Funding Strategies for Independent Artists Monday, April 21 | 6:30-8:30 p.m. *Workshop will be hosted by Art League Houston, in the Main Gallery. Art League Houston, Main Gallery 1953 Montrose Blvd. Houston, TX 77006 Join Fresh Arts’ Executive Director Jenni Rebecca Stephenson and professional composer and musician, Jerry Ochoa of Two Star Symphony, for an overview workshop on strategies and resources for individual artists seeking funds to support their professional art career. This workshop will cover: identifying grant opportunities (including several key local opportunities), increasing accessibility to additional funding through fiscal sponsorship, and securing individual contributions and institutional support. The workshop will also provide tips for creating and managing successful crowd-funding campaigns and offer examples of how local artists have successfully raised money for their projects. (Specifics on grant-writing and crafting proposals will NOT be covered in this workshop, but will be covered later in Fresh Arts’ workshop series.) This workshop will apply to all types of individual artists including those in the visual, performing, filmmaking, literary, and multi-disciplinary fields.

1. z
Spacetaker ARC Workshop

2. Funding Strategies for the
Individual Artist 3.0
 Grants
Contributions
Fiscal Sponsorship
Thinking outside the box
With Jenni Rebecca Stephenson, Fresh
Arts
Jerry Ochoa, Two Star Symphony

3. Money is ALWAYS the issue.
So, where do you find it?

4. This presentation will focus on:
Grant-seeking
Fiscal Sponsorship
Contributions
Crowdfunding

5. Let’s take a moment to check ourselves.
A quote:
“I think we need to dispel the myth of the
financially comfortable artist in the Houston
community. Or anywhere, really. All of the most
prominent and successful artists I know teach,
have day jobs, or have other sources of income.
There are only a rare few who live off their art
alone. It’s important to understand that– anything
else sets you up for disappointment.”
- A successful Houston artist

6. Know your strengths
…and weaknesses

7. Your answers will help shape
your strategy
If you answered yes to the first few
questions (i.e. you feel comfortable
“working it”),your tactics need to be
different than someone who would prefer
writing a dissertation!

8. A comprehensive strategy is ideal.
But given the demands on your time
(time better spent in a studio or
practice room), you need to prioritize based on
your
skill set and instincts.

9. Let’s start with the good written
communicators…
Grants.
Types of support:
•Public
•Private
•Direct
•Indirect

10. Grants…
Grants usually come from private foundations or from
governmental agencies. (Direct)
OR from contracted organizations who function as a
gateway for other (often governmental) funding-
i.e. HoustonArtsAlliance. (Indirect)
*There is usually more indirect support available for
individual artists than direct.

11. Why do funders… fund?
• Award artistic achievements
• Foster emerging artists as they develop their skills
• To support specific projects
• Who’s going to benefit?
• How much money will you need?
• What types of support do you need?
• And are you comfortable with the conditions?
And what are you trying to
accomplish anyways?

12. Your strategy depends on relationship between the
grant’s purpose (the funder’s desired outcome) &
your traits/work
Consider:
• Discipline or medium
• Does your work cater to a specific audience?
• Background and affiliation (career stage?)
• Location
• Ethnicity/gender
What is your best angle?
Examples: Doris Duke & Lydia Hance /
Amegy Bank & Winter Holiday Art Market

13. Identifying Grant Opportunities
One word:
GOOGLE.
Be specific in your queries. Start narrow, then
open up your criteria.
“individual artist grants Houston Texas” will obtain
better results than “arts grants”
Specificity will help narrow down the results to
those for which you’re ELIGIBLE.

14. Identifying Grant Opportunities
There are MANY clearing houses for grant information
(local arts agencies, service organizations like Fresh
Arts, professional associations, etc.).
Pro? They weed out the less
desirable opportunities.
Con? A lot of their information can
be incorrect and/or outdated.*
* We do the best we can!

16. Shortcuts? Not really.
 Best resources will be specific to each artist.
 Remember: there are no one-stop shops!
 Dedicate a few hours to research at least every 2 months
or so. (Make it a habit!)
 Sign up for every artist resource newsletter you can find.
(Create a junk email address for this & discipline yourself
to check it once every 2 weeks.)
 Create Google alerts for potential grants.
 Create a binder/calendar of potential grant opportunities
with tabs for each (organize by submission deadline &
proposal format)

17. Seriously?
…OK, fine. Here are a few good ones.
 Creative Capital http://creative-capital.org/ (sporadic cycles)
 United States Artists http://www.unitedstatesartists.org/ (must be nominated)
 National Performance Network http://www.npnweb.org/ (touring support)
 The Foundation Center http://foundationcenter.org/getstarted/individuals/
 The Foundation Center subscription service ($20/month)
http://foundationcenter.org/findfunders/fundingsources/gtio.html
(May be available at local libraries: http://grantspace.org/Find-Us )
 Sign up for alerts: http://foundationcenter.org/pnd/rfp/
 NYFA Source: http://source.nyfa.org/content/search/search.aspx?SA=1
 Art Deadlines List: http://artdeadlineslist.com/ (old school)
 Chicago Artist Resource: http://www.chicagoartistsresource.org/callforartists
 Mira’s List https://www.facebook.com/miraslist

18. Sample search through NYFA Source

19. And for a moderate investment ($75)…
remember, time is money.
* Again, some of
these resources
are available in
your local library
or at the United
Way!

20. Consider timelines.
…And how they relate to your motivation.
 Are you searching for a grant to fund a specific
project you already have in mind? (And is it
time-sensitive?)
 Are you open to the project parameters
dictated by the funder?
Grant cycles can be as long as 1-2
years ahead.

21. Example… Individual artist grants from the
Houston Arts Alliance
GRANT TERM: May 1, 2014–June 30, 2015
 Dec 2013: Application & Materials Due
 Jan 2014: Project/Fellowship Panel Review
 May 2014: Award Notification
 May 2014: Contract, Artist W-9 & Venue Confirmation Due
 May/June 2014: 1st Payment
 June 2015: Final Report Due (2nd Payment)

22. Timing of project & grant
payment (budgeting) is key.
Keep in mind that frequently funding is received
AFTER the project is completed, which means the up-
front investment (materials, etc.) is YOUR
responsibility.
 Is this a deal-breaker?
 Do you have a means to cover these initial
expenses?
 Do you have a well-defined budget including all
project costs? (Include marketing expenses & don’t
forget to pay yourself!)

23. Consider all scenarios.
You’ve applied for the grant, but…
 Ifyou are awarded the grant, are you 100% committed to
fulfilling the project?
 Ifawarded a portion of the funds requested, are you still
committed?
 Are your collaborators 100% confirmed?
 Isthe venue confirmed?
If project involves others, consider drafting a
Memorandum of Understanding (MOU).

24. Research!
 Obtaina contactpersonfor the grantswhichcatch your eye
 Developa relationshipwith funder& contactthem in
ways they prefer: Don’t know?Ask!
 Some funderspostpreviouslyfundedproposals!
 Reviewpreviouslyfundedprojects
 Get an ideaof what they’relookingfor
 Have they alreadyfundeda projectEXACTLYlike
yours?

25. All disciplines:
Idea Fund (Deadline usually in October)
Houston Arts Alliance Individual Artist Grant
(Deadline usually in December)
Houston Arts Alliance Arts Project Grant-
Outreach (Deadline usually in April)
Houston Arts Alliance Portable On Demand
Art project (NEW- December deadline)
For visual artists:
Hunting Prize (Deadline for submissions
usually in November)
The Big Show (Lawndale: intake in June
usually; also has great residency program)
Artadia Fund (Rotates from city to city; check
website for deadlines)
Houston Center for Photography Fellowship
(Opens in August)
Texas National Art Competition & Exhibition
(Deadline usually in February)
The Clare Hart DeGolyer Memorial Fund / The
Arch & Anne Giles Kimbrough Fund / The Otis
& Velma Davis Dozier Travel Grant
(Dallas Museum of Art: Jan deadline)
For writers:
Poets & Writers (Ongoing deadlines)
NANO Prize (Deadline in September)
Barthelme Prize (Deadline in August)
For dancers:
Weekend of Contemporary Dance (Not
always offered- check website)
Rice Dance Artist in Residence (Deadline in
April)
For musicians:
Ima Hogg Competition
For filmmakers:
Houston Short Film Fund (Deadline in
October)

26. For help writing the actual proposal…
Resources on grant-writing:
 Grant Space (service of the Foundation Center)
http://grantspace.org/Skills/Developing-Proposals
 Fresh Arts (Spacetaker) Artist Resource Library
http://www.spacetaker.org/artist_resource_center
 Stay tuned for ARC Workshop on grants in September/October 2013…

27. • Separate yourself from the grant.
• Try to inform, not seduce.
• Lead with your most visionary, distinctive work.
• Don’t try to second-guess a panel by pandering to funding
priorities.*
• Have someone read your proposal.
• If you ever have the opportunity to sit on a panel, do it.
• Always try to get panel feedback (if you’re accepted or rejected).
• Grant panels are filled with master artists, presenters, funders,
and critics.
Written by Andrew Simonet, From Artists U

28. Another moment of reflection…
• Are the applications too cumbersome or
intimidating?
• Are you worried about the requirements:
tourism or philanthropic components?
• Does it seem like more trouble than it’s worth?
• Do you feel like you have a chance? Are you at
the right level?
• Do you have eligibility concerns?

29. Eligibility
This is HUGE for individual artists!
Pay careful attention to requirements:
 Some won’t fund degree-seeking artists.
 Some won’t fund “interpretive” artists.
 Some fund only specific aspects of projects.
 Some require 501(c)3 status…

30. What to do about that 501(c)3
status?
Fiscal Sponsorship
…is one option.
Definition (from our friends at Wikipedia):
“…the practice of non-profit organizations offering their legal and
tax-exempt status to groups engaged in activities related to the
organization's missions; typically involving afee-based
contractual arrangement between aproject and an established
non-profit.”

31. Types of Fiscal Sponsorship
 Comprehensive Fiscal Sponsorship: Fiscally sponsored
project becomes a “program area” or project of sponsor org.
 Pre-approved Grant Relationship Fiscal Sponsorship: Fiscally
sponsored project has its own tax and liability issues; sponsor
oversees only toassure grant/donated funds are used for
specified project.
(most popular variety)

32. National* organizations who offer fiscal
sponsorship services:
 FracturedAtlas www.fracturedatlas.org/
 The Field www.thefield.org/
 NYFAwww.nyfa.org (NewYork Foundation for theArts)
*Be careful here! Some (not all) funders want fiscal sponsor in
same state as the granting institution.

33. The hoops you have to go
through:
 All contributions need to be filtered
through your fiscal sponsor (Usually
7-10 day turnaround.)
 To apply for grants, you either apply
individually (with a letter of affiliation)
or through a special grant system set
up by the fiscal sponsor
(…Like the Multi-Art Project Fund from the Rockefeller
Foundation)

34. To read more of the fine print…
Grantspace.org
http://grantspace.org/Skills/Fiscal-Sponsorship
(skill area for fiscal sponsorship)
Examples of policies & guidelines, ways to
approach fiscal sponsors…
http://grantspace.org/Skills/Fiscal-Sponsorship

35. Side-by-side Comparison of
The Field & Fractured Atlas
Annual
Fees
(Membershi
p)
% of
Donations
Taken
Ease of
Use Taxation Grants Benefits
The Field
$250+
6% /
$35 fee on
applications
Easy:
Detailed
P&L, but no
receipts
1099 to
artist
No initial
investment
Pro develop-
ment &
services in
NYC; Review of
proposals &
campaigns
Fractured
Atlas $95
7% up to
$150K
More
Detailed;
receipts
required
1099 to
artist
Must raise
$1,000 to
begin
Pro dev online;
Access to
group health &
liability
insurance
* The policies of these companies are subject to change.
Always double-check their user agreements.

36. The benefits of Fiscal Sponsorship
 Access togrants/services designed for the individual artist
(particularly The Field)
 Adegree of legitimacy (depending on the fiscal sponsor)
 Ability to apply for more grants
 Access to matching gift funds from corporations
 ATAX DEDUCTION for your contributors
 The ability toproduce work without the burden of nonprofit
administration

37. Additional benefits…
The door has now been kicked open to
approach individual funders: philanthropists,
family foundations, etc.
The goes back to the original question:
where do your strengths lie?
If confident in yourself and your work (as
well as have strong interpersonal skills and
network), seeking individual donations is a
good option.

38. Patronage is NOT dead…
patronage simply tends to go to
individual or personality-driven
nonprofits, rather than to unaffiliated
individuals.
a

39. Fundraising = Friend-raising
Fundraising, whether for a nonprofit or for yourself, is
about RELATIONSHIPS.
Start with your friends.
Your friends, family, and colleagues are the
foundation for a support network. Their support can
also be used to leverage OTHER funds.

40. Two examples:
 Photographer David Brown raised $8,000 to fund his
trip to France for Lens Culture FotoFest Paris to meet
with curators & photo editors
 Local bandTwo Star Symphony raised over $7,000 to
fund studio time to record the score for their
collaboration with Dominic Walsh DanceTheatre
Both almost entirely from individual
contributions!

41. What do these 2 projects have in
common?
 Money was raised for a very specific purpose
 Both are generally regarded as creating new,
innovative work
 Both have received significant press coverage
 Both parties went above and beyond a simple email
appeal

42. Cultivating advocates to support you and
your work:
 Stay in regular contact with those who buy your work or attend
your shows
 Communicate with patrons in a way that’s not esoteric,
sophomoric, or needy
 Keep it casual and low pressure
 When someone does you a favor, thank them (consider small
art gifts)
 Explore commissions; they’re a great way to develop
relationships

43. Think of the long haul
 Recognize your champions; treat them as such
 Work on developing relationships BEFORE you need
something
 Consider that even someone who might not be able to
afford your work might be willing to support you
Developing a supporter base doesn’t happen
overnight. Ask yourself:
“What can I do TODAY to move the ball forward?”

44. Caveat:
Think it’s tacky? Welcome to fundraising!
Most cultural institutions survive on donations. The average
performing arts org only covers 60% of its expenses with sales
revenue.
If working independently, it is likely your situation is no different!
Embrace the reality…And consider that many will happily
support your projects if only asked.

45. So… I see this a lot.

46. Crowdfunding
Over the past few years, Houston’s independent
artists have raised over $2 Million dollars on
crowdfunding platforms like Kickstarter &
IndieGoGo.
The “little guy” can totally score, too!

47. Crowdfunding
Crowdfunding allows you to present a project to a cultivated
audience to seek funding. It’s an online platform to
aggregate any fundraising efforts.
Popular Options:
• Kickstarter www.kickstarter.com
• IndieGoGo www.indiegogo.com
• Crowdrise www.crowdrise.com/online-fundraising
Crowdfunding is less direct & can make the artist/donor
relationship more comfortable.

48. Crowdfunding
From Glasstire:
Prompt: A New Hope-- Kickstarter!
• It's great.Artist as entrepreneur.(65%)
• It's digital panhandling. (25%)
• Vox populi, vox dei. (5%)
• To boldly fund where nobody has funded before!
(5%)

49. What crowdfunding does
 Showcases the campaign in a public
forum
 Expresses the fundraising campaign’s
need
 Presents the fundraising goal
 Aggregates &showcases fundraising
activity
 Incorporates social media, allowing
donors to engage with & share your
fundraising message

50. How crowdfunding works
 All campaign info lives on crowdsourcing site
 Campaign owner (you) designs giving levels &
corresponding “perks” for donations
 All donations filtered through site*
 Receipts & campaign updates go through site
 Crowdsourcing site retains a portion of the proceeds (% to
site, % to any 3rd party processors, etc.)
 Funds disbursed after campaign is completed to your
Paypal, Amazon or bank account
*UnlessyouareutilizingfiscalsponsorshipviaFracturedAtlas

51. A comparison
…Kickstarter vs. IndieGoGo
% of donation Benefit for giving If you fail…
Kickstarter 5% (plus CC fees) Agreement b/w
artist & funder
All $ returned to
funders
IndieGoGo 4% if goal met;
9% if goal NOT met
(plus CC fees)
Artist/funder
agreement
(possibility of tax
deduction)
% of funds
retained
*The policies of these companies are subject to change.
Always double-check their user agreements.

52. How to launch a successful
campaign
(Tips care of Two Star’s Jerry Ochoa)

53. 1. Make a video: low tech is OK! Introduce yourself,
demo the project, explain (briefly/succinctly) why it
matters, & personalize the ask
2. Scale giving categories & incentives to fit fundraising
goal (Don’t aim too low)
3. Assemble a team: Identify advocates for the project &
campaign and give them ownership
4. Maintain momentum: coordinate giving strategically to
maintain appearance of momentum

54. 5. Do the legwork: IndieGoGo is only a tool; blast
through emails, make phone calls, fundraising
receptions, etc.
6. Make donating as convenient as possible: if they say
they’ll donate, make it possible for them to do it NOW
7. Take advantage of FracturedAtlas: the tax donation
can be a great incentive
8. Follow through: campaign allows you to test the
scope of your support; stay on schedule and deliver
both the project & the promised benefitsASAP
Thank them several times & stay in touch!

55. Be specific.
 Patrons want to know the
scope &specifics of the
project.
 Visuals and examples speak
volumes.
 Adefined project and goal is
both actionable and attainable.

56. Get creative! And
set yourself
apart…
Leverage a successful campaign into a consistent
strategy to cultivate an ongoing network of supporters
and advocates.
And remember, whether it be grants or donations,
consistency & persistence are KEY.
Keep trying!

57. In your inbox tomorrow
 This PowerPoint
 Tips for a successful crowdfunding campaign (care of Two
Star Symphony’s Jerry Ochoa)
 List of grant resources (Links to articles with Best Practices;
Clearing houses to find opportunities)
 Info about upcoming workshops on
 Crafting & Understanding Contracts w/ Emily Watts and Erin
Rodgers (Tuesday, May 6, 2014)
 Writing for the press w/ Joel Luks, Molly Glentzer, Bill
Davenport (Wednesday, July 9, 2014)
 Survey

58. Spacetaker ARC Workshop