Frustrated by proposal guidelines? Overwhelmed with looming deadlines? Creative Capital is premiering the latest offering in our Professional Development Program just in time for application season. On September 10, Hoong Yee Lee Krakauer will share her fundraising expertise in the brand new webinar, How to Create A Project & Proposal that Gets-to-Yes. Hoong Yee, the longtime Executive Director of the Queen Council on the Arts, teaches proposal writing from a panelist’s point of view.
Every few weeks we post tips straight from the Professional Development Program’s Artist’s Tools Handbook, a 200+ page resource we give to Core Workshop attendees, written by PDP Core Leaders Jackie Battenfield and Aaron Landsman. The book covers everything from writing to budgeting, websites to fundraising, elevator pitches to work samples. Similarly, each post is packed with practical ideas to make your life run more smoothly, leaving you even more time for your creative practice. Learn more about all of our PDP workshops and webinars here. This September, Creative Capital is offering two webinars on applying for grants so we chose a page to get you started on writing proposals. To learn more, sign up for Get Grants – How To Create A Project & Proposal that Gets-To-Yes or Applying for Grants & Residencies, Strategies for Writers.
Unfortunately, there are not enough traditional funding resources out there to support all the great work being created. For every grant awarded, there are at least one or two other projects a funder would like to support but can’t, and that are just as worthy. The same is true of every artist a gallery signs, every book that gets published and every play or album that gets professionally produced.
Powerful, disruptive ideas beg to be spread. Successful community engagement depends on setting clear objectives, finding your audience, and activating them. Stephanie Bleyer is a master of the community engagement campaign who runs the firm Six Foot Chipmunk. Stephanie helps artists across disciplines create strategic plans, raise funds, and reach and mobilize new audiences. On Thursday June 9th, 2016, she will lead the webinar Producing & Funding Your Community Engagement Campaign. This webinar is essential for artists projects involving social justice, education, public art, or community building. It takes participants through the entire process of producing your campaign starting with letters of inquiry and grant applications all the way through to measuring impact. Artists can ask themselves these five questions as a foundation for your engagement strategy.
1) What are the social goals of my campaign?
Keep in mind that the social goals of your campaign will likely be different from the goals of your art work or overall practice. Think, “I want my audience to think about how many plastic bags they regularly take from grocery stores and ultimately reduce that amount,” instead of, “I want my project to receive awards and praise from environmental foundations and get written up in ArtForum.” Continue reading
Creative Capital is pleased to announce its 2015 awardees in the categories of Moving Image and Visual Arts, representing a total of 46 funded projects selected from a nationwide pool of more than 3,700 proposals. Drawing on venture-capital principles, Creative Capital seeks out artists’ projects that are bold, innovative and genre-stretching, then surrounds those artists with the tools they need to realize their visions and build sustainable careers.
The 2015 Creative Capital Artists are an incredible group of creative thinkers, representing 50 artists at all stages of their careers with an age range of 28 to 80 years old. They hail from 13 states plus Puerto Rico and Canada; more than half are women, and more than half identify as non-European American. Each funded project receives up to $50,000 in direct funding, plus additional resources and advisory services valued at $45,000, making the organization’s total 2015 investment more than $4,370,000. Continue reading
Today, we announced the 2015 Creative Capital Artists in Moving Image and Visual Arts. We could not be more excited about the 46 new funded projects—an incredibly diverse group hailing from 13 states plus Puerto Rico and Canada. We’ve arrived at this day thanks in huge part to the work of our valued colleagues who help us select each group of Creative Capital Artists. While we worked with more than 100 consultants during the ten-month process, two consultants advised us during the entire award round, reviewing submissions at every stage. I asked Mike Plante (Programmer at the Sundance Film Festival and our Program Consultant for Moving Image) and Dean Daderko (Curator at the Contemporary Arts Museum, Houston, and our Program Consultant for Visual Arts) a few questions about what it was like to work with Creative Capital on the process.
Lisa Dent: What motivated you to work with Creative Capital as a Program Consultant for this award round?
Mike Plante: Everyone wants to help artists and filmmakers make a project but it’s difficult to know how to actually do it. Creative Capital has made the blueprint. It’s rare to give filmmakers and artists money with few strings attached, but that is exactly what CC does. To be part of a process that finds amazing artists across the country, discuss their ideas and the path they are on – and to then give them not only financial help but real-world advice about balancing work and life. It’s really a dream project.
Dean Daderko: My motivation is pretty simple: I know of no other funding body that is as forward-thinking, as deeply generous, or as profoundly invested in being responsive to artists’ practices as Creative Capital. They fund the projects other organizations wouldn’t even consider! The end game here isn’t a substantial check—their commitment begins well before artists reach this stage, and continues throughout the life of the project, and beyond! Creative Capital understands fundamentally that by working with artists as partners—and by providing not just money, but thought, time and rich reserves of resources and connections—that they can positively and productively shape the future. Their unconventional and deeply responsible approach gives artists an incredible amount of agency, and they’re invited to bring their creative approaches to innovating and developing a game plan that’s uniquely responsive to the goals and concerns of their projects. The success they’ve had with this artist-centric strategy speaks for itself: so many artists will tell you what a dream it is to work with Creative Capital. Of course it doesn’t hurt that the staff are some of the friendliest, most helpful, and well-connected people around either! Ruby Lerner is my hero! Continue reading
We’re gearing up for a busy winter at Creative Capital, as we prepare to announce our 2015 class of Visual Arts and Moving Image Awardees this Wednesday and to open our application for Emerging Fields, Performing Arts and Literature grants in February. I caught up with Ruby Lerner (Creative Capital’s President and Executive Director) and Lisa Dent (Director of Resources & Award Programs) to reflect on our original mission, the projects that have astonished us over the years and why we continue to support risk-takers.
Maura Guyote: Creative Capital has always been committed to supporting artists with singular visions who dream up ambitious projects and aren’t afraid to take risks. Can you talk about why that mission is important?
Ruby Lerner: In any field, if you don’t have experimenters, you don’t have progress. Think about the medical field. We’d still be using leeches if there hadn’t been experimentation and research. So experimentation is really critical for any field to move forward. It’s imperative. In the arts we see a lot of risk aversion, so there need to be portals where risk is honored and appreciated. Not all risks will succeed but we need people to stand behind the risk takers and that’s a role we’ve created for ourselves. Continue reading
VIDEO: More application tips from Ruby Lerner
Here at Creative Capital, our staff and consultants from across the country are preparing to enter the panel stage of our award application process for the visual artists and filmmakers who submitted Letters of Inquiry in February. (Yes, it really does take us nearly a year to select our Awardees!) As they convene, what will our panelists be looking for in an application? What are some common mistakes they see? Keep reading to get the answers from four former panelists: Erin Cosgrove, Los Angeles-based artist and 2008 Film/Video Awardee; Annie Han, Seattle-based artist, 2005 Visual Arts Awardee and Creative Capital Board Member; David Filipi, Curator & Director of Film/Video at Wexner Center for the Arts in Columbus, OH; and Irene Hofmann, Phillips Director and Chief Curator at SITE Santa Fe.
Maura Guyote: What qualities are you looking for when you read an application for the first time? What kinds of writing or ideas jump out at you while you’re reviewing an application?
Irene Hofmann: Clarity and directness stand out in applications. A concise summary of your project described up front sets up the entire application with strength. Think of it as your “elevator pitch” right in the first lines of your application. Use those first sentences to grab your reader. Continue reading
During the months of August, September and October, the staff of the MAP Fund (administered by Creative Capital) will be on the road, spreading the word about the program’s upcoming 2015 grant cycle. With the support of presenting partners across the country, Program Director Moira Brennan will lead sessions in Chicago, Philadelphia, and Miami, and Program Associate Lauren Slone will travel to Washington DC, San Francisco, Seattle, Portland and Houston. Check here for specific dates and attendance information, and read on for a basic overview of the sessions, frequently asked questions and more.
We are so proud of the fact that Creative Capital is one of the only national nonprofit organizations that awards grants to individual artists through an open application process. This means that anyone can apply, as long as you meet our basic eligibility criteria. In February, Creative Capital received more than 3,700 Letters of Inquiry for grants in Visual Arts & Moving Image—our biggest applicant pool to date! The applicants hailed from 49 U.S. states and Puerto Rico (Mississippi artists, we want you!), along with U.S. citizens living in 26 other countries. In January 2015, we’ll announce the 46 funded projects in our next class of awardees. Yes, it really does take almost a year to select the next class of Creative Capital Artists!
Applicants, funders and others in our network often ask us how we go about winnowing thousands of applications down to only 46 funded projects. The short answer: very thoughtfully, and with a lot of help.
Creative Capital actively solicits new applicants through an open call for Letters of Inquiry, using web-based outreach, in-person and online info sessions, and partner organizations to help us spread the word. This year we worked with seven Program Consultants who advised us in our grantmaking process, in addition to 22 colleagues in different parts of the country who suggested artists and artist organizations in their geographic region to notify about the award deadline. Continue reading
Every few weeks we post tips straight from the Professional Development Program’s Artist’s Tools Handbook, a 200+ page resource we give to Core Workshop attendees, written by PDP Core Leaders Jackie Battenfield and Aaron Landsman. The book covers everything from writing to budgeting, websites to fundraising, elevator pitches to work samples. Similarly, each post is packed with practical ideas to make your life run more smoothly, leaving you even more time for your creative practice. Learn more about our PDP workshops and webinars here.
Proposals come in many shapes and sizes: from simple fellowship applications that require a work sample, a brief description and bio, to lengthy project proposals that involve budget spreadsheets, significant writing and other supporting materials. Frequently we are creating proposals for work we have not yet completed. This means we have to find ways to make a panelist or program officer see what does not yet exist. It’s a big challenge, but a worthy one.