service or to take a product or service through proof of concept. </li></ul></ul><ul><ul><li>Earned Income: Revenue from sales of admissions, tickets, subscriptions, products, services, artworks and memberships. </li></ul></ul><ul><ul><li>Travel Bursary: Typically an award, prize, scholarship or grant-in-aid to specifically cover travel related to expenses for research, exhibition, study, exchange, residencies, etc. </li></ul></ul>
  26. 26. <ul><li>Artist </li></ul><ul><li>Curator </li></ul><ul><li>Arts Administrator </li></ul>
  27. 27. <ul><li>Intersculpt:Ohio01 </li></ul><ul><li>Public Funding </li></ul><ul><ul><li>Received $7,389 project grant from Ohio Arts Council (OAC) through fiscal sponsorship </li></ul></ul><ul><li>Contributed Income </li></ul><ul><ul><li>2 x $1000 corporate sponsorship from Reynolds and Reynolds and NCR </li></ul></ul><ul><ul><li>In-kind equipment and technical support from 3D systems Corporation </li></ul></ul><ul><ul><li>Space rental and graphic design in-kind support from RBA and the Firefly Group as cash and in-kind match to (OAC council grant. </li></ul></ul>
  28. 28. Intersculpt:uk 03 Museum of Science and Industry Manchester, UK 2003 Received £18,350 project grant from Arts Council England (ACE) and cash and in-kind from various funders.
  29. 29. Received £30,000 project grant from Arts Council England (ACE) and cash and in-kind from various funders ($ Total Project Funding $80,000).
  30. 30. In-kind only
  31. 31. In-kind only
  32. 32. <ul><ul><li>Public Funds: National, state or local government grants. Funds come from government revenues generated through taxes, credits, savings, and interest. </li></ul></ul><ul><ul><li>Project Grant: Grant awarded for a specific project. Grant often requires a cash and in-kind match. Expenditure must be related directly to the planning, delivery and evaluation of the project within schedule and budget (some administrative costs and overhead can be included on a pro rated/percentage basis). </li></ul></ul><ul><ul><li>Fiscal Sponsorship: A financial and legal agreement that allows a recognized 501(c)(3) public charity to receive funds on behalf of and provide oversight for an artist initiated project or cause. </li></ul></ul>
  33. 33. <ul><ul><li>Contributed Income: Private donated funds for the arts come from individuals, foundations and corporations. </li></ul></ul><ul><ul><li>Corporate Sponsorship: Specific type of contributed income from corporations, often through their marketing and pr budget or through their corporate social responsibility and giving programs. </li></ul></ul><ul><ul><li>Cash and In-Kind Match: Cash and In-kind used to match a grant award given by a foundation, corporate or public funding body. Match funding is usually a requirement of public funding and with corporate and foundation it shows that you have worked to get support for your project prior to asking them to make an investment. </li></ul></ul>
  34. 34. <ul><ul><li>Other Types of Funding </li></ul></ul><ul><ul><li>Credit: Usually short-term interest and fee bearing finance useful for short-term cash flow. Should be avoided for long-term financing and sustainability. Visa, Master Card, Amex, Discover, Small Business Lines of Credit. </li></ul></ul><ul><ul><li>Loans: Also interest and fee bearing but usually with more competitive long term rates. </li></ul></ul><ul><ul><li>Micro-finance: financial services to low-income clients, including consumers and the self-employed, who traditionally lack access to banking and related services. </li></ul></ul><ul><ul><li>Barter/Exchange: (different from in-kind) </li></ul></ul>
  35. 35. <ul><li>Artist </li></ul><ul><li>Curator </li></ul><ul><li>Arts Administrator </li></ul>
  36. 36. <ul><li>got grants? </li></ul><ul><li>How? What’s the secret? </li></ul>
  37. 37. <ul><li>ALL GRANTS ARE FICTION. </li></ul>
  38. 38. <ul><li>To be successful they should be </li></ul><ul><ul><li>Rich in detail; </li></ul></ul><ul><ul><li>Precise and persuasive; </li></ul></ul><ul><ul><li>Timely; and </li></ul></ul><ul><ul><li>most importantly… </li></ul></ul>
  39. 39. <ul><li>Relevant and impactful </li></ul><ul><ul><li>To you and your practice </li></ul></ul><ul><ul><li>To the funders aims and objectives </li></ul></ul><ul><ul><li>To an audience or community of interest </li></ul></ul><ul><ul><li>So what is the process? </li></ul></ul>
  40. 40. Quotes from Will Hutton in The Observer 12/03/06 “ You’re 35 and experienced. Let’s face it, you’re useless” In a universe in permanent flux, we are no longer valuable for what we have accomplished and the experience we have gathered; we're valuable for what we might be able to do in the future.
  41. 41. <ul><li>Q & A </li></ul>[email_address]
  42. 42. <ul><li>Process </li></ul><ul><ul><li>Refer to my strategic plan and or goals </li></ul></ul><ul><ul><li>Write project abstract (who, what, where when, how, and why) </li></ul></ul><ul><ul><li>Research potential funders </li></ul></ul><ul><ul><li>Sketch out income and expense budget if applicable </li></ul></ul><ul><ul><li>Get guidelines, attend any workshops being offered, if possible meet with grant officer to discuss project </li></ul></ul><ul><ul><li>Prepare the application ( read guidelines again and again ) </li></ul></ul><ul><ul><li>Prepare your assets for the application ( resume, artist statement, bio, letters of support, artistic documentation ) </li></ul></ul><ul><ul><li>and then… </li></ul></ul>
  43. 43. <ul><li>Back to the Project Abstract ( what, who, why, how, where, and when) </li></ul><ul><ul><li>What is the project or idea? What will it do? </li></ul></ul><ul><ul><li>What do you want to achieve? </li></ul></ul><ul><ul><li>Who is responsible for the project? (Include the qualifications of this person, agency, etc.). Will anyone assist or collaborate? </li></ul></ul><ul><ul><li>Who is it for? What is your target audience/market? </li></ul></ul><ul><ul><li>Why is it important for you, the audience, and or the wider community? </li></ul></ul>
  44. 44. <ul><li>Project Abstract (con’t) </li></ul><ul><ul><li>How will it be accomplished? (Include any other sources of financial or material support). </li></ul></ul><ul><ul><li>Where will it happen? (Most funders have geographic areas) </li></ul></ul><ul><ul><li>When will it happen? What is the project’s time-line? (Be precise). </li></ul></ul><ul><ul><li>What is the expected outcome? </li></ul></ul><ul><ul><li>What is the impact/benefit to you, the audience, and or the wider community? </li></ul></ul>
  45. 45. <ul><li>Types of Proposals for Artists </li></ul><ul><ul><li>Fellowship Awards </li></ul></ul><ul><ul><li>Project, Production, Commissioning </li></ul></ul><ul><ul><li>Professional Development and Travel </li></ul></ul><ul><ul><li>Research and Development </li></ul></ul>
  46. 46. <ul><li>Sources of Grants for Artists </li></ul><ul><ul><li>Government </li></ul></ul><ul><ul><li>Foundations/Trusts (Private and Corporate) </li></ul></ul><ul><ul><li>Corporate Sponsorship </li></ul></ul><ul><ul><li>Individuals </li></ul></ul><ul><ul><li>In-kind sponsorship </li></ul></ul>
  47. 47. <ul><li>The ubiquitous mnemonics (SMART) – setting personal and project objectives </li></ul><ul><ul><li>Specific: Objectives should specify what they want to achieve. </li></ul></ul><ul><ul><li>Measurable: You should be able to measure whether you are meeting the objectives or not. </li></ul></ul><ul><ul><li>Achievable: Are the objectives you set, achievable and attainable? </li></ul></ul><ul><ul><li>Realistic: Can you realistically achieve the objectives with the resources you have? </li></ul></ul><ul><ul><li>Time: When do you want to achieve the set objectives? </li></ul></ul>
  48. 48. <ul><li>The ubiquitous mnemonics con’t (ARTS) </li></ul><ul><ul><li>Assets: Make them specific to each proposal - resume, artist statement, bio, letters of support, artistic documentation </li></ul></ul><ul><ul><li>Researched: Researched to be realistic, realizable, and appropriately resourced </li></ul></ul><ul><ul><li>Timely and Time-lined: why it is relevant now? How will the project be phased? </li></ul></ul><ul><ul><li>Strategic: how does the project achieve your overall aims and objectives for your career? </li></ul></ul>