The latest round of funding from Creative New Zealand has
been apportioned out and once again, my chapeau, though in the ring, was not
picked up to grace New Zealand arts with my marvellous talent.
This is not an unusual state of affairs and in the
children's book world a common one. At the last conference we had, Tessa Duder
read out the funding stats. Because I never take notes, I can't give you them,
but suffice to say if all arts funding is seen as a pie and literature gets half a Weightwatchers
size slice, then children's book authors in that slice get a teaspoon taster
and illustrators get what amounts to homeopathic filling; the hint of money
watered down until it is just a memory of the smell of a dollar in a bottle of
alcohol. No wonder we drink.
I needed some help to go to The Illustration Masterclass in
the USA. I asked for $5000 to cover the course fees and airfares. I asked a friend who works in a completely different sector
(not the arts) to help me with it and when she read the funding guide, this is
what she had to say.
"I had a look on the funding applications on
the Creative NZ website last night. Good grief they are awful. For a grant of
$7,500 there’s a 33 page guide on how to fill them in the form!!
I’m currently putting in an application for
$25k funding. It’s a one page doc that may require a second detailed
application that would be no more than 2 pages plus a budget. The instructions
amount to 3 paragraphs on their website. I could apply for $200k by extending
my application by a page.
The CNZ website has a very patronising tone
as well hasn’t it? “You will not be eligible if you haven’t cleaned your teeth
this morning! Have you made your bed and cleaned your paint brushes?
Hmm??” So I can see why you are frustrated by it."
But still, she went through it and gave me some advice. I am
a professional artist and writer, not a professional administrator like
her, so I was grateful for the help.
I sent in my proposal backed up with support letters
about my worthiness from 4 different bodies and an invitation to speak at a
Boston University and a detailed budget. These applications take a week or more
to write and coordinate, and if you don't put exactly the right amount of printed
copies together in the right order, your application is deemed ineligible. It
is the very finest art of bureaucracy.
Now, I am not saying my application was any more worthy than
anyone elses; I'm pleased for anyone who got anything- these applications are
like pulling teeth and we all sweat blood over them. I guess what I am trying
to say to anyone reading this, is that as freelancers, we writers and
illustrators aren't sent by our publishers to upskill, like those in the
salaried workplace. When I mentioned the word conference before- we organised it
ourselves and paid for it ourselves, to keep our professional practice up to
date. To many of you not in
the arts, this must seem astonishing. I'm amazed myself all the time, that something
keeps me here, plugging away. I think it's the generosity of my family; they
are all hoping that one day I'll strike it big and become the next best seller.
If I ghost write an All Black Recipe book, I might just do it. It will be
called Mehrtens Muffins. I think that has pick up appeal don't you?
As far as I know, nobody ever shares their CNZ proposals. Perhaps because they are scared that should CNZ get a whiff of them elsewhere, they will be shoved in a box labelled 'DO NOT FUND THIS F*CKWIT' and be forever doomed to writing books about poo that seem to sell so well at the Warehouse (sorry public, these are crap books, you have no taste or respect for your children's education and moral fibre. The writer just wanted to earn a sleazy buck).
So- for the amusement and edification of you all, here is my application. I even did appendices. I think that's worth somnething don't you?
Project Proposal
I am seeking funding
from Creative New Zealand to contribute to the costs of international
professional development for my full time work as a visual artist by attending
an Illustration Master Class at Amherst University (MA, USA) and giving a lecture at Lesley University in nearby Cambridge MA. Funding
for this is available as outlined in section 3.9.1 of the Creative New Zealand
Funding Guide.
There are no comparable Illustration Master Classes
opportunities in New Zealand. The tutors I particularly wish to work with in a
special topics group are Brian and Wendy Froud, for their experience in film
concept and costume design which sits well with my own focus of Wearable Art
and costume illustration for the film industry. Brian Froud's art was an early
influence on my book illustration work when I was an art and design student at
tertiary level. The Frouds do not visit New Zealand and rarely teach at master
classes outside of the U.K. (appendix A:
Brian Froud)
I have worked as a visual
communicator and illustrator through the medium of books, film and performance/show
since 1980. This opportunity is important for my career development as a practicing
artist, illustrator, touring educator and workshop presenter in the arts in New
Zealand, particularly as it relates to young people. I will be able to focus on
producing a series of illustration works using new taught techniques which in
turn I will be able to pass on through my workshops in New Zealand. The
professional networking will be invaluable, as the roll call of tutors at The
IMC only gather together as a group in this one location for this particular
intensive. (appendix B)
The tutors cover a full
range of disciplines from film concept illustration to the graphic novel. This
is a residential, hands on, full immersion master class for the experienced
illustration artist and there is nothing like it in New Zealand. I will be the
only New Zealand artist to attend and look forward to sharing my work and
experience in the New Zealand arts with the other participants.
I have also been invited to speak at Lesley University Creativity Commons (MA) (appendix C) on the subject
of creative practice in New Zealand, particularly as it relates to working with
young people. This is an opportunity for me to promote our visual arts and how
we teach this within the educational and public communities through the likes
of The Book Council (Writers in Schools) and the Storylines Festival.
In my past 33 years as a full
time working visual communicator, I have covered a range of artistic
disciplines as evidenced by my CV (attached), and a fundamental part of my core
practice is to encourage and support young people to participate in the arts,
which ultimately benefits all New Zealanders. I believe this fits well with the
desired outcome of Creative New Zealand as defined by section 4, Arts Council of New Zealand Toi
Aotearoa Act 1994
Wellington Children's Book Association
Illustration Workshop : 50 adult participants
Writer/Artist in Schools/ Library
visits/ Museum lectures for 2014 (based on 2013 figures): 1950 primary and secondary students, 580 emergent visual and textile artists, 180
practicing visual and textile (international and local) artists
Total
projected minimum reach nationally and internationally for 2014: 2970
individuals
I
am hoping that Creative New Zealand will find this meets with a favorable ROI.
Fifi
Colston
Appendices
(appendix A) Froud was the conceptual designer and
costume designer for the films The Dark Crystal and Labyrinth
(both in conjunction with Jim Henson's Creature Shop). He collaborated with
Terry Jones, who was a screenwriter on Labyrinth, on The
Goblins of the Labyrinth and subsequently on a number of non-Labyrinth-related books about fairies
and goblins, namely of the "Lady
Cottington" series. He has also worked with American writer Ari Berk
on more recent books, including Goblins and "The Runes of Elfland", and produced art books such as Good
Faeries/Bad Faeries. One of his most famous art books, Faeries,
produced in collaboration with Alan Lee, was the basis of a 1981 animated
feature of the same name. (Source: Wikipaedia)
(appendix B) 'A large part of our students body every
year consists of professionals seeking to try new things within their
technique, meet other artists, network with art directors who come for
portfolio review and simply spend the week getting even better at the thing
that they love to do most: ART!
Past students/attendees have gone on to forge into amazing places within their area of illustration and work with wonderful companies, writers and directors like Wizards of the Coast, Jane Yolen, Cassandra Clare and Guillermo del Toro.' (source: Illustration Master Class website)
Past students/attendees have gone on to forge into amazing places within their area of illustration and work with wonderful companies, writers and directors like Wizards of the Coast, Jane Yolen, Cassandra Clare and Guillermo del Toro.' (source: Illustration Master Class website)
(appendix C) Lesley University: The Cambridge Creativity
Commons engages Cambridge public school students and teachers in imagination
and exploration of ideas that matter and creation of interdisciplinary projects
in and through the arts. The Cambridge Creativity Commons (CCC) offers
programs in a “creative lab” model to encourage cross-disciplinary
collaboration among teachers, artists, scientists and students to facilitate
creativity. Founded on the principle that every child is creative, and
that this ability can be developed in environments where creative processes are
practiced, the CCC works with CPS teachers and OST staff to develop new
approaches to teaching and learning through meaningful, creative programming
that integrates arts and sciences curriculum. The CCC serves East Cambridge
students in grades 1-8, primarily from the Kennedy-Longfellow Elementary and
Putnam Avenue Upper schools, as well as out-of-school programs, at no cost to
the district or the students.
The CCC has emerged as a
distinctive creative program in Cambridge under the guidance of its Partners
Advisory Board: Dave & Doffie Arnold, the Cambridge Community Foundation,
the Cambridge Public Schools (CPS), the Cambridge Arts Council, and Lesley
University’s Creativity Commons and College of Art & Design.
1 comment:
Good on you for this “rant” as they are bad.
I read the forms and gave up … at least you applied … but I sometimes wonder if getting a paid job for the amount of time that it takes to research and fill in the forms would be a better way to get the money haha
Have you thought of those sites where you request money for a return in what you are doing – sorry can’t think of the names of them – there are a few.
If you do I’d add my few dollars for your trip
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