The Ian Potter Cultural Trust Annual Grants Report 2021-22 (ISSN 2208-8873)

Cover Image: Grid XI by Jacqueline Stojanovic, 2022. Wool and cotton on steel mesh, 90 x 90 cm, installation view Haydens Gallery. Image credit: Christo Crocker.

WELCOME

Established in 1993 with a remit to encourage the diversity and excellence of emerging Australian artists, the Cultural Trust has assisted the professional development of over 1750 individuals through grants totalling more than $10.9 million. The Cultural Trust’s grants afford talented artists the opportunity to travel overseas, meet with and learn from their peers, showcase their talent and undertake research, study and training. The Cultural Trust funds nationally, from visual to performing arts, music to literature, multimedia to design; spanning traditional art forms through to experimental mediums.

In addition to professional development grants for individual artists, the Trust runs a program of significant arts commissions which have included sculpture, music (composition), and currently, moving image art.

FUNDING PRINCIPLES

- The Trust’s funding is governed by a commitment to excellence. We support individuals who are passionate about their work and have the potential to be outstanding in their field in an international context.

- The Trust seeks to encourage diversity, distinction and opportunity for Australian emerging artists.

WHO DO WE SUPPORT?

- The Trust assists emerging or early-career artists.

- We support applicants who can demonstrate both initiative and exceptional talent together with an ability to convert their ambitions to reality.

Sir Ian Potter, Founder 1902–1994.

TRUSTEES

CHAIRMAN

Mr Charles B Goode AC

GOVERNORS

Lady Potter AC, CMRI

Mr Anthony Burgess

Professor Sir Edward Byrne AC, Kt

The Hon. Alex Chernov AC, KC

The Hon. Susan Crennan AC, KC

Mr Leon Davis AO

Professor Karen Day AM

Mr Craig Drummond

Professor Emma Johnston AO

Professor Richard Larkins AC

Mr Allan Myers AC, KC

Professor Brian Schmidt AC

Professor Fiona Stanley AC

FRONT (L-R): Prof Emma Johnston AO, Lady Potter AC, CMRI, Mr Charles Goode AC, Prof Karen Day AM, The Hon. Susan Crennan AC, KC.

REAR (L-R): Mr Allan J Myers AC, KC, Prof Sir Edward Byrne AC Kt, Mr Craig Drummond, Prof Richard Larkins AC, Mr Anthony Burgess, The Hon. Alex Chernov AC, KC. ABSENT: Prof Fiona Stanley AC, Prof Brian Schmidt AC, Mr Leon Davis AO.

CHIEF EXECUTIVE OFFICER

Craig Connelly

PROGRAM MANAGER

Subhadra Mistry (up to April 2022)

Louise Joel (commenced June 2022)

PROGRAM OFFICER

Paula Cruz Manrique

ADMINISTRATION MANAGER

Gail Lewry

ADMINISTRATION OFFICER

Sue Wilkinson

RECEPTION AND OFFICE COORDINATOR

Nicole Hunter

COMMUNICATIONS MANAGER

Sara Hearn

COMMUNICATIONS & ENGAGEMENT COORDINATOR

Nina Beer

CHIEF FINANCE OFFICER

Anna McCallum

FINANCE OFFICER

Viktoria Kritharelis

L-R: Gail Lewry, Viktoria Kritharelis, Sue Wilkinson, Nina Beer, Anna McCallum, Craig Connelly, Louise Joel, Paula Cruz Manrique, Sara Hearn, Nicole Hunter.

EXECUTIVE REPORT

Since its establishment in 1993, The Ian Potter Cultural Trust has sought to support the development of the arts sector in Australia, awarding more than $10.5 million in grants to support Australian artists.

Despite this mission, during the past year, the Cultural Trust’s grants for emerging artist development came to a near standstill due to the COVID-19 pandemic and subsequent international travel restrictions.

We also saw delays to the production and exhibition of the final work in The Ian Potter Moving Image Commission series, and Angela Tiatia’s work is now planned to be exhibited at ACMI in 2023.

This hiatus allowed us the opportunity to pause and consider future possibilities for The Ian Potter Cultural Trust, and in mid-2021, the Trustees initiated a comprehensive external evaluation of the Trust’s philanthropic activities, the first formal review in its 28-year history.

The evaluation took place over a period of five months and consulted with over 270 artists, including current and past grantees, as well as commission partner organisations and industry advisors.

The evaluation provided the Trustees of The Ian Potter Cultural Trust with a clearer understanding of the Trust’s impact over the past three decades, in particular on the career trajectories of grantees and the continuous and evolving needs of Australian artists. We are grateful for the experiences and knowledge shared by our community. This review will form the basis upon which the Cultural Trust will build future initiatives and develop its strategy to support the Australian arts community.

A detailed summary of the objectives and findings of the evaluation is included in this report (pp. 6–8), and we would like to particularly thank our community for their support and participation in the evaluation during what was a profoundly challenging time for the arts sector.

As 2021 ended, the planned reopening of international borders allowed the Cultural Trust to reopen funding rounds in 2022. And so, the Cultural Trust Board of Trustees and staff returned to business as usual, awarding grants supporting emerging artists to undertake professional development opportunities overseas.

We were delighted to award grants to 22 emerging artists in the single round of 2021–22 and to work with the previous financial year’s grantees to reshape and reconfirm their development projects, which were postponed or disrupted during the pandemic.

Internally, the past year brought changes to The Ian Potter Cultural Trust team. In April 2022, we said farewell to Subhadra Mistry, the program manager responsible for The Ian Potter Foundation’s Vibrant funding pillar, including The Ian Potter Cultural Trust and The Ian Potter Moving Image Commission.

In June 2022, we welcomed two new staff members. Louise Joel stepped into the role of Arts Program Manager, bringing 15 years of experience in the Australian and International arts sectors to the role. Paula Cruz Manrique was also appointed to the role of Program Officer, supporting the Foundation’s program management team, including assisting Louise with the Cultural Trust.

We congratulate our 22 new grantees for 2021–22 and look forward to following their impressive array of development projects and professional journeys.

Charles Goode AC Chairman

Craig Connelly Chief Executive Officer

FACTS & FIGURES

GRANTS OVERVIEW

APPLICATIONS RECEIVED

55 NUMBER OF GRANTEES 22 VALUE OF GRANTS APPROVED

$209,180

Remy Rochester. Image credit: Wendell Levi Teodoro.

GRANTS BY ART FORM (2021–22)

EVALUATION

In 2021, The Ian Potter Cultural Trust Board of Trustees engaged Positive Solutions, an external consultancy specialising in the cultural and non-profit sectors, to evaluate the Trust’s grantmaking since its inception in 1993. This evaluation was initiated to better understand the legacy of the Cultural Trust’s first 28 years, including the impact of its grants on the career trajectories of supported artists, and inform the nature and scope of the Trust’s future philanthropic support. Those consulted as part of the evaluation included unsuccessful grant applicants, current and past grantees, commission partner organisations, and industry advisors. Consultation was carried out via one-on-one interviews, focus groups and online surveys.

Emerging Artist Grants Program

5,047 APPROVED GRANTS

1,740 VALUE OF GRANTS $8.75 M

APPLICATION APPROVAL RATE

APPLICATIONS

34%

RATE

SUCCESS

* Percentage of applications from the Northern Territory has been rounded down to zero; in total there were five applications (less than 0.5%), all were successful.

Note: The location of 1,030 applications (20%) cannot be identified. The success rate of these applications is 29%.

Music and performing arts were the original categories for applications and remain the two art forms that attract the largest number of applications and grant recipients. There has, however, been steady diversification, with 11 art forms represented in 2019.

* From 1993 to 2014, all music applicants applied under the category “Music”. “Music Classical” was introduced in 2015 and “Music Contemporary” was introduced in 2017. From 2018, the “Music” category ceased to be used, with applications classified under the two newer categories.

WHERE ARE THEY NOW?

Working professionally in the arts

Grantees emphasised that support from the Cultural Trust catalysed their professional development. International travel remains highly valued by emerging artist and commission grantee interviewees; for learning, building lasting networks, and boosting confidence.

Importance of grant experience to subsequent artistic practice

Identify international travel and networking as playing an important role in their continued career development

Of respondents who identified their current focus as independent creative practice

Derive more than 50% of their income from creative practice

VERY IMPORTANT QUITE IMPORTANT OF MODEST IMPORTANCE

Grantees likelihood to proceed with development initiative without Cultural Trust funding

NOT HAVE PROCEEDED

PROBABLY HAVE PROCEEDED DEFINITELY PROCEED

Derive more than 75% of their income from creative practice

Commission Grant Program

MUSIC COMMISSION PROGRAM

1999–2009

Offered $20,000 to an emerging composer, and $80,000 to an established composer.

Applications

IAN POTTER MOVING IMAGE COMMISSION (IPMIC) 2011–2021

Offered five commissions of $100,000 to mid-career moving image artists.

Applicants funded to further develop proposals

Approved grants

Total value of grants

158 18 23 $500,000

Applications

Applicants funded to further develop proposals

Approved grants

Total value of grants

266 16 8* $560,000

* In 2021 three IPMIC finalists were awarded grants of $20,000 to support the development of their proposed work.

The Ian Potter Cultural Trust is committed to supporting individual artists who are a vital component of ensuring Australia maintains vibrant arts and cultural sectors.

The important role these sectors play in our society was emphasised throughout the course of the COVID-19 pandemic. Artists came to the fore, maintaining public morale by continuing to offer performances and access to visual arts during testing times. As a group, artists demonstrated their capacity for resilience, innovation and – despite lockdowns and social distancing – collaboration and connection.

As Australia returns to normal, we look forward to supporting many more emerging artists to undertake invaluable professional development experiences to sustain their central role in the Australian arts and cultural landscape.

The arts sector faces a long road to recovery. Building the skills and experience of the next generation of artists will serve the sector well as it rebuilds and becomes stronger than ever.

This year we caught up with several past Cultural Trust grantees, asking them to reflect on how the professional development experience gained through their grant has led to increasing knowledge, developing access and opportunities, and improving the workplace culture of their fellow artists thereby further enriching the Australian arts ecosystem.

KNOWLEDGE

Emily Collett is a Melbourne-based set and costume designer, whose practice encompasses theatre, dance, performance art, film, and television. She has worked with Rollercoaster Theatre Company, Rawcus Theatre Company, and St Martin’s Youth Theatre, among others.

Alongside this practice, Emily is also applying her expertise to costume research and education as a lecturer and PhD candidate at the Victorian College of The Arts. In 2022 she submitted her PhD for examination.

“My research focuses on the potential of costume for performance as a cultural marker, that is, a nuanced marker (or a sign, or indicator) of the cultural identity of the society which created the costume or set of costumes.”

The journal article, ‘Decolonizing costume: Unpicking ballet’s racist and colonialist stereotypes through Sidney Nolan’s costumes for The Rite of Spring (1962)’ in Studies in Costume and Performance, vol.7(1), written as part of Emily’s PhD research, showcases the value gained from this line of inquiry.

“This article fed into the wider study, which interrogates how positioning costume as a cultural marker can activate

multiple histories, realities, truths, and knowledges, changing current belief systems and shifting societies’ relationship between their past and their present. In an Australian context, this suggests that researching performance costume could contribute to reconciliation through truthtelling and exposing dominant histories.”

Well before Emily’s formal research into this topic began, she was supported by a Cultural Trust grant to undertake the ‘Laboratoire d’Etude du Mouvement’ course at Ecole Jacque Lecoq in Paris, France. In describing how this experience influenced her work, she articulates the sense of responsibility she feels to conduct this research.

“The experience itself was influential on my understanding of my place in the performing arts and in the world, specifically in relation to the convergence of tradition and our present. This continues to resonate in my practical design work, my teaching, and my research, which all regularly engage critically with notions of contemporary Australia and our responsibility as creative practitioners to continue questioning who we were, who we are now, and who we could become.”

Emily Collett’s experimental exhibition showcasing printed images of archived costumes, displayed as they were encountered in their archival homes, 2019.

OPPORTUNITIES

keithdougall.com.au

Glass artist and educator, Keith Dougall’s practice encompasses slumped, fused, cast, blown, hot-formed and woven glass techniques to create works for exhibition and the architectural environment.

Alongside his creative practice, his passion for the medium has seen him champion access to the often elusive and inaccessible art form.

In 2009, Keith established the Poatina Glass Studio in partnership with Fusion Australia, a facility for glass art in the village of Poatina, Tasmania. Following its establishment, Keith led efforts to secure support and funding for a new purpose-built facility where the Poatina Glass Studio now resides within the Alethea Mountain Retreat Arts Centre. A goal many years in the making, the purpose-built facility addresses a significant need for glass studio access within the state.

“I love sharing my experience and skills, and helping glass become accessible to people of all ages and types –attempting to remove the barriers that people often feel. I’m passionate about supporting artists, including young and emerging artists, to work with glass by cultivating a sense of opportunity and support through the studio and the community that has formed around it.”

The Poatina Glass Studio is considered Tasmania’s premier hot glass teaching facility, offering studio access and workshops for glass artists, schools, and the public.

In 2013, Keith received a Cultural Trust grant to participate in the class ‘Liberation with a Ladle: Resin-Bonded Sandcasting, Sculpture’ at Pilchuck Glass School, USA.

“My experience of Pilchuck Glass School in general has been extremely formative in establishing the Poatina Glass Studio. The techniques, teaching methods and creative ethos I learned there continue to influence and inspire my artistic and educational practice today.”

Keith’s artistic practice is now focused on creating significant public or architectural glass works for specific settings, seeking to reflect and capture the dignity, meaning and purpose of the community and individuals who inhabit them.

Keith has recently completed a major suspended public artwork and community engagement project entitled ‘Catching Your Breath’ for the reception area of Royal Hobart Hospital.

“This work comprises seven large ‘bundles of breath’, each a stainless-steel net holding organically shaped blown glass bubbles containing the breath (and hopes) of over 300 individuals from the hospital community.”

Keith Dougall at Poatina Glass Studio blowing one of the 300+ glass breath bubbles for ‘Catching Your Breath’ , a public artwork at Royal Hobart Hospital.

CULTURE

AMBER HAINES

A dancer, choreographer, director and photographer, Amber Haines’s career has seen her work across a range of projects with many of Australia’s most acclaimed dance companies and choreographers including Chunky Move (Gideon Obarzanek), Australian Dance Theatre (Garry Stewart) and Lucy Guerin Inc (Lucy Guerin).

Since 2014, Amber has been Associate Artistic Director at Dancenorth, a centre for contemporary dance-making, collaboration and artistic exchange in Townsville, Far North Queensland.

In this role, Amber not only creates live mainstage work and photographic imagery for the company, but also works in collaboration with the other Dancenorth directors to cultivate an inclusive, nurturing and expansively thinking company culture.

While regionally based, Dancenorth is a creative hub for many artistic voices, providing opportunities and spaces for artists to develop their professional practice and providing an environment for collaboration, dialogue and creative exchange.

“My artistic drive exists beyond the work made and ultimately resides within the relationships formed through collaboration. The rapport, the people, and the learning that happens through the journey of making is where it’s at.”

“Our vision for the future is ultimately embedded with care and love. My experience is that an arts organisation born of

this ethos has a tangible impact and contributes to the arts ecology in an authentic, mindful and powerful way.”

Since joining the company, Amber and Kyle Page (her partner cum long-time collaborator and Dancenorth’s Artistic Director and Co-CEO) have co-directed numerous full-length works, including Syncing Feeling, Spectra, Rainbow Vomit, Dust and Communal Table, which have toured Australia-wide and internationally. Many of these critically acclaimed works explore themes central to Amber’s creative practice, the natural environment and the human place in this system.

In 2015, Amber received a Cultural Trust grant to participate in the Arctic Circle Expedition, Svalbard Archipelago, Norway, and for professional development with Carte Blanche, The National Company of Contemporary Dance in Bergen, Norway.

“As a young artist gifted the opportunity to inhabit the wondrous and isolated spaciousness of the arctic terrain for nearly four weeks, I underwent an experience that rescaffolded my heart and mind.”

“Since that residency, I have integrated various forms of embodied practices within natural terrain during creative developments. I understand that bringing others into a physical dialogue with the natural environment not only serves the work and serves the individual wellness of people within the project, but it is in itself a form of gentle creative and personal activism.”

Amber Haines performing Syncing Feeling. Dancenorth’s Syncing Feeling was directed, choreographed and performed by Amber Haines and Kyle Page. Image credit: Gregory Lorenzutti.

ACCESS

EMILY JANE READ Music Contemporary WA

DJ, music producer, radio host, vocalist and cultural activist, and contemporary musician Emily Jane Read wears many hats. Working within the Western Australian contemporary music scene, Emily uses her extensive skill set as a vehicle to develop and promote opportunities for diverse and underrepresented artists.

In 2020, Emily was awarded a Cultural Trust grant to undertake professional development in the field of Music Production with the goal of disseminating her newfound knowledge through a series of workshops for emerging artists upon her return to Perth.

Emily’s development project was interrupted by the onset of COVID-19 in the United States, and, upon her return to Australia, her planned workshops and professional opportunities were stifled by social distancing and travel restrictions. Despite these challenges, Emily continued her goal of helping others develop their creative skills. Elevating the voices of underrepresented artists in her community as a radio host, running

DJ skills workshops for people living with disability, and facilitating a conference panel discussing the decolonisation of the music industry are only some of the ways she facilitates access and promotes diversity within the WA music industry.

In 2022, Emily joined the Board of Catch Music, a not-for-profit community organisation that provides opportunities for people of all ages, abilities, and backgrounds to connect through music. “I’m looking forward to having an influence on decisionmaking at a strategic level”, says Emily.

Alongside this work, Emily is also making strides in developing her practice, studying the Bachelor of Contemporary Vocal Performance at Edith Cowan University. She has also been invited to participate in the inaugural Women in Music Production Perth Writers Workshop with mentorship from producer Anna Laverty, artists Rachel Claudio and ZAN.

Emily is now focused on using her vocal performance skills in upcoming projects and collaborating with other vocalists and producers.

Emily Jane Read. Image Credit: Tashi Hall.

GRANTEES 2021–22

ATLAS program, ImPulsTanz – Vienna International Dance Festival. Image credit: Massimo Monticelli.

MULTIMEDIA

Maddie Grammatopoulos $10,000

Clare Rankine $10,000

Maddie Grammatopoulos on the set of her film ‘Maggie Makes A Cherry Pie’. Image credit: Andre Donaldio.

MUSIC CLASSICAL

Lyla Levy Jordan in Masterclass with Artistic Director Thomas Hampson as part of the “Meet the Scholars” at Liedakademie Heidelberger Frühling Liedzentrum. Image Credit: Annemone Taake.

MUSIC CONTEMPORARY

Morgan Hickinbotham $10,000

Hayden Ryan $10,000

PERFORMING ARTS

Laura Jackson $5,000

VISUAL ARTS

Josie Alexandra $8,920 Kiah Pullens

Stojanović $10,000

Josie Alexandra performing in Drogarati Cave whilst on residency at the Ionion Centre of Art and Culture, Kefalonia, Greece. Image credit: Dimitris Kavallieratos.

Kiah Pullens final darkroom prints. Printed at Recom Art, Berlin. Image courtesy of the artist.