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Similaire à Margo Quan Knight's CityArtist Projetcs presentation
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Margo Quan Knight's CityArtist Projetcs presentation
- 1. • How to find opportunities • 6 application tips Grant Hunting
- 6. • Start the application early • Use their language • Think like an investor • Plan the details • Proofread • Be greedy Applying
- 7. • Start the application early Start early
- 9. • Go to the organization’s website and read their mission and vision • Use their language in your application Use their language
- 12. • Why should an organization place their bet on you? • Choose work samples that • Demonstrate past success • Relate to the current project • Are easy to see / understand! Think like an investor
- 13. • Demonstrate past success • Relate to the current project • Are easy to see / understand! Work samples
- 24. • Nail down as many of the project details as possible • Leave room for flexibility Plan the details
- 27. • Don’t skip this step!! • Proofread for grammar, spelling, and clarity • Use terminology everyone can understand Proofread
- 28. • Apply to more than one grant Be greedy
Notes de l'éditeur
- Illustrating this talk with some silly photos from early in my art career, to keep you awake. This applies whether applying to this grant, other grants, residencies, art school, etc. I’ll share my work sample, which Irene mentioned was an area where many applications could be stronger. Ask questions as we go!
- How to find opportunities? Option 1: research
- Go to Artist Trust’s website, click on Opportunities.
- Opportunities: Shortcut: pick someone else’s brain
- Look at another artist’s CV and see what grants they’ve received.
- These are my 6 pearls of wisdom.
- These are my 6 pearls of wisdom.
- Let’s talk about time Start in advance!!! When I find grant opportunities, I put them on my calendar for the next year, a month in advance It does take time. 1-2 weeks for me to write proposal Set yourself a pre-deadline a couple days in advance to avoid last-minute panic Starting early also means you have time to contact the organization if you have questions. Tip: go through the whole application first and list ALL your questions, so you can make the most of your time when you do get to talk with someone. Don’t be remembered as the annoying person! Applying to a grant is a great opportunity to flesh out a project you already had in mind. Deadline can be helpful to ensure it gets done! Even if you don’t get the grant, you’ll have a clearer idea of what’s necessary to do the project.
- You want something and they want something. Take a minute and think about what the grant agency’s goals are. (cheerio worm)
- What do you get from this? Identify key words. Seattle. Everyone. Engage. Diverse. Ensure the grant is a match for what you’re doing, not a waste of your time. If my project takes place in Portland, not a match. This funder wants to activate SEATTLE. Consider tailoring your project to align with their mission/ vision. For example, I added a workshop component to my project to allow underserved youth in South Seattle to engage hands-on with my art ideas. Make it easy for them to understand how you can help them meet their goals. What terms does the application use? Use those when writing. Make it as easy as possible for the granting agency to understand your project in their world-view.
- When the grant agency reads your application, they are looking to see whether you are a good investment. If other people are betting on you, the granting agency will feel that they are not taking a big risk if they also place a bet on you. This is the same thing with galleries. Make sure your application shows that other people are betting on you. If you get one good thing- a venue, support, then piggy back on that- use that as the foundation for getting more support. Have you received support from any other institutions for part of the project? Money, Donations of materials, the use of space or equipment, etc? My mom donates use of her car, studio space. Ask a friend if they’ll document the show opening.
- My project proposal was about “conversation.” How to use document what is not visible. I’m a photo-based artist, so work is informed by photographic ideas about the trace, relation between an image and it’s referent, and light sensitivity. Silhouette (Laura) (INSTALLATION VIEW) Year: 2013Clear varnish silkscreened onto clear acrylic (plexiglass). The varnish is almost invisible, but when lit with a spotlight it casts a shadow on the back of the frame. Why included this? An example of early research I’ll continue working on with this project. Had to move and stop the research. Recent work.
- Silhouette (Laura) (INSTALLATION VIEW) Year: 2013Clear varnish silkscreened onto clear acrylic (plexiglass). The varnish is almost invisible, but when lit with a spotlight it casts a shadow on the back of the frame. Why included? Since hard to see in fullsize view.
- Screen shot 2011-03-06 at 7.35.35 PM (Bing) INSTALLATION VIW Year: 2011 Acrylic paint on canvas. This series is based on Skype video screenshots. I rebuilt the digital screenshots on canvas, placing a dot of clear glossy paint for each white pixel. The image is only visible when light shines on the glossy paint. Why included? A relatively recent project on a similar theme. It also dealt with “invisible images,” images that are light sensitive. Shows continuity in my work- that I’m continuing to research in a specific area of inquiry. Shows I’m capable of executing projects to exhibition quality, and professionally documenting the work.
- Screen shot 2011-03-06 at 7.35.35 PM (Bing) (DETAILS) Year: 2011 Why include? To clarify how the piece works. It is “light sensitive” which is not apparent from one still image.
- Screen shot 2010-11-14 at 5.54.39 PM (Brooke) INSTALL'N VIEW Year: 2012 Acrylic paint on canvas. This series is based on Skype video screenshots. I rebuilt the digital screenshots on canvas, placing a dot of clear glossy paint for each white pixel. The image is only visible when light shines on the glossy paint. Why included? To show that the previous work was not a one-off, but part of a larger series. Shows that I can investigate a topic in depth, not just with one piece.
- Screen shot 2010-09-24 at 6.24.31 PM (Philip) INSTAL'N VIEW Year: 2011 Glass, silicone. To make this mosaic, I rebuilt a Skype video screenshot portrait pixel by pixel using bits of safety glass that I collected from broken car windows. The portrait visible in the glass is very fragile; it gets lost when the work is backlit. Why included? Again, work is on a similar theme. It also dealt with “invisible images,” images that are light sensitive. Shows continuity, Shows I can complete complex projects at exhibition-level production quality (not just a studio shot- the piece has been completed, framed, installed).
- Screen shot 2010-09-24 at 6.24.31 PM (Philip) (DETAILS) Year: 2011 Why include? Again, reveals alternate state of the work.
- Chris 1962, Chairs Year: 2009 This photograph is part of the series Underphotos. I photographed framed photos at an angle, capturing reflections on the glass picture frames. My resulting photo is also framed under shiny plexi so it will again reflect the room in which it hangs. Example of older work, 5 years ago. Shows continuity, depth of research- continuous research on concept of interactive photos. Again, an installation shot. Purposefully chose work that was displayed at a local gallery- people on the panel might have seen the show and recognize the work.
- Linda 1975, Double Bureau (INSTALLATION VIEW) Year: 2009 This photograph is part of the Underphotos series. I photographed framed photos at an angle, capturing reflections on the glass picture frames. My resulting photo is framed under shiny plexi so it will again reflect its surroundings (as seen here). Why included? To prove that the previous work was not a one-off, but an in-depth exploration.
- Silver Portrait (INSTALLATION VIEW) Year: 2007 Silver-plated brass, silver tarnish. To make this image, I silk-screened acid onto a sheet of silver-plated brass. The image is made of tarnish. Over time, the rest of the sheet will tarnish, eventually obscuring the image. Why included? Even OLDER piece, still on a related theme. Very complex production. Exhibition quality.
- As a potential investor, the grant giver is thinking: Is the project realistic? Feasible? Is this artist Capable? Prove that the answer is yes! Nail down or research as many of the project details as possible. This shows the agency that the project is realistic and indicates that you are capable of organizing a project of this scope. Beware of too much detail: details can come back to haunt you later if you do get funded for a specific project, but then change the project. Write in some flexibility in the project. Also think about flexibility in the budget in case you don’t get the funding level you requested. (If you don’t get fully funded, what would you cut? roduce fewer works, cut out a section of the project, etc)
- Work sample examples
- Work sample examples
- Ask someone to proofread for you, 2ce if possible! Terminology that everyone can understand, even outside your discipline (define acronyms) Clarity of the project, concise writing Grammar & spelling
- If you don’t apply, you have a 100% chance of NOT getting the funding. If you do apply, your odds are much better. More grant applications mean more chances for an acceptance. Why apply to more than one opportunity? It’s good practice and you’ll get faster and better at applying. You can recycle some of your hard work from one application to the next. Peace of mind: if you apply to multiple opportunities, you won’t obsess about one application. Whatever you do, don’t give up! Improve your project, find other ways to get where you want to go, and apply again next time.
- Questions?
- Thanks for listening!