23rd July 2013 Arts NSW - Arts Funding Program Review 2013 Submission The National Association for the Visual Arts (NAVA) is pleased to have the opportunity to comment on the Arts NSW Arts Funding Program Review 2013. NAVA is the peak industry body representing and advancing the professional interests of the Australian visual and media arts, craft and design sector. Its national office is in Sydney. NAVA receives funding from the NSW Government through Arts NSW for two purposes: i) to manage the NSW Artists Grant scheme (devolved funding) ii) to provide direct services to NSW artists, building their professional capacity by offering career development opportunities and a variety of on-line and face-to-face professional development training programs and events. NSW in 2012, NAVA: - delivered the only quarterly devolved grant scheme to 40 successful visual artists in NSW from over 200 applicants - delivered 28 professional development workshops in regional and metropolitan areas for 1141 artist participants - partnered with 104 other organisations to deliver a diverse and rich events program - brokered $33,000 in cash and in-kind private support for NSW artists through the Synergy mentor and business development program - brokered $70,000 of private investment for artist grants - delivered a comprehensive online learning program to over a 100 artists whilst employing over 20 guest lecturers and facilitators in the delivery of these courses. - provided advice and support to approximately 2000 artists in person or through the telephone and email - auspiced 8 grant applications for NSW artists and managed four - had 235,152 visits to its visual arts website and 93,157 visits to the ‘Money For Visual Artists’ website. 50,561 people visited ‘Artscareer’ and 5,869 participated on the ARIna website In addition NAVA provided periodic advice and submissions to the NSW government. NAVA believes the Arts Funding Program Review could enable the Arts NSW Funding Program to support and facilitate greater opportunities for artists and organisations ensuring their contribution to the cultural, social and economic wellbeing of NSW. To achieve a vibrant sector, NAVA believes a balance of funding is needed to support both individual artists and the organisations that are their support structures, focused on: - experimentation and innovation by artists at all stages in their careers, capitalising on what technology offers, and understanding that we now are in a borderless, diverse and rapidly changing world; - growing and providing stability for the infrastructure, especially the small to medium organisations (S2Ms) which support the careers of artists at critical stages in their development and brings their work to the public.

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It is reassuring to see that NSW is aiming high in seeing itself as a leader in the national arts debate and that this is supported by a recognition of the breadth of the art industry beyond the major organisations and an understanding of the need for flexibility and diversity of opportunities beyond traditional pathways. There is an opportunity now to fashion the Arts NSW Funding Program and NSW Cultural Policy to be able to extend support for:

- individual practitioners in more flexible ways that enable career longevity and creation and distribution of critically significant work

- the S2Ms which ensure development of opportunities and new programs of support

- peak and service organisations, understanding the crucial role they play in providing expert policy advice, enabling sector sustainability and growth and providing professional development and brokering opportunities.

THE ARTS ENVIRONMENT, ISSUES AND TRENDS Generally NAVA agrees with the trends identified in the Discussion Paper but is concerned that responses to these should be very carefully considered. This is especially the case in relation to:

• the importance of supporting experimentation and risk-taking by both artists and organisations and allowing for failure;

• realising that artists continue to earn low incomes and experience difficulties in accessing financial resources and space for the production, exhibition/distribution, touring and sale of their work and finding opportunities to offer their expert services both around Australia and overseas;

• the great variety of means employed by artists to sustain their careers. This needs to be facilitated by removing unnecessary legal and regulatory barriers and supporting the brokering of new opportunities including in the creative industries;

• the importance of growing government support to underpin an expanding arts field (including new organisations) in keeping with the increasing interest from a growing population base;

• understanding the challenges faced by artists and organisations in keeping pace with technological change;

• the limitations for most S2Ms in being able to access private and corporate support and self generated income despite their best efforts.

1.1 Artists and Artists’ Careers Artists, designers and craft practitioners engage with the infrastructure in a series of complex interactions and dependencies, both financial and non-financial. There is a fluidity in the arts ecology as artists’ careers move across and between ARIs and pop-ups, commercial organisations, public institutions, galleries and awards and prizes. Artists are also regularly seeking and receiving national and international residency opportunities, mentorships, public presentation opportunities and conference participation establishing themselves as both locally and globally connected. Artists’ practices are increasingly hybrid, with many engaging in more than one form across visual arts, design, craft and other artforms. The boundaries continue to blur. Furthermore, many artists work as curators, writers, graphic designers, teachers and/or arts administrators for interest and as a means of generating income to sustain their practice. Mobility and connection are key features of Australian artists’ careers. Both Australia’s limited market and our relative distance from large art/craft/design markets overseas

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make it essential for artists to sustain networks beyond state and national boundaries. Interstate and international connection is significant for artists to both extend the potential for exhibiting and selling work, as well as extending their intellectual terrain through exchange, residency and networking opportunities. Information and communications technologies have affected the way many artists create and distribute work. According to Throsby and Zednik, “…(they) have opened up vast new opportunities for artists to circulate their work, to communicate with the public and with each other, and to explore new modes of artistic expression...”1 DIY initiatives have long been significant to many artists’ careers ie self organizing groups using authorized and unauthorised spaces to make and show work, to curate, collaborate and engage in critical dialogue. DIY initiatives such as ARIs and Pop Ups build collectivity and cohesion among groups of peers and offer opportunities for self-determination outside of the hierarchies of established exhibiting spaces. Patterns of employment and income generation have changed due to the casualisation of the workforce at large. “…the majority of artists now work as short or longer-term contractors rather than as employees. As a result, the types of work and sources of income that artists can access have become more varied over time. In particular, artists in general have increasingly been able to look for opportunities to employ their creative skills in areas beyond their immediate professional practice, finding work beyond the arts in the wider cultural arena and in the non-cultural sectors of the economy.”2 Artists’ career trajectories have enormously diversified within the visual arts, craft and design sectors. All artists work within a complex ecology of social, economic and organisational relationships and interdependencies both within and beyond the arts sector. They sustain themselves by “maintaining simultaneous productive relationships across the ecology – with peer networks, art schools and universities, and producing and presenting organisations that connect their work with audiences and new markets. Many artists have interdependent relationships with both not-for-profit and commercial parts of the sector, recognizing that each relationship contributes to their career development and income generation in quite different ways.”3 Throsby and Zednik conclude that artists’ career trajectories have changed dramatically, “Nowadays few artists follow the traditional linear trajectory beginning with training, passing through an emerging phase, arriving at establishment, and continuing with a life devoted exclusively to a core creative practice. Rather the concept of ‘portfolio careers’ has emerged, characterised by a variety of work arrangements, some involving original creative work, some applying skills more widely, some requiring team participation, some taking time out from creative work for further study, travel, research, and so on.”4 Cunningham & Higgs’ research concludes that the key area of growth for artists’ employment and income generation is in arts-related occupations outside of arts industries. “They have almost doubled in size while the employment in arts industries remained static… Embedded arts-related occupations (in all non-arts industries – which mostly means visual designers) rose from 35,470 (in 1996) to 59,810 (in 2006). This accounts for the 5.3 percent growth rate in arts-related occupations from 1996 to 2006, compared to the 0.1 percent growth rate in artist occupations.’5                                                                                                                1 Throsby D. & Zednik A., ‘Do you really expect to be paid? an ecnomic study of professional artists in Australia’ (2010) Australia Council, page 64 2  Throsby & Zednik, ibid    3 21st Century CAOS, A Forward Plan for Contemporary Art, published by CAOS 2010, page 5 4 Throsby & Zednik, ibid 5 Cunningham & Higgs What s your other job? A census analysis of arts employment in Australia, page 4.

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De-professionalisation. In an environment where everyone has access to new technologies and the idea that everyone or anyone can be a critic, a writer a photographer, an artist or a video maker we need to ensure that the dilution of careers, skills and knowledge does not occur and that NSW is critically competitive on a national and international scale. The professional knowledge of artists and arts administrators needs to be better valued and promoted encouraging an understanding of artists and arts administrators as highly educated specialists. 1.2 Craft and Design Craft and design are not necessarily the same although there are overlaps. The work of the National Craft Initiative (being implemented by NAVA in partnership with the Australian Craft and Design Centres) is designed to address the declining recognition of craft as a legitimate professional practice with its own characteristics, needs and value. Similar to the value delivered to NSW from having the Australian Design Alliance (ADA) located at NAVA, the NSW craft sector is also benefitting in a variety of ways from having the National Craft Initiative operating with NAVA as its base. ABS research tells us that craft is the most popular form of active cultural engagement for the Australian community with about 1.7 million people involved in “textile crafts, jewellery making, paper or wood crafts” and another quarter million doing “glass crafts, pottery, ceramics or mosaics”. The stats also show that craft is almost as popular as all the performing arts put together. However, the figures are very different for the professional practitioners surveyed in 2009 for the report by David Throsby and Anita Zednik6. This report indicates that the number of professional craft practitioners peaked at 5,500 in the early 1990s, but by 2009 had fallen to around 3,800. Latest ABS figures indicate a continuing fall while in all other artforms the level had gradually risen over this period. This bears thinking about. Why is this happening? The answer is not simple. The design field is increasingly being recognised as a critical area for investment to enhance Australia’s productivity, sustainability and innovation. In a recent NSW Creative Industries Action Plan commissioned by the Government it was reported that the NSW creative industries’ share of the NSW economy in 2009-10 was around 3.9%, compared with 3.3% at the national level. The industries are expected to grow at a faster rate than the rest of the NSW economy over the next 10 years. NSW creative industries are forecast to grow at an annual average rate of 3.1% to 2020, compared to 2.7% per annum for the NSW economy overall. The NSW creative industries are also the largest of the other States and Territories. Based on 2011 Census data, the NSW creative industries directly employed approximately 147,600 people, accounting for 39.6% of national employment in the creative industries. This is equivalent to 4.7% of total NSW employment. In addition, approximately another 65,300 people in NSW worked in creative occupations within other (non-creative) industry sectors. This represents 35.7% of the “embedded” creative people working in other industries across Australia. With employment prospects remaining static in the arts, the creative industries offer a real opportunity for NSW visual and media arts, craft and design practitioners and the NSW Department of Trade and Investment should be looking at ways to support and implement the findings of the Creative Industries Taskforce, and include opportunities for artists in their thinking. 1.3 Infrastructural Landscape Infrastructure in the visual and media arts, craft and design sector has developed over the last forty years in response to localised and state needs, the changing nature of

                                                                                                               6  Throsby & Zednik, ibid  

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practice and the vision of artists and artworkers who have brokered many effective initiatives. In the visual arts, the real value of funding to organisations has been diminishing over the last eight years. Though they are using ingenuity to broaden their support base, core funding remains critical and their capacity not only to be sustainable but to be dynamic and innovative is hamstrung by lack of growth in government funding support. This needs to be addressed urgently. There also needs to be consideration given to the situation for artworkers including art curators and project managers (whose services are in increasing demand), writers and publishers who are all part of the arts ecology. The rapidly changing IT environment is having a particular effect on writers and publishers because of the move to on-line and this would be an opportunity to start looking at addressing this change. Art industry salary data gathered by NAVA in 2009 as part of its research into fees and wages standards, indicates that the salaries of art workers employed in almost all non-government arts organisations are significantly lower that their counterparts with similar qualifications and experience working in other comparable industries. This is reinforced by data published in the Graduate Careers Australia’s (GCA) annual Australian Graduate Survey (AGS) where Art and Design graduates are the second lowest on a scale showing median starting salaries for 23 professions. 1.4 Education TAFE The cuts to TAFE funding for visual arts courses is creating a real crisis both in urban and particularly regional NSW. The Fine Arts courses were the first to be defunded. It is important that the impact of this has been recognised by both Arts NSW and the NSW Government’s Creative Industries Taskforce which recently made a recommendation to reverse the decision. However, so far nothing has changed. The cuts are already resulting in the serious contraction of courses offered and staffing levels. These staff positions were often filled by artists who are now experiencing cuts to their employment opportunities and income earning capacity. There is a proposal that the gap in TAFE training be filled by regional galleries. However, they have neither the facilities of a big institution nor the pedagogical expertise. This significant gap in service provision needs to be properly addressed otherwise it will have detrimental long-term ramifications. University Arts Schools Similarly but less dramatically, there is contraction in the variety and depth of offerings in university based art schools. While the federal government is about to introduce the arts as a mandated part of the national curriculum for schools, there is an increasingly widening gulf in opportunity for students to proceed on to the higher education levels in the arts. 1.5 Funding & Policy Landscape NAVA believes that the task of the National Arts and Culture Accord is to decide on the responsibilities each level of government should take on for providing services and funding. This should avoid cost shifting between them. Cuts in states Every state arts department, is facing a tight budget and NAVA is very concerned that the cuts in some states have bypassed the major performing arts sector and particularly hit the small to medium organisational clients especially the visual arts. As we await budget announcements, many state departments (Queensland, SA, Victoria, Tasmania) have publically indicated there will be or have already made cuts to the small to medium sector.

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Local government While local governments are by no means uniform in their investment in the visual and media arts, design and craft sectors – apart from capital works, small grants programs and public art investment - it is generally only the large metropolitan entities who are able to support the scale of developmental programs and initiatives needed by the sector. Large metropolitan councils have provided and facilitated access to studio spaces and sometimes ARI spaces and access to Pop Ups (short-term reuse of temporarily vacant retail premises and other spaces for creative and community uses). This should continue to be a local government responsibility and their role should be further developed in consultation with federal and state/territory funding authorities through the Accord. National Cultural Policy The Creative Australia national cultural policy is a wide ranging document which resulted in the development of the National Arts and Culture Accord, describing how each level of government will support arts and culture and setting out principles for ongoing cooperation. It will be engaged in developing a three-year work plan for all levels of government which will set out priority areas for joint action, including in arts education. The policy also resulted in the restructuring of some national arts infrastructure - Australia Council, Australia Business Arts Foundation and Artsupport & devolution of national touring programs from the Office for the Arts to the Australia Council. Substantial new funding of $75.3 million over 4 years was allocated particularly benefitting the major performing arts sector. This is likely to have an impact on how the states consider their own plans and obligations. City of Sydney Cultural Policy The City of Sydney is also engaged in producing an ambitious arts policy and is currently supporting a number of programs and considering some very exciting options. Presumably there is some dialogue between City of Sydney and Arts NSW to achieve co-ordination. 1.6 Innovation Agenda The rollout of the NBN, starting in the regions, presents the arts with an enormous opportunity to lead and to innovate. The popular discourse around the NBN is dominated by talk of increased file sizes, speed, access and efficiency ie. that it is the same only faster, bigger and equally accessible across the country. It has the potential to be much more than this. Capacity for content creation and collaboration thereby democratising the flow of information (backwards and forwards) rather than one way (outwards to the regions) is an exciting prospect. In order to create complex content though, there will need to be skills development about specific online communication, learning and engagement and direct content creation. There will be huge demand for design applications for mobile devices, video production & interactive media. Artists could be instrumental in turning the NBN into an animated flow but they will need support for research and professional development in the creative use of the NBN in order to share/market their skills successfully.

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SECTION 1: KEY THEMES 1. Who and what should be supported and how? 1.1 Eligibility

• How do current eligibility requirements impact on you, your organisation or arts and cultural activities?

• Are current eligibility criteria sufficiently meeting the current needs of the arts and cultural sector?

See responses below 1.2 Organisations 1.2.1 Funding fewer organisations at higher levels? To make a decision like this requires an assessment of where arts funding needs to be applied to achieve the most valuable outcomes, rather than making a blanket decision. It will depend on which organisations and what is their role and performance record. NAVA is of the view that it is time to look critically at the whole arts ecology to assess where the best value is and could be delivered. Currently major performing arts organisations and the major galleries and museum are getting the bulk of government funding at both federal and state level. They are not assessed with the same rigour as the S2Ms. These organisations have the capacity to leverage more funding due the inherent ‘spectacle’ of their business. They also have the budget and support for running comprehensive philanthropy and sponsorship programs that attract significant private and public investment. Smaller organisations - particularly service or non presenting organisations - as well as practitioners can find it difficult to attract and service major sponsors and philanthropic gifts. Given this obvious capacity imbalance NAVA recommends a rigorous assessment of the capacities, needs and value delivered by the various forms and levels of arts infrastructure within an overall strategic plan for NSW’s cultural development. Appropriate criteria need to be developed which recognise the different focus of S2Ms from the majors and the importance of their role in sustaining the arts ecology. The criteria need to be established through consultation with each artform area in the sector and be fair, appropriate and applied at arm’s length from government. NAVA asserts that is particularly important to ensure that the S2Ms are sufficiently and reliably resourced to provide services to newer and more innovative forms of practice by artists. 1.2.2 Explicit and transparent criteria around eligibility for multi year program funding? If so what criteria? Criteria should be appropriate to the type of organisation and should assess track record. For peak and service organisations they should include assessing performance in relation to some or all of the following as appropriate:

i) Liaison with & advocacy to key decision makers ii) Research iii) Sector leadership & setting arts industry standards iv) Capacity building of the sector v) Artists' career development & income generation support vi) Sector representation vii) Positive profiling of the arts sector to the community

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1.2.3 How can government strengthen organisational capacity? The following are some key areas:

• Reliable long term funding • Assistance with relationship brokerage for private investment • Provision of skills and leadership training • Agility by government in adapting to new innovative opportunities and

circumstances. 1.2.4 Are current Program Funding terms (1-3 years) appropriate? Yes. 1.2.5 Should emerging and establish orgs be thought of in different ways? Yes, emerging and establish organisations have different capacities and also can deliver different outcomes, programs and engagement models (eg audience development initiatives will differ between major organisations and emerging organisations). See above. 1.2.6 How should pathways and transitions into and out of program funding be addressed? After an assessment has been made within an overall strategic cultural plan, Arts NSW should provide organisations with adequate notice of change (one year), hold discussion with boards and staff and provide the opportunity for adaptation eg: organisations could be put on review (Australia Council model) and then transitioned in or out. The criteria and rationale should be justifiable and transparent within an overall plan. 1.2.7 How can AFP better structure and secure investment from other sources? Are there any other ways/models to strengthen arts and cultural organisations?

• In addition to its provision of core and project funding, Arts NSW could try to secure matching funding from private investment sources for S2Ms which are unable to attract it individually.

• Negotiate new commercial investor support eg: angel investors for cross disciplinary projects

• Fund training provision which could be delivered from peak and service organisations re new funding mechanisms, opportunities and development.

1. 3 Peak and Service Organisations The questions asked in this section are alarming. NAVA is concerned that peak and service organisations have been singled out from amongst all organisations to be asked should they continue to access funding from Arts NSW to fulfill their roles. This could imply a lack of appreciation of the critical role played by these bodies. Details and evidence are provided below. " I am very, very glad NAVA exists, not only for myself but for the many artists who find it such a valuable resource." (NAVA Member Survey) The peak and service organisations act as the collective voice for the arts and are the providers of co-ordinated arts industry data delivery and advice to governments. They consolidate the strength of arts industry infrastructure through fostering cross-sectoral knowledge sharing, collaboration and application of best practice sector standards. By convening conversations in the states, local intelligence can be built as well as the potential to mobilize the sector to work together on particular issues. They work to achieve a conducive policy environment to deliver artistic vibrancy and a strong creative community.

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Peak and service organisations contribute significantly to the sector’s sustainability by providing independent opportunities, advice and support that is at arm’s lengths from government allowing for more flexibility in management, operations and audience engagement. They play a crucial role in developing and delivering programs of professional development training for artists and other art professionals thus building artists’ and organisational capacity through opportunity provision, skills and knowledge development and connectivity between diverse industries and practitioners. NAVA strongly recommends there should be a separate funding category for peak and service organisations with assessment criteria that are appropriate to what they do. 1.3.1 Peak and Service Organisational Activities

i) Liaison with & advocacy to key decision makers - Providing advice and information to governments & other key decision makers to inform their policy & program development and decisions, based on grass roots sector consultation and expert knowledge - Advocating for appropriate legislation, regulation and policies to ensure a conducive environment for artists and art infrastructure - Making submissions to government & other inquiries and research processes - Collaborating to develop across arts industry positions and present a united voice for the arts

ii) Research - Monitoring, analyzing and reporting on the nature of the artform sector’s development - Developing policy positions arising from research - Providing data and statistics - Analysing and reporting on others’ information iii) Sector leadership & arts industry standards - Devising and monitoring adherence to art industry best practice standards eg: codes of practice and scales of fees - Advocating for artists’ rights and responsibilities - Establishing appropriate protocols - Providing professional accreditation - Forging and managing sector networks, partnerships and collaborative groupings - Organising position development meetings and collaborative actions iv) Capacity building of the sector - Brokering professional development opportunities and providing training for artists and artsworkers & their commissioners/clients/benefactors/sponsors - Providing career advice and mentoring - Holding face to face & on-line forums, seminars, workshops and lectures - Offering distance education & career development training modules - Providing information & expert advice and stimulating discussions, networking and knowledge sharing - Publishing hard copy and on-line publications - Creating and maintaining databases - Initiating and managing projects

v) Artists' career development income generation support - Securing philanthropy/sponsorship (financial & in-kind) for artist grants & other support programs - Managing devolved artists’ grants from governments, funding bodies and the private sector

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- Securing beneficial legislation & policies with economic implications – tax, royalties, copyright, social security, artists' fees, superannuation etc

vi) Sector representation - representing the sector on boards and committees in NSW and Australia - providing representation for the sector at key meetings - taking on mediation for members in disputes vii) Positive profiling of the arts sector to the community - Generating media interest & providing comment and opinion - Holding public meetings/ forums/conferences - Marketing & promoting sector events, goods and services - Providing on-line vodcasts & podcasts of arts people and events

1.3.2 NAVA’s NSW Activities Without the support from the Arts NSW Funding Program NAVA would be unable to deliver the breadth and range of projects and resources for NSW artists and organisations. These are services envied by artists and organizations other states. i) With devolved funding from Arts NSW, through the NSW Artists Grant NAVA delivered $50,000 in grants to 40 NSW artists from a field of 207 applications. Extremely popular and effective, the grants are quick response, simple to apply for and offered every quarter. ii) NAVA's education and training programs have anticipated the growing demand for professional development ensuring artists have the skills to pursue career opportunities. With more funding from Arts NSW, in 2012 NAVA significantly increased its provision of professional development events. There were two regional workshops delivered in Albury in June and Port Macquarie in September offering early career information for artists and career marketing. In addition NAVA launched a series of monthly seminars held at the Gunnery building in Woolloomooloo. These well-attended evenings covered a broad range of topics from using social media and building your arts brand to the implications of the Personal Property Securities Act. To ensure regional and national access to these presentations NAVA produced short vodcasts on a number of topics that were made available on its You Tube channel. Throughout 2012, NAVA staff presented at a variety of public forums in NSW, from Western Sydney to Avalon discussing current issues and trends and providing professional advice and skills development, as well as giving lectures to students at Sydney College of the Arts, the College of Fine Arts (COFA) and the National Art School. By the end of 2013, NAVA will have done the following: NAVA ended the year with two sold out large-scale seminars, one conducted in partnership with Sydney College of the Arts on residencies and the second a workshop on social media optimisation held in Woolloomooloo.

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In 2013 building on previous success, the program is more ambitious again with workshops and seminars offered regionally in Bathurst (on marketing), Orange (on project development), Broken Hill x 2 (on career management) and Wollongong (on social media). In Sydney a monthly session ‘NAVA Nights’ offers seminars on creative careers: ‘New Year, New Careers’; ‘Finance and Tax’; ‘Pop Up Spaces – Creating and Inspiring the City’; ‘Product Styling and Photographing your Work’; ‘How Biennales Work’; and ‘Current Issues in Design’. Staff also have given art school lectures to students at SCA, COFA and NAS and a NAVA ‘Soup Session’ will be held at 107 Projects in Redfern. All of NAVA's professional programs, including the devolved NSW Artists Grant program assist in raising standards and developing skills in visual arts. NAVA's advice service and publications, including the Code of Practice for the Professional Australian Visual Arts, Crafts and Design Sector ensure that the application of professional standards and practices continues to grow. NAVA responded to approximately 200 requests per month for advice from artists, arts organisations and others in the sector. The main areas of advice sought were in the areas of fees and wages, marketing and promotion, tax, insurance, contracts, copyright and grants in ascending order of demand. NAVA’s representation in the media continues to promote industry standards and the interests of the visual and media arts, craft, and design sector. NAVA contributed to media on over 90 occasions in 2012. Our advocacy campaigns attracted the most coverage including in relation to the national cultural policy and artists fees, as well as matters relating to professional standards. NAVA's brokerage program is an innovator in developing skills and opportunities by connecting artists with industry and government and providing them with the skills to develop sustainable and creative careers in the arts. Participants have since gained private investment, corporate relationships and launched sustainable creative businesses. The course program consists of a 7 week online course with guest lectures by arts industry experts; 3 professional development events exploring topics ranging from social enterprise and entrepreneurship, presentation skills and working with the private sector; 4 one on one coaching sessions with mentors from private and government agencies outside of the art industry; and development of a project pitch and final presentation to cross industry panelists including private investors, local government and arts development managers. 1.3.3 Fee for Service? Also asked is whether some of the services above be better provided on a fee-for-service basis. Where it is viable and appropriate, organisations already charge fees for service. In NAVA’s case, this applies to membership, publications, on-line training courses and unfunded public events. However, the reason we are allocated the NSW funding is to make the services we provide in NSW available free of charge in order to ensure access by people who are very low income earners and need the assistance we offer to improve their income earning potential. 1.3.4 Devolved funding In answer to the question, does the current devolved funding model deliver effective outcomes and why, see below. NAVA is very pleased to manage the devolved NSW Artists Grant program which it offers alongside a suit of other grants and scholarships. This allows us to be administratively efficient, gain economies of scale and benefit from good media interest.

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NAVA, as a service and peak organisations is well placed to identify the marketplace opportunities and barriers facing NSW artists and to develop programs that address these issues. With devolved funding from Arts NSW, NAVA has run a greatly valued program of NSW Artist Grants for NSW artists over at least the past 18 years that has successfully supported approximately 800 NSW artists. Feedback from the NAVA grants program has always been very positive and has affirmed the difference it has made for artists trying to reach new audiences and markets for their work as well as being able to take up new opportunities for exhibition and new work development. Devolved funding enables the Arts NSW Funding program to be responsive to sector changes and trends, deliver grant opportunities frequently and more efficiently than would be possible for a state bureaucracy, so artists are able to take advantage of income earning and career building opportunities. 1.3.5 Improvements for devolved funding programs - It would be really desirable to be able to double the funds offered through the NSW Artists Grant. In 2014 it will not have the same value as 10 years ago. - In addition it would be really valuable to be able to offer a quick response overseas travel assistance grant every quarter to allow artists to take up pop-up opportunities. This is not possible with a once a year grant program. - The improvements that could assist the efficiency and effectiveness of NAVA’s devolved funding program is to find a better solution to the delay caused by NAVA having to wait for Ministerial announcement of the results of each devolved funding round. This is a problem exacerbated by the grant program being designed to fulfill a specific need ie to be a quarterly quick response program. 1. 4 Individuals 1.4.1 Value of specific funding pathways for emerging, mid career or established artists, regional artists, specific art forms etc.? There needs to be a comprehensive understanding of the changing nature of artists’ careers as being both global and local, interdisciplinary and diverse and this needs to be reflected in the funding opportunities afforded to individuals. “I don’t have a standard career.” (NAVA research participant) From recent qualitative research conducted by NAVA’s there are specific areas that pose challenges to artists and their needs in attempting to meet these challenges. These broad primary challenges for artists can be identified as:

- Time - Space - Money - Skills - Community -­‐ Conducive environment for artistic practice.

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Most demanding are the practical challenges facing artists in developing and sustaining their careers over their lifetime. There are constant practical everyday issues artists need to navigate as professional practitioners. These include the regulatory and policy environment in which artists work and the issues identified above. However these challenges change at different stages of the artist’s career with particular problems at the point of leaving art school and at the ‘mid-career desert’ point. It essential that artists be appropriately supported at each stage of their career, changing as their needs change. 1.4.2 How effective are small grants programs (under 5k)? - Very, if the popularity of Artists Grant scheme managed by NAVA with devolved funding from Arts NSW is an indicator. 1.4.3 Do other funding bodies already provide sufficient support? No. The current level of funding from all sources only tips the iceberg of need. One only has to look at the number of artists vs the number of opportunities. In NSW there are no other quick response opportunities. In NAVA’s experience, one round a year is not sufficient for artists to be able to respond to opportunities as they arise. All other programs are focussed on outcomes and within particular categories. There needs to be room for experimentation and R&D. 1.4.4 Are there opportunities to partner with philanthropic and crowdfunding mechanisms to support individuals? While it is possible that on rare occasions, individuals may be able to attract crowd funding, they would have to have a vast network of supporters. There are too many caveats for an individual to rely on the crowd and this form of fundraising is very time and effort consuming. It is a fad that will probably be exhausted before long as everyone is being asked to contribute to a zillion good causes. NAVA does not believe it is a substitute for government support over the longer term. 1.4.5 Is it desirable for funded organisations to provide greater assistance to individuals? Yes. The devolved grants programs are very successful and effective and could be expanded. Training programs like those offered by a number of institutions like NAVA are highly effective. Now that NAVA is offering these on-line, geography is not a barrier though access to technology still is a challenge for some especially regionally based. NAVA has been lobbying for some years to make it mandatory for galleries and events to pay visual and media arts, craft and design practitioners at least according to the fee scales in NAVA’s Code of Practice for the Professional Australian Visual Arts, Craft and Design Sector when their work is loaned or commissioned for exhibition in a public space (and not offered for sale). NAVA has been seeking an allocation by government of $3 million/year to assist underfunded galleries to meet this obligation.

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1.4.6 Are there other ways/models to effectively assist individuals? A mark of the success of NAVA’s NSW ‘ideas and networking’ based professional development events, is that they have fuelled a national desire for similar programs in other states/territories. What is missing is professional development programs that bring together different parts of the sector, are intergenerational and allow space for informal as well as formal exchange and relationship development. NAVA is working on this. Other models:

- Brokerage of corporate commissions, installations and artist consultations. - Provision of Quick Response Funding that is not exhibition/performance outcome

based but enables artists to take up opportunities. -­‐ Mentorships (Jump, Emerging Leaders Program) facilitated by peak and service

organisations. These could also includes matchmaking administrators and interns with potential projects, reciprocal studio visits and mentorships across career stages i.e. established artists mentoring emerging artists, services that could connect artists directly with curators and directors.

- An Artstart program but for mid career artists - R&D funding - An Australian version of CLORE leadership program UK - NSW adopting the Tasmanian ‘Collect’ model to encourage purchase of artworks

by contemporary living artists on a layby scheme that is interest free. 2. Structuring the program to support vibrant arts and culture in NSW 2.1 Programs and Projects 2.1.1. Balance between Project/Program 2.1.2 New funding categories to be considered for support - Residency, exhibition and other opportunities for mid-career and established artists; - Capacity to develop different career trajectories eg. as embedded collaborators in

other industries; - DIY space funding – legal structures, information sharing, project funding,

connectivity; - Regional access to markets, opportunities, professional development; - Connectivity across the sector: locally, intra/interstate and internationally; between

craft/design and visual arts; between emerging and established artists. 2.1.3 How can emerging issues, new activity and innovation most effectively be facilitated? Affordable creative space in cities: There is limited studio and living space, for artists in the cities.

Public Art: there is a need for strategic work to be undertaken with Local Governments about how to do it well.

Professional Practice Development: mentoring for graduates over a 3-year period – perhaps mentorships that are one-to-ten in ratio rather than one-to-one to maximise impact of mentor and peer learning.

Facilitated Network Discussions: Facilitating discussions/networking in urban and regional areas to empower other groups to advocate better, thereby developing many voices from the sector being heard which can be delivered through service organisations.

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Support for very emerging practitioners: the sector has identified a gap in the very emerging field of practitioners they are trying to service (prior to their eligibility for Jumpstart, Artstart, Kickstart programs etc).

Support for mid-career practitioners: the sector has identified a gap for mid-career artists colloquially known as ‘the mid-career desert’.

2.1.4 Expanding Career Options for Artists Many visual artists will choose a career path that sees them emerge from art school, exhibit in the ARI sector, then hopefully at public and commercial galleries, sustaining themselves with teaching, residencies, commissions, grants and other opportunities along the way. Others, who work in object creation, may develop business skills to develop a market for their work and sustain themselves through retail, commissions, teaching and exhibitions etc. But if the growing area of employment for artists is ‘embedded arts-related occupations in non-arts industries’7, some strategic leadership is needed to open up the arts and business communities’ thinking and perceptions. While some artists resist what may seem to be ‘an instrumentalist’ approach to their skills and creativity, others are excited by the potential of being well-paid collaborators in industry (while also continuing a studio practice). NAVA and service organisations are well placed to build the capacity of the sector to research and broker opportunities for different career paths embedded in creative and other industries – eg across IT, science, research, health, the built and natural environment, education and community development. 3. Administration of program 3.1 Assessment Process Needs to be quicker. Assessment should be based on ensuring genuine peer review with the range of arts skills and disciplines represented – not just generic across all artforms. 3.2 Getting the Timing Right Late announcement of funding in December makes program planning and commitment extremely difficult. 3.3 Measuring Outcomes there need to be better tailored criteria for assessing performance of peak and service organisations. As recommended above they should have their own funding program. 3.4 Communication, Access and Transparency Online order tracking so applicants know what stage their application is up to and the potential notification date. 4. Addressing the future 4.1 Evolve, develop and adapt to contemporary needs What is required is:

• Research • Sector Consultations • Monitoring of industry trends • Flexibility in categories • Varied peer assessors

                                                                                                               7 Cunningham & Higgs What s your other job? A census analysis of arts employment in Australia, page 4.  

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• New models for funding – practitioner wages, Myer example, cultivating matching sponsorship investment for grants programs, consideration for curators, writers and flexibility to respond to the changing landscape

4.2 Stronger focus on innovation and new practices

• Creative industries support like the QUT Creative Enterprise model • Bring creatives and business together for organisational and business

development • ‘Collect’ scheme of no interest loans for art purchase • Space sharing eg Fishburners model • % for art space schemes - this would be a variation of Section 94 of the NSW

Planning Act which would require developers to fulfil their social obligations through making a contribution to community amenity by allocating a small proportion of the physical space of any new development or refurbishment for accommodating artists, preferably rent subsidised if not free. Not only does this deal with the space problem for artists but it also provides enrichment for the denizens of the development and their contextual community. It would be the perfect contribution to neighbourhood enlivenment and vitality.

4.3 Top 3 priorities

• Ensure artist careers through a variety of grant and other support mechanisms including skills development, training and opportunity development

• Ensure excellent, dynamic, innovative, sustainable S2M art organizations through consistent funding programs coupled with flexible funding opportunities

• Enhance international cultural relations, dialogue and exchange through support for artist mobility and international exchange programs.