Funding
For performance work, the most desirable type of support material is still VHS video. The selection panel argued about whether this format was the best to represent an artist s work as most of the video documentation we saw in the first round was quite dreadful in quality. A shaky hand—held camera in a night club setting where the selection panel is straining to hear what is being said or done can get in the way of trying to critically engage with an artists work! Many artists tend not to send documentation of the processes of making work when sending in visual support material. I would advise them to keep a video diary, which could subsequently be edited to capture those key moments. Conversely, wonderfully edited, MTV style 'soundbite' videos can reveal little substance, except showing off the skills of a good editor. The reason we decided that it was still important to ask for video documentation is that no matter how bad the quality of the video was, it would still be able to convey a sense of the work. A dodgy bootleg recording of a Laurie Anderson performance will still offer a glimpse of her genius and artistry! Good documentation or visual material that has depth, clarity and substance can sometimes speak more loudly than a well—written proposal. Q— How important is it to you that an artist articulates the relationship between a proposed piece and the context in which it is shown or funded? i.e. thematic season programing; venue—specific programing or sector funding? Manick — I can only speak from my personal and professional position as Artists Advisor for Artsadmin. A grants officer for a local authority or a regional arts board may have different approaches. As I mentioned earlier, I am firstly far more interested in the context that the creative thoughts emanate from. At Artsadmin, through the bursary scheme we support the process of making work. It's an opportunity for artists to take risks, to experiment with new ideas and forms without the pressure of public scrutiny or creating a product for a wider audience. It allows the artist to demonstrate work in progress, to receive constructive feedback from fellow artists, curators, funders, writers and promoters who may wish to help them further the work for public viewing. It's an opportunity for dialogue, allowing the 'spectator' to have a discussion with the artist about the process for making work. In most cases the work is developed further and may be positioned in a specific sites or key venues. Some of the work in progress that has been developed through the bursary scheme will be given a full public airing in festivals like The British Festival of Visual Theatre. However, there is no prerequisite at the proposal stage that an artist must identify other sources of funding or bookings by promoters or programmers. I am deeply concerned that public funding for the arts in the UK is governed by government
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