Dr.  Michael  Remson,  American  Festival  for  the  Arts  

  In  October  of  1992  "when  Miss  Battle  opened  the  BSO  season,  she  reportedly  banned  an  assistant  conductor  and  other  musicians  from  her  rehearsals,  changed  hotels  several  times,  and  left  behind  what  a  report  called  'a  froth  of  ill  will.’”  

   In  February  1994,  during  rehearsals  for  an  upcoming  production,  Battle  was  said  to  have  subjected  her  fellow  performers  to  "withering  criticism"  and  made  "almost  paranoid  demands  that  they  not  look  at  her."[  

  Be  on  time    Be  prepared    Be  pleasant  to  others    Be  grateful  for  opportunities    Deliver  on  your  promises    Be  as  good  a  business  person  as  you  are  an  artist    Remember…  ultimately,  people  will  not  work  with  

someone  who  isn’t  the  above…  no  matter  how  good/talented/famous  they  are…  

  Patiently  build  your  resume  with  the  experiences  that  will  make  people  want  to  work  with  you  

 Who  You  Work  With  

  Performances  &  Exhibitions  

  Competitions  and  Awards  

  Residency  Programs  

  Grants  

  Commissions  

  Obviously,  every  time  you  have  an  opportunity  to  work  with  someone  celebrated  in  your  field,  you  should  take  it.  

  Master  classes,  seminars,  classes,  etc.,  all  add  to  your  resume  and  show  others  where  your  interests  lie  (and  your  potential  influences).  

  Also  publicize  any  work  you’ve  been  able  to  do  with  established  artists,  organizations,  companies,  galleries,  etc.  —  each  one  will  help  others  get  to  know  you.  

  Keep  records,  photographs,  flyers,  recordings,  any  physical  documentation  of  the  events  

  Publicize  them  on  your  resume  and  any  other  promotional  materials  —  each  one  lets  people  know  you’re  serious,  you’re  professional  and  that  you  are  good  to  work  with  (it  gives  people  a  reason  to  ask  about  you).  

  Hopefully,  this  process  is  already  underway  –  performances  as  part  of  being  in  school  are  valuable  ways  to  build  your  resume.  

  In  school,  seek  out  ensemble  directors  (in  and  out  of  your  dept,  don’t  forget  about  ensembles  for  non-­‐majors)  as  well  as  your  fellow  students;  make  friends  with  those  you  would  like  to  work  with.  

  Talk  to  teachers  about  conferences  and  competitions  that  may  provide  performances  outside  of  school  environs.  

  After  school,  keep  up  your  network,  see  if  friends  are  still  interested  in  performing  or  showing  your  work  –  think  of  non-­‐conventional  or  alternate  options.  

  Every  performance  or  show  will  impress  others.  Second  performances  and  exhibitions  of  the  same  work  mean  even  more.  

  Every  artistic  discipline  has  a  variety  of  competitions  that  you  can  enter.    

  These  are  best  found  through  the  service  organizations  that  exist  by  discipline  (for  composers,  includes  ASCAP,  American  Music  Center,  federal,  state  and  city  arts  agencies)  

  Also  note  that  many  performing  arts  organizations  have  competitions  for  people  to  work  with  them  (VOX)  

  While  some  have  entry  fees,  be  judicious  and  enter  the  competitions  that  you  feel  have  the  best  chance  of  showing  

  Competitions  that  give  you  performances  and  exhibitions  are  most  valuable  (versus  ones  that  provide  money)  

  Be  realistic  –  enter  ones  that  you  have  shot  at  (you  won’t  win  a  Pulitzer  if  you  are  just  starting  your  career)  

  Don’t  “pay  to  play”  —  you  can  spot  a  fake  at  fifty  yards  (and  if  you  do,  do  it  for  the  right  reasons)  

  Do  your  research;  look  for  competitions  that,  because  of  restrictions  on  who  can  apply,  might  favor  you  

  If  you  are  young  enough  to  enter  “young  artist”  competitions,  enter  as  many  as  you  can  while  you  can  

  Are  there  programs  through  your  school  programs  (or  for  alumni)?  Enter  as  many  as  you  can.  

  Follow  all  instructions  and  reporting  requirements;  be  as  professional  as  possible  with  whomever  provides  the  award  

  Find  out  if  there  are  future  opportunities  through  the  same  sources  (additional  competitions,  can  you  re-­‐apply,  etc.)  

  If  there  are  performances  or  shows,  be  prepared!  Don’t  make  them  come  after  you  for  what  you  are  supposed  to  provide.  People  talk  (and  they  know  each  other)  

  Publicize,  publicize,  publicize!    Your  resume,  your  website,  Facebook,  other  competitions,  invite  as  many  as  possible  to  any  public  events  

  Two  types  of  residency  programs:    Short  or  long  term  involvement  with  an  organization  that  involves  studio  

space  and  project  work  that  generally  results  in  an  exhibition  or  performance.  You  live  on  your  own  and  are  responsible  for  your  own  living  expenses  

  On-­‐site  residencies  (usually  no  more  than  3  months),  where,  in  addition  to  studio  space,  you  are  provided  with  room  and  board  and  a  creative  environment.  Usually,  you  travel  to  these  places.  Some  of  these  are  completely  free,  others  have  daily  or  weekly  fees.  

  These  programs  are  excellent  resume  builders  and  demonstrate  that  a  jury  of  peers  feel  that  you  should  be  given  time  and  space  to  do  your  work  (regardless  of  career  level)  

  They  are  also  excellent  opportunities  to  get  work  done  and  add  performances  or  exhibitions  to  your  resume  

  The  best  resource  for  finding  residencies  is  The  Alliance  of  Artist  Communities  (book  and  website)  

  Be  honest  about  your  career  level  (remember,  a  jury  reviews  your  application)  

  Be  realistic  about  what  you  plan  to  do  while  in  residence  (don’t  over  or  under  estimate)  

  Submit  work  examples  that  not  only  show  your  best  creative  output  but  that  are  also  relevant  to  what  you  are  proposing  to  do  

  Express  confidence  in  your  ability  to  get  the  job  done  (cite  other  examples  as  appropriate)  

  Be  honest  about  the  benefits  of  attending  (including  the  fact  that  it  is  a  resume  builder)  

  Actually  work…  if  you  are  not  working,  it  will  be  noticed  

  If  you  get  artist’s  block,  subtly  let  people  know  that  you  have  it,  people  won’t  talk  that  way  

  Get  to  know  the  staff,  they  are  often  a  wealth  of  resources  on  other  programs  and  resume  builders  (and  frequently  refer)  

  Network,  network,  network  with  other  artists  (at  the  appropriate  time)  

  Publicize  your  involvement  and  stay  in  touch  with  their  alumni  groups  and  newsletters  

  Enjoy  the  opportunity  for  uninterrupted  creative  time  

  Grants  are  money  that  are  given  to  you,  generally  for  the  purposes  of  carrying  out  a  specific  project.  

  Some  grants  (MacArthur,  Guggenheim,  Pew,  etc.)  are  given  just  because  you’re  a  good  artist,  but  they  are  much  harder  to  get  and  usually  carry  expectations  of  completing  some  type  of  work  

  There  is  no  expectation  that  you  will  repay  the  money  unless  you  fail  to  complete  the  project  

  You  will,  however,  be  expected  to  provide  status  reports  on  your  progress  and  some  kind  of  report  as  to  how  the  funds  granted  were  spent  

  Remember…  creative  projects  can  be  found  in  a  variety  of  settings,  you  can  write  music,  you  can  write  a  book,  you  can  curate,  there  are  lots  of  options  –  your  creative  AND  your  scholarly  background  can  be  sources  of  grants  (and  help  build  the  resume)  

  When  you  find  a  grant  that  looks  interesting,  check  eligibility  and  how  they  give  money.    Some  groups  will  give  money  directly  to  artists  

  Others  prefer  that  you  apply  under  the  rubric  of  a  sponsoring  organization  —almost  always  must  be  a  non-­‐profit  501(c)(3)  

  If  you  can,  cultivate  relationships  with  area  arts  organizations  who  might  be  willing  to  apply  on  your  behalf  

  Check  factors  like  age,  gender,  ethnicity,  location,  etc.  —  many  grant  programs  have  restrictions  in  these  areas  (which  can  be  a  plus  or  minus)  

  City  and  state  arts  agencies  (not  only  their  own  programs  but  also  list  opportunities  from  other)    Houston  Arts  Alliance,  Texas  Commission  on  the  Arts,  Mid-­‐America  

Arts  Alliance,  National  Endowment  for  the  Arts,  National  Endowment  for  the  Humanities  

  Service  organizations  that  serve  as  clearing  houses  for  available  grants    American  Music  Center,  Aaron  Copland  Fund  for  New  Music,  College  

Music  Society,  Nat’l  Association  of  Composers  USA  (NACUSA),  Opera  America,  ARTS-­‐USA,  Springboard  for  the  Arts,  Warhol  Foundation  

  Arts  organizations  in  the  area  you  want  to  work  or  with  whom  you  want  to  work    Look  for  groups  with  similar  “artistic  values”,  if  you  are  a  performance  

artist  a  la  Karen  Finley,  chances  are  the  local  Gilbert  &  Sullivan  Society  is  not  going  to  be  receptive  to  collaboration  

  Arts  groups  that  have  short  and  long-­‐term  residency  programs    In  Houston,  look  at  Diverse  Works,  Lawndale  Arts  Center,  Mitchell  

Center  for  Interdisciplinary  Arts,  Center  for  Contemporary  Craft    Local  Foundations  and  Endowments  

  While  generally  difficult  to  obtain  as  most  don’t  fund  individuals,  some  may  be  approachable  for  certain  types  of  projects.  

  Think  of  ways  you  could  collaborate  with  an  arts  organization  that  could  apply  on  your  behalf  with  you  as  primary  artist  

  Professional  membership  organizations  and/or  unions    Houston  Musicians  Union,  ASCAP,  BMI,  Dramatist’s  Guild,  Author’s  

League,  Visual  Artist  Guild    Web-­‐based  resources  

  Simple  web  searches  might  lead  you  to  a  variety  of  programs  and  opportunities  

  Complete  the  application  fully,  honestly  and  on  time!    Answer  the  questions  that  are  asked,  don’t  provide  lots  of  

ancillary  information    Follow  the  instructions  (if  they  ask  for  a  one  page  summary,  

give  them  one  page,  not  three)    Be  candid  about  your  career  stage  (remember,  these  are  

judged  by  peers)    Be  realistic  about  your  project  and  goals    Are  there  grants  that  might  fund  specific  areas  of  your  

project  (e.g.,  composing,  scoring,  performance)?    Give  a  realistic  time  frame  

With  the  Funder  

  Be  sure  you  understand  what  is  expected  (no  shame  in  asking  questions)  

  Do  what  is  expected  –  you  will  not  get  a  second  chance  

  Be  competent,  collegial  and,  if  needed,  ask  for  help  

  Stay  in  your  budget  —  there  is  no  more  money!  

  Do  updates  as  they  are  requested  

  File  all  final  reports  completely,  accurately  and  with  gratitude  

Beyond  that…  

  Promote  the  fact  that  you  received  it  (if  allowed),  press  releases,  web  site,  bio,  facebook  

  If  there’s  a  performance/exhibition,  make  it  successful  

  Invite  other  grant-­‐givers  (even  if  they  don’t  come,  it’s  publicity)  

  Document,  document,  document  

  Watch  your  taxes  (get  a  good  accountant  if  you  need  one)  

  Similar  to  grants,  which  come  from  foundations  or  public  funding  entities,  commissions  are  when  a  private  company  or  individual  provide  money  to  fund  a  specific  project  or  performance  

  Commissions  are  specifically  designed  to  help  artists  with  living  expenses  (and  as  appropriate,  materials)  to  successfully  complete  the  project  in  a  given  timeframe  

  Depending  on  the  size  of  the  commission,  several  individuals  or  groups  may  be  involved  

  The  artist  or  artists  receiving  the  commission  are  responsible  for  all  aspects  of  getting  the  project  done.  More  funds  may  be  available  but  only  under  very  specific  circumstances  

  Commissions  are  difficult  to  get.    In  general,  you  can  not  directly  apply  for  commissions    How  do  you  get  them?    

  Resume  building.  Win  awards,  go  to  residencies,  win  grants,  etc.    Publicize  yourself  and  your  accomplishments…  regularly!    Take  every  opportunity  to  publicize  yourself  that  you  can…  it’s  almost  

a  separate  career  to  keep  yourself  in  the  public  eye  so  choose  judiciously  

  Cultivate  relationships  with  organizations,  artists,  performers,  etc.,  anyone  who  is  in  a  position  to  commission  you  

  Remember  that  anyone  you  meet  could  be  the  next  person  to  commission  you  (or  recommend  you).    

  Develop  a  reputation  as  a  professional  and  as  someone  that  people  want  to  work  with  

  Recognize  that  your  first  commissions  may  be  for  very  little  money  –  every  artist  has  to  decide  what  they  are  and  aren’t  willing  to  do  in  order  to  gain  exposure  

  Explore  the  possibility  of  creating  works  for  free  if  there  is  a  guaranteed  show  or  performance  involved  (since  a  performance  or  show  is  worth  something)  and  if  you  can  say  it  was  a  “commission”  

  Consider  beginning  a  piece  on  spec  in  the  hopes  of  obtaining  additional  funding  for  it  

  Market  yourself  to  your  rolodex  —  make  sure  people  know  you  receive  commissions  and  are  open  to  the  process  (which  in  many  situations  involves  collaborative  processes)  

  Price  yourself  accordingly.  Several  organizations  produce  guidelines  for  commissions  from  which  you  can  scale  yourself  accordingly  (see  Meet  the  Composer)  

  Ultimately,  it’s  all  about  getting  noticed!  

  Be  honest  about:  

 Who  you  are  and  what  you’ve  done  

 What  kind  of  artist  you  are  

 What  stage  of  your  career  you  are  in    

  Don’t  over-­‐sell  yourself  or  shoot  too  high  

  Build  accomplishments  step  by  step  

  The  big  things  will  come  

  Resume  

  Work  your  network  (including  friends,  fellow  artists,  teachers,  colleagues,  etc.)  

  Website  and  other  internet  resources  

  Social  media  

  Performances  and  exhibitions  

  Press  releases/articles  in  local  papers  

  Advertising  (given  budget)  

  Appearances  of  local  media  (KUHF,  etc.)  

  Alumni  groups  (school)  

  Newsletters  (for  organizations  you’ve  been  involved  with)  

  Membership  organizations    

  Other  aspects  of  your  career  or  job  that  can  promote  your  work  

  Find  the  resources:  it’s  almost  a  certainty  that  someone  has  done  the  research  for  you  

  Start  local:  where  possible,  local  grants,  residencies,  performances,  etc.  will  be  easier  to  obtain  and  will  help  build  the  resume  

  Start  small:  Look  for  lesser  known  groups,  agencies,  residencies  where  your  application  is  more  likely  to  be  successful  

  Work  your  network:  Your  colleagues  and  friends  are  going  to  be  your  best  source  of  work,  referrals  and  new  contacts  

  Know  Your  Limits:  All  of  this  can  become  a  full  time  job,  allocate  your  time  to  the  most  important  and  focus  on  your  art!