1. FINE ART: PROFESSIONAL PRACTICE & ENTERPRISE
Presented by Mark Parkin
FINE ART: PROFESSIONAL PRACTICE & ENTERPRISE

2. Aims;
Aims; to address all the related elements that underpin Fine Arts practice & enterprise such as writing grant & project proposals; to explore the relationship forming art groups and creating independent initiatives.

3. Objectives
To understand the basic fundamentals in writing exhibition/commission and project proposals in terms of content, structure & presentation
The methodology to liaising with other artists through memberships with art groups, societies & art councils or foundations

4. APPLYING FOR: COMMISSIONS/GRANTS/EXHIBITIONS

5. Applying for Commissions/Grants/Exhibitions
Most artists are ambivalent about preparing proposals but it is an essential skill because most funding requires a formal proposal.
To secure funding whether it be a commission, residency or other source you need to prepare an outline of what you want to do in order to open communication with the funder.

6. Applying for Commissions/Grants/Exhibitions
The three most common mistakes:
-Poor research
-A “one size fits” all approach
-Failure to view the process from the funders perspective

7. Applying for Commissions/Grants/Exhibitions
Defining the project: Who-What-Where & When?
-What is the purpose of the project?
-What are the main objectives?
-Who will benefit?
(general public, local community, Education-other artists)
-What is the time frame?
-What to hope to achieve and how will you achieve it?

8. Applying for Commissions/Grants/Exhibitions
Funding organisations such as trusts or art councils usually have specific guidelines and criteria to which they must adhere to.
Key questions:
Can your art practice or idea live comfortably in conjunction with the intentions of the commissioner?
Is the funding suitable for the project?
Is there any flexibility in the funding strategy?

9. A commissioned work such as this requires;Organisation-Logistics-substantial funding -manpower
Robert Morris Glass Labyrinth at The Nelson-Atkins Museum of Art’s Donald J. Hall Sculpture Park,
Kansas City, Missouri

10. Applying for Commissions/Grants/Exhibitions
Research:
First research into their website and guidelines
Do they have a manifesto or mandate?
(national arts plan “Partnership for the Arts”)
What types of funding are you eligible for? (Criteria)
Is the type of funding suitable or compatible with your project?

11. Applying for Commissions/Grants/Exhibitions
Research:
Examine in detail the terms & conditions of funding-legalities
What organisations or artists have they funded in the past?
Ask artists who have been successful in obtaining funding what their experiences were with the organisation or commissioner.

12. Written proposals -Structure
The idea
Curriculum Vitae
Artists Statement
Aims
Rationale
Objectives
Context
Ethics
Budget
Visual Information
Research: Primary & Secondary
Action Plan
Risk Assessment-Health & Safety

13. Applying for Commissions/Grants/Exhibitions
Preparing a proposal-guidelines
The idea
-is it creative & challenging?
-try to distinguish yourself
Curriculum Vitae
-try to make interesting & engaging & include your experience
Artists Statement
-a description of your materials, processes & methodologies
-make it interesting and readable from the commissioner’s perspective

14. Written proposals -Structure
Aims: Specify what you intend to engage in overall
Rationale: Be clear & concise on why you are interested in this aim
Objectives:
-specify what you want to achieve & how you wish to achieve it
-the tasks you wish to undertake

15. Written proposals -Structure
Context:
How will the project establish a context with your professional practice & aid in its development?

16. Written proposals -Structure
Ethics:
Is there any ethical or legislative considerations you need to plan for?
-gallery or exhibition contract
-copyright, data protection
-terms & conditions of funding
-sponsorship logos etc.

17. Written proposals -Structure
Budget
Design a detailed spreadsheet covering all costs
Indicate the prospective income & expenditure
Include that the costs are fixed for a period of time due to the effects of inflation–fuel for example.

18. Written proposals -Structure
Visual Information
-make sure the images are of good quality, well presented & relevant to the application
-images can be a DVD, video, jpegs, or 35 mm slides.

19. Written proposals -Structure
Research:
Primary-the source material you wish to investigate; influences, ideas, sketches, collage, photography-sketchbook (research folio)
Secondary-publications, photography, video that express & interpret similar themes to support your investigation & development.
Action Plan:
Explain how you are going to realise your aims & objectives in a planned strategy.
Timeframe: how long is going to take?
Risk Assessment-Health & Safety
Risk assessments have to be made in advance of exhibition installation and before public access.

20. Creating Art Groups & independent initiatives
Surrealist Group and André Breton, Paris, 1959

21. Creating Art Groups & independent initiatives
The main benefit of forming your own group is you can attract other artists with similar interests and needs.
To attract other artists, you can create a website with on-line forums, or social media networks. Alternatively, you can distribute flyers at local colleges, neighbourhood coffee shops, anywhere Artists may congregate.

22. Creating Art Groups & independent initiatives
You should consider setting up some preliminary guidelines for your group.
This will ensure you create a group that will meet your needs, make sure the group’s focus is aligned with your own. You’ll want individuals who are interested in pursuing the same goals. (manifesto)
Decide what these goals will be and place this information in your ad to recruit membership.

23. Creating art groups & Independent Initiatives
Considerations:
How large of a membership?
Often a small group of like-minded artists working in the same medium will work better than a large group with varied interests.
Will you have membership fees?
If so how will the fees be utilized?
What type of Artists will make up the group? …Professional, amateur, or Sunday painters.

24. Creating art groups & Independent Initiatives
What activities will the group sponsor?
Will you have a non-profit status & officers?
Will the group have a meeting place or will you meet in each others home informally?

25. Creating art groups & Independent Initiatives
Advertising your work in art publications and networking via the internet, website, social media, blogs & on-line videos
Entering local & national open art competitions such as;
BP Portrait Award, Turner Prize, Royal Academy summer show etc.
Applying for commissions & funding from organisations;
Arts Council Wales, trusts such as Eaton Fund, Southdown Trust, McKenna Trust etc.

26. Independent Initiatives
Writing proposals to Galleries
Applying for artist residencies or placements-schools, colleges & universities
Liaising with other artists through memberships with art groups, societies & art councils or foundations

27. FINE ART: PROFESSIONAL PRACTICE & ENTERPRISE
Summary:
We have examined how to raise the artists profile and initiative through the prescribed method writing grant & project proposals and applying for commissions.
Explored the implementation of practical enterprise, forming art groups and creating independent initiatives.
Finally, we have looked upon engaging and networking with external agencies and partners along with making arts practice accessible.

28. End of Presentation
“A LAZY ARTIST NEVER CREATES A MASTERPIECE”