The Museum possesses the largest collection of the world famous Gandhara Sculptures after Lahore. There is also a well appointed library in the Museum, which meets the needs of the scholars and students through its stock of 4600 books and references of arts and allied subjects.
Museum Case Studies
http://en.wikipedia.org/wiki/Museum
A museum is an institution that cares for (conserves) a collection of artifacts and other objects of scientific, artistic, cultural, or historical importance and makes them available for public viewing through exhibits that may be permanent or temporary.[1] Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside. Museums have varying aims, ranging from serving researchers and specialists to serving the general public. The continuing acceleration in the digitization of information, combined with the increasing capacity of digital information storage, is causing the traditional model of museums (i.e. as static "collections of collections" of three-dimensional specimens and artifacts) to expand to include virtual exhibits and high-resolution images of their collections for perusal, study, and exploration from any place with Internet.[citation needed] The city with the largest number of museums is Mexico City with over 128 museums. According to The World Museum Community, there are more than 55,000 museums in 202 countries.[2]
Powerpoint of presentation by Tamara Lavrencic prepared for Building Together:Tools for cultral places presented by M&G NSW in association with ACHAA in Sept 2014
Jump-Starting Data Standards I: Launching a Data Clean-Up ProgramCollectiveImagination
Presented by Merrianne Timko, Museum of Fine Arts, Houston, Data Standards Manager
Although standardization of data is crucial to the overall functionality of TMS, convincing curators that there can be only “one” way to catalogue a similar group of works can be challenging. However, when thousands of works in TMS need to have data standardized within a short period of time and with minimal resources, launching a data clean-up program is essential. Such a program should include a proposed timeline, a delineation of tasks and responsibilities, user-friendly guidelines, and new approaches to the utilization of TMS fields for melding a variety of cataloguing preferences.
Presentation from April 12, 2016 at the Advertising Research Foundation Event "How Advertising Works Now: The Consumer and Customer in Charge". Co-presenters were Kaywin Feldman and Kristin Prestegaard. Focus was on the strategy and implementation of audience engagement activities at the Minneapolis Institute of Art.
The Museum possesses the largest collection of the world famous Gandhara Sculptures after Lahore. There is also a well appointed library in the Museum, which meets the needs of the scholars and students through its stock of 4600 books and references of arts and allied subjects.
Museum Case Studies
http://en.wikipedia.org/wiki/Museum
A museum is an institution that cares for (conserves) a collection of artifacts and other objects of scientific, artistic, cultural, or historical importance and makes them available for public viewing through exhibits that may be permanent or temporary.[1] Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside. Museums have varying aims, ranging from serving researchers and specialists to serving the general public. The continuing acceleration in the digitization of information, combined with the increasing capacity of digital information storage, is causing the traditional model of museums (i.e. as static "collections of collections" of three-dimensional specimens and artifacts) to expand to include virtual exhibits and high-resolution images of their collections for perusal, study, and exploration from any place with Internet.[citation needed] The city with the largest number of museums is Mexico City with over 128 museums. According to The World Museum Community, there are more than 55,000 museums in 202 countries.[2]
Powerpoint of presentation by Tamara Lavrencic prepared for Building Together:Tools for cultral places presented by M&G NSW in association with ACHAA in Sept 2014
Jump-Starting Data Standards I: Launching a Data Clean-Up ProgramCollectiveImagination
Presented by Merrianne Timko, Museum of Fine Arts, Houston, Data Standards Manager
Although standardization of data is crucial to the overall functionality of TMS, convincing curators that there can be only “one” way to catalogue a similar group of works can be challenging. However, when thousands of works in TMS need to have data standardized within a short period of time and with minimal resources, launching a data clean-up program is essential. Such a program should include a proposed timeline, a delineation of tasks and responsibilities, user-friendly guidelines, and new approaches to the utilization of TMS fields for melding a variety of cataloguing preferences.
Presentation from April 12, 2016 at the Advertising Research Foundation Event "How Advertising Works Now: The Consumer and Customer in Charge". Co-presenters were Kaywin Feldman and Kristin Prestegaard. Focus was on the strategy and implementation of audience engagement activities at the Minneapolis Institute of Art.
"Grant Writing for Artists" by Ellen Lake from kala.org (ellen@kala.org) is a four hour workshop at presented at The Society for Photographic Education West Regional Conference at Humboldt State University, October 2013. Lake is an Oakland based media artist and Kala Art Institute's Grants Manager, combines lessons learned from her own art practice and experience in the arts administration to bring you the latest in funding trends. Ellen received her MFA from Mills College in 2002. She is the recipient of Bay Area Video Coalition's 2005/2006 Mediamaker Award, 2009 Sarah Jacobson Award, and 2012 Experimental Media Arts Lab residency award at Stanford University. She can be reached at ellen@kala.org.
The Ira A. Fulton Schools of Engineering believes that Fulton Student Organizations (FSOs) make a huge positive impact on the Fulton community. As a result, the Dean's Office offers FSOs the opportunity to apply for Dean's Funding at the beginning of the Fall and Spring semesters for up to $2000 in funding per semester. The team you'll work with throughout the process is the Fulton Undergraduate Student Engagement team. Learn more here: http://studentorgs.engineering.asu.edu/deans-funding/
Presentation by Valerie Liggins, LSW at the 2009 Virginia Health Equity Conference as part of the panel, "Show Me the Money - Strategies for Identifying Potential Funders and Writing Successful Grant Proposals."
Learn the in's and out's of Dean's Funding for Fulton Student Organizations. Applications for Fall '15 are no longer open, however please use this as a resource for your Dean's Funding activities!
PowerPoint Slides from the presentations that were done around the State of Minnesota which feature: the purpose of the grants program, recent legislative changes to the program and the new MHS Grants Portal.
Funding for Life Sciences: SBIR and STTR Grant BasicsSecureDocs
www.securedocs.com- Complete set of slides from a November 21st, 2013 webinar covering the SBIR and STTR Grant application process for Life Science companies. This webinar was presented by Jerry Knotts of the California Coast Venture Forum.
The purpose of this course is to train participants in the art of writing a persuasive project proposal that will win funding to enable the implementation of projects and the overall continue viability of their respective organizations and institutions.
The course is designed to be taught through Power Point presentation and slides with interactive visual of photos, clip arts and icons depicting meaningful connotation for each topic.
"Grant Writing for Artists" by Ellen Lake from kala.org (ellen@kala.org) is a four hour workshop at presented at The Society for Photographic Education West Regional Conference at Humboldt State University, October 2013. Lake is an Oakland based media artist and Kala Art Institute's Grants Manager, combines lessons learned from her own art practice and experience in the arts administration to bring you the latest in funding trends. Ellen received her MFA from Mills College in 2002. She is the recipient of Bay Area Video Coalition's 2005/2006 Mediamaker Award, 2009 Sarah Jacobson Award, and 2012 Experimental Media Arts Lab residency award at Stanford University. She can be reached at ellen@kala.org.
The Ira A. Fulton Schools of Engineering believes that Fulton Student Organizations (FSOs) make a huge positive impact on the Fulton community. As a result, the Dean's Office offers FSOs the opportunity to apply for Dean's Funding at the beginning of the Fall and Spring semesters for up to $2000 in funding per semester. The team you'll work with throughout the process is the Fulton Undergraduate Student Engagement team. Learn more here: http://studentorgs.engineering.asu.edu/deans-funding/
Presentation by Valerie Liggins, LSW at the 2009 Virginia Health Equity Conference as part of the panel, "Show Me the Money - Strategies for Identifying Potential Funders and Writing Successful Grant Proposals."
Learn the in's and out's of Dean's Funding for Fulton Student Organizations. Applications for Fall '15 are no longer open, however please use this as a resource for your Dean's Funding activities!
PowerPoint Slides from the presentations that were done around the State of Minnesota which feature: the purpose of the grants program, recent legislative changes to the program and the new MHS Grants Portal.
Funding for Life Sciences: SBIR and STTR Grant BasicsSecureDocs
www.securedocs.com- Complete set of slides from a November 21st, 2013 webinar covering the SBIR and STTR Grant application process for Life Science companies. This webinar was presented by Jerry Knotts of the California Coast Venture Forum.
The purpose of this course is to train participants in the art of writing a persuasive project proposal that will win funding to enable the implementation of projects and the overall continue viability of their respective organizations and institutions.
The course is designed to be taught through Power Point presentation and slides with interactive visual of photos, clip arts and icons depicting meaningful connotation for each topic.
Ann Baillie - Manager of Training & Professional Development, M&GSQ
1. Securing Funding Workshop Toowoomba 29 & 30 April 2010 Museum & Gallery Services Queensland Museum and Gallery Services Queensland Limited is funded by the Queensland Government through Arts Queensland and is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, state and territory governments. Museum and Gallery Services Queensland is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. .
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12. How do funding bodies make decisions? M&GSQ Securing Funding Workshop 2010
13. How do they make decisions? Applications are assessed against criteria based on the program’s aims M&GSQ Securing Funding Workshop 2010
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15. Arts Queensland State Government Grants for career development (up to $5,000) are assessed internally by staff and are approved by the delegate of the Minister of the Arts. Development and Presentation Grants (up to $50,000) are assessed in five steps- a mix of internal, peer and political assessment. M&GSQ Securing Funding Workshop 2010
16. Arts Queensland Sector Project Grants Step 1: Applications within each artform are short-listed by Arts Queensland staff against the assessment criteria. Step 2: Industry experts provide written referee reports for short-listed applications using the assessment criteria. Step 3: The relevant Arts Queensland Director considers the industry expert assessment reports and prepares a list of recommendations within their budget allocation. M&GSQ Securing Funding Workshop 2010
17. Arts Queensland Sector Project Grants Step 4: Recommendations are moderated internally by Arts Queensland before being submitted through the Deputy Director-General, Arts Queensland to the Minister. Step 5: The Minister determines the funding outcomes. M&GSQ Securing Funding Workshop 2010
18. Arts Queensland major sector grants Arts Qld Staff Industry expert Industry expert Industry expert Arts Qld Director Moderation by Arts Qld Minister for the Arts Check eligibility do short list against the assessment criteria W rite referee reports for short-listed applications using the assessment criteria Each Director considers the assessment reports and prepares a list of recommendations within their budget allocation. The relevant Arts Queensland Director considers the industry expert assessment reports and prepares a list of recommendations within their budget allocation. Recommendations are moderated internally by Arts Queensland before being submitted through the Deputy Director-General, Arts Queensland to the Minister.
19. Australia Council Staff check eligibility but Grant applications are assessed by peers, defined by the Australia Council as people who, by virtue of their knowledge and experience, are equipped to make a fair and informed assessment of artistic work and grant applications ATSIA VISUAL ARTS COMMUNITY PARTNERSHIPS DANCE LITERATURE MUSIC THEATRE INTER ARTS STAFF CHECK
25. Outcome Report & Financial report; Cannot apply again until this is done Grant Acquitted Project Completed Any Changes to the project must be negotiated Project Commences Grant Awarded Conditions of funding; may need to do something extra; must acknowledge funding body Funding Agreement May or may not fully fund Assessment Process Eligibility checked; statistics recorded Administration By the funding deadline Application lodged
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28. Workshop Exercise: Designing a project 1. Name of applicant (group/organisation or individual): 2. Think about what you want to do and write it clearly in a short paragraph 3. Think about why you want to do this project: For you, the applicant: For your community For the wider population 4. Give your project a name M&GSQ Securing Funding Workshop 2010
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31. Post Workshop Exercise: Designing a project 5. Write up your thoughts; not just about your project, but about the background to it; What’s been going on? For your group or your community. What are the issues? What is the need the project will address? This is a thinking exercise to help you formulate your thoughts and find the right words to communicate your project ideas. 6. What will this project achieve? (Project aims) M&GSQ Securing Funding Workshop 2010
35. Post Workshop Exercise: Designing a project 10. Fill out the funding application form Answer the questions. Don’t send them an essay. M&GSQ Securing Funding Workshop 2010
36. Post Workshop Exercise: Designing a project 10. Fill out the funding application form Answer the questions. Don’t send them an essay. Think always about the person reading it. Be clear, don’t waffle and don’t repeat. If writing is not your thing, find someone to be your grant writer. Get other people to read it for sense & to proof read. M&GSQ Securing Funding Workshop 2010
37. Post Workshop Exercise: Designing a project 10. Fill out the funding application form Answer the questions. Don’t send them an essay. Think always about the person reading it. Be clear, don’t waffle and don’t repeat. If writing is not your thing, find someone to be your grant writer. Get other people to read it for sense & to proof read. Be selective about the support material you send. Make sure it’s good. Send them only as much as they ask for. M&GSQ Securing Funding Workshop 2010
38. Post Workshop Exercise: Designing a project 10. Fill out the funding application form Answer the questions. Don’t send them an essay. Think always about the person reading it. Be clear, don’t waffle and don’t repeat. If writing is not your thing, find someone to be your grant writer. Get other people to read it for sense & to proof read. Be selective about the support material you send. Make sure it’s good. Send them only as much as they ask for. Ask for what you need. No more, no less. Budget accurately. Include the value of in-kind support. If you don’t think the grant is enough, go elsewhere as well. M&GSQ Securing Funding Workshop 2010
39. Post Workshop Exercise: Designing a project 10. Fill out the funding application form Answer the questions. Don’t send them an essay. Think always about the person reading it. Be clear, don’t waffle and don’t repeat. If writing is not your thing, find someone to be your grant writer. Get other people to read it for sense & to proof read. Be selective about the support material you send. Make sure it’s good. Send them only as much as they ask for. Ask for what you need. No more, no less. Budget accurately. Include the value of in-kind support. If you don’t think the grant is enough, go elsewhere as well. Do not rip off artists and other professional workers. INCLUDING YOURSELF! (NAVA Fees schedule- Chapter 5) M&GSQ Securing Funding Workshop 2010
40. Post Workshop Exercise: Designing a project 10. Fill out the funding application form Answer the questions. Don’t send them an essay. Think always about the person reading it. Be clear, don’t waffle and don’t repeat. If writing is not your thing, find someone to be your grant writer. Get other people to read it for sense & to proof read. Be selective about the support material you send. Make sure it’s good. Send them only as much as they ask for. Ask for what you need. No more, no less. Budget accurately. Include the value of in-kind support. If you don’t think the grant is enough, go elsewhere as well. Do not rip off artists and other professional workers. INCLUDING YOURSELF! (NAVA Fees schedule- Chapter 5) Get advice. Who else can help you? Funding body staff can seldom help you design your project. M&GSQ Securing Funding Workshop 2010
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42. RECAP: Who Funds What Quiz 1. Gambling Community Benefit Fund/ Jupiters Casino Community Benefit Fund 2a. Eligibility? 2b. Like most funds NO retrospective funding. 2c. On line registration- once done can be reused for future applications. 2d. Yes- have to phone and request one. 2e. 3 M&GSQ Securing Funding Workshop 2010
43. RECAP: Who Funds What Quiz Q3. DEWAR NATIONAL HISTORIC SITES- for nationally significant historic sites Q4. National Library of Australia- Community Heritage Grants & Regional Arts Development Fund 5. Contemporary collections/stories Q5. DEPARTMENT OF THE ENVIRONMENT, WATER, HERITAGE AND THE ARTS – VISIONS OF AUSTRALIA Purpose: Provides funding to organisations to develop and tour exhibitions of Australian cultural material across Australia . Eligible projects: Exhibitions must tour to venues across Australia, one of which must be in different state or territory than the one the tour originated from. M&GSQ Securing Funding Workshop 2010
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Editor's Notes
Welcome everybody Thanks to Cobb & Co and Vicki Warden for the venue M&GSQ is a not for profit company ltd by guarantee; chief stakeholders MA Qld & RGAQ M&GSQ chief sources of funding are Queensland Government through Arts Qld and the Australia Council In the room today Deborah Beattie, General Manager, M&GSQ and Aimee Board and I both work for TPDP, M&GSQ We all are have to be active ourselves is seeking and acquitting funding. I’ll now pass to Aimee Board, who would like to hear from you about your funding aspirations and successes.
The FOLDER Running order & eval form in front pocket Yellow cover card- shows order of materials in folder After yellow- notes from this ppt and exercises you will do in this first session
Thanks to Chris Stannard ( QCAN, Consultant, Tanks in Cairns) whose extensive experience as a grant applicant and peer assessor has gone into this presentation
Explain the principles Arms Length Funding means that funding decisions are made not by government, but by a body that government sets up to do so. It distances the government from the assessment process and from the decisions that are made. Arms length funding also means that the funding body does not interfere with the organisations or the activities that they fund. Funding a project is not the same as commissioning a project. Funding bodies do not get to decide what happens, when and by whom. They are simply given a proposal and they either fund it or they don’t. Eg Australia Council set up to distance the federal government from individual grant decisions via a process of peer assessment. This not only helps to protect artists from political interference but also protects the government. Who remembers the scandal surrounding Roz Kelly’s white board? Peer Assessment means that the people making funding decisions are our peers. They are like us, the applicants. They might be arts, cultural workers, community workers, often with expertise in a particular field. The idea is that they would have a better understanding of the applications and can make more informed decisions than politicians and bureaucrats who don’t actually work in the field. Internal assessment applies in some funding bodies where officers are given the task of doing preliminary assessment reports and offering some background information that the peer assessors might not know. It can allow for officers to assess an application on eligibility and administrative criteria before it goes to peer assessors for the more competitive criteria. Go through PPTs showing the structure of assessment processes for different funding bodies. PPT (x6)
Step 2: Arts Queensland assigns up to three industry experts per artform, including advisors with an understanding of social justice issues (if applicable) to the shortlist of applications. Step 1: Arts Queensland officers determine which applications are eligible against the assessment criteria and prepare a short list of applications. Step 3: Each industry expert considers the shortlist of applications against the assessment criteria and prepares a written assessment report that evaluates the extent to which the application meets the assessment criteria. Step 4: The industry expert assessment reports are submitted to the relevant Arts Queensland Director. Each Director considers the assessment reports and prepares a list of recommendations within their budget allocation. Step 5: Recommendations are moderated internally by Arts Queensland before being submitted through the Deputy Director-General, Arts Queensland to the Minister who determines the funding outcomes. Yellow = Internal Assessment Green = Peer Assessment Blue = Political
Decision-making Peer assessment and decisions at arm’s length from the Australian Government are fundamental tenets of the Australia Council’s structure and decision-making process.
Decision-making Peer assessment and decisions at arm’s length from the Australian Government are fundamental tenets of the Australia Council’s structure and decision-making process. Grant applications are assessed and policies determined by peers, defined by the Australia Council as people who, by virtue of their knowledge and experience, are equipped to make a fair and informed assessment of artistic work and grant applications. Assessment of your application Your application will be assessed against the published selection criteria for the relevant grant category. Assessments of applications and grant decisions are made primarily on the basis of the information supplied by you in your application and accompanying support material. Those making the decisions may also take into account information from other sources, such as: • their attendance at performances and other events • reports from members of the register of peers who may be asked to provide formal assessments of designated works • reviews, videos and recordings, referee reports and other material • any previous Australia Council grant acquittal reports and performance agreements you may have completed • communication with state and territory arts agencies. While your application may meet the stated selection criteria, you are not guaranteed a grant. The Australia Council receives many more applications than it can support. The success of your application rests ultimately on the merits of your proposal against published criteria and in competition with all the other applications considered for funding. Even if successful, your application may not be funded to the amount you have requested. Conflict of interest code The Australia Council’s conflict of interest code ensures that any conflicts of interest, whether actual or perceived, do not influence discussion about, or decisions on, grant applications. The Code requires that grant applications be deemed ineligible when a member of the peer body making the grant decision is also the applicant or is the sole or major beneficiary of the grant through a third party.
Decision-making Peer assessment and decisions at arm’s length from the Australian Government are fundamental tenets of the Australia Council’s structure and decision-making process. Grant applications are assessed and policies determined by peers, defined by the Australia Council as people who, by virtue of their knowledge and experience, are equipped to make a fair and informed assessment of artistic work and grant applications. Assessment of your application Your application will be assessed against the published selection criteria for the relevant grant category. Assessments of applications and grant decisions are made primarily on the basis of the information supplied by you in your application and accompanying support material. Those making the decisions may also take into account information from other sources, such as: • their attendance at performances and other events • reports from members of the register of peers who may be asked to provide formal assessments of designated works • reviews, videos and recordings, referee reports and other material • any previous Australia Council grant acquittal reports and performance agreements you may have completed • communication with state and territory arts agencies. While your application may meet the stated selection criteria, you are not guaranteed a grant. The Australia Council receives many more applications than it can support. The success of your application rests ultimately on the merits of your proposal against published criteria and in competition with all the other applications considered for funding. Even if successful, your application may not be funded to the amount you have requested. Conflict of interest code The Australia Council’s conflict of interest code ensures that any conflicts of interest, whether actual or perceived, do not influence discussion about, or decisions on, grant applications. The Code requires that grant applications be deemed ineligible when a member of the peer body making the grant decision is also the applicant or is the sole or major beneficiary of the grant through a third party.
Yellow = Internal Assessment Green = Peer Assessment Blue = Political The Gambling Community Benefit Fund Committee is an independent committee appointed by the Deputy Premier, Treasurer and Minister for Infrastructure to make recommendations on grant applications to the Fund. Each member brings knowledge and experience to the decision-making process, along with a capacity to appreciate the community context in which applicants operate. Committee members are appointed for a three-year term. Egs. of backgrounds: a cademic arena , business management, University Librarian member of the community services group, the Zonta Club, Royal Life Saving Society Queensland Inc., Clubs Queensland, Services Club, Service to Sport award, social worker with a strong interest in building connections within the community. Endeavour Foundation as Area Manager for Disability Services in the Central Queensland and Wide Bay Region, representative of the Indigenous community and an elder of the Ngugi people of Quandamooka (Moreton Bay), Queensland Hotels Association Committee.
Yellow = Internal Assessment Green = Peer Assessment Blue = Political
Group exercise: 15 min In pairs, small groups or as individuals, participants write your answers to questions (1-4). See Designing a Project exercise after the ppt notes for this session in your resource folder
Feedback:30 min The trainer asks for 3 volunteers or one table or half of a room to think as an assessment panel and ask for information that they think an assessment panel would want from an applicant. Although they do not offer funding decisions. Ask Sally Hinz & Mandana & Kerri & Nicole? To come to chairs out front Volunteers are asked to address the panel by reading what they have written for questions 1-4. Trainer allows about 5 minutes per applicant before summing up and asking for a new volunteer to read to a new panel. Repeat this feedback process until the aims of the exercise have been achieved; ie: applicants realise that assessment panels need educating about the work you do or the field of practice you are working in. Cannot assume that assessment panels will understand the nature and value of your project participants experience the role of assessment panels participants see how a project idea can develop through discussion with other people
Introduce the second page of questions. These are for participants to complete after the workshop. Explain how writing up your thoughts is a way of becoming clear in yourself on what your project is all about finding the words to describe and promote your project in funding applications press releases letters to sponsors letters to other community groups, project participants and partners.
Letters of Support. Warn of the danger of writing support letters for others to sign. Assessment panels can tell when this is happening and don’t like it. Better to explain the project and let people describe in their own words how the project will benefit them and how they would like to be involved. This helps the applicant to design the project in a way that will better benefit their partners and supporters provides the applicant with an indication of their interest and commitment.
See Who Funds What Quiz in resource folder. Refer to M&GSQ grant h’outs in the workbook and draw attention to the array of application forms and guidelines in the folders
See Who Funds What Quiz in resource folder. Refer to M&GSQ grant h’outs in the workbook and draw attention to the array of application forms and guidelines in the folders
See Who Funds What Quiz in resource folder. Refer to M&GSQ grant h’outs in the workbook and draw attention to the array of application forms and guidelines in the folders
See Who Funds What Quiz in resource folder. Refer to M&GSQ grant h’outs in the workbook and draw attention to the array of application forms and guidelines in the folders
See Who Funds What Quiz in resource folder. Refer to M&GSQ grant h’outs in the workbook and draw attention to the array of application forms and guidelines in the folders