The Ultimate Residency Resource Guide TABLE of CONTENTS

The Ultimate Residency Resource Guide TABLE OF CONTENTS

Preface ...... p. vi

I. Organizational Setup

1. Forming a Nonprofit Advantages and disadvantages of a 501(c)(3) ...... p. 3 Life cycle of a public charity ...... p. 5 Filing with the IRS ...... p. 7

2. Articles of Incorporation Introduction ...... p. 9 Standard templates ...... p. 10

3. Mission Statements Introduction ...... p. 16 How to develop or revise a mission statement ...... p. 17 Samples ...... p. 20

4. Bylaws Introduction ...... p. 23 Samples ...... p. 24

5. Insurance Requirements Basic insurance needs for nonprofits ...... p. 43 Directors and officers liability insurance ...... p. 47 Additional resources ...... p. 48

6. Board Development Overview of a nonprofit board ...... p. 50 Basic responsibilities of nonprofit boards ...... p. 51 Legal responsibilities of nonprofit boards ...... p. 52 Setting up board responsibilities ...... p. 53 Board and staff responsibilities ...... p. 56 Board officers descriptions ...... p. 57 Board committees ...... p. 58 Board recruitment ...... p. 60 Basic guidelines for board orientation ...... p. 62 Guidelines for board manuals ...... p. 63 Samples—board manuals/handbooks ...... p. 64 Additional resources ...... p. 87 iii The Ultimate Residency Resource Guide

II. Personnel Management

1. Organizational Charts Samples ...... p. 90

2. Job descriptions Samples—Executive Director/President ...... p. 97 Samples—Artistic Director/Residency Director ...... p. 99 Samples—development staff ...... p. 101 Samples—Assistant Director/program and communications staff . . .p. 104 Samples—facilities/maintenance/housekeeping staff ...... p. 105 Samples—kitchen staff ...... p. 107 Samples—additional administrative staff ...... p. 109 Samples—intern/work exchange staff ...... p. 111

3. Personnel Policies Introduction ...... p. 116 Samples—personnel handbooks ...... p. 118 Samples—personnel evaluation ...... p. 141 Sample—employment contract ...... p. 153 Additional resources ...... p. 155

4. Volunteer Management “The Five Essential Things Every Volunteer Deserves” ...... p. 157 Sample—volunteer descriptions, guidelines and manual ...... p. 160

III. Artists’ Management

1. Artists’ Application Forms Samples—residency applications ...... p. 173 Samples—financial aid applications ...... p. 192

2. Artists’ Contracts & Policy Statements Samples ...... p. 195

3. Artists’ Handbooks/Residency Guides Introductions ...... p. 210 Samples ...... p. 211

4. Artists’ Evaluations Samples—exit interviews ...... p. 277 Samples—written evaluations ...... p. 279

5. Selection Processes Samples—juror letters and contracts ...... p. 293 Samples—selection criteria and process ...... p. 295 Table of Contents iv

IV. Organizational Management

1. Financial Management—Policies & Procedures Introduction—internal accounting procedures ...... p. 302 Sample—financial procedures manuals ...... p. 304 Additional resources ...... p. 310

2. Financial Management—Budgeting Introduction ...... p. 312 Samples—budgets and financial statements ...... p. 316

3. Fundraising—Development Plans Sample—development plans ...... p. 323

4. Fundraising—Grants Overview ...... p. 326 Sample—letter of inquiry ...... p. 332 Sample—cover letter ...... p. 334 Sample—cover sheet ...... p. 335 Sample—executive summary ...... p. 336 Sample—narrative ...... p. 337 Sample—NEA narrative ...... p. 342 Additional resources ...... p. 345

5. Fundraising—Individuals Overview ...... p. 347 Samples—giving opportunities ...... p. 350 Samples—annual appeals and general fundraising letters ...... p. 355 Samples—benefit invitations ...... p. 363 Samples—online giving materials ...... p. 370 Samples—in-kind contribution form ...... p. 382 Samples—thank-you letters ...... p. 383 Additional resources ...... p. 385

6. Marketing “Developing Your Identity 101” ...... p. 387 Utilizing your Web site ...... p. 390 Sample Web pages ...... p. 393

7. Public Relations Sample press releases—residency/alumni news ...... p. 418 Sample press releases—new staff ...... p. 421 Sample press releases—new board members ...... p. 425 Sample press releases—exhibitions/programs ...... p. 427 Sample press releases—special events ...... p. 435 Sample press releases—grant announcements ...... p. 439 v The Ultimate Residency Resource Guide

8. Strategic/Business Planning Introduction ...... p. 442 Business planning tutorial ...... p. 444 Review criteria ...... p. 447 Organizational assessment checklist ...... p. 448 Samples—strategic plans ...... p. 455 Additional resources ...... p. 493

V. Facilities Management

1. Accessibility—introduction and additional resources ...... p. 497

2. Studio Policies Health and Safety in the Arts ...... p. 499 Samples—studio policies ...... p. 500 Additional resources ...... p. 505

General Resources ...... p. 507

Index of Samples ...... p. 511 vi

Preface

Welcome to the Ultimate Residency Resource Guide, a compilation of the essential tools needed for artists’ communities to function at a highly professional level. The Ultimate Residency Resource Guide is a new version of the How-to Kit for Artists’ Community Administrators, originally compiled in 1996. The URRG represents all new research conducted in 2005.

This publication provides introductory topical essays, how-to overviews, and dozens of standard and sample documents on nonprofit management in general and artists’ residency programs specifically. While the guide will be especially helpful for start-up organizations, it can also serve as a resource for established nonprofit programs, especially those evaluating their existing policies and documents.

One of the wonderful things about this field is also one of its greatest challenges—that there is no “one size fits all” approach to developing a residency program. Whenever possible, we have included a variety of samples in this guide, as well as standard templates and tips on creating your own policies.

The Alliance of Artists Communities could not have created this guide without the cooperation and generosity of all the residency programs that contributed documents (for a complete listing, please see the Index); we are grateful for their willingness to share with others their wisdom and experience.

The URRG was developed under the leadership of Alliance Executive Director Deborah Obalil and the Member Services Committee; with Caitlin Strokosch Glass, editor; Maggie Baez, research, typesetting and design; and Emily Ustach, research assistance.

The Alliance of Artists Communities contributes to America’s cultural vitality by supporting our membership of diverse residency programs and advocating for creative environments that enhance the endeavors of artists. The Alliance is the only national service organization supporting the field of artists’ communities, colonies and residency programs. Cultivating new art and ideas—which cross boundaries posed by discipline, religion, race, ethnicity, gender, class, age, and physical ability—is the fundamental work of artists’ communities. Supporting artists’ communities in this work, as well as acting as a collective voice for the field, is the work of the Alliance. Chapter I

ORGANIZATIONAL SETUP Forming a Nonprofit Organizational Setup: Forming a Nonprofit 3

Advantages and Disadvantages of a 501(c)(3)

501(c)(3) Privileges

Exemption from federal income tax

Exemption from federal unemployment tax (FUTA)

Tax deductibility for donors

Eligibility for government and foundation grants

Eligibility for bulk mailing permit

Some B & O and property tax exemptions

Gambling permits

Credibility

501(c)(3) Responsibilities

Keep adequate records

File required returns

Provide donor substantiation

Obey disclosure laws

Generate public support

Avoid “excess benefit”

Shun political activity

Limit legislative activity

Limit unrelated business activity The Ultimate Residency Resource Guide 4

The chart below summarizes various kinds of tax treatment for nonprofit and for-profit organizations for comparison purposes in the state of Washington.

Type of Tax For-Profit Nonprofit Income Tax Sole proprietor files Form 1040, 501(c)(3) nonprofit files Form 990 or Schedule C, and pays income tax on 990-EZ, and pays income tax only net profit. Corporation files form on net profit from unrelated activi- 1120, and pays income tax on net ties; employees of the nonprofit file profit; employees file Form 1040 and Form 1040 and pay income tax on pay income tax on salaries received salaries received

Payroll Taxes Sole proprietorship or corporation Nonprofit files quarterly 941s and files quarterly 941s and annual 940, annual W-2s/W-3, but 501(c)(3) W-2s and W-3 organizations don’t pay FUTA tax (Form 940)

Washington Income received by an individual or Some income from charitable or B & O Tax: Exempt Purpose a for-profit is taxable for B & O tax educational activities is exempt, Income purposes, even when related to char- while other income may be taxable; itable or educational activities there is no blanket rule

Washington Individuals and for-profit organiza- Fundraising activities that meet spe- B & O Tax: Fundraising activities tions do not enjoy an exemption for cific criteria are exempt (examples— fundraising income rummage sales, fundraising meals, concession sales, auctions)

Property Tax (WA) Property owned by an individual or The use of the property determines a for-profit entity is generally not exemption (examples of uses eligible eligible for property tax exemption for exemption—schools, churches, hospitals, nursing homes, museums)

Sales Tax: Sales Income (WA) Individuals and for-profits must col- Some nonprofit organization sales lect sales tax on items sold can be exempt from sales tax

Sales or Use Tax: Purchases (WA) Individuals and for-profits must pay nonprofit organizations must pay sales or use tax on purchases sales or use tax on purchases, with very few exceptions

Charitable Contributions Grantors and contributors are not Grantors and contributors are per- able to take a charitable contribution mitted to take a charitbale contribu- deduction for cash or goods donated tion deduction for cash or goods to an individual or to a for-profit donated to a 501(c)(3) organization organization

Information from: Form 1023 Web site members.aol.com/irsform1023/addis/

Advantages and Disadvantages of a 501(c)(3), cont. Organizational Setup: Forming a Nonprofit 5

Life Cycle of a Public Charity

During its existence, a public charity has numerous interactions with the Internal Revenue Service—from filing an application for recognition of tax-exempt status, to filing the required annual information returns, to making changes in its mission and purpose. The IRS provides information, explanations, guides, forms and publications on all of these subjects—they are available through the IRS Web site (www.irs.ustreas.gov/charities). Below is a guide to the documents most charities will need as they proceed though the phases of their “life cycle.”

Starting Out The first stage in the life cycle of any organization is its creation. A nonprofit organization may be created as a corporation, a trust, or an unincorporated association. Any of these entities may qualify for exemption. Note, however, that a partnership generally may not qualify.

To qualify for exemption under section 501(c)(3), an organization must be organized exclusively for purposes described in that section. This means, among other things, that the organization’s articles of organization must contain certain provisions. The IRS provides sample articles of organization that contain the required provisions. Most organizations also adopt by-laws. You should also apply for an employer identification number, even if you do not have employees.

Applying to the IRS Once an organization has been created under state law and begins to operate, it may want to be recognized as exempt under section 501(c)(3) of the Internal Revenue Code. In addition to exemption from federal income taxation, organizations recognized as exempt under section 501(c)(3) may enjoy collateral benefits under the Internal Revenue Code, as well as under state or local income, property, sales, use or other tax provisions.

To apply for exemption, an organization should obtain and complete the required forms (exemption application) and application for employer identification number and submit them, along with the required user fee. If an organization will be represented by an attorney or other representative, it must also submit a power of attorney.

Public disclosure requirements apply to exemption applications that the IRS approves.

Annual Filings Although they are exempt from income taxation, exempt organizations are generally required to file annual returns of their income and expenses with the IRS. If an organization has unrelated business income (see below), it must file an unrelated business income tax return. In addition to filing an annual exempt organization return, exempt organizations may be required to file other reports and returns as discussed under “Ongoing Compliance.”

Unrelated Business Income Tax Even though an organization is recognized as tax exempt, it still may be liable for tax on its unrelated business income. Unrelated business income is income from a trade or business, regularly carried on, that is not substantially related to the charitable, educational, or other purpose that is the basis of the organization’s exemption. An exempt organization that has $1,000 or more of gross income from an unrelated business must file Form 990-T. An organization must pay estimated tax if it expects its tax for the year to be $500 or more.

The obligation to file Form 990-T is in addition to the obligation to file the annual information return, Form 990, 990-EZ or 990-PF. Each organization must file a separate Form 990-T, except title holding corporations and organizations receiving their earnings that file a consolidated return under Internal Revenue Code section 1501.

For more information on unrelated business income tax, see IRS Publication 598, Tax on Unrelated Business Income for Exempt Organizations. The Ultimate Residency Resource Guide 6

Ongoing Compliance In addition to annual return requirements, exempt organizations are required to file certain returns and reports and make disclosures.

Jeopardizing Exemption A section 501(c)(3) organization will jeopardize its exemption if it ceases to be operated exclusively for exempt purposes. An organization is operated exclusively for exempt purposes only if it engages primarily in activities that accomplish the exempt purposes specified in section 501(c)(3). An organization will not be so regarded if more than an insubstantial part of its activities does not further an exempt purpose.

Employment Taxes Every employer, including an organization exempt from federal income tax, who pays wages to employees is responsible for withholding, depositing, paying, and reporting federal employment taxes (including federal income tax, social security and Medicare [FICA] taxes, and federal unemployment tax [FUTA]), unless that employer is specifically excepted by law from those requirements or if the taxes clearly do not apply. These taxes generally apply to payment of compensation to employees.

Charitable Contributions A benefit of having 501(c)(3) status is eligibility to receive tax-deductible charitable contributions. Note that the Internal Revenue Code applies substantiation requirements for donors, and disclosure requirements for charitable organizations, in connection with such contributions. For a detailed discussion of the substantiation and disclosure requirements for charitable contributions, see Publication 1771, Charitable Contributions: Substantiation and Disclosure Requirements.

Public Disclosure Requirements In addition to these disclosure requirements for charitable contributions, the law requires tax-exempt organizations to make key documents publicly available. The IRS also makes these documents available. For more information, see “Public Disclosure.”

Getting Help from the IRS Exempt Organizations (EO) offers specialized assistance to tax-exempt organizations. EO’s programs help these customers understand and comply with the tax laws and regulations governing exempt organizations. Please see “Help” on the IRS Web site for more information.

Significant Events In addition to periodic reporting, a section 501(c)(3) public charity may interact with the Internal Revenue Service at key times during its life cycle.

Notifying the IRS As stated in the exemption determination letter, an organization must notify the IRS of material changes in its form, activities, or sources of support. This includes notifying the IRS of any merger with another organization and when the organization terminates.

Private Letter Rulings You may want to seek a private letter ruling on the tax consequences of material changes that you intend to make in your structure or activities.

Audit In addition, the IRS may audit a section 501(c)(3) organization to ensure that it is complying with the requirements for exemption and paying required taxes.

Information from: Internal Revenue Service, Office of the Treasury, “Life Cycle of a Public Charity” www.irs.ustreas.gov/charities/charitable/article/0,,id=122670,00.html

Life Cycle of a Public Charity, cont. Organizational Setup: Forming a Nonprofit 7

Filing with the IRS: IRS Form 1023, Application for Exemption

The following is a table of contents of the items you will need to identify and/or submit to the IRS with Form 1023, Application for Exemption. The complete 28-page form, as well as instructions, are available from the IRS at www.irs.ustreas.gov.

Part I. Identification of Applicant Part II. Organizational Structure Part III. Required Provisions in your Organizing Document Part IV. Narrative Description of your Activities Part V. Compensation and Other Financial Arrangements with your Officers, Directors, Trustees, Employees, and Independent Contractors Part VI. Your Members and Other Individuals and Organizations that Receive Benefits from you Part VII. Your History Part VIII. Your Specific Activities Part IX. Financial Data Part X. Public Charity Status Part XI. User Fee Information

Schedule A: Churches Schedule B: Schools, Colleges, and Universities Schedule C: Hospitals and Medical Research Organizations Schedule D: Section 509(a)(3) Supporting Organizations Schedule E: Organizations Not Filing Form 1023 within 27 Months of Formation Schedule F: Homes for the Elderly or Handicapped and Low-Income Housing Schedule G: Successors to Other Organizations Schedule H: Organizations Providing Scholarships, Fellowships, Educational Loans, or Other Educational Grants to Individuals and Private Foundations Requesting Advanced Approval of Individual Grant Procedures

For Form 1023, Application for Exemption, its instructions, and frequently asked questions, go to www.irs.ustreas.gov/charities/charitable/article/0,,id=130145,00.html Articles of Incorporation Organizational Setup: Articles of Incorporation 9

Introduction

An organization’s articles of organization are the articles of incorporation or charter, trust document, or other written instrument by which the organization is created.

The following are examples of a charter and a declaration of trust that contain the required information as to purposes and powers of an organization and disposition of its assets upon dissolution, in order to qualify for exemption under section 501(c)(3). You should bear in mind that requirements for these instruments may vary under applicable state law.

A private foundation’s articles of organization must contain additional provisions.

Additional Resources Internal Revenue Service: www.irs.ustreas.gov

Minnesota Council of Nonprofits: www.mncn.org/doc/MCN%20Articles.pdf The Ultimate Residency Resource Guide 10

Standard Charter Template

Articles of Incorporation of XYZ Arts Center

Article of Incorporation of the undersigned, a majority of whom are citizens of the United States, desiring to form a Nonprofit Corporation under the Nonprofit Corporation Law of ______, do hereby certify:

First: The name of the Corporation shall be ______.

Second: The place in this state where the principal office of the Corporation is to be located is the City of ______, ______County.

Third: The purposes for which this corporation, a nonprofit charitable organization, is formed are: 1. To do whatever wonderful causes your group is all about! You don’t have to get too elaborate—keep it simple.

2. Said corporation is organized exclusively for charitable, religious, educational, and scientific purposes, including, for such purposes, the making of distributions to organizations that qualify as exempt organizations under section 501(c)(3) of the Internal Revenue Code, or the corresponding section of any future federal tax code.

Fourth: The names and addresses of the persons who are the initial trustees of the corporation are as follows: Name ______Address______

Fifth: No part of the net earnings of the corporation shall inure to the benefit of, or be distributable to its members, trustees, officers, or other private persons, except that the corporation shall be authorized and empowered to pay reasonable compensation for services rendered and to make payments and distributions in furtherance of the purposes set forth in Article Third hereof. No substantial part of the activities of the corporation shall be the carrying on of propaganda, or otherwise attempting to influence legislation, and the corporation shall not participate in, or intervene in (including the publishing or distribution of statements) any political campaign on behalf of or in opposition to any candidate for public office. Notwithstanding any other provision of these articles, the corporation shall not carry on any other activities not permitted to be carried on (a) by a corporation exempt from federal income tax under section 501(c)(3) of the Internal Revenue Code, or the corresponding section of any future federal tax code, or (b) by a corporation, contributions to which are deductible under section 170(c)(2) of the Internal Revenue Code, or the corresponding section of any future federal tax code. If reference to federal law in articles of incorporation imposes a limitation that is invalid in your state, you may wish to substitute the following for the last sentence of the preceding paragraph: “Notwithstanding any other provision of these articles, this corporation shall not, except to an insubstantial degree, engage in any activities or exercise any powers that are not in furtherance of the purposes of this corporation.”

Sixth: Upon the dissolution of the corporation, assets shall be distributed for one or more exempt purposes within the meaning of section 501(c)(3) of the Internal Revenue Code, or the corresponding section of any future federal Organizational Setup: Articles of Incorporation 11 tax code, or shall be distributed to the federal government, or to a state or local government, for a public purpose. Any such assets not so disposed of shall be disposed of by a Court of Competent Jurisdiction of the county in which the principal office of the corporation is then located, exclusively for such purposes or to such organization or organizations, as said Court shall determine, which are organized and operated exclusively for such purposes.

In witness whereof, we have hereunto subscribed our names this day of ______20_____.

Information from: Internal Revenue Service, Office of the Treasury Life Cycle of a Public Charity - Sample Articles of Organization - Draft A - Charter www.irs.gov/charities/charitable/article/0,,id=122729,00.html

Standard Charter Template, cont. The Ultimate Residency Resource Guide 12

Standard Trust Template

Articles of Incorporation of XYZ Charitable Trust

The ______Charitable Trust. Declaration of Trust made as of the _____ day of ______, 20______, by ______, of ______, and ______, of ______, who hereby declare and agree that they have received this day from ______, as Donor, the sum of Ten Dollars ($10) and that they will hold and manage the same, and any additions to it, in trust, as follows:

First: This trust shall be called “The ______Charitable Trust.”

Second: The trustees may receive and accept property, whether real, personal, or mixed, by way of gift, bequest, or devise, from any person, firm, trust, or corporation, to be held, administered, and disposed of in accordance with and pursuant to the provisions of this Declaration of Trust; but no gift, bequest or devise of any such property shall be received and accepted if it is conditioned or limited in such manner as to require the disposition the income or its principal to any person or organization other than a “charitable organization” or for other than “charitable purposes” within the meaning of such terms as defined in Article Third of this Declaration of Trust, or as shall in the opinion of the trustees, jeopardize the federal income tax exemption of this trust pursuant to section 501(c)(3) of the Internal Revenue Code, or the corresponding section of any future federal tax code.

Third: a) The principal and income of all property received and accepted by the trustees to be administered under this Declaration of Trust shall be held in trust by them, and the trustees may make payments or distributions from income or principal, or both, to or for the use of such charitable organizations, within the meaning of that term as defined in paragraph C, in such amounts and for such charitable purposes of the trust as the trustees shall from time to time select and determine; and the trustees may make payments or distributions from income or principal, or both, directly for such charitable purposes, within the meaning of that term as defined in paragraph D, in such amounts as the trustees shall from time to time select and determine without making use of any other charitable organization. The trustees may also make payments or distributions of all or any part of the income or principal to states, territories, or possessions of the United States, any political subdivision of any of the foregoing, or to the United States or the District of Columbia but only for charitable purposes within the meaning of that term as defined in paragraph D. Income or principal derived from contributions by corporations shall be distributed by the trustees for use solely within the United States or its possessions. No part of the net earnings of this trust shall inure or be payable to or for the benefit of any private shareholder or individual, and no substantial part of the activities of this trust shall be the carrying on of propaganda, or otherwise attempting, to influence legislation. No part of the activities of this trust shall be the participation in, or intervention in (including the publishing or distributing of statements), any political campaign on behalf of or in opposition to any candidate for public office. b) The trust shall continue forever unless the trustees terminate it and distribute all of the principal and income, which action may be taken by the trustees in their discretion at any time. On such termination, assets shall be distributed for one or more exempt purposes within the meaning of section 501(c)(3) of the Internal Revenue Code, or the corresponding section of any future federal tax code, or shall be distributed to the federal government, or to a state or local government, for a public purpose. The donor authorizes and empowers the trustees to form and organize a nonprofit corporation limited to the uses and purposes provided for in this Declaration of Trust, such corporation to be organized under the laws of any state or under the laws of the United States as may be determined by the trustees; such corporation when organized to have power to administer and control the affairs and property and to carry out the uses, objects, and purposes of this trust. Upon the creation and organization of such corporation, the trustees are authorized and empowered to convey, transfer, and deliver to such corporation all the property and assets to which this trust may be or become entitled. The charter, bylaws, and other provisions for the organization and management of such corporation and its affairs and property Organizational Setup: Articles of Incorporation 13 shall be such as the trustees shall determine, consistent with the provisions of this paragraph. c) In this Declaration of Trust and in any amendments to it, references to “charitable organizations” or “charitable organization” mean corporations, trusts, funds, foundations, or community chests created or organized in the United States or in any of its possessions, whether under the laws of the United States, any state or territory, the District of Columbia, or any possession of the United States, organized and operated exclusively for charitable purposes, no part of the net earnings of which inures or is payable to or for the benefit of any private shareholder or individual, and no substantial part of the activities of which is carrying on propaganda, or otherwise attempting to influence legislation, and which do not participate in or intervene in (including the publishing or distributing of statements) any political campaign on behalf of or in opposition to any candidate for public office. It is intended that the organization described in this paragraph C shall be entitled to exemption from federal income tax under section 501(c)(3) of the Internal Revenue Code, or the corresponding section of any future federal tax code. d) In this Declaration of Trust and in any amendments to it, the term “charitable purposes” shall be limited to and shall include only religious, charitable, scientific, literary, or educational purposes within the meaning of those terms as used in section 501(c)(3) of the Internal Revenue Code, or the corresponding section of any future federal tax code, but only such purposes as also constitute public charitable purposes under the law of trusts of the State of ______.

Fourth: This Declaration of Trust may be amended at any time or times by written instrument or instruments signed and sealed by the trustees, and acknowledged by any of the trustees, provided that no amendment shall authorize the trustees to conduct the affairs of this trust in any manner or for any purpose contrary to the provisions of section 501(c)(3) of the Internal Revenue Code, or the corresponding section of any future federal tax code. An amendment of the provisions of this Article Fourth (or any amendment to it) shall be valid only if and to the extent that such amendment further restricts the trustees’ amending power. All instruments amending this Declaration of Trust shall be noted upon or kept attached to the executed original of this Declaration of Trust held by the trustees.

Fifth: Any trustee under this Declaration of Trust may, by written instrument, signed and acknowledged, resign his office. The number of trustees shall be at all times not less than two, and whenever for any reason the number is reduced to one, there shall be, and at any other time there may be, appointed one or more additional trustees. Appointments shall be made by the trustee or trustees for the time in office by written instruments signed and acknowledged. Any succeeding or additional trustee shall, upon his or her acceptance of the office by written instrument signed and acknowledged, have the same powers, rights and duties, and the same title to the trust estate jointly with the surviving or remaining trustee or trustees as if originally appointed. None of the trustees shall be required to furnish any bond or surety. None of them shall be responsible or liable for the acts or omissions of any other of the trustees or of any predecessor or of a custodian, agent, depositary or counsel selected with reasonable care. The one or more trustees, whether original or successor, for the time being in office, shall have full authority to act even though one or more vacancies may exist. A trustee may, by appropriate written instrument, delegate all or any part of his or her powers to another or others of the trustees for such periods and subject to such conditions as such delegating trustee may determine. The trustees serving under this Declaration of Trust are authorized to pay to themselves amounts for reasonable expenses incurred and reasonable compensation for services rendered in the administration of this trust, but in no event shall any trustee who has made a contribution to this trust ever receive any compensation thereafter.

Sixth: In extension and not in limitation of the common law and statutory powers of trustees and other powers granted in this Declaration of Trust, the trustees shall have the following discretionary powers. a) To invest and reinvest the principal and income of the trust in such property, real, personal, or mixed, and in such manner as they shall deem proper, and from time to time to change investments as they shall deem advisable; to invest in or retain any stocks, shares, bonds, notes, obligations, or personal or real property (including without limitation any interests in or obligations of any corporation, association, business trust, investment trust, common trust fund, or investment company) although some or all of the property so acquired or retained is of a kind or size which but for this express authority would not be considered proper and although all of the

Standard Trust Template, cont. The Ultimate Residency Resource Guide 14 trust funds are invested in the securities of one company. No principal or income, however, shall be loaned, directly or indirectly, to any trustee or to anyone else, corporate or otherwise, who has at any time made a contribution to this trust, nor to anyone except on the basis of an adequate interest charge and with adequate security. b) To sell, lease, or exchange any personal, mixed, or real property, at public auction or by private contract, for such consideration and on such terms as to credit or otherwise, and to make such contracts and enter into such undertakings relating to the trust property, as they consider advisable, whether or not such leases or contracts may extend beyond the duration of the trust. c) To borrow money for such periods, at such rates of interest, and upon such terms as the trustees consider advisable, and as security for such loans to mortgage or pledge any real or personal property with or without power of sale; to acquire or hold any real or personal property, subject to any mortgage or pledge on or of property acquired or held by this trust. d) To execute and deliver deeds, assignments, transfers, mortgages, pledges, leases, covenants, contracts, promissory notes, releases, and other instruments, sealed or unsealed, incident to any transaction in which they engage. e) To vote, to give proxies, to participate in the reorganization, merger or consolidation of any concern, or in the sale, lease, disposition, or distribution of its assets; to join with other security holders in acting through a committee, depositary, voting trustees, or otherwise, and in this connection to delegate authority to such committee, depositary, or trustees and to deposit securities with them or transfer securities to them; to pay assess- ments levied on securities or to exercise subscription rights in respect of securities. f) To employ a bank or trust company as custodian of any funds or securities and to delegate to it such powers as they deem appropriate; to hold trust property without indication of fiduciary capacity but only in the name of a registered nominee, provided the trust property is at all times identified as such on the books of the trust; to keep any or all of the trust property or funds in any place or places in the United States of America; to employ clerks, accountants, investment counsel, investment agents, and any special services, and to pay the reasonable compensation and expenses of all such services in addition to the compensation of the trustees.

Seventh: The trustees’ powers are exercisable solely in the fiduciary capacity consistent with and in furtherance of the charitable purposes of this trust as specified in Article Third and not otherwise.

Eighth: In this Declaration of Trust and in any amendment to it, references to “trustees” mean the one or more trustees, whether original or successor, for the time being in office.

Ninth: Any person may rely on a copy, certified by a notary public, of the executed original of this Declaration of Trust held by the trustees, and of any of the notations on it and writings attached to it, as fully as he might rely on the original documents themselves. Any such person may rely fully on any statements of fact certified by anyone who appears from such original documents or from such certified copy to be a trustee under this Declaration of Trust. No one dealing with the trustees need inquire concerning the validity of anything the trustees purport to do. No one dealing with the trustees need see to the application of anything paid or transferred to or upon the order of the trustees of the trust.

Tenth: This Declaration of Trust is to be governed in all respects by the laws of the State of ______.

Trustee ______Trustee ______

Information from: Internal Revenue Service, Office of the Treasury Life Cycle of a Public Charity - Sample Articles of Organization - Draft B - Trust www.irs.gov/charities/charitable/article/0,,id=122729,00.html

Standard Trust Template, cont. Mission Statements Organizational Setup: Mission Statements 16

Introduction

A good mission statement should articulate why your organization does what it does (its purpose and values) and how it fulfills its purpose and values.

Examples Art Omi International Arts Center works to further communication and exchange among writers, musicians, and visual artists by offering international working residencies in a peaceful country setting. 1. Why: to further communication and exchange among writers, musicians, and visual artists 2. How: by offering international working residencies in a peaceful country setting

Hedgebrook seeks through principles of land stewardship to balance human needs with those of the earth while providing a nurturing environment in which creativity can thrive. 1. Why: to balance human needs with those of the earth 2. How: through principles of land stewardship; by providing a nurturing environment in which creativity can thrive

A mission statement should be: Free of jargon Concise (short enough for everyone to memorize and recite easily) Articulate Neither too specific or too vague

The problem with mission statements that are too vague is that they do not articulate an organization’s uniqueness of purpose—they often include a strong sense of “why” and little to no “how”. Likewise, mission statements that are too specific water down the core message and are limiting (for example, if you describe all the activities you currently have, your mission statement may soon be out of date if you decide to change your programming).

Example Too vague: XYZ’s mission is to foster creativity in the arts. Less vague: XYZ’s mission is to foster creativity in the arts through multidisciplinary programs. More specific: XYZ’s mission is to foster creativity in the arts through residencies, exhibitions, and educational programs that encourage dialogue across disciplines. Too specific: XYZ’s mission is to foster, nurture and protect creativity in the arts through long- and short-term residencies, curated exhibitions, and on-site educational programs that encourage dialogue across disciplines.

A mission statement is more than an introduction to your organization—it is the guidepost by which all the organization’s activities should be measured. As you develop your programming, you should ask “Does this fit with my mission?” It’s natural that mission statements change as an organization evolves; however, a good mission statement will leave room for growth and won’t require re-writing regularly. The Ultimate Residency Resource Guide 17

How to Develop or Revise a Mission Statement

From the Drucker Foundation Self-Assessment Tool

The work plan to develop a mission statement calls for a committee to develop a draft statement and recommend it for the board chairman’s endorsement, who then proposes the mission statement for approval by the board. Some groups are able to develop a revised mission very quickly, while others conduct the work over a period of weeks or even months. If the mission is being revisited outside a full self-assessment process, the committee must, at bare minimum, be able to identify the organization or initiative’s primary audience and what the goals and results should be. If understanding or agreement is insufficient on these key points, deeper involvement in the self-assessment process is necessary before an effective mission statement can be developed.

Step 1: Establish a mission statement committee The task of the committee is to agree on a draft mission statement to be presented to the board for approval. Members should include the chief executive, the board chairman or another representative of the board, a writer, and a manageable number of additional members who represent different parts of the organization and who are keen to take on the task. Having a facilitator is helpful. It can be particularly beneficial if this individual has facilitated other parts of the organization’s self-assessment process.

Step Who’s Responsible 1. Establish a mission-writing group. Choose a facilitator and writer. Chief executive

2. At a first meeting of the writing group: Chief executive, facilitator Adopt criteria for an effective mission statement. Gather ideas and suggestions for first drafts.

3. Develop one or more draft statements. Writer

4. In a second group meeting, judge initial drafts against criteria and Writing group, facilitator suggest revisions or new options. 5. Develop second drafts. Writer

6. Gain feedback from outside the writing group. Chief executive, others as assigned

7. Summarize feedback and distribute second drafts and summary to Chief executive, writer the writing group. 8. In a third group meeting: Writing group, facilitator Make recommendations for final revisions and propose a draft mission statement for board approval; or Sum up the status of the process and determine next steps.

9. Give preliminary endorsement to the proposed mission statement. Board chairman

10. Present the proposed mission statement for board approval. Board chairman Organizational Setup: Mission Statements 18

Step 2: Adopt criteria for an effective mission statement; gather ideas and suggestions for first drafts The suggested criteria for an effective mission statement are that it: G Is short and sharply focused G Is clear and easily understood G Defines why we do what we do; why the organization exists G Does not prescribe means (says why, rather than what) G Is sufficiently broad G Provides direction for doing the right things G Addresses our opportunities G Matches our competence G Inspires our commitment G Says what, in the end, we want to be remembered for

Following the adoption of criteria, the group moves on to ideas and suggestions for the mission statement. This exercise begins with reviewing the suggestions from a self-assessment retreat or second group discussion, then adding to them. What is important at this point is to develop the widest possible set of options without being overly critical of any. One idea-generating technique: Go around the group two or three times asking for the one word that must be in the mission statement. To conclude the exercise, the group: G Posts and reviews all ideas and suggestions. The facilitator draws a circle around the words or phrases that appear most often. G Discusses key ideas or themes that must be captured in the new mission statement. G Discusses key ideas or themes that must not be part of the new mission statement.

Step 3: Develop one or more draft statements. Following the meeting, the writer—either alone or with a small subgroup—develops drafts of at least two possible new mission statements that are distributed before the next meeting.

Step 4: Judge initial drafts against criteria and suggest revisions or new options The second meeting of the committee should begin with a discussion of the protocols (outlined next) that will be followed to judge the drafts and make suggestions. People should also be encouraged to “listen between the lines.” This step in the process is highly structured, but on more than one occasion, someone in a group offers a comment or phrase that turns out to be the perfect nugget on which to build the new mission statement. If the group has a “Eureka!” moment, go with it.

Step 5: Develop second drafts Following the meeting, the writer or small subgroup develops a second draft of one or more possible new mission statements.

Step 6: Gain feedback from outside the committee

Step 7: Summarize feedback and distribute second drafts and summary to committee

Step 8: Propose a draft mission statement or determine next steps With some groups, the process for developing a mission statement flows with ease to a unanimous and enthusiastic conclusion. With most, the process proves demanding but worthwhile when a strong statement emerges. A small number of groups come to feel they have been given the riddle of the Sphinx.

Mission-committees may choose to propose more than one statement for the board chairman or full board to consider, may ask for a board discussion to gain input and direction, or may simply go into another round of drafts and keep at it until the issue is resolved. If a group truly gets stuck, it may be helpful to let the task lie for a time and come back to it or take the challenge to a specialist outside the organization and gain a completely fresh perspective. As Peter Drucker reminds us, “What counts is not the beauty of the mission statement. What

How to Develop or Revise a Mission Statement, cont. The Ultimate Residency Resource Guide 19 counts is your performance.” It may, in the end, be most preferable to suggest an interim statement and live with it for a time before making a final decision.

Step 9: Gain preliminary endorsement of the proposed mission statement The board chairman’s preliminary endorsement is always necessary before he or she presents a proposed mission statement to the full board for approval.

Step 10: Present the proposed mission statement for board approval The board chairman presents the proposed mission statement. The approval of the mission is one of the board’s most important strategic planning responsibilities. If the board rejects a proposed mission, consideration of other goals is postponed until a mission is approved.

The Drucker Foundation Self-Assessment Tool: Process Guide a publication of the Drucker Foundation and Jossey-Bass, Inc., Publishers Copyright © 1999 by The Peter F. Drucker Foundation for Nonprofit Management Available on the Drucker Foundation Web site, www.pfdf.org/leaderbooks/sat

How to Develop or Revise a Mission Statement, cont. Organizational Setup: Mission Statements 20

Sample Mission Statements

18th St. Arts Center: 18th Street Arts Center is a nonprofit residential arts center in Santa Monica that supports artists and arts organizations dedicated to issues of community and diversity in contemporary society.

The American Academy in Berlin: Our mission is to establish intellectual and professional ties between Germans and Americans in the arts, humanities, and public affairs.

Art Omi International Arts Center: Art Omi International Arts Center works to further communication and exchange among writers, musicians, and visual artists by offering international working residencies in a peaceful country setting.

Atlantic Center for the Arts: Atlantic Center for the Arts is a nonprofit, interdisciplinary artists’ community and arts education facility dedicated to promoting artistic excellence by providing talented artists an opportunity to work and collaborate with some of the world’s most distinguished contemporary artists in the fields of composing, visual, literary, and performing arts.

Archie Bray Foundation: The primary mission of the Archie Bray Foundation is to make available for all who are sincerely interested in any of the ceramic arts, a fine place to work.

Bullseye Connection: To make the world’s most versatile glass for creative expression. To remove the technical barriers between glassworking disciplines through research and education.

Caldera: Caldera is a multidisciplinary arts organization committed to fostering creativity, provoking experimentation and stimulating a deeper appreciation for the environment.

Center for Contemporary Printmaking: To support and encourage serious emerging and professional artists in the creation of original prints and to educate the community to a better understanding and appreciation of prints and the process of printmaking.

The Hall Farm Center for Arts & Education: The Hall Farm Center for Arts & Education is a nonprofit organization dedicated to promoting the processes of artistic creation and their integration into school and society.

Hedgebrook: Hedgebrook seeks through principles of land stewardship to balance human needs with those of the earth while providing a nurturing environment in which creativity can thrive.

Jacob’s Pillow Dance Festival: To support dance creation, presentation, education, and preservation; and to engage and deepen public appreciation and support for dance.

Montalvo: Montalvo is a nonprofit organization dedicated to forging meaningful connections between art, artists and the communities we serve, through creation, presentation and education in extraordinary ways and settings.

Penland School of Crafts: The mission of Penland School of Crafts is individual and artistic growth through craft.

Roswell Artist-in-Residence Program: To provide gifted, studio-based, visual artists with the unique opportunity to concentrate on their work in a supportive, collegial environment for a whole year.

The Constance Saltonstall Foundation for the Arts: To support visual and literary artists in New York State, especially in the Finger Lakes Region.

Santa Fe Art Institute: To provide a unique opportunity for emerging artists to pursue a brief, intense period of study with critically acclaimed visiting artists. The Ultimate Residency Resource Guide 21

Lillian E. Smith Center for the Creative Arts: To offer a place where gifted creative artists and scholars in various disciplines may find the conditions of quiet solitude and privacy in which to pursue their work.

Ucross Foundation Residency Program: It is the mission of the Ucross Foundation Residency Program for the arts and literature to actively support and participate in the process by which a society is strengthened and emboldened by its most forward looking arts.

Yaddo: To nurture the creative process by providing an opportunity for artists to work without interruption in a supportive environment.

Sample Mission Statements, cont. Bylaws Organizational Setup: Bylaws 23

Introduction

Bylaws are the most important document for many organizations. Unless there are higher governing authorities (such as state statutes or corporate charters), the bylaws define the organization and how it functions.

Formerly, it was common practice to separate the rules governing an organization into two separate documents—a “constitution” and “bylaws.” The recommended practice now is to combine these two documents into one known as the “bylaws” or the “constitution and bylaws.”

Bylaws can vary in size from one to fifty pages. Like clothes, bylaws should be made to fit the organization they are meant to serve. No one set of bylaws is appropriate for all organizations.

The following tips are applicable to most bylaws: G Language should be clear and concise. G Sentences should be structured so that it is impossible to quote provisions out of context. G A standard format (see below) can help in avoiding repetition and in locating provisions. G Do not include requirements from state law or higher governing authorities (lest the appearance be given that these rules can be changed). G If the bylaws state that elections are to be by ballot, this provision cannot be suspended (even if there is only one candidate for office). G Make provisions for calling special meetings. G Clearly define the duties and powers of any executive board or committee. G Describe the method (including any notice requirements) for amending the bylaws. G Be careful not to set a quorum for meetings that is too high and may be difficult to obtain. G Do not place purely procedural rules, such as the order of business for meetings, in the bylaws.

Suggested Bylaws Sections: I. Name and Location II. Members III. Board of Directors IV. Officers V. Committees VI. Meetings VII. Action Without Meeting, Waivers, Proxy Voting, etc. VIII. Amendment

Information adapted from Jim Slaughter: www.sideroad.com/Parliamentary_Procedures/constitution-bylaw.html The Ultimate Residency Resource Guide 24

McColl Center for Visual Art—Bylaws (Formerly Tryon Center for Visual Art)

ARTICLE I. OFFICES The principal office of the Corporation in the State of North Carolina shall be located at 345 North College Street, Charlotte, Mecklenburg County, North Carolina.

The Corporation may have such other offices, either within or without the State of North Carolina, as the Board of Directors (the “Board”) may determine or as the affairs of the Corporation may require from time to time.

The Corporation shall have, and continuously maintain, in the State of North Carolina, a registered office and a registered agent whose office is identical with such registered office, as required by the North Carolina Nonprofit Corporation Act. The registered office may be, but need not be, identical with the principal office in the State of North Carolina, and the address of the registered office may be changed from time to time by the Board.

ARTICLE II. BOARD OF DIRECTORS Section 1. General Powers. The affairs of the Corporation shall be managed by its Board of Directors. Directors need not be residents of the State of North Carolina.

Section 2. Number, Election and Tenure. The Board of the Corporation shall consist of not less than twenty- one and not more than thirty-six elected members as determined from time to time by the Board of Directors. In addition, the President shall be an ex officio, nonvoting member of the Board. Each director shall be elected to a term of office of three years, except that the term of office for the initial Board shall be staggered. As to the initial Board, approximately one-third of the members shall be elected to a one year term; approximately one-third shall be elected to a two year term; and approximately one-third shall be elected to a three year term.

In identifying and recruiting Board members: Visual Arts Organization/Artists Colony shall strive to ensure that the Board reflects the human diversity of Charlotte/Mecklenburg in terms of race national origin, gender and age.

Directors may be elected to succeed themselves, but no director shall serve for more than two full consecutive three-year terms, unless the director shall be serving as Chair of the Board, Chair-Elect or Immediate Past Chair, in which event the director serving in that capacity shall have his or her term extended to allow the director to fulfill the duties of that position, including service on the Executive Committee.

Section 3. Meetings. The Board shall have regular meetings a minimum of six times per year, including the annual meeting to be held in May. The Board may provide by resolution the time and place, within or without the State of North Carolina, for the holding of additional regular meetings of the Board without other notice than such resolution. Special meetings of the Board may be called by or at the request of the Chair of the Board or any five directors. Unless approved by a vote of the Board at a meeting at which a quorum is present, meetings of the Board shall be held in Mecklenburg County, North Carolina.

Section 4. Notice. Notice of any special meeting of the Board shall be given at least three days prior thereto by written notice delivered personally or sent by mail, telegram or telefax to each director at his or her address as shown by the records of the Corporation. If mailed, such notice shall be deemed to be delivered when deposited in the United States mail in a sealed envelope so addressed with postage thereon prepaid. Any director may waive notice of any meeting. The attendance of a director at any meeting shall constitute a waiver of notice of such meeting, except when a director attends a meeting for the express purpose of objecting to the transaction of any business because the meeting is not lawfully called or convened. Neither the business to be transacted at, nor the purpose of, any regular or special meeting of the Board need be specified in the notice or waiver of notice of such meeting, unless specifically required by law or by these Bylaws.

Sample Bylaws—McColl Center for Visual Arts Organizational Setup: Bylaws 25

Section 5. Quorum. One-third of the Board members serving at any time shall constitute a quorum for the transaction of business at any meeting of the Board; but if less than one-third of the directors are present at a meeting, a majority of the directors present may adjourn the meeting from time to time without further notice.

Section 6. Manner of Acting. The act of a majority of the directors present at a meeting at which a quorum is present shall be the act of the Board, unless the act of a greater number is required by law or by these Bylaws.

Section 7. Vacancies. Any vacancy occurring in the Board may be filled by the Board. A director elected to fill a vacancy shall be elected for the unexpired term of his or her predecessor in office.

ARTICLE III. BOARD CHAIR Section 1. Chair. The Board shall be presided over by a director who is elected by the Board to serve as Chair of the Board. In addition, the Board shall elect a Chair-Elect of the Board. Upon expiration of his/her term, the Chair shall continue on the Board as Immediate Past Chair for one year.

Section 2. Election and Term of Office. The Chair and Chair-Elect of the Board shall be elected annually by the Board at the annual May meeting of the Board. If the election of the Chair and Chair-Elect shall not be held at such meeting, such election shall be held as soon thereafter as convenient. The term of office for the Chair and for the Chair-Elect shall be one year.

Section 3. Removal. Any Chair or Chair-Elect elected or appointed by the Board may be removed by the Board whenever in its judgment the best interest of the Corporation would be served thereby.

Section 4. Vacancies. Vacancy in the office of Chair or Chair-Elect because of death, resignation, removal, dis- qualification or otherwise, may be filled by the Board for the unexpired portion of the term.

Section 5. Chair of the Board. The Chair of the Board shall preside at all meetings of the Board. The Chair of the Board shall appoint the members of the committees of the Corporation as may be established from time to time pursuant to Article V, Section 2, of these Bylaws, and shall perform such other duties as may be required by the Board.

Section 6. Chair-Elect of the Board. The Chair-Elect of the Board shall preside at meetings of the Board of the Corporation if the Chair of the Board is absent, and shall assist in activities of the Chair of the Board when called upon to do so. The Chair-Elect of the Board shall succeed to the position of Chair of the Board upon the expiration of the term of Chair-Elect.

Section 7. Immediate Past Chair. The Immediate Past Chair of the Board shall preside at meetings of the Board if both the Chair of the Board and the Chair-Elect are absent and shall assist in other activities of the Corporation when called upon to do so.

ARTICLE IV. OFFICERS Section 1. Officers. The officers of the Corporation shall be an Executive Director, one or more Vice Presidents (the number thereof to be determined by the Board), a Secretary, a Treasurer and such other officers as may be elected in accordance with the provisions of this Article. The Treasurer shall be a member of the Board and shall not be an employee of the Corporation. The other officers of the Corporation may be employees of the Corporation, and need not be members of the Board. In addition, the Board may appoint an employee as President (who, if so appointed shall be the Executive Director) and may elect such additional officers as shall be desirable. The Executive Director may recommend individuals to the Board, or any nominating committee thereof for election as officers. The officers shall have the authority and perform the duties prescribed from time to time by the Board. Any two or more offices may be held by the same person. Any officer elected or appointed by the Board may be removed by the Board whenever in its judgment the best interests of the Corporation would be served thereby, but such removal and termination of any officer shall be without prejudice to the contract rights,

Sample Bylaws—McColl Center for Visual Arts, cont. The Ultimate Residency Resource Guide 26 if any, of the officer so removed.

Section 2. Appointment and Term of Office. The officers of the Corporation shall be appointed by the Board to serve at the pleasure of the Board for such term of office as the Board may designate. New offices may be created and filled during any meeting of the Board.

Section 3. President/Executive Director. The President or Executive Director shall be the principal executive officer of the Corporation and, subject to direction of the Board, shall supervise and control the management of the Corporation. The President/Executive Director shall carny out the policies promulgated by the Board, in the job description as adopted and modified by the Board, and shall implement the actions approved by the Board. The President/Executive Director shall supervise the other officers of the Corporation in the performance of their duties as officers. The President/Executive Director may sign, with the Secretary or any other proper officer of the Corporation authorized by the Board, any deeds of trust, bonds, contracts or other instruments which the Board has authorized to be executed, except in cases where the signing and execution thereof shall be expressly delegated by the Board or by these Bylaws or by statute to some other officer or agent of the Corporation; and in general, the President/Executive Director shall perform all duties incident to the office of the President/Executive Director and such other duties as may be prescribed by the Board from time to time.

Section 4. Vice President. In the absence of the President/Executive Director or in the event of his or her inability or refusal to act, the Vice President (or in the event there be more than one Vice President, the Vice President designated as “Executive” or “First” Vice President, or if none are so designated, the Vice President with the longest tenure of employment with the Corporation) shall perform the duties of the President/Executive Director, and when so acting, shall have all the powers of and be subject to all the restrictions upon the President/Executive Director. Any Vice President shall perform such other duties as from time to time may be assigned to him or her by the President/Executive Director.

Section 5. Treasurer. The Treasurer shall be a member of the Board and shall have charge and custody of and be responsible for all funds and securities of the Corporation; receive and give receipts for monies due and payable to the Corporation from any source whatsoever, and deposit all such monies in the name of the Corporation in such banks, trust companies or other depositories as shall be selected by the Board or the President/Executive Director; and in general, perform all the duties incident to the office of Treasurer and such other duties as from time to time may be assigned by the Board. If required by the Board, the Treasurer shall give a bond of the faithful discharge of his or her duties in such sum and with such surety or sureties as the Board shall determine.

Section 6. Secretary. The Secretary shall keep the minutes of the meetings of the members and of the Board in one or more books provided for that purpose; see that all notices are duly given in accordance with the provisions of these Bylaws or as required by law; maintain and authenticate the records of the Corporation; see that the seal of the Corporation is affixed to all documents, the execution of which on behalf of the Corporation under its seal is duly authorized in accordance with the provisions of the Bylaws; and in general perform all duties incident to the office of Secretary and such other duties as from time to time may be assigned by the President/Executive Director.

Section 7. Compensation. The compensation of the President/Executive Director of the Corporation shall be fixed by the Board. No other officer shall receive compensation for the performance of his or her duties as an officer unless such compensation shall be authorized by the Board.

ARTICLE V. COMMITTEES Section 1. Committees of Directors. The Board, by resolution adopted by a majority of the directors in office, may designate and appoint one or more committees, each of which shall consist of two or more directors, which committees, to the extent provided in said resolution, shall have and exercise the authority of the Board in the management of the Corporation, except that no such committee shall have the authority of the Board: to amend, alter or repeal the Bylaws; elect, appoint or remove any member of any such committee or any director or officer of the Corporation; amend the Articles of Incorporation; restate the Articles of Incorporation; adopt

Sample Bylaws—McColl Center for Visual Arts, cont. Organizational Setup: Bylaws 27 apian of merger or adopt a plan of consolidation with another corporation; authorize the sale, lease, exchange or mortgage of all or substantially all of the property and assets of the Corporation; authorize the voluntary dissolution of the Corporation or revoke proceedings therefore; adopt a plan for the distribution of the assets of the Corporation; or amend, alter or repeal any resolution of the Board which by its terms provides that it shall not be amended, altered or repealed by such committee. The designation and appointment of any such committee and the delegation thereto of authority shall not operate to relieve the Board, or any individual director, of any responsibility imposed by law.

Section 2. Other Committees. Other committees not having and exercising the authority of the Board in the management of the Corporation may be appointed in such manner as may be designated by a resolution adopted by a majority of the directors present at a meeting at which a quorum is present. Except as otherwise provided in such resolution, the Chair of the Board shall appoint the members thereof. Any member thereof may be removed by the person or persons authorized to appoint such member whenever in their judgment the best interests of the Corporation shall be served by such removal.

Section 3. Term of Office. Each member of a committee shall continue as such until the next annual meeting of the Board of the Corporation and until his or her successor is appointed, unless the committee shall be sooner terminated, or unless such member be removed from such committee, or unless such member shall cease to qualify as a member thereof.

Section 4. Committee Chair. One member of each committee shall be appointed Chair by the person or persons authorized to appoint the members thereof.

Section 5. Vacancies. Vacancies in the membership of any committee may be filled by appointments made in the same manner as provided in the case of the original appointments.

Section 6. Quorum. Unless otherwise provided in the resolution of the Board designating a committee, one-third of the whole committee shall constitute a quorum and the act of a majority of the members present at a meeting at which a quorum is present shall be the act of the committee.

Section 7. Rules. Each committee may adopt rules for its own governance not inconsistent with these Bylaws or with rules adopted by the Board.

ARTICLE VI. ACTION WITHOUT MEETING Any action required by the North Carolina Nonprofit Corporation Action to be taken at a meeting of the Board or of a committee thereof or of any other committee, may be taken without a meeting only if a consent in writing, setting forth the action so taken, shall be signed by all those entitled to vote with respect to the subject matter thereof.

ARTICLE VII. CONTRACTS. CHECKS. DEPOSITS AND FUNDS Section 1. Contracts. The Board may authorize any officer or officers, agent or agents of the Corporation, in addition to the officers so authorized by these Bylaws, to enter into any contract or execute and deliver any instrument in the name of and on behalf of the Corporation, and such authority may be general or confined to specific instances.

Section 2. Checks, Drafts, Etc. All checks, drafts or orders for the payment of money, notes or other evidences of indebtedness issued in the name of the Corporation, shall be signed by such officer or officers, agent or agents of the Corporation and in such manner as shall from time to time be determined by resolution of the Board. In the absence of such determination by the Board, such instruments shall be signed by the Treasurer or an Assistant Treasurer and countersigned by the President/Executive Director or a Vice President of the Corporation.

Section 3. Deposits. All funds of the Corporation shall be deposited from time to time to the credit of the

Sample Bylaws—McColl Center for Visual Arts, cont. The Ultimate Residency Resource Guide 28

Corporation in such banks, trusts companies or other depositories as the Board may select.

Section 4. Gifts. The Board may accept on behalf of the Corporation any contribution, gift, bequest or devise for the general purpose or for any special purpose of the Corporation.

ARTICLE VIII. BOOKS AND RECORDS The Corporation shall keep correct and complete books and records of accounts and shall also keep minutes of the proceedings of its Board and committees having any of the authority of the Board.

ARTICLE IX. FISCAL YEAR The fiscal year of the Corporation shall begin on the first day of July and end on the last day of June in each year.

ARTICLE X. SEAL The seal of the Corporation shall be circular in form and shall have inscribed thereon the name of the Corporation and the work “SEAL.”

ARTICLE XI. WAIVER OF NOTICE Whenever any notice is required to be given under the provisions of the North Carolina Nonprofit Corporation Act or under the provisions of the Articles of Incorporation or the Bylaws of the Corporation, a waiver thereof in writing signed by the person or persons entitled to such notice, whether before or after the time stated therein, shall be deemed equivalent to the giving of such notice.

ARTICLE XII. AMENDMENTS TO THE BYLAWS These Bylaws may be altered, amended or repealed and new Bylaws may be adopted by a majority of the Directors present at any regular meeting or any special meeting, if at least two days’ written notice is given of intention to alter, amend or repeal or to adopt new Bylaws at such meeting.

The undersigned hereby certifies that the forgoing is a true and correct copy of the Bylaws of Tryon Center for Visual Art which were adopted as of October 1, 1997

Suzanne Fetscher Chair/President/Executive Director

* * * * * * * * * *

AMENDMENT TO BYLAWS

Article II. Board of Directors Section 2. The Board of the Corporation increases the maximum number of elected members to not more than forty-five for a period of the next three years or until June 30, 2003. As of July 1, 2003, the maximum number of elected members shall revert to thirty-six and shall be accomplished through the attrition of retiring members.

______Secretary

______

Date

Sample Bylaws—McColl Center for Visual Arts, cont. Organizational Setup: Bylaws 29

Virginia Center for the Creative Arts—Bylaws Amended and Restated Bylaws May 30, 2003

ARTICLE I. NAME AND LOCATION The name of this corporation, a Virginia non-stock corporation, shall be Virginia Center For The Creative Arts (the “VCCA”). The VCCA’s principal office shall be located at Amherst, Virginia.

ARTICLE II. MEMBERS The corporation shall have no members.

ARTICLE III. PURPOSE The purpose of the VCCA is to promote the arts of music, literature, drama, architecture, painting, sculpture and other fine arts and to support and encourage those working in the creative arts as further stated in the corporation’s Articles of Incorporation. The VCCA shall operate as a not-for-profit corporation in accordance with its Articles of Incorporation.

ARTICLE IV. BOARD OF DIRECTORS 4.1 GOVERNANCE. All corporate powers of the VCCA shall be exercised by or under the authority of a Board of Directors, and all business and affairs of the VCCA shall be managed under the direction of the Board of Directors, subject to any limitation set forth in the Articles of Incorporation.

4.2 NUMBER. The number of directors on the Board shall be no less than ten and no more than fifty. The number of directors may be fixed or changed from time to time by the Board.

4.3 ELECTION AND TERM. There shall be three classes of Directors, with each class containing one-third of the total number of Directors, as near as possible. Board members shall be elected annually by the Board of Directors to succeed those whose terms have expired, for a term of office to expire at the third annual meeting of the Board after their election. Except as otherwise approved by the Board, each director may serve a maximum of three consecutive three-year terms, except that a Director who is an officer may continue to serve on the Board until the Director’s term as officer expires. A person who has served as a Director for three consecutive terms may be reelected to the Board after a one-year absence. No individual will be named or elected as a Director without the individual’s prior consent.

4.4 REMOVAL; RESIGNATION; VACANCIES. The Board may remove any Director, with or without cause, but only at a meeting called for that purpose and the notice of the meeting states that purpose. Removal of a Trustee shall be effective only if two-thirds of the members of the Board votes in favor thereof. A Director may resign at any time by written notice to the Board. A resignation is effective when delivered unless the notice specifies a later date. A vacancy on the Board may be filled by the Board in its discretion, but need not be filled as long as the provisions of Article 4.2 are satisfied.

4.5 DIRECTOR RESPONSIBILITIES. In addition to their general responsibilities as directors under law, members of the Board of Directors, unless otherwise permitted by the President or the Board, shall chair or serve on a minimum of one of the Standing Committees specified in these By-laws, or any other Special Committee appointed by the Board. Directors shall support the VCCA through annual pledges, service, in-kind gifts and attendance at scheduled Board meetings, Committee meetings and other VCCA activities as appropriate. Chairs are not required to serve on committees other than the one chaired.

Sample Bylaws—Virginia Center for the Creative Arts The Ultimate Residency Resource Guide 30

4.6 HONORARY DIRECTORS. The Board may appoint such persons as it deems appropriate to serve as Honorary Directors for such terms as may be specified at the time of appointment. Honorary Directors may participate in meetings of the Board to the extent permitted by the Board but shall not have a vote nor be counted for purposes of determining a quorum.

4.7 ADVISORY COUNCIL. The Board may appoint such persons as it deems appropriate to serve on an Advisory Council for such terms as may be specified at the time of appointment. Members of the Advisory Council shall be permitted to participate in meetings of the Board to the extent permitted by the Board, but they shall not have a vote nor be counted for quorum purposes.

4.8 MEETINGS. There shall be an annual meeting of the Board of Directors in May, or at such other time before the end of the VCCA fiscal year as the Board may determine, for purposes of electing Directors and carrying on such other business as may come before the meeting. The Board may hold such other regular meetings as it may determine but shall meet not less than three times a year, including the annual meeting.

Special meetings may be called by the President or by one fourth of the number of then serving Directors. Only business within the purpose described in the notice for the Special Meeting may be conducted at the meeting. Unless otherwise specified in the notice of a meeting, all meetings shall be held at the VCCA’s principal place of business.

4.9 NOTICE. Notice for all Board meetings shall be given to each Director by sending such notice to his/her residence or business address or such other place as he/she may specify by mail, messenger, electronic or other means of written communication not less that three days before the meeting or by telephoning such notice to him/her not less than two days before the meeting. Any such notice shall set forth the time and place of the meeting and, if for a special meeting, shall state the purpose for which it is called.

4.10 WAIVER. A Director may waive any notice required by law, the Articles of Incorporation or these Bylaws at any time. Except as set forth below, such waiver shall be in writing and shall be filed by the Secretary with the minutes of the meeting. A Director’s attendance at or participation in a meeting waives any required notice to such Director unless the Director promptly upon arrival objects to the meeting and does not thereafter vote or assent to action taken at the meeting.

4.11 QUORUM; VOTING. A majority of the Directors in office immediately before a meeting begins shall constitute a quorum. The act of a majority of the Directors present at a meeting at which a quorum is present shall be the act of the Board unless otherwise specified in these Bylaws.

4.12 TELEPHONIC MEETINGS. The Board may permit any or all Directors to participate in a regular or special meeting by, or conduct the meeting through the use of, any means of communication which shall permit all Directors participating to simultaneously hear each other during the meeting. A Director participating in a meeting by such means is deemed to be in attendance in person at the meeting.

4.13 ACTION WITHOUT MEETING. Action required or permitted to be taken at a Board meeting may be taken without a meeting if the action is evi- denced by one or more written consents signed by each Director.

Sample Bylaws—Virginia Center for the Creative Arts, cont. Organizational Setup: Bylaws 31

ARTICLE V. OFFICERS

5.1 OFFICERS OF THE BOARD OF DIRECTORS. Officers of the VCCA Board shall be the President, President Elect, Past President, Secretary and Treasurer, and in the discretion of the Board, such other officers and assistant officers as may be deemed necessary or advisable to carry out the business of the VCCA. All officers shall be members of the Board and may be removed at any time, with or without cause.

5.2 TERM OF OFFICE. Officers shall be elected at the appropriate annual meeting of the Board to serve a term of two years or until their successors are elected. Any officer may resign at any time upon written notice to the Board and such resignation shall be effective when notice is delivered unless the notice specifies a later effective date. In the case of removal or resignation of any officer, the Board shall appoint another member of the Board to complete the term of the officer. Persons elected as officers may be reelected to the same office or be elected to another office. Notwithstanding the provisions of Article IV, the term of any officer as a Director shall be extended until such time as the officer ceases to serve in such office.

5.3 PRESIDENT. The President, as the VCCA’s principal officer, shall preside at all Executive Committee and Board meetings and exercise general supervisory authority over the property, business and affairs of the VCCA and over the other officers. The President shall act as a liaison between the Executive Director and the Board and shall at each annual meeting render a report as to the condition and business of the VCCA. The President is authorized to sign checks, notes, drafts and other orders for payment and all other written instruments of the VCCA and shall perform such duties as are incident to his/her office or as may be prescribed by the Board from time to time.

5.4 PRESIDENT ELECT. The President Elect shall, in the absence or disability of the President, exercise the powers and perform the duties of the President; shall assist the President in the performance of the President’s duties; and shall perform such duties as may be prescribed by the Board or the President from time to time. The person serving as President Elect shall be elected President at the next annual meeting of the Board at which the then President’s term shall expire or upon the expiration of the term of office of the then current President.

5.5 SECRETARY. The Secretary shall keep records of all meetings of the Board, the Executive Committee and authenticating records of the VCCA, issue notice of meetings, maintain or cause to be maintained a roll of the Board and Executive Committee members showing their place of residence and date of election to office and perform other duties customarily pertaining to the office of Secretary and as the Board or President may prescribe from time to time.

5.6 TREASURER. The Treasurer shall keep an account of all funds, securities and other like property in the name of the VCCA. The Treasurer shall endorse such checks, notes and bills for deposit only as may be necessary for the business of the VCCA. The Treasurer shall have authority to collect the funds of the VCCA and shall deposit or cause to be deposited such funds in a bank or banks or trust company approved by the Executive Committee but the funds shall not be drawn from there except in the manner designated hereafter. Checks, notes and drafts and other orders for payment of money shall be signed by the Treasurer or other such persons as the Board may authorize from time to time. The Treasurer shall render or cause to be rendered regular financial reports to the Board and Executive Committee at scheduled meetings; shall prepare or cause to be prepared an annual financial statement for approval by the Board; shall ensure that an independent audit of the books is performed on an annual basis; and shall perform such other duties customarily pertaining to the office of Treasurer.

Sample Bylaws—Virginia Center for the Creative Arts, cont. The Ultimate Residency Resource Guide 32

5.7 PAST PRESIDENT. At the annual meeting at the end of the term of the then President, such officer shall be elected to the office of Past President. The Past President shall render such advice and counsel to the President and other officers as may be appropriate and necessary to ensure a smooth transition of office to the incoming officers and to serve the best interests of the VCCA.

ARTICLE VI. BOARD COMMITTEES

6.1 COMMITTEES. The Board of Directors shall create such Standing Committees as specified in these Bylaws and such other Special Committees as it shall deem appropriate from time to time. The Board shall appoint Directors to serve on Committees and each Committee shall have two or more members who serve at the pleasure of the Board. The Board shall further appoint a Chairperson, and if it deems appropriate a Vice Chairperson, for each Committee.

6.2 AUTHORITY OF COMMITTEES. To the extent specified by the Board or by the Bylaws, each Committee may exercise the authority of the Board of Directors, except that a Committee may not fill vacancies on the Board of Directors or any of its Committees; amend the Articles of Incorporation; adopt, amend or repeal the Bylaws; or approve a plan of merger involving the VCCA.

6.3 MISCELLANEOUS. The provisions of these Bylaws which govern meetings, action without meetings, notice and waiver, and quorum and voting requirements of the Board of Directors shall apply to Committees of the Board and their members as well except that one-half of the members of a Committee shall constitute a quorum for the transaction of business at any Committee meeting.

6.4 Executive Committee. The Board shall elect from among its members an Executive Committee of not less than five (5) nor more than eleven (11) persons, but always an odd number, who shall be authorized to manage the affairs of the VCCA with full power of the Board during the interim between Board meetings. The President, President Elect, Secretary, Treasurer and immediate Past President shall serve on the Executive Committee and such other Directors as the Board may deem appropriate. Chairpersons of all other Standing Committees, Special Committees and staff persons who are not otherwise members may attend the Executive Committee meetings as invitees, but shall have no voting rights.

6.5 Other Standing Committees. (a) Board Development and Nominating Committee (the “Nominating Committee”) The Nominating Committee shall consist of not less than three members and shall recommend to the Executive Committee candidates for membership on the Board of Directors, recommend a slate of officers for election at the annual Board meeting, recommend Committee assignments, assist in conducting orientation for new members of the Board and engage in all other activities relating to the recruitment, nomination, election and training of officers and Directors and oversee the consideration and development of recommendations to the Board related to organizational issues. The President Elect shall be a member of the Nominating Committee.

(b) Development Committee. The Development Committee shall consist of not less than three persons and shall coordinate all income and fund generation programs, policies and activities, including the solicitation of businesses, foundations and individuals, grant writing, the planning and implementation of financial resource development and related marketing projects, fundraising events and the annual fundraising campaign.

(c) Finance Committee. The Finance Committee shall consist of not less than three members, one of whom shall be the Treasurer, who

Sample Bylaws—Virginia Center for the Creative Arts, cont. Organizational Setup: Bylaws 33 shall also serve as Chair of the Finance Committee. The Finance Committee shall prepare and submit to the Board a proposed annual budget for the VCCA’s funds, develop and enforce rules governing the expenditure of such funds, assist the Treasurer in preparing financial reports to the Board, provide for and oversee an annual audit of the VCCA’s expenditures and accounts and coordinate all finance activities with other Committees of the Board as appropriate.

(d) Building and Grounds Committee. The Buildings and Grounds Committee shall oversee the maintenance, repair, acquisition and disposition of the VCCA’s buildings, grounds, facilities and equipment. The Committee shall research and recommend such building maintenance, refurbishment and construction projects and identify and recommend such facilities as shall be necessary or appropriate to carry out the VCCA mission. In coordination with the Finance Committee, the Committee will oversee capital expenditures and prepare an annual facilities budget.

(e) Strategic Planning Committee. The Strategic Planning Committee shall consist of not less than three persons and shall be responsible for developing and recommending a Strategic Plan for the VCCA and for periodically reviewing the same and making such recommendations for changes thereto as it may deem appropriate. The Committee will review the evalua- tive study by Emergence Brand Labs of Richmond, Virginia and recommend an implementation strategy and will recommend the performance of such other studies or surveys as it may deem appropriate. Without limiting the scope of the Committee’s activities, the Committee will evaluate the VCCA’s marketing and public and media relations programs and will make such recommendations for improvements thereto as it shall deem appropriate.

ARTICLE VII. MISCELLANEOUS.

7.1 Books and Records. The VCCA shall keep appropriate, correct and complete books and records of account and shall keep as permanent records minutes from all Board meetings, all Board actions taken by written consent and all actions taken by a Committee on behalf of the Board. The VCCA shall also keep at is principal office: its Articles of Incorporation and all amendments currently in effect; its bylaws and all amendments currently in effect; a list of the names and addresses of all current Board members and officers; and its most recent annual report filed with the Virginia State Corporation Commission as required by law.

7.2 Amendments. These Bylaws may be amended, repealed or altered in whole or in part by the Board of Directors.

Sample Bylaws—Virginia Center for the Creative Arts, cont. The Ultimate Residency Resource Guide 34

The Bylaws of the Corporation of Yaddo

AS AMENDED BY THE BOARD OF DIRECTORS ON SEPTEMBER 11, 2004

ARTICLE 1

NAME, OFFICE AND SEAL

Section 1. The name of the Corporation shall be THE CORPORATION OF YADDO.

Section 2. The office of the Corporation shall be at Yaddo, Saratoga Springs, New York.

Section 3. The seal of the Corporation shall be circular in form, with the words, “The Corporation of Yaddo” and “New York” in circumference, and the figures “1900” in the center thereof, and the same shall be kept in the custody of the Secretary.

ARTICLE 2

MEMBERS

Section 1. Any person may become a member of the Corporation on being elected to membership by a three- fifths vote of the directors of the Corporation. Except for any member who was elected prior to September 9, 1989, who shall be deemed a Life Time Member upon the twelfth anniversary of his or her election, each member shall be elected for a term of four years. Members may be elected to three consecutive four-year terms. Thereafter, a member who is still active may in appropriate circumstances be elected to the status of Life Time Member. Less active members may in appropriate circumstances be elected to the status of Inactive or Emeritus Members.

Section 2. Any member may withdraw from the Corporation by delivering his withdrawal in writing to the Chairman or Secretary of the Corporation, and the acceptance of such withdrawal, unless required by the terms thereof, shall not be necessary to make such withdrawal effective.

ARTICLE 3

MEETINGS OF MEMBERS

Section 1. The annual meeting of the members of this Corporation shall be held on the Saturday after Labor Day in September of each year at Yaddo, Saratoga Springs, New York, for the election of directors and for such other business as may properly come before such meeting, but the time and place may be changed by the Executive Committee by giving at least ten days’ notice thereof in writing of the time and place of such annual meeting.

Section 2. Special meetings of the members of the Corporation shall be called at any time upon the written request of two directors to the Chairman to call the same, or by the Chairman without any request. Notice of such special meeting, stating the time, place and object thereof, shall be given by mailing a notice thereof, postage prepaid or by telecopier (FAX), at least five days before the meeting, addressed to each member of the Corporation at his post office address or telecopier (FAX) number, as the name appears upon the records of the Corporation.

Section 3. Each member of the Corporation, whether voting in person or by proxy, shall be entitled to one vote at all meetings. The presence of one-third of the membership of the Corporation, in person or by proxy, shall be necessary to constitute a quorum at any meeting. In the absence of a quorum, a majority of the members so

Sample Bylaws—Yaddo Organizational Setup: Bylaws 35 present or represented may adjourn the meeting from time to time until a quorum is obtained. At any such adjourned meeting at which a quorum is present, any business may be transacted which might have been transacted at the meeting as originally called. Proxies shall be in writing and shall be revocable at the pleasure of the member executing same. Unless the duration of the proxy is specified, it shall be invalid after eleven months from the date of its execution.

Section 4. The Chairman or, in his absence, the Vice-Chairman, shall preside at all meetings of the members. In the absence of the Chairman and the Vice-Chairman, a Chairman shall be chosen by the members present. The Secretary or, in his absence, the Assistant Secretary of the Corporation shall act as Secretary at all meetings of the members. In the absence of the Secretary and the Assistant Secretary, the presiding officer may appoint any person to act as Secretary of the meeting.

Section 5. Every member entitled to vote at a meeting of members or to express consent or dissent without a meeting may authorize another person or persons to act for him by proxy. Every proxy must be dated and signed by the member or his attorney-in-fact. No proxy shall be valid after the expiration of eleven months from the date thereof unless otherwise provided in the proxy. Every proxy shall be revocable at the pleasure of the member executing it, except as otherwise provided by law. Should more than one proxy be executed by a member for any one meeting, the one dated latest shall control. Should matters arise relating to the use of proxies that are not governed by these Bylaws, they shall be governed by ROBERTS RULES OF ORDER.

ARTICLE 4

DIRECTORS

Section 1. The affairs of the Corporation shall be managed by a Board of Directors which shall consist of not less than ten nor more than twenty-four. Each director shall be elected for a term of four years, the term of one- fourth expiring each year. Directors may be elected to two consecutive four-year terms, but before being elected to additional terms, at least one year must elapse, provided, however, that up to eight Directors out of the entire Board of Directors may be elected to serve additional consecutive terms in appropriate circumstances. Any director may resign at any time by delivering his resignation in writing to the Corporation, and the acceptance of such resignation, unless required by the terms thereof, shall not be necessary to make such resignation effective. Any director may be removed either with or without cause at any time by the vote of two-thirds of the full number of directors.

Section 2. In case of a vacancy occurring in the Board of Directors, the same shall be filled by a majority vote of the remaining members of such board. The director thus elected shall continue to serve for the remainder of the unexpired term of the director whom he or she is replacing.

Section 3. The directors may adopt such rules and regulations for the conduct of their meetings, and the management of the affairs of the Corporation, as they may deem proper, not inconsistent with the laws of the State of New York, the Certificate of Incorporation, or with these Bylaws.

Section 4. In response to the special conditions occasioned by the centenary of Yaddo’s incorporation, the restriction on the number of Directors who may be elected for more than two consecutive four-year terms shall be suspended temporarily from the annual meeting in September 1997 to the annual meeting in September 2002. Furthermore, the maximum number of Directors shall increase temporarily to thirty beginning at the annual meeting in September 1997 and then decrease to twenty-four by at least one annually beginning at the annual meeting in September 2002.

ARTICLE 5

MEETINGS OF DIRECTORS

Section 1. The directors shall meet immediately after the annual meeting for the purpose of electing officers. At

Sample Bylaws—Yaddo, cont. The Ultimate Residency Resource Guide 36 said annual meeting of the directors, the time and place shall be fixed for one other meeting within the ensuing year. Special meetings shall be held whenever called by the Chairman, or by any two of the directors. Notice of such special meeting, stating the time, place and object thereof, shall be given by mailing a notice thereof, postage prepaid or by telecopier (FAX), at least five days before the meeting, addressed to each member of the Corporation at his post office address or telecopier (FAX) number, as the name appears upon the records of the Corporation. One-third of the current directors shall constitute a quorum. If at any meeting of the Board there shall be less than a quorum present, a majority of those present (or if only one be present, then that one) may adjourn the meeting from time to time until a quorum is obtained, and at any such adjourned meeting at which a quorum is present, any business may be transacted which might have been transacted at the meeting as originally called. To the extent permitted by law, a resolution in writing signed by all of the directors shall be as valid as if it had been passed at a meeting of the Board of Directors duly called and constituted.

Section 2. Any one or more directors of the board or any committee thereof may participate in a meeting of such board or committee by means of a conference telephone or similar communications equipment allowing all persons participating in the meeting to hear each other at the same time. Participation by such means shall constitute presence in person at a meeting.

Section 3. Any action required or permitted to be taken at any meeting of the Board of Directors or of any committee thereof may be taken without a meeting if all members of the Board of Directors or of such committee, as the case may be, consent in writing to the adoption of a resolution authorizing the action. Any such resolution and the written consents thereto shall be filed with the minutes of proceedings of the Board of Directors or of such committee.

Section 4. The Chairman, Treasurer, and President of the Corporation shall present at the annual meeting full reports of the operations of the Corporation for the prior year. The Chairman’s report shall contain a summary of the operations of the Corporation, with recommendations. The Treasurer’s report shall contain a full financial statement, including an appraisal of the property of the Corporation and its investments and the fiscal operations for the year. The President`s report shall review the administration of the estate and shall include a list of the guests, with periods of residence, and a detailed statement of the costs of operation, and such other information and recommendations as the President may desire.

ARTICLE 6

WAIVER OF NOTICE

Section 1. Any director or member (to the extent permitted by law) may at any time, in writing, waive notice required to be given under these Bylaws.

ARTICLE 7

OFFICERS

Section 1. The Board of Directors, as soon as practicable after the annual meeting of the members of the Corporation, shall choose one of their number to be Chairman and Vice-Chairman for the ensuing year, a Corporate Secretary, and a Treasurer. In addition, the Board of Directors shall at such time appoint the President pursuant to this Article 7, as well as such other officers, including one or more vice-presidents, a Recording Secretary and Assistant Treasurer, as it may determine. Each of such officers shall serve for a term of one year, or until a successor shall be elected. In case of a vacancy in any of such offices, the same may be filled by the Board of Directors at any meeting. The duties usually attaching to such several offices shall prevail in the case of the said officers named, and such officers shall have such other powers and duties as may from time to time be assigned to them by the Board of Directors. The Treasurer shall have the care and custody of all the funds and securities of the Corporation, shall deposit the same in the name of the Corporation, in such financial institution as the directors may select, and is authorized to sign all checks, drafts, notes, or orders for the payment of

Sample Bylaws—Yaddo, cont. Organizational Setup: Bylaws 37 money. The Treasurer shall keep an account of all receipts and expenditures of the Corporation and submit a report of the same whenever required to do so by the Board of Directors or these Bylaws. The Board of Directors may at any time require that the Treasurer shall give a bond for the honest and faithful performance of his duties, in such amount as shall be fixed by said Board. In case of the absence of any officer of the Corporation, or for any other reason that the Board of Directors may deem sufficient, the Board may confer for the time being the powers or duties, or any of them of such officer upon any other officer or upon any member of the Board.

Section 2. The Treasurer or Assistant Treasurer shall transmit to the President from time to time within the budget such funds as the President or Chairman may require for the operating expenses of the Corporation. These funds shall be deposited in an account at a bank or trust company in the City of Saratoga Springs, in the name of The Corporation of Yaddo, subject to check to be signed by any two of the following designated persons: President, Vice President, Comptroller, Chairman, Secretary.

ARTICLE 8

PRESIDENT

Section 1. There shall be a President elected by the Board of Directors, to serve at its pleasure.

Section 2. The Board of Directors shall fix the annual salary of the President.

Section 3. The President shall devote full time to the business of the Corporation, and shall reside on the estate. The President shall be responsible for the operation of the estate, entertainment of guests, under the immediate direction of the Executive Committee, and shall carry out the policy of the Corporation as formulated by the directors. The President shall keep a record of all receipts and disbursements, and shall make a monthly report to the Executive Committee of all major or exceptional bills incurred.

ARTICLE 9

COMMITTEES

Section 1. Executive Committee—At each annual meeting the directors shall elect five of their number who together with the Chairman, Secretary, Treasurer, and Vice Chairman, shall serve as an Executive Committee. Such committees shall meet at least six times a year, and a quorum shall consist of any four. The Executive Committee shall have the following powers:

(a) To make further rules and regulations for its own conduct, not inconsistent herewith.

(b) To have general supervision of all funds and investments of the Corporation, and to direct the Treasurer to purchase, sell, exchange, or otherwise reinvest any funds, securities or other property of the Corporation except real estate.

(c) Subject to the approval of the directors, to make rules and regulations for the use and enjoyment of the estate Yaddo.

(d) In accordance with the New York Not-For-Profit Corporation Law, to have all the authority of the Board of Directors between meetings thereof other than for major policy changes relating to land use and the artistic program, and to exercise the usual functions of an Executive Committee not inconsistent herewith.

(e) And shall have such other powers as may from time to time be entrusted to it by the directors.

Section 2. Admissions Committee—The Board of Directors shall elect an Admissions Committee consisting of

Sample Bylaws—Yaddo, cont. The Ultimate Residency Resource Guide 38 at least three members; the President shall consult with the committee but shall not vote. The Admissions Committee shall pass upon the eligibility of the applicants for invitation, or shall suggest suitable persons to be invited as guests of Yaddo, and shall appoint persons in the several arts to serve as an advisory panel; such panel members need not be members or directors, and shall be entitled to such compensation as the Admissions Committee may recommend and the Executive Committee approve. Renewals shall be granted only upon recommendation of the Admissions Committee. The Admissions Committee shall have the power to make rules and regulations concerning its procedure subject to the approval of the Board of Directors.

Section 3. Membership and Nominations Committee—The Chairman in consultation with the Executive Committee shall appoint a Membership and Nominations Committee consisting of not less than four persons which may include both directors and members of the Corporation who shall serve for one year or until successors are appointed. The President shall consult with the committee but shall not vote. The Membership and Nominations Committee shall review the qualifications of candidates to membership who have been nominated and seconded by directors and/or members, and recommend to the Board those candidates deemed suitable for membership. The Membership and Nominations Committee shall propose the nominations of directors and officers for terms of office, propose candidates to serve on the Admissions Committee and other committees of the Corporation that may be formed.

Section 4. Finance and Operations Committee—The Chairman in consultation with the Executive Committee shall appoint a Finance and Operations Committee consisting of not less than three members of the Board or members of the Corporation, who shall serve for one year or until their successors are appointed. The President shall consult with the committee but shall not vote. The Finance and Operations Committee shall review investments of the Corporation, its budget projections, and the finances of the Corporation in general, including its money management policies and short and long-range financial planning, and shall from time to time advise the Chairman and the Executive Committee and the Board regarding finance, budget, money management, and investment policies which the Board should maintain.

Section 5. Development and Public Affairs Committee—The Chairman in consultation with the Executive Committee shall appoint a Development and Public Affairs Committee, consisting of not less than three members of the Board or members of the Corporation who shall serve for one year or until their successors are appointed. The President shall consult with the committee but shall not vote. The Development and Public Affairs Committee shall assist the Board in creating and maintaining a long range development policy, for raising capital and operating funds for the Corporation, which may be necessary from time to time to supplement the income produced by the Corporation’s investments. The Director of Development shall work closely with the Development and Public Affairs Committee in assisting it to develop long range plans.

Section 6. Ad Hoc or Special Committees—The Chairman in consultation with the Executive Committee may from time to time appoint such ad hoc or special committees which may appear to be necessary and appropriate for the orderly management of the Corporation’s affairs. In every case the members of each committee may be members of the Corporation, members of the Board of Directors, and advisors and supporters of Yaddo with interests and expertise to support the activities of such committee. At any regularly constituted meeting of the Board of Directors or the members, the Chairman shall report to the Board and to the members of the existence of and the functions of any such ad hoc committees created prior to the meeting.

ARTICLE 10

ADVISORY COUNCIL

Section 1. Advisory Council shall be established for the purpose of giving the President and the Board of Directors access to individuals with special expertise who may make significant contributions of advice for dis- crete projects.

Section 2. The President may appoint individuals to the Advisory Council with the advice and consent of the

Sample Bylaws—Yaddo, cont. Organizational Setup: Bylaws 39

Executive Committee. Specific criteria for selection will vary, but general qualification would be special expertise in art, trade, craft, profession, or business for a special project deemed necessary or desirable by the President or Chairperson of Yaddo.

ARTICLE 11

USE OF CORPORATE ASSETS

Section 1. No director, officer or member of this Corporation shall use, or allow to be used, any property of this Corporation, for any purpose other than that expressed in the Certificate of Incorporation.

Section 2. No part of the net earnings of the Corporation shall inure to the benefit of or be distributable to its members, directors, officers, or other private persons, except that the Corporation shall be authorized and empowered to pay reasonable compensation for services rendered and to make payments and distributions in furtherance of the purposes set forth in Article Second of the Certificate of Incorporation. No substantial part of the activities of the Corporation shall be the carrying on of propaganda, or otherwise attempting, to influence legislation, and the Corporation shall not participate in or intervene in (including the publishing or distribution of statements) any political campaign on behalf of any candidate for public office. Notwithstanding any other provision of these Bylaws, the Corporation shall not carry on any other activities not permitted to be carried on (a) by the Corporation exempt from Federal income tax under Section 501(c)(3) of the Internal Revenue Code of 1954 (or the corresponding provision of any future United States Internal Revenue Law) or (b) by a corporation, contributions to which are deductible under Section 170(c)(2) of the Internal Revenue Code of 1954 (or the corresponding provisions of any future United States Internal Revenue Law).

Section 3. No retreat maintained by the Corporation shall be used for any purpose other than for the creation of works of art, and no person shall be admitted to any such retreat unless he or she shall be actively or usefully engaged in some creative art, and no such person shall be entitled to the privileges of such retreat unless, in the opinion of the Board of Directors or the Executive Committee, the enjoyment of these privileges shall tend to furnish assistance and inspiration to him or her in some creative art that is of benefit to humanity. The Admissions Committee, in granting or refusing applications for admission to such retreat, shall, in all cases, be governed by the desire of the founders that this Corporation contribute to the advancement of mankind by assisting those, who, by creative art, have contributed to the benefit of humanity.

Section 4. No director or officer of the Corporation shall be interested, directly or indirectly, in any contract relating to the operations conducted by the Corporation, nor in any contract for furnishing supplies thereto, unless authorized by these Bylaws or by the concurring vote of two-thirds of the Board of Directors.

Section 5. No purchase (except a purchase by or in lieu of foreclosure), sale, mortgage or lease of real property shall be made by the Corporation until authorized by vote of at least two-thirds of the entire Board of Directors, and until judicial approval, if required by law, is obtained.

Section 6. Members, directors, officers and agents of the Corporation shall receive such reasonable reimbursement for their expenditures with respect to the affairs of the Corporation as the Board of Directors may by resolution approve.

Section 7. Any person made a party to any action, suit or proceeding by reason of the fact that he, his testator or intestate, is or was member, director, officer, employee or agent of the Corporation shall be indemnified by the Corporation against the reasonable expenses, including attorneys’ fees, actually and necessarily incurred by him in connection with the defense of such action, suit or proceeding, or in connection with any appeal therein, except in relation to matters as to which it shall be adjudged in such action, suit or proceeding that such member, director, officer, employee or agent is liable for negligence or misconduct in the performance of his duties. Such right of indemnification shall not be deemed exclusive of any other rights to which the indemnified party may be entitled apart from this section.

Sample Bylaws—Yaddo, cont. The Ultimate Residency Resource Guide 40

ARTICLE 12

INDEMNIFICATION

Section 1. The Board may make any provision authorized by law and consistent with this Article for the insurance, defense and indemnification of directors, officers and employees of the Corporation.

Section 2. General. When acting in good faith in an official capacity for the Corporation, every director and officer of the Corporation shall be indemnified to the full extent authorized by law under Section 722 of the New York State Not-For-Profit Corporation Law; subject only to the condition therein. The right of indemnification shall not be exclusive of any other right to which such person may be entitled, and shall include without limitation, the following: the Corporation shall indemnify any person who was or is a party or is threatened to be made a party to any threatened, pending or completed action, suit or proceeding, whether civil, criminal, administrative or investigative (other than an action by or in the right of the Corporation) by reason of the fact that he is or was a director or officer of the Corporation, against expenses (including attorneys’ fees), judg- ments, fines and amounts paid in settlement actually and reasonably incurred by him in connection with such action, suit or proceeding if he acted in good faith in an official capacity and in a manner he reasonably believed to be in or not opposed to the best interests of the Corporation, and, with respect to any criminal action or proceeding, had no reasonable cause to believe his conduct was unlawful. The termination of any action, suit or proceeding by judgment, order, settlement, conviction, or upon a plea of nolo contendere or its equivalent, shall not, of itself, create a presumption that the person did not act in good faith and in a manner which he reasonable believed to be in or not opposed to the best interests of the Corporation, and, with respect to any criminal action or proceeding, had reasonable cause to believe that his conduct was unlawful.

Section 3. Derivative Actions. The Corporation shall indemnify any person who was or is a party or is threatened to be made a party to any threatened, pending or completed action or suit or in the right of the Corporation to procure a judgment in its favor by reason of the fact that he is or was a director or officer of the Corporation against expenses (including attorneys’ fees) actually and reasonably incurred by him in connection with the defense or settlement of such action or suit if he acted in good faith in an official capacity and in a manner he reasonably believed to be in or not opposed to the best interests of the Corporation, provided that no indemnification shall be made in respect of any claim, issue or matter as to which such person shall have been adjudged to be liable to the Corporation unless and only to the extent that the court in which such action or suit was brought shall determine upon application that, despite the adjudication of liability but in view of all the circumstances of the case such person is fairly and reasonably entitled to indemnity for such expenses which the court shall deem proper.

Section 4. Administrative Officers and Employees. Except where prohibited by law, the Corporation shall indemnify administrative officers and employees for liabilities and expenses arising from claims, actions, suits or proceedings, whether judicial or administrative, alleging liability of such officer or employee, arising from acts or omissions within the scope of his or her prescribed duties and authority to act, and done or omitted in good faith, without malice and in the best interests of the Corporation. The determination of whether this paragraph applies shall be made in the sole discretion of the President of the Corporation, or his or her designees. Nothing in this section shall prevent the Corporation from suspending the decision whether or not to offer defense or indemnification until the conclusion of such action, suit or proceeding, nor from reaching an independent judgment in its sole discretion about whether the requirements of this paragraph have been met, nor from excluding any defense or indemnification for intentional or reckless or grossly negligent wrongdoing, nor from limiting the scope of the indemnification offered under this paragraph (c) to insurance purchased and maintained by the Corporation for this purpose.

Section 5. Procedure. Any indemnification under this Article 12 (unless ordered by a court) shall be made by the Corporation only as authorized in the specific case upon a determination that indemnification of the director,

Sample Bylaws—Yaddo, cont. Organizational Setup: Bylaws 41 officer, employee or agent is proper in the circumstances because he has met the applicable standard of conduct. Such determination shall be made (a) by the Board of Directors by a majority vote of a quorum consisting of directors who were not parties to such action, suit or proceeding, or (b) if such a quorum is not obtainable, or, even if obtainable a quorum of disinterested directors so directs, by independent legal counsel in a written opinion, or (c) by the members.

Section 6. Advances for Expenses. Expenses incurred in defending a civil or criminal action, suit or proceeding may be paid by the Corporation in advance of the final disposition of such action, suit or proceeding upon receipt of an undertaking by or on behalf of the director, officer, employee or agent to repay such amount if it shall be ultimately determined that he is not entitled to be indemnified by the Corporation as authorized in this Article 12.

Section 7. Insurance. The Corporation shall have power to purchase and maintain insurance on behalf of any person who is or was a director, officer, employee or agent of the Corporation against any liability asserted against him and incurred by him in any such capacity, or arising out of his status as such, whether or not the Corporation would have the power to indemnify him against such liability under the provisions of this Article 12.

Section 8. Survival of Rights. The indemnification and advancement of expense provided by, or granted pursuant to this Article 12 shall continue as to a person who has ceased to be a director, officer, employee or agent and shall inure to the benefit of the heirs, executors and administrations of such a person.

ARTICLE 13

AMENDMENTS

Section 1. These Bylaws may be amended by a vote of a majority of the members of the Corporation at any meeting thereof, or at any regular or special meeting of the Board of Directors by a two-thirds vote of the directors present at such meeting, provided the proposed amendment has been presented to the directors in writing at least five days before said meeting. In the event of any change by the Board of Directors in the Bylaws affecting the election of directors, such change shall be set forth in the notice of the next meeting of the members at which directors are to be elected. Any change in the number of directors may be made by the Board of Directors only by a vote of a majority of the entire number of authorized directors. No decrease in the number of directors shall shorten the term of any director.

Sample Bylaws—Yaddo, cont. Insurance Requirements Organizational Setup: Insurance Requirements 43

Basic Insurance Needs for Nonprofits

What constitutes a basic insurance package for a nonprofit organization? For most nonprofits, purchasing insurance is an essential component of managing and financing risk. Purchasing insurance is not, however, synonymous with practicing risk management. Risk management encom- passes a wide range of activities related to anticipating, avoiding, controlling, and financing risk.

If it is not risk management, what is insurance? One way to look at the concept of insurance is to define it in terms of a trade. Insurance involves trading the uncertainty of a large financial loss for the certainty of a fixed premium. Most nonprofits are unable to maintain a reserve fund adequate to pay for potential claims. Insurance provides an affordable and appropriate mechanism for financing covered losses.

The types of coverages appropriate for a specific organization depend on the exposures facing that organization. It is impossible to say, therefore, that all nonprofits should carry certain coverages. Although most nonprofits go directly to the purchasing decision, a nonprofit should undertake a careful review of its exposures before decid- ing what coverages to buy. The staff of a nonprofit, assisted by volunteers, an agent or broker with nonprofit experience, or a consultant, can conduct a review that is called a “risk assessment” or “exposure analysis.”

Insurable Risks Claims made against nonprofit organizations fall into three general categories: claims and lawsuits filed against the nonprofit and its staff, claims by staff, and claims to repair or replace property a nonprofit owns or controls. Various types of insurance are available to cover these claims.

Claims and lawsuits filed against the nonprofit and its staff. In the first category, the following types of insurance coverage apply: commercial general liability (CGL) directors’ and officers’ liability (D&O) improper sexual conduct/sexual abuse automobile insurance (Business Auto Policy) professional liability (PL) umbrella or excess insurance employment practices liability (EPLI) employee benefits liability water craft and aircraft (owned and nonowned)

Claims for injuries to staff and volunteers. Under this second category, the following types of insurance coverage are among those available: workers compensation and employers’ liability (employees and sometimes volunteers) accident and injury coverage (volunteers)

Claims for property a nonprofit owns or is responsible for. Under the final category of claims, available insurance coverages include: general property coverage (including property of others) crime coverage (including employee dishonesty and money and securities) boiler and machinery (heating, air conditioning, and ventilating equipment) computer equipment and software property in transit and off premises

NOTE: Most U.S. insurance companies provide very limited coverage for international exposures. If your nonprofit has any overseas or international operations, you should investigate the need for an international policy. The Ultimate Residency Resource Guide 44

Creating an Insurance Program Generally, a nonprofit should tailor its insurance program to cover the specific risks that threaten its ability to fulfill its mission. This usually means purchasing a combination of insurance coverages rather than relying on a single policy form. It is highly unlikely that any single insurance policy will address the wide range of insurable exposures facing an organization. Sometimes, however, a nonprofit may elect to purchase insurance for a specific exposure and self-insure other exposures. Many of the nation’s 1.4 million nonprofits do not purchase any form of insurance coverage. Organizations, even those with limited financial reserves, committed to protecting the agency’s scarce assets should carefully consider the coverages described below to develop an adequate risk financing program.

Commercial General Liability (CGL) polices protect a nonprofit and its directors, officers, and employees against claims alleging property damage or bodily injury caused by the nonprofit’s operations or activities. CGL policies generally offer broad coverage for damage to another’s property, bodily injury, and personal injury (false arrest, malicious prosecution, and defamation). Although a CGL policy provides extensive coverage, it does not address every possible liability exposure. A CGL policy excludes specific exposures covered more appropriately under a special policy or endorsement (for example, medical malpractice or improper sexual conduct). A general liability policy will pay the costs to defend against allegations and for damages due to the negligence of the insured. Some insurers are willing to extend the CGL policy to provide coverage for others such as volunteers, sponsors, and landlords.

Directors’ and Officers’ Liability Insurance (D&O) policies protect against claims alleging harm attributable to the governance or management of an organization. Generally, D&O policies do not list specific types of covered claims, but provide coverage for any “wrongful act.” A “wrongful act” may be an actual or alleged act, error, or omission by the organization itself, its directors, officers, employees and volunteers. No “standard” D&O policy exists, so each nonprofit must review its policy’s coverages and exclusions.

Effective nonprofit managers and boards take the time to review and understand the provisions of their organization’s D&O policy. Policies differ in several critical areas. In recent years, however, many insurers have designed policies that recognize the needs and resource constraints of nonprofits. Buyers of D&O coverage should pay particular attention to: Policy exclusions, including definitions that may exclude certain types of claims. Whether the policy provides “entity coverage” (including the organization within the definition of “insured”). The policy’s “insured vs. insured” exclusion, and how it applies to employment-related claims. Whether the insurer has a “duty to defend” the nonprofit against claims or simply an obligation to reimburse the nonprofit and its directors and officers for the defense costs and settlement after the resolution of the dispute. Whether the policy includes defense costs within the limit or defense costs are provided in addition to the limit. The affordability of the policy deductible (also called the “self-insured retention”). Choosing a large deductible to save premium dollars may result in an inappropriate level of “retained” risk. Whether the policy includes defense costs for certain categories of otherwise excluded claims (for example, claims alleging sexual harassment or criminal misconduct). If you are changing carriers, whether the policy provides “full prior acts coverage” or the same retroac- tive date.

(see the following document for more on D&O insurance)

Automobile Insurance. Nonprofits that lease or own vehicles are aware of the need for physical damage and commercial auto liability coverage. A nonprofit can be held liable, however, for the damage and injuries caused

Basic Insurance Needs for Nonprofits, cont. Organizational Setup: Insurance Requirements 45 by its employees or volunteers using their own vehicles or vehicles that the agency rents or borrows for its operations. If your agency uses vehicles owned by its staff or volunteers, consider purchasing nonowned and hired auto liability coverage. Nonowned and hired auto liability coverage protects the nonprofit (not employees or volunteers unless endorsed onto the policy) against exposures in this area. A nonprofit can purchase nonowned and hired auto coverage with its commercial auto policy, commercial general liability policy, or as a separate policy. Under nonowned and hired auto coverage, the driver’s insurance (whether it is an employee or volunteer) will pay first—before the nonprofit’s coverage engages. Volunteers and Employees Excess Auto Liability insurance provides additional protection for volunteers and employees. This policy protects the volunteer or employee (not the nonprofit) for claims in excess of the individual’s personal auto policy limit when the individual uses his or her auto on agency business.

Professional Liability. Professional liability policies provide coverage for claims arising from the delivery or failure to deliver professional services, such as medical or legal malpractice, and counseling. The CGL policy usually excludes coverage for professional services. Some policies provide limited coverage for certain professional exposures, while others cover a wide range of professional services subject to certain exclusions. Nonprofits should consider carefully whether they have any “professional liability” exposures and purchase coverage corresponding to these exposures. As your agency develops new programs and services or pursues collaborative ventures, new exposures in this area may arise.

Property Coverage. Property insurance protects against damage to buildings and equipment a nonprofit owns or is responsible for, such as rented or borrowed equipment. The organization can purchase additional coverage to cover the cost of salvaging or reconstructing valuable documents. A nonprofit may also obtain coverage to reimburse it for lost income or extra expense during a period in which it curtails operations due to an insured loss. The scope of coverage depends upon the type of property susceptible to damage and the cause of the damage. In addition to the property itself, property insurance may also pay for incidental expenses—fire department charges, expenses incurred to save the property from damage, and debris removal. Recovery under a property policy is contingent on certain causes of loss or perils damaging the property. Many policies cover “risk of direct physical loss” unless the policy excludes or limits the loss by the policy (for example, nuclear war). Other policies only cover damage caused by specific causes like fire, lightning, wind, hail, or objects falling from the sky. Most policies do not cover significant catastrophes such as floods or earthquakes; i.e., a nonprofit with these exposures may purchase flood and/or earthquake coverages as a separate policy or endorsement. With increasing frequency, property insurance carriers will offer a range of endorsements that broaden coverage with no or a small premium charge.

Employee dishonesty bonds, or fidelity bonds, address a single type of exposure—theft and embezzlement committed by an employee. Thus, if a client or service recipient steals from the petty cash or a burglar steals a laptop computer, the fidelity bond will not respond. Some insurers will extend the policy to include dishonesty caused by volunteers. Most nonprofits purchase blanket position bonds that cover all employees rather than listing specific persons or positions on the policy. The agency can purchase an employee dishonesty coverage under a crime policy or as part of a commercial insurance package. The following conditions apply under an employee dishonesty bond: The perpetrator must be an employee (most policies do not include board members or other volunteers unless so endorsed). There must be a dishonest act (theft, embezzlement, or forgery), and many bonds require that the nonprofit report the loss to the police. Employee dishonesty coverage does not compensate the organization for poor business decisions, failure to follow expense account rules, inventory shortfalls, or sloppy record-keeping. A fidelity bond will only provide coverage if the employee intends to (a) cause a loss to the nonprofit, even though temporary, and (b) confer a financial benefit to him or herself or a third party. The dishonesty must occur and be discovered during the bond period. However, if the insured has had coverage in force for a number of years, the occurrence may extend over those policy years.

Basic Insurance Needs for Nonprofits, cont. The Ultimate Residency Resource Guide 46

Workers compensation and employer’s liability. Depending upon state law, workers compensation insurance is usually mandatory if the organization has one or more employees. Each state establishes its own eligibility requirements and benefits for workers compensation coverage. The policy provides benefits for employees’ injuries arising out of and while in the course of their employment. An agency must purchase coverage for all employees whether full- or part-time. In most states, the definition of an employee does not include volunteers; i.e., if the state permits it, an organization can negotiate with its insurer to include volunteers as employees.

A standard workers compensation policy includes employer’s liability coverage. This coverage pays for the costs to defend and settle a suit filed by an employee or the employee’s family in connection with an on-the-job injury or death. Although states developed workers compensation insurance as the exclusive remedy for work-related injuries, the courts have granted exceptions. Therefore, an agency needs both workers compensation and employer’s liability coverages.

Insurance Assurance The wide range of needs among nonprofits and the relative low priority status the insurance function receives in most agencies make the purchase of appropriate coverage a difficult process. How can an organization improve its chances of buying appropriate coverage? First, be honest with your insurance advisor about the exposures inherent in your operations. Ignoring risks to get a cheaper policy may result in not having the necessary coverage. Second, check all of your policies for exclusions. Often, the exclusions will eliminate essential coverage for the services delivered by your organization. Insurers may exclude coverage because the risk is uninsurable by law; the coverage may be available through a separate policy or endorsement; or the insurer simply does not want to assume the risk. The agency can negate exclusions falling under the latter two categories by purchasing endorsements and other appropriate policies. Sometimes, one insurer may cover an exposure excluded by another insurance company. Compare the coverages offered by different companies.

Third, select an agent or broker who understands your organization. Brokers specializing in nonprofit organizations can be an invaluable asset. You will spend your time wisely when checking the references provided by your prospective broker or agent. Fourth, require written proposals from any prospective insurers that include copies of the policy wording. Sample policies are particularly important for nonstandard coverages, such as D&O. The written proposal should also include any available payment terms. Don’t wait until you have selected a policy and carrier before inquiring about the availability of premium financing. Finally, consider putting your insurance program out to bid every three to five years.

Information from: What constitutes a basic insurance package for a nonprofit organization? www.allianceonline.org/FAQ/risk_management/what_constitutes_basic.faq

Basic Insurance Needs for Nonprofits, cont. Organizational Setup: Insurance Requirements 47

Directors and Officers (D&O) Liability Insurance

Persons who are directors, trustees, and officers of nonprofit organizations are subject to personal liability and lawsuits due to failure to properly perform their duties. Nonprofit directors and officers liability insurance is an excellent way to transfer many of these loss exposures to another party (an insurance company).

Many actions by persons within the nonprofit organization can trigger a lawsuit in today’s legal climate. For example, over 50% of all D&O claims against nonprofits involve improper employment related practices, such as wrongful termination, discrimination, breach of contract, and sexual harassment.

Suits may also be brought by any of the following: Beneficiaries, who feel that they were either denied benefits of the nonprofit or received less than they were entitled to receive. Donors, who allege that their contributions are either being wasted or are not being used to advance the purposes of the organization, as stated in its charter. Outside parties, who claim libel, slander or plagiarism due to the content of a presentation or publication by the organization. Board members, who sue other directors, claiming misinterpretation of the charter (such as improper decisions regarding what funds and services are to be provided to the public) or a conflict of interest. State attorney generals, alleging mismanagement or antitrust activity.

The directors and officers of nonprofits are subject to duties of loyalty, obedience, and diligence. In recent years, many states have enacted legislation designed to eliminate or reduce the liability exposure of nonprofit organizations and their directors, officers, employees, and volunteers. However, none of the state laws apply to liability that arises out of federal statutes, such as the Civil Rights Acts and the Americans With Disabilities Act. Moreover, the state laws themselves are still subject to judicial review in many cases.

One way that a nonprofit entity can protect its directors and staff is via the indemnification provision in its bylaws. Although such indemnification is allowed to some extent by all states, it may not be available if either the entity cannot sustain the losses and expenses caused by the improper acts of the directors and officers, or if specific circumstances reveal that indemnification is not permitted.

The protection shortcomings that arise despite the state liability limitation statutes, indemnification, and a thorough loss prevention program may be effectively managed by purchasing a comprehensive nonprofit D&O insurance policy.

The “insured” in the most comprehensive policies includes both the nonprofit itself (in D&O parlance, the “entity”) and its subsidiaries, plus its directors, trustees, officers, employees, volunteers, and committee members. The protection applies to wrongful acts, as defined in the various policies, plus defense costs, which are covered whether or not a judgement or settlement results from the litigation.

Additional Resources

In Print

Am I Covered For...? A Comprehensive Guide to Insuring Your Non-Profit Organization by Mary Lai, Terry Chapman, Elmer Steinbock Paperback: 286 pages Publisher: Consortium for Human Services; 2nd edition (March, 1992) ISBN: 096315530X Available from the Nonprofit Risk Management Center.

Online

Alliance of Nonprofit for Insurance Risk Retention Group www.ani-rrg.org

Board Source—Director’s and officer’s insurance www.boardsource.org

Insurance and Planning Resource Center www.lcgroup.com/resource Board Development Organizational Setup: Board Development 50

Overview of a Nonprofit Board

The board of directors of a nonprofit corporation is legally and financially responsible for the conduct of the organization. It is not a passive role but rather one that must be active for the good of the organization and for reducing liability of the individual directors. It is not just for-profit corporations that are under ever increasing scrutiny for ethical operations.

State laws may establish a minimum size of a board and in some states, new corporations can have a board of directors consisting of as little as only one member who fulfills all roles. As the corporation grows, others are added. As a general guide, nonprofit corporations should have at least five or more members who are related only in their commitment to the organization. Be certain to seek the advice of a lawyer if you have any doubt about the law pertaining to boards in your state.

The varied talents and contacts of a board from diverse backgrounds can help an organization grow. A good board member is one that brings unique ability and perspective to a board and takes an active interest in the organization. Having a “well known” board member for the sake of their name can be more damaging than beneficial. Having board members who are connected in the community, are representative of your constituency, and truly want to help the organization succeed are a better fit.

The board governs the organization and has specific fiduciary responsibilities for which it must be accountable. Additional responsibilities vary but generally include oversight of policy, budgeting, planning, fundraising, human resources, program evaluation and board development. One of the most important roles of the board is to hire an executive director for the organization and to give that person room to lead. The board should provide oversight and not become involved in day-to-day operations.

The board is organized under officers and through committees. This is a practical and effective way to provide governance of most organizations and helps to involve all board members. Traditionally officers include a chair who presides at meetings and provides management of the board, a vice-chair who presides in the absence of the chair, a treasurer and a secretary.

Committees of the board can include a finance committee, program committee, development (fundraising) committee, human resources committee, nominating committee (future board members) and other areas depending on the needs of the organization. Often smaller nonprofits may have just one or two committees or create temporary committees based on present needs. The best way to proceed is develop committees as needed and make them standing or temporary depending on the time it will take to complete committee objectives. (See the section on board committees later in this chapter.)

When boards meet, and they should, it is important to record minutes of the meeting. These minutes are a legal record of activity. They do not need to be extensive but they should adequately address matters of importance and show that discussions took place including any resulting decisions. Attendance at the meeting should be recorded as well. In legal terms, absence from a meeting or pleading ignorance does not relieve a board member of responsibility for actions of the board. The minutes should provide enough information that an absent member would be able to recognize important discussions that may require their additional review.

The chair of the board should serve as the conduit for communicating goals and objectives of the board to the executive director of the organization. All members of the board should also interact with staff, volunteers and those served by the nonprofit in order to gain insight into operations. This active interest also builds loyalty and enthusiasm and develops mutual respect between the board and those who fulfill the mission of the nonprofit every day.

Information from: Robert DeMartinis, Your Guide to Nonprofit Charitable Organizations nonprofit.about.com/od/managinganonprofitorg/a/board_basics.htm The Ultimate Residency Resource Guide 51

Basic Responsibilities of Nonprofit Boards

1. To define, protect, and advance the mission of the organization a) Understand practice vs. purpose (what we do vs. why we do what we do) b) Understand who we serve, primarily and secondarily c) Understand the value we, and only we, bring to the community

2. To safeguard the assets of the organization, maintain accountability, and ensure legal and ethical integrity a) Know the fiduciary responsibilities of the board b) Understand conflict of interest and guard against it c) Oversee finances, assist in developing the annual budget and ensure that proper financial controls are in place

3. To recruit, hire, support, review, and if needed, remove the executive director a) Know the relationship of the board to the executive director—who’s in charge of what b) Understand governance vs. management c) Develop a strong relationship between board chair and executive director

4. To be ambassadors to the world on behalf of the organization a) Have a unified message—dissent is not made public b) Talk up the organization c) Abide by the decisions of the board d) Keep the organization in the front of your mind

5. To ensure effective organizational planning a) Advocate for an institutional culture of planning b) Actively participate in an overall planning process c) Assist in implementing the plan’s goals d) Participate in organizational evaluation

6. To build the board a) Articulate prerequisites for candidates b) Recruit and orient new board members c) Evaluate personal and board-wide performance

7. To ensure adequate resources to carry out the mission a) Give, get, or get off b) Achieve 100% board giving c) Seek funds from others

Legal Responsibilities of Nonprofit Boards

Under well-established principles of nonprofit corporation law, a board member must meet certain standards of conduct and attention in carrying out his or her responsibilities to the organization. Several states have statutes adopting some variation of these duties which would be used in court to determine whether a board member acted improperly.

Duty of Care: This describes the level of competence that is expected of a board member, to exercise reasonable care when he or she makes a decision as a steward of the organization.

Duty of Loyalty: This is a standard of faithfulness; a board member must give undivided allegiance when making decisions affecting the organization. This means that a board member can never use information obtained as a member for personal gain, but must act in the best interests of the organization.

Duty of Obedience: This requires board members to be faithful to the organization’s mission. They must also uphold the public’s trust that the organization will manage donated funds to fulfill the organization’s mission.

Setting Up Board Responsibilities By Joan Flanagan

I. How to Set Board Responsibilities This is not an issue of language, but of PROCESS.

A. Research If you are setting up a new organization, interview leaders from three to six successful nonprofits in your community. Ask to see the form they use during the nominating process to clarify the benefits and responsibilities of serving on the board. If your Board has been in operation for more than five years, in addition to building a “swipe file,” review what works well now, what does not work (often fundraising), and where you want to improve.

If your organization is part of a national or international organization, ask for their sample policies and the names of other local leaders you can interview.

B. Write Draft what you want the Board members to get from serving on the Board, and what you expect them to do. Convene your current president, the head of fundraising, the chair of the nominating committee, and your most enthusiastic/generous volunteer. Ask them to discuss what should be the explicit expectations regarding benefits and responsibilities. Use your local samples as a guide, but feel free to set whatever policies will work well for you.

Benefits Sample language for benefits include: a. Advance the public understanding of the importance of historic preservation in Indiana. b. Be a part of the leadership team to change public policy on immigration. c. Make a difference in the lives of 500 student-athletes in Cook County.

Responsibilities Sample language for responsibilities include: a. Believe in the mission, vision, and values of Horizon Hospice. b. Be responsible for the moral, ethical, and financial health and integrity of the organization. c. Keep all patient information completely confidential. d. Attend four meetings a year and one Fundraising event. e. Annual financial responsibilities: Donate $1,000 Raise $5,000

C. Adopting a Policy on Board Giving Discuss the one-page benefits and responsibilities. As a working group, propose a draft to the Nominating Committee (or whatever group has the responsibility of making a slate of candidates before the next elections). Ask the Nominating Committee or Leadership Committee to ratify the draft, and propose it to the Board of Directors.

Circulate a draft at the next Board meeting and discuss. The Chair of the Nominating Committee should advocate for the plan. Set time to vote on the Proposed Policies at the next Board meeting. The vote does not have to be unanimous. Whether the vote is 7 to 5 or 11 to 1, the minority voters must enthusiastically support the will of the majority.

D. Using the Process In addition to adopting a policy on the Responsibilities for the Board, create other places where people can serve. Many organizations have an Honorary Board or Alumnae Council to honor early leaders. These people give an endorsement and credibility to the organization, but do not do work and may or may not give money. Organizational Setup: Board Development 54

Most organizations have one or more Advisory Boards. An Advisory Board is literally a group of people who give advice. It may meet as a group, or may be a team of experts “on call” when the organization needs legal, financial, medical, or other professional or peer group advice. The Advisory Board members do not need to raise money.

Three to six months before the next elections, the current President and the chair of the Nominating Committee will meet one on one with current Board members. Each person is asked if he or she wants to be slated for the Board under the Organization’s policy. If the person wants to be a candidate, ask him or her to date and sign the Benefits and Responsibilities Policy. The President will also sign.

Alternatives: If the person does not want to fulfill the new responsibilities, ask him or her if they want to work at the committee level, join an Advisory Board, or join an Alumni Council, so the current Board members can select in or select out. They can commit to the responsibilities for a new term, or they can choose to serve the organization in another way, not on the Board.

For new candidates, mail the Benefit and Responsibilities Policy a week before the meeting with the President. Confirm each candidate understands and agrees with the policy, ask each one to sign and date the form. The President will also sign each form.

II. Setting a Dollar Amount to Give and Get Many organizations specify an annual dollar goal for donations. These can be very, very low, such as $10 for the Arts Council in North Carolina to very high such as $100,000 annual gift plus selling two tables to the gala for hospitals in Manhattan. Other organizations that expect the leaders to do a lot of hands-on work, such as The Rape Victims Advocates in Chicago, just ask for a “stretch gift” each year.

A. The advantages of setting a specific dollar goal for Board giving: 1. It is clear. No one can say, “I thought we were just here to make policy.” 2. It is fair. Everyone knows the minimum they are expected to give and to get. Of course, for people with greater wealth or better networks, they will give and get much more than the minimum. 3. It enables candidates to choose between competing offers from nonprofits. In any community, the strongest leaders get more requests to serve on nonprofit boards than they can fit on their calendar. Explicit standards allow candidates to feel good about agreeing to be nominated because they know exactly what will be required and when. 4. It helps community leaders to say “NO” or “Not now” to too many requests to serve on too many boards. 5. It empowers your leadership to budget a dependable amount from Board gifts. 6. It makes the organization more attractive to outside funders such as foundations and wealthy individuals. To win large grants and major gifts from donors outside your community, the level of Board giving proves the commitment of your leaders. 7. It can be the glue that holds the organization together. The United Neighborhood Organization in Pilsen says, “If they pay in, they stay in. If it is their money on the table, they are going to work harder to make the organization succeed.” 8. It will improve person-to-person fundraising. As foundation trustee Marjorie Craig Benton says, “Givers become better askers, and askers become better givers.”

Most organizations also specify a dollar goal for money raised, and offer a variety of ways at different price points to raise the money, such a pledges for the walkathon ($5 and up), memberships ($25 and up), the Gala ($250 and up), the Golf Outing ($600 per foursome and up), or major donors ($1,000 and up.)

Setting Up Board Responsibilities, cont. The Ultimate Residency Resource Guide 55

III. Caution

Power in any organization goes to the people who raise the money. If the Board votes against requiring the members of the Board to give and get money, someone else will have to raise the money. This may be: a. The paid staff. Then the staff are, de facto, self-employed and the Board becomes a group of tourists who come to meetings to hear reports. b. A fundraising committee or committees. Regardless of what the bylaws say, if the unrestricted money is coming from fundraising committees, then those people will control what happens in the organization. This is the passive-aggressive personality’s dreamland. She can say, “Of course we would like to add a clinic in Englewood, but we can’t (read: won’t) raise money there.” c. No one. Programs will have to be cut or cancelled, or the organization may die.

IV. Overcoming Objections

There are plenty of ways for people to derail this process. The negative votes are FAST, because they know right away they don’t want to spend the money. The positive votes for Board members giving and getting money have to take a serious look at the family’s budget and priorities, and then commit the time and money they will give.

Here are some typical questions and possible answers:

Q: “Low-income people won’t be able to serve on the Board. What if we want to have students, or entry-level workers, or people on a pension on the Board?” A: “The Board member’s gift does not need to be entirely from his own pocket. Students can ask parents, grandparents, or godparents. Pensioners can ask their children, their doctors, or generous people they know through their clubs and classes. Entry-level workers can ask their boss, their bishop, or their alderman. We will give them all the materials they need, and match them with a fundraising partner if they want.”

Q: “Our organization will get criticized for asking people to buy their seat on the Board.” A: “We live in a consumer economy, where most people assign dollar amounts to what they value. I believe this organization and the work that it does has value, too. We ask our leaders to give and get money because we believe our work is valuable.”

Q: “I don’t want other people to know about my gift.” A: “Fine. All donations will be kept confidential. The only people who will know are the Treasurer, President, and Executive Director.” (Note: some organizations publish names and amounts; others do not. Choose what feels best for your leaders.)

Q: “What if something happens and I’m not able to fulfill my financial commitment?” A. “We will understand. We have all faced times with unexpected loss of income or increased expenses. If something happens, we will work together to reschedule your payments. No one can predict the future. All that we ask is that you make a good faith effort to be a financial leader of this organization when you are slated as a candidate for the Board.”

Reprinted with permission from Joan Flanagan, 2005

Setting Up Board Responsibilities, cont. Organizational Setup: Board Development 56

Board and Staff Responsibilities

The following activities are suggested to be done by board, staff or jointly. This document should be reviewed by board members to finalize who they would like to do what among individual board and staff members.

Activity Responsibility Planning: Direct the process of planning ...... Staff Provide input to long range goals ...... Joint Approve long range goals ...... Board Formulate annual objectives ...... Staff Approve annual objectives ...... Board Prepare performance reports on achievement of goals and objectives ...... Staff Monitor achievement of goals and objectives ...... Joint

Programming: Assess stakeholder (customers, community) needs ...... Staff Train volunteer leaders ...... Staff Oversee evaluation of products, services and programs ...... Board Maintain program records; prepare program reports ...... Staff Prepare preliminary budget ...... Staff Finalize and approve budget ...... Board See that expenditures are within budget during the year ...... Staff Solicit contributions in fundraising campaigns ...... Board Organize fundraising campaigns ...... Staff Approve expenditures outside authorized budget ...... Board Insure annual audit of organization accounts ...... Board

Personnel: Employ Chief Executive ...... Board Direct work of the staff ...... Staff Hire and discharge staff ...... Staff Decision to add staff ...... Joint Settle discord among staff ...... Staff

Board Officers Descriptions

Chair Oversee board and executive committee meetings Serve as ex-officio member of all committees Work in partnership with the executive director to make sure board resolutions are carried out Call special meetings if necessary Appoint all committee chairs and with the director, recommend who will serve on committees Assist director in preparing agenda for board meetings Work with trustee committee in nominating, recruiting, and orienting new board members Oversee searches for a new director Coordinate director’s annual performance evaluation Act as an alternate spokesperson for the organization Periodically consult with board members on their roles and help them assess their performance

Vice-Chair Attend all board meetings Serve on the executive committee and other committees, as assigned Carry out special assignments as requested by the board chair Understand the responsibilities of the board chair and be able to perform these duties in the chair’s absence Participate as a vital part of the board leadership

Secretary Attend all board meetings Serve on the executive committee and other committees, as assigned Maintain all board records and ensure their accuracy and safety Review board minutes Assume responsibilities of the chair in the absence of the board chair, chair-elect, and vice chair Provide notice of meetings of the board and/or of a committee when such notice is required

Treasurer Maintain knowledge of the organization and personal commitment to its goals and objectives Understand financial accounting for nonprofit organizations Serve as financial officer of the organization and as chairperson of the finance committee Manage, with the finance committee, the board’s review of and action related to the board’s financial responsibilities Work with the chief executive and the chief financial officer to ensure that appropriate financial reports are made available to the board on a timely basis Assist the chief executive or the chief financial officer in preparing the annual budget and presenting the budget to the board for approval Review the annual audit and answers board members’ questions about the audit Organizational Setup: Board Development 58

Board Committees

There are 3 basic committee types: 1. Internal: Focusing on internal and operational issues coming to the board, including finance, investments, capital acquisitions, human resources, facilities, etc. 2. External: These issues include fundraising, public relations, publications, and marketing. (External committees often include non-board members.) 3. Governance: Responsible for the health and functioning of the board — nominates, recruits, and orients new members, evaluates the board, monitors strategic direction, and institutes board policies.

While these functions can be split into different committees, often organizations have too many committees doing too little work, and too much overlap between them. Consider how to be the most efficient with your committee structure, so that decisions can be made in one place with one conversation.

An Executive Committee is only necessary if a board meets quarterly, in order to make determinations more frequently. The Executive Committee can also be an ad hoc committee, meeting only as necessary to discuss significant issues before they are raised to the entire board.

One common mistake is to make finance and fundraising into one committee. Fundraising is an external activity; finance is internal. The skill sets needed in these two arenas are very different.

If you’re just starting out, consider just three committees as stated above, which will help clarify the committee’s roles and understand how they fit into the rest of the organization.

Develop clear descriptions of each committee, as well as a general statement of expectations for all committees (for instance, how often they meet, who reports to the board, what staff person is assigned to each committee, etc.).

The following 4 committee descriptions are the most common among boards:

I. Advancement Committee (also called Fundraising Committee)—external Work to improve the financial, administrative, and programmatic stability of the organization.

To work with staff to establish a fundraising plan that incorporates a series of appropriate vehicles, such as special events, direct mail, etc. with specific fundraising goals. To raise money, and work with staff in their efforts to raise money. To take the lead in certain types of outreach efforts, such as chairing a special event committee or hosting fundraising parties, etc. To be responsible for involvement of all board members in fundraising, such as having board members make telephone calls to ask for support.

It is important that the entire board recognize its responsibility for fundraising, and not simply assume that the committee is taking care of it. The committee oversees the fundraising, while the entire board takes responsibility for it.

II. Finance Committee—internal Further the organization’s ability to continue by building and managing resources wisely.

To review budgets and evaluate consistency between the budget and the organization’s plans. To report to the board any financial irregularities, concerns, opportunities, etc. To recommend financial actions to the board (such as to establish a reserve fund or to obtain a line of credit for a specified amount). The Ultimate Residency Resource Guide 59

To work with staff to design financial reports and ensure that reports are accurate and timely. To oversee short- and long-term investments. To recommend selection of and work with the auditor. To advise the executive director on financial priorities and information systems.

III. Board Development Committee (sometimes called the Nominating Committee or the Committee on Trustees)—governance Ensure that the Board has a diversity of skills to support the goals of the organization, nominate individuals for Trustee and Officer positions, and support the education, development, and evaluation of the Board so that they can be as effective as possible.

To determine priorities for board composition. To recommend and recruit candidates to the board. To recommend a slate of officers to the board. To conduct orientation sessions for new board members and to organize training sessions for the entire board. To conduct board evaluations. To suggest new, non-board individuals for committee membership.

IV. Program Committee—internal/external Ensure that programs and services are effective and of the highest quality possible.

This is often comprised of board members who are most familiar with the approaches and operations of the organization’s programs. To oversee new program development, and to monitor and assess existing programs. To initiate and guide program evaluations. To facilitate discussions about program priorities for the agency.

V. Temporary Committees

Some committees are convened on a temporary basis to address a specific, single event or issue. Often called ad hoc committees, they meet for a few months and then disband once their task is completed. Commonly used temporary committees and their designated tasks include:

Facilities Committee: To work with staff to evaluate the existing location and consider a move to a different location, to review a new lease, or to weigh the feasibility of purchasing a building. Special Event Committee: To coordinate the board’s assignments on a particular event, such as an annual fundraiser. Director Transition or Search Committee: To seek a new executive director, including recommending guidelines and a search process to the board, to take steps to help the new executive succeed. Some search committees hire the new executive director, while other search committees present a group of candidates to be evaluated by a different committee or the whole board. Planning Committee: To lead a strategic planning endeavor (the planning committee may consist of both board and staff members). Special Issue Committee: To investigate an unusual problem or opportunity, such as negative publicity in the newspaper, deep staff resentment against the executive director, an unusual grant opportunity, or a possible joint project with another organization. Setting up a Special Issue Committee to research the situation and report back to the board ensures that decisions are based on adequate information.

Board Committees, cont. Organizational Setup: Board Development 60

Board Recruitment

Your board deserves highly skilled and participative board members. Don’t erode your goals and believe that you are lucky to get anyone at all. When you set out to recruit new members, the most important consideration is knowing what kind of skills are currently needed by the board. Consider the nature of issues and goals currently faced by the organization. For example, if you’re struggling with financial procedures, then seek a member with strong financial skills. If you have trouble planning special events, seek someone with event-planning skills. In cases where specific talents are needed, those talents should be considered in addition to the qualifications you create for all board members.

Board members are expected to affirm and demonstrate the following: Dedication to the values, mission and vision of the organization. Courtesy, honesty and integrity. Candid dialogue; asking difficult questions without being overzealous; being comfortable with diversity and agreeing to disagree; accepting that disagreement and conflict are part of doing the organization’s business well and working with colleagues to resolve differences. Behaving as a team player and participating in the group that is the board. Expressing individual opinions and perspective balanced with supporting group decisions. Bringing issues to the boardroom and discouraging behind-the-scenes conversation that creates divisive- ness.

The following are typical skills needed within a board: Financial and/or investment expertise Special event planning Fundraising experience Legal expertise Property/facility management Marketing/promotions Personnel/human resources experience Nonprofit management and governance

In addition, avoid “functional silos” on the board—that is, isolating an individual in one skill area serves neither the organization nor the board well.

Where to Look for New Members The identification and selection of new board members is no easy task and requires commitment to make the process ongoing rather than something done on an ad-hoc basis. The aim is to develop a pool of potential board members who will be able to serve now or in the future. The golden rule is to cast a wide net when identifying potential board members. Some practical suggestions are: Review the names passed over at an earlier time. Ask board members and executives from other nonprofit organizations for possible nominees. Survey people associated with the organization in some capacity (donors or committee members). Canvass current board members. Seek advice from individuals in leadership positions in the community whether in business or holders of religious or political office. Monitor the media to identify those individuals who have a special interest in your organization’s area of service. Contact reporters, editors or publishers involved in the media. Canvass major donors. Approach major businesses. Often they want their management people involved in voluntary endeavors. Bring back board members who have been successful in the past and who have remained active in the interim period. The Ultimate Residency Resource Guide 61

Contact universities who have programs in nonprofit management and ask for suggestions from faculty, staff, graduates and students

Cyril Houle points out in his book Governing Boards: Their Nature and Nurture, that it is just as important to be aware of what people were as well as what they presently are. For example, an industrialist whose mother was a piano teacher may be an excellent prospect for the board of a symphony orchestra. Obviously this sort of useful information will not be revealed in a checklist of demographics. Rather it will come from a person who has personal knowledge about a potential board member. Create ongoing files for potential board members that include information on contact details, special interests, other board service, professional affiliations, and the name of the referring person. When the time comes to recruit new board members the governance committee will have a ready source of information. Ask the potential board member for a brief resume. File this with their “Prospective Board Member’s Form”. This information provides an effective way to initially assess a person for board service.

Steps for Cultivating New Board Members Once a slate of potential board members names has been identified, the cultivation of new board members should be carried out in a professional and confidential manner. The cultivation process aims to get better acquainted with the prospective board member and to ensure that the prospective board member has the necessary information about the organization and its board to decide whether or not they wish to proceed with membership selection. Assessing the suitability of a candidate for board service and helping a candidate get a feel for the organization and its work can be achieved in a variety of ways. Consider long-term cultivation: inviting a potential future board member onto a committee or task force better acquaints them with the organization, and helps you assess their skills before asking them on the board. The following are some suggestions for board cultivation:

1. Maintain an up-to-date list of potential board candidates, including the particular skills they can bring to the organization. 2. Develop a form for prospective new board members. The form should solicit information about the potential new member, why they want to join this board, what they hope to bring to the board, what they would like to get from their board membership and any questions they might have. 3. Identify a list of potential candidates to recruit for board membership. 4. Meet with potential board members (the board chair and/or director generally do this), give an overview of the organization and a description of the organization’s programs and services, provide a board description and a board member application form, and discuss orientation. Provide names of several board members whom the prospective new member might contact with any questions. 5. Identify if there are any potential conflicts of interest with the candidate, e.g., if he or she is on the board of a competing organization, a vendor of the organization, etc. 6. Involve them in some hands-on activities; invite them to an event; offer a tour of the facility. 7. Invite the prospective new member to a board meeting. Notify current board members that a potential new member will be attending. 8. Follow up with the prospective new member to hear if they want to apply for joining the board or not. Solicit their completed board member application and submit to the board for review and election. 9. Notify new members once they have been elected and invite them to subsequent board meetings and the board orientation.

Board Recruitment, cont. Organizational Setup: Board Development 62

Basic Guidelines for Board Orientation

Board orientation conveys the knowledge and understanding needed by board members in order to effectively carry out their roles as members of the organization’s board of directors. Selection of the particular orientation topics and orientation methods depend on the nature and needs of the organization.

1. Review board orientation once a year, whether you have new board members or not. It’s amazing how the “basics” helps to ground and integrate the knowledge and understanding of even highly experienced board members. Recurring orientation also helps to ensure that board members are all “working from the same script.”

2. Distribute the board manual as soon as a potential board member is recruited, even if he/she has not yet been officially voted in.

3. Conduct board orientation shortly after new members are elected to the board. This scheduling helps new members quickly gain understanding of their roles and contributions to the organization. This understanding often increases their participation and fulfillment regarding their roles as board members.

4. Design of the board orientation should include at least the chief staff person and board chair. Ideally, the organization also has a board development committee whose chair can provide strong participation in the orientation. If timing permits, discuss ideas with all board members to collect their feedback and review.

5. Results of the board self-evaluation should be carefully considered when selecting orientation topics. For example, if the evaluation indicated the board members don’t understand their roles as board members, then ensure that orientation places strong focus on this topic.

6. Be sure to include review of the board manual in the orientation session. The manual is the key resource for members to collect, organize and reference resources needed to carry out their roles as board members. Members should take seriously their manual and the use of it.

7. Provide the board orientation agenda, board manual and promotions materials to members at least two weeks before the meeting. Ask them to review the materials before the meeting.

Guidelines for Board Manuals

To develop a working manual that board members use and rely on: Don’t overwhelm new board members with too much information. When several examples are available (e.g., current press clippings), include only one or two. Keep each item brief. A two-paragraph biography of the executive director is preferable to a four-page resume, for example. Use the handbook as a textbook during board orientation. Encourage board members to read and ask questions about the material. Ask board members to evaluate the usefulness of the manual each year.

Revise the contents or format based on their comments. The following items are certainly not required for all manuals, but provide handy reference for consideration by each organization about what to include in their manuals.

Charter Documents Marketing and Promotions Articles of Incorporation Marketing and promotions plan IRS letter granting 501(c)(3) status Market analyses Bylaws Positioning statement Brochures, articles, newsletters, etc. Strategic Plan Document Significant achievements History of the organization and/or fact sheet Mission, vision and values statements Finance Goals and strategies Fiscal policies Action planning (objectives, responsibilities, Internal control policies (bookkeeping controls) timelines, etc.) Annual budget Status reports Program budgets Cash flow reports Board Organization/Operations Financial statements Meeting schedule Financial analysis Board description (composition/qualifications) Audit reports Board roles and responsibilities Nominating policies and procedures Fundraising Nominee recommendation form Fundraising plan Orientation plan Lists of sources Conflict of interest policy Lists of donors Disclosure form Fundraising reports Guidelines for evaluation; self-evaluation form Recent grant proposals—general operating and Bios and contact information project-specific Board committees and charters: descriptions and current make-up Personnel and Policies Staff organization chart Programs and Services Staff job descriptions Descriptions of programs and services Staff contact list Service objectives Personnel policies manual Income objectives Evaluation results List of members, alumni, etc. Organizational Setup: Board Development 64

Atlantic Center for the Arts

BOARD OF TRUSTEES MANUAL

TABLE OF CONTENTS

DIRECTORY 2005 Board of Trustees Directory 2005 Schedule of Meetings 2005 Committee Assignments

BOARD OF TRUSTEES Board Responsibilities Financial Expectation Committee Descriptions Rotation Schedule Directors & Officers Statement ATLANTIC CENTER FOR THE ARTS Fact Sheet History of the Organization Atlantic Center at Harris House Organizational Impact Fiscal Stability The Future Resume of Executive Director Organizational Chart Staff Biographies 2004 Budget Investment Policy

THE NATIONAL COUNCIL Council Duties Current National Council Members Emeritus Members

OTHER INFORMATION 2003 Annual Review Current Newsletter Doris Leeper Brochure Breaking Boundaries Brochure Rentals and Retreats Brochure

NOTE: Available Upon Request Articles of Incorporation Bylaws and Amendments to Bylaws

Sample Board Manual—Atlantic Center for the Arts (Table of Contents only) The Ultimate Residency Resource Guide 65

Board of Directors’ Manual (excerpts)—2004/2005

TABLE OF CONTENTS

SECTION I THE ORGANIZATION

1.01 Vision and Philosophical Statements 1.02 History of McColl Center for Visual Art 1.02 History of ARP Church 1.03 Fact Sheet 1.04 Major Supporters 1.05 Medici Society 1.07 Founders Society 1.08 Resource Council

SECTION II THE BOARD OF DIRECTORS

2.01 Board of Directors 2.02 Schedule of Meetings 2.03 Board Position Description & Responsibilities 2.04 Friend Raising/Prospect Cultivation Roles 2.05 Ashes to Art Description & Responsibilities 2.06 Committee Structure 2.07 Non Board Committees 2.08 Committee Assignments 2.09 Board Rotation Schedule 2.10 Conflict of Interest Policy

SECTION III THE STAFF

3.01 Organizational Chart 3.02 Resume of President 3.03 Staff Biographies Staff Contact Information

SECTION IV LEGAL

4.01 Bylaws

Sample Board Manual—McColl Center for Visual Art (excerpts) Organizational Setup: Board Development 66

SECTION V FINANCIAL

5.01 2004-2005 Budget 5.02 Strategic Plan 2003-2008 5.03 Strategic Priorities 2005-2008 & Budget

SECTION VI PROGRAMS

6.01 Residency Program 6.02 Exhibition Program 6.03 Adult Education Program

SECTION VII REFERENCE

7.01 City of Charlotte—Mayor & City Council 7.02 Mecklenburg County Board of Commissioners 7.03 Mecklenburg Legislative Delegation 2003

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. The Ultimate Residency Resource Guide 67

SECTION I: THE ORGANIZATION

Vision and Philosophical Statements

McColl Center Vision: To Be Aspirational Goal for the Future/Big Picture Statement To be recognized as the preeminent artist community.

Mission: To Do Overall Strategy for Achieving the Vision To catapult artists to the vanguard of contemporary art by providing: - a state of the art facility - a challenging, dynamic environment - collaboration among artists and the community - bold, educational exhibitions - strong affiliation with other arts organizations

Brand Promise: To Feel Emotional Connection with Audiences Contemporary artists will be freed and inspired to the highest levels of artistic expression. The city will be enriched by the presence of these visionary artists, and will gain a national reputation as an engine for artistic advancement.

Positioning: To Say Communications Platform We are a place where concentrated forces interact to influence artistic change and development.

Articulation: To Express Creative Distillation of the Communications Platform McColl Center for Visual Art Creative Crucible

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. Organizational Setup: Board Development 68

Values

We believe that art and artists are a catalyst for creative thinking and a conduit for cultural advancement.

We recognize that creativity is an innate quality in all individuals.

We believe that we have a responsibility to nurture the public’s understanding and respect for artists’ skills and insights, and their role as citizens.

We believe in the value of local, national, and international opportunities for artists to serve society as creative problem solvers.

We believe in the benefit of collaborative relationships with institutions, businesses, unions, governments, the media, and the community.

We believe that diversity in all areas is vital to excellence.

We believe that the sustenance of creativity and creative thinking is vital to the future of the world.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. The Ultimate Residency Resource Guide 69

FACT SHEET

Legal Name: McColl Center for Visual Art

A 501(c)(3) not-for-profit corporation organized under the laws of the State of North Carolina on October 1, 1997. (Inherited Spirit Square’s 501(c)(3).

Address: McColl Center for Visual Art 721 North Tryon Street Charlotte, NC 28202

Telephones: (704) 332-5535 (704) 377-9808 - FAX www.mccollcenter.org

Office Hours: Monday-Friday – 9:00 AM-5:00 PM

Gallery Hours: Tuesday-Saturday – 11:00 AM-4:00 PM

Classes: Clayworks Address: 301 East 9th Street Charlotte, NC 28202

Telephone: (704) 344-0795 Hours: Open every day, variable hours, according to class schedules and open studio hours.

Registration: (704) 332-3973

Annual Operating Budget: Fiscal Year 2003/2004 – $1.26 million Fiscal Year 2004/2005 – $1.44 million

Endowment: $6.4 million

Grounds: 1.17 acres at the Southwest corner of the intersection of N. Tryon Street and West 11th Street in Charlotte, NC

Buildings: McColl Center (owned) – 33,869 square feet Clayworks (leased) – 6,550 square feet 715 N. Church Street Condos (14 units owned)

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. Organizational Setup: Board Development 70

Resource Council

Role: The McColl Center Resource Council has been formed to recognize individuals, other than current Board members, who provide meaningful services and/or volunteer activity to benefit the Center. It will not have any formal structure or officers or regular meetings. It will provide a way to maintain the significant involvement of individuals rotating off the Board of Directors and to recognize others who provide substantial volunteer and in-kind contributions.

Benefits to Members: Resource Council members will receive both public recognition for their ongoing support and the satisfaction of extending the reach of the Center’s services while enjoying an “insider” relationship with Board, staff and other supporters of the Center.

Benefits to McColl Center: The Center will be able to maintain a close relationship with a broad group of individuals who continue to provide volunteer efforts and/or services that advance the Center’s mission. The Center will benefit from all of the contributed services that it would otherwise have to pay for or do without. The Resource Council demonstrates that the Center has a large and diverse constituency of individuals who provide volunteer and other in-kind support beyond that provided by the Board of Directors.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. The Ultimate Residency Resource Guide 71

SECTION II: THE BOARD OF DIRECTORS

Board of Directors 2004-2005 Meeting Schedule: The Board of Directors meets at 12:00-1:30 p.m. on the fourth Tuesday (every other month, with no meetings during summer months). The meetings are held in Gallery 115 of McColl Center for Visual Art, 721 N. Tryon Street. Parking is available in the lot beside the church, which is accessible at 10th Street (from Church or Tryon Streets).

Notices requesting response calls are mailed approximately two weeks prior to the scheduled Board meeting. Calls should be made to John Turner, at XXX.XXX.XXXX.

May 25, 2004 September 28, 2004 November 23, 2004 January 25, 2005 March 22, 2005 May 24 2005

Executive Committee 2004-2005 Meeting Schedule: The Executive Committee of the Board meets at 8:00-9:30 a.m. (in the ground floor board room) on the third Wednesday of every month:

May 19, 2004 June 16, 2004 July 21, 2004 September 15, 2004 October 20, 2004 November 17, 2004 December 15, 2004 January 19, 2005 February 16, 2005 March 16, 2005 April 20, 2005 May 18, 2005 June 15, 2005

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. Organizational Setup: Board Development 72

Board of Directors Position Description Proposed Revisions January 2005

Responsibilities:

1. To understand and have a deeply felt personal passion for McColl Center’s mission, goals, objectives, and programs and to be able to articulate those aspects of the organization. 2. To place McColl Center among your top 4 priorities including personal, professional, and charitable interests (top 2). 3. To determine policies, goals and objectives through McColl Center’s strategic planning process to advance McColl Center’s relevance and respect locally, nationally and internationally. 4. To provide personal membership/gift support annually at a significant level—annual minimum, with appropriate exceptions, is $1,000 with the hope that most Board members will strive to become Medici Society members as their financial ability allows. 5. To help secure needed budgeted revenue by introducing new people to the McColl Center and hosting a table at the annual “Ashes to Art” event as described on the following two pages and bring them to as many open houses and other scheduled events as your schedule/calendar allows. 6. To consider a contribution, current or by bequest, to McColl Center’s endowment fund. 7. To attend and fully participate in at least 75% of the Board meetings each year. 8. To serve on committees and accept special assignments as requested and as feasible. 9. To provide counsel, advice, and encouragement to the Board and staff. 10. To be a spokesperson and advocate for McColl Center in the community. 11. To maintain confidentiality regarding any institutional information shared by members of the Board or staff. 12. To remain in compliance with McColl Center’s conflict of interest policy. 13. To assume any other fiduciary role required of a governing body.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. The Ultimate Residency Resource Guide 73

Friend Raising/Prospect Cultivation Roles

McColl Center’s development approach follows a natural cycle of identifying prospects, introducing them to the Center and its programs, deepening the relationship through continuing experiences with Center programs, and asking them for money. The emphasis is on spending time developing the relationship before asking for money. Asking for money should be done one-on-one throughout the year, whenever the relationship “ripens.” Ashes to Art, in the Fall, is part of this annual cycle and provides an opportunity to introduce prospects (not current members) to the Center and to ask for their support. Ashes to Art, as an “asking” event, works best when more of the guests attending have already been to the Center and experienced its programs one or more times. The Medici Society offers top donor opportunities. The annual leadership members’ reception in the Spring, provides an intimate, in-home, opportunity to thank members and strengthen these relationships for retention of current members.

Each Board member is expected to participate effectively in the process described here:

1. During July of each fiscal year, select at least 10 individual prospects (those not already members of the Center) with whom you have a personal or business relationship. These prospects may be collectors, others interested in contemporary art, cultural patrons/attendees, or those with family members who are artists. The cultivation strategies you will use to develop your prospects’ relationship with the McColl Center should include some combination of the following: Bring as your guest to scheduled McColl Center programs, e.g., open houses, exhibition openings, etc.; Arrange for the staff to provide a custom tour of the Center and artist studios, at your prospect’s convenience; Include your prospects among your invited guests for Ashes to Art; Host your prospects, one-on-one or in small groups, for lunch at the Center or dinner out, or at home, and include Suzanne Fetscher; Any other activity that suits you and serves to advance your prospects’ understanding of the Center’s mission and programs.

2. Serve as a table host for Ashes to Art (see the attached description for date, place and role/timeline).

3. Make, or facilitate, the “ask” for membership/donation at the appropriate time.

The Center staff will support your prospect cultivation in all ways possible.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. Organizational Setup: Board Development 74

Ashes to Art—Description and Roles

Ashes to Art is the signature annual event in November of McColl Center for Visual Art—a free, one-hour ask event. It is scheduled in October of each year, from noon to 1:00 p.m. The event is supported by Honorary Chairs, Chair, Vice-Chair and a team of table hosts.

The event follows a unique formula, featuring: Free admission for hosts and guests. Expenses are covered by a portion of each annual corporate sponsorship of $5,000 or more. A 60-minute program designed to inspire guests and ask them for their annual financial support, leaving an unforgettable impression of the extraordinary work of McColl Center. An artist who has been, or currently is, in residence at McColl Center will be at each table and samples of their art will be displayed throughout the meeting room and adjacent spaces. Members of the Center’s Board and others most familiar with and passionate about the Center are chosen as table hosts. Each table host is expected to fill a table of 10 with guest prospects through invitation by phone or in person. Most, if not all, guests should come because a friend invited them. Table hosts will be provided with clear and concise instructions, orientation and supporting materials. Guests know in advance they will be asked, but not required, to give—no minimum and maximum gift. A light lunch is provided, with tables pre-set with food and drink.

Table Host Roles/Timeline: Allow Jerry Haynie and/or Charla Lee to schedule an orientation session with you at your convenience during July or August. Before August 31, identify possible guests with demonstrated/potential interest in the Center’s mission and the capacity to support it with annual gifts. Pre-screen your list with staff before inviting, so the focus is on prospects, not current members. Call to invite guests beginning no later than September 7. Send confirmed guest list to Center by October 3. Center sends acknowledgement cards. Reconfirm guests by October 21 and make reminder calls October 31. Host table at the event.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. The Ultimate Residency Resource Guide 75

Board of Directors Committee Structure 2004-2005

Executive Committee On behalf of McColl Center’s Board, the Executive Committee has the authority to review items and act on information between Board meetings.

Finance Committee The Finance Committee has oversight responsibility of all McColl Center financial arrangements, including annual budget approval and ongoing monitoring through monthly financial statements, audit review, and endowment oversight.

Development Committee The Development Committee has responsibility for guiding full Board participation to meet McColl Center’s annual fundraising objectives, including the Medici Society, membership, individual and corporate sponsorship cultivation, special events, and ongoing endowment and planned giving efforts. It serves as a liaison between McColl Center Board of Directors and the Resource Council.

Ashes to Art Steering Committee Guides the conception and execution of the annual Ashes to Art asking event. When possible, it is to be chaired by the outgoing Special Events Chair with the current Special Events Chair serving as Vice-Chair (and Chair- Elect) of this steering committee.

McColl Center Non-Board Committees

Artist-in-Residence Selection Panel Expert panelists made up of international, national and regional representatives convene annually to review and select artists to participate in the artist-in-residence program.

Affiliate Artist Selection Panel Panelists convened every eighteen months to review applications of affiliate artists’ program for local artists’ studio space at McColl Center.

Local Artist Advisory Committee Provides insight to staff and Program Committee regarding issues of importance to local artists and as a sounding board for program direction.

Friends and Volunteers Provide informal assistance as marketing ambassadors for McColl Center programs.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. Organizational Setup: Board Development 76

Board Rotation Schedule

Class of FY 2003—Serve one three-year term (FY 03-05). Eligible for second three-year term beginning in FY 2006.

FY 2003-2004-2005 FY 2006-2007-2008 George C. Covington* X Rochelle T. Grubb X H. Clark Jackson * X Moses Luski X Cheryl Myers X Marjorie Serralles-Russell X A. Zachary Smith* X Richmond Harding Stowe X Jim Woodward* X

2 Class of FY 2004—Serve one three-year term (FY 04-06). Eligible for second three-year term beginning in FY 2007. FY 2004-2005-2006 FY 2007-2008-2009 Frank Bragg X Susan Dooley X Tracey Moseley Jeffcoat X Stefan Latorre * X J.Michael McGuire * X Patricia A. Rodgers * X Tracy J. Saunders * X Michael Godfrey * X

Class of FY2005—Serve one-three year term (FY2005-FY2007). Eligible for second three-year term beginning in FY2008. FY 2005-2006-2007 Suzanne (Shug) Lockett X FY 2005- Marianne Norwood X 2006-2007 Marek Ranis * X Joan Zimmerman X

*These Board Members are currently serving their second term.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. The Ultimate Residency Resource Guide 77

CONFLICT OF INTEREST POLICY

I, Suzanne L. Fetscher, President of Tryon Center for Visual Art (the “Corporation”), certifies the following to be the Conflict of Interest Policy of the Corporation adopted by the Corporation’s Board of Directors on February 23, 1999:

It is the policy of the Corporation that management employees and members of the Board of Directors of the Corporation shall avoid conflicts of interest and any conduct which may suggest the appearance of impropriety when exercising their responsibility with regard to the expenditure or disbursement of funds of the Corporation.

No Board member of the Corporation may receive compensation from the Corporation except that a Board member or executive committee member may receive payment for normal travel, pursuant to the Corporation’s travel reimbursement policy, and other out-of-pocket expenses required for fulfillment of the obligations of Board membership.

In no event shall management employees or Board members or their relatives directly or indirectly benefit, except as employees or Board members or as normal recipients of program services, from the disbursing of the Corporation’s funds.

No consultative contract for services shall be awarded to a Board member or a relative of a Board member.

No consultative contract for services shall be awarded to a relative of any employee of the Corporation.

No relative of a present employee of the Corporation shall be hired as an employee of the Corporation.

For purposes of this policy, a “relative” of a Board member or employee of the Corporation is considered any of the following: his or her Husband, Wife, Mother, Father, Mother-in-law, Father-in-law, Son, Daughter, Daughter- in-law, Brother, Sister, Son-in-law, Uncle, Aunt or First Cousin.

Present employees who become married to other present employees are permitted to continue their employment. Should one of them leave the employment of the Corporation, the Corporation will not rehire him/her while the other is in the employ of the Corporation.

Should any job applicant apply for a position with the program, he/she will be asked if he/she has relatives employed with the Corporation. If the answer is “Yes,” he/she will be questioned as to the relationship. If the relative relationship is one described above, the job applicant will not be hired. If a job applicant falsifies his/her application or is not truthful concerning his/her relationship to a present employee, and if this fact later becomes known, then the employee will be terminated.

Exceptions to this policy shall be made only by action of the Board of Directors of the Corporation in accordance with the provisions of the North Carolina Nonprofit Corporation Act and Section 55A-8-31 thereof after disclosure of the material facts and the affirmative action by a majority of the Board members who have no direct or indirect interest in the proposed transaction. The same procedure shall be followed for exceptions with respect to officers or employees of the Corporation.

In order to avoid conflicts of interest and the appearance of impropriety, all employees and Board members of the Corporation shall be informed of this policy and compliance with this policy shall be a matter of review in the annual independent audit of the Corporation.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. Organizational Setup: Board Development 78

This the ____ day of February, 1999.

______President

Sworn to and subscribed before me this ______day of February, 1999.

______Notary Public

My Commission Expires:

Note: An original executed copy of the Conflict of Interest Policy is located in the Center’s files.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. The Ultimate Residency Resource Guide 79

SECTION III: STAFF

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. Organizational Setup: Board Development 80

SECTION VI: PROGRAMS

Residency Programs

To sustain and nurture a vital and creative atmosphere for artists and the community, McColl Center for Visual Art hosts two core programs: Artists-in-Residence and Exhibitions. These programs are designed to provide time for:

incubation and realization of new ideas reflection and for experimentation refinement of existing skill or the development of new skills developing linkages to new ways of thinking addressing challenging opportunities.

Artists-in-Residence (A-I-R) and Affiliate Artist Programs

McColl Center’s A-I-R Program provides the gift of time, studio space and fully equipped and state-of-the-art facilities for up to 26 artists per year to conduct research, and/or create new works. Some artists work in the community on public projects and others conduct workshops, make presentations, or participate in public forums.

McColl Center hosts regional, national and international artists who are selected by an open application, nomination, or curatorial process. A peer panel selects artists. Curated artists are selected by senior staff. A balance of emerging, mid-career and senior level artists is maintained. Each artist is provided with studio space, living accommodations, travel, a stipend, and a materials budget for a three-month period. Five studios are offered to Affiliate Artists (area artists) at a subsidized rate for periods of 18 months. This guarantees the participation of area artists with artists-in-residence.

Exhibition Program

McColl Center for Visual Art’s Exhibition Program acts as a link between artists-in-residence and the public. Using the exhibition spaces in the Dickson Gallery, Gallery 115, and the second and third floor galleries at McColl Center, exhibitions of work by resident artists are regularly mounted. In addition, special exhibitions traveling from other institutions or exhibitions generated by invited curators are regularly presented. The Director of Programs identifies art genres and issues relevant to the local community, and/or collaborative opportunities within the community to create shows that are of interest and pertinent to a broad range of people. These special exhibitions are designed to reveal the artistic process in relation to issues of interest in the community. In conjunction with the exhibitions, lectures, panels and public forums related to the subjects in all of the exhibitions are presented.

Adult Education Program

Clayworks McColl Center for Visual Art offers adult studio classes in ceramics at its Clayworks facility at 301 East 9th Street in downtown Charlotte. Clayworks was originally part of Spirit Square and McColl Center inherited the classes when Spirit Square ended its programs.

Clayworks provides approximately ten ceramics classes three times a year for around 180 students annually. For a monthly rental fee, Clayworks provides four individual studio spaces and ten shelf rentals to Associate Artists. All Associate Artists have twenty-four hour access to and full use of the facility.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. The Ultimate Residency Resource Guide 81

The Clayworks Gallery features the work of Clayworks’ instructors and Associates. It is open by appointment.

McColl Center’s mission has evolved over the past six years and, as the Center began to focus on strengthening its core program (the artists-in-residence program), it became apparent that adult studio classes did not support the Center’s mission. In March 2004, it was determined by the Board of Directors of McColl Center that in FY 2005, McColl Center will transition Clayworks to become an independent organization. Clayworks may become a separate 501(c)(3) or a for-profit cooperative studio. A transition team has been formed by Clayworks to research the best new form for its future. McColl Center is working closely with the transition team over the next year to transfer information and skills so that the transition is a smooth one. As of July 1, 2005, McColl Center and Clayworks will operate as separate entities.

Sample Board Manual—McColl Center for Visual Art (excerpts), cont. Organizational Setup: Board Development 82

BOARD MANUAL—TABLE OF CONTENTS

I. GENERAL INFORMATION MISSION STATEMENT HISTORY OFFICE INFORMATION STAFF DIRECTORY ADMINISTRATIVE STAFF

II. BOARD ORGANIZATION RESPONSIBILITIES OF BOARD MEMBERSHIP 2003-2004 BOARD DIRECTORY BOARD BIOGRAPHICAL INFORMATION HONORARY BOARD AND ADVISORY COUNCIL COMMITTEE RESPONSIBILITIES COMMITTEE ASSIGNMENTS COMMITTEE OPERATIONAL GUIDELINES MEETING SCHEDULE

III. BYLAWS

IV. FINANCIAL FINANCIAL REPORTS ANNUAL BUDGET ENDOWMENT FUND POLICY

V. PLANNING DOCUMENTS STRATIGIC PLAN EMERGENCE REPORT

VI. MISCELLANEOUS NAMED STUDIOS HIGHLIGHTS OF FELLOWS’ ACCOMPLISHMENTS FELLOWS’ COUNCIL

VII. PUBLICATIONS ANNUAL REPORT NEWSLETTERS & BROCHURES

Sample Board Manual—Virginia Center for the Creative Arts The Ultimate Residency Resource Guide 83

RESPONSIBILITIES OF BOARD MEMBERSHIP

Members of the VCCA Board of Directors will contribute time, talent, and resources to developing and realizing the long-term vision for the organization, supporting the executive director in his/her administrative and fiscal responsibilities, and working to ensure the financial security of the organization. Members will be selected from among highly respected decision-makers within the Commonwealth and nationally. An effort will be made to diversify the Board to ensure that it reflects the composition of the community served. Members will use their respective expertise to provide appropriate governance for the organization, including developing the strategic plan, and their respective networking capacities and personal resources to provide vital fundraising leadership.

The Board of Directors will consist of not more than thirty (30) members, each of whom is eligible to serve for three 3-year terms. Directors will be divided into three groups, and terms will be staggered respectively. After finishing three 3-year terms, Directors will rotate off for 1year after which they are eligible to be renominated.

Directors are requested to actively participate in two one-day meetings annually, and one two-day retreat at the Center, typically the third Friday in January, May and September. They will be available for ad hoc telephone conferences when the need arises, and will receive regular communication from VCCA staff. In addition, Directors will serve on at least one standard or ad hoc committee and be available for committee meetings or conference calls.

Directors will evaluate the executive director’s performance as chief administrator and financial officer, actively reviewing related reports and the annual budget. They will routinely be asked for Board nominations and will actively recruit and attract high-quality candidates.

Directors will provide the leadership for building the endowment for the VCCA and realizing the capital campaign goal necessary for implementing the strategic plan, by helping to facilitate the identification, cultivation and solicitation of major gift prospects. They will provide personal financial support to the VCCA, to the best of their ability, every year.

Finally, Directors will participate in an annual review of Board effectiveness.

Sample Board Manual—Virginia Center for the Creative Arts, cont. Organizational Setup: Board Development 84

COMMITTEE RESPONSIBILITIES

EXECUTIVE COMMITTEE Meets at least once between board meetings Acts on behalf of the full board to conduct business between regular meetings Conducts annual review of board effectiveness Reviews membership, responsibilities and annual goals of each committee Conducts annual performance review of the Executive Director Reviews and updates the contract of the Executive Director

BOARD DEVELOPMENT AND NOMINATIONS COMMITTEE Sets and reviews annual committee goals Meets prior to Executive Committee and regular board meetings Reports to Executive Committee and full board at each meeting Presents annual slate of board officers for consideration by the full membership Oversees the process of selecting new board members Plans and presents orientation activities for new members Oversees annual board training and education Maintains board handbook

BUILDINGS AND GROUNDS COMMITTEE Sets and reviews annual committee goals Meets prior to Executive Committee and regular board meetings Reports to Executive Committee and full board at each meeting Advises Executive Director in facility management Makes recommendations to the board regarding management of facilities Implements the master plan of major renovations and additions to physical plant Oversees income and expenditures of capital monies Submits annual facilities budget to the Finance Committee

DEVELOPMENT COMMITTEE Sets and reviews annual committee goals Meets prior to Executive Committee and regular board meetings Reports to Executive Committee and full board at each meeting Works directly with Director of Development to oversee annual appeal, corporate, foundation and major gifts cultivation and solicitation activities Coordinates with Strategic Planning Committee all national and international visibility activities Plans and coordinates special events Submits annual development budget to the Finance Committee

Sample Board Manual—Virginia Center for the Creative Arts, cont. The Ultimate Residency Resource Guide 85

Committee Responsibilities, continued

FINANCE AND ENDOWMENT COMMITTEE Sets and reviews annual committee goals Meets prior to Executive Committee and regular board meetings Reports to Executive Committee and full board at each meeting Develops the annual budget in conjunction with the Executive Director Monitors annual budgetary expenditures and policies Reviews and presents regular financial statements to the board Reviews investment policies, supervises strategies implemented by investors, reviews return and growth of investments

STRATEGIC PLANNING COMMITTEE Sets and reviews annual committee goals Meets prior to Executive Committee and full board meetings Reports to Executive Committee and full board at each meeting Oversees implementation of emergence brand labs study and study group efforts Coordinates marketing and public relations activities in conjunction with the Development Committee Conducts regular review of the strategic plan

Sample Board Manual—Virginia Center for the Creative Arts, cont. Organizational Setup: Board Development 86

COMMITTEE OPERATIONS GUIDELINES

Committees of the VCCA serve the role of addressing specific issues related to the governance and mission fulfillment of the organization. As such, committees are expected to meet regularly and work actively with the staff of the VCCA to set goals, create strategies and implement plans. The following guidelines for operations have been created to help the committees work more effectively and efficiently.

1. Committees will meet in person or via telephone between board meetings in order to be prepared for regular reports at these meetings. 2. Committee chairs are expected to develop each meeting agenda with the appropriate staff liaison at least one week prior to the scheduled meeting. 3. Committee chairs email the agenda along with a reminder of the meeting date and time at least three days prior to the committee meeting. 4. In the case of telephone meetings, staff will email a morning-of reminder to all committee members prior to a meeting. 5. Minute-taking responsibilities rotate among committee members. Minutes are to be emailed within five business days of the meeting to all committee members and staff. 6. All committee meetings begin with a review of progress on action items from previous committee meetings. 7. If assignments are made in committee meetings, it is expected that committee members will act without further staff follow-up.

Sample Board Manual—Virginia Center for the Creative Arts, cont. The Ultimate Residency Resource Guide 87

Additional Resources

In Print

The Board Member’s Guide: Making a Difference on Your Board and in Your Community by Richard Adams, Shirley Magoteaux, Virginia Matz, Cheryl Stiefel-Francis, Judy Westerheide, and Donn Vickers. Paperback: 34 pages Published by the Academy for Leadership and Governance (2003)

The Board Building Cycle: Nine Steps of Finding, Recruiting, and Engaging Nonprofit Board Members by Sandra R. Hughes, Berit M. Lakey, Marla J. Bobowick, National Center for Nonprofit Boards (U.S.) Paperback: 52 pages Publisher: Natl Center for Nonprofit Boards (BoardSource); Book&Disk edition (December 1, 2000) ISBN: 158686002X

Online

The Academy for Leadership and Governance was founded in 2000 to support, develop, and enhance the practice of leadership by executive directors, board presidents, and boards of directors in nonprofit organizations. www.thejeffersoncenter.org/alg

Alliance for Nonprofit Management resource for Board Development www.allianceonline.org/FAQ/board_development

Governance Matters, formerly the Alliance for Nonprofit Governance (ANG), works to raise the standards of governance of nonprofit organizations, particularly in New York. www.governancematters.org

BoardSource, formerly the National Center for Nonprofit Boards, is the premier resource for practical information, tools and best practices, training, and leadership development for board members of nonprofit organizations worldwide. www.boardsource.org Chapter II

PERSONNEL MANAGEMENT Organizational Charts Personnel Management: Organizational Charts 90 part time Gallery Receptionist Gallery Receptionist Exhibition Director Technician Audio/Visual Director Education/Outreach Technician Preparator/ Administrative Board of Directors Executive Director Assistant/Secretary with Exhibitions Coordinator Registrar/Arts Sample—Residency Program Sample—Residency Residency Program Director Program Residency full time Studio Technician Studio Technician part time Personnel Personnel Development Director Housekeeping The Ultimate Residency Resource Guide 91 Interns Associate Curatorial Volunteers Educational and Management Legal & Financial Hondo Partners, Inc Hondo Partners, Coordinator ArtElements Receptionist Affairs Associate Director External External Affairs Board of Directors Archivist Artpace San Antonio Artpace San Studio Assistants Studio Director Studio Technician Executive Director Manager Operations Maintenance Assistant to the Director Personnel Management: Organizational Charts 92 Manager Operations Community Programs & Programs Gallery on Douglas Manager Arts National Council Manager Education Community & & Assistant Facilities Program Program Manager Residency & Culinary Facilities Supervisor & Program Program Manager Marketing Executive Director House Program ACA/Harris Coordinator Atlantic Center for the Arts Atlantic Center for the Manager Special Events Communication & Office the Arts Manager Images: A Festival of Director Development Coordinator Administrative & Board of Trustees Board of Finance Business Manager The Ultimate Residency Resource Guide 93 Assistant Manager Executive Clayworks Media Studio Lab/Print Programs Director of Program Assistant Marketing & Director of Development Assistant (part time) Development President Board of Directors Building Custodian (part time) McColl Center for Visual Art McColl Center for Visual (part time) Receptionist Finance & Operations Director of Facility Management Finance Assistant (part time) Personnel Management: Organizational Charts 94 Artist Services Director of *oversees application process, jury process, residency, payments, scheduling *responds to fellow requests *liaison to fellow council *liaison to college admin/faculty *attends staff meetings Admissions *maintains admission database *responds to fellow requests *processes applications, res. appointments *fellow run driver *second phone *attends staff meetings Director of Communications *implements internal/external communication *develops communication plan, e-communication publications, publicity plan, solicitation materials, website *visioning team member *monitors arts/news reports *maintains photo library Director Program *visioning team member *develops/resear- ches programming *writes/oversees grants *seeks new funding strategies *oversees arts collections *plans exhibitions, public events *oversees website *attends staff meetings Associate Director of Director of Development Development *oversees major gifts, solicitation, bequest, special events *identifying potential donors *visioning team *liaison to dev. committee *PR oversight *attends staff meetings *maintains development database *processes donations *staff support for dev. board director, *third phone *special events coord. *visioning team *attends staff meetings Finance Director of Executive Director *manages accounts, benefits programs, petty cash oversees payroll, spending, tax reporting *prepares financial reports, budget *assists auditor *attends staff meetings Intern Office Manager Office Assistant *first telephone *greets visitors *prepares fellow packets *clerical support *processes mail *maintains petty cash, sales, supplies, database, payroll records (2) Virginia Center for the Creative Arts Center for the Creative Virginia Service Head of Food *oversees food service personnel *schedules staff *orders supplies *manages food service budget *manages food service inventory *plans menus *dinner chef *plans/implements spec food service *attends staff meetings Kitchen Helper Kitchen Weekend Chef Weekend Part-time Cook Part-time *weekend dinner chef *transports fellows *substitutes for other kitchen personnel *assists others *prepares breakfast & lunches *resets/cleans dining room *cleans up dinner *sets up for breakfast *cleans kitchen Head of Housekeeping *cleans resident public area *cleans restrooms *maintains house inventory *laundry *manages housekeeping budget *assists others *attends staff meetings Studio (seasonal) Maintenance Director Housekeeping/ Facilities Maintenance Asst *assists fellows *cleans studios/barn *maint. grounds flower beds *delivers lunches *replaces housekeeper *donations *attends staff meetings *assists others *building maintenance *maintenance lawn *girl/man Friday *trash removal *oversees maintenance *personnel *responsible for all small repairs, subcontractors, equipment inventory *helps fellow vehicle maintenance *attends staff meetings *assists others The Ultimate Residency Resource Guide 95 Admin Assistant Director of to President Annual Giving Dev Assoc/Asst Coordinator Public Affairs Major Gifts & Vice President Vice Special Projects Assistant Administrative Director Program Staff (3) President Supervisor Yaddo Housekeeping Housekeeping Board of Directors Bookkeeper Assistant Administrative (4) Ground Bldgs & Supervisor B & G Staff Vice President President Vice Admin & Finance Kitchen Staff (3) Head chef Job Descriptions Personnel Management: Job Descriptions 97

Executive Director/President

Art Center South Florida—Executive Director Description: The Executive Director should be dynamic and community oriented, and is responsible for the organization’s consistent achievement of its mission and financial objectives. The Executive Director works closely with the Board, Staff and Artists-in-Residence to improve, expand, and develop programming, and must work as a compelling advocate for the organizations’ vision.

Qualifications: Candidate should have minimum 5 years of nonprofit or arts related management experience with strong fundraising skills to further enhance the organization’s ability to fulfill its mission of serving its Artists-in-Residence and the South Florida visual arts community. S/he must demonstrate success in institutional planning, building community support, audience development, and fundraising. The candidate must be creative, entrepreneurial, and must possess excellent organizational and communication skills, both oral and written. Demonstrated ability to be a leader with integrity, energy, flexibility, confidence, and team building skills.

Hambidge Center for Creative Arts & Sciences—Executive Director Description: The Executive Director reports directly to the Board of Trustees. S/he has overall responsibility for all aspects of The Center’s operations. S/he is an ex-officio member of the Board of Trustees and all Trustee committees. All decisions made by the staff are subject to his/her review and take effect upon his/her approval. Although administrative responsibility is delegated to the Director of Artists in Residence, the Program Director/Director of Development, and Executive Assistant, the Executive Director expects to be fully informed about decisions made by these administrators and consulted ahead of time whenever a significant issue arises. The Executive Director is responsible for coordinating all fundraising of The Center and working with the Director of Development and the Development Committee of the Board.

Staff should come directly to the Executive Director with any concern or problem they feel has not been resolved by their direct supervisor. In addition, the Executive Director hopes that every member of the staff will see him/her about ideas for improving any aspect of The Center’s programs, facilities or operations. When the Executive Director is out of town, the Director of Artists in Residence or the Program Director/Director of Development will act on his/her behalf.

A Studio in the Woods—Executive Director Description: Liaison between the board and staff (operations) Ensure that the mission is executed well Primary staff spokesperson for A Studio In The Woods Personnel management for staff—includes hiring, coaching and counseling, evaluation, motivation, etc. Budget management Fund development Donor relations Special events Grant writing Other fundraising

Yaddo—President Description: Under general direction of the Board of Directors, serves as chief executive officer to the Corporation of Yaddo, providing vision and leadership to its programs and policies.

Typical activities, tasks and assignments:

Sample Job Descriptions—Executive Director/President The Ultimate Residency Resource Guide 98

Directs and oversees all Yaddo operations to assure the quality and integrity of its programs and maintain and enhance its reputation within the arts community worldwide. Plans and oversees community relations and fundraising programs to promote the strategic growth and development of Yaddo resources and programs.

Required skills and abilities: Knowledge of high-level administration and management. Knowledge of financial management and fundraising strategies. Knowledge of Yaddo philosophy, programs and operations. Ability to develop relationships with high-level groups and individuals in support of Yaddo programs and goals. Ability to set objectives and obtain results. Strong oral and written communication skills.

Sample Job Descriptions—Executive Director/President, cont. Personnel Management: Job Descriptions 99

Artistic Director/Residency Director

Abrons Arts Center/Henry Street Settlement—Artistic Director Description: The Abrons Arts Center provides arts and cultural opportunities that reflect the ethnic diversity and artistic wealth of the Lower East Side. The Arts Center offers superb educational and enrichment programs for all ages and skill levels. Its acclaimed performing and visual arts programs attract audiences from all over New York City. In addition, it runs a studio residency program for New York City-based artists.

Responsibilities: Develop each season’s schedule of concerts and performances. Participate in fundraising activities and events. Identify new and emerging talent. Book artists and negotiate contracts. Develop, implement, and monitor strategies that will achieve the center’s organizational artistic goals and objectives. Supervise the production and technical department. Collaborate with marketing staff to guide the content and style of all promotional material relative to the seasons.

Qualifications: A broad knowledge of and existing recognition in the arts community. A knowledge of and sensitivity to multicultural audiences. Ability to supervise staff effectively and work in a team environment. Strong communication skills and a working knowledge of contracts. Knowledge of budgeting. Ability to develop, present, and produce budgets. Experience in fundraising. Graduate degree in the performing arts preferred.

The MacDowell Colony—Resident Director Description: The Resident Director (RD) is responsible for the maintenance of an unpressured atmosphere at the Colony, conducive to the creative work of the Colony Fellows. The RD’s duties and responsibilities include the following:

Welcoming arriving artists and acting as host for all members of the community in residence. Directing the Peterborough staff, approximately 20 full-time equivalents. The RD is the acting supervisor of the Administrative staff, which includes Information Systems & Technology. The RD reports to the Executive Director (ED), who visits the Colony frequently. The New York office is headed by the ED and includes a Director of Development, two Development Associates, and an Administrative Assistant. The RD and ED share supervisory responsibilities for the Admissions Coordinator, Financial Administrator, and the Communications Director (all three in the Peterborough office). Key personnel decisions are made in consultation with the ED. Preparing the Colony’s annual operating budget and property-plant-equipment, in cooperation with the department heads, the Financial Administrator, and the ED. The RD works closely with insurance agents to maintain appropriate and cost-effective coverage for the Colony and its officers, as well as health coverage for full-time employees. In accordance with the Colony’s Accounting Controls and Procedures, the RD authorizes purchase orders and signs checks for Colony’s operating and payroll accounts. Responsibility for the operation of what amounts to a large estate functioning as a hostel for the Colony Fellows (the facilities include 40 buildings, 4 miles of gravel roads, and more than 450 acres). The RD gathers information and presents recommendations and project estimates to the Plant Planning Committee where capital improvement priorities are approved. The RD manages construction projects that involve architects, contractors, and sub-contractors. The RD works closely with the Development

Sample Job Descriptions—Artistic Director/Residency Director The Ultimate Residency Resource Guide 100

office to prepare proposals for capital improvements and projects. Attending Executive Committee and Board Meetings, reporting on Colony activities and community relations. Representing The MacDowell Colony in the local community through public speaking engagements and at other social events. MacDowell in the Schools and MacDowell Downtown are two formal programs directed by the RD connecting the Fellows with local residents. Occasional special events are organized by the RD in cooperation with board, staff, and volunteers to help maintain a positive relationship between the Colony and the Peterborough community. The RD hosts special guests and visitors, including staff members and friends of the Colony, at Hillcrest—the residence of the RD provided by the Colony.

Yaddo—Program Coordinator Description: Under general direction of the President, plans, administers and coordinates the resident artists program and performs related duties to assure the comfort, security, and solitude of guests in order to provide the most positive creative experience possible for Yaddo’s guest artists.

Typical activities, tasks and assignments: Directs, coordinates, and oversees the application process for Yaddo guest residencies. Coordinates and oversees guest relations activities, including the reception, accommodation, and hos- pitable treatment of Yaddo residents. Performs other administrative, programmatic, public relations and other duties related to Yaddo’s artist residency program as required.

Required skills and abilities: Ability to establish and maintain satisfactory relationships with a variety of people at all levels. Ability to set and adjust priorities to meet program expectations and goals. Ability to coordinate staff efforts in a variety of assignments. Knowledge of Yaddo practices and policies. Knowledge of effective community and guest relations.

Sample Job Descriptions—Artistic Director/Residency Director, cont. Personnel Management: Job Descriptions 101

Development Staff

The Fine Arts Work Center—Development/Major Gifts Officer Hours: 20-25 hours per week (year round) Reports to: Executive Director

Description: A dynamic individual to plan, organize, and implement strategies to increase contributed income from individuals, foundations, and corporations for both operating expenses and capital improvements plus the endowment. The Development/Major Gifts Officer works closely with the Executive Director, Board of Trustees, and volunteer committees.

Responsibilities: FAWC seeks to revitalize its development activities to better leverage its Board relationships; develop greater value in its donor and patron base; refocus and broaden institutional support; and secure new foundation and corporate relationships.

Specific Duties: Assists the Executive Director and Board of Trustees in developing a strategic development plan and the implementation and evaluation of the expanded range of fundraising initiatives set forth in the plan. The fundraising activities include, but are not limited to: Implement a major gift program to ensure maximum results from the existing donor pool; Expansion of support from individuals. This includes cultivation of individual donors plus overseeing and executing a plan to increase the donor base. Plan and assist in executing a significant capital campaign to improve existing and planned facilities, new programmatic opportunities, and increase endowment principle. Oversee the activities of a grant writer, including drafting and finalizing grants as needed; Work in concert with events, promotional, and marketing personnel; Work with the Executive Director to establish effective working relationships with the Board and its volunteer committees, staff colleagues, and additional volunteers to build a strong network of committed and continuous support. Work collaboratively with the Executive Director and the Board as an integral senior partner in fulfilling the mission and fundraising objectives of FAWC.

Qualifications Four-year college degree Familiarity with creative writing and visual arts professions Five years fundraising management experience with diverse contributed revenue streams Demonstrated ability to take initiative and proven track record of fundraising accomplishments

Jacobs Pillow—Development Director Description: Jacob’s Pillow is comprised of an international Dance Festival, professional School, rare and extensive Archives, and year-round Community Programs.

Responsibilities: Leads a comprehensive, sustained development program that expands support from individual, foundation, corporate, and government sources, in conjunction with the Strategic Plan Works with the Board, Executive Director, General Manager, and senior staff Supervises a four-person Development staff

Pilchuck Glass School—Director of Development Description: This position has responsibility for securing a diversified funding base from individuals, corporations, and foundations while overseeing a comprehensive development program of annual giving, major gifts, public relations, and special events including a successful annual auction. Cultivation of major gift donors is a significant role of this position, with considerable regional and national travel expected. The position reports to the Executive Director.

Sample Job Descriptions—Development Staff The Ultimate Residency Resource Guide 102

Qualifications: This energetic and creative person must possess excellent oral and written communication skills, a minimum of a bachelor’s degree, and at least 5 years of successful fundraising experience.

Sitka Center for Art & Ecology—Development & Communications Director Description: Primary responsibility for managing all of the Sitka Center’s fundraising activities and for publication of written materials that have a strong fundraising component Work to complete a Reserve Fund of $1.5 million, of which is about 50% is accomplished Maintain annual giving, membership, newly redesigned publications, and board cultivation

Though the Center is located on the Oregon Coast, since the majority of the Sitka Center’s customers, donors, and Board members are located in the Portland-metro area, the D&C Director may also be located in the Willamette Valley and choose to telecommute from his/her home (with occasional travel to the Coast required). An excellent database is in place and Sitka Center carries no debt. This full-time position has a salary of $45,000, and reports to the Executive Director.

Qualifications: The ideal candidate is a highly organized self-motivated individual comfortable in a wide variety of work roles, with excellent written and verbal communication skills, and excellent planning and time-management skills. A passion for Sitka’s mission and ability to work well with a variety of people is essential.

Yaddo—Director of Development Description: Under general direction of the President, plans, organizes, directs, and coordinates ongoing and special fundraising programs and related activities for Yaddo.

Typical activities, tasks and assignments: Develops fundraising plans and procedures, based on Yaddo general operating and special needs Works with the President, the Board of Directors, other Yaddo staff, patrons of the arts, community leaders, former Yaddo guests, and others to enhance the reputation of Yaddo and create an atmosphere conducive to supporting Yaddo in a highly competitive philanthropic arena.

Required skills and abilities: Ability to establish effective relationships with a variety of people at all levels. Ability to present ideas effectively and enlist support. Ability to establish goals and set priorities. Ability to plan and coordinate events and programs. Knowledge of community relations and fundraising techniques. Knowledge of Yaddo needs, programs, and functions.

Yaddo—Associate Director of Development Description: Under general direction of the Director of Development, assists in the planning, organizing and coordination of ongoing and special fundraising programs and related activities for Yaddo, particularly in the planning and coordination of special events and direct mail campaigns.

Typical activities, tasks and assignments: Plans and coordinates major Yaddo fundraising events, including the Saratoga and New York City Benefits, and other donor cultivation events. Coordinates and oversees direct mail campaigns, including two annual appeals, to fund and support Yaddo programs. Performs administrative and other activities related to fundraising and events coordination activities as required.

Sample Job Descriptions—Development Staff, cont. Personnel Management: Job Descriptions 103

Required skills and abilities: Ability to plan and coordinate events and programs. Ability to establish effective relationships with a variety of people at all levels. Ability to present ideas effectively and enlist support. Ability to establish goals and set priorities. Knowledge of community relations and fundraising techniques. Knowledge of Yaddo facilities programs and functions.

Yaddo—Assistant Director of Development Description: Under immediate supervision of the Associate Director of Development, provides a wide range of support services to the Development office in the administration, coordination and record keeping of ongoing and special fundraising programs and related activities.

Typical activities, tasks and assignments: Develops, implements, and maintain databases to record, track, monitor, and update information to be used to assist development staff in fundraising and promotional activities and in the generation of related reports and records. Assists the Associate Director and the Director in the administration of development programs by providing clerical, keyboarding, record keeping, and other administrative services. Assists the Associate Director in the planning and coordination of special events. Performs other related duties as required.

Required skills and abilities: Ability to develop and maintain databases. Ability to use Excel and develop spreadsheets. Ability to set up and maintain records Ability to establish satisfactory relationships with others. Keyboarding skills Knowledge of Yaddo facilities programs and functions. Some knowledge of community relations and fundraising techniques.

Sample Job Descriptions—Development Staff, cont. The Ultimate Residency Resource Guide 104

Assistant Director/Program & Communications Staff

Jacob’s Pillow—Education Assistant Description: The Education Assistant assists the Director of Education in coordinating year-round Community Dance Programs, The Intern Program, and The School at Jacob’s Pillow; and works with community partners, school recruiting contacts, faculty artists, applicants, and internal departments.

Qualifications: Strong administrative experience and organizational skills; excellent communication skills; computer proficiency; dance background with a passion for facilitating educational experiences for all dance levels.

A Studio in the Woods—Assistant Director Description: To assist the Founders/Volunteer Director and the Board Committees in all aspects of the organization and operation of A Studio in the Woods namely: Development of strong financial base of the organization through grant writing, membership drives, individual solicitations, and special events and keeping on other funding opportunities Continue to work with Friends of ASITW in building a community of support and partnership for the project through networking, advocacy, and interaction with other nonprofits and corporations both locally and nationally Oversee all aspects of Programming including planning, logistics of residencies, and management of application and evaluation processes Sustain and develop media contacts to keep them informed and interested in ASITW Serve as liaison with Board and Advisory members and volunteers by phone, email, mail, and personal contacts Assist Board committees to do their work, as needed Set-up (with professional assistance) and maintain databases for finances, membership, and mailing lists Set-up (with professional assistance) and maintain Web Site Produce regular newsletter, fact sheets, and other informative materials Keep in touch with Alliance of Artists Communities and other key environmental and arts organizations Oversee management of Physical Plant

Yaddo—Public Affairs Coordinator Description: Under general direction of the President, plans, develops and carries out a communications program designed to keep benefactors, prospective artists and the general public informed of Yaddo’s mission and accomplishments.

Typical activities, tasks and assignments: Prepares materials for dissemination outside of Yaddo, including press releases, articles for specialized publications, reports on Yaddo events and other publicity items. Prepares major publications, such as the annual newsletter, highlighting the programs and activities of Yaddo, selecting for publication those articles that best present the organization’s image and goals. Serves as primary contact with members of the media and other outside organizations in providing information on Yaddo programs and events. Participates in the planning and coordination of Yaddo special events to generate interest and support of Yaddo programs. Performs other public relations or collateral activities as required.

Required skills and abilities: Knowledge of the principles and practices of effective public relations. Knowledge of Yaddo programs and policies. Excellent written and oral communication skills. Ability to present ideas effectively and enlist support. Ability to plan and coordinate events and programs. Ability to develop and maintain effective relationships with the media and others.

Sample Job Descriptions—Assistant Director/Program & Communications Staff Personnel Management: Job Descriptions 105

Facilities/Maintenance/Housekeeping Staff

Hopscotch House/Kentucky Foundation for Women—House Manager Description: 1. Guest Services Assumes primary responsibility of guest services for individuals participating in retreats, residencies, and programs at Hopscotch House (HH), including greeting and orienting arriving guests. Interacts with artists-in-residence by occasionally attending meals, readings, discussions and other related activities. Facilitates conversation with residents and groups when appropriate. Available for guest questions, such as history of property, information about KFW, directions to grocery stores, galleries, etc. Purchases housekeeping and hospitality supplies for HH. Agrees to be on call outside office hours for emergencies when HH is occupied.

2. Guest Correspondence and Records Responsible for all correspondence relating to HH Maintains HH calendar and reservations, including coordinating arrivals and departures

3. Administrative/Management Responsibilities Designs and implements on-going evaluation of HH operations, accommodations, and guest services; recommends and reports to Director Recommends changes in policy, capital improvement projects, and modifications to vendor services Updates written records: policies, procedures, information sheets, directions, and operations manual; maintenance log; contract vendor services records Supervises volunteer, part-time, and/or contract labor persons Reconciles HH monthly expenses Collects, records, and deposits HH donations; acknowledges donations Monitors and maintains security system

4. Maintenance/Grounds/Housekeeping Responsibilities Oversees and coordinates maintenance and groundskeeping services through property management company and insures that services are completed as requested in a timely manner Coordinates housekeeping services for HH; occasionally performs light housekeeping duties; inspects HH after groups or individuals depart Coordinates deliveries and other needed services

5. Interior Responsibilities Assumes primary responsibility for upkeep of interior of HH; oversight of discretionary fund for interi- or/exterior improvements Recommends to Director major interior improvements

6. Programming Plans yearly calendar of residencies and retreats; recommends to Director and Board. Initiates special programs at HH when appropriate.

7. Staff Responsibilities Serves as main contact and coordinator for logistics and food for events at HH. Assists KFW office staff in preparation of grant packets for panel reviews twice a year. Represents KFW at grantee and community events as able. Participates in staff meetings, attends Board meetings when appropriate, and helps with other office duties as needed.

Sample Job Descriptions—Facilities/Maintenance/Housekeeping Staff The Ultimate Residency Resource Guide 106

Yaddo—Supervisor, Building and Grounds Description: Under the general direction of the Vice President for Finance and Administration, directs, supervises, and trains staff in the maintenance, repair, and upkeep of Yaddo buildings, the surrounding grounds, and the vehicles and equipment used in maintaining these sites.

Typical activities, tasks and assignments: Plans, supervises, and provides direction to a staff of 4-6 workers in building, grounds, and equipment maintenance Supervises and personally participates in a variety of building and grounds work activities Maintains central storage facility for Yaddo supplies, equipment, and publications Performs other building and grounds maintenance and related administrative duties as required

Required skills and abilities: Knowledge of Yaddo’s policies, practices, and standards regarding building and grounds maintenance Knowledge of the methods, materials, tools, and equipment used in building and grounds maintenance Ability to plan and schedule work Ability to train and supervise employees Ability to maintain reports and records

Yaddo—Supervising Housekeeper Description: Under the general direction of the Vice President for Finance and Administration, directs, supervises, and trains staff in the cleaning, care and upkeep of the residential buildings of Yaddo.

Typical activities, tasks and assignments: Supervises a systematic program of cleaning, housekeeping, and linen services for the Yaddo mansion and four other residential buildings Supervises a staff of full-time, part-time, and seasonal staff in the provision of cleaning and linen services to Yaddo guests and staff Assists Yaddo management in the overall use of its residential facilities by helping to assure the comfort, privacy, safety, and security of its guests

Required skills and abilities: Good knowledge of Yaddo’s housekeeping practices and guest comfort procedures Good knowledge of cleaning equipment and effective cleaning techniques Working knowledge of the principles and practices of supervision Working knowledge of purchasing, requisitioning, and distributing equipment, supplies and furnishings Ability to recognize below standard work performance and to take appropriate action Ability to communicate with others to exchange information and to provide guidance about housekeeping operations

Sample Job Descriptions—Facilities/Maintenance/Housekeeping Staff, cont. Personnel Management: Job Descriptions 107

Kitchen Staff

The MacDowell Colony—Chef Description: Responsibilities include menu planning for 25-32 artists-in-residence; cooking and leading kitchen team in production of three meals per day (365 days/year) and periodic special events; teaching advanced preparations skills, managing budgets, and ordering provisions.

Qualifications: Is passionate about cooking and has significant experience supervising staff. Necessary attributes include outstanding culinary skills, creative menu planning, excellent organizational and communication skills, a sense of humor, and a commitment to continual improvement. A minimum of three years cooking experience in commercial kitchen or professional catering is preferred.

Yaddo—Head Chef Description: Under the general direction of the Vice President for Finance and Administration, plans, directs, supervises all food service and related activities for Yaddo guests and special events.

Typical activities, tasks and assignments: Coordinates, directs, and administers the operation of the kitchen and dining room in the planning and preparation of food and beverages. Plans menus and food utilization based on anticipated number of guests, nutritional value, palatability, and cost Determines amount of food to be prepared Orders and/or purchases food, supplies, and equipment Establishes and maintains contact with vendors for specialty foods, paper products, produce, and other required items Monitors kitchen and pantry areas for compliance with sanitation and safety requirements Estimates costs and monitors expenses in light of budget limitations Resolves staff problems, hires new staff, evaluates staff performance, and performs other personnel related duties as required Advises Vice President on personnel matters, budget issues, and other matters which may require his attention Performs other supervisory or administrative duties as required

Directs, coordinates, and supervises the preparation and serving of sophisticated, family style meals. Directs, trains, and supervises staff in the preparation, cooking, and serving of food Schedules and assigns staff as needed to assure meals are prepared and served on a timely basis Assures that staff is available for weekend and holiday coverage Creates, adapts, modifies and tests recipes to provide variety, adjust for numbers of guests and accommodate nutritional requirements Oversees and monitors food preparation and methods to assure that food is presented in an acceptable manner and to insure instructions, procedures, and standards are observed Oversees the cleaning of kitchen and dining areas in light of sanitation requirements Oversees the preparation and distribution of lunches for office and housekeeping staff Personally prepares meals and fills in for cooking staff as needed

Plans, directs, and coordinates food service activities for Yaddo special events. Meets with appropriate staff to determine scope and style of food service required Determines required food and supplies and makes arrangements for procurement Attends to special details, such as rental equipment, table settings, etc. Creates and plan menu for particular events Directs preparation of special food items and provides constant presence in the kitchen to assure food and service is of the highest quality

Sample Job Descriptions—Kitchen Staff The Ultimate Residency Resource Guide 108

Required skills and abilities: Knowledge of recipes and methods and procedures used in preparing and cooking food Knowledge in the care and operation of kitchen equipment Basic knowledge of sanitation requirements and of nutritional value of foods within food groups Ability to train and supervise staff in food preparation and service Ability to communicate instructions and advice to staff.

Yaddo—Morning Cook Description: Under the immediate supervision of the Head Chef, prepares and cooks large quantity breakfast and lunch meals and performs related kitchen duties for Yaddo guests and/or staff.

Typical activities, tasks and assignments: Sets up kitchen and prepares breakfast items for self-serve breakfast for Yaddo guests Plans morning kitchen activities, including checking menu book, checking board to determine number of guests to prepare for, retrieving items from freezer, etc. Prepares coffee and preheats thermoses for guests, arranges for distribution and retrieval of thermoses to and from guests Prepares oatmeal and sets out cold cereal and other breakfast items Prepares eggs upon request for guests Attends to other guests needs as required

Sets up for and prepares lunches for Yaddo guests and staff. Sets up and prepares lunch items Arranges for distribution of lunches to guests and staff

Performs other food preparation, clean up, and other kitchen activities as required. Replenishes flour, sugar, butter and other food items and supplies as needed Receives deliveries of food, produce and supplies, stores in appropriate place Cleans equipment; washes tables, counter tops, stool tops, floors, etc. Disposes waste materials, recycling plastic, glass and cans as required Performs kitchen maintenance duties as required Attends to kitchen closing activities

Required skills and abilities: Working knowledge of recipes, methods, and procedures used in preparing and cooking food in large quantities. Knowledge in the operation, care, and cleaning of kitchen equipment and utensils. Working knowledge of storage procedures for foodstuffs and leftover foods. Ability to use kitchen utensils and equipment. Ability to understand and follow oral and written instructions.

Sample Job Descriptions—Kitchen Staff, cont. Personnel Management: Job Descriptions 109

Additional Administrative Staff

Yaddo—Vice President, Finance and Administration Description: Under general direction of the President, directs and coordinates financial activities of Yaddo and plans, organizes, and coordinates Yaddo day-to-day operations.

Typical activities, tasks and assignments: Oversees all financial and accounting functions and formulates and administers Yaddo’s financial plans and policies Oversees the investment and management of Yaddo funds, including a fixed portfolio, endowments, and equity investments Plans, organizes, directs, and coordinates Yaddo internal operations on a day-to-day basis

Required skills and abilities: Ability to establish effective relationships with a variety of people at all levels Ability to administer and manage programs and people Ability to make decisions and solve problems Ability to establish goals and set priorities Sound knowledge of financial matters, including accounting, budgeting, and investing Knowledge of effective building management practices and procedures Knowledge of Yaddo practices, programs and functions

Yaddo—Bookkeeper Description: Under general direction of the Vice President, Finance and Administration, and with guidance and direction by independent auditors, serves as full-charge bookkeeper; computing, verifying, recording, posting and summarizing financial data, and preparing related reports on such accounting records as investments, receipts, disbursements, payroll and financial reports. Also provides technical assistance in the application and use of Yaddo computer systems.

Typical activities, tasks and assignments: Classifies, verifies, records, compiles, and summarizes data related to Yaddo investment accounts and maintains related journals and reports Compiles, verifies, and maintains records of Yaddo receivables, entering data into appropriate ledgers and journals and preparing related reports Receives, reviews, and verifies information related to Yaddo disbursements, entering records into appropriate ledgers and journals, and preparing related reports Computes, calculates, and maintains payroll records and reports and provides employee assistance on benefit matters Provides technical support and assistance to staff in the use of Yaddo computer systems Performs other financial and record keeping duties as required

Required skills and abilities: Ability to use Excel and other computer systems Ability to perform calculations and computations Ability to accurately record and verify data Ability to set priorities and establish timelines Knowledge of accounting practices and procedures Knowledge of payroll preparation and related record keeping Basic knowledge of Yaddo procedures and policies Basic knowledge of investment terminology and strategies

Sample Job Descriptions—Additional Administrative Staff The Ultimate Residency Resource Guide 110

Yaddo—Assistant to the President and Office Manager Description: Under general direction of the President and the administrative supervision of the Vice President, Finance and Administration, provides specialized services to the President, particularly those involving development activities, and serves as principal administrative support person in carrying out the day-to-day administrative operations of Yaddo.

Typical activities, tasks and assignments: Assists the President in a wide range of development, coordination, organization and communication activities in support of the mission of Yaddo Plans, directs, and coordinates the day-to-day administrative support and clerical activities of Yaddo to assure effective and efficient work flow Provides support and assistance in fundraising and other development activities

Required skills and abilities: Ability to establish effective relationships with a variety of people at all levels Ability to use Microsoft Office (Word and Excel) and other office systems Ability to design and maintain filing systems Knowledge of effective office practices and procedures Knowledge of Yaddo practices, programs and functions

Yaddo—Administrative Assistant Description: Under the immediate supervision of the Assistant to the President and Office Manager, provides administrative support and assistance to Yaddo, particularly in those activities involving guest relations. Provides reception services and information to guests, visitors, and the general public.

Typical activities, tasks and assignments: Maintains database Participates in larger scale mailings, such as packets for the Board Receives, processes, codes and copies all checks and monies Prepares gift acknowledgement letters Prepares and tracks first-time artist solicitation letters, Friends & Associates renewal letters, and other specific solicitations such as the Yaddo Medal Fund Assists with events in list management, preparation of materials, mailings, and reports Office filing Assists with purchasing activities, on an as needed basis, for office supplies Assists with guests, visitors, and other interested parties at Yaddo, providing information and assistance as required Back-up in other administrative support activities as required Provides support and assistance to all departments as needed

Required skills and abilities: Ability to use Microsoft Office (Word and Excel) and maintain office equipment and systems Ability to establish cordial and effective relationships with others Ability to communicate basic information clearly and politely by telephone or in person

Sample Job Descriptions—Additional Administrative Staff, cont. Personnel Management: Job Descriptions 111

Intern/Work-Exchange Staff

Jacob’s Pillow—Fall, Winter, Spring Interns Description: Design your own fall, winter, or spring internship at Jacob’s Pillow, one of the most acclaimed international dance festivals in the world. Gain a broad perspective on arts administration, the dance field and dance history. Receive on-the-job training and experience working alongside professional staff. Full and part- time internships for the fall, winter, and spring can be tailored to meet college credit needs and individual interests. Dates and times are flexible.

Archives/Preservation Intern: Working alongside the Director of Preservation, you will engage in projects that provide public access to our extensive collection of videos, photographs, books, and other historical materials. A wide-ranging knowledge of dance is desirable, as well as computer experience and familiarity with archival processes.

Business Intern: This internship offers a wide exposure to the financial aspects of a nonprofit organization. Duties range from development and monitoring of institutional and project budgets to the maintenance of accounting records. This position requires a basic knowledge of accounting principles, some spreadsheet software experience, and a personal sense of diplomacy and confidentiality.

Development/Institutional Support Intern: The Institutional Support Intern gains knowledge about fundraising from private and public foundations, corporations, and government sources. The office of Institutional Support addresses the immediate and long-term financial goals of all areas of the organization, including artistic, educational, programmatic, operational, endowment, and capital campaign needs.

The Institutional Support Intern learns various aspects of fundraising for a nonprofit organization, including prospect research, proposal and acknowledgment writing, sponsorship underwriting, budget and strategic planning, and constituent management using Raisers’ Edge software. He/she is an integral part of the overall Development team and participates in department strategy and planning meetings.

Candidates should possess strong writing and analytical skills, interest in arts advocacy, general office administration skills, detail-orientation, ability to manage multiple projects with firm deadlines, a team orientation, and discretion in relation to VIPs and confidential information. Word, Excel, and computer research skills required.

Education Intern: Work with staff to plan, organize, and implement the Pillow’s community dance program and its professional School’s audition and registration process. Responsibilities include community relations, residency organization and reporting, and record keeping. Qualifications include a dance education background, as well as a strong ability to organize and multi-task. Two writing samples and computer literacy are required.

General Management Intern: The General Management Intern gains broad knowledge of the functioning of a $4 million nonprofit arts organization, including various aspects of planning, budgeting, contracting, human resources management, and dance presenting, by working directly with the General Manager, and by taking on projects wherever needed in the organization. Administrative assistance to the General Manager is also part of the internship.

Candidates should have an aptitude for general office administration, flexible multi-tasking, and have strong project management, detail orientation, and writing and editing skills. Computer skills required in Word, Excel, and Internet research.

Marketing (Press and Graphic Design) Intern: In the Marketing Department at the Pillow, fall, winter, and spring are when key strategic work, preparation, and planning are undertaken. Internship would be tailored for your skills and interests. Possible intern projects are: management of artists’ materials—photo identification and cataloguing, and collection and organization of artists’ press materials; assistance with writing, marketing, and design of Education Programs and Festival Season materials; and Web Site development.

Sample Job Descriptions—Intern/Work-Exchange Staff The Ultimate Residency Resource Guide 112

Applicants should have a desire to promote dance, an orientation to detail, excellent communication skills, and a willingness to learn. Must be computer literate (Internet, PC Word, Excel); experience with PageMaker desirable for certain projects. Two writing samples are required. Design samples required for graphics applicants.

Operations Intern: Works with operations staff in festival planning and logistics, assists with travel and visa support and other administrative tasks. Intern will assist in the support of office and studio spaces, computer and phone technology. Candidates should be detail oriented, organized, effective time-managers, and should possess a strong interest in arts management. Computer skills required in Word, Excel, and Internet research. Interest in computer hardware and networking is a plus.

Jacob’s Pillow—Summer Interns Description: Join Jacob’s Pillow, one of the most acclaimed international dance festivals in the world. Participate in the excitement of presenting world class modern, ballet, jazz and cultural dance, as well as audience enrichment and educational programs. Gain a broad perspective on arts administration, the dance field, and dance history. Receive on-the-job training and experience working alongside professional staff.

From May 25 to September 1, interns live and work in a diverse community of artists, faculty, students and staff. Free room and board, a $500 stipend, and workshops by the Festival staff are provided. When work responsibilities and availability permit, interns attend without charge performances, community dance classes and master classes, and festival events. This internship may qualify for college credit, work-study, independent study, and cooperative learning programs at your current school. You may also register for college credit through the Pillow’s affiliation with the Division of Continuing Education at the University of Massachusetts, Amherst. Consult with your registrar’s office and department head regarding credit options as registering at Jacob’s Pillow does not guarantee that credits are transferable.

30 Positions Available in: Archives/Preservation Archives/Research Business Development: Individual Support/Special Events Development: Institutional Support Education (see below) General Management Marketing: Editorial Marketing: Graphic Design Marketing: Press Operations Photojournalism Technical Production (see below) Ticket Services/Accounting & Analysis Ticket Services/House Management (see below) Video Documentation

(for complete job descriptions, visit www.jacobspillow.org/home/summer-internships.asp)

Education Intern: The two Education Interns work with the Pillow’s Director of Education and other staff to coordinate and implement intensive dance education programs for professionals, pre-professionals, and the public. The interns participate in administrative, financial, and logistical functions as well as interact daily with a distinguished faculty of international artists, program participants from all over the world, and community groups such as dance studios, camps, K-12 teachers, youth, and special needs groups. Duties include giving campus tours, co-leading orientation sessions, planning group visits, coordinating Community and Master Classes,

Sample Job Descriptions—Intern/Work-Exchange Staff, cont. Personnel Management: Job Descriptions 113 and opening and closing campus studios each day. Administrative tasks such as scheduling; collecting bios, evaluation forms, and contact information; record keeping, correspondence, and filing are equally a part of the internship.

Candidates must have a dance background with an interest in national dance education initiatives, be detail-oriented and multi-task efficient, possess excellent writing, interpersonal, and problem solving skills, and be able to work both independently and collaboratively.

Technical Production Intern: The eleven Technical Production Interns work with the Production team, gaining experience by rotating through all typical “backstage” positions, including running lighting and sound systems, moving scenery and props, operating rigging, assisting in planning performances, and other general “crew” jobs. General jobs include hanging and focusing lights, laying dance floors, scenery construction, wardrobe maintenance, and loading and unloading trucks. During the first three weeks of the internship, the Technical Production Interns open and clean the theatres, install the lighting and sound systems, lay dance floors, and hang draperies. Interns will be required to attend workshops in all aspects of technical theatre production and will act as a member of the changeover crew in the indoor venues.

Candidates must demonstrate a genuine interest in technical theatre production and a willingness to work long hours. Candidates should be detail oriented, organized, and effective time-managers. Candidates must be able to lift up to 50 pounds and be able to work at heights up to 30 feet.

Ticket Services/House Management Intern: The two Ticket Services/House Management Interns alternate between two roles: house managing the Doris Duke Studio Theatre, and working in the Ticket Office.

While house managing, duties include training and supervising volunteer ushers, managing the audience’s entrance, seating and exit from the theatre, ensuring prompt curtain times, maintaining appropriate conditions in the auditorium, and auditing attendance. This Intern works closely with the Ticket Services Staff, Ted Shawn Theatre House Manager, Operations Department, General Manager, and Production Staff.

Along with other Ticket Services staff, responsibilities include educating patrons about dance, Festival artists, visiting the Pillow, and ticket sales policies; processing and reconciling phone, mail, fax and Internet ticket orders and exchanges, and working as part of the Marketing Team to develop, execute, and analyze sales and marketing strategies.

Candidates should be confident in a public leadership role, detail oriented, organized, effective time-managers, and self-motivated. Excellent interpersonal skills are a must. Experience in retail customer service and accounting is preferred.

McColl Center for Visual Art—Intern Description: This is an unpaid position for which the intern may arrange academic credit. Under direct supervision of McColl Center staff, the intern works to provide research, creative and clerical support. Interns undertake a variety of projects, which provide a challenging educational experience for them, while meeting the needs of the Center. It is understood that the intern may have access to confidential/proprietary information, which must remain confidential. All materials created as part of the interns’ duties are the property of the McColl Center.

Interns are responsible for all personal expenses incurred during their internship. Students are expected to obtain and complete the necessary forms to receive credit for their internships. Students are also responsible for meeting any registration requirements from their college or university. Interns absolve McColl Center for Visual Art and all personnel from liabilities relating to any loss, damage or injury sustained during the course of their activities as an intern.

Sample Job Descriptions—Intern/Work-Exchange Staff, cont. The Ultimate Residency Resource Guide 114

Duties & Responsibilities: Gallery Reception Phone Coverage Assist in general functions and programs of a particular area General administrative duties Assist in maintaining archiving system Assist an Affiliate Artist or Artist-in-Resident Assist with Open Houses, Workshops and other Special Events

Minimum Qualifications: Education: open to high school or college undergraduates and graduates Professional Experience: None Knowledge/skills/abilities: Varies with each particular position. Ability to work independently. Time Commitment: 2 to 3 months

Rockmirth—Buildings/Maintenance/Garden Supervisor Description: Work-exchange for low rent and free spectacular studio space.

Duties & Responsibilities: Building repair and upkeep, grounds and garden maintenance, in exchange for 2,200- sq.-ft. artist/sculptor/woodworker/painter studio and living space with private kitchen and private bath. 20 hours/week labor, $600/month living space rent, plus utilities.

Note: 4-month minimum commitment, preferably timed to standard school year semester schedule.

Sample Job Descriptions—Intern/Work-Exchange Staff, cont. Personnel Policies Personnel Management: Personnel Policies 116

Introduction

An employer should not lightly undertake the preparation of an employee handbook. Poorly drafted policies can cause more harm than good. A well drafted handbook, however, can avoid numerous workplace problems and disputes.

The following are some basic tips to consider when writing your personnel handbook.

1. Write the handbook as carefully as you would write a contract with your most important vendor or customer. As times change, so do your organization’s conditions and needs. As your organization grows, the need for more defined policies increases.

2. Reserve the right to add to, delete from, and modify your personnel handbook.

3. Avoid discrepancies. If a policy is stated elsewhere, consolidate the policies in the personnel handbook or refer to the other document.

4. Leave room for discretion when handling employee disputes and disciplinary situations, in order to take into account the peculiar facts of each case.

5. Leave room for discretion to avoid the disruption of business. For example: Does a departing employee receive accrued vacation time? What if an employee quits the day after a holiday—does he/she still receive holiday pay?

6. Create an evaluation policy and follow through.

The following are some items to include in your personnel handbook.

1. Discrimination Issues: Every employee handbook should contain a non-discrimination provision which sets forth the employer’s commitment to comply with federal and state anti-discrimination laws. Such provisions typically state that the employer is an “equal opportunity employer” and does not discriminate on the basis of age, race, sex, color, religion, national origin, and disability. Your state may include additional criteria, and you may also wish to add to this list.

2. Harassment: Every handbook should have a policy prohibiting harassment on the basis of sex or any other protected status. This policy should define what is not permitted and also provide a mechanism by which a complaining employee may bypass the alleged harasser. It is critical that the employer have a policy which addresses not only sex harassment but other forms of harassment as well (e.g., racial harassment).

3. At Will Status: Most employers seek to protect their at will status, meaning that the employer and employee are free to terminate employment at any time, with or without cause. An at-will policy should be prominently stated in an employee handbook. An at-will employer should never use a probationary period.

4. Policy Against Violence: Most policies provide for a zero-tolerance attitude towards violent or threatening behavior. Many policies provide that threatening language or conduct will be treated as severely as an actual act of violence. The Ultimate Residency Resource Guide 117

5. Technology Policy: Many employers now have policies which address the personal use of telephones, e-mail, and the Internet. Occasionally, these policies also address the use of bootleg computer software which can result in significant fines to employers.

6. Rules of Conduct: Many handbooks contain a list of acceptable conduct for employees. In addition, these rules of conduct often include a progressive discipline system. Employers should take care not to undo their at-will status through the adoption of a strict progressive discipline system. Rather, employers should always reserve discretion when making discipline decisions.

7. Compensation Policies: Many handbooks address such compensation issues as payroll procedures, overtime pay and payroll deductions. Few handbooks set forth actual pay scales.

8. Benefit Policies: Most handbooks set forth vacation and holiday policies. These should be carefully drafted to address such issues as eligibility, calculation of the benefit, and whether any accrued benefit is paid out upon termination of employment. If an employer has a payroll practice of paying short-term disability, such a policy also should be very carefully drafted. Numerous issues concerning short-term disability benefits can arise, including eligibility, calculation of the benefit or whether the benefit is offset by other income.

9. Leave Policies: Policies for family and medical leave should be carefully coordinated with other paid time-off policies (e.g., sick pay, vacation, short-term disability, etc.). (If an employer has 50 or more employees, the employer may be required to comply with the Family and Medical Leave Act. The FMLA requires an employer to adopt a specific policy in its employee handbook.) An employer should also be aware that an employee may be eligible for time off for military service.

From: Warner Norcross & Judd, LLP, By Louis C. Rabaut http://library.lp.findlaw.com/articles/file/00054/001933/title/Subject/topic/ Employment%20Law_Handbooks%20and%20Manuals/filename/employmentlaw_1_469

Personnel Policies Introduction, cont. Personnel Management: Personnel Policies 118

Anderson Ranch Arts Center Employee Handbook

TABLE OF CONTENTS INTRODUCTION ...... 1 ORGANIZATIONAL MISSION ...... 1 EMPLOYMENT PHILOSOPHY ...... 1 AT-WILL EMPLOYMENT RELATIONSHIP ...... 1 CHANGES IN POLICY ...... 2 EQUAL EMPLOYMENT OPPORTUNITY ...... 2 AGE REQUIREMENT FOR EMPLOYMENT ...... 2 EMPLOYMENT OF RELATIVES ...... 2 CONFLICT OF INTEREST/ETHICAL PRINCIPLES ...... 2 HOURS OF OPERATION ...... 2 EMPLOYEE WORK SCHEDULES ...... 2 BREAK TIME ...... 3 ATTENDANCE ...... 3 espond with the URRG. INCLEMENT WEATHER ...... 3 TELEPHONE CALLS PERSONAL/BUSINESS ...... 3 PERSONAL USE OF POSTAGE METERS/UPS/FEDERAL EXPRESS ...... 3 SMOKING ...... 3 HIRING PROCEDURES ...... 3 EVALUATION PERIOD FOR NEW EMPLOYEES ...... 3 PAYROLL ...... 3 PAYROLL ADVANCES ...... 4 AUTOMATIC DEPOSIT ...... 4 BENEFITS ...... 7 WORKERS’ COMPENSATION ...... 4 UNEMPLOYMENT COMPENSATION ...... 4 MEDICAL/LIFE INSURANCE & RETIREMENT PLAN ...... 4 EMPLOYEE ASSISTANCE PROGRAM ...... 8 HOLIDAYS/VACATION POLICY ...... 5 VACATION/ANNUAL LEAVE ...... 5 SICK & PREGNANCY LEAVE ...... 5 BEREAVEMENT AND EMERGENCY LEAVE ...... 6 JURY DUTY ...... 6 MILITARY LEAVE ...... 9 STAFF TRAVEL REIMBURSEMENT POLICY ...... 6 TRANSPORTATION ...... 6 LODGING ...... 6 MILEAGE ALLOWANCE ...... 7 PER DIEM ALLOWANCE ...... 7 SNOWMASS LODGE AND CLUB ATHLETIC MEMBERSHIP ...... 7 ANDERSON RANCH WORKSHOP ...... 7 EMPLOYEE DISCOUNTS ...... 8 DRUG/ALCOHOL POLICY ...... 8 HIV/AIDS POLICY ...... 8 HARASSMENT & SEXUAL HARASSMENT POLICY ...... 8 DISCIPLINARY ACTION ...... 13

PERFORMANCE REVIEW ...... 10 : e t

GRIEVANCES/OPEN DOOR POLICY ...... 10 o n

E-MAIL, INTERNET ACCESS & COMPUTER POLICY ...... 14 s a e l

HANDBOOK ACKNOWLEDGEMENT ...... 16 P Sample handbook page numbers represent original format as intended by the issuing organization. Page numbers listed do not corr numbers Page the issuing organization. as intended by original format represent numbers Sample handbook page

Sample Personnel Handbooks—Anderson Ranch Arts Center The Ultimate Residency Resource Guide 119

INTRODUCTION This Handbook is intended solely as a guideline. This manual is a statement of the Ranch’s current policies, procedures and benefits and does not create, nor is it to be construed to constitute, a contract or guarantee of employment. We reserve the right to modify, suspend, or eliminate any or all, or any part of, the policies, procedures and benefits set forth in this manual at any time, with or without notice, except for there will be no change to our “at-will” employment policy which permits you or the Ranch to end our employment relationship at any time and without prior notice, procedure or formality.

Please read this handbook carefully and keep it handy for future reference. One of your first responsibilities is to be familiar with its contents. This handbook is only a summary of our policies, however, so please review it with your supervisor if you have any questions.

ORGANIZATIONAL MISSION Anderson Ranch Arts Center is a supportive learning community dedicated to inspiring the human spirit through the making and understanding of the visual arts. The Ranch serves artists in a variety of ways from short-term educational programs to long-term residencies. Programs are broad-based, committed to the production of art and to personal and professional development at all levels of achievement. We strive to create a supportive atmosphere, which is non-competitive, affirming, community building and encourages interdisciplinary dialog among artists. While committed to its tradition of support for personal exploration and development of studio artists, the Ranch pursues opportunities to serve the larger communities outside the Ranch property— including Roaring Fork Valley residents and the national arts community.

EMPLOYMENT PHILOSOPHY Anderson Ranch Arts Center employees are expected to perform their responsibilities with a high level of honesty, integrity, professionalism and enthusiasm. Employees are expected to be hard working and self-motivated. Creation of new procedures and more efficient ways of completing tasks is encouraged. Employees are expected to offer friendly and thorough service to each person who visits or contacts the Ranch. Employees are also expected to respect the confidentiality of information regarding past and present donors, staff, trustees and other potentially sensitive matters.

The Ranch strives to maintain a relaxed, enjoyable atmosphere where teamwork is an integral contributor to our success. Employees not only carry out their roles as defined in their job descriptions, but also engage in multiple duties outside their usual assignments and in collaboration with their fellow workers. Employees are strongly encouraged to promote and maintain excellent working relationships with their co-workers.

The Ranch’s employment objective is to offer positions to employees that are best qualified and in which they can make the most effective contribution to the objectives and purposes of Anderson Ranch Arts Center. Additionally, we try to provide employees with the opportunity to achieve the greatest possible personal satisfaction and opportunities for growth and development.

AT-WILL EMPLOYMENT RELATIONSHIP Your employment with the Ranch is “at-will.” That means it is voluntary and you are free to resign at any time, for any reason, with or without notice. Similarly, Anderson Ranch is free to conclude your employment at any time, without procedure, cause or notice.

No manager or representative of Anderson Ranch, other than the Executive Director, in writing, may enter into any agreement for employment for any specified period of time, make any agreement contrary to the foregoing at-will employment, or change or add to the guidelines in this handbook. In case of any contrary statement, the “Employment At-Will” relationship set out in this section shall control.

CHANGES IN POLICY Since our business is constantly changing, Anderson Ranch expressly reserves the right to change any of our policies, including those covered here, at any time. We will notify you of these changes by posting them or by other appropriate means. Changes will be effective on dates determined by the Ranch and you may not rely on

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. Personnel Management: Personnel Policies 120 suspended or outdated policies. If you are uncertain about any policy or procedure, please check with your Supervisor or the Executive Director.

This Employee Handbook supersedes all previous handbooks and management memos that may have been issued on subjects covered herein.

EQUAL EMPLOYMENT OPPORTUNITY Anderson Ranch Arts Center, both as an employer and as an educational institution, is committed to equal employment opportunity for all persons without regard to race, color, creed, religion, ancestry, national origin, age, sex, sexual orientation, marital status, disability, veteran status, or status with regard to public assistance. This policy applies to all terms and conditions of employment including, but not limited to, recruitment, application processing, employment procedures, job classification, transfer, promotion, termination, performance evaluation, compensation and grievance procedures. The formal and informal grievance procedures set forth in this handbook are available to anyone who believes that he/she has been discriminated against.

AGE REQUIREMENT FOR EMPLOYMENT Anderson Ranch Arts Center complies with all Federal Labor Law provisions regarding minimum age requirements for employment.

EMPLOYMENT OF RELATIVES A qualified relative of an employee (spouse, child, parent, brother, sister, grandchild, grandparent, etc.) may be considered for employment when such hiring will not create a direct or indirect supervisory relationship between the parties. Special considerations may require that other hiring situations be evaluated on a case-by-case basis.

CONFLICT OF INTEREST/ETHICAL PRINCIPLES The Ranch strives to promote confidence in the organization and maintain its outstanding reputation by assur- ing the impartiality, integrity and honesty of its employees. All employees will ensure their actions present neither a conflict of interest nor the appearance of conflict of interest and maintain a high level of ethical principles.

HOURS OF OPERATION The Administrative office hours are 9:00 a.m. to 5:00 p.m., Monday - Friday from late-September through end of May and 8:30 a.m. to 5:00 p.m., Monday - Friday, and 12 noon to 7 p.m., Sunday, from the first week in June through late-September. The telephones are answered personally Monday through Friday and staff is available to answer questions regarding registration, housing and catalog information.

EMPLOYEE WORK SCHEDULES Employees develop a work schedule with their supervisor to ensure adequate coverage during the hours of operations. Each department is accountable for ensuring staffing and service is at peak efficiency during normal office hours. Employees’ work schedules must accommodate the needs of the organization and be considerate of their co-workers. Salaried employees are expected to work the hours required to complete assignments and job duties.

BREAKS Employees are allowed a one half-hour lunch. Office staff is expected to cover the office during the lunch hour. Each area will schedule lunch coverage.

All non-exempt employees are entitled to a fifteen-minute break period during each half of the working day. This may be taken in conjunction with your half-hour paid lunch. You are required to receive prior approval from your lunch and break schedule from your supervisor.

ATTENDANCE Attendance is an important part of an employee’s job duties and for the efficient operation of the Ranch. If you are going to be late or miss work, you are required to notify your supervisor in advance of your scheduled work period, giving the reasons for the delay or absence and an estimate of when you will report for work. If your

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. The Ultimate Residency Resource Guide 121 supervisor cannot be contacted directly, a message should be left on his or her voicemail. Tardiness or absen- teeism will lead to disciplinary action, up to and including termination.

INCLEMENT WEATHER The Ranch must operate without regard to weather conditions; you will be expected to make every effort to be at work to discharge your responsibilities. Only in extreme or extenuating circumstances are employees paid for absences due to weather conditions. In all other cases, an employee may use accrued vacation time for such absences, subject to approval by his/her supervisor.

TELEPHONE CALLS—PERSONAL /BUSINESS Please keep personal calls and business to a minimum during working hours. The Ranch requires all personal telephone charges be made to your home phone number or a telephone calling card.

PERSONAL USE OF POSTAGE METERS/UPS/FEDERAL EXPRESS Employees are responsible for reimbursing the Ranch immediately for personal use of the Ranch’s postage meter, UPS and/or Federal Express services. Reimbursement should be made on the day of shipment to the Accountant or designated employee.

SMOKING Smoking is not permitted in any Ranch building at any time.

HIRING PROCEDURES The Ranch does not require vacancies be filled. Positions may be left vacant at the discretion of the Executive Director. When appropriate, the Ranch prefers to fill vacancies through internal promotion/transfer, otherwise external recruiting efforts are used.

EVALUATION PERIOD FOR NEW EMPLOYEES The first six months of employment at the Ranch is considered a period of evaluation. This is a time of adjust- ment and adaptation (both personally and for learning the job requirements and rules), close supervision, on- the-job training and evaluation of the employee’s suitability for the position. If the employee is judged incapable of performing the job, and no other appropriate position is open at the Ranch, the employee may be terminated with or without advance notice. Also, completion of the evaluation period does not alter your at-will employment relationship, which continues during the entire time you are employed by the Ranch. Even after completion of the evaluation period, you may resign without cause, and the Ranch reserves the right to terminate your employment with or without cause, and at any time and without advance notice, procedure or formality.

PAYROLL Wages are divided into equal semi-monthly payments over twelve months and are paid on the fifteenth and last day of each month. Payments are either directly deposited to an employee’s bank account, or put in the employee’s box. If the fifteenth or the last workday of the month falls on a Saturday, Sunday, or Holiday, paychecks will be distributed on the previous Friday.

Each employee must complete a W-4 to designate the number of exemptions to be claimed for federal and state tax-withholding purposes, among other reasons. All employees will have FICA, taxes, and Medicaid/Medicare withheld at the current rate in effect.

As required by the Department of Immigration and Naturalization, all new employees will be required to complete a Form I-9 within three days of hire.

PAYROLL ADVANCES Payroll advances are limited to emergencies only, must be approved in advance by the Executive Director, and must not exceed one pay period’s net take home pay. Such advances must be repaid as soon as possible and no later than in the same fiscal year via payroll deduction or direct return. Payroll advances are not granted to cover

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. Personnel Management: Personnel Policies 122 house payments, car payments, groceries, and other monthly bills since they are not considered emergencies.

AUTOMATIC DEPOSIT Employees may choose to have their paycheck directly deposited in their checking account. For more information or to enroll in direct deposit, contact the Human Resources department.

BENEFITS The benefits described below reflect those presently available to staff. The Ranch reserves the right to change insurance carriers and/or modify plans from time to time. Any such changes of insurance carriers or plan modi- fication may affect employee eligibility for coverage or the benefits provided by the insurance carrier. Financial or enrollment emergencies may require that some benefits be suspended.

WORKERS’ COMPENSATION The Ranch carries state-required insurance to cover on-the-job injuries or disease arising out of and in the course of employment beginning from the date of employment. Timely reporting of accidents is important to assure eligibility for maximum Workers’ Compensation benefits. If injured, you must immediately complete and turn in to your supervisor a First Report of Injury Form. (Refer to posters on wall above water cooler in break room for details.)

UNEMPLOYMENT COMPENSATION As provided by law, the Ranch carries unemployment insurance. Employees who lose their jobs may be eligible for unemployment insurance benefits. The State of Colorado can be contacted for further information.

MEDICAL/LIFE INSURANCE To be eligible to apply for medical/life insurance, employees must work at least twenty-four (24) hours per week on a regular year-round basis. The Ranch covers the cost of medical/life insurance for full-time, year-round salaried employees. Eligible new employees must complete an enrollment form within thirty-one (31) days after their first month on the job. Insurance coverage for a new employee should begin when the insurance company has received all required enrollment materials and coverage has been approved in writing. Additional information concerning details of the medical/life insurance plans may be obtained by contacting the Controller.

RETIREMENT PLAN Anderson Ranch Arts Center has a retirement plan with Teachers Insurance Annuity Association and College Retirement Equities Fund, or TIAA-CREF. An employee can enroll in the plan immediately and begin making salary reduction contributions. After two years of employment, employees are eligible for a percentage contribution from Anderson Ranch Arts Center to their plan. The percentage maximums vary from year to year. For more information please contact the Human Resources department.

EMPLOYEE ASSISTANCE PROGRAM Anderson Ranch Arts Center offers an Employee Assistance Program or EAP through the Aspen Counseling Center. Each employee and /or immediate family members are offered three (3) no-charge visits to the EAP provider per year. This service is confidential. You may choose to continue counseling beyond the initial visits by paying as you go. For further information you may contact the Human Resources department or call the Aspen Counseling Center directly at 920-5555.

HOLIDAYS/VACATION POLICY The Ranch observes the following days as holidays for which employees are paid: New Year’s Day Martin Luther King’s Birthday President’s Day Memorial Day Labor Day Thanksgiving Day Day after Thanksgiving Christmas Eve Christmas Day Employees have the option to substitute a holiday not listed above for a listed holiday for religious purposes.

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. The Ultimate Residency Resource Guide 123

Employees may be asked to work on holidays that the Ranch is open; to compensate, paid personal days may be taken with supervisor prior approval. (Specifically July 4th)

VACATION/ANNUAL LEAVE After a new full-time employee has been employed continuously for six months, that employee will accrue .833 vacation days per month (10 per year), starting from his or her first day of work, during their first two years (24 months) of employment. Thereafter, a full-time employee begins accruing vacation days at a rate of 1.25 days per month (15 per year). New employees do not accrue and are not permitted or entitled to take vacation days in the first six months of employment.

Employees are encouraged to use their vacation days by December 31st of each year. Carryover vacation days from year to year are permitted; however, vacation days will cease to accrue to an employee and will be lost once he or she has accumulated 15 days of accrued vacation.

Vacations must be scheduled well in advance with your supervisor and may require that no two persons in the same department take vacation at the same time. Vacations are scheduled on a first-come, first-serve basis. The supervisor is accountable for ensuring adequate service and may prohibit any member of their team from taking a vacation during especially critical times, for example, the week of the auction or Benefit dinner.

SICK AND PREGNANCY LEAVE Unpaid sick leave may be used for illness or injury not covered by Workers’ Compensation, or for pregnancy, childbirth or adoption. It may be used when you are ill or when a member of your family’s illness requires you to be at home or to care for that family member. Medical evidence of incapacitating illness or your medical condition may be required. All year-round, full-time employees are allowed up to ten (10) days per year of unpaid sick leave. To be eligible for this leave, you must report to your supervisor the absence, or anticipated absence, no later than the first thirty minutes of the scheduled work period.

The federal Family and Medical Leave Act (FMLA) requires that companies with 50 or more employees during each of 20 or more calendar workweeks allow eligible employees to take up to 12 weeks of unpaid, job protected leave for certain family and medical events. The Ranch currently is not but may at a subsequent time be subject to FMLA. In the event that the Ranch is subject to FMLA, the Ranch will fully comply will all FMLA requirements, and eligible employees will be afforded unpaid leave accordingly; however, employees taking FMLA leave may be required to substitute other accrued paid leave, including vacation and bereavement leave, for any part of FMLA leave.

BEREAVEMENT AND EMERGENCY LEAVE When an unexpected emergency or death occurs in an employee’s immediate family, he/she shall be granted up to five (5) days off with pay for time lost from work. The number of days granted is at the discretion of your supervisor and is based upon travel time, relationship and other similar criteria. Any additional days off from work, apart from the five (5) provided, will be charged to the employee’s accumulated sick leave.

JURY DUTY Employees shall be granted time off with pay for each of the first three days when performing jury duty. Leaves for jury duty need to be coordinated with your supervisor and employees who receive a jury duty summons must submit a copy of the summons to their supervisor.

MILITARY LEAVE The Ranch complies will all applicable laws governing leaves for military service. Employees should check with the Executive Director if they have any questions about military leave.

STAFF TRAVEL REIMBURSEMENT POLICY Employees who are required to travel on Ranch business will be reimbursed for reasonable travel expenses (including transportation, lodging and meals) upon receipt of an expense report, which has been reviewed and

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. Personnel Management: Personnel Policies 124 approved by the employee’s supervisor. Employees should be prepared to use a personal credit card to pay for necessary business expenses. They may request an advance payment to cover anticipated expenses but will be held fully responsible for providing documented evidence of expenses and immediate reimbursement to the Ranch of any unspent advance. In any case, employees should keep accurate and complete records for expenses incurred. The Ranch will reimburse expenses, as outlined below, when submitted with receipts to the Operations Director.

TRANSPORTATION Business travel must be approved in advance by the employee’s supervisor. The actual cost of transportation and reasonable gratuities are allowed. Travel receipts should be submitted with expense reports. Expense report forms are available from the Operation’s Director and must be completed in full immediately upon return from business travel. Employees should make every effort to obtain the least expensive travel fares. Travel arrangements should be made through the Ranch’s designated travel agent.

Taxis and rental automobiles should be used sparingly and only when other means of transportation are not available or are more expensive. When necessary to rent an automobile on Ranch business, employees should decline the optional collision and personal liability insurance.

LODGING Reimbursement for lodging expenses must be supported by receipts. Whenever possible and reasonable, it is expected employees share rooms. Lodging expenses will be reimbursed for one half of the cost of double occupancy, except when approved by the employee’s supervisor.

MILEAGE ALLOWANCE If an employee is required to operate a personal vehicle in the course of Anderson Ranch business, a mileage allowance will be provided. Currently, the mileage allowance for automobiles is $.20 per mile. That amount may change from time to time.

The State of Colorado mandates automobile insurance; it is the expectation that employees utilizing their own personal vehicle in the course of Ranch business will maintain their own personal insurance in accordance with and at the limits required by state law.

If, while using a privately owned vehicle on Ranch business, the employee is involved in an accident, the responsibility for any vehicle or property damage, injury to others or liability is with the employee, not Anderson Ranch.

PER DIEM ALLOWANCE Employees, in the course of conducting Ranch business or while attending a business meeting, will be allowed the established per diem meal expense allowances for meals.

As a guideline, while away on business, employees will receive a per diem broken down as follows—Monday - Friday: $35.00 per day. If business travel includes a weekend stay, the per diem is modified as follows—Saturday and/or Sunday: $45.00 per day. This is the maximum amount reimbursed for meals. It is requested staff make every reasonable effort to keep meal expenses as low as possible.

SNOWMASS LODGE AND CLUB ATHLETIC MEMBERSHIP The Snowmass Lodge and Club offers a special membership for its athletic club to employees of Anderson Ranch. An employee may purchase a membership at a discounted price of $25.00/month for an individual and $50.00/month for a family. The athletic club currently includes a pool, Jacuzzi, weights, and aerobics and yoga classes. The membership does not include tennis and golf privileges. The benefit is offered to all Anderson Ranch year-round, full-time employees and their family members. If the Snowmass Lodge and Club choose to limit or discontinue this arrangement, it will no longer be included as a benefit.

ANDERSON RANCH WORKSHOP

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. The Ultimate Residency Resource Guide 125

Full-time, year-round employees can take a one-week summer workshop at the Ranch. Enrollment should be approved by your supervisor and the appropriate Program Director in advance and scheduled on the central calendar. Workshops must not be taken at times when the employee’s workload is high and should not be taken before major events such as the Benefit Dinner or the Art Auction. Only one employee per workshop is allowed and no more than one employee should be out of the office during any one week.

Tuition and registration for the workshop is waived, but the employee is responsible for studio fees and any other additional expenses incurred by the workshop. If an employee chooses a field workshop, she/he must pay hard costs including travel and accommodations fees. Employees may not carry this benefit over from one year to the next. If your employment is terminated for any reason, you are not entitled to any compensation in lieu of this benefit, if unused.

Winter and Fall workshops have one space per class for a full time employee. Assignment is based on seniority but ensuring that there is a balance across the staff.

EMPLOYEE DISCOUNTS Employees may purchase goods in the Store or Gallery for commissioned products at a twenty-percent discount and noncommissioned products at a thirty-percent discount.

DRUG/ALCOHOL POLICY Anderson Ranch recognizes that alcohol and drug abuse in the work place is a major concern. Anderson Ranch believes that by reducing drug and alcohol use, that the safety, health and productivity of employees and students will improve. The object of the Ranch’s alcohol and drug policy is to provide a safe and healthy work place for all employees and students, to comply with federal and state health and safety regulations, and to prevent accidents.

Anderson Ranch prohibits the use or possession on its premises or work places of any of the following: intoxi- cants and narcotics, including marijuana, illegal or not medically authorized drugs, look-alike (simulated) drugs and related drug paraphernalia. Anderson Ranch employees will not report for work under the influence of any drug, alcoholic beverage, intoxicant, narcotic, or other substance (including legally prescribed drugs and medi- cines) that will in any way adversely affect their performance, alertness, coordination, response, or adversely affect the safety of others on the job. Alcoholic beverages are prohibited on the premises or work place at any other time besides at Ranch sponsored functions.

This policy does not specifically apply to the private residences on the Ranch property.

Anderson Ranch may request that an employee suspected of being under the influence of drugs or alcohol take a breath test, blood sample, or urine test (which is done at Aspen Valley Hospital) including following an accident or injury or when the employee is perceived to be endangering the safety of the individual, coworkers or students.

Any employee who is found using or possessing any controlled substance, who is found under the influence of drugs or alcohol, or who otherwise violates this policy is subject to disciplinary action up to and including discharge.

Prescription drugs are permitted on Anderson Ranch premises, provided the drugs are contained in the original prescription container, are prescribed by an authorized medical practitioner for the use of the person in possession and are approved for use with the employee’s working conditions and do not present a hazard to the individual, students or fellow workers or otherwise impair their judgment, alertness, performance or behavior. Any employee in possession of a valid prescription drug when on or entering Anderson Ranch premises or work place locations may be required to complete a “Prescription Drug” form and Anderson Ranch’s medical review officer may, as he/she deems appropriate, determine if the drug produces hazardous effects.

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. Personnel Management: Personnel Policies 126

This policy is a term of employment with Anderson Ranch. Refusal to abide by, or violation of this policy is grounds for disciplinary action, up to and including discharge.

HIV/AIDS POLICY Anderson Ranch Arts Center does not discriminate in any manner against any person who is infected with HIV. This includes admissions, facilities access, hiring, housing, promotion, and/or termination. The Ranch will not require HIV testing for either its students or employees. Disclosing a person’s HIV status without the written consent of the infected employee may result in disciplinary action.

HARASSMENT AND SEXUAL HARASSMENT POLICY The Ranch is committed to maintaining a work environment where every employee is treated with respect and dignity. All employees have the right to work in an atmosphere that promotes equal employment opportunity and prohibits discriminatory practices and treatment, including sexual harassment. At Anderson Ranch, sexual or other harassment, whether verbal, physical or environmental, is unacceptable and will not be tolerated.

For the purposes of this policy, sexual harassment is defined as unwelcome or unwanted conduct of a sexual nature (verbal or physical) when: Submission to, or rejection of, this conduct by an individual is used as a factor in decisions affecting hiring, evaluation, promotion or other aspects of employment; and/or this conduct interferes substantially with an individual’s employment or creates an intimidating, hostile or offensive work environment.

This policy covers all employees of Anderson Ranch. The Ranch will not tolerate, condone or allow sexual harassment or harassment based on an individual’s race, color, gender, national origin, religion, disability, age, marital status or veteran status, whether engaged in by fellow employees or supervisors, by non-employees who conduct business with Anderson Ranch or by students.

The Ranch encourages verbal and/or written reporting of all incidents of sexual harassment, whomever the offender may be. It is the obligation of each and every employee to report such incidents. Individuals who believe they have been subjected to, or witnessed sexual or other harassment must report the incident to her/his immediate supervisor, or the Executive Director.

Examples of prohibited conduct include, but are not limited to, lewd or sexually suggestive comments; off-color language or jokes of a sexual nature; slurs and other verbal, graphic or physical conduct relating to an individual’s sex; or any display of sexually explicit pictures, greeting cards, articles, books, magazines, photos or cartoons.

Complaints of harassment will be investigated promptly and in a manner which is impartial and as confidential as possible. Retaliation against any employee for complaining about harassment or for participating in an investigation is strictly prohibited.

Violations of this policy will result in appropriate disciplinary action. Based on the seriousness of the offense, disciplinary action may include verbal or written reprimand, suspension or termination of employment.

DISCIPLINARY ACTION Your job carries with it certain responsibilities, including observing rules of conduct essential for safe and efficient operation of the company. Failure to obey such rules and standards of professional conduct can result in disciplinary action, up to and including termination. Other forms of discipline include:

Oral and/or written warning A written plan of corrective action Probation Suspension Termination

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. The Ultimate Residency Resource Guide 127

These steps of possible disciplinary action are not sequential and any one step or all of these steps may be skipped at the sole discretion of management. Nothing in the disciplinary process should be construed to alter the at-will employment relationship. As such, the company reserves the right to dismiss employees with or without notice and with or without cause, procedure or formality.

PERFORMANCE REVIEW The Ranch attempts to regularly appraise the performance of its employees. All new staff members will be evaluated at the end of three and six months of employment. Thereafter all employees will be evaluated annually, usually in October. Employees may be evaluated at other times, if a special need arises. The review process is designed to promote verbal and written discussion between employees and supervisors regarding current job responsibilities, performance of assigned duties, problems that may have arisen on the job and other pertinent topics.

GRIEVANCES/OPEN DOOR POLICY The Ranch believes in an open communication policy. Whenever the employee has a problem or grievance concerning the Ranch, its organization, or his/her job, the employee should, if possible, first discuss it with the supervisor. The supervisor should try to reach a solution through a thorough discussion of the problem.

At the same time, the Ranch recognizes that not all problems can be resolved in this manner, and the employee may sometimes be reluctant to approach his/her supervisor. If the supervisor is unable to resolve the problem to the employee’s satisfaction, or if the problem is one that cannot be discussed with the supervisor, the employee should put his/her concerns in writing and schedule a meeting with the Executive Director.

E-MAIL, INTERNET ACCESS & COMPUTER POLICY E-Mail should be used for official Ranch purposes only. E-Mail is an especially sensitive form of communication. E-mail may seem anonymous and temporary, yet any message that is sent can be preserved indefinitely, and copied and retransmitted to thousands of other terminals. For these reasons, and consistent with the Ranch’s Harassment and Sexual Harassment policies, no offensive or inappropriate message or material should ever be sent to anyone by email.

The Ranch has access to the Internet through the Ranch’s computer network. Employees should access the Internet only for business purposes directly related to particular research, projects or other purposes consistent with specific directions from their supervisors. Confidential information should not be sent over the Internet unless precautions, such as passwords or encryption, are used to assure the information remains confidential.

All Internet access time that is billable to a client or project should be properly recorded to the appropriate account. Consistent with the Ranch’s Harassment and Sexual Harassment policies, no offensive or inappropriate message or material should ever be accessed, downloaded or sent to anyone via the Company’s Internet access.

The Ranch supports legally obtained software and shareware. All employees should use authorized software only according to the applicable software manufacturer’s licensing agreement. Any downloading, use or copying of copyrighted, trademark or patented materials should comply with copyright, trademark and patent law.

Only software or shareware the Ranch has authorized may be used with our computer or network, loaded on any of its computer hard drives or stored anywhere on our network. None of the Ranch’s software should be downloaded for personal use or for any outside use without management’s prior approval. The Ranch may review any data, program or other information stored on any of its computers or in our network, including any program or information associated with any unauthorized software or shareware. The Ranch may remove any unauthorized software or shareware and has no responsibility to save or to preserve as confidential any data, program or other information stored on any of its computers in our network.

The Ranch’s passwords, access codes and Internet server account information are all confidential information that should be treated with care and should not be disclosed to any unauthorized person. Access cards, pass-

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. Personnel Management: Personnel Policies 128 words and account records should not be posted, entered into automatic sign-on protocols or accessible computer files, or left in open drawers or other places where they could be seen by visitors or other non-employees. Only authorized passwords, access codes and other security measures are permitted for use with the Ranch’s computers, network, software and programs, and no personal password, access code or encryption may be used to prevent management from using or reviewing any part of a hard drive, disk, tape or other electronic storage medium.

Subject to applicable law, management at any time may monitor and/or record any communication made or received using the Ranch’s computers, network, modems or telephone equipment, including any e-mail sent or received within the Ranch or to or from third parties and including any information or materials reviewed, received or sent over the Internet. Any violation of these policies, including any misuse of e-mail, the Internet, software, or our computers or network, may result in discipline up to and including termination.

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. The Ultimate Residency Resource Guide 129

ACKNOWLEDGEMENT ABOUT ANDERSON RANCH ARTS CENTER’S EMPLOYEE HANDBOOK

I acknowledge that I have received, have read and understand Anderson Ranch Arts Center’s Employee Handbook, dated ______and as amended.

I understand that this handbook is a guide only and that the provisions in this handbook do not constitute an employment agreement, contract, or guarantee or promise to continue my employment.

I further understand that Anderson Ranch Arts Center has the right to change the provisions of this Handbook at any time and without prior notice, except for the Ranch’s at-will employment policy which may be modified only by written notice of the Executive Director.

I understand and acknowledge that my employment is at will and that either Anderson Ranch Arts Center or I may terminate my employment at any time, with or without cause, without advance notice, procedure or formality.

I understand that no manager or representative of Anderson Ranch Arts Center other than the Executive Director, in writing, may enter into any agreement for employment for any specified period of time, make any agreement contrary to the foregoing, or change or add to the guidelines in this handbook.

I acknowledge that I have received a copy of this document.

______Print Employee Name

______Employee Signature Date

ANDERSON RANCH ARTS CENTER

______Executive Director

Sample Personnel Handbooks—Anderson Ranch Arts Center, cont. Personnel Management: Personnel Policies 130

Sitka Center for Art and Ecology—Personnel Handbook

TABLE OF CONTENTS

I. Introduction a. Handbook Overview b. Mission Statement and Core Beliefs II. Fair Employment Practices a. Equal Employment Opportunity and Affirmative Action Program b. Harassment III. Employment a. Classifications b. Who Hires Whom c. Who is Hired d. Driver’s License Requirement e. New Employee Evaluation Period f. Performance Evaluations g. Personnel Records h. Updating Personal Information i. Break in Service j. Reduction in Staff k. Termination l. Exit Interviews IV. Compensation a. Payroll Practices b. Pay Days c. Timesheets d. Payroll Deductions e. Pay Increases f. Payment of Overtime g. Flextime h. Holidays i. Miscellaneous Compensation V. Benefit Programs a. Benefit Plan Description and Coverage Effective Date b. Workers’ Compensation Insurance c. Pension Plan: SEP d. Social Security/Medicare e. Unemployment Insurance f. Time Off VI. Work Environment a. Drug/Alcohol-Free Workplace b. Ethical Business Practices c. Attendance d. Corrective Action e. Use of Sitka Center Equipment and Tools f. Smoking Policy g. Safety and Employee Responsibilities h. Accident Reporting

Sample Personnel Handbooks—Sitka Center for Art and Ecology The Ultimate Residency Resource Guide 131

INTRODUCTION

Handbook Overview The Employee Handbook provides you with an overview of various aspects of your employment at Sitka Center and describes our benefits. It is a readily available reference on many matters concerning your employment, and will help you better understand and appreciate your work environment and the wide range of benefits extended to you as an employee here.

Please read and become familiar with this handbook’s contents. It is not intended as a formal or complete statement of your rights and responsibilities, and it is not a contract of employment. It is a summary of our current policies, procedures, and benefits.

We hope that after reading this handbook you will better understand the work environment and broad range of benefits offered to you as an employee.

Sitka Center Mission Statement The Sitka Center for Art and Ecology is dedicated to expanding the relationships between art, nature and humanity through workshops, presentations, and individual research projects; and to maintaining a facility appropriate to its needs that is in harmony with the inspirational coastal environment of Cascade Head.

Sitka Center’s Core Beliefs We believe our world needs to develop a greater understanding of the relationship of nature and humanity through the work of artists and natural scientists of all races, classes, ages, ethnicities, and levels of experience.

The staff at Sitka Center are central to realizing the ideals of the organization. It is only through our work together that the community we envision can be built and endure.

Sitka’s programs strive to make a difference in peoples lives through educational activities. The thrust of the programs are to provide workshops and presentations to the community and foster individual research projects. The motivation for these activities is to expand an understanding of the relationship between art, nature and humanity.

Utilizing the talents of the faculty, residents, board, staff, volunteers and advisory council, Sitka endeavors to create a vital program that fulfills all aspects of its mission. By fostering partnerships with other organizations and individuals, in both educational and business settings, Sitka makes use of current facilities and creates a presence in other venues through cooperation and shared resources.

Programs that infuse participants with wonder through hands-on activities remain the focus, with a goal of creating new perspectives based on observation of nature and forming of work both by individuals and in collaborations.

FAIR EMPLOYMENT PRACTICES

Equal Employment Opportunity and Affirmative Action Program Sitka Center affirms its continuing commitment to extend to all qualified individuals an equal opportunity to compete for employment and advancement within the organization. We are committed to the philosophy and principle of equal employment opportunity for all present and prospective employees.

To assure equal employment opportunity, there shall be no discrimination and/or preferred treatment concerning any individual or group because of race, color, creed, religion, sex, sexual preference, age, national origin, citizenship, marital status, veteran status, medical condition, or because of sensory, physical, or mental disability, or any other factor protected by law.

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. Personnel Management: Personnel Policies 132

Further, it is the policy of Sitka Center to comply with the Americans With Disabilities Act and other federal and state laws prohibiting discrimination against applicants or employees with disabilities. Accordingly, we will reasonably accommodate applicants and employees with known physical or mental disabilities to the extent required by law. This reasonable accommodation policy extends to all services, programs, and facilities that are provided through employment with us. We reserve to right to modify, or make exceptions to, any of its existing policies or practices to the extent necessary to provide a reasonable accommodation to an applicant or employee whom we know has a disability.

Sitka Center is expected to carry forward the organization’s policy of nondiscrimination, equal employment opportunity, and affirmative action in every aspect of employment. All decisions made with respect to recruiting, hiring, and promotion for all job classifications will be based solely on individual qualifications related to the requirements of the position. Likewise, all other personnel matters such as compensation, benefits, transfers, termination, staff reduction, training, education, and social/recreational programs will be administered free from any unlawful discriminatory practices.

Harassment At Sitka Center, harassment on the basis of an employee’s race, color, creed, religion, sex, sexual preference, age, national origin, citizenship, marital status, veteran status, medical condition, or because of sensory, physical, or mental disability, or any other factor protected by law will not be tolerated. Harassment is a form of discrimination and is an “unlawful employment practice” under Title VII or the 1964 Civil Rights Act. Prohibited harassment includes, but is not limited to: - comments - physical harassment - slurs - cartoons - jokes - pranks - innuendoes - posters

Harassment also includes activities that are derogatory on the basis of an employee’s protected class membership and any negative actions based on an employee’s participation in activities identified with or promoting the activities of the protected group.

Sexual harassment includes unwelcome sexual advances, requests for sexual favors, or other verbal or physical conduct of a sexual nature. The recipient of the action defines an “unwelcome advance,” and such definitions must be respected by all individuals affiliated with Sitka Center.

If you believe you are being harassed by fellow employees or others, notify the Executive Director. If the Executive Director is the one responsible for the harassment or discrimination, you are to report the matter to the Board President.

All employees should be confident that complaints of harassment or discrimination will be investigated and will be kept confidential except for disclosure reasonably required by the investigation. Be assured no action will be taken against the employee who files a complaint. Every effort will be made to stop the harassment and resolve the situation.

EMPLOYMENT

Classifications It is vital that both employment classifications and exempt/nonexempt status are correctly identified for each position at Sitka Center. G Regular Full-Time: Employees who are regularly scheduled to work 40 hours per week. G Regular Part-Time: Employees who are regularly scheduled to work less than 40 hours per week. G Temporary: Employees who are hired to work for a specified period of time, usually less than six months

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. The Ultimate Residency Resource Guide 133

in duration.

Provisions in the Fair Labor Standards Act (FLSA) classify employees into two categories: exempt and non- exempt. G An exempt employee, as defined by the Act, is one whose duties are primarily executive, administrative, professional, or outside sales and who is assigned responsibilities of work programs which cannot be restricted to a specific number of hours in a workday or workweek. An exempt employee is exempt from overtime payments as expressed in the Fair Labor Standards Act. G A non-exempt employee is one who is paid an hourly wage, assigned a regular work shift of not more than forty hours per week according to the Fair Labor Standards Act, and whose job calls for overtime payment as appropriate under the overtime pay policies.

Management will make the appropriate designation regarding the status for each new position or when a position changes substantially. Anyone uncertain as to their status should contact the Executive Director.

Who Hires Whom G The Board of Trustees hires the Executive Director. G The Executive Director hires the staff.

Who is Hired Candidates are evaluated for their ability to the work in the job descriptions and to uphold the mission and core beliefs of Sitka Center.

Driver’s License Requirement All employees who operative a vehicle in connection with their employment at Sitka Center must possess a valid driver’s license and have auto insurance.

New Employee Evaluation Period All new regular employees must satisfactorily complete a three-month evaluation or “probation” period. Seasonal employees have a one-month probationary period.

You were hired because we felt you were the best qualified candidate for the job. As it is sometime difficult to define the right mix of skills, abilities, and working styles and this evaluation period provides both you and Sitka Center a reasonable length of time to evaluate your suitability to your new position. The use of the term “probation” in this handbook is in no way meant to imply a contractual or permanent employment arrangement. Employment is on an “at will” basis and may be terminated by you or Sitka Center at any time or for any legal reason.

If a new employee is not meeting expectations, the supervisor will meet formally with that person to discuss the problem(s). If a new employee feels s/he is not receiving adequate guidance, s/he may request a formal meeting. Although both parties are expected to try to solve problems in good faith, either party may conclude that the working relationship is not likely to improve and may terminate it.

If your performance is unsatisfactory or needs improvement, your supervisor may extend your evaluation period or employment may be terminated. An employee must successfully complete this evaluation period to continue their employment with Sitka Center.

Employees under evaluation are eligible for participation in Sitka Center’s benefits program.

Performance Evaluations Sitka Center is committed to maintaining productive working relationships with all employees through frequent feedback on a formal and informal basis. Feedback includes knowing what is expected and how current performance is meeting the standards and expectations set by the board and staff.

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. Personnel Management: Personnel Policies 134

Your Responsibility: Future work opportunities depend on effective performance in your job and on your continued growth. A performance evaluation provides an opportunity for frank discussion about your job. The value of the evaluation is directly related to a mutual understanding between you and your supervisor about your job. Employee and supervisor will develop and agree upon a performance plan for the evaluation. Thereafter, on an agreed upon basis, performance plans will be adjusted. If you don’t understand what is expected of you, be sure to ask questions until you do.

To further encourage harmonious and productive relationships at Sitka Center to insure the quality of our services, and to provide a structure for growth and development of all staff, employees of Sitka Center will have their performance reviewed on an annual basis. The Executive Director will review the work of employees. The Executive Director is reviewed annually by two members of the Board of Trustees.

These formal reviews are not to take the place of regular coaching and critical exchange among staff members.

You will be requested to sign the review form verifying that you participated in the evaluation and discussion. You will be encouraged to submit comments about the appraisal which will become part of your employment record. If you disagree with the performance review, you may discuss the differences with the supervisor in an effort to reach a mutually satisfactory resolution. If resolution is not possible, you can note any unresolved issues on the form, and submit an appeal to the Board of Trustees.

Personnel Records Your personnel file contains information about your employment, such as your employment application/resume, performance reviews, position changes, and any legal or required forms such as W-4’s. Under the Right to Privacy Act, your records are maintained confidentially and will be disclosed within Sitka Center only to those with a legitimate business need. If you would like to review the information in your personnel file, please contact the Executive Director. If you disagree with anything in your file, you may add a statement of disagreement to your file.

Updating Personal Information Notify the Executive Director of any changes in the following areas. This will help ensure timely receipt of necessary information: G Name, address, and/or home telephone number. G Marital status change (you may need to update your W-4 form). G Change in your designated beneficiary.

Break in Service A break in employment, through termination and rehire, requires reestablishing a new anniversary date for purposes of vacation and sick pay benefits. If you are rehired, your original hire date is adjusted based on the length of the break in service.

Adjusted hire dates affect vacation and sick leave accruals. Rehired employees must meet the same eligibility requirements as new employees for other Sitka Center benefits.

Reduction in Staff When downsizing appears to be necessary based on workload and existing staff levels, position eliminations may result. These decisions will take into consideration an employee’s seniority, versatility, existing skills, performance level, and the type of alternate work that is available to that employee.

An employee who is impacted by a reduction in the workforce will be notified of when her/his last day will be.

Termination If you resign, it is important to:

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. The Ultimate Residency Resource Guide 135

G Notify the Executive Director immediately. It is preferred that employees provide Sitka Center with notice of two weeks.

It should be noted that: G Payout of unused, accrued vacation is given to employees upon termination of employment. Sitka Center does not pay out unused, accrued sick leave. G Vacation or termination pay does not extend the effective date of termination beyond the last day worked. G Your final pay check will be processed within the normal pay schedule. G Medical benefits extend to the last day of the month your employment ended. You may check with the Executive Director regarding possible legislative and/or regulatory changes in portability of medical benefits.

Exit Interviews An interview can be conducted with each employee to discuss their time here.

COMPENSATION

Payroll Practices The work done at Sitka Center is outlined in the job descriptions and performance planning that establish objective criteria for evaluating an employee’s performance and for giving fair pay. Job descriptions are reviewed on an annual basis or as needed.

Your rate of pay is determined by several factors such as job responsibilities and performance. Pay is given for work done. Other factors that may be considered include conditions in the economy and budgetary limitations.

Pay Days Sitka Center’s pay frequency is monthly and is referred to as a pay period. If you are being paid on an hourly basis, your paycheck will reflect pay for the number of hours worked in each pay period. If you are paid on a salaried basis, your salary is annualized and paid in equal payments each pay period. The work week is from Sunday to Saturday. Pay days are the last business day of the month.

Timesheets Timesheets are Sitka Center’s way of keeping track of actual hours worked so that you will be paid correctly. Your responsibility is to: G Fill out timesheets indicating hours worked. G Turn in your timesheet as directed, to the Executive Director.

Payroll Deductions Two kinds of deductions are made from your earnings: G Those required by law, including federal taxes, Social Security/Medicare taxes (an amount determined each year and matched equally by Sitka Center), and, by court order, garnishments/wage levies as required in the settlement of certain legal matters. G Those authorized by you, such as contributory benefit plans, insurance, charitable organizations, etc.

Pay Increases Employees’ salaries are based on their job descriptions, and acheivement of the performance plan. Annual salary adjustments for full-time employees are considered on a calendar year basis.

The Board of Trustees provides oversight of pay scales and policies through the budget process and personnel policy review.

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. Personnel Management: Personnel Policies 136

Payment of Overtime Except as otherwise required by law, non-exempt employees are paid overtime wages for hours worked in excess of 40 hours in a workweek. Overtime for a non-exempt employee is paid at one and one-half times the employee’s regular hourly wage. Other significant information related to the payment of overtime includes: G Overtime is paid based on hours “worked” in excess of 40 in a workweek. Holiday, Vacation or Personal Leave hours are not included when calculating hours worked in a workweek; G Overtime hours for non-exempt employees should be approved in advance by the supervisor for whom the overtime work is being performed and; G All overtime worked must be reported on a time sheet or card system.

Flextime The employee and supervisor are to select a work schedule that ensures effective functioning of the department and is convenient to them. Once the employee and supervisor have chosen a mutually convenient workday schedule, the schedule becomes fixed and is to be adhered to without deviation. However, the employee normally will be allowed to change his or her schedule with the supervisor’s approval. Sitka reserves the right to change starting and quitting times according to need.

Holidays Sitka generally observes the following holidays each year. G New Year’s Day G Martin Luther King Day G President’s Day G Memorial Day G Independence Day G Labor Day G Thanksgiving Day G Day After Thanksgiving G Christmas Day G Day After Christmas

A schedule will be provided to employees each year (in December) showing the date that each of these holidays will be observed. The holiday schedule will be determined each year at the discretion of the Board of Trustees.

Part-time and temporary employees are not entitled to holiday pay unless they work on a designated holiday. Part-time and temporary employees working on a designated holiday will receive straight time pay for hours worked. Full-time regular employees will receive comp time for hours worked in addition to the regular 8 hours of holiday pay.

Miscellaneous Compensation Employees are reimbursed for necessary expenses, including for mileage based on the current IRS allowance, should you be required to use a personal vehicle for business. All approved expenses are to be supported with receipts or other approved documentation.

Time spent in ordinary travel to and from work is not considered hours worked and is not paid.

BENEFIT PROGRAMS Listed below is a description of your benefit package and eligibility requirements. Sitka Center may modify, including addition to or elimination of, any of these benefits. Employees will be informed about all changes to their benefit package that are determined by the carrier.

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. The Ultimate Residency Resource Guide 137

Benefit Plan Description and Coverage Effective Date Medical Insurance: All regular employees who work 24 hours weekly or more are eligible for (pro-rated) coverage upon satisfactory completion of the probation period.

Sitka Center provides a monthly stipend to help defray the cost of your medical insurance.

Sitka does not currently have a medical insurance plan.

Workers’ Compensation Insurance As an employee, you are entitled to a safe, healthful work environment. If you are injured on the job or contract an occupational disease, you are entitled to medical care and wage replacement (time-loss) benefits through the workers’ compensation insurance provided by Sitka Center.

If you suffer an on-the-job injury or become aware that you have contracted an occupational disease, you must notify the Executive Director as soon as possible. You may file a claim for workers’ compensation benefits by completing the appropriate form.

Pension Plan: SEP G Regular employees are eligible after one year of continuous employment G The amount of the annual contribution is set by the Board of Trustees (pro-rated for part-time) at the October Board meeting. G You must be employed by Sitka at the time the SEP contribution is awarded to receive the contribution.

Social Security/Medicare As you are aware, the federal government requires you to contribute a portion of your wages to Social Security/Medicare, which will provide you with income benefits when you retire or become disabled. This deduction is a percentage of your annual compensation and affects it up to a predetermined amount. Sitka Center also contributes a matching amount to this program on your behalf.

Unemployment Insurance The Unemployment Insurance program is a state system that provides some compensation to workers who are temporarily and involuntarily unemployed. Sitka Center contributes to this program on your behalf.

Time Off Vacation G Accrual begins on date of hire; eligible for use after six-months employment G Pro-rated for regular part-time employees

The annual vacation accrual schedule is as follows for regular full-time employees. Years on Staff Days Accrued/Year Maximum Carryover/Year 0 - 4 10 days 3 days 4 - 8 15 days 3 days 8 + 18 days 5 days

Regular part-time employees earn vacation accruals on a pro-rated basis of hours worked per year.

Vacation Overview: G You begin accruing vacation from your date of hire, but are not eligible for vacation during your first six months of employment. G You cannot accrue any vacation days beyond the maximum days. G You must inform your supervisor prior to taking vacation, and vacation time must be recorded on your timesheet.

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. Personnel Management: Personnel Policies 138

G Upon termination of your employment, your unused accrued vacation will be cashed out based on your current pay rate.

Sick Leave G Accrual begins on date of hire G Pro-rated for regular part-time employees

The annual sick-leave accrual schedule is as follows for regular full-time employees. Monthly Accrual Days Accrued/Year Maximum Carryover/Year 1 day/month 12 days 25 days

Regular part-time employees will earn sick leave accruals on a pro-rated basis.

Sick Leave Overview: G You begin sick leave accrual from the date of hire. G You cannot accrue any sick leave hours beyond the maximum hours allowed. G You can borrow sick leave up to the maximum for the year. If you terminate before the balance is made up, those days of sick pay will be deducted from your final paycheck. G Sick leave may be used if you are ill and unable to work or to care for an ill family member. G Sick leave is not paid out upon termination of employment.

General Leave Guidelines G You may request a leave for a variety of personal or family reasons. G You should submit a written request for a Leave of Absence as soon as possible in advance (30 days is preferred) and gain approval from your supervisor. G While on leave, you must use any available accrued vacation or discretionary days. In addition, you must use accrued sick leave if the leave is for your own health condition or to care for your ill family member. G Vacation and sick leave hours will not accrue during any leave period.

Leaves of Absence With Pay Bereavement: When a death occurs in one’s close family*, employees may take up to five (5) days from regularly scheduled work with pay. (*Close family includes grand/parents, siblings, children, spouse, partner, and equivalent non-biological relationships).

Jury Duty: If an employee is summoned for jury duty, s/he will be granted time off with full pay. Fees granted by the court for jury service and transportation will be retained by employees and not offset against their pay. Unless business necessity requires it, Sitka Center will not ask that employees be excused from or postpone jury duty. If an employee is excused for all or part of a day, s/he is expected to report to work.

Leaves of Absence Without Pay Personal Emergency Leave: Employees who have major family or personal needs may take personal emergency leave without pay for up to two (2) weeks. You may ask to negotiate for more time under the terms of Personal Extended Leave.

Medical Leaves of Absense: Such leaves may be granted to employees who are recovering from illness of injury, generally not to exceed 90 days. Before beginning a medical leave, the employee must use any previously earned sick leave or vacation pay.

Parental Leave: Same as medical leave.

Personal Extended Leave: Employees may apply for this type of leave after they have been employed for three continuous years. Such leave may only be requested every three years. A request must be made to the Board of Trustees who will determine whether the leave may be taken based on the needs of the organization.

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. The Ultimate Residency Resource Guide 139

Military Leave: If you are ordered to serve or volunteer for military training or active duty in the Armed Forces of the United States, the National Guard, the United States Coast Guard, or the Public Health Service, you may take an unpaid leave of absence for the length of the service. You should provide your supervisor with a copy of your written orders requiring your attendance. Your reinstatement upon return from military service will be in accordance with federal and state laws.

WORK ENVIRONMENT

Drug/Alcohol-Free Workplace We prohibit coming to work or operating Sitka Center’s equipment/vehicles under the influence of illegal drugs or alcohol. If an employee is suspected of reporting to work under the influence of alcohol or illegal drugs, we will recommend they obtain counseling or attend a rehabilitation program. However, depending on the circumstances the employee may be subject to corrective action up to and including termination. If the employee continues to report to work under the influence of illegal drugs or alcohol, corrective action and/or termination of employment may occur.

Ethical Business Practices While representing Sitka Center you are expected to: G Comply with all laws and regulations, and G Deal pleasantly and honestly with all students.

If you are unsure whether a situation represents a conflict of interest, please contact your supervisor to review the situation.

Attendance If you will be late for work or unable to attend work due to illness or emergency, please call in advance.

If an employee is a “no show” for three consecutive days, that employee will be considered to have voluntarily resigned from employment.

Corrective Action It is essential that you accept personal responsibility for maintaining high standards of conduct and job performance, including the observation of Sitka Center procedures and guidelines. Sitka Center does not tolerate: G Serious incompatibility with the spirit and goals of Sitka Center G Failure to perform agreed upon work G Theft G Use, possession, or distribution of illegal drugs or working under the influence of alcohol or illegal drugs G Unreasonable failure to cooperate with others in the workplace G Falsification of the organization’s records G Physical violence, verbal abuse, or slander of others in the workplace G Violation of safety rules G Excessive absence or tardiness G Other similarly serious offenses

Many factors are taken into account when corrective action is necessary, including the nature and seriousness of the problem, the employee’s past performance, and the surrounding circumstances. Corrective action is generally applied in progressive steps, including: G Counseling G Verbal and written warnings G Suspension

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. Personnel Management: Personnel Policies 140

G Dismissal

The nature of the problem and the particular circumstances determine how and when the steps are followed. While Sitka Center reserves the right to apply corrective action as needed, you generally will have an opportunity to correct problems before termination of employment is considered.

Use of Sitka Center Equipment and Tools Follow safety precautions when using equipment.

Smoking Policy In the interest of employee health and safety and fire precautions, smoking is limited to outside in designated, specific areas. Your cooperation in observing this policy is requested in order that the rights of both smokers and non-smokers are respected and the property is protected.

Safety and Employee Responsibilities All employees need to maintain a “safety consciousness.” Listed below are some important guidelines to follow: G Do not come to work when you have a contagious illness. G Report all job-related injuries, illness, or property damage immediately. Employees in need of medical attention are required to seek treatment promptly. G Report or remedy all hazardous conditions and unsafe conditions. G Observe all hazard warning and no smoking signs. G Know the location of fire/safety exits and evacuation procedures. G Become familiar with the operation of various fire protection equipment in your area, such as extinguishers and alarm pull stations. G Keep all emergency exit doors and stairways clear of obstacles. G Follow proper lifting procedures at all times. G Be sure to see that all guards and other protective devices are in their proper places prior to operating equipment. G Do not wear frayed, torn, or loose clothing, jewelry, or long, unrestricted hair near moving machinery or other sources of entanglement, around electrical equipment. Long hair is to be tied back or a hair net worn to control loose ends whenever working in areas where a risk of entanglement might occur or where combustible materials are used. G Operate only the equipment for which you are trained and authorized, and observe safe operating procedures. G Actively support and participate in Sitka Center’s effort to maintain a safe and healthy work environment. G Observe all requirements for the Drug and Alcohol-free Policy which says that the use, possession, sale, purchase, or distribution of illegal drugs, or having a measurable quantity in one’s system of an illegal drug, while at work, in a work status, or on Sitka Center’s premises is prohibited, etc.

Accident Reporting In the event you become injured while at work, please follow the steps outlined below: G Seek appropriate first aid or medical care. G If you seek care from a physician, be sure to indicate the injury/illness is work-related so that proper paperwork is completed. G Complete a state-issued Report of Occupational Injury or Illness. Have your supervisor sign.

Sample Personnel Handbooks—Sitka Center for Art and Ecology, cont. The Ultimate Residency Resource Guide 141

Sample Personnel Evaluation Form

Employee name:______Employee title: ______Period covered: ______Date of evaluation: ______

Excellent Very good Good Fair Unsatisfactory Comments

Work quality

Dependability

Initiative

Flexibility

Skill building

Job knowledge

Punctuality

Supervisory ability

General comments on employee’s performance:

Employee’s goals for the coming year:

Reviewed by: ______Signature: ______Personnel Management: Personnel Policies 142

Sample Performance Evaluation Form

Employee Name:

Supervisor’s Name:

Position:

Date of last review or hire date:

This annual performance evaluation and development plan is meant to give both employee and supervisor a formal opportunity to review the accomplishments and milestones of the past twelve months, to identify areas of strength and areas for growth, and to develop a new set of goals for the coming year.

Steps

1. Employee completes a self-review, including an evaluation of goals achieved, accomplishments, and special projects, as well as a key skills evaluation. Employee reviews his or her job description and notes any significant changes in responsibilities over the past twelve months. 2. Supervisor receives the employee’s self-review. 3. Supervisor evaluates the employee’s job performance by reviewing the job description, evaluating goals achieved, accomplishments, and special projects, and completing a key skills evaluation. Appropriate changes are made to the job description. 4. Supervisor and employee meet for formal evaluation discussion. Supervisor and employee together set goals for coming year.

Goals Review

Current Evaluation Goals (review goals from last performance review):

Job Performance Goals:

Personal Development Goals: The Ultimate Residency Resource Guide 143

Accomplishments and Special Projects (note projects and assignments completed and any special projects undertaken during review period):

Goals for Next Evaluation Job Performance Goals 1. 2. 3.

Personal Development Goals 1. 2.

Support to be Provided by Supervisor (including regularly scheduled check-ins)

Employee’s Signature Supervisor’s Signature

Date: Date:

Sample Performance Evaluation Form, cont. Personnel Management: Personnel Policies 144

Executive Director Evaluation—Overview

One of the most important jobs of a nonprofit board is evaluating the Executive Director. Here are some tips on how to do this effectively.

Background: A performance evaluation is the analysis of an employee’s performance with respect to the employee’s job description. It is often done in conjunction with an annual salary review. It is also the process by which an organization can obtain feedback about the effectiveness of its employees.

Evaluating the Executive Director is closely linked to evaluating the overall progress of the organization. The goal should be to focus on how the ED’s performance contributes to or detracts from the organization successfully carrying out its mission and goals in both the short- and long-term. Consider how to evaluate the ED based on his/her personal performance as well, independent of the organization’s progress, including staff management, communications skills, professional development, etc.

An ED evaluation should not be a checklist of tasks with report card grades attached. It should be a conversation between the ED and Board representative(s) that analyzes progress to date and makes recommendations for improvement (if any) in the future. Written evaluation materials can help structure this conversation, but they should not be substituted for the conversation itself.

Purpose: A performance evaluation should help the ED to understand what is truly important for the organization and optimize the help he/she needs to achieve success for the organization. In order to do this successfully, the Board members responsible need to have a good understanding of the direction and priorities of the organization.

Tip 1: Never have the entire Board involved in the entire evaluation process. At most, a committee of four or five—gathering input from others as needed—should be able to complete the actual evaluation and to report back to the full Board.

Tip 2: Do not put “negative” feedback in their file or reports to the entire Board. It is important that the ED feels supported by the Board.

Tip 3: An annual Board self-evaluation prior to the ED’s evaluation can create a shared perspective needed for joint accountability for the organization. The Ultimate Residency Resource Guide 145

How to organize ED Evaluation activities:

1. Determine who is in charge of the review process. Often it will be the Executive Committee, or a combination of the current chair and the vice chair or chair-elect. It can also be an appointed committee that changes each year.

2. Determine who is involved in providing data for the review. Only Executive Committee? Only Board? Some staff? All staff? Donors or partners?

3. Determine how to collect information. Sometimes the Executive Committee will send out a survey to all the Board to collect input from Board members. Others will send a survey or organize a focus group for staff input or donor/colleague input. Frequently the committee requests that the Executive Director write his/her own self-assessment as well.

4. Determine who will summarize and present data to the ED. Sometimes it’s important to maintain confidentiality, so think this through.

5. Determine who will meet with the ED.

6. Determine how you will communicate results back to the full Board.

7. Make a timeline that is consistent annually and try to stick with it.

8. If your Executive Director has a contract that specifies responsibilities, use this in helping shape the review. If your Executive Director prepares an annual work plan, encourage discussion of work plan accomplishments to be part of the evaluation session. Consider reviewing prior year evaluation results as you move into your current year evaluation discussions.

Sample—Executive Director Evaluation, cont. Personnel Management: Personnel Policies 146

Sample Executive Director Self-Evaluation

DATE OF EVALUATION

EXECUTIVE DIRECTOR NAME

(to be completed by Executive Director)

1. Do you have any comments or suggestions on how the organization can be run more effectively?

2. How have your job duties changed during the past year?

3. What are your expectations for this job during the next year? Are there any areas in which you see a need for improvement? Are there any ways you would like your job to be restructured to better suit your needs or goals?

4. Comment on the Board’s effectiveness in providing guidance and giving feedback, and give suggestions for improvement.

5. Is there any aspect of your job situation that could be changed to improve your job satisfaction or performance?

a. Physical surroundings/equipment b. Work hours c. Compensation d. Benefits e. Training and Development Opportunities f. Travel Opportunities

6. Other comments

Sample—Executive Director Evaluation, cont. The Ultimate Residency Resource Guide 147

Sample Executive Director Evaluation Form (This can be sent to Board members with the results summarized at the Evaluation meeting)

Ratings: 1= needs improvement, 2 = adequate, 3 = good, 4 = excellent, 5 = exemplary Skill Area Rating Comments

Board relations

Community Relations

Conceptualization

Dependability

Initiative

Job knowledge

Judgment

Leadership

Organization

Oral Communication

Written Communication

Problem-solving

Work habits

Personnel Management

Other Other comments

From: Greenlights for Nonprofit Success www.austingreenlights.org

Sample—Executive Director Evaluation, cont. Personnel Management: Personnel Policies 148

Sample Executive Director Evaluation

PERFORMANCE DEFINITIONS

OUTSTANDING—Performance at this level is clearly unique and far in excess of established expectations. The employee consistently exceeds expectations in the outcomes achieved in work quality, quantity and timeliness. The employee exhibits leadership among peers in all dimensions of the field of work performed.

SIGNIFICANTLY EXCEEDS EXPECTATIONS—Performance at this level often exceeds established expectations and standards for work quality, quantity and timeliness. The employee exhibits mastery of most dimensions of the field of work performed.

FULLY CAPABLE—Performance at this level is satisfactory on the established expectations and standards for work quality, quantity and timeliness. The employee competently achieves the requirements of the position.

NEEDS IMPROVEMENT—Performance at this level is minimally capable and below the level expected of the employee. Improvement is required in significant dimensions of the job in order to meet the expectations and standards for work quality, quantity and timeliness. The employee performing at this level may be denied merit increases until fully capable performance is demonstrated.

UNSATISFACTORY—Performance at this level is unacceptable. The employee often fails to achieve basic requirements of the position and has exhibited little or no improvement in job performance. The employee performing at this level should not be continued in this position; or where extenuating circumstances exist, should be retained only upon significant improvements within a fixed period of time to be defined by the Employer.

PERFORMANCE FACTORS

1. ADMINISTRATION

1a. PLANNING: Develops short and long range plans and goals to meet department objectives consistent with established priorities; sets appropriate priorities of needs and resulting services to be provided; anticipates and prepares for future requirements and devises contingencies; devises realistic plans.

1b. BUDGETING AND ECONOMIC MANAGEMENT: Prepares an appropriate budget and subsequently adheres to it; utilizes finances, budgets, facilities, equipment, materials and products to minimize costs; actively practices cost containment.

1c. ORGANIZATION OF WORK: Structures work in order to avoid crisis, promotes productivity, attains cost effectiveness, and delivers work on time. Involved in this process are the tasks of allocating work, delineating responsibilities, scheduling activities, and adequately preparing for meetings and presentations.

1d. COMPLIANCE: Complies with established policies, procedures and directives; conducts department functions in accordance with applicable laws, statutes, and regulations.

1e. PROBLEM SOLVING AND DECISION-MAKING: Identifies problems and acts to rectify them by employ- ing analytical thinking and sound judgment.

1f. EVALUATION AND CONTROL: Practices regular and systematic review of department operations to evaluate progress towards established goals; evaluates strategies employed in seeking those goals; implements reme- dial measures when necessary.

Sample—Executive Director Evaluation, cont. The Ultimate Residency Resource Guide 149

1g. RISK (LIABILITY) MANAGEMENT: Ensures that liability risk exposures are identified and treated when proposing new programs and services; evaluates and monitors established programs and services to identify areas which need revision due to changes in operation, legislation, policies and procedures; implements changes where needed to facilitate favorable loss experience; manages employee safety program, including appropriate training and corrective action when necessary.

2. INTERPERSONAL

2a. ORAL COMMUNICATION: Effectively communicates orally with individuals and groups, including public presentations; presents ideas in an organized, clear and concise manner, employs tact and discretion; listens well; offers appropriate feedback.

2b. WRITTEN COMMUNICATION: Prepares organized, clear, concise, accurate and informative letters, memos, reports and other documents which effectively fulfill content and timeliness requirements.

2c. COORDINATION/COLLABORATION: Works well with others at various levels; keeps information flow- ing to the appropriate parties vertically (down as well as up) and horizontally; facilitates communication and problem solving among parties when necessary.

2d. SUPERVISORY CONTROL: Effectively hires, assigns, directs, controls, evaluates performance, counsels and disciplines all other functions necessary or incidental to supervision; practices compliance with employment law guidelines and mandates.

2e. LEADERSHIP: Promotes cooperation and team work among employees; establishes high standards of conduct and job performance for subordinates; maintains open communication channels; delegates work; leads by example.

2f. STAFF APPRAISAL AND DEVELOPMENT: Provides good record of subordinate performance; reviews appraisal information with subordinates; aides subordinates in improving performance on current job; helps subordinates in setting up and implementing development plans and objectives; cross-trains employees; encourages subordinates to participate in training.

3. INDIVIDUAL

3a. EFFORT AND INITIATIVE: Requires little work direction; exhibits persistence and initiative; puts forth a consistent, energetic effort; assumes full and complete responsibility for accomplishment of department functions.

3b. PROFESSIONAL/TECHNICAL COMPETENCE: Realistic knowledge and competence of the field; applies up-to-date technical/professional principles, practices, and standards appropriate to the functions of the department; acts as a resource person upon whom others can draw; professional demeanor maintained on a consistent basis.

3c. INNOVATION: Displays original and novel thought in creative efforts to improve on the status quo.

3d. OBJECTIVITY: Assesses issues, problems and decision situations based on the merits of the case presented; personal loyalties, biases, etc., does not influence department decisions; personnel decisions made on the basis of equal opportunity and objective job-related criteria.

3e. CREDIBILITY: Through successful performance, instills the feeling of trust and dependability.

3f. FLEXIBILITY: Adapts well to change, both internally and externally.

Sample—Executive Director Evaluation, cont. Personnel Management: Personnel Policies 150

4. LEADERSHIP

4a. COACHING: Communicates a positive attitude; serves as a catalyst for action and encourages employees to try new things and to take calculated risks; provides honest feedback; minimizes tension and defensiveness; creates an environment for success; teaches and guides employees rather than controls.

4b. EMPOWERING: Creates an awareness in others of their powers and self worth; involves others and shares powers in planning and decision-making; fosters leadership in others; challenges others to assume leadership roles and provides support by allowing them to risk, fail and learn; creates an environment in which others feel ownership for results and feel comfortable to take action to achieve desired results.

4c. MODELING: Believes in public service; treats all with respect and dignity and creates an atmosphere of mutual respect and trust. Serves as a catalyst for action and is a team player, believes in oneself and looks at problem as opportunities; uses powers in a positive way; accepts responsibility for mistakes; insists on excellence (not perfection); communicates and reinforces by what they do, not what they say; adapts to changes as conditions and situations warrant.

4d. TEAM BUILDING: Builds group cohesiveness and pride; encourages cooperation; fosters and practices good communication, recognizes and rewards individuals and team accomplishments and contributions; shares success and rewards; manages conflict, which is inevitable.

4e. VISIONING: Establishes and articulates a vision of what could be; looks to and plans for the future; accepts new challenges, keeps an open mind.

4f. SELF-DEVELOPMENT: Is not static; prepares for the future; has the courage to identify and address shortcomings; is committed to self-improvement; manages personal stress in positive ways.

Rank the executive director on the performance factors using the performance definitions (5=outstanding, 4=significantly exceeds expectations, 3=fully capable, 2=needs improvement, 1=unsatisfactory)

1. ADMINISTRATION Performance Factor Performance (From 5 to 1) Comments

Planning

Budgeting and Economic Management

Organization of Work

Compliance

Problem Solving and Decision Making

Evaluation and Control

Risk (Liability) Management

Sample—Executive Director Evaluation, cont. The Ultimate Residency Resource Guide 151

2. INTERPERSONAL Performance Factor Performance (From 5 to 1) Comments

Oral Communication

Written Communication

Coordination/Collaboration

Supervisory Control

Leadership

Staff Appraisal and Development

3. INDIVIDUAL Performance Factor Performance (From 5 to 1) Comments

Effort and Initiative

Professional and Technical Competence

Innovation

Objectivity

Credibility

Flexibility

4. LEADERSHIP Performance Factor Performance (From 5 to 1) Comments

Coaching

Empowering

Modeling

Team Building

Visioning

Self-development

Sample—Executive Director Evaluation, cont. Personnel Management: Personnel Policies 152

OVERALL EVALUATION (Please check one.) _____ Outstanding _____ Significantly exceeds expectations _____ Fully capable _____ Needs improvement _____ Unsatisfactory

What were the executive director’s performance highlights in the past year? ______

What could have been most improved regarding the executive director’s performance in the past year? ______

What should be the executive director’s performance goals for the next year? ______

Evaluator’s Signature ______Date ______

From: Minnesota Council of Nonprofits www.mncn.org/info/template_hr.htm

Sample—Executive Director Evaluation, cont. The Ultimate Residency Resource Guide 153

Sample Employment Contract

Executive Director ABC Arts Center

* Note: As most organizations operate as at-will employees (recognized in every state except Montana), an employment “contract” serves rather as a letter of agreement—making clear the expectations, compensation, evaluation, and employment policies. Any employment agreement that you enter into should be subject to final review by your attorney, in order to not jeapordize your at-will status.

Agreement made this 17th day of December, 2004, between the Board of Trustees, ABC Arts Center, a not-for- profit corporation AND John Q. Public, herein called the Executive Director.

WITNESSETH: 1. The ABC Arts Center hereby employs the Executive Director as CEO of the ABC Arts Center and its operations. During the term of this agreement, the Executive Director shall devote his/her best efforts and professional time to the best interests of the ABC Arts Center in fulfillment of its mission statement. This use of professional time shall constitute full-time employment. 2. The term of employment and of this agreement shall be from January 1, 2005 through January 1, 2007. This agreement will be reviewed at the end of each two-year term and will be renewed by action of the Board of Trustees. Non-renewal requires 60-day prior written notice by the Board of Trustees. 3. Compensation shall be in an amount determined by the Board of Trustees of the ABC Arts Center and detailed in a Personnel Payment Authorization on file in the Executive Director’s personnel record. 4. During the term of the agreement, the ABC Arts Center shall make the following benefits available to the Executive Director: a. Health and dental insurance premiums, including coverage of qualified dependents will be paid as other employees. b. 9 days of sick leave annually and 3 days of personal leave annually as outlined in the staff personnel policies. c. 10 days of paid vacation accrued annually, to increase to 15 days as of January 2007, in addition to paid holidays as listed in the staff personnel policies. d. Eligibility for up to 5% bonus if agreed-upon performance standards are met. 5. During the term of this agreement, the Executive Director a. shall conduct the business of the ABC Arts Center in harmony with its articles of incorporation and bylaws, b. shall recommend and implement the ABC Arts Center’s policies and programs, c. shall develop long- and short-range goals, d. shall employ, terminate, and fix the duties and salaries of other employees and agents of the ABC Arts Center, e. shall assist the ABC Arts Center’s Board of Trustees in examining, deliberating, and developing policies and policy governance, f. shall represent the ABC Arts Center to the community, governmental bodies, and appropriate national and international networks of agencies, associations and individuals, g. shall participate in professional and career development activities as approved by the executive committee of the Board of Trustees, and h. shall perform other duties as explained in the Executive Director job description. 6. The Executive Director shall be bound, within legal and reasonably interpreted ethical standards to follow the policy directions of the ABC Arts Center. 7. The ABC Arts Center shall grant the Executive Director sole staff authority to implement policies of the Board of Trustees of the ABC Arts Center and sole authority, acting within limitations set forth by ABC Arts Center policies, to direct the actions of staff, assign and utilize resources, employ and discharge staff, design organizational structure and function, and all other authorities customarily delegat- Personnel Management: Personnel Policies 154

ed to an executive director. 8. The Executive Director shall be accountable to the Board of Trustees of the ABC Arts Center for the discharge of his/her duties and the responsible use of power entrusted by the Board. The Executive Director shall provide the ABC Arts Center a monitoring system adequate to assure its Board of Trustees that its policies are being implemented. 9. Existing policies as hereinafter modified and subsequent policies of the ABC Arts Center to the extent that such policies affect this agreement, shall modify the terms of this agreement. 10. The Executive Director shall provide written notice to the Chairperson of the Board of Trustees of the ABC Arts Center in the event of his/her resignation. Such notice must be provided 60 calendar days in advance of the effective day of resignation. Full pay and benefits, plus vacation, but not other personal or medical time will be earned. 11. In the event the ABC Arts Center should terminate the services of the Executive Director, the Executive Director shall be entitled to 5 days of severance pay for each year of employment with the ABC Arts Center, up to and not to exceed a total of 2 months. Additional severance pay will be at Board discretion. The Executive Director shall be entitled to full health benefits for 2 months, plus any accumulated or unused vacation days. 12. The Board shall resolve as a body to accept this agreement, empowering signatory authority to the chairperson of the Board.

______Board Chairperson’s Signature Date

______Executive Director’s Signature Date

Sample—Employment Contract, cont. The Ultimate Residency Resource Guide 155

Additional Resources

Most U.S. states have a Web site for their Department of Human Resource Management, which contains policy information, forms and templates. Generally, you can find this information at www.dhrm.*.gov (*your state’s abbreviation).

Human Resources/Business & Legal Reports has sample personnel policy documents on: G Benefits G Compensation G Compliance G Discipline G HRIS / Technology G Job Descriptions G Leave of Absence G Organizational Development G Policy and Practice G Resources & Contacts G Safety / OSHA G Staffing & Recruiting G Testing

Visit hr.blr.com for more information.

Policies Now software allows you to create personnel policies through customized policy-writing wizards; maintain your policies and record and track revisions; and provides built-in legal and human resources expertise, as well as federal and state employment law information. Policies Now is available from Knowledge Point—www.knowledgepoint.com. Volunteer Management Personnel Management: Volunteer Management 157

The Five Essential Things Every Volunteer Deserves By Gayle Goldin

Throughout my life, I’ve tried various volunteer activities, many of which have been dismal failures. I’d like to think that the failure rises from good intentions with the wrong organizations.

Yet, while many of my volunteer activities have not lead to success (I seem to always be on the losing side of a political battle), a few notable ones have given me great personal reward. I am currently volunteering as a board member of a state-wide organization and the experience is one of the best opportunities I could imagine. I know the work that I am doing is making a significant difference and I feel deeply valued by the agency’s director and staff.

In order to get to this volunteer happy place, however, I had to start by recognizing when a volunteer activity was likely to be unfulfilling for me. In many instances, I jumped right in without understanding what skills I could bring to an organization.

Now I realize a successful volunteer opportunity stems from a good match between my own interests and an organization that values my contributions. The first way to make sure that my interests match the mission of the organization is through their screening process. The second component, figuring out if an organization will value my contributions, is a bit trickier. I’ve come up with a list of five ways I think anyone can use to determine if an organization is likely to value their volunteers:

Orientation When I graduated from college, I returned to my home town and started volunteering through a newly formed volunteer center. The center ran one-time volunteer activities on a weekly basis, ranging from organizing cans in food banks to visiting children at the pediatric hospital. From the sound of it, I would meet lots of people, be exposed to various nonprofits in the area, and maybe even find an interesting job.

My friend Lauren and I signed right up. Our first step: orientation. We were shuffled into a conference room with a group of other potential volunteers. A staff person came in, gave a two-minute overview, and then turned on a video. That was it. There was no connection with the other people in the room and no one took the time to connect us with the organization or personally insure we understood the impact our commitment to volunteer activities would make.

In fact, no staff person met with each person individually to even assess if our volunteer aspirations matched with the needs of the organization. If your organization’s orientation involves a small packet with your annual report and latest newsletter, it is time to reassess.

The orientation is your organization’s way of making a powerful first impression that sends the message: we value your volunteering here. Every volunteer deserves to know: who works here who is on the board what is the mission of the organization how will my time be used to further goals of the organization who will I be helping who will supervise me what should I do if I have a problem or concern and, most importantly ... where’s the bathroom

Training If you are asking a volunteer to do something that he/she does not have expertise to do immediately, keep in The Ultimate Residency Resource Guide 158 mind that it is your job to provide training.

I used to volunteer to teach an older gentleman to read. I participated in the program as part of a literacy council where I received about two hours of training. I was then matched with my adult learner; together we met weekly for three years. While the experience for me was deeply rewarding, it was also remarkably frustrating. I did not receive adequate training. I was never contacted by the volunteer coordinator to check-in on my experience. I received no guidance on how to measure my student’s progress. I was not given adequate tools.

Similarly, while my adult learner did eventually learn to read, I don’t doubt that he would have been better served and learned how to read quicker if I had received adequate tools, training, and a mentor to help me on my way.

Training a volunteer adequately will : reinforce the volunteer’s commitment, build on the mission of the organization and ensure that your clients are receiving the quality of services you expect of your staff.

It also helps your volunteers know that you want them to succeed, will give them pride in their work, and will make it more likely that your volunteers will encourage others to get involved with your organization.

Investment Every volunteer deserves to feel a personal investment in the organization. The best way to nurture that investment is to build a connection and do so from the very beginning.

Find out what brought the volunteer to your organization: Do they know someone who uses your services or volunteers with your organization? Are they connected to your mission through personal experience? Did they meet one of your staff out in public? Do they want to learn new skills? Can they provide a needed service at your organization that they have the time and talent to do, but don’t have an outlet to do it other than your organization? Is this way to meet new people, get a date, or change careers?

As nonprofit staff we often consider the volunteer opportunity as what that person can do for us; it is the savvy volunteer manager who recognizes keeping a volunteer engaged involves considering what the organization can do for the volunteer. Build time into your volunteer’s activities to introduce them to each other and to the organization’s ongoing activities. Let your volunteers know they are all part of your team.

Dialogue Volunteers deserve to have ongoing communication with all types of staff people, not just the volunteer director. Open communication among volunteers and staff will help ensure that the volunteer is on the right track, not stepping on a staff person’s toes, and is well appreciated.

We all need positive feedback, volunteers and staff alike, but we also all need mentoring. Make sure that dialogue involves guidance when necessary. Also keep in mind that the dialogue goes two ways—ask for and expect feedback from volunteers and take their concerns into consideration. If a volunteer needs a particular piece of equipment or tool to do her job more efficiently, make the investment.

Appreciation Some people confuse appreciation with public recognition. Certainly, it is nice to be recognized publicly for years of service or for going above and beyond on a task, but most of the time, a volunteer will be well satisfied

The Five Essential Things Every Volunteer Deserves, cont. Personnel Management: Volunteer Management 159 with a “thank you.”

In the world of free clinics, many clinic directors will pass along letters of thanks from patients to the volunteer physician who cared for her, or ask patients to take a moment to write a sentence or two of thanks that can be inserted into a newsletter.

In fact, the most important aspect of appreciation is letting your volunteers see the impact of their work. For instance, if adding another volunteer this month meant five more clients were served, or you saved the organization $1,000 because you didn’t have to outsource stuffing envelopes, let your volunteers know.

Volunteers who are invested and committed to your organization are more likely to increase volunteer hours when needed take the time to ask others to get involved talk about the organization during networking opportunities, and ultimately are more likely to donate and help raise additional funds.

What it all boils down to is simple: volunteers who feel valued will bring value to your organization.

© 2005 Gayle Goldin. All rights reserved. This article is reprinted with permission from CharityChannel.com and the author of this article. The author holds the copyright to the article. To receive the entire issue by email each week, visit charitychannel.com/enewsletters and use the subscription form. To seek permission for reprints, visit charitychannel.com/enewsletters/reprints. For more information, contact CharityChannel at charitychannel.com/rapid-reply.

The Five Essential Things Every Volunteer Deserves, cont. The Ultimate Residency Resource Guide 160

Sample Volunteer Introduction

Thank you for volunteering for the Alliance of Artists Communities’ Annual Conference! Volunteers are an important part of our operations, and we appreciate your commitment. As a volunteer, you represent the Alliance to the conference attendees; your professionalism and courtesy reflect on us. Below is a list of Alliance volunteer guidelines. Please read them carefully to ensure that the meeting runs smoothly.

Volunteers are expected to… be available during all the scheduled events throughout the meeting and arrive at all events at the pre- arranged time assist in set up and clean up of various events dress in business attire wear a Volunteer nametag, provided by the Alliance refer questions to a Staff member, if the answer is not clearly known to the Volunteer be polite and courteous to conference attendees, staff and service personnel

We look forward to a great conference—thanks for your help! Personnel Management: Volunteer Management 161

Volunteer Opportunities A Studio in the Woods

Let us get to know you! Please fill in the form below and check where you would enjoy spending your time and talents:

Name ______Phone ______

Address______

City/State ______Zip ______

Email______

Administrative Support Advisory Board membership Archiving materials Board membership Data Entry Environmental Stewardship Events Coordination Events set up/break down Grantwriting Layout & Design Photo or video documentation Recycling Writing / Editing Other______

Sample Volunteer Description—A Studio in the Woods The Ultimate Residency Resource Guide 162

Volunteer Description—Atlantic Center for the Arts

The Harris House League is the volunteer corps for Atlantic Center for the Arts.

League members, of all ages and diverse backgrounds, share a common commitment to furthering the growth of the arts in our community. Volunteers are vital to the daily operations of Atlantic Center in the following ways: assisting with fundraising, the gift shop and reception desk, mailings, community outreaches and educational programs.

Volunteers provide hospitality for receptions and social events and support several fundraising projects throughout the year. The Harris House League publishes a monthly newsletter and hosts meetings every month for members and potential members.

Volunteer activities provide opportunities for personal and social enrichment. The League also provides guest speakers and presentations on a special basis and schedules art trips to regional galleries and museums. Membership grows by parties bringing their friends and parents volunteering to help with the children’s programs. Others simply walk in to the building and fall in love with the whole idea of the program.

The Board of Trustees and staff of Atlantic Center host an annual Volunteer Appreciation Tea each year to acknowledge outstanding service. This past January awards were presented to members who donated a total of 8,000 hours.

Harris House League members are required to provide 36 hours of service per calendar year in an activity or on a committee of their choice. Volunteers pay annual League dues ($12) that entitle them to discounts on program admissions and gift shop purchases. They also can participate in a special membership with ACA where their HHL dues are paid with the individual membership ($40).

Sample Volunteer Description—Atlantic Center for the Arts Personnel Management: Volunteer Management 163

Atlantic Center for the Arts—Volunteer Manual

GENERAL INFORMATION

ATLANTIC CENTER FOR THE ARTS 1414 Art Center Avenue New Smyrna Beach, FL 32168 T 386 427-6975 F 386 427-5669

Hours Monday - Friday 9:00 AM - 5:00 PM

Admission Free daily Program fee when indicated

Memberships Membership to Atlantic Center for the Arts begins at $40. Brochures detailing membership benefits are available at the reception desk.

ATLANTIC CENTER AT HARRIS HOUSE 214 South Riverside Drive Harris House Annex New Smyrna Beach, FL 32168 123 Douglas Street T 386 423-1753 New Smyrna Beach, FL 32168 F 386 423-3137 T 386 424-0098

Harris House Tuesday - Friday 9:00 AM - 5:00 PM Gallery Hours: Saturday 10:00 AM - 2:00 PM

Admission Free daily Program fee when indicated

Harris House Gift Shop Open during normal gallery hours. The shop, which is run by League members, offers a unique selection of quality gifts made by Florida artists and Harris House League members.

Harris House League Membership is $12 per year payable in January. ACA/HHL membership is $40 per year. Inactive membership is $20 per year.

IMAGES: A Festival of the Arts is based at Atlantic Center at Harris House. The annual juried art festival takes place in February. Volunteers and a part-time office person staff the IMAGES office. The office telephone number is 423-4733.

Sample Volunteer Manual—Atlantic Center for the Arts The Ultimate Residency Resource Guide 164

A BRIEF HISTORY OF ATLANTIC CENTER FOR THE ARTS Planning for Atlantic Center’s interdisciplinary facility began in 1977 and was led by Doris Leeper, sculptor, painter and environmentalist. She envisioned the synergy of artists of different, but complementary, disciplines working together in a controlled natural environment.

In 1979, The Rockefeller Foundation awarded a planning grant to develop the group’s concept of creating a community where artists could work before the backdrop of the tranquil, natural beauty of old Florida. That same year, money was raised to purchase ten heavily wooded acres on the secluded shores of Turnbull Bay in New Smyrna Beach. Over the next ten years, another 57 acres were purchased, and a workshop, fieldhouse, amphitheater, master artist cottages, associate housing and caretaker’s cottage were constructed. All of the buildings are connected by raised wooden walkways, which help preserve the natural environment and make the entire facility accessible to the handicapped. In 1996, construction was completed on the Leeper Studio Complex, a series of five studios, plus a resource library.

MISSION STATEMENT Atlantic Center for the Arts is a nonprofit interdisciplinary artist-in-residence community and arts education facility dedicated to promoting artistic excellence by providing mid-career artists an opportunity to work and collaborate with some of the world’s most distinguished contemporary artists in the fields of composing, and visual, literary and performing arts, while encouraging interaction with community members through on-site and outreach presentations, performances and exhibitions.

A BRIEF HISTORY OF ATLANTIC CENTER AT HARRIS HOUSE Atlantic Center at Harris House was named in honor of Edward N. and Joan Harris whose donation enabled Atlantic Center to purchase the House.

In the Fall of 1990, Doris Leeper approached Mr. and Mrs. Harris to discuss an in-town facility that would serve the cultural needs of the community. The old Lutheran parish house seemed to be the ideal location but was scheduled for demolition to make way for condominiums. The developers agreed to let the house stand if the land was purchased. When Leeper took the Harrises to see the old house, they became interested in the purchase and in January 1991 the acquisition of the house became possible through a gift from the Harrises.

The Harrises’ commitment did not end with the writing of a check. They worked long and tireless hours on the renovation of the house as well as planning programs to serve the community. The renovation of Harris House took approximately six months. Much attention was paid to restoring it to its original state. The living room and dining room became gallery space, the sun porch is the gift shop, the upstairs bedrooms are offices and the garage is a workshop studio for education programs for adults and youth. Atlantic Center at Harris House opened to the public on September 2, 1991.

The Harris House Annex, located at 123 Douglas Street, provides additional workshop space and a lecture room. Arts on Douglas, a for-profit gallery, shares the building.

MISSION STATEMENT Atlantic Center at Harris House is a nonprofit, multidisciplinary arts facility dedicated to supporting the arts and promoting cultural growth within the region by providing educational programs for the community and exhibition opportunities for Florida artists.

THE PURPOSE OF ATLANTIC CENTER AT HARRIS HOUSE Atlantic Center at Harris House is dedicated to serving the cultural needs of the community. As a part of Atlantic Center for the Arts, it shares ACA’s commitment to provide services and support to all artists. Exhibitions at Harris House showcase Florida artists. A selection committee chooses exhibiting artists once or twice a year for the upcoming exhibition calendar. Harris House also promotes programs that provide further education about the works on exhibit. Gallery tours are available to community organizations and schools.

Sample Volunteer Manual—Atlantic Center for the Arts, cont. Personnel Management: Volunteer Management 165

Harris House serves as a multidisciplinary facility. Programs for adults and children are conducted in music, dance, literary, and visual arts. Hands-on workshops and outreach programs are provided through CAP (Children’s Art Programs), and scholarship opportunities are available. Adult education programs are offered for teachers, volunteers and the general public. Exhibiting artists host programs in conjunction with their exhibition. A lecture series is presented twice a year.

Harris House and Atlantic Center offer internships for high school and college students. The internship program is designed to give students opportunities to gain firsthand experience in arts administration and arts education.

ABOUT THE HARRIS HOUSE LEAGUE The Harris House League is the volunteer organization for Atlantic Center for the Arts.

League members, of all ages and diverse backgrounds, share a common commitment to furthering the growth of the arts in our community. Volunteers are vital to the daily operation of Atlantic Center in the following manner: assisting with fundraising, the Gift Shop and reception desk, mailings, community outreaches and educational programs.

The Board of Trustees and staff of Atlantic Center host an annual Volunteer Appreciation Luncheon each year to acknowledge outstanding service.

Harris House League members are required to provide 36 hours of service per calendar year in an activity or on a committee of their choice. There are many activities and committees from which to choose. Volunteers pay annual League dues that entitle them to discounts on program admissions and gift shop purchases.

ATLANTIC CENTER FOR THE ARTS STAFF

RESIDENCY CENTER Executive Director Ann Brady Development Director Karen Berson Programs and Marketing Manager James Frost Program and Residency Manager Nicholas Conroy Communications and Special Events Manager Nancy Lowden Norman Finance and Business Manager Mary Reekie Administrative Coordinator Thea Boggs Culinary & Facilities Supervisor Tom Kurtzhals Maintenance Assistant David Rheinschmidt Program Coordinator Ines Huergo

ATLANTIC CENTER AT HARRIS HOUSE STAFF Harris House Community and Education Manager Jeanne Dowis Harris House Programs and Operations Manager Mary McBride

Sample Volunteer Manual—Atlantic Center for the Arts, cont. The Ultimate Residency Resource Guide 166

HARRIS HOUSE LEAGUE 2004 EXECUTIVE BOARD OF DIRECTORS President Betty McNamara 1st Vice President Jane Peirson 2nd Vice President Jan Brant Corresponding Secretary JoAnn Clark Recording Secretary Barbara Makowski Treasurer Sue Flynn Historian Marie Steeves

HARRIS HOUSE LEAGUE COMMITTEE CHAIRS Mailing Carmen David Bylaws Linda Pepper-Mitchell Education Jane Peirson Programs Jenny Keiser & Peg Rogerson Volunteer Coordinator Shirley Grayson Gift Shop Hospitality Joan Bussard Membership Jan Brant Publicity Nancylee Fuller Ways & Means Linda La Fontaine & Laura Beckwith Workshops Judi Dold & Patt Carnevale & Shirley Begy Newsletter Nancylee Fuller League Advisor Juanette Imhoof

POLICIES

SMOKING Absolutely NO SMOKING is allowed anywhere in the buildings. Visitors should be asked to extinguish all smoking materials before they enter.

KITCHEN Feel free to use the refrigerator for lunch, drinks or snacks. Please keep the kitchen door (to the dining room) CLOSED. We do not want people looking into the kitchen, as it is disruptive to the gallery.

DRESS CODE Atlantic Center does not have a specific dress code for volunteers. Please dress as professionally as possible when on duty. A nametag should be worn at all times when serving as a volunteer.

GENERAL APPEARANCE OF WORK STATIONS Please keep your desks as neat and clean as possible in keeping with the aesthetic quality of the gallery. Do not bring personal photos or mementos for the front desk.

PERSONAL PHONE CALLS Please do not make personal phone calls.

DAILY OPERATIONS PROCEDURE Please advise staff when you arrive for your shift.

When you arrive and leave, sign the volunteer register. Record the total number of hours worked that day. It is very important to record your time.

Please call the next volunteer scheduled to work. AM volunteer calls PM volunteer, PM volunteer calls next day’s AM volunteer. If a volunteer is unable to cover their shift, it is that volunteer’s responsibility to find a

Sample Volunteer Manual—Atlantic Center for the Arts, cont. Personnel Management: Volunteer Management 167 replacement. If unable to find a replacement, the volunteer scheduling committee chair should be notified.

Check the schedule book to see when you are next scheduled to work. You may schedule your hours in advance. There is paper next to the book so you may write yourself a reminder of the date of your next shift.

Check the volunteer bulletin board (located above the sink in the kitchen at Harris House) for any new notices that may be posted by staff or League members. Announcements for meetings, special events and special needs will be posted on a weekly basis. If you have something you would like to post, please date it so that it can be removed in a timely manner.

Please check your workstation on a daily basis for cleanliness. If you see a problem, there is a dust buster mounted on the kitchen wall, glass cleaner, paper towels and other cleaning supplies under the kitchen counter. It is important that we project this facility in the best possible light. If you see something that needs to be done, call it to the attention of the staff.

Your interaction with visitors is an important part of their visit. Please make every effort to make their visit memorable. There is information in the desk to help you assist visitors.

PROCEDURES FOR RECEPTIONIST The general duties of the receptionist are to greet visitors and distribute information on the current gallery exhibition and programs, assist with gallery sales, maintain the guest book, record attendance, answer the telephone, take messages and assist the staff with special jobs as necessary.

Telephone: Please answer the phone “Atlantic Center at Harris House.” If the caller would like information that you that cannot provide, please forward the call to the appropriate staff member. Press the red HOLD button, then press the button above the name of the staff person you would like to reach.

Messages: The telephone message book is located next to the phone. It is not necessary to record all calls, only those directed to a particular person. Please deliver the message to the person and leave a duplicate copy (yellow) in the book.

Guest Register: We encourage people to sign the guest register; however it is not mandatory. They will NOT be put on the mailing list. They must be members of ACA to receive mailings—see below.

Mailing List: ACA’s mailing list is a benefit of membership. If guests would like to be placed on our mailing list, please get their name, address and telephone number. We will send membership information.

Attendance Sheets: Located at the front desk. Keep track of everyone visiting Harris House, including gallery visitors, school groups, attendance for receptions, League meetings, classes at Arts on Douglas, and any groups using the facility for meetings. Attendance is totaled at the end of each week. It is important to have an accurate count of attendance.

Contribution Jar: Located in the reception area. Visitors may wish to make a contribution, however it is not mandatory. If you are working the afternoon shift, please put the contribution jar on the floor in the alcove (so it is not visible from the front door) before going home. Money will be collected weekly by staff.

Gallery Sales: Please direct anyone wishing to purchase a piece from the exhibition to a staff member for assistance.

Gift Shop: It is not mandatory for front desk persons to work the gift shop. However, if no volunteer is working the gift shop and a visitor wants to purchase something, you may handle the transaction or call one of the staff members to do it.

Sample Volunteer Manual—Atlantic Center for the Arts, cont. The Ultimate Residency Resource Guide 168

HARRIS HOUSE LEAGUE COMMITTEES

Membership Committee contacts, welcomes, and provides orientation for new League members. The committee also introduces new members at League meetings and provides biographical information about new members for the newsletter. The 2nd Vice President chairs this committee.

Education Committee offers a challenging opportunity to work with the education department on Harris House and Atlantic Center programs. CAP (Children’s Art Programs) volunteers assist with multidisciplinary hands-on workshops and community outreach programs (Red Ribbon Rally, Black Heritage Festival, Images Art Ed. Tent.) Education volunteers also assist with the promotion and implementation of adult programs.

Volunteer Scheduling Committee schedules volunteers for the reception desks for both Harris House and Atlantic Center, as well as the Gift Shop at Harris House. Volunteer shifts are divided into two three-hour shifts, 10AM-1PM and 1PM-4PM, Monday through Friday and on Saturday from 10AM to 2PM.

The Reception Desk Volunteer is the first person to greet visitors to Atlantic Center and/or Harris House and informs them about current and upcoming exhibitions and programs. Reception Desk Volunteers answer the telephone, take messages, assist with bulk mailing, provide information on exhibitions and programs and collect program fees if applicable.

Gift Shop Committee maintains the displays, makes sure supplies are on hand (bags, sales slips, etc.) reports on sales at League meetings, plans occasional sales, solicits volunteer help for special occasions (gallery openings), and assists with inventory as needed.

Newsletter Committee creates articles and compiles news for the League newsletter that is published on a monthly basis. The committee reports on League activities, publishes dates and information for upcoming programs and events, and publishes the reception desk volunteer schedule.

Hospitality Committee is designed for volunteers who enjoy the art of entertaining. Committee members host special events and are responsible for the planning, preparation and serving of food and beverages for opening receptions and League meetings.

Mailing Committee assists in preparing mailings of the many brochures, invitations and newsletters prepared by Harris House and Atlantic Center staff.

Publicity Committee assists the staff in providing all public relations information regarding the Harris House League. Members of this committee prepare information for press releases on League activities.

Ways and Means Committee develops ideas for various fundraising activities and organizes and implements selected projects with support from all League members. Some past fundraising activities include a boutique, fashion show/tea, garage sales, bus trips, raffles, trunk shows, and Gallery Walk, and selling CAP cards and bot- tled water.

Program Committee selects and invites speakers, plans informative programs and outings for the League, makes all arrangements for summer luncheon meetings and provides the Newsletter Committee with accurate and complete information regarding all programming. The 1st Vice President chairs this committee.

Workshop Committee plans and oversees creative workshops for the League. The items created in these workshops are sold in whatever venue the League chooses (Gift Shop, boutique, etc.) The income from workshop activities helps the League achieve its objectives (CAP funding).

Bylaw Committee assists in the development of the rules to govern the League members and its affairs. Committee chair keeps a current copy of the bylaws posted on the bulletin board in the Harris House kitchen at all times.

Sample Volunteer Manual—Atlantic Center for the Arts, cont. Personnel Management: Volunteer Management 169

Special Projects Horsin’ Around is the major fundraiser of Atlantic Center for the Arts sponsored by the Board of Trustees. It consists of a silent and live auction, which benefit Harris House and Atlantic Center. The volunteers ensure the success of this event by soliciting donations, selling tickets and serving as auction attendants.

Tour of Homes is a yearly event that in part enables Atlantic Center to bring IMAGES: A Festival of the Arts to New Smyrna Beach. Volunteers assist in ticket sales and promotion, plan and organize the home tour, staff the selected tour homes, organize a fundraising cocktail party, and provide food and hostesses for the party.

IMAGES: A Festival of the Arts is Atlantic Center’s newest endeavor to promote art and culture in New Smyrna Beach. Volunteers participate in many activities during the festival: children’s art education tent, judge assistance, festival information, merchandise sales, and artist check-in.

PROCEDURES FOR THE HARRIS HOUSE GIFT SHOP The general duties of the gift shop clerk are to assist customers with sales, receive and record payments, package sales, stock inventory, and display merchandise.

Sales: the shop uses a cash box and sales receipts. All receipts are numbered and each must be accounted for. If you make a mistake VOID the receipt and leave it attached in the book. If you accidentally pull it out, put the receipt in the cash box. Sales receipts must include: Date Method of payment (cash, check #, MC or VISA) Sales clerk’s initials Item Inventory Number Description Price Member’s Discount (10% off) Sales Tax—6.5% Total Amount of Sale

Members receive a 10% discount. Deduct the discount from the sale before the tax is added.

Make sure all checks have a local phone number. Any Check over $50 should have a driver’s license number on the back.

For MC/VISA sales authorization see the sheet on the wall above the sales counter.

Cash Box: should be returned to the pantry at the end of the afternoon shift.

General Appearance of the Shop: upon arrival, check the merchandise displays to make sure they are neatly arranged and clean. Cleaning supplies are located in the kitchen.

If you should have a problem with a shoplifter, call a staff member immediately. Do not confront the shoplifter. There are certain legal procedures that must be followed to prosecute a shoplifter.

Sample Volunteer Manual—Atlantic Center for the Arts, cont. The Ultimate Residency Resource Guide 170

Atlantic Center at Harris House Emergency Procedures

IN CASE OF AN ACCIDENT If an accident occurs while you are working, give help to the injured person according to the gravity of the situation. Immediately notify a staff person. Action taken then will be the responsibility of a staff member, an accompanying adult, teacher, or chaperone.

In the case of a major accident where the press may be involved, please refer all questions from the press to a staff member.

IN CASE OF A FIRE If the fire alarm goes off, do not panic. Please ask everyone in the building to exit through the nearest emergency exit.

(Harris House) Once out of the building, everyone should meet on the sidewalk in front of Harris House. This will allow the back parking lot to remain clear for access by the fire department.

(Residency Center) Proceed to the main entrance at ACA.

Staff members will assist the fire department, paramedics and police in the performance of their duties as they are requested to do so.

IN CASES OF UNRULINESS School groups are accompanied by teachers and/or chaperones. If a problem develops that the accompanying teacher does not handle, consult a staff member. Any activity that endangers the children, works of art, or anyone else in the gallery cannot be permitted. Staff and/or gallery guides conducting tours will explain the gallery rules to the group prior to the start of the tour.

In Case of Emergency or Accident

911 Atlantic Center for the Arts should be XXX-XXXX notified for insurance purposes

In Case of a Problem with Alarm

Atlantic Center for the Arts XXX-XXXX David Rheinschmidt, Maintenance Assistant (after hours) home phone: XXX-XXXX

Horizon Technology Group (Harris House) 1-XXX-XXX-XXXX

Sample Volunteer Manual—Atlantic Center for the Arts, cont. Chapter III

ARTISTS’ MANAGEMENT Artists’ Application Forms Artists’ Management: Artists’ Application Forms 173

RESIDENCY APPLICATION

RESIDENCIES: The Anderson Center offers short-term residencies of two weeks or one month from May-October to artists, writers, scholars, and scientists. Through a grant from the Jerome Foundation of St. Paul, the Center annually devotes the month of July to encourage the work of emerging artists from New York City and Minnesota. Performance space is available for dancers and choreographers during the month of August. The Anderson Center is in Red Wing, Minnesota, which is 45 minutes Southeast of Minneapolis and St. Paul. Transportation is provided between the Anderson Center and the Twin Cities airport. Visual artists are provided a 20’ x 40’ studio. Other work spaces on site include: a black and white equipped darkroom, a kiln, and a glassblowing studio. Each resident is provided room, board, and workspace for the length of the stay of the residency period. In return, each resident is asked to serve the community of Red Wing or its surrounding area, by giving a talk, lecture, reading, performance, or classroom activity.

RESIDENCY PERIODS: Anderson Center residencies usually begin on the 1st or 16th of each month and end on the 15th or last day of each month for periods of 2-4 weeks. Your residency period must be selected within these guidelines. If you have been a prior resident of the Anderson Center, you must wait two years from the time of your residency to apply again.

APPLICATIONS: Each completed application must include: completed application form, resume, work plan, work sample and a self addressed stamped envelope for notification. We are sorry, but due to our limited staff we are unable to return work samples. Provide five stapled packets of all printed application materials. Work samples should be of recent work and should include: 1. Scientists and scholars: five copies of 1 published article 2. Composers: 1 tape or CD of recorded music 3. Sculptors: 1 set of 5 slides 4. Painters: 1 set of 5 slides 5. Photographers: 1 set of 5 slides 6. Nonfiction and fiction writers: five copies of 10 pages of prose 7. Poets: five copies of 10 pages

DEADLINES: For residencies during the months May-July, apply by February 1. For residencies during the months of August-October, apply by March 1. Completed applications must be postmarked by these deadlines in order to be considered within the judging period.

SELECTION: Decisions are made by our selection panel and are announced 30-45 days after the application deadline. The Anderson Center encourages applicants of all disciplines to apply for admission. The Anderson Center does not discriminate in its programs and activities on the basis of race, religion, national origin, sex, age, and/or disability. The Anderson Center reserves the right to end a guest’s visit, when circumstances deem necessary, for the good of the community.

The Anderson Center at Tower View, P.O. Box 406, Red Wing, MN 55066,651- 388-2009 E-mail: [email protected], Web site: www.AndersonCenter.org Please fill out the following application on-line or print and fill out by hand to include with other application materials.

Sample Residency Applications—Anderson Center The Ultimate Residency Resource Guide 174

(on-line application) THE ANDERSON CENTER AT TOWER VIEW APPLICATION FOR RESIDENCIES P.O. BOX 406, RED WING, MINNESOTA 55066 PLEASE TYPE OR PRINT ALL INFORMATION INFORMATION FURNISHED WILL BE CONFIDENTIAL TO THE CENTER

Date / / Name:

Permanent Address:

City:

State:

Zip:

Telephone: Home:

Telephone: Work:

E-Mail Address:

Residency Periods: Two week stays are acceptable but month-long stays are preferable. Period of residency dates (1-30, 1-15, or 16-30) and the months (May, June, July, August, September, October). July is reserved for emerging artists from New York City and Minnesota. Please give dates of residency period for which you are applying:

*First choice:

*Second choice:

*Third choice:

Field of Application (check one): anthropology dance history poetry archaeology drama mixed media pottery biology fabric/textile nonfiction screenwriting botany fiction painting sculpture children’s geology photography translation literature composition/music glassblowing playwright Other

Collaboration: Yes No If applicable, list collaborating artists:

NOTE: Each collaborator should apply separately.

Sample Residency Applications—Anderson Center, cont. Artists’ Management: Artists’ Application Forms 175

Were you ever a Resident of the Anderson Center Program?

If yes, when?

References: Please list names, phone numbers, and complete addresses of two authorities in your field who know you and your work. Reference #1 Name: Address:

City:

State:

Zip:

Telephone: Home:

Telephone: Work:

Reference #2 Name: Address:

City:

State:

Zip:

Telephone: Home:

Telephone: Work:

Work Plan: Describe on a separate sheet how you plan to use the period of residency. Please be concise and clear.

APPLICATION CHECKLIST Completed application form(5) Professional resume(5) Work plan(5) Supporting materials such as slides, scores, audio, VHS cassette or CD. Manuscript(5) Stamped, self-addressed envelope for notification February 1 or March 1 postmarked deadline

Sample Residency Applications—Anderson Center, cont. The Ultimate Residency Resource Guide 176

P. O. BOX 567 ● GATLINBURG, TN 37738 ● (865) 436-5860 ● FAX (865) 430-4101 ● EMAIL: [email protected]

NAME

CURRENT ADDRESS

CITY/STATE/ZIP

TELEPHONE NUMBERS (BOTH HOME, OFFICE OR STUDIO)

FAX EMAIL

PERMANENT ADDRESS (IF DIFFERENT FROM ABOVE)

INCLUDE THE FOLLOWING ITEMS WITH THIS APPLICATION: ❏ Twenty (20) slides of your most recent work. Submit your slides in a plastic slide sleeve. Label each slide with title, medium, size and date executed. ❏ Two (2) letters of recommendation ❏ $25.00 non-refundable application fee ❏ Resume ❏ A personal statement including why you selected Arrowmont, your future goals and what you expect to gain from Arrowmont’s Residency Program. Include any other information which you feel best represents you.

Application Deadline: February 15 Residencies begin in mid-June and run through mid-May.

WHO SHOULD APPLY? The ideal candidate for Arrowmont’s Artist-In-Residence Program is pre-professional, self-directed and able to work independently as well as in a group. The candidate should be eager to be involved with Arrowmont’s diverse existing programs such as conferences, adult and children’s classes, Elderhostel, and community outreach with varied age groups. Candidates who enjoy the “team spirit” in working with staff, visiting faculty and other residents are encouraged to apply.

_____Yes _____No I wish to apply for scholarship assistance through the Trabue Professional Arts Program for Women. (Please include a letter indicating your financial need, plus a letter of support related to your financial needs.)

PLEASE SEND THE ABOVE INFORMATION, ALONG WITH A SELF-ADDRESSED, STAMPED ENVELOPE TO: ARROWMONT SCHOOL OF ARTS AND CRAFTS ARTIST-IN-RESIDENCE PROGRAM P. O. BOX 567 GATLINBURG, TN 37738

Sample Residency Applications—Arrowmont School of Arts & Crafts Artists’ Management: Artists’ Application Forms 177

Art Farm 1306 West 21 Road Marquette, NE, 68854-2112, USA

Art Farm’s artist residency season is from 1 June to 1 November. Applications will be considered after the deadline dates if there are vacancies. Please call or e-mail to check. Ask for Janet Williams or Ed Dadey if you have any further questions. Phone: 402.854.3120 e-mail: [email protected]

Please print, type or use a word processor to fill in the application form NAME: ADDRESS: STATE/PROVINCE: POSTAL CODE/ZIP: COUNTRY: TELEPHONE: E-MAIL: CONTACT ADDRESS: STATE/PROVINCE: POSTAL CODE/ZIP: COUNTRY: BIRTH DATE: MEDIA YOU WORK IN:

1.) Give a brief statement of why you would like to do a residency at Art Farm.

2.) Give a brief description of your intended project/s at Art Farm.

3.) Part of your residency at Art farm is helping renovate buildings, maintain grounds, and create objects for fundraising, etc. for 12 hours per week. Briefly, summarize your skills and experiences, which you think could best aid in the renovation, maintenance, or running of Art Farm.

Sample Residency Applications—Art Farm The Ultimate Residency Resource Guide 178

4.) Please fill in names, addresses and telephone numbers of 2 references from within and 1 reference outside your discipline. Applicants outside the United States please send written references when applying.

REFERENCE WITHIN DISCIPLINE

NAME: ADDRESS: STATE/PROVINCE: ZIP: COUNTRY: TELEPHONE: Office Home Studio E-MAIL:

REFERENCE WITHIN DISCIPLINE

NAME: ADDRESS: STATE/PROVINCE: ZIP: COUNTRY: TELEPHONE: Office HomeStudio E-MAIL:

REFERENCE OUTSIDE DISCIPLINE

NAME: ADDRESS: STATE/PROVINCE: ZIP: COUNTRY: TELEPHONE: Office Home Studio E-MAIL:

5.) How did you hear about Art Farm?

Indicate your preferred dates of residency and then an alternative set of dates between 1 JUNE and 1 NOVEMBER (If it is possible for you, we recommend residencies of 2 months or longer as it can take a few weeks to adjust to the environment).

Preferred Dates From: To:

Alternate Dates From: To:

Signature Date:

Sample Residency Applications—Art Farm, cont. Artists’ Management: Artists’ Application Forms 179

* We will accept images of your work in other formats: TIFF or PDF images on DVD+RW, DVD-R, CD ROM (IBM compatible or ISO 9660 format), or JPG (640x480 pixels minimum.) by e-mail, photo quality computer printouts, VHS, Hi-8 (S- video), URL to your Web site, etc. Please call or e-mail for details before sending.

Sample Residency Applications—Art Farm, cont. The Ultimate Residency Resource Guide 180

INTERNATIONAL ARTIST-IN-RESIDENCE PROGRAM: APPLICATION FORM MATERIALS MUST BE POSTMARKED OR DELIVERED BY 5:00 PM, MONDAY, AUGUST 30, 2004

PERSONAL INFORMATION Name: First Middle initial Last Address: City: State: Zip: Home phone: ( ) Cell: ( ) Work phone: ( ) Fax: ( ) E-Mail:

PERMANENT ADDRESS (IF APPLICABLE)

Address: City: State: Zip:

GALLERY CONTACT (IF APPLICABLE)

Gallery name: Contact: Address: City: State: Zip: Telephone: ( ) Fax: ( )

APPLICATION CHECKLIST REQUIRED MATERIALS OPTIONAL INFORMATION

Please submit your application in the following order VHS tapes, CDs, or DVDs indicating the items included: Additional materials such as reviews and catalogues. One completed application form Please list: Two labeled sets of up to 20 slides

Two typed slide lists

Two typed CVs, including current exhibition history, bibliographic information, and brief artist statement

Artpace maintains a Texas artist registry, which is visited regularly by guest curators and other arts professionals. Materials submitted may be retained for the registry unless otherwise specified. Please clearly identify all materials with your name. Enclose a self-addressed stamped envelope with adequate postage if you would like the materials returned. Artpace cannot be responsible for lost or damaged materials.

Send materials to: Artpace, Open Call, 445 N. Main Avenue, San Antonio, TX 78205-1441 Questions?: Please contact Artpace by phone 210.212.4900 x123, fax 210.212.4990, or e- mail [email protected]

Sample Residency Applications—Artpace Artists’ Management: Artists’ Application Forms 181

The Ragdale Foundation Application for Residency 1260 North Green Bay Road, Lake Forest, Illinois 60045 (847) 234-1063 x206, [email protected] www.ragdale.org Postmark deadlines: Jan. 15th for June-Dec., Notification, April 15th and June 1st for Jan.-May, Notification, Sept. 1st. Postal holidays automatically extend the deadline to the next day. Please Print Clearly and Circle Responses Date ___ / ___ / ______Deadline: Jan. 15th June 1st Mr. Ms. ______Street______City______State/Country______Zip______Phone (Home)______(Work or Cell)______Email______

Ragdale Alum? Yes No Last Applied in What Year?______

Artistic Discipline Apply for only one category per deadline. Poetry Fiction Nonfiction Play/Screenwriting Musical Composition Visual Art (Circle if you will use: toxics power tools) Other______

Preferred Residency Dates (If you are accepted, exact dates will be discussed. Residencies begin on a Thursday and end on a Wednesday.)

Months Available (circle all that apply) (June Deadline) January February March April May June

(January Deadline) July August September October November December

Number of weeks requested 1st choice: 2468 2nd choice: 2468

Available Anytime? Yes No Dates NOT Available______

PLEASE NOTE − Late applications will not be accepted. − Submissions are judged anonymously and mainly based on work samples. − Nonrefundable application fee is $30 − $25/day residency fee covers food and a private room. Most baths are shared. − Limited financial aid is available. Request an application after acceptance. − Financial aid deadlines are May 15th for June-Dec. and Oct. 15th for Jan.-May. − Collaborators must apply individually unless all have previously been to Ragdale as residents.

Sample Residency Applications—The Ragdale Foundation The Ultimate Residency Resource Guide 182

APPLICATION CHECKLIST Do not put names or identifying information on proposal, summary, slide list or work samples.

___This completed application form and checklist

___$30 Nonrefundable application fee

___A one-page Artists Statement/Proposal (4 copies). Address concept and direction of work presented, stage of career and why Ragdale is important to your project. If you had a prior Ragdale residency, address what has been achieved since that stay. The final paragraph should be a 2-4 sentence explanation of what you plan to work on at Ragdale.

___A one-page blind summary of professional arts/writing/compositional activities and achievements (4 copies). This should include educational background, teaching, publications, exhibitions, awards, honors, and other pertinent experience.

___Work samples from the last three years. See below for genre specifics. Written work samples will not be returned. Ragdale retains two slides for accepted visual artists. - Writers: 4 copies (stapled) of up to 20 pages, 12 pt. font, double spaced unless in play or screenplay format. - Poets: 4 copies (stapled) of 10 poems, up to 20 pages, 12 pt. font. - Composers: 3 copies of 2 scores with copies of matching tapes/CDs for each. Cover names. - Visual Artists: 7 slides labeled with your name at the bottom and a red dot in the lower left-hand corner and 5 copies of a slide list. - Performance Artists: 2 copies of a video or DVD.

___Two one-page letters of recommendation sent or emailed, Attn: Admissions, by the person writing the reference. Relationship to applicant, applicant’s work, qualifications, and ability to participate in a community must be addressed. Letters from family or spouses are not appropriate. New letters are NOT needed if you applied for a residency in the last 5 years.

___Composers, visual and performance artists must include a self-addressed, stamped envelope and proper pack- aging for safe return of materials.

Packet should be put together in the following manner: Proposals and summary must be stapled. Writers and poets staple these to the top of written samples. Visual artists staple these to the top of slide lists (you will have one slide list by itself). Composers and performance artists attach them to scores, CDs or tapes when possible. Send to the Ragdale address, Attention: Admissions.

Applicant Demographic Information Please circle all answers. Response to this section is voluntary. Applicant information is gathered for statistical evaluation to improve and expand Ragdale’s service to artists. This information has absolutely no part in the selection process.

How did you learn about Ragdale? Alumni Ragdale or Other Web site Artists’ Communities Directory Brochure/Application Ad in (specify)______Presentation (specify)______Other (specify)______

Gender: MF Age: 20-35 36-45 46-55 56-65 66+ Household Income: less than $25,000 $25-40,000 $41-60,000 $61,000+

Ethnicity: Asian/Asian American Black/African American Hispanic/Latino White/Caucasian American Indian/Native Alaskan Middle Eastern Other (specify)______

Years Making Art: 1-5 6-10 10+

Sample Residency Applications—The Ragdale Foundation, cont. Artists’ Management: Artists’ Application Forms 183

Santa Fe Art Institute PO Box 24044 Santa Fe, NM 87502-0044 Phone (505) 424-5050 fax (505) 424-5051 [email protected] www.sfai.org

Artists & Writers in Residence Program Application Acceptance to the Santa Fe Art Institute’s Artists & Writers in Residence program is based upon an application review. Applicants must fill out the application form and return it with the appropriate information and a $25 nonrefundable application fee. If applying as a collaborative group, there is a flat fee of $40 for processing; however, each artist or writer must submit a separate application and work sample.

Residency Costs Currently, there is a fee of $1,000 per month for the Artists & Writers in Residence Program. Sliding scale fee waivers and need-based scholarships are available. Accepted applicants will be notified regarding reduced-fee information. If you are requesting financial assistance, please send a copy of your most recent Federal Income Tax Return with your application.

Applicant’s Data (please type or print clearly)

Name

Date and place of birth

Permanent home address

City/State/Zip

Telephone

e-mail

Current mailing address (if different from above)

City/State/Zip

Telephone

Preferred dates for Residency (please note the maximum length of residency is three months)

How did you hear of the Santa Fe Art Institute?

The information I have supplied on this application is true to the best of my knowledge and beliefs. I understand that the material submitted with this application (except the work sample) becomes the property of the Santa Fe Art Institute and will not be released to another party.

Date Signature

Social Security No.

Sample Residency Applications—Santa Fe Art Institute The Ultimate Residency Resource Guide 184

Santa Fe Art Institute PO Box 24044 Santa Fe, NM 87502-0044 Phone (505) 424-5050 fax (505) 424-5051 [email protected] www.sfai.org

Application Instructions 1. Fill out the application form completely and enclose the non-refundable application fee of $25. If applying as a collaborative group, there is a flat fee of $40 for processing. There must be a separate application and portfolio for each artist (check or money order payable to Santa Fe Art Institute).

2. Please include a current resume, exhibition history, work experience, travel, and any other information supporting your desire to attend the Santa Fe Art Institute.

3. Work Sample

Visual Artists: Ten (10) slides of work created in the last two years. Please include a descriptive slide list. Mail returnable examples of your work to the Santa Fe Art Institute. The Institute can not assume responsibility for loss or damage to applicants’ portfolios.

Digital Artists: Please include a CD-ROM formatted for Macintosh computers. Artists can also submit a NTSC-formatted VHS videotape of work created. Please note that due to the number of applications received, jurors will only view FIVE minutes of video work. Please edit accordingly.

Writers: A 10-page writing sample in any genre (poetry, fiction, non-fiction). Please use a 12-point, easy-to- read font. With the exception of poetry, these pages should be double-spaced.

4. Please include the name, address, email, and phone numbers of two references. Letters of reference should be made available on request.

5. Please include an SASE with appropriate postage for your work sample to be returned.

6. If you will be requesting financial assistance, please include a copy of your most recent Federal Income Tax Return.

Please send all application materials to: Santa Fe Art Institute Artists & Writers in Residence Program P.O. Box 24044 Santa Fe, NM 87502-0044

NON-DISCRIMINATION POLICY The admission, the awarding of scholarship(s) and the pursuit of all Institute activities is made without consideration of racial or ethnic origins, sex, or religion. The Santa Fe Art Institute is a 501 (c) (3) not-for-profit organization incorporated under the laws of the State of New Mexico.

Sample Residency Applications—Santa Fe Art Institute, cont. Artists’ Management: Artists’ Application Forms 185

UCROSS FOUNDATION RESIDENCY PROGRAM APPLICATION GUIDELINES

ELIGIBILITY: The Residency Program is open to visual artists, writers, composers, interdisciplinary or performance artists and collaborative teams. Applicants must exhibit professional standing in their field; both mature and emerging artists of promise are welcome to apply.

ADMISSIONS: Residents are chosen by a rotating panel of professionals in the arts and humanities.

APPLICATION DEADLINES: Postmark deadlines for completed applications are October 1 for residencies within the Spring Session (early February to early June) and March 1 for residencies with the Fall Session (early August to early December). The Residency Program is closed for most of December, January and July. Applications and supporting materials must be postmarked by the application deadline. Incomplete applications will not be reviewed. All applications must be submitted by regular mail.

SESSION SCHEDULE: Notification of the status of your application takes 8-10 weeks. While every effort is made to accommodate applicants’ scheduling requests, we are not always able to grant first choices. Please indicate flexibility and restrictions on your application. If you are accepted for a time you are not available, please contact the Executive Director. A scheduling change could occur to your advantage.

REFERENCES: Each applicant is responsible for requesting three letters of reference from qualified individuals who are familiar with his or her work. References may be included with the application or sent under separate cover. Those writing letters of reference for you should identify their professional affiliation and are urged to honor the application deadlines. References received by the Foundation are confidential and will be kept on file for five years. Providing up-to-date reference letters relevant to your application for a residency is encouraged.

REAPPLICATION: Artists who have applied in the past, including those who had Alternate status, must submit new and complete applications to be considered for another session, including recent work samples. Previous residents who are reapplying must also submit complete applications including recent work samples. An artist may return to Ucross after three years has elapsed since his or her previous residency. (You would be able to reapply in 2 years.)

COLLABORATION: If applying as a collaborative team, both or all artists need to submit separate applications along with a joint project proposal. Your work samples may be individual or evidence of your previous collaborations. Please indicate in the proposal what requirements you have for work space.

COUPLES: Couples composed of two artists may apply individually for concurrent residencies with the understanding that one might be accepted and the other not. Every artist accepted for a residency will be offered a private studio. The Foundation is unable to invite spouses or partners to accompany artists-in-residence under any other circumstance.

PETS: No pets are allowed at the Foundation.

SMOKING: Smoking is not permitted in any Foundation building.

FEES: Your application must be accompanied by a $20 processing fee. If accepted, a resident is asked to submit a $50 deposit which is refunded following a residency and is not refundable if a residency is cancelled. There are no fees charged for a residency.

INTERNATIONAL APPLICANTS: The Ucross Foundation recognizes that artists applying from other countries may have special requirements to make their residency successful. If you are applying internationally, please communicate any additional information or questions to the Foundation so that we may address your circumstance individually.

Sample Residency Applications—Ucross Foundation The Ultimate Residency Resource Guide 186

FACILITIES: Each selected resident is offered room, board and studio space. An etching press and a letterpress are available to qualified users for a small fee. These facilities must be reserved in advance. The average size for a visual studio is 200 square feet. All studios have running water and natural light. There is barrier-free access to some studios. Choreographers and performance artists should note that though we have no dance facility, a large loft floor is available and may be reserved in advance.

WORK SAMPLE REQUIREMENTS

ALL DISCIPLINES: Current work is requested. The nature of the work sample submitted should correspond to the nature of the work you propose to do while in residence. An applicant’s work sample is the most significant feature of his or her application. Unless work is interdisciplinary, i.e., the various genres interconnect, each applicant is encouraged to apply in a primary discipline and submit a work sample and project description which emphasizes this single discipline.

VISUAL ART: Submit 10-15 slides of recent work. Each slide should be marked with your name and a number corresponding to numbers on an accompanying Data Sheet listing all slides submitted along with the artist’s name, title of the piece, medium, size and year of completion. A red dot must be affixed to the lower left corner of the image. Do not send portfolios, original work or previously submitted slides.

WRITING: Your writing sample should be representative of the genre which you plan to work on in residence. Your name and the date of completion should appear on the sample. Do not send books or bound manuscripts. Writing samples should be photocopies of published work or clean, double- spaced, numbered manuscript pages in a common font. Single-spaced mss., italic, bold or novelty font submissions will not be read. Appropriate samples are as follows:

Fiction: 20 pages of fiction: a novel excerpt, a story or stories Poetry: 10 pages of poetry Nonfiction: 20 pages of nonfiction Playwriting: one complete play* Screen writing: one complete screenplay*

* Documentation of a stage production on VHS may be included in addition.

FILM/VIDEO: Submit VHS videotape. Film/video scriptwriters should also send a script. Label each sample with your name, title, duration and date of work.

MUSIC COMPOSITION: Composers should submit a cassette or CD. Label sample with your name, title, duration and date of composition.

DANCE/PERFORMANCE ART: Submit VHS videotape. Label sample with your name, title, duration and date of work.

OTHER ARTISTS: If your project does not fall clearly within one of the above disciplines, please contact the Executive Director to discuss an appropriate work sample.

WORK SAMPLE RETURN: While every precaution is taken to handle work samples with care, the Ucross Foundation is not responsible for their condition. Do not send one-of-a-kind items and do not send your only copy. Work samples will be returned only if you provide a self-addressed stamped envelope of sufficient size with sufficient postage. No metered postage on return material.

Sample Residency Applications—Ucross Foundation, cont. Artists’ Management: Artists’ Application Forms 187

UCROSS FOUNDATION RESIDENCY PROGRAM RECOMMENDATION FORM

______has applied for admission to the Ucross Foundation Residency Program and has listed your name as a reference. The Residency Program provides artists and writers with room, board and studio space so that they may concentrate on creative projects. In addition to your assessment of the applicant’s work, please comment on his or her ability to be self-motivated in an unstructured program and interact congenially within a small community. References are kept confidential. You may answer on this sheet or on your own letterhead. Thank you for your response.

Please print or type:

Name: ______Title: ______Date: ______Institution: ______Phone Number: ______Signature of Recommender ______

References may be returned to the candidate or mailed directly to the Ucross Foundation Residency Program 30 Big Red Lane Clearmont, Wyoming 82835 Fax: (307) 737-2322, Phone: (307) 737-2291

This form may be duplicated.

Sample Residency Applications—Ucross Foundation, cont. The Ultimate Residency Resource Guide 188

Please read our Application Guidelines before completing this form

UCROSS FOUNDATION RESIDENCY PROGRAM APPLICATION FOR RESIDENCE

1. NAME: (Ms., Mr.)______

2. PERMANENT ADDRESS: ______

CITY: ______STATE: ______ZIP: ______

3. TELEPHONE: (home) ______(work) ______

4. OCCUPATION: ______

5. FIELD OF CREATIVE ENDEAVOR IN WHICH YOU ARE APPLYING:

______

Fields: Painting, Sculpture, Photography, Printmaking, Installation, Fiction, Poetry, Nonfiction, Playwriting, Screenwriting, Music Composition, Choreography, Performance Art or New Genre (Please describe).

6. DATE OF BIRTH (optional): ______CITIZENSHIP: ______

7. RESIDENCY PERIOD for which you are applying. Please check one: ( ) FALL SESSION (August/September/October/November/early December) Deadline: March 1 of same year

( ) SPRING SESSION (February/March/April/May/early June) Deadline: October 1 of prior year

8. SCHEDULING INFORMATION: Residencies start on Mondays and end on Fridays, running for periods of two weeks (11 days) to 8 weeks. a. Number of weeks you are requesting: 2 ( ) 4 ( ) 6 ( ) 8 ( )

b. First choice: From ______to ______, 20______Second choice: From ______to ______,20______

Competition for residencies varies seasonally and with the number of applications. Please indicate below your flexibility throughout the session, including dates you are not available:

9. APPLICATION HISTORY: a. Is this your first application to the Ucross Foundation Residency Program? Yes ( ) No ( ) b. If no, date of your most recent application: ______c. If you are a previous Ucross Resident, please give the date(s) you were in Residence: Application history information is for statistical purposes only. It does not affect your application.

______

Sample Residency Applications—Ucross Foundation, cont. Artists’ Management: Artists’ Application Forms 189

10. How did you learn about the Ucross Foundation Residency Program?

11. DESCRIPTION OF PROJECT: On a separate sheet, please describe your work plans for your stay at the foundation.

12. REFERENCES: Each applicant is responsible for requesting three letters of reference from qualified individuals who are familiar with his or her work. References may be included with the application or sent under separate cover. Letters of reference must be postmarked by deadline. Please indicate the name, affiliation and phone number of the three references from whom you have requested letters:

1. ______2. ______3. ______

13. PROFESSIONAL DOCUMENTATION: Please attach a current resume or vita providing education history; awards, grants and fellowships received; artists’ residencies attended; and a list of professional achievements in your field (exhibitions, publications, performances, recordings).

14. WORK SAMPLE: Please see APPLICATION GUIDELINES for details. List briefly here what you have included as your work sample:

______

15. WORK SAMPLE RETURN: Please see APPLICATION GUIDELINES for details. Check one: ( ) SASE enclosed. ( ) Do not return work sample

16. PROCESSING FEE: A nonrefundable processing fee of $20 is required with each application. Checks should be made payable to the Ucross Foundation.

17. APPLICANT’S SIGNATURE: ______DATE: ______

18. CHECKLIST:

FOUR copies: REFERENCES: ______Application Form ______Sent under separate cover ______Project Description ______Included ______Resume/Vita ______Combination/other. ______Data Sheet (visual artists only) Please explain: ONE copy: ______Work Sample ______Processing Fee

SEND APPLICATION TO: Ucross Foundation Residency Program 30 Big Red Lane Clearmont, WY 82835 U.S.A. (307) 737-2291

Sample Residency Applications—Ucross Foundation, cont. The Ultimate Residency Resource Guide 190

Workspace for Choreographers

567 WOODWARD ROAD, SPERRYVILLE, VA 22740 (540) 987-9234

APPLICATION

A residency at the Workspace begins with filling out this application. In most cases, your answers to these questions are my only way of getting to know you, and of imagining how you will use the time here. It’s your opportunity to tell me about your relationship to your work: what issues you have struggled with in the past, where you are in its evolution, what you envision for its future. Please take time to think about what you would do with time here in that context. I encourage you to send along any supportive materials that might help me envision where you are headed; videos aren’t required but can be helpful.

We have nine slots to fill each year. It’s not the best place for every person, sometimes it’s not the best time. I’m looking for choreographers who will make the most use of what this particular situation offers: seclusion, intimacy with nature, an empty studio, focus without pressure, interaction with me. I’m looking for people who can formulate a problem to be addressed and are not preparing for performance in the immediate future. You will be asked to share your process with me through this application, informal talk, and my presence at some rehearsals of your choice, however, the amount and kind of feedback you get is entirely up to you. This requirement comes from a desire to see what the Workspace is contributing, not from pressure for you to produce.

Name:______

Address:______

City:______State:______Zip:______

Home phone:______Work phone:______

Good times to reach you:______

E-mail address:______

YOU CAN APPLY FOR ANY PERIOD OF TIME UP TO A MONTH

APPLICATION DEADLINE MARCH - APRIL: OCTOBER 1 OF PREVIOUS YEAR MAY - AUGUST: FEBRUARY 1 OF THE SAME YEAR SEPTEMBER - NOVEMBER: JUNE 1 OF THE SAME YEAR

Sample Residency Applications—Workspace for Choreographers Artists’ Management: Artists’ Application Forms 191

Please answer these questions in detail to give a clear picture of what you plan to do here. It’s important to address each topic but feel free to use the internal questions as guideposts. These plans aren’t written in stone—the value is in making them, then seeing what adjustments are called for after you arrive.

1. What attracts you to this situation? How do you imagine using long stretches of time uninterrupted by the distractions of your usual schedule? How do you plan to make use of the closeness of nature?

2. Please tell what you plan to work on and how you plan to approach that work. What stage of development is it in at this point? What kind of preparation will you have done when you arrive? If you are creating a piece, how long do you expect it to be? Does it involve others? In what way?

3. How do you imagine incorporating the requirement to share your process with me? What kinds of feedback have you found supportive in the past? How can we work together to maintain the perspective that I am here to support your process, not evaluate your product?

4. In the context of your work in general how is this plan a new exploration? How has your work evolved? Please reflect on its strengths and weaknesses, choices made, roads not taken. What makes you feel that this is a good time in your life to be here?

5. The Workspace offers individual or group lessons with Sally, who is a certified Feldenkrais® practitioner, to residents free of charge. If you anticipate taking advantage of this, please tell us: a) what kinds of body work you have done in the past, b) how this work has effected your development, and c) how you imagine this body work contributing to your plan. In case this is a brand-new area for you, please read the enclosed article and answer part (c) of the question.

6. Will you be under any completion or performance deadlines? Will you be working with professional deadlines of other kinds: grants, booking arrangements? If so, please specify. If you had no deadline for a performance would you use the time here differently? Can you incorporate any of these activities into your plan as it now stands?

7. Since I live above the space in which you will be working, the amount of noise you expect to make is important to me. If you rely on music, how constant is your use of it? Do you feel flexible about the volume you use?

8. When would you like to come? For how long? Please include a first and second choice. Do you fore- see bringing anyone with you? If it is possible for you to arrange a Monday or Wednesday arrival time, that is our preference, and a Tuesday or Thursday departure.

9. How possible is it for you to clear the decks of other obligations and the maintenance of professional contacts so that you can focus on the work at hand while you’re here?

10. The studio isn’t available on Sundays. In addition, there is a weekly Feldenkrais class and individual Feldenkrais lessons scheduled in the space during the week. Most visiting choreographers find that there’s plenty of available time. Do you feel at ease working around a schedule?

11. How did you hear about the Workspace?

Feldenkrais® is a registered service mark of the Feldenkrais Guild®.

Sample Residency Applications—Workspace for Choreographers, cont. The Ultimate Residency Resource Guide 192

Ragdale Foundation Application for Financial Aid 1260 North Green Bay Road, Lake Forest, IL 60045 (847)234-1063, extension 206 [email protected]

Applying for (circle one): July-December January-June, of (Year)_____

Name______Address______Phone______Email______

A limited number of full and partial fee waivers are available to residents on the basis of need and availability of funds. Financial assistance decisions are made subsequently to and separately from the awarding of residencies.

Please fill out this form after you have been notified of your acceptance to the residency program. To apply for financial assistance, describe your financial needs and reasons for requesting aid below. List your current expenses and sources of income. Please attach a copy of your most recent federal tax form 1040, including schedules A and C if applicable. Return your application to the address listed above within four weeks of receiving this form. Please allow 2-6 weeks for processing and review by the finance committee.

*When applying for aid, you need only send a $75 deposit.

All applicant financial information is kept strictly confidential.

Sample Financial Aid Applications—The Ragdale Foundation Artists’ Management: Artists’ Application Forms 193

APPLICATION FOR FINANCIAL AID

The Corporation of Yaddo is pleased to offer grants to writers who might not otherwise be able to take advantage of a Yaddo residency. The funds may be used for any purpose, such as loss of earned income during the residency, rent, medical bills, childcare, supplies, etc. This assistance is restricted to writers by the donor, who wishes to remain anonymous.

In addition, a separate fund exists to provide limited help towards the expenses of travel or renting equipment. All invited artists are eligible for this assistance. Awards from this fund are made in the form of reimbursements for expenses. Vendor receipts are required.

To apply, please provide the following information:

Name: Date: Social Security Number: Mailing address:

Telephone number: (home) (work) Email: Residency dates: From To Amount requested: Brief statement of need and how funds will be expended:

Please attach a copy of your most recent Federal tax return. International artists should include a comparable document. Artists applying for travel or equipment reimbursement should attach a budget with estimated expenses.

Yaddo must receive your application before the beginning of your residency. If you are awarded funds, a check will be issued to you during your residency period at Yaddo.

Please direct questions to Candace Wait, Program Director.

Sample Financial Aid Applications—Yaddo Artists’ Contracts & Policy Statements Artists’ Management: Artists’ Contracts & Policy Statements 195

______ATLANTIC CENTER FOR THE ARTS Associate Responsibility Form Master Artist’s Name:______

Your Name: ______

Address: ______

City: ______State: ______Zip:______

Please read and sign below.

1. RESPECTIVE PROPERTY OF THE PARTIES: The creative work and efforts of the Associate Artist shall be and remain the property of the Associate Artist. However, the documentation by audio/visual and photographic processes of the activities of Associate Artists while in residence shall remain the property of ACA. Associate Artist agrees to allow reproduction of said documentation for ACA’s promotional materials, at ACA’s expense.

2. HOLD HARMLESS: The Associate Artist agrees to indemnify and hold ACA harmless for any damage or loss incurred by ACA or on its behalf on account or due to the Associate Artist’s intentional or negligent conduct that causes loss or injury to another.

3. INDEPENDENT GUEST: During the visit to the New Smyrna Beach area, the Associate Artist is an independent guest. The Associate Artist agrees to be responsible for his or her own actions as they pertain to the local community and state and federal laws and regulations.

4. MEDICAL AWARENESS: Associate Artist is responsible for informing ACA of any serious or life threatening medical conditions and any medications taken regularly. Should the Associate Artist have any specific medical requirements, any special arrangements must be discussed in advance of the residency with Program and Operations Manager Jim Frost.

5. CODE OF CONDUCT: During the residency, the Associate Artist agrees to respect the ACA facilities, including all communal areas and shared spaces throughout the complex. The Associate Artist is expected to conduct him/herself in an appropriate manner, and respect all others in residence.

Associate Artist ACA Staff representative

Signature: ______Signature:______

Social Security #______

Sample Artists’ Contracts—Atlantic Center for the Arts, Associate Responsibility Form The Ultimate Residency Resource Guide 196

Atlantic Center for the Arts Master Artist-in-Residence Agreement

THIS AGREEMENT made and entered into by and between ATLANTIC CENTER FOR THE ARTS, INC., a nonprofit Florida corporation, 1414 Art Center Avenue, New Smyrna Beach, Florida, hereinafter referred to as “ACA,” and ______, an independent contractor, hereinafter referred to as “MIR” (Master Artist-in-Residence).

WITNESSETH; ACA is desirous of having the Master Artist come to the ACA for the period of time set out below as a Master Artist-in-Residence, (MIR). MIR will work as an independent contractor to promote the arts as set forth in the charter of ACA and more specifically set out below. MIR is desirous of coming to the ACA premises for said purposes. Therefore, in consideration of the sum of money hereinafter mentioned and the covenants contained herein, the parties agree as follows:

1. TIME OF AVAILABILITY: MIR will be in residence from the ______to serve as Master Artist-in-Residence (MIR) at Atlantic Center for the Arts, located at 1414 Art Center Avenue, New Smyrna Beach, Florida. The MIR will reside at said residence during said period full time. Absences for a reason other than ACA endeavors must have prior consent from ACA in writing and attached to this agreement. The MIR will have reasonable access to and use of ACA facilities which include one private cottage, library/resource center, black box theater, music/recording studio, painting studio, sculpture studio and dance studio for the purpose of furthering his/her research, study, own projects, or as a retreat.

2. PERFORMANCE-SERVICES REQUIRED OF MIR: MIR agrees to devote at least two hours a day of each 16 working days, Monday through Friday, of the total 21-day residency session to pro- grammed activities, or a cumulative equivalent of said hours during said dates (25%) to said activities to be determined by ACA but structured by the MIR. These activities may include: a) interacting with associate artists, individually or as a group; b) interacting with other Master Artists-in-Residence; c) selected media interviews; d) in addition to the above, MIR agrees to make him/her self available for occasional public interaction and at least one special ACA event to be determined between the MIR and ACA. ACA retains the right to document activities of MIR by such audio/visual procedures, as the ACA deems appropriate during the time devoted to ACA.

3. ASSOCIATE ARTISTS/PARTICIPANTS: The MIR will select between 6 and 8 Associates and 3 alternates to work in residence during the residence period. If a minimum of 10 Associate applications are not received by the application deadline (approximately 2 months prior to the residency), ACA

Sample Artists’ Contracts—Atlantic Center for the Arts, Master Artist-in-Residence Agreement Artists’ Management: Artists’ Contracts & Policy Statements 197 reserves the right to cancel the residency with no financial obligation to the MIR.

4. MATERIALS TO BE SUPPLIED BY MIR: MIR shall supply ACA biographical information, a brief statement, and criteria for advance publicity for securing Associate Artists, and two photographs for publicity purposes for which he/she authorizes ACA to utilize in any manner deemed appropriate by ACA for its purposes by ______.

5. EXHIBITION OF MIR’S WORK: If applicable, MIR shall supply appropriate materials for display and or reproduction, to be arranged prior to residency and run concurrent with residency.

6. HONORARIUM AND TRAVEL: ACA agrees to pay immediately upon completion of the residency an honorarium in the amount of $6000 payable by check directly to the MIR. ACA will also provide MIR with airfare (round-trip coach ticket to Daytona Beach or Orlando) and a rental car for the duration of the residency. If MIR is unable to complete the engagement due to ill health or other personal reasons, then the ACA shall be liable for a pro rata amount of the honorarium which shall be calculated on the percentage that the actual number of working days in residency bears to the total fee, figured on 15 working days, Monday through Friday at noon, at $375 per day.

7. HOUSING AND MEALS: ACA will provide fully-furnished private housing on premises at 1414 Art Center Avenue, New Smyrna Beach, Florida, with telephone and laundry facilities. The MIR may be accompanied by one adult. Any other living arrangements must be approved by ACA prior to the execution of this agreement. Weekday meals are also provided.

8. SUPPLIES: ACA agrees to supply MIR with reasonable professional supplies and use of all facilities, however, it shall be the obligation of MIR to provide ACA with a list of such needed supplies by ______. ACA reserves the right to determine what is reasonable.

9. RESPECTIVE PROPERTY OF THE PARTIES: The creative work and effort of MIR shall be and remain the property of MIR; however, the documentation by audio/visual process of the activities of MIR while devoting the required time to ACA purposes shall be and remain the property of ACA.

10. HOLD HARMLESS: The MIR agrees to hold the ACA harmless for any damage or loss paid by the ACA or on its behalf on account or due to the MIR’s intentional or negligent conduct which causes loss or injury to another. IN WITNESS WHEREOF, the parties have hereunto set their hands on the dates indicated.

Sample Artists’ Contracts—Atlantic Center for the Arts, Master Artist-in-Residence Agreement, cont. The Ultimate Residency Resource Guide 198

11. EQUAL OPPORTUNITY: It is the policy of ACA that there shall be no discrimination with respect to selection of Masters in Residence or Associate Artists because of race, color, religion, national origin, gender, age, physical limitations or military status.

12. BACKGROUND SEARCH: By signature below the MIR agrees to allow the ACA to do a background search including a criminal history search.

13. AGREEMENT PERSONAL AS TO MIR: This agreement is personal as to MIR and there may be no substitutions in his/her place unless agreed upon by ACA.

MASTER ARTIST-IN-RESIDENCE ATLANTIC CENTER FOR THE ARTS

Name:______Jim Frost, Program and Marketing Manager

Signed:______Signed:______

Date:______Date:______

SS #:______

Sample Artists’ Contracts—Atlantic Center for the Arts, Master Artist-in-Residence Agreement, cont. Artists’ Management: Artists’ Contracts & Policy Statements 199

McColl Center for Visual Art

This contract outlines our mutual expectations of your residency at McColl Center for Visual Art. McColl Center encourages you to use your time here to experiment, develop new ideas, learn new skills, and interact with your fellow resident artists and the community. It should be a time of rich exploration for you, and we, as the staff, will help in whatever way we can to assist you. Following are the terms of the agreement:

Residency Term: You will work at McColl Center from Jan 10 to March 28, 2005.

At a minimum, you agree to devote Monday through Friday to working at McColl Center, 11am- 4pm.

Stipend: McColl Center will pay you a total stipend of three thousand three hundred dollars ($3,300) payable on the 15th and the last day of the month. The stipend is to support your residency while you live in Charlotte and work at McColl Center. It should not be viewed as a grant.

You are not paid the daily stipend for a planned absent day. We asked that you provide a schedule of any planned absence prior to your arrival.

Deposit: A deposit of $200.00 is required with the returned contract. The deposit will be refunded within 60 days of your departure from McColl Center, provided there are not any incidental expenses (damage to tools, equipment, apartment, etc.) attributable to you.

Travel Expenses: Three months prior to the start of your residency, McColl Center will research the cost of one roundtrip airline ticket to and from Charlotte. You will be notified that the airline is holding the reservation for 24 hours. You have the option of purchasing the ticket or researching and booking a different flight at a later date. On the day of orientation, McColl Center will reimburse you for the cost of the ticket up to the amount of the ticket the Center initially reserved for you. If you elect to drive your vehicle to McColl Center and drive it during your residency, McColl Center will reimburse you for either: a) the cost of an airline ticket, based on a three-month advance ticket purchase, or b) the mileage between your home and Charlotte, whichever is less.

If you must be absent at all during your residency and leave the area, you are responsible for your ground and air transportation to and from the McColl Center.

Material Budget: McColl Center will provide you with a materials budget of two thousand dollars ($2,000) to support your work for the three months you are in residence. You will be given a check for the full amount at the start of your residency. This funding is provided to you for the purchase of materials and services related to your work here. Anything you need to purchase that exceeds this amount will be your financial responsibility.

Sample Artists’ Contracts—McColl Center for Visual Art The Ultimate Residency Resource Guide 200

Open House/Open Studio Participation: The Open Houses and Open Studio Saturdays are an opportunity for the public to meet the Artists- in-Residence, visit studios, see and purchase artwork at McColl Center. You are required to participate in both Open Houses, (Jan 28 and March 25, 2005 6-8pm) and all of the Open Studio Saturdays 11am-4pm (Feb 12 & 26, March 12)

Studio Size, Access, Condition: McColl Center assigns a studio space to you based on your work requirements.

McColl Center has the right of access to your studio space at any time with reasonable notice. We often have important visitors who we feel compelled to show around the facilities and studios. McColl Center also gives tours to potential and existing funders of McColl Center. McColl Center will make a best effort to give you notice of these visits, and will keep these visits brief. McColl Center also has an open door policy to provide gallery visitors access to artists. If an artist’s studio door is open during gallery hours, the visitors may interact with the artist. Although an open door is optional, artists are encouraged to allow the public access during our gallery hours.

You are invited to use your studio in whatever way you wish in order to advance your work, however, the space must be returned to McColl Center in the same condition it was when you arrived. Permanent changes and alterations such as painting surfaces or putting holes in the walls are not permitted.

Work Created: Any and all work created during your residency remains your property. The cost of shipping work to your home or studio is your responsibility at the conclusion of your residency.

Art Sales Policy and Procedures Sales of any work displayed at McColl Center while artist is a current affiliate are to be handled through and by McColl Center. If artwork belonging to or created by a current Artist-in-Residence is in a current McColl Center exhibition or open studio and is sold during the exhibition or residency, McColl Center will assess a commission fee of 30% of the total sale. If the artist’s gallery handled the work, the 30% of the total sale will come out of the gallery’s commission fee.

If an Artist-in-Residence sells a work created at McColl Center while in residence, McColl Center will retain 30% of the total sale. Artists are asked to provide a price list for all art in their studio at McColl Center available for purchase. If you need assistance pricing work, please contact the Director of Programs.

If you deal directly with the purchaser, forward check payments and a handwritten invoice to any staff member. Credit card purchasers should be given a handwritten invoice and directed to a staff member who will process their payment. (A formal copy of the invoice(s) will be mailed to the purchaser for their records.) Payments may be made by VISA, Mastercard, American Express, or Discover cards, or by check payable to McColl Center for Visual Art, and must include 7½% sales tax.

Artists will be paid 70% of their total sales by a check drawn on McColl Center for Visual Art. Payments for art sales are made on Friday for sales completed through the previous Friday. A copy of each formal invoice will be enclosed with the artist payment.

Sample Artists’ Contracts—McColl Center for Visual Art, cont. Artists’ Management: Artists’ Contracts & Policy Statements 201

Housing: You will be provided a fully furnished apartment during your residency. It must be left in the same condition as it was when you arrived.

Guest Policy: During your residency, you may have guests stay with you in your apartment. Pets are not permitted in the apartments or on McColl Center’s property.

Community Involvement: McColl Center is located in uptown Charlotte, providing artists and the community with access to each other. You are encouraged to attend and participate in all of McColl Center’s exhibitions, events, lectures, etc. McColl Center’s staff and board members will also bring guests to these events. McColl Center believes these events help to foster a sense of community among the artists and are an avenue for connecting with the public. They are interested in meeting you and possibly working with you.

In addition to the Open Houses, and Open Studio Saturdays, you are asked to give two (2) public presentations of your work, either at McColl Center or a public venue to be arranged. In some instances, if needed, an overnight stay may be required. In this case, the host institution will provide accommodations.

Orientation: You are expected to attend an orientation meeting scheduled on Jan 11, 2005 at 2pm. There will be one additional group meeting 2-3 weeks later to answer any further questions and address concerns. The Director of Programs will also schedule 1-2 check-in meetings with each artist during their residency.

You will receive the orientation manual prior to your arrival for your review. Please make note of any questions that you might have and bring the manual with you to orientation. During orientation there will be a tour of the technical facilities. All technical equipment must be reserved/checked out prior to use. The Facilities Manager is available to give rudimentary training and technical advice on the equipment. Contact the Facilities Manager prior to your arrival with any special equipment, technical advice, or training you may need. It is your responsibility to operate all equipment in a safe manner. You may pay for more in-depth training from your stipend and staff will work with you to identify a qualified teacher.

Personal Conduct: While we anticipate that your fellow Artists-in-Residence will conduct themselves in a mature and generous way, it is your responsibility to immediately report any incident or allegation of harassment, whether verbal, physical, and/or visual, to the Facilities Manager, or in his absence, to the Director of Programs or the President. McColl Center prohibits unlawful harassment, including, but not limited to, race, age, religion, disability, sexual orientation, etc. McColl Center will conduct such investigations as warranted under the circumstances and take action if needed. McColl Center will take reasonable steps to maintain confidentiality and restrict access to information to persons who need to know. McColl Center’s President has the responsibility of investigating and resolving complaints of harassment. McColl Center considers harassment to be a major offense that can result in the termination of a residency.

Anyone who has or uses illegal drugs at McColl Center will be asked to leave the program.

Sample Artists’ Contracts—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 202

Possession of firearms on the property is prohibited. Anyone found violating this policy will be asked to leave the program.

Smoking is not permitted inside McColl Center’s building.

McColl Center reserves the right to terminate a residency if there is an indication that your behavior during your residency at the McColl Center will or does jeopardize the quality of the experience for other Artists-In-Residence, our collaborations with affiliate organizations and our community relations.

The Center’s Vehicles: A McColl Center vehicle may be used for picking up supplies and making deliveries. McColl Center’s vehicles are not available for the purpose of leaving the Charlotte area. You must rent a car if you plan to take overnight trips or do any long-distance traveling.

You are fully responsible for the vehicle while it is in your possession. If the vehicle is involved in a wreck, you will be responsible for paying for its repair, or the insurance deductible, whichever is less.

Our insurance carrier requires that before you may drive any of the vehicles, we must have a copy of your driver’s license on file. This should be sent to McColl Center thirty (30) days prior to your arrival. Unless this is on file you will be unable to use a McColl Center vehicle. All vehicles must be signed out upstairs in administrative office.

Insurance: McColl Center does not carry health insurance for its Artists-in-Residence.

Because this is a historic building, some studios may experience leaks during inclement weather. McColl Center has obtained loss and liability insurance coverage for its buildings but does not provide coverage for your personal property in your apartment or studio. Should you desire theft or loss insurance, you will need to obtain it.

Exhibition and Promotion: McColl Center for Visual Art creates an exhibition of its resident and affiliate artists’ work in its exhibition space at the beginning of each residency. You will be asked to provide art or representa- tions of your work for the group exhibition. Work should be shipped to McColl Center prior to your arrival.

You agree to submit materials about yourself and your work for the promotion of your residency to let the public know about the artists working here. Materials will be required a minimum of sixty days (60) before you arrive. Similar materials are solicited for McColl Center’s Web site. All materials are solicited in advance of the residency to ensure timely production of the exhibition, brochure, and Web site.

Publicity: McColl Center will promote AIR presentations and any other community interactions or projects you participate in during your residency. Please let us know if you are planning any public exhibition/event/performances of your work elsewhere during the time of the residency so we can mention

Sample Artists’ Contracts—McColl Center for Visual Art, cont. Artists’ Management: Artists’ Contracts & Policy Statements 203

them in our press releases.

32. Please indicate that you are an “Artist-in-Residence at McColl Center for Visual Art” in any press materials you send out.

There may be requests for media interviews. These are important to us and your career, so we ask that you make yourself available during your residency. McColl Center will give you reasonable notice of these requests.

McColl Center may use images of you and/or your work for promotion and support of the center and/or its programs before, during and after your residency. Images used may be from slides that you submitted for application or from work created while here at McColl Center. McColl Center may also document work created while in residence for archival purposes.

Residency Evaluation: 35. At the conclusion of your residency, McColl Center will ask you to participate in two evaluations of the residency program. One is a written evaluation that will be given to you at least one week prior to the end of the residency, to be completed prior to your departure.

For the second, you agree to meet with a volunteer to evaluate your time at McColl Center and provide us with feedback about the program. Your remarks will remain anonymous.

I hereby accept the terms of this Agreement:

______Ce Scott, Director of Programs Date

______Artist Date Social Security #

Sample Artists’ Contracts—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 204

A Studio in the Woods

MEMORANDUM OF UNDERSTANDING & HOLD HARMLESS AGREEMENT

Resident Artist: ______

I, the undersigned, agree to accept a residency at A Studio In The Woods (ASITW) from June 7, 2004 to June 28, 2004.

I, the undersigned, also agree and understand that a fee of $20 per day will be charged to me to partially absorb the cost of living and studio space. I, the undersigned, further understand and agree that my two- week residency totals $420 and that I will submit a deposit of $100 along with this original and signed Memorandum of Understanding, and I, the undersigned, further agree and understand that the remaining balance of $320 will be due anytime before the conclusion of my residency on June 28, 2004.

I, the undersigned, also understand and agree that ASITW covers all additional costs with the exception of: personal living expenses, materials and supplies, telephone charges, and any other expenses relating to the cost of producing work I, the artist-in-residence and undersigned, may incur while in the program. I, the undersigned, further agree and understand that travel and shipping expenses to and from ASITW are also the responsibility of the artist (the undersigned).

I, the undersigned, and ASITW agree and understand, that I retain all rights to my work.

ASITW also agrees and understands that any work created by the artist (the undersigned) is the work of the artist and ASITW will not use all or any portion of the artist’s work created during the residency for future promotion of its Residency Program without first receiving written permission from the artist (the undersigned).

By executing this letter of confirmation of residency I agree that neither ASITW, Friends of A Studio in the Woods, nor any of their officers, directors, and employees will be liable for any damages arising from personal injuries sustained by me or my guests in, or about ASITW premises as a result of my using the facilities and any equipment, services, food or other provisions, and further agree that neither ASITW, Friends of A Studio in the Woods nor any of their officers, directors and employees shall be liable for any loss or theft of personal property. I also agree to abide by ASITW’s rules and policies.

Signature______Signature______A Studio in the Woods Artist

Date:______Date:______

Sample Artists’ Contracts—A Studio in the Woods Artists’ Management: Artists’ Contracts & Policy Statements 205

The Virginia Center for the Creative Arts

January 1, 2005

Fellow: Jane Doe 123 Country Lane Amherst, VA 24521

Dates of Residency: June 17, 2005 - July 20, 2005

Length of Residency: 34 days (includes day of arrival and day of departure)

Per diem fee: $30 per day

Total fee: $1,020 (34 x $30)

Deposit: $50 due by 02/15/2005

Balance: $970 due by 05/18/2005* (total fee minus deposit)

Based on the VCCA’s cost of operation, which is $120 per day per Fellow, the value of your residency is: $4,080 ($120 x 34 days)

Please confirm your acceptance by sending a $50 deposit, which will be credited to your account total, and by signing and returning a copy of this letter to Sheila Gulley Pleasants, Director of Artists Services. The deposit is neither refundable nor transferable. If we have not heard from you by the deposit due date, we may offer your residency to another applicant.

* Please note that any adjustments of your fee or length of residency must be made by the date your balance is due.

The balance of your fee is due prior to your arrival.

Your signature below indicates your acceptance of the basic procedures and regulations in effect at the VCCA.

______Signature Date

For payment by VISA or MASTERCARD (circle one), please indicate the following:

Amount: ______Account number: ______Exp. Date: ______

Sample Artists’ Contracts—The Virginia Center for the Creative Arts The Ultimate Residency Resource Guide 206

Workspace for Choreographers ______567 WOODWARD ROAD, SPERRYVILLE, VA 22740 (540) 987-9234

I, ______am planning to come to the Workspace for Choreographers from:

Date: ______to

Date: ______Expected hour of departure: ______and am bringing the following people with me to stay for the following times:

______

I HAVE READ THE TERMS OF AGREEMENT THOROUGHLY AND AGREE TO COMPLY WITH THEM. I have shared this information with members of my group who are coming.

Your name: ______

Your title: ______

Name of your organization, if applicable:

______

Please wait until your residency has been confirmed, then KEEP THE TERMS OF AGREEMENT, remove this page, and send it with your check to the Workspace.

SALLY NASH, Director SANDRA HIRTH, WorkspaceCoordinator [email protected] [email protected]

Sample Artists’ Contracts—Workspace for Choreographers Artists’ Management: Artists’ Contracts & Policy Statements 207

TERMS OF AGREEMENT

Evaluation: I am willing to write an evaluation of my time at the Workspace within three months of my leaving, telling you as well as I can, what worked for me and what didn’t, and whether or not I substantially departed from my plan.

Reservation Fee: To reserve the space I am sending a check for $50, made out to Workspace for Choreographers. I understand it will be refunded after I have sent in the evaluation referred to in #1. It will not be refunded if, a) I do not communicate any change in the time I will be at the Workspace or who will be with me, or b) I cancel my plans to come with less than two weeks notice.

Schedule: I understand that I will not be able to use the studio on Sundays and that I will have to work around a teaching and rehearsal schedule that is ongoing, during the week.

Acknowledgement: I understand that it is required that any work which receives support for its development from the Workspace and appears in public performances must acknowledge the Workspace in wording such as the following: “This work has been supported in part by the Workspace for Choreographers, a private foundation.” This credit must appear on all flyers in which other grants are mentioned and any programs in which any part of the work appears. The first three times such credit is given, I will send a copy of the flyers and/or programs to the Workspace.

Liability: I understand that neither Sally Nash nor the Workspace for Choreographers will be responsible for personal injury or property loss to any of the dancers or other persons in my group unless that injury or loss is the result of the gross negligence or intentional misconduct of either Sally Nash or the Workspace. I specifically agree to hold the Workspace and Sally Nash harmless for any injury or property claims and to indemnify the Workspace or Sally Nash in the event that any member of my group makes a claim against any of them. All members of my group will be informed about the terms of our agreement, and therefore assume all risks associated with participation in your program, included but not limited to dance and related activities.

Responsibilities: I understand that there is no charge for the use of the studio or the guest house. However, I will be responsible for my own meals, and for other costs I may incur through damage or failure to clean-up and adequately close-up when I leave.

Pets and Children: I understand children and pets are not invited to join me at the Workspace unless a specific arrangement is made.

Transportation: I understand that I am responsible for my own transportation to and from the Workspace and that I must have a car to use while I am there. If I am renting a car for any or all of the trip, and this causes me undue financial hardship, I may apply for a small travel stipend. I will itemize the expenses I will incur for my residency and send them to you with the understanding that some portion of my transportation costs may be covered by the Workspace.

Documentation: If a video is made of any work that received support from the Workspace, I agree to send a copy to you.

Networking: I have discussed with Sally and will continue to let her know of any need I anticipate while at the Workspace to maintain profesional contacts through phone or mail. I understand that there is no internet access available to residents from the Workspace premises, and that any long distance calls I make will be charged to my calling or phone card.

Sample Artists’ Contracts—Workspace for Choreographers, cont. The Ultimate Residency Resource Guide 208

POLICIES

1. Yaddo exists to foster the creation of art. To help sustain good conditions for this work, we ask guests (a.k.a. residents) and members of the staff to respect the traditions of “quiet hours”—that is, the periods from 9 a.m. to 4 p.m. and after 10 p.m. During these times:

a. Guests and members of the staff alike must refrain from making unnecessary noise

b. Guests may not be interrupted or disrupted in their work

c. Guests may not entertain visitors from outside Yaddo’s community

2. Even after quiet hours, visitors to Yaddo should be accompanied by those who have invited them. They are not allowed at dinner, and they may not spend the night. Visitors must leave the grounds by 10 p.m. Guests should arrange to meet outside visitors by the back porch of the Mansion in summer and at the Office in winter.

3. Guests are invited on the assumption that Yaddo will be their regular residence and workplace during the period of their visit, but we recognize that they may occasionally need to be away overnight. In that case, we ask them to provide the office information so that we can contact them in an emergency. We also ask them to notify the kitchen if they will be missing meals. Extended periods of absence are strongly discouraged.

4. No guest should feel an obligation to read, exhibit, perform, or report on his or her work to other guests or members of the staff or to attend readings, exhibitions, performances, or lectures by other guests. Guests should never make other guests uncomfortable about not attending such events.

5. Yaddo has no medical facilities and cannot provide meals for special diets. Refrigerators are located in the residence buildings for any supplemental food items a guest may require. In case of illness, guests should contact the Special Assistant to the President or the Program Director.

6. Guests are responsible for their own insurance and for the safety of their personal property.

7. Yaddo prohibits the use or possession of drugs prohibited by law.

8. Yaddo does not discriminate against anyone on the basis of age, disability, HIV status, marital status, national origin, religion, sex, or sexual preference. Sexual harassment is not tolerated at Yaddo. A guest who believes that he or she has been subjected to inappropriate sexual advances or other forms of sexual aggression may complain directly to the President or to the Program Director. The matter will be handled in confidence to the extent possible.

9. While in residence, guests should respect Yaddo’s policies as well as the rights and sensibilities of other members of the Yaddo community. Yaddo reserves the right to end a guest’s visit when responsible officials judge it necessary to do so for the good of the community.

Sample Artists’ Policies—Yaddo Artists’ Handbooks/ Residency Guides Artists’ Management: Artists’ Handbooks/Residency Guides 210

Artists’ Handbooks—Introduction

Artists’ handbooks, orientation manuals and residency guides can go a long way toward creating a smooth residency environment. Some items are good to state up-front on your Web site or in application materials that could influence an artists’ interest in applying (for example, whether residents share living quarters, whether guests are welcome, whether residents are expected to participate in public programs). It is important to manage residents’ expectations before they arrive, as well as once they are on-site.

We’ve included a variety of sample handbooks so that you might determine what is most appropriate for your organization.

The samples that follow cover a range of topics, from wildlife to guest policies, recycling to noise control. Residency program directors indicated that the following items are particularly important to address: G Living quarters/house rules G Transportation available G Things unique to your physical site and/or geography (e.g., wild animals, dangerous plants, earthquakes, etc.) G Liability agreements G Policies for dismissal G Substance use policies G Disruptive behavior G Shared vs. private facilities—bedrooms, bathrooms, kitchen, studios, common areas G Level of connectivity—phones, internet/email, television G Cell phone use G Smoking guidelines G Safety and emergency policies and procedures G Guest policies G Policies on interaction with youth G Expectations of work/outreach/public program participation

Residency programs developed the following tip list of ways in which to manage the expectations of residents successfully: G Clear information presented before one applies—on the Web, within the application packet, in an FAQs section, etc. G Use former artists’ own words G Interviews as part of the application/acceptance process (generally only considered for residencies of 6 months or more) G Thorough communication—from the time of acceptance through the completion of the residency G Orientation/welcome session when residents arrive—grounds and facilities tour, explanation of food service, emergency procedures, introductions to staff and other residents, etc. G A sense of humor! The Ultimate Residency Resource Guide 211

International Residency Program Orientation Kit

Table of Contents Section Subject page no.

General Information 2 Contact Information Directions Staff List Office Hours Accommodations 3 Arrival Artpace Archive Transportation Studio and Shop 4 Art Supplies Alarm System Shop Rules Studio Space Studio Assistants & Interns Departure 5 Cleaning Forwarding Address

Services 6 Bank Telephone & Voice mail Newspaper Computer, Copy, Fax, Typing Public Library Post Office Gym/pool 7

Shopping 8 Grocery Stores and Druggists Malls Entertainment 9 Restaurants Visual Arts 10 Performing Arts Film Our favorite Texas places 11

Sample Artists’ Handbooks/Residency Guides—Artpace, Residency Program Orientation Kit Artists’ Management: Artists’ Handbooks/Residency Guides 212

General Information address: Artpace 445 North Main Avenue San Antonio, TX 78205-1441 telephone: 210-212-4900 fax: 210-212-4990 email: [email protected] web site: www.artpace.org

Directions

Artpace is located at 445 North Main Avenue, south of the intersection of IH-35 and Main Avenue (on the corner of Savings and Main) in the downtown area of San Antonio.

Staff

Kathryn Kanjo Executive Director

Donna Carter Executive Assistant George Gonzales Maintenance Kate Green Education and Curatorial Associate Bart Hernandez Operations Manager Alex Lopez Studio Technician Jay Lopez Visitor Relations/Receptionist Connie McAllister Assistant to the Director Pat Meyer Assistant to the Trustee Riley Robinson Studio Director Trisha Tanner Associate for External Affairs

Sample Artists’ Handbooks/Residency Guides—Artpace, Residency Program Orientation Kit, cont. The Ultimate Residency Resource Guide 213

Staff Availability

We are eager to help you, and our normal office hours are Monday through Friday, 8:30 am to 5:30 pm. The staff is available at these hours by appointment and always in an emergency. Thank you for your cooperation.

Accommodations Arrival

Your living flat has all the necessary items for contemporary living. The flats have linens, dishes & utensils, television with VCR, phone with voice mail, computer with internet connection. If you have special needs beyond our accommodations please let us know and we will try to meet your request.

Artpace Archive

Artpace’s Archive has art magazines, books and information about other artists. Please see Trisha. Transportation Artpace has a Chevy pick-up and Honda mini-van for use inside the city of San Antonio provided you meet our driving, licensing, and insurance requirements. If you plan to drive beyond the San Antonio city limits you will need to make other arrangements.

Also Artpace has a bicycle with bike lock in the shop that artists may borrow. Please use the helmet and lock up the bike if you need to leave it anywhere but Artpace.

G San Antonio Trolley: downtown area route: 50 cents. G Buses: local area route (local bus): .80 cents one-way, or monthly pass $30 (unlimited transportation). Go to: www.viainfo.net for information. There is a bus stop located on the corner of Main and Martin. G Taxi: Taxi Express: 222-2222; Checker Cab: 222-2151 G Rental Cars: see the telephone book Yellow Pages in your flat for a listing of car rental agencies.

Studio and Shop Art Supplies

Artpace works with many vendors and we can make recommendations and purchase supplies according to your agreed budget. These are two vendors for paper, oil and latex artists paints, bushes, pencils and other arts supplies.

Asel Art Supply Inc, 1524 N. Main Ave. 222.8681 Herweck’ Art Supply, 300 Broadway 227.1349

Remember that artist’s supplies for the installations are exempt from Texas State Sales Tax. See Riley for the exemption form.

Sample Artists’ Handbooks/Residency Guides—Artpace, Residency Program Orientation Kit, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 214

Alarm System

Like businesses in any big city Artpace has a burglar alarm system for the studios and offices. As one of the resident artists you will be responsible for turning the alarm system on and off in the studio areas in the evenings and weekends. You will be given instructions on use upon arrival.

Shop Rules

Riley Robinson will provide shop rules and orientation upon your arrival. Shop policy is “Safety First”. If you do not know how to use a tool, please ask for assistance from studio staff. Please leave the shop as you found it.

Studio Space

On occasion, tours are brought through artists’ studios while artists are working. We will do our best to let artists know in advance. Please let us know if you have any objections to this possibility.

Studio Assistants & Interns

If you wish to have a studio assistant for help with your installation, please see Riley Robinson for a list of names and numbers. You will be responsible for contacting, contracting and negotiating a reasonable fee with them. Fees for their service will come out of your artist budget.

Depending on the area schools and semesters an intern or interns might be available to assist artists on a limited basis. Let us know if you are interested and we will check on the availability of interns.

Departure - Please leave your flat keys at front desk! Cleaning

Leave the apartment in the condition in which you found it. Clean out old food, wash dishes & utensils, leave towels and linen for us to wash. Sweep floor and remove trash.

Forwarding Address

Please leave your forwarding address and telephone number with the office. We will forward mail for up to 30 days after your departure. Also be sure to have your address changed with the post office if you filed a temporary change of address upon arrival to San Antonio.

Services Bank/Financial Services

We have made arrangements with Chase Bank (512 Highland Blvd., Tel. 829.6100). Go South on N. Main, Left on Durango (which becomes Iowa after

Sample Artists’ Handbooks/Residency Guides—Artpace, Residency Program Orientation Kit, cont. The Ultimate Residency Resource Guide 215

crossing Interstate 37/281), Right on Hackberry, Left on Highland. It is on the corner of Hackberry and Highland. Please identify yourself as an Artpace resident. You will be able to cash checks with a valid photo I.D. such as a passport or a driver’s license. If you have any problems, see Riley Robinson.

Telephone & Voice Mail

Each flat has its own multi-line telephone with voice mail, intercom and guest door entry system. Instructions are printed on a card next to the phone and see anyone on staff if you have any questions. Artists will need to pay for their own long distance phone calls. It is best to purchase a calling card at one of the many local stores.

Computer, Copy, Fax

There is a fax machine at the front desk for incoming and outgoing faxes. The receptionist can also help you with copies and other light clerical services. The number is 210.212.4990.

Macintosh computers are provided in the artist’s flats with internet access. Please ask Riley if you wish to use it and consult him before loading any personal software. The computers provided are to remain at their existing stations. If additional hardware and/or software is necessary for your project, it must be included in your budget.

Newspaper

The San Antonio Express-News and the New York Times are delivered daily to Artpace. Please request papers during office hours.

San Antonio Current is the local weekly with a guide to arts and entertainment and can be found at many local businesses.

Public Library

The San Antonio Central Library, 600 Soledad Plaza, ph: 207-2500. Hours: 9am- 9pm, Mon-Thurs; 9am-5pm, Fri & Sat; 11am-5pm Sun. It is the “enchilada red” building designed by Mexican architect Ricardo Legorreta, a few blocks from Artpace. You will need a library card for free check out of books and video tapes. Please remember to return them on time. For a library card visiting artists will need a photo I.D., a $10 fee (for 3-month temporary card), a letter from Artpace stating temporary residency, and a completed application from the library.

Post Office The nearest post office is the Downtown Station, 615 E. Houston Street (@ Alamo Plaza), phone: 227-3399. Please purchase stamps and special mailing supplies there.

Sample Artists’ Handbooks/Residency Guides—Artpace, Residency Program Orientation Kit, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 216

Gym/Pool

The YMCA is located at 903 N. Saint Mary’s at Lexington (246-9600). The YMCA has an indoor swimming pool, aerobics classes, gym and weight room and is within walking distance of Artpace. The “Y” has a temporary membership, which is $55 for the first month and then $43 for any additional months.

Shopping Grocery Stores & Druggists

The closest grocery stores are: G H-E-B, 300 West Olmos (between San Pedro and McCullough), 829-7373. Large supermarket. G Central Market, 4821 Broadway (in Alamo Heights), 368-8600. A huge gourmet grocery store with excellent produce and foreign foods. G Whole Foods, 255 E. Basse @ 281 in the Quarry Market, 826-4676. Supermarket size health food store and gourmet products. G Walgreen’s 410 W Cypress St at San Pedro, druggist and sundries 225-4809

Malls

The three closest shopping malls are: G Rivercenter Mall, 849 E. Commerce (on the Riverwalk), 225-0000 with movies theater G North Star Mall, 7400 San Pedro @ Loop 410, 340-6627 G Alamo Quarry Market 255 East Basse Rd, 225 1000 with movie theater

There are a number of boutiques in Alamo Heights along Broadway and gift shops along the Riverwalk and S. Alamo Street in King William.

Entertainment Restaurants & Clubs A few close by favorite restaurants: G Liberty Bar, 328 E. Josephine, 227-1187: A favorite hangout for San Antonio’s arts crowd. Regionally inspired bistro fare, salads, a full bar, and great desserts. G Cementville 7310 Jones Maltsburger 828-7232 G Rosario’s, 910 S. Alamo (in King William), 223-1806. Smart Tex-Mex, excellent Margaritas. G Blue Star Brewery, Blue Star Arts Complex, 212-5506. Microbrewery with excellent range of beers and a good dinner menu of grilled chicken, burgers, salads. G El Mirador, 722 S. St. Mary’s, 225-9444. During the day, family Mexican: breakfast tacos, enchiladas, etc. At night, a refined “nouvelle” Southwest Mexican. G Beto’s Comida Latina 8142 Broadway 930-9393 Fish tacos and empanadas G Espuma Coffee and Tea Emporium, 928 S. Alamo, 226-1912. Light lunches and pastries available.

Sample Artists’ Handbooks/Residency Guides—Artpace, Residency Program Orientation Kit, cont. The Ultimate Residency Resource Guide 217

Within walking distance of Artpace: G Bill Miller Bar-B-Q, 501 N. St. Mary’s @Pecan, 212-4343. Basic Texas barbecue. G Copper Kitchen (lunch only), Southwest Craft Center, 224-0123. Salad, soup and a few entrees. G Milam Drugstore and Diner, 109 E. Travis (delivery service) 226-0093. Diner food: burgers, tacos and sandwiches. G Murphy’s Deli 116 East Houston 299-2600, Starbucks coffee and deli sandwich G Sushi Zushi 203 South St Mary’s at Market St 472-2900 Sushi G Sip 160 E Houston St 222-0149 sandwiches and coffee G The Oasis Café, 323 North Main 223-7077 Breakfast tacos

Some of our favorite Texas spots: G Flores Country Store Helotes TX 695-8827 Made Willie Nelson famous G The Davenport 200 East Houston 354-1202 Nightclub with DJs G Casbeers 1719 Blanco 732-3511 Local and national music - Beer and burgers G Tower Restaurant & Bar Tower of the Americas, best view in San Antonio G Bar America South Alamo St. Great jukebox, pool, and $1.50 beers G Cave Without A Name 325 Kreutzberg Road, Boerne, 830-537-4212 best preserved cave in Texas G San Antonio Botanical Gardens 555 Funston 207-3250 with conservatory dGe- signed by architect Emilio Ambasz G Japanese Tea Gardens (Sunken Gardens) 3800 North St. Mary’s St. 821 3120 G Frio Bat Cave Concan, TX call for directions, 2 hours drive 830-966-2320

Visual Arts

San Antonio is home to many visual art organizations, including the following list. A more complete list of programs and organizations appears in the San Antonio Express-News and the San Antonio Current.

G Blue Star Contemporary Art Center, Blue Star Arts Complex, 227-6960 G Esperanza Peace and Justice Center, 922 San Pedro, 228-0201 G Guadalupe Cultural Arts Center Visual Arts Warehouse, 325 S. Salado, 271- 0379 G McNay Art Museum, 6000 N. New Braunfels, 824-5368 G San Antonio Museum of Art, 200 West Jones, 978-8100 G Southwest School of Art and Craft, 300 Augusta, 224-1848 G The University of Texas at San Antonio Satellite Space, Blue Star Arts Complex

Performing Arts

There are a number of dance and music presenters in the city. Please consult the San Antonio Express-News or the San Antonio Current for a complete listing.

G Jump-Start Performance Company 108 Blue Star, (201) 227-JUMP (5867)

Sample Artists’ Handbooks/Residency Guides—Artpace, Residency Program Orientation Kit, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 218

Films

Consult the San Antonio Express-News for a current listing of films showing in San Antonio. The closest theater is in the Rivercenter Mall. The Huebner Oaks Theater and Bijou Theater show an occasional independent film. Consult the San Antonio Express-News for a comprehensive listing.

Other attractions

River Walk The San Antonio River Walk was originally a project of the WPA and is a favorite of tourists. With many shops and restaurants, the River Walk snakes through downtown and ends in the King William Historic District. The nearest entrance to the River Walk is at Soledad and Savings, across the street from Artpace.

San Antonio Zoo The zoo is located in Brackenridge Park on 29 developed acres. The zoo has extensive exhibits and one of the best antelope collections in the country.

Missions San Antonio has five Spanish missions, the most famous being the Alamo. Mission San Jose is the largest and just recently restored with a new visitors center and bookstore. Many of the missions are still operating as centers for worship. The Mission Trail begins in Southtown; consult a map for complete directions. The hike and bike trail is a staff favorite

Sample Artists’ Handbooks/Residency Guides—Artpace, Residency Program Orientation Kit, cont. The Ultimate Residency Resource Guide 219

SURVIVAL MANUAL Artists’ Management: Artists’ Handbooks/Residency Guides 220

Welcome to the Djerassi Resident Artists Program. We are delighted that you have been accepted to partake in the “Gift of Time” extended to you by the Program. You have been selected by a panel of your peers, who, collectively, reviewed hundreds of applications from around the world. They have found your work of high quality and selected you as one of a few who will be in residence this season. Congratulations.

As you’ll soon learn, your colleagues during your stay at Djerassi come from several different artistic disciplines as well as from different parts of the country and from around the world. We have designed our Program to be as engaging as possible, and have found that a broad diversity of artists from various geographic locations leads to a stimulating environment which nurtures the creative endeavors of individual artists.

We hope you will use your time at Djerassi to your best possible advantage. Your time is your own to do as you please. We ask that you do not disturb other artists who are trying to work and respect the quiet and serenity of the ranch. We also ask that you follow the few basic rules we have established, and share with your fellow artists in creating a cooperative and productive session. Our staff is here to assist you with your needs, however, they also have other Program responsibilities. We hope you will respect these obligations and allow the staff to do all their jobs.

The following materials constitute our “Survival Manual.” In it you will find a great deal of information about the Program including its history, staff biographies, emergency numbers and procedures, and information you’ll need for daily life on the ranch. Each group of artists goes through an orientation and much of the material in this manual is described at length. If you are unsure of any part of this information, please ask one of our staff members. We encourage you to keep this Manual with you for reference throughout your stay, however, we ask that you return it to us when you leave so we may pass it on the next artist group.

Again, we welcome you to what may prove to be the most productive few weeks in your artistic career. We certainly hope so and will do all that we can to make it as fruitful as possible. Above all else, we hope you benefit from this extraordinary Gift of Time.

Sincerely,

Dennis O’Leary Executive Director

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. The Ultimate Residency Resource Guide 221

DJERASSI RESIDENT ARTISTS PROGRAM HISTORY

Stanford University Professor Carl Djerassi founded the Djerassi Resident Artists Program in 1979. Working with the fledgling Syntex Corporation in Mexico in the 1950’s, Djerassi and his colleagues had been the first to develop, produce, and market a practical oral contraceptive. In 1963 proceeds from The Pill enabled Djerassi to purchase a large tract of land in the Santa Cruz Mountains west of Stanford which he called SMIP (Syntex Made It Possible) Ranch. On this spectacular property with its breath- taking views of the Pacific Ocean and its quiet solitude, Djerassi built a home. His children, Pamela and Dale, later built homes of their own on the property.

The origins of the Djerassi Program lie in a personal tragedy for the Djerassi family. In 1978 Pamela Djerassi, herself a poet and painter, took her own life. Later, while visiting Florence, Italy, and trying to come to terms with his daughter’s death, Djerassi considered the patronage that the Medici family had given to artists of their time and how he might, in some small way, be able to extend his support to contemporary women artists. Working at first through the Stanford University Art Department and Stanford’s Center for Research on Women, Djerassi provided a stipend and began a selection process.

In 1979 Tamara Rikman, a graphic artist from Jerusalem, arrived to spend a year living and working at Pamela’s beautiful, but isolated house and studio that are now the Program’s administrative offices. In all, five women were the beneficiaries of this support in the first four years of the endeavor. Much was accomplished artistically, but the women suffered from the isolation and the lack of interaction with their peers. An early resident, Barbara Greenberg, suggested to Djerassi that the ranch manager’s house and the barn on another part of the property might be converted into living and studio facilities for use by a group of artists.

With the help of his wife, fellow Stanford Professor Diane Middlebrook, Djerassi set out to establish a comprehensive residency program, available to male and female artists in a variety of disciplines. Sculptor George Rickey’s Hand Hollow Artists Foundation in upstate New York was used as a model, and two older established colonies in the East, the MacDowell Colony and Yaddo, provided examples and inspiration. An Executive Director, Leigh Hyams, was hired to oversee the work. The cattle auction barn was remodeled into studios and the ranch manager’s house was converted to housing for the artists. In 1982 the Program emerged in a form that would be recognizable today. Successive directors Susan Learned Driscoll, Sally Stillman, Charles Boone, Charles Amirkhanian, and now Dennis O’Leary have each made improvements to the facilities and left their own mark on the program.

With the expansion of the scope of the Program, Djerassi’s personal resources were no longer sufficient as the sole source of financial support. Contributions were sought from major foundations and individuals interested in the arts. In 1994 the Program converted from a private family foundation to a 501(c)(3) nonprofit organization that seeks the support of individuals and organizations who wish to support the arts at this most elemental level.

In the 1990s activities were introduced to acquaint new supporters with the Program and its mission. Walking tours of the site-specific sculpture collection on the Djerassi land are conducted once a month during the season. Sunday Salons—lectures, performances, and exhibits by artists who have been associated with the Program, are held in the homes of supporters several times each year. An annual Open House at the Program ranch allows supporters to visit the studios and meet artists in residence. These activities permit the public and Program supporters to glimpse the workings of the Program while keeping most of the quiet, isolated character of the experience intact for the residents.

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 222

The end of the 1998 season marked the completion of 20 years of operations for the Djerassi Resident Artists Program. The start of the 1999 season marked the 20th anniversary of the arrival of the very first artist-in-residence. The Program has evolved dramatically in just two decades.

Of particular significance at the end of the ’90s decade was the sale of a Conservation Easement on the DRAP Property to the Peninsula Open Space Trust (POST). Initiated by trustee Dale Djerassi and after three years of negotiations the sale was recorded on November 1999. For the sum of $2.2 million the Program signed an agreement restricting development and protecting the natural resources of the land in perpetuity. The proceeds were used to create a “Land and Buildings Endowment.” Earnings from the endowment were restricted by the Board for the care and maintenance of these capital assets.

As a condition of the Conservation Easement, DRAP introduced twelve annual free tours of the Program property. Initiated in 2000, these tours are conducted by the Resident Assistants and introduce the public to the landscape, selections of the sculpture collection and introduce the concept of the residency experience as a means of increasing awareness and support of the Program. We continue to offer longer tours of the property and collections to a paying audience.

Today the Djerassi Resident Artists Program is the largest program of its kind in the West and considered among the best in the country. Each year dozens of artists from across the United States, and many from around the world, travel to the open hillsides and deep redwood forests of SMIP Ranch to take inspiration from the beautiful surroundings and seek refuge from the distractions of the world. While in residence, the artists work in peaceful isolation within a supportive community of other artists and Program staff. They thrive on the intellectual stimulation and the collegial interaction with other artists in this close-knit community.

2003 DJERASSI PROGRAM STAFF

Dennis O’Leary, Executive Director Dennis O’Leary joined the staff as Executive Director in August 1997. He came to the Djerassi Program from the Boise (Idaho) Art Museum, where he had been Executive Director since 1981. He led BAM through two major expansions and built the museum into one of the premier visual arts institutions in the Northwest. O’Leary is a native of San Jose, California and attended the University of California at Santa Barbara. He worked at the San Francisco Museum of Modern Art in the early 1970s before moving on to teach art and direct the art exhibition program at Montana State University. O’Leary is a sculptor by training and inclination, and he brings a wealth of fundraising and administrative experience to the Djerassi Program.

Leslie Hawkins, Director of Communications Leslie’s work in the arts has ranged from curatorial assistant at the Healdsburg Museum to project management for a company specializing in curatorial and business management for visual artists. She has also worked for Butterfield & Butterfield auction house as their in-house catalog production artist and manager. Leslie received her BA in Art History from the University of California, Santa Cruz, and is an active supporter of Bay Area museums.

Judy Freeland, Residency Coordinator, IT Manager A local La Honda resident with a background in painting, graphic/web design and interactive new media, Judy is the administrative staff member who coordinates our artists’ residencies, planning for each artist’s stay from the application and panel process, through to the last day of the residency. She has also worked as an adjunct faculty member for Foothill Community College in the Computers Technology and Information Systems Division; and as an Instructor for technology workshops at San Jose State and UC Santa Cruz Extension. Judy received her BA in Conceptual Information Arts from San Francisco State University.

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. The Ultimate Residency Resource Guide 223

Carolyn Clark Bush, Bookkeeper Carolyn joined the staff in 1998 after serving eight years as Office and Business Manager with the Contemporary Arts Forum in Santa Barbara, CA. Prior to that, she worked as a grant writer for several institutions including the Contemporary Museum and the Volcano Art Center in Hawaii. Carolyn received her MA in Classics from the University of California, Santa Barbara, and has been active as both an arts administrator and artist for over 20 years, blending an interest in unraveling the intricacies of a nonprofit office with a love of textiles and design. A recent digression has led her to develop a lively interest in nutrition and why a vitamin is not a vitamin is not a vitamin.

Debbie Steffin, Resident Manager Joining the Djerassi Program in 2002 Debbie received her BFA in Sculpture from Washington University, St. Louis, MO. She intends to pursue a professional career as an artist and has held intern positions creating blown glass tumblers and handcrafted glass bead jewelry. Debbie has experience as a Program Assistant, Program Coordinator, Camp Director, and special events planner.

Susan Chapman de Leon, Chef Susan joined the Program in 2002 with experience as an Executive Chef and in-depth knowledge of nutrition and healthy lifestyles. She previously held the position as Executive Chef for nine years at The Lodge at Skylonda/Auberge Resorts, a renowned California Spa. Susan is a graduate of the California Culinary Academy and holds a degree in Food Technology and Restaurant Management from Canada College in Redwood City, CA.

Skip Gianocca, Facilities & Land Manager A local San Gregorio resident, Skip joined the Djerassi Program in 2001 with experience in carpentry, mechanics, welding, electrical work, and general ranch maintenance. He is responsible for the overall maintenance and effective operations of the Program’s buildings, equipment, and vehicles; and for maintenance of the sculpture collection and 580 acres of ranchland and redwood forests. Skip has a certified license for Wildlife Nuisance Control.

Susannah Biondo, Program Assistant Joining the Program this year Susannah received her BFA with an emphasis in ceramics from Washington University in St. Louis. She participated in a Work-Trade Artist-in-Residence Program at Watershed Center for Ceramic Arts in Newcastle, ME and received a scholarship to attend a public art workshop at Anderson Ranch Arts Center. Susannah intends to pursue a professional career in the arts combining her personal work in ceramic sculpture, public art, and teaching.

DJERASSI PROGRAM INFORMATION

STAFF CONTACT INFORMATION The Ranch Office is located below the Artists’ House kitchen. The Phone number is (650) 747-0691 and e-mail is [email protected]. Leaving a message on the Ranch phone is the most effective way to contact staff. Messages will be picked up throughout the day.

Resident Manager Debbie Steffin lives on site; however, she is not on duty 24 hours a day. Please respect her privacy and time off when she is not on duty. A message on the Ranch Office phone or a note in her mailbox is the most effective communication.

Program Assistant Susannah Biondo lives on site during the season; however, she is not on duty 24 hours a day. Please respect her privacy and time off when she is not on duty. A message on the Ranch Office phone or a note in her mailbox is the most effective communication.

Chef Sue Chapman usually can be found in the kitchen after 3:00 p.m. on weekdays. Leaving a message in the Chef’s mailbox also is effective. Shopping days are Tuesday and Friday each week.

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 224

Facilities and Land Manager Skip Gianocca is on site between 7 AM - 3 PM, Monday through Friday. His shop is located at the Artists Barn. A message on the Ranch Shop phone (747-0202) or a note in his mailbox is the most effective communication.

The administrative staff work at the Director’s House located 2 miles from the ranch further down Bear Gulch Road. The office generally is staffed between 9:00 AM - 5:00 PM, weekdays. The phone number is 747-1250 and e-mail is [email protected].

DJERASSI SOUNDSCAPE The Djerassi Program makes every effort to respect the privacy of the artists-in-residence and to keep the overall noise level in the living and studio areas to a minimum. However, as a working ranch and artist facility, maintenance work is required around the buildings and grounds, and workers need to move around the property in the course of their duties. Some noise and intrusions are unavoidable.

As a community of artists, residents should feel free to work whenever and however they feel it is necessary, as long as they do not intrude on the physical, aural or psychological space of others. The barn studios are not soundproof, and work in that facility may require patience and negotiation among resident artists. Please share your concerns with your fellow artist(s) and/or the Program staff.

This is a community of artists, with all the benefits and problems of living in a community. It requires that we all strive to accommodate the needs and preferences of the other members of the community with sensitivity and respect. Please help us make this time together pleasant and productive for all. Thank you for your cooperation.

ERRANDS & RIDES Palo Alto and Redwood City One day each week is set aside for a regular trip to local shopping areas, which have resources for artists such as building supplies, hardware stores, etc. Dinnertime when the group is all-together is a convenient time to share your needs and make arrangements. If you ask a staff member to pick something up for you, you must provide them with the money in advance.

Other Destinations Residents who wish to explore the region or must leave the ranch frequently are encouraged to rent their own vehicles. The Program’s limited staff does not allow for chauffeur services. We encourage you to partake in the Program’s offerings and remain on site during your residency and do your site seeing either before or after your session.

GUEST POLICIES Accommodations Accommodations at the Djerassi Program are limited to selected individual resident artists only. No accommodations for spouses or children are available. Family or friends who are in the area for brief visits cannot be accommodated overnight at the facility. The closest guest facilities are in Palo Alto, La Honda and Half Moon Bay.

Day Guests Day guests are generally limited to one, two or three people. It is important that you stay with your guest(s), escorting them during their stay. We ask that you do not interfere with the work of your colleagues and respect their privacy. We cannot accommodate large groups of guests and still fulfill our mission as a private retreat for creative work. Arrangements for visiting guests must be made in advance with the Resident Manager. All guests need to sign release forms before hiking or participating in any events on the Djerassi property. Please be sure all guests have directions and a map to the Program. Pets are not allowed.

Dinner Guests Wednesday and Friday nights are open for dinner guests. Reservations for dinner guests are accepted on a first come, first scheduled basis with a limit of six guests per night. Artists are allowed one dinner guest per session, free. A fee of $15 is charged for each additional dinner guest. Reservations must be made in advance by notifying the Administrative Office (650) 747-1250. Once approved, staff will then place guest names on the Program calen-

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. The Ultimate Residency Resource Guide 225 dar located in the dining area. Members of the Board of Trustees and their guests frequently join us on guest nights, and they will be noted on the calendar as well. Please be sure all guests have directions and a map to the Program.

ROAD USE The Program’s San Mateo County Conditional Use Permit requires that we maintain a record of road trips to the SMIP Ranch facilities. Residents with an automobile must record their comings and goings in the Road Use Log, located atop the room mailboxes. If you have any visitors, please log their trip as well. All trips that originate here are to be recorded as required by our use permit.

MEALS Dinners are prepared by the Program Chef and served on weekdays at 7 PM. Artists are responsible for their own morning and mid-day meals as well as weekend dinners. The Chef and Program Staff will stock the kitchens in the Artists’ House and Artists’ Barn. Artist residents are encouraged to get together to plan and prepare weekend meals. The Chef shops for food provisions on Tuesdays and Fridays. o Artists are asked to stay out of the main working area of the kitchen while the chef is preparing dinner. However, artists are encouraged to assist in setting the table, filling water glasses, and other preparation for the meals. o Wine or other spirits will be served on Friday evenings and special occasions only. Artists and guests are welcome to bring their own wine or spirits to the meals. Specific food request will be addressed at orientation dinner on the first night of the residency.

CLEAN UP Please be aware that the Program has limited staffing capabilities and residents are asked to share in the day-today housekeeping. Everyone is responsible for preparing and cleaning up after their own breakfast, lunch and weekend meals. Artists are asked to clean up their dishes after weekday dinners, and date and store leftovers. With everyone’s participation, the dishwasher is loaded after dinner and unloaded in the morning without taking up too much of any one person’s time. Artists residing in the barn are responsible for doing dishes and maintaining the kitchen; please place used dishes in the dishwasher and run it before dishes pile up in the sink and counters. Artists are asked to return dishes from their rooms and studios to the respective kitchens.

TASKS Each artist is asked to help the Program maintain its cleanliness and is assigned a minor daily task, which is posted in each kitchen. Sweeping the kitchen floor, closing the doors at night, and similar jobs are requested and help the Program staff keep the facilities tidy, comfortable, and safe. Thank you for your cooperation.

Mutually acceptable standards of cleanliness need to be maintained. Every pot or dish that is used must be washed and put away by someone; please do a fair share plus a bit more to ensure everyone’s peace of mind.

COMPOST Only organic waste is composted. No meat, bones, or dairy can be accommodated. Please be careful not to allow bottle caps or plastic in compost.

RECYCLING Clean recyclables go into the designated containers in the kitchen area.

CLEANING A professional housekeeping service is scheduled for Mondays. The main kitchen must, therefore, be vacated from 12:00-2:00 p.m. for cleaning. Please remember this and adjust your routine appropriately. Each bedroom will be vacuumed, dusted, and have the trash emptied. Please recognize that the housekeepers need your cooperation to do their jobs. If you should choose not to have housecleaning, please perform light cleaning on your own.

STUDIO/ROOM FURNISHINGS Please ask staff for assistance before re-arranging or removing furniture and other items from your room and studio.

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 226

Repairs Items in need of repair/replacement or any unusual circumstances should be reported to staff as soon as possible.

LAUNDRY Artists are responsible for laundering their own sheets, towels, and personal laundry. Before departing please wash ALL of your bedding and towels, make the bed and leave the towels folded as you found them when you arrived.

FIRST AID First Aid kits are provided in the kitchen in the Artists’ House and by the extra sinks in the common area of the Artists’ Barn.

ENERGY Conservation of electricity is vital to the functioning of the Program. A significant portion of our budget goes to lighting, heating and refrigerating the various volumes of space at the house and barn. By using electricity efficiently, you can help make the Program available to more artists. Turn off lights and computers when leaving the room. Keep the thermostat low or off.

SMOKING There is no smoking in the house or barn. Fire hazards in this region require that you be exceptionally cautious. Please consult the Staff about the designated smoking areas. Make absolutely certain that embers are extinguished; do not put smoldering remains in the trash.

NEWSPAPERS The NY Times is delivered Sundays and SF Chronicle is delivered daily. Please leave these papers in the Artists’ House living room for all to read. Clip articles only after the paper is a few days old.

TRAIL MAPS Maps of the hiking trails are located in the Ranch Office. Please confine your excursions within the property boundaries (to the best of your knowledge). If you hike frequently, make sure you understand the boundary locations. The neighbor directly to the west of the barn has several thoroughbred horses. Please do not approach these animals or enter inside the fences.

MAPS AND DIRECTIONS TO THE DJERASSI PROGRAM Please make sure all guests have directions and a map with the gate code to the Program. These can be found in the Ranch Office. To email a map as an attachment look for the MAP folder on the email computers.

PRIVACY Artists’ privacy is respected. Bedrooms and studios are their private spaces and should not be violated under any circumstances, except in the case of emergency. There may be occasional visits from small groups or funding agencies to the ranch. Artists have the option of opening their studios to these groups but are not required to do so.

PHOTOGRAPHS To create a permanent record of the Program, photographs are taken of the artists and their work while they are in residence. These are sometimes used in brochures, annual reports, newsletters, and grant applications to publicize the Program and raise funds for operations.

PRESENTATIONS Within the first two weeks of your residency, we request that each artist share their work by giving an informal 30- minute presentation to their fellow residents. This will generally occur after dinner.

ARTISTS PAGES We ask every artist who comes to Djerassi to leave behind an Artist Page which is a drawing, painting, collage, notation, score, or text created by the resident. We provide artists with an 11" x 14" piece of archival paper upon which to create your Page. Currently we have over 800 Artist Pages in the archive, and have an exhibition program for circulating selections from the collection to galleries, museums, schools, and libraries. There are examples of Artist Pages hanging over the fireplace in the Artists’ House. We ask that you add to this

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. The Ultimate Residency Resource Guide 227 remarkable collection as a lasting legacy of your stay at the Program.

COMMUNICATIONS Artists Telephones: Artists’ House (650) 747-9146 Artists’ Barn (650) 747-9145

There are two telephones in phone booths for artists’ use, one in the Artists’ House and one in the Artists’ Barn. You may make free local calls from both phones, however, you must have a phone credit card for long distance calls. If you need a phone card, please see the Resident Manager or Program Assistant. Please be considerate of others with regard to the amount of phone use and in the accurate transcription of messages. A message pad and pen are always near each phone and answering machine, put messages in appropriate mailbox. Artists in the Barn can simply check the message pad, while urgent messages should be hand delivered. The phone in the artists’ house kitchen is for staff use only.

Fax: A FAX machine is available in the Staff office. The Staff will send your FAXES for a small fee per page. Incoming Fax is free. Fax: (650) 747-0452

Copy: A copy machine is available in the staff office for limited copies, 5¢ per copy.

E-mail: Two e-mail stations have been set up for resident artists to share. To use these stations you must have a web based email account (hotmail.com) (email.com) (yahoo.com) (aol.com). For university email accounts, check your university’s Web site to find out if they have an email forwarding system set up. It will be forwarded to a web based email account.

PLEASE DO NOT change Preferences, DIAL-UP information, or DOWNLOAD any software on the e-mail stations

Equipment and Computers: A limited number of Macintosh computers with Word 6 are available for artists’ use. Printers are located in common areas for artists to share. A slide projector, screen, video camera, TV, and VCR can be checked out for projects and presentations. Standard power tools can be checked out of the shop.

Multimedia: The lab is equipped with Mac platform: MAC G4 dual processor, Premiere 6.0, After Effects 4.1, PhotoShop 5.5, Illustrator 7, Dreamweaver 4, Flash 5, Fireworks 5, GoLive 4, PageMaker 6.5, and Microsoft Office; Windows platform: HP Kayak computer, Premiere 5.0, PhotoShop 5.5, GoLive 4, PageMaker 6.5, and Microsoft Office; Cross platform: HP color Printer, HP Scanner. The Lab is located in a common area of the Artists Barn for all of the artists to share.

Mail: Outgoing mail should be in the basket, beside the front door the Artists’ House by 3:00 p.m. or in the out mail box in the Artists Barn. Residents’ incoming mail will be delivered by 10:00 a.m., weekdays. Stamps are available for sale by the staff and a scale is located in the staff office of the Artists’ House. Outgoing mail with deadlines must be brought to the Resident Manager’s attention.

Shipping: It is best to ship items via Federal Express or UPS because they deliver and pick up directly at the Ranch and Admin. The post office does not, and retrieval of packages is difficult.

LIBRARIES There are three libraries at the Djerassi Program. The primary library is upstairs in the Artists’ House and contains books from the collection of Pamela Djerassi as well as many works donated by previous artists-in-residence. A second library is located downstairs in the Media Room which contains videotapes, CDs and audio cassettes of work by artists-in-residence as well as a few feature films. The third library is located in the Artists’ Barn which houses a variety of books including art books, periodicals, reference books, contemporary literature and pulp fiction. We appreciate all donations to the library, especially works by our residents. If you would like to contribute any of your publications for the library, please sign your publications and leave them with the Resident Manager. We deeply value these gifts as they enrich all of our lives and are a great inspiration for the other artists-in-residence.

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 228

If you use books or tapes from the libraries while you are here, please replace them in their proper location when you are finished with them. Also, please handle all library materials with care.

SITE WORKS ON DJERASSI LAND We have many interesting sculptures and site works on the Djerassi land. Placing or building a piece on the land requires following prescribed guidelines. If you think you would like to install a temporary work during your stay, please read the Program’s Site-Specific Sculpture Collection Descriptions, Criteria and Policies, and Installation Request and Agreement forms in this manual and make arrangements with the Executive Director.

PROBLEM PLANTS AND PESTS o Poison Oak: The property is covered with poison oak, which is easily identified if you are on the look-out for it. If you develop a rash after an outing, take it seriously. Poison oak can best be treated early. After a walk, wash exposed areas well with Tecnu lotion/soap (available near first aid kits and from the Resident Manager). Always change clothes and wash them in hot water with ample detergent. There are various other lotions oint- ments in the first aid area to treat the rash if it does break out. Please notify staff of your concerns. If you seem to be developing an allergic reaction you should see a doctor as soon as possible. The Palo Alto Medical Foundation is a good clinic. If you stay on the road and on the groomed paths, there is little danger of being exposed. Poison ivy and poison sumac are not a problem in this area. o Ticks can also become a serious problem if you are not informed and careful. Although Lyme Disease can be a problem in Northern California, it has not been much of a problem in our area. There are several types of ticks and the deer tick is the only one that carries that disease. Preventive measures include tucking your pants into your socks, wearing a hat under bushes and trees, and keeping arms and legs covered if you are in any brush. Check your body carefully after hiking. If you are concerned, you may have the tick checked (put it in glass bottle) at the Pest Control Center. There are photographs in the Artists’ House to further help you identify them in the wild. o Rattle Snakes are seen on the Djerassi property during the hot summer months. If you encounter a rattler, be sure to give it a wide berth and inform the Facilities Manager immediately. When walking in the grassy fields, or stepping over fallen logs and other “hiding places” be aware of where you are stepping and of your surroundings. o Bobcats and Coyotes can be seen on the property all year long and will stay away from you. o Mountain Lions There have been rare sightings of Mountain Lions on the Djerassi property.

Do not startle or corner any wild animal. Let them know of your presence and they will generally avoid contact. These pests are a way of life in the country and most of us rarely have more than a routine problem with them. However, we feel it is important for you to be prepared. There are field guides, which can be checked out of the office.

FIRE EMERGENCIES

PLEASE NOTE: The use of candles in your bedroom, studio or outside on the Djerassi property is prohibited.

In a fire emergency, meet and take action immediately. Skylonda Fire Department: 851-1860 or 911 - Give address as 2325 Bear Gulch Road WEST

ASSEMBLY POINTS o Artists’ House: front roadway/driveway o Artists’ Barn: roadway, east of barn

NOTE THE FOLLOWING LOCATIONS: FIRE HYDRANTS o Artists’ House: Red painted box West of the house o Artists’ Barn: Red painted box North East of the barn

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. The Ultimate Residency Resource Guide 229

FIRE EXTINGUISHERS Artists’ House Upstairs Artists’ Barn o On the wall inside doorway to kitchen o On East wall inside Studio A o To the left of supply closet, East end of hall o To Left of window over sink in Studio B o On deck next to barbecue o Inside between door in Studio C o To the left of wood stove in Composer’s Studio Artists’ House Downstairs o On pillar in middle of choreography Studio o On wall to laundry room, left of the door o On pillar in open space o Front porch o To the right of restroom door in Kitchen o In open area next to shop o On West wall inside Darkroom

GARDEN HOSES Artists’ House Upstairs Artists’ House Downstairs o On deck under Kitchen window o To left of recycling bin o On outside North wall, east of front door o Under balcony on East side of House Artists’ Barn o East wall under bathroom window o On pillar outside next to shop

EARTHQUAKE INSTRUCTIONS SMIP Ranch is located near a major fault line. In an actual quake, the only thing more dangerous than the earthquake itself would be panic. Stay calm! If everyone follows instructions, this property would be one of the safest places to endure a severe earthquake.

In a major earthquake, you might experience a shaking that starts out to be fairly gentle but within a second or two grows into a violent jolt and knocks you off your feet. Or you might be jarred by a violent jolt as though your house had been hit by a truck, following which you might not be able to get from one room to another.

If you are indoors, stay there. Get under a desk or a table, or stand in a doorway or corner. Stay clear of windows, mirrors, skylights, bookcases, and falling objects until the shaking stops. If you are in your studio, get under your desk or work-table. If in a common area, get under the dining room table, under a chair, or stand in the doorway between the kitchen and living room.

If you are outdoors, stay there. Get away from buildings, trees, and power lines. The road between the house and the barn is a fairly safe place to be.

If you are in a car, pull over and stop. Do not park under transmission wires. Stay in your car until the earthquake is over.

(Also included in the complete version of this manual) Local Resources/contact information for:

Bookstores Office Supplies Craft & Art Supplies Libraries Hardwood & Building Supplies Post Office Ceramic Supplies Drug Stores Plastics Health Food Foam Electronics Photography & Camera Supplies

Transportation Resources

Emergency Telephone Contacts

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 230

DJERASSI RESIDENT ARTISTS PROGRAM SITE-SPECIFIC SCULPTURE COLLECTION DESCRIPTIONS, CRITERIA AND POLICIES

DEFINITIONS and APPROVAL PROCESS

PERMANENT SITE SCULPTURE o Works created to have a life span greater than three years o Works built both ON and IN the landscape o Works must be on DRAP property o Works must be under DRAP ownership

Proposals for Permanent Site Sculpture will be accepted from artists who have been residents at DRAP and other artists invited through the Office of Director of DRAP. Approval for the placement of a Permanent Site Sculpture must be received from: o DRAP Director; o Art Committee of the Board of Trustees; o Majority vote of the full Board of Trustees; o Completion of an Installation Request & Agreement; with o Program staff installation coordination.

TEMPORARY SITE SCULPTURE SUBSTANTIAL SCULPTURE o Works created to have a life span of one month to three years (except works on extended loan) o Work will be placed ON the landscape o Works must be gifted to, or loaned to DRAP by artist

EPHEMERAL WORKS o Works created to have a life span of one hour to one month (length of residency) o Performance pieces o Resident work in progress

Approval for the placement of a Temporary Site Sculpture, whether Substantial or Ephemeral, must be received from: o DRAP Director, with concurrence from the o Program Director; and concurrence of the o Art Committee (at the discretion of the Director); and completion of the o Installation Request & Agreement

Proposals for Temporary Site Sculpture will be accepted from DRAP Artists-in-Residence, alumni and invited artists through the Office of Director of DRAP.

SCULPTURAL DURATION GUIDELINES Permanent Site Sculpture * should have a life expectancy of at least three years with a minimal amount of maintenance. After three years, and periodically thereafter, Program staff in consultation with the Art Committee will determine whether the condition of the work has deteriorated beyond its aesthetic or educational value. If so, the work may be removed from the property and/or destroyed.

* “Permanent” is used as a relative term, and it is expected that works built in the landscape will deteriorate in time and will eventually lose their aesthetic and educational value. The Program makes no guarantees about the longevity of a Permanent Site Sculpture.

Temporary Substantial Sculpture: Periodically, Program staff will determine whether the condition of the work

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. The Ultimate Residency Resource Guide 231 has retained its aesthetic or educational value. If so, the work may be left up for an unspecified time. If not, the piece may be removed from its site, returned to the artist or destroyed if owned by DRAP at the sole discretion of the Program staff.

Temporary Ephemeral Works are on display for as short as one hour to one month, and are generally removed from site at the end of its specified period. Artists MUST agree to remove the works and return the landscape to its original state as a condition of approval. In some cases, TEWs may be adjusted to the status of Temporary Substantial Sculpture upon approval of the Director.

CRITERIA FOR APPROVAL AESTHETIC CRITERIA o High artistic caliber o In keeping with the artist’s personal genre o Strong relationship with the site o Have an inherent endurance within its conceptual framework

PRACTICAL CRITERIA o Capable of being built o Structurally safe o Reasonable construction time and methodology o Limited staff involvement o Low maintenance o Little or no impact on other artists’ residencies o Financially independent from DRAP

ENVIRONMENTAL CRITERIA o Located on DRAP property o Geographically appropriate to the landscape o Environmentally responsible o Geologically stable with low impact on the land

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 232

DJERASSI RESIDENT ARTISTS PROGRAM SITE-SPECIFIC SCULPTURE COLLECTION INSTALLATION REQUEST & AGREEMENT

Name ______Date ______

Address ______Phone (___)______

City ______State ____ ZIP ______Fax (___ )______

Web-Site Address ______Email ______

Installation Request:

Permanent ______Temporary Substantial ______Temporary Ephemeral _____

Proposal Title ______

Proposed Location ______

Description of Proposal Please address all of the relevant “Criteria for Approval” of a Site-Specific Sculpture. If needed, use up to one additional sheet of paper for each criteria discussion.)

AESTHETIC CRITERIA: Include any drawings, models, schematics or other materials needed to understand and evaluate the Proposal. Also include slides, photographs, catalogs or other materials of previous work.

PRACTICAL CRITERIA: Be sure to include a description of the materials to be used, the life expectancy and maintenance requirements of the Proposal.

ENVIRONMENT CRITERIA: Discuss the Proposal’s impact on the land.

Sample Artists’ Handbooks/Residency Guides—Djerassi, Survival Manual, cont. The Ultimate Residency Resource Guide 233

AGREEMENT: I understand that the installation of a work on the Djerassi Resident Artists Program property is only possible upon the appropriate approval as stated on the attached Descriptions, Criteria and Policies statement which are a part of this Agreement. I will meet the entire “Criteria for Approval” for the Proposal and I recognize and will adhere to the guidelines for the duration of a sculptural installation. Should the DRAP staff decide for any reason that the installation is not adhering to the original Proposal, or is adversely affecting the land or the Program in any way, in their sole discretion, I will make adjustments necessary to correct any of DRAP’s concerns or issues, or I will immediately cease work, remove all of the materials and installation equipment, and will return the land to its original condition. I agree that if my work is categorized as “Permanent,” it becomes the property of the Djerassi Program with complete rights of ownership and title. For Temporary Sculptures located on the property, I understand that DRAP assumes no responsibility for the ongoing maintenance of a work. At anytime DRAP may determine whether the condition of the work that is Permanent or Temporary has deteriorated beyond its aesthetic or educational value, DRAP may have the work removed from the property and/or destroyed in the sole discretion of the DRAP without notification to the artist or others.

Artist’s signature ______Date ______

FOR DRAP USE

APPROVAL CHECKLIST

Aesthetic criteria _____ The Proposal is of high artistic caliber _____ Is in keeping with the artist’s personal genre _____ Has a strong relationship with the site _____ Has an inherent endurance within its conceptual framework

Practical Criteria _____ The Proposal is capable of being built _____ Is structurally safe _____ Has a reasonable construction time and methodology _____ Limits staff involvement _____ Requires low maintenance _____ Has little or no impact on other artists’ residencies _____ Is financially independent from DRAP

Environmental Criteria _____ The Proposal is located on DRAP property _____ Is geographically appropriate to the landscape _____ Is environmentally responsible _____ Is geologically stable with low impact on the land

COMMENTS AND SPECIAL REQUIREMENTS:

Approval: ______Date ______Director’s Signature

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Hopscotch House Purpose Statement Hopscotch House Retreat and Residency Center is a program of the Kentucky Foundation for Women. It serves the women and girls of Kentucky by providing a supportive setting for feminist artists and activists to create, connect and convene.

Kentucky Foundation for Women Mission Statement To promote positive social change by supporting varied feminist expression in the arts.

HOPSCOTCH HOUSE CONDITIONS FOR USE AND POLICIES

Guest Usage Policy: Hopscotch House accepts requests from individual women and groups of women who demonstrate in their application shared values with the mission of the Kentucky Foundation for Women and the purpose of Hopscotch House.

Non-Discrimination Policy: Persons served by the Kentucky Foundation for Women shall be selected entirely on a nondiscriminatory basis with respect to disability, ethnicity, familial status, national origin, political affiliation, race, religion, sexual orientation, veteran’s status, and all other categories providing nondiscriminatory treatment by law, statute, or ordinance.

Kentucky Resident Policy: Persons or groups desiring the use of Hopscotch House must be a resident of KY for at least one year or be part of a group comprised primarily of KY residents.

Out-of-State Guest Policy: Out-of-state guests may use Hopscotch House by KFW invitation only, and when the purpose of their visit is KFW-related.

Men in Groups Policy: Men are allowed to attend day retreats and activities when the majority of the group are women and the focus of the group is to improve the lives of women and/or girls. Men are not eligible for participation in overnight retreats.

Children’s Policy: Girls ages 9 and up may participate in retreats and scheduled programs that are supervised by adults and focus on improving the lives of women/girls.

Healing Arts Policy: Healing arts workshops or retreats may be held at Hopscotch House, if the focus is tied to KFW’s mission. A donation may be requested by program providers, but participants shall not be required to pay a fee to participate.

Faith-based Groups Policy: Hopscotch House is available to faith-based groups that demonstrate in their application the desire to transform social, economic, political, and religious institutions and dogma that oppress women and girls. Hopscotch House cannot be used to promote any specific religious doc-

Sample Artists’ Handbooks/Residency Guides—Hopscotch House The Ultimate Residency Resource Guide 235 trines.

Repeat Usage Policy: Due to limited availability, groups may only request one weekend reservation per calendar year. However, once a group has used their one weekend, they may put their names on a “wish list” in the event that additional weekends become available before the end of the calendar year.

Paid Programs Policy: Hopscotch House is offered free of charge to approved groups and individuals. In this spirit of generosity, activities conducted at Hopscotch House should be free to all participants. The Kentucky Foundation for Women recognizes the importance of women being compensated for their time and skills, and suggests the request of voluntary donations as an option for those requiring funds to provide their programs.

Land Conservation/Preservation Policy: Guests of Hopscotch House are granted walking rights to Ms. Bingham’s 412 acre farm, after signing the Release of Liability Agreement. Guests are asked to stay on the trails and respect the privacy of farm tenants. Additionally, there shall be no recreational use of motorized vehicles on the Property, which shall include vehicles such as motorcycles, all-terrain vehicles, dirt bikes and similar types of vehicles. There shall be no removal or picking of wild flowers from the property. There shall be no archeological exploration, artifact collection or recovery operation on the property.

Cancellation Policy: Please make every effort to honor your reservation. If you must cancel, please do so as soon as possible, so other groups or individuals may take advantage of the opening. Many resources are spent preparing and maintaining Hopscotch House for scheduled use. Last minute cancel- lations and no-shows may affect future Hopscotch House requests.

Snow/Inclement Weather Policy: The Kentucky Foundation for Women has the right to cancel any programs, retreats or residencies due to inclement weather. At times during the winter, access may be limited. Retreats and residencies cancelled or postponed due to weather will be given first priority in rescheduling.

Smoking Policy: Hopscotch House, including studios and all outbuildings is non-smoking. Smoking is permitted in designated outdoor areas. Please use a portable container and safely dispose of ashes and cigarette butts. Smoking in the woods or on the trails is not permitted at any time.

Visitor Policy: Please notify management if you will be having a visitor. You are welcome to show visitors the property during regular business hours of 10:00 a.m. to 5:00 p.m. There may be residents working, so please be quiet and respectful of others. Guests are not permitted to stay overnight.

Pets Policy: Pets are not permitted at Hopscotch House.

Long Distance Phone Calls: Guests of Hopscotch House needing to make a long distance phone call must use a calling card or their cell phone. Toll calls cannot be made from Hopscotch House.

LIFE AT HOPSCOTCH HOUSE About the House and Land The original house was built in 1848 as a four-room farmhouse. Over the years, the house has had several private owners. In the mid-eighties, the Kentucky Foundation for Women (KFW) purchased the

Sample Artists’ Handbooks/Residency Guides—Hopscotch House, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 236 house and 6 acres. Shortly thereafter, KFW’s founder, Sallie Bingham, founded the Wolf Pen Women Writers’ Colony which met regularly at the house. The writers’ colony paved the way for Hopscotch House to be used as an artist retreat and residency center for writers and artists of other disciplines.

The rest of the approximately 400 acres of woods and fields that surround the house are privately owned by Sallie Bingham, who has generously agreed to allow artists and groups visiting Hopscotch House access to the land. The land is protected by a conservation easement held by Riverfields, a nonprofit organization, to prevent future development.

Security The security alarm system is leased, maintained and monitored by ADT Security Systems. The alarm system can be set to monitor the premises while occupied or unoccupied. The security system also includes smoke and fire detection. There are two different signals to differentiate which alarm has been tripped. The alarm signal for possible intruders automatically goes to police dispatch while an audible alarm continuously sounds within the house. False alarms must be reported to alarm monitoring service immediately to prevent unnecessary dispatch of police officers. Fire alarm signals dispatch Fire Department personnel to the scene while an audible alarm characterized by a pulsating alarm sounds. Fire Department personnel are required to respond to inspect the premises. The system must be re-set after a fire alarm. The re-set code is included in information provided to guests upon arrival.

Water System Hopscotch House water operates from a cistern and is delivered by truck. Please be conservative with water. When water runs low, a red warning light will come on the orange metal box located on the back wall of the supply room. If this light comes on during your stay, please notify the manager immediately. In the event the manager cannot be reached call Fred Coffman @ 228-1910 and request a delivery as soon as possible. Please specify whether the water is low or if there is no water at all. If the electricity fails during your visit, do not run water or flush toilets. This will cause air to build up in the water lines, which will prevent the water from working when power is restored. If this occurs, there are instructions posted in the basement on how to prime the pump. However, we recommend you contact Hopscotch staff first.

Electricity and Gas Please use energy efficiently. There are separate thermostats for upstairs, downstairs and the sunroom. Make sure all doors and windows are shut before running air conditioning or heat. Please observe notes for thermostat settings at each location.

Due to old trees and high winds, Hopscotch does often times experience power outages and/or downed trees. Please notify Hopscotch staff immediately if either or both of these situations occurs. Flashlights are located in each of the bedrooms and in the kitchen. Extra batteries are in the supply room. Candles and matches can be found throughout the house. Remember not to use water if there is a power out- age.

Recycling Reduce, reuse, recycle! At Hopscotch House we try to recycle as much as possible. There are containers for recycling in the supply room. Please separate items to be recycled. Acceptable items are as follows: newspaper, cardboard and brown grocery bags, plastic #1 and #2 bottle-shapes (rinse and remove caps, flatten if possible), container glass only, aluminum cans (rinsed and crushed). Please help us help the environment!

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Fireplaces Currently, the only working fireplace is the one located in the sunroom. Make sure the flue is open and never leave a fire unattended. Please leave the ashes for us to remove.

Candles Feel free to burn candles during your stay, but remember no fire should burn unattended. Also, to preserve our furniture and floors, make sure candles are on candleholders or plates while burning.

Hopscotch animals and wildlife We are blessed at Hopscotch House to have an abundance of wildlife which adds to the beauty of the land. You will commonly see deer, raccoons, squirrels, hawks, coyotes and occasionally a fox or group of wild turkeys. Be sure to bring your camera for photo opportunities. There are two cats and a dog that live at the manager’s cottage. The big black cat is Raven and loves attention. The orange cat is Tiger and wants food more than attention, but is friendly too. The white fluffy dog is Sam. He is very friendly, but sometimes has bad manners. Tell him no if he jumps on you.

Trails There are several trails on the property, some more obvious than others. Feel free to take a walk or hike whenever the mood may strike you. If you have questions about the trails, please ask the staff. Stay on the trails to avoid trespassing on other properties and getting lost. We share the farm with a few neighbors, and ask that you respect their privacy.

COMFORT AND CONVENIENCE Hopscotch House offers the best of both worlds: a pristine location that allows time for reflection, creativity and a reconnecting with nature, while conveniently located near most services or amenities you might need during your stay. We like to keep traffic to a minimum, so please try to bring all the necessary supplies for your stay. However, we realize it is often hard to anticipate needs when creativity strikes. Listed below are directions to the major shopping areas, as well as a couple of items of interest. Please ask the staff about specific needs.

OTHER NEEDS OR INTERESTS If you need additional supplies to complete a project check the supply room. There are several containers with all kinds of twine, yarn, paints, markers, scissors, tape, glue, etc.

If you need something you can’t find, ask Hopscotch House staff and if we can’t find it, we’ll give you directions to where you can.

Hopscotch House is located about 25 minutes from downtown Louisville. While we expect you will spend most of your time using the facilities and being productive, if you have any questions about the area and activities happening during your stay, please feel free to ask Hopscotch House staff. We will try to keep current activities posted as well as upcoming events you might be interested in. Check the bulletin board in the hall off the kitchen.

BEFORE DEPARTING Please refer to the cleaning checklist for minor housekeeping tasks to be completed before you leave. We would also greatly appreciate you taking the time now or within the next few weeks to answer the questions on our evaluation forms.

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DONATIONS Please consider making a donation to Hopscotch House, so that we may offer stipends to artists who require financial assistance. Envelopes are located in the living room on the table below the painting of Hopscotch House. Your generosity is greatly appreciated.

HOPSCOTCH HOUSE GENERAL INFORMATION Arrival and Departure G Check-in for weekend reservations is Friday between 4:00 and 6:00 p.m., unless otherwise arranged with Hopscotch House staff. G Check-out for weekend reservations is Sunday at noon. G Check-in and check-out for reservations Monday through Thursday is flexible. G A brief orientation is required for all first-time groups and individuals. The leader of the group must be present and is responsible for relaying the information to any members not present. G Parking is available in the carport and driveway near the carport. G Guests should enter Hopscotch House from the carport. G Allow time to clean up after yourself or group and leave the house as you found it.

Bedrooms Bedrooms are available on a first-come, first-serve basis, unless prior arrangements have been approved. There are 5 bedrooms with a total of 6 beds as follows: one upstairs room with 2 single beds; two upstairs rooms with 1 single bed; one upstairs room with 1 queen-size bed. There is one bedroom downstairs with a single bed that is wheelchair accessible. There is also a single sleeper sofa pull-out bed in the library.

Bathrooms All bedrooms have private bathrooms. Paper supplies are provided. You must supply your own personal toiletries, such as toothpaste, bath soap and shampoo.

Linens/Towels Bed linens and towels are provided. Extra pillows and blankets are also available. Prior to your departure, place all used sheets (not blankets and comforters) and towels in the laundry room located in the downstairs hallway near the carport door.

Studio/work space If applicable, studio/work space assignments will be coordinated with individual artist’s needs and will be determined upon arrival on the basis of availability.

Meals Guests are responsible for their own food and beverages. There is unlimited access to a fully-equipped kitchen which includes: double-oven, cooktop, refrigerator, microwave, toaster, coffee-maker, dishwasher, dishes, glassware, utensils, cookware and table linens. A gas grill is also available. There are several groceries stores nearby if needed.

Housekeeping You will be provided with a cleaning checklist outlining light housekeeping duties which should be completed before departure.

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Know Before You Go Guidelines

The Jentel Artist Residency Program offers dedicated individuals a supportive environment in which to further their creative development. Here visual artists and writers experience unfettered time to allow for thoughtful meditation and reflection on the creative process in a setting that preserves the agricultural and historical integrity of the land.

Staff Mary Jane Edwards Executive Director Lynn Reeves Program Manager Cliff Niner Maintenance Manager Tina Harmon Housekeeping Donna Edwards Housekeeping

Jentel appeals specifically to those individuals who wish to take responsibility for themselves while they focus on their work and creative development. While at Jentel, residents make up a small community which depends upon the respect and good intentions of all to make it work. The following guidelines and general information will help you keep in mind your responsibilities and resources when making your decision to accept a residency award at Jentel.

Arrival Accepting a residency means a commitment to arriving on the first day and staying through the last day of the residency award. You should plan to arrive between 1:00 p.m. and 4:00 p.m. on the first day of your residency. Please refer to your invitation letter for the exact date. If your arrival will be unexpect- edly delayed, please let us know as soon as possible. Arrival at Jentel prior to 1:00 p.m. on the first day of your residency is not possible. If travel plans require arrival a day early, please arrange to stay in either Sheridan or Buffalo. Ask the Jentel staff for a list of lodging in the numerous hotels, and B&Bs in the area. The Jentel office is open Monday through Friday 9:00 a.m. to 4:00 p.m. MST. On your arrival day, please note that the after hours contact number is 307-737-2503.

Residents using public transportation should plan to arrive in Sheridan between 11:00 a.m. and 6:00 p.m. On arrival days, the 15th of the month, Jentel provides transportation from the Sheridan Airport and the Sheridan Bus Station between 11:00 a.m. and 6:00 p.m.

Jentel is 20 miles from Sheridan. Residents arriving and departing outside the times provided by staff will need to make arrangements for overnight accommodations in Sheridan and/or as needed to hire private transportation for connecting with flights and bus departures. Taxi service between Sheridan and Jentel averages around $20.

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If you are driving, a map is enclosed for directions from I-90 and Sheridan, Wyoming. If you are flying, the nearest airport is Sheridan. Please make arrangements with the Jentel staff at least four weeks in advance for a pick up from the airport. If you are arriving by bus to Sheridan, please make arrangements with us at least four weeks in advance for transportation to Jentel.

Please notify the staff of your arrival and departure plans a minimum of four weeks prior to your arrival. This will help us coordinate scheduling and transportation for you from Sheridan. A form is enclosed with this mailing for your convenience.

Orientation Upon your arrival, you will meet the staff and other residents and have an introductory tour of the facilities. That evening, you will be treated to a self serve group dinner and have an opportunity to relax and become better acquainted with each other.

The following morning residents enjoy a self serve continental breakfast. The staff will host an Orientation at 9:00 a.m. at the Residence. During this time, you will also receive additional information about Jentel, the residency program and the immediate area to insure that you will have a productive and peaceful month with us. The staff will review important areas of the Resident Handbook which you will receive and read before you arrive at Jentel. Immediately following the Orientation, staff will return reservation deposits and snap a few publicity photographs of residents participating in Jentel Presents and of the group for our files. The staff will then drive residents into Sheridan (20 miles) to cash checks and purchase groceries.

On one or several of the evenings shortly after arrival, residents traditionally share their work in a casual and informal setting through slide presentations or readings. A VCR is also available in Times Square in the loft of the Residence. The staff will return one set of your application materials (slides or manuscript) that you may use for the presentation or you may plan on bringing new or additional materials to share.

Departure You should plan to depart on the morning of the last day of your residency. Please refer to your invitation letter for the exact date. Studios and private living spaces are vacated no later than 11:00 a.m. Your consideration of this schedule is appreciated. If you have a flight later in the day and are waiting for staff to transport you to the Sheridan airport, you may use the common areas in the Residence until your departure later that day. Staff will make arrangements with you to return to I-90 or assist you with meeting your flight or bus in Sheridan.

Residents using public transportation should plan to depart Jentel between 9:00 a.m. and 3:00 p.m. On the day of departure, 13th of the month, Jentel provides transportation from Jentel to the Sheridan Airport and the Sheridan Bus Station between 9:00 a.m. and 3:00 p.m. If you have a morning flight or bus departure earlier than 9:00 a.m. you should plan on making arrangements for a taxi to transport you to the airport or bus station at your own expense. The fare for the 20 mile trip averages $20. Call Sheridan Taxi Service at 307-674-6814 for details and reservations.

Stipend Residents will receive their stipend in four increments at the end of each week in residence.

Reservation Deposit To hold your residency, we require a reservation deposit to be mailed in with your signed Confirmation

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Form. If you cancel your residency after submitting your check and form, you forfeit the reservation deposit. The reservation deposit is returned to residents during the Orientation on the second day at Jentel.

Accommodations Each resident will have a separate living area and a shared bath in the spacious and comfortably furnished house situated near Lower Piney Creek. Private living quarters are furnished with a full size bed and down duvet, night stand, easy chair, and armoire. Two sets of towels and linens are provided. Residents share common areas, such as the living and dining area, kitchen, bath and laundry. The library and Times Square, a recreation area with television, Dish Satellite, a VCR and video collection are located in the loft of the Residence. Residents share a PC with rewritable, recordable CD capabilities and an HP LaserJet1000 printer with standard connectivity. Satellite internet access is available for web browsing and email. The computer and printer located in the Loft Library are for the exclusive use of residents for email and Internet access.

Visual Artist Working Spaces The four Visual Artist studios are housed in a building separate from the Residence. Each studio opens to a common hallway that leads to a common kitchen, dining area, and bathroom. Once inside the common area, each studio has a separate interior entrance. Studios are equipped with two worktables, a straight-backed chair, an adjustable drafting stool on wheels, a full length mirror, a day bed, a utility sink, good overhead lighting with both track and fluorescent lights on separate controls.

Flat fourteen foot ceilings enhance the spaciousness of the studio. A small single window allows visibility to the outdoors and increases the amount of running, usable wall space for two-dimensional work. The floors are wood painted grey. An individual control in each studio activates the professional grade air handler to insure safe working conditions.

The white painted walls have a spackled textured surface and are plywood backed. Tape, nails, staples, etc. may be used to hang work in process on these surfaces. Standard, stocked items for each studio are cloth rags, hand cleanser, and paper towels.

Individual tool kits including hammers, pliers, wire cutters, a straight edge, levels, a variable speed drill, t-squares and an assortment of nails and push pins are located in each studio. Several step ladders provide access to the upper sections of the walls and the ceilings and are available upon request. Several easels and additional work tables, saw horses, wood panels, Plexiglas sections and a blender are also available upon request from staff.

One studio has a Takach Garfield litho press with a 32 x 48 inch bed suitable for monotypes only. This studio also has a drying rack and roll of newsprint and is reserved for exclusive use by one resident per session. Assignment of this studio and press is made as part of the initial invitation to Jentel.

Residents are urged to bring an adequate stock of art materials and supplies for their session. If you need a tool or piece of equipment on a continual basis, you are expected to buy or bring your own. Residents planning on viewing slide work may bring handheld slide views or portable light tables.

Hardware/Software Residents using electronic media to view, generate and/or print out art work need to bring their own hardware and software for use in the studio while at the residency. The Artist Studios are without Internet access. Satellite Internet access on the PC in the Loft Library is available for web browsing and

Sample Artists’ Handbooks/Residency Guides—Jentel, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 242 email. Visual artists are asked to refrain from hooking up their own hardware/software in the Loft Library.

Writer Working Spaces The two Writer Studios are located in another building located between the Artist Studios and the Residence. A common entrance opens into a Mud Room with a water dispenser and a private entrance opens into each studio. The studios are equipped with the following: a desk with stapler, push pins and paper clips and a standard office chair, a bulletin board, and bookcases with a dictionary and an assortment of books and magazines. Each studio has individually controlled heat and air conditioning, good natural light and overhead track lights, a surge protector and a comfortable, fully reclining chair. Writers sensitive to minimal sounds may consider earplugs. Common kitchen and bathroom facilities are located in the Artist Studios.

From yellow legal pads and pencils to typewriters, laptops, printers and reams of paper, writers are responsible for bringing their own writing tools, materials and equipment to Jentel. The area has limited resources for renting computer equipment.

Each writer’s studio has satellite Internet access. Please check your computer for satellite access com- patibility. An Ethernet connection as standard features on most, newer model computers or Cat 5 patch cables for older computers are necessary for access. A surge protector is provided. Writers who have an older computer should plan on bringing their own Cat 5 patch cables or purchasing them in Sheridan once they arrive.

Food Residents are responsible for buying their own food and preparing their own meals. A large pantry and two side by side refrigerator freezers provide ample room for storage. A large, well designed kitchen is easy to use for individual or group meal preparation. Residents are asked to store food and beverages in the common kitchens in the Residence and the Artist studios.

Shopping Once a week, a staff member will drive residents into Sheridan (20 miles) to buy fresh groceries and other staples. After a short meeting at 9:00 a.m. to make announcements and distribute stipend checks, the residents and staff depart for the group town trip and return to the Residency by 1:00 p.m. Residents without vehicles seem to plan ahead and manage quite well with these weekly trips to town.

Transportation Staff will provide arrival and departure transportation and transportation for residents who choose to give presentations in nearby communities through participation in Jentel Presents or other opportunities arranged through the YMCA for the public schools or the community college. Although no services are expected of residents during their stay, interaction within the community is graciously encouraged, if you are so inclined.

Residents who hope to see a great deal of the area are encouraged to drive their own vehicle or to rent a car once they are at Jentel. Depending upon the season, car rental rates are often reasonable for weekend jaunts, especially when expenses are shared among several residents.

Resident Address Please give family, friends and other correspondents the following address for mail delivery to you while at Jentel: (Your name) Jentel Artist Residency Program, 132 Lower Piney Creek Road, Banner,

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WY 82832.

Resident Phone Number For incoming long distance calls from family and friends, the residents’ phone number is (307) 737- 2503.

Phone Residents wishing to make long distance phone calls need to bring phone cards or plan to use their long distance carrier service. Portable phones with answering tapes are available in the common areas of the Residency for local calls into Sheridan. Residents are responsible for reviewing and deleting their messages.

A phone for emergency outgoing messages only is located in the kitchen of the Artists’ Studios. This phone does not ring for incoming calls.

If you choose to bring a cell phone, plan on driving or walking the ¾ mile up to the top of the hill on the county road for reception. Cell phone reception varies considerably from carrier to carrier. Wyoming is vast and sparsely populated and Jentel is snuggly nestled in the Lower Piney Creek Valley.

Email In the loft library, Jentel provides a computer for email and Internet access for shared use by the residents. Writers may bring and use their personal computers for access to the Internet in either of the Writer’s Studios. There is no charge for this service.

Cash ATM machines are available at numerous locations and at the primary grocery store on the Thursday trip into Sheridan. Or plan on bringing traveler’s checks to handle your personal needs with local merchants. Jentel does not provide a check cashing service and does not keep cash on hand.

Clothing Think layers of clothing for casual country living. Fall and springtime in the mountains can be quite varied in temperature and precipitation. Extreme changes may occur within the same day. Altitude guarantees a drop in temperature in the evening through early morning hours. Sheridan’s growing season is May 31st to September 30th. Snow may fall as late as June. Bring layers of clothing to meet the challenges of the changing weather.

Comfortable walking shoes are handy for hikes on the county roads around the ranch and roaming the hills in the adjacent 1000 acre pasture. Remember when selecting footwear that the county roads may be quite muddy at times. All structures in the resident village are comfortably warmed by propane heat and air conditioned according to the season. The weather channel and www.weather.com may provide helpful information for planning your Jentel wardrobe. Wyoming is always casual, so bring what is comfortable.

Art Materials/Writing Materials Residents provide all their own writing or art making materials and equipment. Residents are urged to bring an adequate supply of writing materials and art materials for the residency. From yellow legal pads and pencils to laptops, printers and reams of paper, writers are responsible for bringing their own writing tools, materials and equipment to Jentel. The area has limited resources for renting computer equipment. Sheridan has office supply stores and an art supply store for the basics. Pack your favorite art supply

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Shipping Supplies may be shipped one week in advance of your arrival via FedEx, UPS or USPS. Please be considerate of staff members who must transport your boxes. Please pack your materials in boxes of a manageable size and weight. Your shipment will be held for you until you arrive.

When you use FedEx, UPS or USPS to ship supplies, please use the street address for the Residence: (Your name) Jentel Artist Residency Program, 132 Lower Piney Creek Road, Banner, WY 82832.

Office Supplies, Services and Equipment Jentel provides neither typewriters nor computers and printers. If you need to rent a machine from a local office supplier, contact the office for a list of area suppliers and services. The area has limited resources for renting computer equipment. Photocopying is available in the Jentel office, as well as fax transmissions. The Jentel fax number is 307-737-2305, M-F, 9:00 a.m.-4:00 p.m.

Exercise Miles of county roads cut through the Lower Piney Creek Valley and offer varied views of the foothills, adjoining ranches and the mountains. Adjacent to Jentel, a 1000 acre fenced and hilly pasture provides off road hiking and exploring. Balloon tire bicycles and helmets are available for residents to use on the county road. Winter hikers will enjoy the snowshoes handily stored in the Red Barn.

Pets Because of allergies and ranching operations, pets are not permitted at Jentel.

Visitors Day-time guests are to be kept to a minimum and staff must be informed prior to arrival. Jentel cannot accommodate overnight guests during the residency program. Hospitality is limited to residents accepted through the selection process and may not be extended to family members, friends and others. There are no exceptions. Ask staff for a list of the numerous hotels and B&Bs that are available in the area, if you expect visitors or if your arrival or departure involves traveling companion (s).

Smoking No smoking is permitted in any of the Jentel Foundation buildings. Because of extreme fire danger, smoking is limited to the Red Barn Lounge located outside the lower entrance. Due to our insurance policy directives, candles and incense are not permitted.

Drugs Jentel is a drug free environment.

Fire Fires are not permitted on Jentel Foundation property or adjacent ranch properties at any time.

Car Rental/Taxi Service Rental agencies have vehicles available for pick up and drop off at the Sheridan Airport. Residents have sometimes gotten good weekend rates and also good rates even with the drop charge for a round trip rental and flight package between Billings and Sheridan. If a rental is contracted during your stay, some rental agencies will also drop off and pick up a rental vehicle at Jentel.

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The number for Avis is 1-800-831-2847 or 307-672-2226 in Sheridan. Enterprise is 1-800-325-8007 or in Sheridan 307-672-6910. The number for the Sheridan Airport Avis Rental Desk is 307-672-2226. Call Sheridan Taxi Service at 307-674-6814.

Security The main doors to the two studio buildings and the door to each private living area in the Residence have locks. Jentel does not carry insurance on resident’s personal property. We urge you to have such coverage, if you feel that you need it, as well as, adequate health insurance.

Jentel Provides Jentel provides the following to residents: G Comfortable furnishings G Two sets of linens, towels and washcloths and a warm down duvet G Kitchen equipment: pots, pans, plates, bowls, cups, silverware, glasses, etc. G Cooking staples: basic seasonings G Domestic supplies: dishwashing soaps, toilet paper, paper towels, soft tissue G Weekly ride into Sheridan for grocery shopping G Regular mail delivery and pick up G Phone for local calls G Computer and printer for general shared use and Satellite Internet access G Large, clean, artificially lighted artist studios G Comfortable writer studios with Internet access G Safe, peaceful working and living environment G A beautiful landscape

Policies Respect Residents must uphold general standards of decorum and decency to insure a positive experience for themselves and each other. Residents are not allowed to visit each other’s studios or living quarters without an invitation. Radio, tape player, TV and VCR volume must be kept at a considerate level in the Residence. Headphones for radio, tape and CD players are required for studio use for visual artists and writers alike.

As appropriate, residents are expected to initially work out difficulties amongst themselves or with the respective individual/s. When no resolution seems apparent or possible, residents are asked to bring any problems to the attention of the Resident Program Manager or the Executive Director.

Zero Tolerance Jentel has a zero tolerance policy on activity that violates general standards of decorum and decency. The use of illegal drugs or the abuse of alcohol is prohibited on Jentel Foundation property. Firearms are not permitted on Jentel Foundation property. Unwanted sexual overtures and harassment of other residents will not be tolerated. Disruptive behavior may also lead to the immediate termination of your residency. Violators will be asked to leave immediately. Civil authorities may be called in as necessary.

Room and Studio Maintenance Jentel makes every effort to maintain its outstanding facilities at all times. Due to the physical setting of Jentel, routine maintenance is required on an ongoing basis throughout the year to keep ahead of the cli- matic impact. Spring through fall staff will be watering, planting and mowing the grounds. Fall or spring offers window washing and sometimes painting. Winter promises snow removal machinery on the roads

Sample Artists’ Handbooks/Residency Guides—Jentel, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 246 and parking lots. Maintenance staff will accommodate special work times whenever feasible.

Staff will make every attempt to see that your studio will be suitable for your needs, but cannot always guarantee absolute satisfaction. Studios and private living quarters are preassigned by lottery. However, the assignment of the studio with the press is made as part of the invitation to Jentel. Switching space is not possible. Cleaning supplies are available for you when you need or should you wish to use them for your studio or private living quarters, since staff do not clean these areas during your residency.

All common living areas in the Residency are maintained on a weekly basis according to an established schedule. Staff maintenance of the common areas occurs on Thursday 9:00 a.m. to 1:00 p.m. during the town grocery run. Residents who choose not to go into town on Thursday mornings are asked to vacate the common areas, living and dining room, kitchen, library and recreation room to accommodate the cleaning schedule and staff.

What to Bring? Specialized professional equipment Computer, printer and paper Typewriter Paper, writing materials and office supplies Art materials and supplies, tools, special paper, inks, etc. Hand held slide viewer or portable light table Art supply catalogs Kitchen supplies: Any specialty items you may require Personal toiletries Good hand and body lotion as well as lip balm for our dry climate Good walking and muck proof shoes Good studio shoes for wooden floors Comfortable, casual clothing Warm jacket, sweaters, long pants, warm hat, scarf and gloves Flashlight for late night walks Radio/tape/CD player with headphones Camera and film Binoculars Stationery and postage stamps Address book Long distance phone cards Traveler’s checks

Questions? If you have other questions about our facilities or policies before you arrive, please do not hesitate to write, phone or email us. We will be happy to assist you. The office is open Monday through Friday between 9:00 a.m. and 4:00 p.m. MST. The office phone number is (307) 737-2311 and the email is jen- [email protected]. January 2005

Sample Artists’ Handbooks/Residency Guides—Jentel, cont. The Ultimate Residency Resource Guide 247

arts /INDUSTRY AN ARTIST-IN-RESIDENCE PROGRAM

Artists’ Handbook (excerpts) INDEX PROGRAM INFORMATION Arts/Industry Overview General A/I Information (see example) CONTACTS JMKAC Contacts Pottery Foundry

POSITION DESCRIPTIONS

THE POTTERY Casting Glazing Firing Maintaining the Space General Notes Tools and Materials

THE FOUNDRY Patterns, Molds, Flasks, Scale Sands Metals The Melt Casting Enameling Tools and Materials

PHOTOGRAPHY

EXIT (see example) Packing and Shipping

LIFESTYLE (see examples) Home Daily Needs Recreational Options

MORE ABOUT JMKAC

MORE ABOUT KOHLER CO.

Sample Artists’ Handbooks/Residency Guides—John Michael Kohler Arts Center (excerpts) Artists’ Management: Artists’ Handbooks/Residency Guides 248

General Information

1. Read and familiarize yourself with all points in your Arts/Industry contract and handbook. 2. Do not ask Kohler Co. associates to do work for you as they are not expected to take time from their assigned responsibilities. All artists must do their own work and must not disrupt production at any time. 3. When needing technical assistance, you must plan ahead. 4. During the year there are scheduled times called “shut down,” there are also periods of low production. During “shutdown” production is cut back and most processes are not available for you to use. During times of low production, production is cut back and there are some processes that you will be able to use. During these times it is best to work on finishing, posi- tives, or drawings. 5. Your primary contacts during your residency are the Arts/Industry Technicians. 6. You must make yourself available to Kohler Co. tour groups. Generally, tours will enter the Pottery at 9 a.m. and the Foundry at 10 a.m. We request that you interact with the tours and guides Monday - Friday. 7. You are invited to attend JMKAC functions and events such as openings, luncheons, dinners, and performances. Being a part of the fabric of JMKAC is an important part of your residency experience. 8. Please do not wear work boots and heavily soiled work clothing in the artist’s house. 9. It is important to remember that you are a guest in the house and studio facility. Residents are not allowed to move, or remove furniture from the house or studio. 10. Use the Kohler Co. Main Gate (Gate 1) to enter and exit the factory at all times. Always wear the issued photo I.D. badge, safety shoes, and glasses while in the factory. 11. While working in the factory, do not use, take, or borrow any equipment or materials other than those assigned or given to you without permission. 12. Maintain a clean work space at all times. 13. Do not charge any materials or Kohler Co. employee time to the Arts/Industry Program. 14. If a piece of equipment breaks or malfunctions while you are using it, contact the area foreman and your Arts/Industry technician. Operate all equipment with care, and always ask for permission or instructions before using. Operation of any equipment can only be done after proper training has been given to you by a qualified instructor or his/her designate. 15. Do not operate elevators without proper instructions. 16. Deposit “burnable” and “nonburnable” trash in the appropriate containers or it will not be picked up. 17. (Pottery) Always check with the kiln foreman and your Arts/Industry technician before loading and firing your work. (Foundry/Enamel) Always check with the area foreman or supervisors before proceeding with any casting, mold making, or enameling. 18. Private photographic documentation of your work is permitted. 19. When you have special requests or questions of Kohler Co. associates and employees, and have not yet met the individual who can answer your question, you must first be advised by an Arts/Industry technician before approaching any Kohler Co. employee for the first time. 20. Safety orientation for Arts/Industry is required by Kohler Co. prior to artists being allowed in the plant. 21. Guests of the artists must also wear safety boots and safety glasses (where required) and may not, under any circumstances, operate Kohler Co. machinery or work in any fashion. 22. Artists are responsible to the Arts/Industry coordinator for their attendance in the factory.

Sample Artists’ Handbooks/Residency Guides—John Michael Kohler Arts Center (excerpts), cont. The Ultimate Residency Resource Guide 249

EXIT

WEEK OF EXIT In order to secure a comfortable exit from your residency, the following guidelines must be adhered to. Every artist arrives on a Sunday and leaves on a Saturday. If you are in the Foundry, your week of exit is considered to begin the Monday preceding your last Saturday. If you are in the Pottery, your week of exit is considered to begin the second Friday before your last Saturday. You are directly responsible for adhering to this schedule and completing your work on time.

POTTERY Friday LAST DAY FOR CASTING SLIP-LAST WET DAY Saturday LAST DRYING DAY Sunday LAST GLAZING DAY Monday KILN DAY Tuesday LAST KILN DAY-FINISH WORK Wednesday PACK WORK AND OBTAIN SHIPPING PRICE QUOTE Thursday PAY FOR SHIPPING AND DELIVER WORK TO TRANSFER STATION Friday CLEAN STUDIO AND LOCKER—EXIT FACTORY AND REMOVE ANY PERSONAL POSSESSIONS WITH A PROPERTY PASS (if your space is not adequately cleaned, a $50.00 fee will be subtracted from your final stipend) Saturday CLEAN ARTISTS HOUSE (If your room is not adequately cleaned or if the common areas are not free of your debris, a $50.00 fee will be subtracted from your final stipend.)

FOUNDRY Monday NO MOLDS MAY BE MADE OR POURED AFTER THIS DAY Tuesday FINISH WORK Wednesday PACK WORK AND OBTAIN SHIPPING PRICE QUOTE Thursday PAY FOR SHIPPING AND DELIVER WORK TO TRANSFER STATION Friday CLEAN STUDIO AND LOCKER—EXIT FACTORY AND REMOVE ANY PERSONAL ITEMS WITH A PROPERTY PASS (if your space is not adequately cleaned, a $50.00 fee will be subtracted from your final stipend.) Saturday CLEAN ARTISTS HOUSE (If your room is not adequately cleaned or if the common areas are not free of your debris, a $50.00 fee will be subtracted from your final stipend.)

Sample Artists’ Handbooks/Residency Guides—John Michael Kohler Arts Center (excerpts), cont. Artists’ Management: Artists’ Handbooks/Residency Guides 250

LIFESTYLE

HOME

1. The Artists House address is: 559 Lower Road, Kohler, WI 53044 2. Things to bring: bedding (there are three double and one single beds) battery-operated alarm clock towels toiletries bicycle (used bikes are available at the artists house) computer (a computer is available at the artists house with Internet access only) slides/video/media for your educational presentations camera 3. The telephone number at the house is (920) 458-0187. Long distance calls MUST be charged to your home number, credit card, or long-distance service. NO bills for long distance calls will be paid by the Arts Center. 4. If any repairs are needed or things do not work (lights, plumbing, furnace, etc.), call 458-6144, ext. 133, immediately. 5. We request that you leave your work boots at the factory. You will be provided a locker on your first day where you can store your personal belongings. Residents who fail to comply with this policy will be assessed a fee for any damage that results to the property at 559 Lower Road. 6. You are responsible for keeping the house clean and in good condition. At the end of your residency, plan to reserve extra time to clean everything of yours from the house. This means tidying, dust- ing, and vacuuming your bedroom and cleaning the common areas, including kitchen, dining room, hall, and bathroom. Please take care to throw away all left-over food or personal items from the house. Please be considerate of both incoming artists and the Arts/Industry Coordinator who is responsible for the house. 7. You will receive a check for $280 ($140 stipend per week) every two weeks. Your final check will be withheld until any outstanding bills you have incurred are paid. If any special attention such as cleaning or tossing rubbish is required from your room or any common area (including the refrigerator) after you have exited your residency, a $50 fee will be deducted from your final stipend. Please note, if your studio is also left a mess, an additional $50 will be deducted. 8. Garbage Recyclables pickup is on Fridays. Put garbage (and recyclables) out on the curb next to the driveway on Thursday nights. Please return garbage can and blue bin to the house at the end of each pickup day, and please be diligent about this—good neighbor relations are important for the program. It is not okay to leave the garbage in the garage for weeks at a time. Please take out the garbage each and every week! 9. There is no overnight parking on Kohler streets unless police are notified. During snow emergencies, all cars must be off streets until the streets are plowed. 10. You are not responsible for shoveling snow or mowing the lawn. 11. Please be sure to close the shower curtain all of the way or water will leak through the floor. 12. If you are unhappy with your living arrangements, please try to work out a compromise with the other artists in the house or call the A/I Coordinator.

Sample Artists’ Handbooks/Residency Guides—John Michael Kohler Arts Center (excerpts), cont. The Ultimate Residency Resource Guide 251

DAILY NEEDS

Listed are the names, addresses and phone numbers for: Hardware Stores and Lumber Yards Thrift and Resale Stores Grocery Stores Laundromats Bicycles and Repair Mail Auto Rental & Limo Service Fish Fry

RECREATIONAL OPTIONS While artists typically spend much of their residency working the area around Kohler offers a wealth of options for artists needing a recreational break. There is a paved bicycle and jogging trail that can be accessed at the northern edge of Kohler Village that stretches from the edge of Sheboygan to Plymouth (9 miles).

Kohler Co. has also arranged special privileges for Arts/Industry residents wishing to use Sports Core, the private fitness, racquet, and swimming club in the Village. Sports Core is open daily from 6 a.m. to 11 p.m. It offers a swimming pool, sauna, indoor and outdoor whirlpool spas, a Universal exercise room, a cardiovascular exercise room, a beach area (during summer), a two-mile outdoor par course with 18 exercise stations, volleyball, badminton (during summer), six indoor and six outdoor tennis courts, two racquetball courts, a spa salon, and massage therapy.

Sample Artists’ Handbooks/Residency Guides—John Michael Kohler Arts Center (excerpts), cont. Artists’ Management: Artists’ Handbooks/Residency Guides 252

McCOLL CENTER FOR VISUAL ART

ARTISTS’ ORIENTATION GUIDE

CONTRACT POINTS TO COVER

G You agree to devote Monday through Friday to working at McColl Center during business hours from 9 am to 5 pm. You can work weekends at McColl Center; we leave this decision to you. G The Open Houses and Open Studios provide opportunities for the public to meet the artists. All artists are required to attend both Open Houses scheduled for January 28 and March 25 (both from 6 to 8 pm) as well as Open Studio Saturdays scheduled 11 am to 4 pm on January 22, February 12, February 26 and March 12. G During McColl Center for Visual Art’s gallery hours, Tuesday through Saturday from 11:00 am to 4:00 pm, we have established an open door policy for visitors. Artists are strongly encouraged to keep their doors open during these hours and to interact with the public. G You are not paid the daily stipend for planned absent days. We asked that you provide a schedule of any planned absence prior to your arrival as well as any that may arise during your stay. G If you must be absent at all during your residency and leave the area, you are responsible for your ground and air transportation to and from the McColl Center. G McColl Center will provide you with a materials budget. The materials budget is to support your work for the three months you are in residence. You will be given a check for the full amount at the start of your residency. This funding is provided to you for the purchase of materials and services related to your work here. Anything you need to purchase that exceeds this amount will be your financial responsibility. G Open House is a means for the public to meet the artists and visit your studio. You are required to participate in both Open Houses—one at the beginning of your residency and one at the end. In addition to the Open Houses, you are asked to give two (2) public presentations of your work, either at McColl Center or a public venue to be arranged. Accommodations will be made if an overnight visit is required. G McColl Center assigns a studio space to you based on your work requirements. We have the right to access your studio at any time with reasonable notice. You are invited to use your studio in whatever way you wish in order to advance your work, however, the space must be returned to McColl Center in the same condition it was when you arrived. Permanent changes and alterations such as painting surfaces or putting holes in the walls are not permitted. G Any and all work created during your residency remains your property. The cost of shipping it from McColl is your responsibility. If a piece of work is sold while on exhibition or from your studio during the residency, McColl Center will assess a commission fee of 30% of the total sale. If the artist’s gallery handled the work, the 30% of the total sale will come out of the gallery’s commission fee. G You will be provided a fully furnished condominium, which must be left in the same condition, as it was when you arrived. You may have guests stay with you during your residency, however no pets

Sample Artists’ Handbooks/Residency Guides—McColl Center for Visual Art The Ultimate Residency Resource Guide 253

are allowed in either the McColl Center or the condominium. G You must be checked out on all technical equipment before you can use them. The Facility Manager is available to give rudimentary training and technical advice on some of the equipment. G Anyone who has or uses illegal drugs at McColl Center will be asked to leave the program. Possession of firearms on the property is not permitted—anyone found violating this policy would be asked to leave the program. Smoking is not permitted inside McColl Center’s building. McColl Center reserves the right to terminate a residency if there is an indication that your behavior during your residency at McColl Center will or does jeopardize the quality of the experience for other Artists-in-Residence, our collaborations with affiliate organizations and our community relations. G Please immediately report any incident or allegation of harassment, whether verbal, physical or visual, to the Marketing and Program Assistant, or in her absence, to the Director of Programs or the President. McColl Center prohibits unlawful harassment, including, but not limited to, race, age, religion, disability, sexual orientation, etc. G A McColl Center vehicle may be used for picking up supplies and making deliveries. You are fully responsible for the vehicle while it is in your possession. McColl Center’s vehicles are not available for the purpose of leaving the Charlotte area.

FACILITY POINTS TO COVER

G Residents must demonstrate a basic knowledge of technical/shop equipment prior to usage. The Facility Manager is available to give rudimentary training and technical advice on some of the equipment. G All residents must attend a Media Lab orientation and read materials before having access to the equipment. G A McColl Center vehicle may be used for picking up supplies and making deliveries. You are fully responsible for the vehicle while it is in your possession. McColl Center’s vehicles are not available for the purpose of leaving the Charlotte area. If you are returning a vehicle, and the fuel is low, please notify the Facilities Manager or Executive Assistant. If you elect to purchase fuel, please turn in the receipts to the Director of Operations and Finance for immediate reimbursement. G All work areas (Wood Shop, Metal Shop, Sculpture Studio) are to remain locked when not occupied. G Please keep your studio locked when unoccupied to insure the safety of your property and supplies. G For your safety, and the safety of your colleagues, it is very important all exterior doors are secured shut and are never to be propped or pried open. This includes the roll-up door in the back and the security gate located in the rear of the building. The front door should not be used as an exit after gallery hours (Tues-Sat 11am-4pm). After hours, artists are responsible for escorting their guests in or out of the building by using either the glass side door to the right of the receptionist’s desk or the side door next to the elevator. The roll-up door is not to be used as an entrance or exit except when loading or unloading supplies.

EMERGENCY AND SAFETY PROCEDURES

McColl Center for Visual Art is equipped with a fire alarm only. When alarm sounds, please find the closest Exit and wait outside in the rear parking lot on Church Street until you are informed that the building is safe. Assigned members of the staff will check the building to make sure everyone is out. Please be advised, we will enter locked studios to ensure that the building is clear.

Sample Artists’ Handbooks/Residency Guides—McColl Center for Visual Art, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 254

All studios are equipped with a Yellow Flammable Cabinet and Red Flammable Waste can. Please use them at all times to store paint thinners, oily rags, and other appropriate materials.

No open flames in studio.

Please inform the Facilities Manager about the use of any electrical devices above and beyond standard light fixtures for studio projects.

All work areas (Wood Shop, Metal Shop, Sculpture Studio) are to remain locked when not in use and are equipped with the necessary safety gear, eye, and hearing protection. For all special equipment—respirators, welding clothes, sandblasting suit, etc.—please see the Facilities Manager.

Exercise extreme caution after hours, especially while using the shop tools. If you have a cell phone, please carry it with you when working in the shops by yourself after hours. There are phones located in each of the Shops—Sculpture, Wood, and Metal—for you to dial out if needed.

Remember, if you need to dial out from one of these phones, please dial 9 to get an outside line. To Dial 911, you would actually dial 9911.

SAFETY RULES G No overnight sleeping. G No smoking. G No pets allowed in the building. G No open flames, no candles, no incense. G Use metal wastebaskets. G Unplug all electrical appliances when not in use. While you are in your studio, all electrical appliances must be plugged into a power strip with surge protector. G No cooking in studio. To heat water for tea, coffee, etc., use an electrical kettle (no open flames or hot plates) with automatic shut-off switch. G Any overhead lighting must be firmly secured and wattage of light bulbs must not exceed recommended limits. Halogen lighting is recommended. G Do not use light sockets as plugs. G Extension cords must be relatively new, not homemade, or frayed, and have grounds. They should not be used as permanent wiring and must be unplugged when not in use. G Keep studio clean. There must be clear, unblocked access routes to all exits. G All used or oily rags must be kept in a lidded metal container. G All flammables must be stored in a closable metal container or in a fireproof metal cabinet, and the quantity of flammable materials in your studio should be kept to a minimum. Please properly dispose of any flammables you will not be using. G Label all containers. G Do not use studio for storage. It is a workspace. G Do not dump paint, plaster, or chemicals down drain. G No modifications can be made to the studio. G Follow safety precautions of all materials or media used. You are responsible for the proper disposal of toxic materials off-site.

Sample Artists’ Handbooks/Residency Guides—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 255

POLICIES AND PROCEDURES

Open Door Policy During McColl Center for Visual Art’s gallery hours, Tuesday through Saturday from 11:00AM - 4:00PM, we have established an open door policy for visitors. Artists are strongly encouraged to keep their doors open during these hours and to interact with the public.

Sale of artwork by Artists-in-Residence and Affiliate Artists Policy If a work belonging to and created by a current Artist-in-Residence or Affiliate Artist is in a current McColl Center for Visual Art exhibition and is sold during that exhibition, McColl Center for Visual Art will assess a commission fee of 30% of the total sale. If the artist’s gallery handled the work, the 30% of the total sale will come out of the gallery’s commission fee. If an Artist-in-Residence sells a work created at McColl Center for Visual Art while in residence, McColl Center for Visual Art will assess a commission fee of 30% of the total sale.

Exterior Doors For your safety, and the safety of your colleagues, it is very important all exterior doors are secured shut. (This includes the garage door in the back.) The front door should not be used as an exit and we ask that exterior doors never be propped open. When not in use, shop doors should be locked. Your studio space and materials become vulnerable if exterior doors are not secured.

Mail: At the end of each business day, the Marketing and Program Assistant will deliver your mail to your mailbox located outside your studio door. Time sensitive items will be attached to your studio door. If a package comes for you, the Marketing and Program Assistant will call to let you know it has arrived. It is your responsibility to retrieve the package from the administrative office.

Kitchen: We hope that you enjoy the many conveniences provided such as the microwave, toaster oven, refrigerator, dishwasher, etc. We expect that you will help one another in keeping it clean. We have come up with a few systems that we hope will help you with this. G Please write your name and date on all food you have in the fridge or cabinets. (There is a marker and tape available for this). G Clean up immediately after yourself. DO NOT leave dishes in the sink. Clean the appliances such as the coffee maker after each use. G Place your dirty dishes in the dishwasher. Please take notice if the dishwasher seems full and load it with soap and start the cycle. Please empty the dishwasher if you find it is full of clean dishes.

Guests: To protect your privacy during working hours, we have a process for greeting your guests and making sure they can find you. Please inform the Marketing and Program Assistant or Gallery Receptionist if you are expecting a guest during McColl Center for Visual Art’s business hours of Monday through Friday from 9:00AM to 6:00PM. When your guest arrives, the Gallery Receptionist will notify you. When they leave, we ask that you escort them to an exit and make sure the door is secured after their departure.

After Business Hours: The back gate is open between 8:00AM - 6:00PM Monday through Friday. If you have guests after hours or on the weekends, instruct them to call you ahead of time. You will need to go down and meet them in order to let them in the building.

Sample Artists’ Handbooks/Residency Guides—McColl Center for Visual Art, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 256

Parking: During business hours between 9:00AM and 6:00PM, you should park your vehicle in the McColl Center parking lot located on the corner of North Church and 10th Streets—you can use the spaces marked ’715 N. Church’ between the hours of 8AM and 6PM. We encourage you to move your vehicle to the parking lot located behind the building on the weekends and evenings. You may also use this area for loading and unloading, but we ask that you move your vehicle as soon as you are finished. This area is intended to be a working, outdoor sculpture studio and not a parking lot.

MATERIALS/MATERIALS BUDGET

Regarding technical assistance, the Facilities Manager can provide you with rudimentary training in the wood and metal shops. An assistant will be available, during limited times, in the Media Lab to assist you with the various equipment and graphics programs.

We also supply basic office supplies in the Media Lab. This includes fax machine, paper, computers, a stapler, tape dispenser, scissors, paper clips, pens, etc. If any of these items are low and/or missing, please inform the Marketing and Program Assistant so the supply may be replenished.

Please refer to your Information Manual for a list of local vendors for materials.

Sample Artists’ Handbooks/Residency Guides—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 257

Congratulations on Acceptance to Ragdale… Congratulations on becoming a Ragdale resident! Our alumni have achieved great things here and we look forward to supporting you in your artistic endeavors. Naturally, you will have questions. We hope the following information will make you feel at ease even before you arrive. Please read through it thoroughly, there are many things you need to know beforehand. If there are questions beyond what is covered, we are happy to answer your inquiries. Please email Melissa Mosher, Director of Admissions at [email protected] or call (847) 234-1063, X206.

Cancellation Policy Your deposit is nonrefundable. If you must cancel or leave early, let us know right away so that we may fill the vacancy. If you must cancel due to unavoidable medical reasons, you may postpone as space permits through the end of the next residency session and your deposit will be transferred. Please keep in mind that it is often difficult to reschedule due to the lack of openings. If you must cancel for other reasons, we will try to reschedule you during the session for which you applied. If we are unable to accommodate you during that time, you must submit a new application and reapply for the next period. Your room has been reserved for the duration of your stay and it is our hope that you will use it fully. If you must leave early, you will be responsible for covering the cost of the room.

Check-in Check-in is between 2 and 5pm on the Thursday of your arrival. Rooms are generally not available prior to 2pm. Please go to the porch of the Ragdale House (the cream colored building with blue-green shutters) to pick up your arrival packet and then come to the office to let us know you are here. You may unload in one of the circle drives and park in the lot when finished. An orientation tour will take place at 4:30pm and begin in the Barnhouse living room. Rooms are open, but the office is locked after 5pm, so if you plan to arrive late you will need to let us know in advance and make alternate orientation arrangements.

Ragdale Provides A private room in which to work, table or desk and chairs, lights, limited basic research books, linens/towels/laundry facilities & soap, dictionaries/thesauri, surge protector or multiple outlet plug, basic food/prepared dinner 6 nights a week, books for enjoyment.

Plan to Bring (General Suggestions) Personal care items, computer/typewriter, printer, software, disks, phone card & stamps, athletic and waterproof shoes, clothing for all types of weather and/or exercise, camera, headphones for your radio, swimsuit (for local pool or lake), and computer paper.

Equipment/Materials Materials and supplies are your responsibility. Items may be shipped to Ragdale only a day or two in advance due to limited storage space. During construction, please send items to 1230 North Green Bay Road, Lake Forest, IL, 60045 rather than the 1260 Address. After February, 2005 items may be sent to the 1260 address. BE SURE TO PACK BOXES YOU CAN LIFT; most rooms are upstairs.

Plan to bring your own computer, printer, hardware and software. Should you wish to rent a laptop, we recommend Daily Projector Rentals. Delivery and pick up service is included and Microsoft Office is available upon request. DPR should be contacted prior to arrival by calling (847) 303-1966. This com-

Sample Artists’ Handbooks/Residency Guides—Ragdale Foundation Artists’ Management: Artists’ Handbooks/Residency Guides 258 pany does not rent printers, but Ragdale has one extra available printer that you may borrow. Please inquire about this prior to your arrival.

Facilities/Grounds We are very excited about the renovation of the Ragdale Barnhouse, which will provide needed repairs and improvements to the building. You will be some of the first people to experience the upgrades. It is our hope that construction will be fully complete by the end of February 2005. There will however be more people (who are not residents) than usual on the premises and possibly a little construction noise in January and February. Your room will be identified in your arrival packet, which will be located in a basket on the porch of the Ragdale House. Please pick it up before coming to the office on your arrival day and note that we are unable to fulfill room change requests.

If you love to walk or cross country ski, the prairie is wonderful. Please bring needed clothing and equipment or plan to rent it. Our grounds connect to several miles of pathways owned by Lake Forest Open Lands. You will be provided with a basic map in your welcome packet. If you choose to go out and enjoy the prairie, you will be on protected land. Please only walk on the pathways and refrain from picking flowers. These guidelines help to preserve this beautiful untouched land, which is part of the small amount of preserved prairie that exists in Illinois today.

About Our Rooms The main houses are listed on the National Register of Historic Places and have unique qualities. Please let housekeeping know if you need an extra blanket, space heater, lamp, fan, or extension cord. Be sure to plug larger or high voltage electrical equipment into surge protectors (ie, computers, hairdryers, and space heaters) and always turn space heaters off when you are not in the room.

Part of what makes Ragdale unique is that all the rooms are different. Each has its perks and quirks and some are bigger than others. Certain rooms may have fireplaces, porches, and private baths while others do not. Room decisions depend on a variety of factors, including medical need, how things fit into the schedule, and luck of the draw. Do not make room requests unless you have medical needs that require specific accommodations. If you do have a medical need, you must submit a doctor’s note as soon as possible after you have been notified of your acceptance. Please do not ask to change rooms! We are not able to grant such requests. We work very hard at being fair when assigning rooms and assignment is mainly based on how everything fits into the schedule.

Visual Art and Composer’s Studios During January and February, 2005, we will be putting the finishing touches on the Chandler Accessible and other areas of the Barnhouse. We will then be back to our normal three visual artist spaces. All studios have great natural light, running water, tables, chairs, and overhead lights. There is also a freestanding halogen lamp and one heavy duty easel that you may use. Visual artists may also construct a temporary easel or tack work up on the walls. Two visual art studios are sleep-in spaces, so if you are scheduled for one of these, plan to use materials you feel comfortable living with. When unloading, you may pull up near your studio and park in the lot when finished. We also have a garden cart to ease the unpacking process. Ventilation includes doors, windows and exhaust fans. The composer’s studio has a baby grand piano. There is also a stereo and CD player that can be used.

Communication with the Outside World from Ragdale Rooms are delightfully free of phones. Phones are located in the common areas of the Barnhouse and Ragdale House. From these, you may make toll-free calls and local calls within an eight-mile radius. Other calls will require a calling card. The number for the Ragdale House is: (847) 735-8557 and the Barnhouse is 847-234-0427. Please use the phone for a half hour or less and receive only necessary

Sample Artists’ Handbooks/Residency Guides—Ragdale Foundation, cont. The Ultimate Residency Resource Guide 259 calls from 7-9pm in order to limit the ringing. If someone must get a very important message to you, they may dial the office number, which is (847) 234-1063. If the message is non-emergent, we will put it in your Ragdale mailbox. If it is an emergency, we will try to deliver the message. The Friend’s Studio provides space for one composer and one visual artist and has no phone. If you have a cell phone, please turn the ringer off and talk in the parking lot, phone booth or on the prairie. Our walls here are very old and therefore not very soundproof. Subsequently, conversations may disturb other residents.

If you plan to receive mail during your residency, it should be sent to the 1230 North Green Bay Road address prior to March 20005 and the 1260 address thereafter. UPS and Federal Express packages can be shipped and received this way as well. The resident handbook, located in each Ragdale room will provide shipping instructions should you need to send something out when you are here.

We plan to have two available computers with attached printers, that you may use for half-hour periods of time to check your email or do research. Printed copies are 10 cents with Ragdale paper and 5 cents with your paper. Please keep track of the number of copies printed and add them to your residency total at the end of your stay. There is an option to plug in your laptop if necessary. Please speak to the Director of Admissions regarding how to go about this. The Lake Forest Library also provides Internet access, which is particularly useful if Ragdale’s isn’t. The Ragdale House currently has a wireless Internet connection, so you may want to come equipped with a wireless laptop card and the knowledge to use it.

Local Transportation Downtown Lake Forest and the commuter “Metra” train station is about a mile from Ragdale. It provides transportation to Chicago for a reasonable roundtrip fee of $5 to $15. We recommend taking the train and walking or biking around Lake Forest. If you wish to call a cab, the number is 1-800- CALL303. If you drive to the beach, make sure to get a parking permit during office hours so that you do not receive a ticket. The permits MUST be returned immediately after use. Bicycles have been donated for resident use and are located in the Ragdale House basement. Check the tires, seats, chains and brakes before you go and please treat them kindly.

Programming, Events and Meetings on the Premises Ragdale can be a busy place. In addition to the residency program, we also have a public mission and over 100 volunteers who assist us with fundraising and other projects. Because our buildings and property are owned by the City of Lake Forest and adjacent to the prairie, which is owned and maintained by Lake Forest Open Lands, there are often additional people using the facilities. The calendar, which is posted on the refrigerators, will help you recognize and be aware of any groups that are here. These events may provide good opportunities to get to know the people who support Ragdale and the arts in truly incredible ways. Thank you for understanding.

Money Although it costs Ragdale approximately $200 per day for each resident, we raise funds to subsidize most of the cost so that your fee will be only $25 per day. This includes a private workspace and food. If you are able to pay more than $25 per day, it will be considered a tax-deductible donation and will be greatly appreciated. If you arrive late, leave early, or spend time away from Ragdale, you are still responsible for the full amount. A few days prior to your departure, you will receive exit papers that indicate how much you owe, but please feel free to settle early or pay in advance. If you wish to purchase t-shirts or used the office copier or fax machine, please add that to your total and write one check before you leave. Lake Forest Bank and Trust will cash checks up to $200 if you tell them you are from Ragdale and bring the check cashing card. Please pick the card up during office hours.

Sample Artists’ Handbooks/Residency Guides—Ragdale Foundation, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 260

Clothes Ragdale is charming but can be drafty, and warm clothes are often useful. Walks on the prairie are often muddy, and not all areas are air-conditioned, so you may want to pack a variety including a swimsuit, beach towel, and athletic shoes during the summer. We are close to the lake, and there is a pool and fitness center at the local college that Ragdale residents have complimentary access to.

Meals/Food We have a wonderful chef at Ragdale who provides various healthy cuisines for dinner six nights of the week. Dinner is served every night but Saturday at 6:30pm in the Barnhouse and residents sometimes gather beforehand. When dinner is ready, the chef will let you know. After dinner, residents should completely clear the table and load dishes in the dishwasher. Our chef will take care of the leftovers, serving dishes and pots and pans. Feel free to use the two kitchens to prepare other meals with the groceries and leftovers. Always thoroughly clean up when done.

If you have special dietary needs or allergies, please indicate them on your application and contract. We are able to accommodate certain requests; however, due to time and budgetary constraints we are not able to fulfill all special dietary needs. You may wish to bring a small supply of your own food, or we can also recommend nearby grocery stores. If you have questions about meals, please call before you arrive.

Guests Your guests may come for brief daytime visits, but cannot be invited to dinner or stay overnight. Please quietly meet in first floor common or prairie areas only and be respectful of your fellow community members.

Laundry and Housekeeping Ragdale has a thorough and conscientious housekeeping and kitchen management staff, but it takes a lot of help for them to keep up with twelve residents, especially in the kitchen. Please clean up after yourself by wiping counters and stoves, putting dishes in the dishwasher, running and unloading it, and hand wash, dry and put away pots, pans, and sharp knives immediately after use. All dishes except for the aforementioned items must be run through the dishwasher for health and safety purposes.

Furniture should be put back, lights turned off and common areas cleaned up after use for resident gatherings. The housekeepers change linens, give you fresh towels, and empty your garbage once a week. This usually occurs on Wednesdays. If you prefer not to be disturbed, hang your sign on your doorknob and they will leave the linens outside the door. Laundry facilities and detergent are provided. Please heed the signs regarding housekeeper use.

Smoking/Candles/Incense Smoking is not allowed in any of the Ragdale buildings. Smoking is permitted outside. Please make sure cigarette butts end up in the outside ash can, not on the ground. Please do not burn candles or incense in your room. Candles located in rooms are for emergency use only.

Common Areas The common areas consist of the living, dining and kitchen areas, where you may feel free to relax or visit. Please keep stereo or other sounds to a minimum. Due to health and safety concerns, please be considerate with kitchen usage during dinnertime. Ragdale hosts a number of necessary events in the common areas. We may also invite guests such as potential donors or board members to dinner on occasion. We try to let you know when there will be others on the grounds through the schedule posted on the refrigerator. Visitors are not allowed on the second floors while artists are in residence.

Sample Artists’ Handbooks/Residency Guides—Ragdale Foundation, cont. The Ultimate Residency Resource Guide 261

There will be some lawn care, repair and construction noise. Due to the age of the houses and the length of time Ragdale is open to artists, it is impossible to avoid all interruptions. We try to warn you about out-of-the-ordinary occurrences by posting a note on the fridge or putting one in your mailbox so you can plan time off campus.

We hope you have a wonderful stay at Ragdale. We have compiled the following information to help you settle in easily and make your residency a harmonious one. We will assume you have read and absorbed the following miscellaneous guidelines:

EMERGENCY—DIAL 911! In case of fire meet around the lambs sculpture in front of the Ragdale House. Make sure everyone is accounted for. There are smoke alarms and fire extinguishers on both floors of each house. Contact the caretaker, who has an apartment in the Ragdale House. If she is not available, call one of the staff members on the emergency sheet.

FOOD—Dinner is served family-style at 6:30pm in the Barnhouse every evening except Saturday. The refrigerators in both houses are well stocked for your informal dining pleasure throughout the day. Please clean up after yourself and help with the dishwasher.

DINING OUT—Saturday night is your chance to go to any of the area’s many restaurants or cook for yourselves in either kitchen. A list of restaurants is posted in the kitchens. Those of you with cars, please assist those who do not have transportation.

OLD HOUSES—The two houses are full of quirks as well as charm. Please be careful to close doors quietly, turn out lights, and plug all heaters, computers, and hair dryers into surge protectors!

READINGS/OPEN STUDIOS—These are totally optional. While many people find them a wonderful stimulus to their work, remember, this is your residency, so decide how you want to use the time.

MAINTENANCE AND VISITORS—While we try very hard to keep the atmosphere conducive to creative work, Ragdale is a public place and there are many other groups of people who use the facilities for tours, classes and meetings. Know that if they are here, it is for a good reason. Also, due to the age of the buildings, repairs often need to be made while residents are here. We try to schedule noisy things when Ragdale artists are not here. Unfortunately, this is not always possible.

OFFICE—Monday through Friday you will find the office a hub of activity. If you have questions, need a beach pass or want to buy a t-shirt, just stop by. You may also use the copier and fax for small jobs. Each page is ten cents a copy. For incoming faxes it is 25 cents per page. For outgoing faxes it is $1 for the first page and 25 cents for subsequent ones. We are generally in the office from 9am-5pm.

GUESTS—You may invite guests to visit the common areas of Ragdale, but to maintain a distraction- free environment, we cannot allow you to have visitors in bedrooms or at meals. Sorry, no pets either.

SMOKING—Smoking is permitted in the breezeway of the Barnhouse, the plant room of the Ragdale house, and outside. Due to the potential fire risk, the inability to remove the odor from the area, and the smoke sensitivity of other nearby residents, smoking is not allowed in the rooms. Please make sure butts are extinguished and put in ashtrays or the garbage and not on the ground.

PROHIBITED—We know this generally goes without saying, but just so everyone is clear, drugs, theft, sexual overture or harassment, and behavior that highly disturbs or endangers other residents will not be

Sample Artists’ Handbooks/Residency Guides—Ragdale Foundation, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 262 tolerated and will result in your being asked to leave Ragdale.

PROBLEMS—In rare instances, problems between residents do arise. In that case, it is our strong preference that if possible, you deal with the issue directly and respectfully. If that fails, feel free to see the Director of Admissions or any member of our staff for some problem-solving suggestions. If that fails, the staff is available to mediate a dispute between two people or to speak to a resident who is simply not following our few rules.

Remember, we are available to help you make the most of your time here, so do not hesitate to talk to us.

WE HATE TO SEE YOU GO, BUT BEFORE YOU LEAVE . . .

1. Please come to the office to settle your bill. Make sure to add any purchases, faxes, printing or copies to your total. Our records show you owe $______(_____ nights at $______, less your $______deposit). If you leave early, please understand that you are financially responsible for the full time that was reserved for you. 2. Fill out the exit review and put it in the Director of Admission’s mailbox. 3. Bring your sheets and towels to the laundry room. 4. Put all kitchen items in the dishwasher. 5. Bag garbage, make sure it is tied tightly and take it to the outdoor receptacles. Place recyclable materials in their proper containers. 6. Move all furniture back to its original place. 7. If you are a visual artist, whitewash walls if necessary. 8. Wipe, mop or vacuum any spills or messes. 9. Return Ragdale author and references books to their spots on the Barnhouse bookshelves and remove the markers. 10. It actually costs Ragdale over $200 a day to have you in residence. We are pleased that our fundraising efforts can subsidize much of that cost. Some of our most loyal contributors are our grateful alums, so if you are able and inclined to make a tax-deductible donation, we will accept it happily. 11. Make sure to return all Lake Forest library books and any videos or rented equipment! 12. To have mail forwarded, leave labels with your address. 13. Arrange for transportation to the airport. It is more economical to share a ride. The O’Hare Limo Service will pick up only at one address, so coordinate with your fellow residents. *Also, Judy Krueger is one of Ragdale’s wonderful volunteers. If you need a ride to O’Hare on the Wednesday of your departure, you may phone her several days in advance at (847) 295-8475. If available, she may be able to provide transportation. 14. PLEASE BE OUT OF YOUR ROOM BY 11:00 AM SO THE HOUSEKEEPERS CAN GET READY FOR NEWLY ARRIVING RESIDENTS and put everything in your room back in its original place. 15. Write something poetic in the blue book in your room, and visualize your art catalog, composition, or book on the Ragdale alumni shelves. When you are famous, we want to be able to say, “we knew you when . . .” 16. Stop to say goodbye…

Sample Artists’ Handbooks/Residency Guides—Ragdale Foundation, cont. The Ultimate Residency Resource Guide 263

MANUAL FOR RESIDENTS OF THE SACATAR FOUNDATION Quinta Pitanga o Rua da Alegria 10 Itaparica / Bahia o 44460-000 BRAZIL

We at the Sacatar Foundation are pleased to welcome you to the Quinta Pitanga, our estate on the island of Itaparica. We have put together this booklet to make your stay as comfortable, productive and safe as possible. Please feel free to contact us with any questions or difficulties you may have before and during your stay in Bahia.

BEFORE YOUR ARRIVAL… We ask that you bring a book of your work or another book of general interest as a gift for the Sacatar Foundation library.

VACCINATIONS Currently no special vaccinations are required to visit Bahia. We highly recommend that you get a tetanus shot. Check with the US Center for Disease Control for epidemiological updates. www.cdc.gov

HEALTH INSURANCE We recommend that you arrange adequate health insurance coverage for the duration of your stay in Brazil. Please seek additional information from the Administrative Manager of the Sacatar Foundation, by phone (++ 55 71 631 1834) or e-mail ([email protected]).

WEATHER Bahia enjoys balmy tropical weather all year round, with fundamentally two seasons, a dry season and a rainy season. In the dry summer season (November through March) the sun is very hot, although ocean breezes usually keep the ambient temperature pleasant. The rainy season (April through August) is cooler, with sunny days interspersed with frequent showers. Temperatures vary across the year from 18 - 34 degrees Centigrade. Occasionally, extended rains complicate access to the Quinta Pitanga, when the road to the property becomes a difficult muddy trek.

CLOTHING Bring only the lightest of clothing. You will tend to wear as little as your modesty will allow, although public nudity is never appropriate in the local culture.

Sample Artists’ Handbooks/Residency Guides—Sacatar Artists’ Management: Artists’ Handbooks/Residency Guides 264

ART SUPPLIES There are no outlets for art supplies on the island and not everything is available in Salvador. Art supplies in Salvador are usually imported and expensive. You should consider bringing all necessary supplies, but be aware that customs may charge a 50% tax on items you bring into the country that are jointly valued over five hundred United States dollars. You may want to reconsider your media in light of these restrictions. Please contact the nearest Brazilian consulate for guidelines.

There is no duty on art you take out of the country.

ELECTRICITY The local service is 110 volts.

ON THE ISLAND OF ITAPARICA…

ACCESS—TRANSPORTATION We will pick you up at the international airport of Salvador upon your arrival and transport you to the island the first time.

There are three types of boats that service the island:

G A passenger boat leaves Salvador from the foot of the Elevador Lacerda, behind the Mercado Modelo, every half hour during daylight hours. Called the lancha, it takes about forty minutes to get to the island. It arrives at the town of Mar Grande.

G An hourly auto and passenger ferry leaves Salvador from the ferry terminal adjacent to the market of São Joaquim. The ferry-boat (its Portuguese name) takes an hour to arrive at the ferry terminal at Bom Despacho on the island of Itaparica. While the slowest means to the island, it is the only transportation available at night.

G Also leaving Salvador from the São Joaquim ferry terminal is a catamaran (catamarã in Portuguese). Its schedule varies greatly depending on the time of year. It takes twenty-five minutes to cross the bay, and it is the most expensive and most comfortable of the three options.

None of these boats arrive directly at the city of Itaparica. However, once on the island, there is a system of white VW microbuses (called kómbis) that service the entire island. The kómbis run a basic service from Bom Despacho to other island destinations. There is also kómbi service from Mar Grande to the town of Itaparica. During the day, service is frequent and cheap. Late at night, frequency diminishes and prices (and bargaining) increase. The kómbis go to downtown Itaparica. For an extra Brazilian real or two, they will deliver you to Quinta Pitanga.

The fare on a crowded kómbi will be fixed. Otherwise, know what you’re paying before you start. As you negotiate, have a light touch. The drivers tend to be decent people, no matter how wildly they may drive.

There are also taxis with taximeters in both Mar Grande and Bom Despacho. Even if there is a taxime- ter, it is a good idea to establish a price with the driver beforehand. Depending on the time of day, a taxi will cost fifteen reais from either Mar Grande or Bom Despacho to Quinta Pitanga.

Sample Artists’ Handbooks/Residency Guides—Sacatar, cont. The Ultimate Residency Resource Guide 265

The island is connected to the south of Bahia by a bridge. Many buses leave from Bom Despacho to points south.

CAR RENTALS Automobiles may be rented in Salvador. There are no car rental agencies on the island.

BANKS You should bring from Salvador sufficient Brazilian money to cover your needs on the island. There are many currency exchanges in Salvador. (The Brazilian currency, real, is pronounced ‘hay-OW’; the plu- ral reais is pronounced ‘hay-ICE’.)

There are only two banks on the island, none in Itaparica. U.S. dollars and travelers’ checks can be exchanged on the island at the Banco do Brasil in Mar Grande, but service is poor and lines are long.

There are several ATMs installed on the island, two of which are in the town of Itaparica. However, only the ATM machines labeled BANCO 24 HORAS reliably accept most international bankcards. You will find one of those ATM machines at the Bompreço Supermarket near the Bom Despacho Ferry Terminal on the island. Many such ATMs can be found in Salvador, including one in front of the São Joaquim Ferryboat Terminal.

The Sacatar Foundation office is not equipped to cash checks for residents or to serve as a foreign currency exchange.

MOVIE THEATERS There are no movie theaters on the Island of Itaparica. The international films with the best box office receipts are exhibited in the cinemas in Salvador, always in their original language, with subtitles in Portuguese. There are several smaller houses in Salvador that show independent feature films and documentaries.

IN THE CITY OF ITAPARICA…

MAIL SERVICE Mail service to and from Itaparica is generally dependable. However, letters are more likely to be delivered than any sort of parcel.

For mailing parcels we suggest FedEx or a similar company. Determine if the company is able to deliver to the island of Itaparica outside of Salvador, Brazil.

HOSPITALS There is a clean, minimally equipped hospital in Itaparica. Serious health problems can only be addressed in Salvador. In dire emergencies, the ambulance takes an hour to cross to the mainland on the ferryboat. There is no helicopter or maritime ambulance service for medical emergencies.

PHARMACIES There are three pharmacies in Itaparica. None of them stay open late at night. Quinta Pitanga keeps a very small medical kit of its own, with aspirin, Band-Aids, etc. We recommend that you bring any prescription drugs you may require from home.

Sample Artists’ Handbooks/Residency Guides—Sacatar, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 266

RESTAURANTS There are several restaurants in Itaparica, serving local, Brazilian and international cuisine. In most restaurants in Brazil, a single a la carte dish will easily serve two. We will provide a list of local restaurants upon arrival.

The heart of Itaparica is a shady square called the Largo da Quitanda. From there you can watch the sun set in the sea. The square is fringed with a series of inexpensive restaurants and laid-back bars.

In the afternoons and early evenings, there are several baianas in town who prepare acarajé and abará, the popular street food of Bahia. The local ice-cream from Valença is outstanding.

RELIGIOUS SERVICES There are two historic Catholic churches in the city of Itaparica: São Lourenço (c. 1610) and Santíssimo Sacramento (c. 1770). If interested, we will give you the times of services upon arrival. There are other Catholic churches scattered throughout town.

There are an ever-increasing number of evangelical churches, with blinding fluorescent lights and over- amplified music.

There are no synagogues or mosques.

There are several candomblé grounds (where the African deities called orixás are honored) and a few spiritualist houses. Around Itaparica, specifically in the neighboring town of Amoreiras, members of the local population practice an African religion of ancestor worship called the Eguns. This religion sur- vives only in Itaparica and in a few communities of Nigeria. The services are rarely held, and you must receive an invitation to attend.

MARKETS AND SUPERMARKETS You can find fruits, vegetables, meat and fresh fish at the municipal market located in downtown Itaparica. There is a small supermarket at the entrance to town and two neighborhood grocery stores not far from the Quinta Pitanga. There is a large supermarket, the Bompreço, near the ferryboat terminal in Bom Despacho.

TUTORS See our Residency Manager if you are interested in taking Portuguese, capoeira (the martial art of Bahia), dance or percussion classes. While the Foundation will not pay for such classes, private tutors are quite inexpensive and easily arranged. The Fellows are welcome to band together for group classes, such as capoeira lessons on the beach.

SHOP LOCALLY! Shop locally when possible. We hope that the Foundation here in Itaparica can contribute in its own small way to the renaissance of this charming place. Your support of local businesses will contribute towards that goal.

AT THE SACATAR FOUNDATION…

WATER We prepare all foods and juices with mineral water, although brushing teeth with the tap water is not a

Sample Artists’ Handbooks/Residency Guides—Sacatar, cont. The Ultimate Residency Resource Guide 267 problem. We provide each room with a decanter of drinking water, as well as a candle and matches in the unlikely event of a power shortage.

The city of Itaparica is very proud of its mineral water, which emerges from an artesian spring at the edge of the ocean. We fetch our drinking water from this source, known locally as the Fonte da Bica.

TELEPHONES We have a dedicated phone line for the Fellows’ use. Only local calls can be placed.

To make international and long distance calls from this phone, you must use a calling card or credit card. You can purchase at any Brazilian post office, including the one in Itaparica, prepaid international calling cards that allow you to place an international call from any public phone. Collect calls can also be placed from the Fellows’ phone line.

Each resident Fellow has a mailbox where we deliver messages.

Fellows are welcome to bring their cellular phones and sign up for a plan in which calls may be received and placed via calling card. Cellular phones should be turned off or set to vibrator mode within the grounds of the Quinta Pitanga.

Fellows can receive faxes at the Foundation office (++ 55 71 631 2069) at no charge. We do however use the same phone line at times for the internet. If you need to send a fax, make arrangements with the Residency Manager.

There is also a public phone directly in front of the Quinta Pitanga.

INTERNET ACCESS The same phone line for local calls is also available to the Fellows for internet connections from their personal computers. Upon your arrival we will provide a list of local internet service provider numbers. We ask that you access the internet after 6:00 p.m. on weekdays, after 2:00 p.m. on Saturdays and any time on Sundays. As a courtesy to other residents, we request that you not exceed thirty minutes online each day.

For those Fellows without a personal computer or who need more time online, internet access is available in the town of Itaparica. Internet cafés are abundant in Salvador.

COMPUTERS The Foundation does not have a computer or printer available for use by the Fellows. Laptop computers for personal use can be brought into Brazil without paying duty. There is no place to rent computers on the island.

STUDIOS While we plan to build freestanding studios in the coming years, we currently set up studio space within rooms of the main residential house.

In the main house, there are five bedrooms with attached bathrooms. Two of these rooms also have small attached ‘sitting rooms,’ which the resident artist may use as a studio. We tend to offer these rooms to the writers in residence.

Sample Artists’ Handbooks/Residency Guides—Sacatar, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 268

We offer visual artists the use of two additional rooms. One measures 6.00 x 8.00 meters, and the other 3.50 x 5.00 meters. The ceilings in each are 3.60 meters tall. Only the smaller studio has a sink.

Sometimes an artist’s dedicated workspace is his or her bedroom.

We have no soundproof studio space for musicians, whom we ask to work with headphones or off-site. We have no darkrooms, so photographers are limited in the work they can finalize at Sacatar. We have no kiln, but there are possibilities, as yet unexplored, to work at the local brickyard which has four large wood-fired kilns, or possibly in the village of Maragojipinho two hours away where there are over fifty wood-fired ceramic workshops. We have no specific rehearsal space on site for dance or theater, but we help the artist to contact local facilities on both the island and in Salvador.

Artists who work with members of the community tend to do so off-site, so as not to disturb the other residents. However, sometimes special events, and their rehearsals, are staged at the Foundation.

Please realize that with five resident artists in the house, we cannot guarantee the absolute tranquility that you may desire. The artists must respect the needs of each other. Also birds sing, waves break on the beach at high tide, and the neighborhood dogs bark at strangers who pass on the street. We have limited control over the ambient sounds, but we provide earplugs upon request!

TELEVISION There is no television at the Quinta Pitanga.

AIR CONDITIONING There is no air conditioning at the Quinta Pitanga, and very few places on the island have it.

BICYCLES There is a bicycle for the artists’ use at the Quinta Pitanga.

ANIMALS While you cannot bring your pets, please know that a large clumsy dog called Pantera lives at the Quinta Pitanga. We try to keep him out of the house, but the house has many doors…

We raise chickens for fresh eggs, and an aloof pair of peacocks nobly struts around the pitanga orchard.

Ocean crabs wander freely into the house. On occasion someone squashes a large spider. There are various types of lizards, both inside and outside the house. There are flies, mosquitoes, beetles, bugs, ter- mites and ants, but seldom in insufferable numbers. Many birds make the gardens at the Quinta Pitanga their home. Monkeys are best seen early in the morning and late in the afternoon, when you can hear their screeches and spot them fairly easily. At dusk, bats fly out of the darker trees and sometimes into the house. Very rarely a snake slithers out of the forests surrounding the property. In the rainy season, frogs abound but are very difficult to find. The ocean is full of crabs and mollusks. Schools of flying fish flash in the calm waters.

CLEANING We ask that you keep your room relatively neat. The staff will clean the bathrooms and wash the floors once a week. Every day, a staff member will empty the toilet paper basket and at dusk someone will close the windows and shutters of your room. However, the staff will not make your bed on a daily basis nor straighten up your room for you. Someone is always available to change a light bulb, reset the

Sample Artists’ Handbooks/Residency Guides—Sacatar, cont. The Ultimate Residency Resource Guide 269 electric showerhead or attend to some other matter, upon your request. Please talk to the Residency Manager to arrange for help.

As in the rest of Brazil, our sewage system chokes on toilet paper. Please put toilet paper in the basket by your toilet. Separate plastic bags are provided for the disposal of sanitary napkins.

LINENS The staff provides clean towels and changes your sheets every Monday.

LAUNDRY You may separate clothes to be washed in the plastic bags we provide, with your name and the number of pieces of laundry clearly marked, placing the bag in the linen room on Fridays to be laundered on Saturday. The Foundation is not responsible for damage to any clothing. For garments that require special care, we recommend that you wash them yourself. You may wash your own clothes whenever the washing machine is available.

MEALS Breakfast is served buffet style from 8:00 until 9:30. Early (or late) risers can help themselves in the kitchen.

Lunch is served, Mondays through Saturdays, at 12:30 p.m. Please join the other residents for lunch. The food at Quinta is simply prepared, with little or no red meat served. Latecomers can serve themselves after 2:00 p.m. in the kitchen.

Fruit and juices are available during the afternoon.

Dinner is a light buffet served from six to eight.

There is no meal service on Saturday after lunch or all day on Sundays or on municipal, state or federal holidays. Sometimes the Fellows pitch in for a weekend barbecue. You may participate in the preparation of meals, particularly on the weekends when the kitchen is yours.

If you plan to miss a meal, please let the Residency Manager know in advance.

We serve beer, wine and local liquors upon occasion, but not daily.

While the Foundation will strive to accommodate all residents’ dietary requirements and restrictions, we cannot guarantee our ability to please everyone.

RECYCLING We are working closely with the city to improve the erratic garbage pick-up. There is no recycling program on the island. In fact, there is only one garbage truck for the entire city of Itaparica, and it breaks down frequently. We do ask you to separate your trash. We compost all organic refuse. We further separate all paper products from the plastic and glass. We burn the paper on site, and we send as little trash as possible to the overtaxed landfill near Baiacu, on the island. We take used batteries and glass to recycle in Salvador.

LIBRARY There is a tiny library at the Quinta Pitanga with a limited selection of books and CDs. (Hence our

Sample Artists’ Handbooks/Residency Guides—Sacatar, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 270 request that Fellows bring books of their authorship or of general interest.) See the Residency Manager with any specific questions or requests.

The library/cultural center in Itaparica has a small English language collection. The librarian will issue a library card to interested Fellows.

GUESTS The Sacatar Foundation is not open to the public. Spouses, partners and/or friends are not allowed to stay with residents, unless both are accepted as Fellows in residence. Daytime guests can come on weekends only. Management will consider exceptions case by case.

Please respect the privacy and security of the other Fellows.

SMOKING We request that you not smoke inside the house or studios. You may smoke in the gardens or on the verandahs.

WARNINGS Watch out for falling coconuts while on the property.

Walking barefoot on the beach is not a problem, but avoid going barefoot on sandy soil away from the beach. There are two types of parasites. The bicho do pé forms a black stud that must be cut out, some- what like a splinter. The bicho geográfico leaves thin red tracks as it wanders beneath the skin and is rather difficult to get rid of.

While currently not a problem, the mosquito that transmits dengue occasionally inhabits the island. Dengue can be life threatening for the very old and very young. Even for the healthy, it is a painful immobilizing condition that persists for several days. While at present there is no dengue on the island, please know that in past years there have been epidemics here. We will advise all residents and accepted applicants of any outbreak.

There are other mosquitoes on the island. All beds have mosquito netting. You can purchase insect repellant locally.

The sun in Bahia is strong. You may want to use sunblock liberally. Sunblock is readily available in the local shops.

Women should be aware that the stretch of beach at the Quinta Pitanga has very little foot traffic. Use discretion to avoid unwanted advances from strangers.

SECURITY Local custom, inspired by bats and burglars, dictates that we shutter the house at night. Please do not sleep with the windows open because this compromises the security of all the residents. We provide fans and mosquito nets in each room to make sleeping at night comfortable.

We will make arrangements each week for one Fellow, preferably a volunteer, to confirm that the house is properly secured (doors and windows shuttered) every night. The Residency Manager will review this task with each volunteer/assignee. We appreciate your help and support in managing this detail of communal life.

Sample Artists’ Handbooks/Residency Guides—Sacatar, cont. The Ultimate Residency Resource Guide 271

Personal objects should not be left on the pier at the beach, even while swimming. While there have been no thefts from the property itself, the beach, though secluded, is public; sandals and once a camera have suddenly disappeared.

There is a watchman on duty every night, on Saturday afternoons and all day Sundays and holidays.

The Residency Manager, the Property Manager or the watchman will open the gate to the street or to the beach upon request. Upon returning to the Quinta Pitanga, there is a rope at each gate that you can pull to ring a bell to call someone to let you in.

UPON DEPARTURE…

Artists are responsible for their own transportation to the international airport of Salvador for their flight home.

GRATUITIES Our support staff is very hardworking and dedicated. If they have contributed to the ease and pleasure of your stay, you may leave them a gratuity for them to share equally. While well paid by island standards, they will greatly appreciate your thoughtfulness and your gift will make their lives easier.

DONATIONS Sacatar Foundation gratefully accepts donations from alumni. If you wish, please leave us an example of your work for our collection. Financial gifts help us to better provide for future artists.

CREDITS We ask that you credit the Sacatar Foundation for any work that you develop during your fellowship or as a result of your experience in Bahia and that you include our logo in all printed matter, film credits or electronic media. We will gladly provide you with the image of our logo on diskette or via e-mail.

QUESTIONS?

Please do not hesitate to contact us at: e-mail: [email protected]

SACATAR FOUNDATION FUNDAÇÃO SACATAR P.O. Box 2612 Quinta Pitanga o Rua da Alegria, 10 Pasadena Itaparica, Bahia 44460-000 CA 91102-2612 BRAZIL UNITED STATES tel ++ 55 (71) 631 1834 fax ++ 55 (71) 631 2069

Sample Artists’ Handbooks/Residency Guides—Sacatar, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 272

WELCOME PACKET A Studio in the Woods (ASITW) is an artists’ community dedicated to protecting the natural environment where creative exploration and expression may flourish. With the mission “to preserve the Mississippi River Bottomland hardwood forest while providing a tranquil haven where artists can reconnect with universal creative energy and work uninterrupted within this natural sanctuary,” ASITW honors both the artist and the natural environment, and fosters the conception, development and production of creative works in the areas of the visual, performing and literary arts. It is situated on 7.66 acres of unspoiled woods in Lower Coast Algiers on the banks of the Mississippi River and is just 25 minutes by car from New Orleans’ Central Business District.

Arrival Date and Time Plan to arrive in New Orleans by auto or plane no later than 3pm to avoid the heavy traffic approaching the city and on the Mississippi River Bridge, which could mean long delays. We enclose directions to ASITW from I-I0.

Transportation ASITW is approximately 30 minutes (20 miles) away from the Central business district of New Orleans.

An automobile will be helpful for you while you are here since there is no public transportation. For transportation into the city during your residency you can usually get a free ride when staff or the founders from ASITW are making a trip into the city. Arrange for this with us two days ahead if possible. There will be no charge for these trips. We can also take you to the free ferry which crosses the river on a regular schedule and docks at the foot of Canal St. (New Orleans’ main street) which is at the edge of the French Quarter.

Work Facilities Your studio is a former gallery building now in transition. Its best features are privacy from all other activities at ASITW, a private deck which can serve as outdoor studio space, a beautiful view, good light, and wood walls upon which you can easily attach paper, canvas and other art materials. There are ceiling fans, heat and AC, though we discourage the use of AC as it’s not available in most other spaces. One possible drawback to the studio is its unusual shape—though we trust artists to use this space in creative ways!

And of course the 7.66 acre natural environment of ASITW is your outdoor studio along with the Mississippi river levee and the batture (land between the levee and river).

Living Space You will have a private room (120sq ft) and bath and closet in the main house which is the home of the founders Lucianne and Joe Carmichael. There is a comfortable single bed, a private door to the outside for which you will have a key, and heat, AC and ceiling fans in the room.

Sample Artists’ Handbooks/Residency Guides—A Studio in the Woods The Ultimate Residency Resource Guide 273

Common Areas The kitchen, living room, porch and the founders studios, as well as the whole outdoors are considered the common spaces. You are welcome in these spaces if you use discretion. If someone is working do not disturb them unless you are offering to help or have an emergency. If someone is quietly reading, conversing with another, meditating, etc. let them do what they are doing uninterrupted unless it’s urgent that you speak with them. This place is all about quiet, peaceful, uninterrupted work, contemplative and relaxing time.

During meals and their preparation are great times for socializing (and pitching in to help). The hour or so before and after dinner are good socializing times as well. Use your own discretion. We will respect your time and privacy too. Don’t hesitate to let us know if we or anyone else is intruding on your time and space. Also, please let us know if you have any other difficulties or problems—if we know about them we can work to find ways to resolve them.

Please be sure to bring a flashlight to travel between buildings at night. This avoids unnecessary outdoor lighting which disturbs the natural world.

There are resident cats and dogs here, most are elderly and keep to themselves.

Sound Curfew A loud noise level is not acceptable from 10 p.m. to 7 a.m. each day.

Phone/Internet/Fax Telephones are available in the main house if you use your credit card or reverse changes. It may be helpful to bring a cell phone if you must be in close touch with others. We do suggest that you limit incoming calls to emergencies in order to preserve your uninterrupted peaceful time. We will take urgent messages for you at the main house should you not want to bring a cell phone.

Your studio will not have internet access. There is limited internet access in the office in the main house for your use by special arrangement with founders or staff. There is a fax machine (504-394-5977) in the office which can be available to you by arrangement.

A small public library is located 8 miles away on the West bank of the river near the supermarket. It has full computer capabilities and can order any materials you need from the city-wide library system.

Laundry There is a washer and dryer in the utility room in the main house (near the artist living space). You may use these machines (including soap etc.) by arrangement with the founders. We request that, weather permitting you hang your clothes outdoors on the line to dry.

Recycling We recycle everything possible. We further request that you recycle any of your art materials which could be reused. Also, as much as possible, we ask that you not use paper towels and other non-recyclable, throw-away items. We have a supply of rags and sponges and a sink in the founder’s studio which can be used for clean-up, as well as brooms etc. and a good shop-vac. We save any and all material which can be reused by our artists or brought to recycling organizations.

Meals and Food Your studio will have a coffeemaker and a small fridge. You can make your own breakfast anytime after

Sample Artists’ Handbooks/Residency Guides—A Studio in the Woods, cont. Artists’ Management: Artists’ Handbooks/Residency Guides 274

6 a.m. with food provided in the main house kitchen. You are also free to make your own lunch, although many times lunch may be prepared for you (check early each day to find out). Dinners will be served in the main house about 7 p.m. or may be taken to your room or studio. Please be sure to let us know of your food preferences on the return form. If you wish to purchase special food items, the nearest convenience store is 6 miles away and the nearest supermarket/pharmacy is 9 miles away. However, if you have any specialty food items you might consider bringing them with you to preserve your work time. If you wish to have alcohol, you will be responsible for providing your own.

The Gate The entrance gates (a gift to the Artists Foundation Collection by metal artist, Karen Rossi) remain open when anyone is here and are closed and locked when no one is on the premises and each night when no guests are expected. You will be given a key to the gate and may come and go at anytime.

Housekeeping You will be responsible for day-to-day cleaning and upkeep of your room, bath, and studio. Brooms, vacs, and other cleaning materials are available in the founders studio. Also simple tools you may need such as screw drivers and hammers. The rules about such things are: GReturn items to where you found them ASAP. GIf you break something repair it or notify us ASAP GIf you use something all up notify us ASAP GIf you need something we do not have let us know and we will talk about whether it’s obtainable GDon’t leave your “stuff” in common areas or other people’s areas such as kitchen, living room or office, or porch of the main house or founders studio. GIf you make a mess—it’s OK , we all do once in a while—but clean it up. There is no cleanup staff at ASITW. You and we are IT. GAll of the above goes for outdoors as well.

Clothing This is a semi-tropical climate and we are located in a lush natural environment which includes many beautiful and intriguing plants and animals, some of which are annoying like mosquitoes and cockroach- es or even dangerous such as certain venomous snakes (rarely seen). When in the woods it’s important to pay attention, watch where you step and learn to identify plants such as poison ivy.

We recommend dressing to protect yourself from plants, animals and the elements, strong summer sun and cold rain and mud in the winter. Anytime of year you will need long pants and sleeves, lightweight or heavier depending on the season. Humidity is generally high year round. Temperatures in the summer sometimes reach 95-97 degrees. In the winter it is rainy and actually drops to freezing once or twice a season. Spring and fall are moderate and very beautiful times in the woods. In the winter the woods are starkly beautiful with silvery bare tree forms and frequent mists from the river.

Bring low or high-top rubber shoes or boots and closed toed shoes. Sandals are OK indoors. Bring oodles of your favorite bug spray for mosquitoes. Deet is thought to be the most effective. Sunhats and glasses help too.

The Levee and the Batture The levee is a continuous 15 ft. high manmade “hill” or mound stretching along the bank of the Mississippi River. It is a marvelous vantage point from which to see the river and the many huge and small ships and boats that pass by or “park” right here in front of ASITW while they are awaiting a berth at the city unloading wharfs. The levee is also grassy and park-like. It’s a great place to walk, run, bicycle, picnic, stretch out and nap, write or make art!

Sample Artists’ Handbooks/Residency Guides—A Studio in the Woods, cont. The Ultimate Residency Resource Guide 275

The batture is about a 60 foot wide stretch of the natural riverbank between the actual water of the river and the foot of the levee and is often forested. It is a good place to explore or make art, but do so carefully. There can be all kinds of plants and animal life there such as snakes and also driftwood and waste brought in when the river is high in the spring and floods the batture.

The Mississippi River On the batture you are right beside one of the mightiest rivers in the world. It can sweep even the strongest swimmer away in seconds. Do not clamber along the rocks beside the river. One miss-step can cause you to fall into the river. Do not go on either of the two metal walkways to loading docks which you will see from the levee. If you absolutely must go on one of them do not go alone. Lucianne and Joe personally know two people who have lost their lives in the river within a half mile from here. The river is inexorable and dangerous.

The river is also the inspiration for and the source of some of the greatest artwork—books, music, stories, paintings, sculptures, theater and dance. It is a cultural and folkloric treasure trove. Use it this way to the fullest.

For instance, watch dawn coming across the river from the levee top, or see a moonrise from our front gate beside the levee. In the winter feel the moist fog that forms in the river basin and sweeps into the woods, hear the deep-hearted engines of tugboats, watch and hear the gulls floating far above. It’s end- less....

Community Involvement / Meeting Artists Each artist is asked to select ways s/he can be involved with the local community. This could include spending time with students, teaching a master class, giving a slide presentation or engaging in panel discussions or conversations with community artists. ASITW will host a potluck dinner for each residency in which community artists, board members, and donors are invited to meet the resident. These dinners are small and informal so that a real exchange can take place. We can also arrange visits to local artists studios for you. These community contacts will be discussed with each artist prior to their residency in order to accommodate the skills, interests and wishes of the resident.

Before you Leave Clean up your living and working space! Plan to leave by 2 p.m. to avoid heavy traffic through the city and to the airport and interstate. Let us know several days ahead of time the particulars of your departure plans. Also, if possible, we will set up a videotaped interview with you on your thoughts about the residency, or do a verbal interview. This is a way in which we can learn from each residency, and future artists can meet you through your video or written interview.

Sample Artists’ Handbooks/Residency Guides—A Studio in the Woods, cont. Artists’ Evaluations Artists’ Management: Artists’ Evaluations 277

Headlands Center for the Arts

Exit Interview—Evaluation of Artist-in-Residence Program

Artist Name:

Dates of Residency:

What did you do during your residency? How did you spend the time?

How did the residency affect you? your work? What did you learn?

Was the change of location helpful to your work?

Did you find the interaction with the other artists helpful? interesting? fun? Has it established a new community? exposure to new possibilities?

Was there enough time for interaction with other artists? enough structure to encourage it? What can we do to encourage this?

What about the Center’s support in terms of staff and technical help? housing provisions? studio conditions? food?

What things could make this residency better for other artists?

What is the optimum duration of stay?

What will you remember about this time? What will you take with you when you go?

What do you think is the role of a residency in an artist’s career? to their work?

Anything else we should know?

Sample Exit Interviews—Headlands Center for the Arts The Ultimate Residency Resource Guide 278

McColl Center for Visual Art

Exit Interview Evaluation of the Affiliate Artists Program

What was your initial reaction to your selection?

What did you know about McColl Center for Visual Art?

What were your expectations of this experience?

Was your interaction with the other artists valuable? If not, how could the McColl Center assist in improving those relationships?

Do you feel you were given exposure to other opportunities?

Please comment on your studio space.

Were the shop spaces easy to access? The tools and equipment available when needed?

In general, what worked well and what did not?

Please give us your comments on the staff, pro and con.

What would you do differently if you were in a position to change or modify the program?

Other comments.

Sample Exit Interviews—McColl Center for Visual Art Artists’ Management: Artists’ Evaluations 279

Atlantic Center for the Arts

Residency Evaluation

Please fill out this evaluation form to help us improve our residency program. You can return the form to the ACA office. THANK YOU!

1. With which Master Artist did you work?

2. How did you learn about ACA’s residency program?

3. What discipline-specific magazines or periodicals do you read within your discipline?

4. From the information sent to you and in conversations with the staff before the residency, do you feel you were given a fair assessment of the program and what to expect?

If not, what information would you like to have been given?

5. Was the information on ACA’s housing adequate and helpful?

If not, do you have any suggestions or comments about housing?

6. Please evaluate the meals provided for you at ACA.

7. What were your personal expectations when you arrived at ACA? (Please check all that apply) meet people collaborate learn new things start new projects relax focus on self be inspired get to know Master Artist visit Florida other ______

8. Were your expectations met? yes no why not?

9. Do you have any comments on the artist’s presentations?

10. Please evaluate your exchanges by circling your rating. Poor Fair Satisfactory Good Excellent

Your Master Artist 1 2 3 4 5 Other Master Artists 1 2 3 4 5 Associate Artists in Your Group 1 2 3 4 5 Associate Artists in Other Groups 1 2 3 4 5 Do you have any comments about your exchanges?

11. How do you feel about collaboration at ACA? (Please check all that apply) successful needed more structure plan on collaboration later not enough time no counterparts not interested in collaborating other comments

Sample Written Evaluations—Atlantic Center for the Arts The Ultimate Residency Resource Guide 280

12. Please evaluate the studios at ACA by circling your rating. Poor Fair Satisfactory Good Excellent Facilities 1 2 3 4 5 Equipment 1 2 3 4 5

Do you have any comments about the studios?

Do you have any suggestions for equipment that ACA should have?

13. Please list materials that should be available in the library:

14. What can we do to improve the Associate Artist experience?

Please provide a quote for grant/publicity purposes.

Please list individuals who you think we should invite as Master Artists.

Demographic information

Age: ______Gender: ______

Ethnic Background (optional): American Indian Asian Black, not Hispanic Hispanic Multicultural White, not Hispanic

Profession (Please check all that apply) Visual artist Photographer Writer Performer Choreographer Dancer Professor Composer Musician Filmmaker Student Other ______

What state or country do you live in?

Highest level of education? High School AA/AS BA BFA MA MFA PhD

What form of in-city transportation did you use? (Please check all that apply) rented car personal car caught rides bicycle ACA van none other ______

Thank you for taking the time to fill out the ACA residency evaluation form.

Signature: (optional) ______date: ______

ADDITIONAL COMMENTS:

Sample Written Evaluations—Atlantic Center for the Arts, cont. Artists’ Management: Artists’ Evaluations 281

Hopscotch House Artist-in-Residence Evaluation Form

Please take a moment to review and complete the following evaluation questions. We appreciate you being as honest and specific as possible. This information will help us better serve you and your peers in the future. Additionally, this information is often the only way we know about maintenance and security issues. Thank you in advance for your time in completing this form.

Name______

Artistic Discipline______

Dates of Residency______

Expectations What were your expectations for your residency?

Do you feel that your expectations were met? Why or why not?

Was there anything that you experienced during your stay at HH that you thought was particularly excellent or particularly disappointing?

Is there other information that we could have provided prior to your visit that would have been more helpful?

Please describe the work you accomplished during your residency. (Include working titles or project names.)

Was your stay at HH as productive as you hoped?

Did you attend any workshops, readings, or events off the property during your stay at HH? If so, please list with a brief description.

Would you like to have information available about activities happening in the area during your stay?

Facilities Please list any comments you have concerning the condition of your room, studio and/or common areas.

Anything we should fix, add, get rid of, make a rule about?

Did you have any security or safety concerns during your stay?

Did you use the alarm system during your stay?

Services and Amenities Did you use any items in the library during your stay (including books, magazines, games, TV/VCR/DVD, videos, CDs, etc.) while you were at Hopscotch House? If so, which items?

Are there additional publications or items you would like to see in the HH library?

Did you use studio space during your stay? Why or why not?

Did you use the labyrinth, explore the outbuildings or take walks/hikes during your stay?

Are there other services or amenities Hopscotch House could provide that would be of more assistance to you and your work?

Sample Written Evaluations—Hopscotch House The Ultimate Residency Resource Guide 282

Outreach and Communications If stipends were available, would you be able to participate in a longer residency?

What type of barriers do you think other women artists experience that prevent them from participating in artist residency programs?

Do you have any suggestions for how KFW can help promote its services/resources?

If you would like to share your residency experience with others, please provide a quote for publicity purposes.

Please check which information you would like to receive in the future (check all that apply)

______KFW Update, includes information about Hopscotch House ______KFW Grant Applications ______Information about Hopscotch House events ______Information about KFW events ______No mailings, please

Please list your current email address if you would like to receive the KFW Hot Flash: E-news for everyone, which lets you know about arts, activist, and feminist events across KY.

______

Additional comments/suggestions.

Sample Written Evaluations—Hopscotch House, cont. Artists’ Management: Artists’ Evaluations 283

Jentel Artist Residency Program

Exit Evaluation

Please complete the Exit Evaluation, save, print a copy and return hard copy and disk to Lynn at your exit check out.

Please describe the work you accomplished during your residency. If you worked on a manuscript, please include the working title.

What did you like best about your Jentel residency?

Please comment on the living spaces, both private and communal.

Please comment on the working spaces.

Please comment on the staff. Were they helpful, polite, and respectful of your privacy?

Please comment on the communication and information provided before your arrival.

Sample Written Evaluations—Jentel The Ultimate Residency Resource Guide 284

John Michael Kohler Arts Center Arts/Industry Program Evaluation artist: Jane Doe area: Foundry dates: June 20 – August 28, 2004

JMKAC’s Arts/Industry program was established in 1974 to provide artists with the extraordinary opportunity to create works of art utilizing the materials, processes, and technology employed at Kohler Co. We strive to present a supportive yet challenging environment in which the artist’s vision and initiative, the Kohler Co. resources, and the creative possibilities of collaboration are used to their greatest potential. Please complete this evaluation and return to: Human Resources Manager John Michael Kohler Arts Center P.O. Box 489, 608 New York Avenue Sheboygan, WI 53082-0489

When rating please use the following system and circle your response: 5 exceeds expectations 4 above expectations 3 meets expectations and is effective 2 approaches expectations 1 below expectations

OVERALL IMPRESSION: Rate your overall experience: 54321

Please list the three most valuable/most successful aspects of your residency: 1)

Please list three recommendations for areas of improvement: 1)

How does this residency compare to others in which you have participated? Staff 54321 Technical support 54321 Studio 54321 Materials/technical access 54321 Accommodations/travel 54321 Stipend 54321

This is my first residency

Sample Written Evaluations—John Michael Kohler Arts Center Artists’ Management: Artists’ Evaluations 285

ADMINISTRATION: Rate the A/I coordinator: 54321

Please answer yes or no to the following questions: Did the coordinator respond to your inquiries promptly during the selection process? Yes No Was the coordinator clear about what would be expected of you as a resident? Yes No Was the coordinator timely with information? Yes No Did the coordinator give you sufficient information to plan your residency? Yes No Did the coordinator follow through with your requests/needs/concerns during the residency? Yes No Did the coordinator work with you to secure interesting educational outreach appointments? Yes No Did the coordinator present a clear agenda/instruction for arrival, orientation, educational outreach, pertinent dates, photo shoots, and exit interviews? Yes No

Additional comments about the A/I coordinator:

Please name your primary technical coordinator:______

Rate your primary technical coordinator: 54321

Please answer yes or no to the following questions: Did your technical coordinator possess sufficient technical abilities to help you meet your goals? Yes No Was he/she available to you prior to your residency to help with questions/concerns? Yes No Was the technical coordinator clear about when he/she would be available to help you? Yes No Was your technical coordinator available when he/she told you he/she would be? Yes No Was your technical coordinator timely in addressing your concerns/questions? Yes No Was your technical coordinator helpful in directing you to Kohler Co. associates for help? Yes No Was your technical coordinator clear and consistent about the safety & procedural processes of Kohler Co? Yes No Did your technical coordinator present a clear agenda/instruction for factory orientation, pertinent dates, photo shoots, exit interviews, and packing and shipping of your work? Yes No

Additional comments about your primary technical coordinator:

Please describe your educational outreach experiences:

What seemed positive or generative to you about the outreach opportunities? 1)

3) What could have made the outreach opportunities better or more productive? 1)

Sample Written Evaluations—John Michael Kohler Arts Center, cont. The Ultimate Residency Resource Guide 286

KOHLER CO. Please rate the A/I studio: 54321

Was your access to materials/processes sufficient? Ye s N o

If no, please list three recommendations: 1)

Given how the factory functions, what three items/pieces of equipment/processes could be added to the A/I studio to make your work easier? 1)

Were you satisfied with the documentation allowances through the Kohler Co. photographers and the film provided through the Kohler Co. communications liaison? Yes No

If no, please recommend how it could be improved:

Please list the kinds of help you received from Kohler Co. associates:

If you wish, please name any Kohler Co. associates that you would especially like to acknowledge:

Was your residency helpful/beneficial to Kohler Co. associates? Ye s N o

Please list how: 1)

ACCOMMODATIONS: Please rate your housing accommodations: 54321

Were you satisfied with your travel arrangements/reimbursement? Ye s N o

What three things could we realistically do to improve your overall accommodations? 1)

Sample Written Evaluations—John Michael Kohler Arts Center, cont. Artists’ Management: Artists’ Evaluations 287

JMKAC What resources/programs did you utilize/participate in at JMKAC ( i.e., resource center, exhibitions, performances, café, gift shop, workshops)?

Please rate JMKAC programming (exhibitions, performances, etc): 54321

Would you be interested in a return residency? Ye s N o

Why or why not?

Please list the names and contact information of three other people who you feel might be appropriate for an Arts/Industry residency: 1)

Please add other comments you wish to make.

Please sign and date below:

signature:______date:______

Sample Written Evaluations—John Michael Kohler Arts Center, cont. The Ultimate Residency Resource Guide 288

McColl Center for Visual Art

Written Evaluation of the Artist-in-Residence Program

We would like to ask you to take a moment and answer the questions below. We are interested in knowing what the residency has meant to you and any suggestions you may have regarding the program, facilities, housing, etc. In addition to your written comments, please circle a number on the rating scale next to the question. A score of 5 is the highest ranking and 1 is the lowest. Your final check will be given to you in exchange for the completed evaluation.

Artist Name:

Date of the Residency:

RESIDENCY:

Describe the work you accomplished during your residency. 5 4 3 2 1

How does it differ from your original plans? 5 4 3 2 1

How did the residency affect you? Your work? 5 4 3 2 1

Did you find the interaction with the other artists helpful? 5 4 3 2 1

Do you feel there were enough opportunities to interact with other artists? Were there too many? Not enough? Is there something McColl Center could have done to alter this?

Do you feel you were given exposure to other opportunities? 5 4 3 2 1

Were you given the freedom to do what you needed to do? 5 4 3 2 1

FACILITY:

Did you find your studio to be adequate? The location and layout? 5 4 3 2 1

Were the shop spaces easy to access? The tools and equipment available when needed? 5 4 3 2 1

Sample Written Evaluations—McColl Center for Visual Art Artists’ Management: Artists’ Evaluations 289

HOUSING:

How were the living spaces we provided for you? The location? 5 4 3 2 1

Did you find the provisions adequate? 5 4 3 2 1

STAFF:

Did you find the staff assisted you with your residency needs? 5 4 3 2 1

Do you feel you were supported with ample technical help? 5 4 3 2 1

Were your requests handled in a timely manner? 5 4 3 2 1

CLOSING:

What could make this residency better for other artists?

What will you remember about your time here? What will you take with you when you go?

List any comments or suggestions you may have concerning any aspect of our program and/or facilities. Include things you would not change, areas for improvement, etc.

If you were in charge of this program, what would you do differently?

Please write a sentence or two describing what your residency meant to you and what, if any, effect it had on your work. This quote will be used by the staff in publicity materials, newsletters, etc.

Sample Written Evaluations—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 290

Fellows’ Statistical Survey

For grant purposes only we need to provide the National Endowment for the Arts, the Virginia Commission for the Arts, and other funding agencies with various statistics. Please take a few minutes to fill out this question- naire and return it to a member of the office staff.

Please circle one of the following*: Check all applicable categories and circle the one category that best describes you.

N American Indian/Alaskan Native ____ Composer A Asian/Pacific Islander ____ Painter/ Printmaker B Black, not Hispanic ____ Sculptor H Hispanic ____ Installation/Performance W White, not Hispanic ____ Photographer M Multi-Racial (combination of those ____ Filmmaker/Videographer above if no single race applies) ____ Playwright/Screenwriter ____ Poet *categories used by the National Standard for ____ Fiction writer Arts Information Exchange ____ Non-fiction writer ____ Choreographer ____ Disabled/Physically challenged

If you are currently teaching or a student at a college or university, please give your title and the name of the institution.

List below all the states or countries (particularly any Virginia connections) with which you have a strong tie (i.e., born in, resided in for a significant amount of time, went to college, etc.) and briefly explain the connection. state/country connection

______

Year of Birth: ______Signature Date

Sample Written Evaluations—Virginia Center for the Creative Arts Artists’ Management: Artists’ Evaluations 291

HELP US SHARE YOUR SUCCESSES!

What have you been working on while in residence at the VCCA?

Please list events scheduled in the coming year that will include your work (publications, exhibitions, performances). Be sure to list time, date and place.

NAME: ______DATE: ______

Sample Written Evaluations—Virginia Center for the Creative Arts, cont. Selection Processes Artists’s Management: Selection Processes 293

STATEMENT OF CONFIDENTIALITY Sacatar Foundation

I have been invited to serve as a Member of a Selection Committee as part of the Sacatar Foundation’s process of nominating Fellows for the upcoming residential season at the Quinta Pitanga in Itaparica, Bahia, Brazil.

I agree to respect the confidential nature of the process. I will not announce or declare my position as a Committee Member to any interested party. I will not announce the names (or status) of any candidates before, during OR following the selection process. I understand that only the Sacatar Foundation has the right to communicate with any candidate applying for a Fellowship.

I understand that I will be notified when/if the Sacatar Foundation should decide to publicly announce the members of the Selection Committees. Until that time, I agree to serve “anonymously” on the Committee.

I agree not to make any personal copies of any candidate’s materials or place any markings on the work samples submitted to me by the Foundation. When instructed, I will return any materials that I have received.

______signature date

______print name

SACATAR FOUNDATION P.O. Box 2612 Pasadena CA 91102-2612 USA tel 626 449 1499 fax 626 449 1557

Sample Juror Letters and Contracts—Sacatar The Ultimate Residency Resource Guide 294

ASITW

19 August 2004

Dear River Resident Jurors,

Enclosed are the applications we’ve received to date. I expect a bunch more to come so this will give you a head start on them.

I’ve copied all written materials in each application. Not all the applicants submitted all the materials requested of them. For writers I’ve included their work samples. We will review the slides from visual artists and listen to the CDs from composers as a group.

I’ve included a sheet for each applicant that lists the criteria by which we’ve stated we’ll judge them. You can use this to take notes to contribute to our group discussion on each applicant. If it’s helpful you can rate applicants for each item and overall on a scale of 1 – 5, 1 being not a suitable applicant & needs work to 5 being superior. However, if time allows, we would prefer to come to consensus in an informal discussion on each applicant rather than tying ourselves down to a number rating system.

As a point of reference here is what we ask applicants to address in their letter of intent:

Discuss the river and the natural environment and how they relate to your work and your intended project. How might you present your work? How will a residency at A Studio in the Woods advance your work/career? What kinds of materials will you be using and if you anticipate any special facility needs? How will you know that your time here was well spent?

You’ll be getting another packet from me before Saturday August 28. Please be sure to bring all these written materials with you.

Sample Juror Letters and Contracts—A Studio in the Woods Artists’s Management: Selection Processes 295

McColl Center for Visual Art

Residency Program Descriptions: Since Fall 1999, over 120 artists have participated in our residency programs. 40% have been local/regional artists. There are two distinct programs. 1. Artist-in-Residence (AIR): 3-month program. Two 3-month sessions, Fall and Winter. Each with 6 artists, 1 local artist (NC & SC) in each session. There is 1 International artist in each session. AIRs receive a stipend (3,300), money for materials (2,000), paid travel to and from the Center, and housing (Condo). The Center also pays for shipping of work for a small exhibition during the time of the residency. 2. Affiliate Artists (AA): 18-month program. Artists pay utility fee. In addition to the 18-month program, each year there is a 4-month Summer Affiliate Program. 6 artists join the 4 18-month affiliates. The Affiliate program is for artists in Charlotte, the 12 surrounding counties and South Carolina.

Selection Process: Open application, nomination, and curatorial process. Call for artists posted on the Web site and letters are sent to nominators (former AIRs, other Artist Community Staff). This year, for the first time, the call was advertised in Art in America, American Craft, Art News, Art Papers and Sculpture Magazine. Panel of 3 made up of curators, educators, artists, and other arts professionals. Each brings something unique to the 2-day process. One panelist has an understanding of the art scene regionally, the second nationally, and the last one internationally. Deadline is the first Monday in May each year. Last year, 200 applications were received—double from the previous year. Artists are selected in June for AIR program for the following Fall and Winter slots. There are 12 slots total. Affiliates are selected in November for the following Fall and or Summer. Artists are selected on the following criteria: artistic excellence relevance of a residency here at the Center at this point in their career diversity regarding gender, race, age, medium and artistic level. Artists are curated in to insure balance of artistic styles and diversity. Curated artists have sponsorship/partnership opportunities from collectors and area institutions. An invitation will be sent out to Board members in March to come and watch the selection process. Panel uses letter of intent to determine appropriateness of a residency. Applicants are asked to provide references, and all references of selected AIRs are checked by the Director of Programs before the offer of a residency is extended.

Sample Selection Criteria and Process—McColl Center for Visual Art, Overview The Ultimate Residency Resource Guide 296

River Residency Jury Criteria

Jane Doe poet Oct. 27 – Nov. 24: First choice March 23 – April 20: Second choice

The creative use of ASITW resources, including its natural environment, serenity and proximity to the river.

Evidence of rigorousness of thinking.

Harmony of purpose with the ASITW mission to protect the bottomland hardwood forest and to create within it a retreat where artists can draw inspiration from the natural environment.

The creativeness and integrity of the proposal.

Breadth of inquiry crossing the arts and other disciplines such as science and humanities.

Evidence of previous investigation of rivers and the environment.

Sample Selection Criteria and Process—A Studio in the Woods Artists’s Management: Selection Processes 297

Selection Processes

• Selecting Jurors; Internal Selection Committee

The panel is composed of individuals from all over the U.S. (the vast majority of whom have been Fellows) who review work in their field of expertise. There are panelists in the area of fiction, poetry, and non-fiction. There are those who review the work of playwrights, screenwriters and videographers, as well as panelists who review all types of visual artists and composers. The entire panel numbers about 60 individuals.

New panelists are recommended by current panelists and by staff members.

• Selection Criteria

The criteria for acceptance are the achievement or promise of achievement of the applicant as determined by the selection panel upon review of the application materials.

• Selection and Review Process

The VCCA has three yearly deadlines for application. The studios are scheduled in four-month blocks of time, called “scheduling periods”.

Applicants submit application materials in triplicate. The work samples are divided among the available panelists. The work samples are sent via the U.S. postal service. The work of each applicant is reviewed by three panelists. The applicant is not scheduled unless there are two panelists who deem his or her work of a caliber worthy of support by the VCCA.

A scheduling report is produced which includes the recommendation of the panelists, a short biography of the applicant and a history of the applicant’s residencies at the VCCA (if it is a returning Fellow). By far the review of the work sample by the selection panel is the element of the application that carries the most weight.

This scheduling report, along with the letters of recommendation, are reviewed by the Executive Director and the Director of Artists’ Services who make the final decision about whom to schedule while referring to the master schedule. The master schedule indicates studio availability for that scheduling period.

Sample Selection Criteria and Process—Virginia Center for the Creative Arts The Ultimate Residency Resource Guide 298

Selection Process

I. The Board of Directors elects chairs of the five admissions judging panels, who are members of the Corporation of Yaddo.

II. The chairs select their own jurors, looking for experts in each of the genres, both inside and outside the “Yaddo family.” Although the chairs generally remain in place at least a year and sometimes longer, the jurors rotate between each judging period (with two judging periods per year).

III. Each of the committees sets its own standards, with excellent work and/or the promise of doing excellent work as the major criteria.

IV. The judging panels “grade” or “score” each applicant; they do not decide who will ultimateily be invited to Ya dd o.

V. The admissions director and president work from the judging panels’ lists, beginning with those who scored the highest with judges. Occassionally, though infrequent, scheduling conflicts will cause an artist to be placed on the wait list.

Sample Selection Criteria and Process—Yaddo Artists’s Management: Selection Processes 299

GUIDELINES FOR MEMBERS OF THE LITERATURE PANEL

1. The manuscripts of writers applying for both a first or return visit to Yaddo will be read by two different members of the literature panel. If there is a wide discrepancy between the two evaluations, a third panel member will read the submission.

2. Please read the manuscript submitted by the applicant and give the work a number grade from 10 to 1 – with 10 high. Our standards should be such that a 10 is reserved for work of the highest achievement. (Please keep a copy of the grades you assign each applicant.) Avoid decimals or fractions in all cases. If an application is given a fraction, the chairperson will resolve the grade to a whole number.

3. In addition to the grade, please include a brief critical statement about the nature and quality of the work submitted that also indicates your view as to whether or not you believe the writer deserves Yaddo’s encouragement. This statement should be written next to your initials directly on the sheet accompanying the manuscript.

4. Please make excellence your first criterion. Grade inflation is a danger not only to our standards, but may result in worthy applicants being turned away. Please avoid grade inflation. Although Yaddo wishes to encourage and assist young, even unpublished or unperformed artists, likely guests should, in the main, be professionals already accomplished in their chosen fields.

5. Our task is not to decide who should come to Yaddo, but to rank the applicants for the president’s office. Final determinations in the cases we deem superior are based on length of stay, time requested, and space considerations. Accordingly, please read and return the manuscripts as rapidly as possible. Lists will then be prepared by the admissions director indicating the names of those who will be extended an invitation to Yaddo, those who will be placed on the High Waiting List, and those who will be on the Waiting List.

A Statement on Admissions Standards

These additional guidelines are offered in an effort to achieve some unanimity of approach to the manuscripts submitted.

10. The highest achievement, judged by the highest standard. 9. Very distinctive, possessed of a singular vision, great energy, superior writing. 8. All of the above but, perhaps, not as greatly gifted. Could only have been written by this particular writer; singular, distinctive. 7. Good writing but without the special distinctions referred to above. Professional craftsmanship. 6. Adequately written, possibly well-crafted but without its own personality. 5. Some craft involved but mediocre writing. 4. Undistinguished and ordinary. 3. Sloppy writing, ignorant of craft. 2. Unprofessional. 1. Without merit of any kind.

Sample Selection Criteria and Process—Yaddo Chapter IV

ORGANIZATIONAL MANAGEMENT Financial Management — Policies & Procedures Organizational Management: Financial Management—Policies & Procedures 302

Internal Accounting Procedures

Internal accounting control is a series of procedures designed to promote and protect sound management practices, both general and financial. Following internal accounting control procedures will significantly increase the likelihood that: G financial information is reliable, so that managers and the board can depend on accurate information to make programmatic and other decisions; G assets and records of the organization are not stolen, misused, or accidentally destroyed; G the organization’s policies are followed; G government regulations are met.

Developing an Internal Accounting Control System The first step in developing an effective internal accounting control system is to identify those areas where abus- es or errors are likely to occur. Many accountants can provide you with a checklist of areas and questions to consider when you are planning your system. Price Waterhouse’s booklet, Effective Internal Accounting Control for Nonprofit Organizations: A Guide for Directors and Management, includes the following areas and objectives in developing an effective internal accounting control system: G Cash receipts: To ensure that all cash intended for the organization is received, promptly deposited, properly recorded, reconciled, and kept under adequate security. G Cash disbursements: To ensure that cash is disbursed only upon proper authorization of management, for valid business purposes, and that all disbursements are properly recorded. G Petty cash: To ensure that petty cash and other working funds are disbursed only for proper purposes, are adequately safeguarded, and properly recorded. G Payroll: To ensure that payroll disbursements are made only upon proper authorization to bona fide employees, that payroll disbursements are properly recorded and that related legal requirements (such as payroll tax deposits) are complied with. G Grants, gifts, and bequests: To ensure that all grants, gifts, and bequests are received and properly recorded, and that compliance with the terms of any related restrictions is adequately monitored. G Fixed assets: To ensure that fixed assets are acquired and disposed of only upon proper authorization, are adequately safeguarded, and properly recorded.

Additional internal controls are also required to ensure proper recording of donated materials, pledges and other revenues, accurate, timely financial reports and information returns, and compliance with other government regulations.

Achieving these objectives requires your organization to clearly state procedures for handling each area, including a system of checks and balances in which no financial transaction is handled by only one person from beginning to end. This principle, called segregation of duties, is central to an effective internal controls system. Even in a small nonprofit, duties can be divided up between paid staff and volunteers to reduce the opportunity for error and wrongdoing. For example, in a small organization, the director might approve payments and sign checks prepared by the bookkeeper or office manager. The board treasurer might then review disbursements with accompanying documentation each month, prepare the bank reconciliation, and review canceled checks.

The board and executive director share the responsibility for setting a tone and standard of accountability and conscientiousness regarding the organization’s assets and responsibilities. The board, usually through the work of the finance committee, fulfills that responsibility in part by approving many aspects of the internal control accounting system. Common areas requiring board attention include: G Check issuance: The number of signatures on checks, dollar amounts which require board approval or board signature on the check, who authorizes payments and financial commitments, etc. G Deposits: How payments made in cash (for admissions, raffles, weekly collection plate, etc.) will be han- The Ultimate Residency Resource Guide 303

dled, etc. G Transfers: If and when the general fund can borrow from restricted funds, etc. G Approval of plans and commitments before they are implemented: The annual budget and periodic com- parisons of financial statements with budgeted amounts, leases, loan agreements, and other major commitments. G Personnel policies: Salary levels, vacation, overtime, compensatory time, benefits, grievance procedures, severance pay, evaluation, and other personnel matters.

The Accounting Procedures Manual The policies and procedures for handling financial transactions are best recorded in an Accounting Procedures Manual, describing the administrative tasks and who is responsible for each. The manual does not have to be a formal document, but rather a simple description of how functions such as paying bills, depositing cash, and transferring money between funds are handled. As you start to document these procedures, even in simple memo form, the memos themselves can be kept together to form a very basic Accounting Procedures Manual. Writing or revising an Accounting Procedures Manual is a good opportunity to see whether adequate controls are in place. In addition, having such a manual facilitates smooth turnover in financial staff.

Maintaining Effective Controls The executive director is commonly responsible for overseeing the day-to-day implementation of these policies and procedures. Due to the number of detailed requirements involved if your organization receives government funding, there should be one person in the organization (possibly the grant administrator) with the responsibility of understanding and monitoring those specific regulations and compliance factors.

The auditor’s management letter is an important indicator of the adequacy of your internal accounting control structure, and the degree to which it is maintained. The management letter, which accompanies the audit and is typically addressed to the board as trustees for the organization, cites significant weaknesses in the system or its execution. By reviewing the management letter with the executive director, asking for responses to each internal control lapse or recommendation, and comparing management letters from year to year, the board has a useful mechanism for monitoring its financial safeguards and adherence to financial policies.

As your nonprofit changes and matures, and your funding and programs change, you will need to periodically review the internal accounting control system which you have established and modify it to include new circumstances (bigger staff, more restricted funding, etc.) and regulations (such as receiving federal awards with increased compliance demands.)

From: www.allianceonline.org/FAQ/financial_management/what_is_internal_accounting.faq Alliance for Nonprofit Management

Internal Accounting Procedures, cont. Organizational Management: Financial Management—Policies & Procedures 304

Sample Financial Procedures Manual

Approved by ______(organization’s) Board of Directors on ______(date)

I. General A. The Board of Directors formulates financial policies, delegates administration of the financial policies to the Executive Director, and reviews operations and activities. B. The Executive Director has management responsibility including financial management. C. Current job descriptions will be maintained for all employees, indicating financial duties and responsibilities. D. Financial duties and responsibilities must be separated so that no one employee has sole control over cash receipts, disbursements, payroll, reconciliation of bank accounts, etc. E. All employees involved with financial procedures shall take vacations or leaves of 5 consecutive work days each year. During such periods, back-up personnel who have been cross-trained in their duties will perform their tasks. F. A blanket employee dishonesty coverage in the amount of $______shall be maintained. G. Professional financial service providers will be established annually. For ______(year) these include ______(accounting software), ______(payroll services), the______(insurance), ______(banking), ______(restricted investments and retirement services), and ______(auditors). H. The ______(staff position) will maintain a current and accurate log of the chart of accounts, job accounts and accounting classes. I. These policies and procedures will be reviewed bi-annually by the ______(Board Committee)

II. Cash Receipts (includes checks) A. The ______(staff position) opens any mail addressed to ______(organization name) or without specific addressee. The receipt of checks or cash will be recorded in the accounting system. All other checks or cash will be immediately forwarded to the ______(staff position). B. The ______(staff position) will endorse all checks by rubber stamp to read as follows: PAY TO THE ORDER OF ______Bank Account # FOR DEPOSIT ONLY Organization Name Account Number

The endorsement stamp will specify into which corporate account (savings, checking) the deposit will be made. C. A report will be printed that includes the source and amount of the receipt as well as the total daily deposit amount. D. The checks and cash will then be forwarded to the ______(staff position), who will complete deposit slips in duplicate. Receipts and deposit slip will be placed in an envelope for ______(Bank). E. If no cash is present, the envelope may be sealed and sent through the US mail. If cash is present, the ______(staff position) will verify deposited funds prior to sealing the envelope and making the deposit in person. F. Documentation for all receipts (a copy of check, letter, etc.) will be attached to the duplicate slip and filed chronologically. G. All receipts will be deposited intact. No disbursements will be made from cash or check receipts prior to deposit. H. The ______(staff position) will record each cash payment received in a number receipt

Sample—Financial Procedures Manual The Ultimate Residency Resource Guide 305

book with a duplicate for the payer. Cash shall be locked in a secure location until taken to the bank. I. The Executive Director will receive a copy of all deposit reports for review.

III. Cash Disbursements A. Check Authorization 1. All invoices will be immediately forwarded to the ______(staff position) who will review all invoices for mathematical accuracy, validity, conformity to the budget (or other board authorization), and compliance with bid requirements. 2. Prior to payment, all invoices will be approved (indicated by initialing) by the ______(staff position), who will code the invoice with an appropriate expense or other chart of accounts line item number, class and job number (where applicable). a. By approving an invoice, the ______(staff position) indicates that it has been reviewed by the ______(staff position) and authorizes a check. b. The ______(staff position) will ensure that all conditions and specifications on a contract or order have been satisfactorily fulfilled, including inventorying items received against packing slip counts. The ______(staff position) is responsible for timely follow-up on discrepancies and payment. 3. Approved invoices will be entered into the accounting system using the “Enter Bills” screen. 4. The ______(staff position) will prepare checks on a weekly basis. 5. Authorized signers on ______(organization’s) accounts include the Executive Director, Chair and Treasurer of the Board. B. Checks 1. The ______(staff position) will be responsible for all blank checks. 2. All checks, including payroll checks (with the exception of direct deposit payroll items) will be signed by the Executive Director or designated members of the Board of Directors. 3. The ______(staff position) will generate checks for approved invoices through the accounting system using “Pay Bills” and/or “Write Checks” screens where appropriate. 4. Voided checks will have “VOID” written boldly in ink on the face and have the signature portion of the check torn out. Voided checks will be kept on file. 5. In no event will: a. invoices be paid unless approved by an authorized signer b. blank checks (checks without a date or payee designated) be signed in advance c. checks be made out to “cash”, “bearer”, “petty cash”, etc. d. checks be prepared on verbal authorization, unless approved by the Executive Director. 6. In the event that it is necessary to issue a duplicate check for checks in an amount over $15, a stop payment will be ordered at the bank on the original check. C. Bank Reconciliations 1. Bank statements will be received directly and opened by the ______(staff position). 2. The ______(staff position) will reconcile the bank statement monthly. 3. The Treasurer of the Board will receive monthly statements of checks paid on all accounts. 4. The Executive Director shall verify the reconciliation of the bank accounts on at least a quarterly basis. 5. On all checks outstanding over 90 days, the ______(staff position) should take appropriate action.

IV. Purchasing A. Purchase under $5,000 1. All purchases over $500 must be approved in advance by the Executive Director. 2. The Project Director is responsible to know if the item ordered is within the budget and guidelines. 3. If purchase is less than $150, persons authorized by the Project Director for immediate purchase and delivery can make the purchase. When this is done, invoice copies are to be turned into the Project Director.

Sample—Financial Procedures Manual, cont. Organizational Management: Financial Management—Policies & Procedures 306

B. Purchases over $5,000 1. All purchases including services over $500 must be approved in advance by the Executive Director. 2. Purchases over $5,000 will be required to undergo a competitive bid procedure. 3. All bid requests will contain clear specifications and will not contain features which unduly restrict competition. 4. The Project Director will be responsible to ensure that all conditions and specifications of a contract, bid, or order have been satisfactorily fulfilled and will be responsible for timely follow-up of these purchases. 5. The Project Director will obtain at least 3 bids wherever possible unless prior approval by Executive Committee has been obtained. 6. Purchases of over $5,000 will not be fragmented or reduced to components of less than $5,000 to avoid the bid process.

V. Payroll A. Time Sheets 1. Each hourly employee will be responsible for completing a time sheet on a biweekly basis. 2. Completed time sheets will be dated and signed by the employee and submitted to the ______(staff position) at the end of the last working day of each pay period. 3. No payroll checks will be issued without a completed time sheet and time card if required. 4. Incomplete time sheets and cards will be returned to the employee for correction. 5. The ______(staff position) will verify the accuracy of the time sheets and addition. 6. Employees will be paid every two weeks, deductions are itemized on each paycheck. B. Payroll 1. The ______(vendor name) Payroll System will enter payroll, print payroll checks, make direct deposit transfers print payroll reports and send reports to the ______(staff position). 2. The ______(staff position) will review the payroll checks before they are distributed. 3. The ______(staff position) will distribute the payroll checks to the employees. Checks will not be issued to any person other than the employee without written authorization from the employee. 4. The ______(staff position) is responsible for entering payroll reports into the accounting system. 5. Voluntary terminations will be paid at regular pay date. Involuntary terminations will be paid on day of separation. C. Payroll Taxes 1. ______(staff position or payroll system vendor) will prepare and transmit the payroll tax reports, W-2 forms, and 1099 forms. 2. The ______(staff position) will verify payroll tax preparation on a quarterly basis. D. Benefits — Payroll will be prepared in accordance with the personnel policies and benefit plan.

VI. Travel & Expenses A. Each employee will complete an expense voucher for reimbursement if any traveling is done. Voucher should include all expenses including credit card charges. Voucher will reflect reimbursement sources other than ______(organization). B. The expense voucher will be submitted within 60 days for payment, with a total, signed by the employee, authorized for payment by the Executive Director. C. Reimbursement will be based upon current travel policies. Receipts must be attached to the expense voucher for lodging, common carrier transportation, and receipts for meals where required.

VII. Property — Equipment

Sample—Financial Procedures Manual, cont. The Ultimate Residency Resource Guide 307

1. Equipment shall be defined as all items (purchased or donated) with a unit cost of $500 or more and a useful life of more than one year. 2. The ______(staff position) will maintain an inventory log; which shall list a description of the item, date of purchase or acquisition, price or fair value of the item and its location. 3. A depreciation schedule shall be prepared at least annually for the audited financial statements. 4. The ______(staff position) will record all equipment in the accounting system. An entry must be made whenever property is disposed of or acquired.

VIII. Leases A. Real Estate 1. The Executive Director will review leases prior to submission to the Board of Directors for approval. 2. All leases, clearly delineating terms and conditions, will be approved by the Board of Directors and signed by the Board Chair. 3. The Executive Director will keep a copy of each lease on file. 4. The Consulting Accountant will be notified of each lease and lease specifications, and will make proper general journal entries for same. B. Equipment 1. The Executive Director will review all leases. 2. All leases, clearly delineating terms and conditions, will be approved and signed by the Executive Director. 3. The Executive Director will keep a copy of each lease on file. 4. The Consulting Accountant will be notified of each lease and lease specifications, and will make proper general journal entries for same.

IX. Insurance A. Reasonable, adequate coverage will be maintained to safeguard the assets of the corporation. Such coverage will include property and liability, worker’s compensation, employee dishonesty and other insurance deemed necessary. B. The Executive Director will carefully review insurance policies before renewal. C. The Executive Director will maintain insurance policies in insurance files. D. Insurance policies will correspond to the calendar year whenever possible. E. The ______(staff position) will prepare and maintain an insurance register.

X. Books of Original Entry A. ______(organization) will utilize a double entry system for accounting for all funds. B. Adequate documentation will be maintained to support all general entries. C. At the end of each (time period), the ______(staff position) will prepare a Balance Sheet, Statement of Activities, and Statement of Activities by Project that will be reviewed by the Executive Director. D. The Statement of Activities report will include a comparison to the budget. E. ______(organization) will maintain its accounting records on the accrual basis in a manner that facilitates the preparation of audited financial statements conforming to generally accepted accounting principles.

XI. Grants and Contracts A. The Executive Director will carefully review each award and contract to ensure compliance with all financial and programmatic provisions. The ______(staff position) will maintain originals of all grants and contracts in a file. B. The ______(staff position) will prepare and maintain on a current basis a Grant/Contract Summary form for each grant or contract awarded to ______(organization). This form shall include the name, address, contact person, and phone number for the funding organization; the time period applicable to expenditures; all significant covenants (such as bonding

Sample—Financial Procedures Manual, cont. Organizational Management: Financial Management—Policies & Procedures 308

or liability insurance requirements) and restrictions on expenditures; all require financial and program report and due dates; and the chart of accounts line item number for the revenue deposited C. Payments for projects for which ______(organization serves as fiscal agent shall be paid out within (time period). D. The (staff position or accountant) will prepare financial reports to funding sources as required. E. The Executive Director will review and approve all reports to funding sources. F. It will be the responsibility of the Executive Director to insure that all financial reports are submitted on a timely basis.

XII. Budgets A. The Executive Director and the ______(staff position or treasurer) will prepare the financial budget. B. The ______(staff position) will insure that budgets are on file. C. The Board of Directors must approve proposed changes in the budget, should they exceed $______or ______% of the line item, whichever is greater.

XIII. Loans A. The Board of Directors will approve loans. B. A promissory note will be prepared and signed by the Board Chair and another officer of the Board before funds are borrowed.

XIV. Other A. Non-Program Income — Donations of cash and non-program related income will be separately accounted for. B. Accounts Receivable 1. Documentation will be maintained for accounts receivable. 2. Accounts receivable will be recorded in the books and collected on a timely basis. C. Financial Procedures — Financial procedures will be reviewed bi-annually by the Finance Committee. The Board of Directors must approve changes to the financial procedure manual prior to implementation. D. Form 990 1. The Board of Directors in conjunction with the audit will authorize preparation of Form 990. Form 990 will be signed by an officer of the Board. 2. Copies of Form 990 will be files in the ______(staff position)’s files, and a copy of the ______(organization) Form 990 and Form 1023 shall be located at the front desk for public inspection and/or copying. E. Audits — The Board of Directors shall annually contract with an independent auditing firm a full audit of the books, to be completed prior to the following (date) each year. F. PERSONNEL FILES — The ______(staff position) will maintain a personnel file for each employee, containing appropriate documents, such as the signed compensation agreement, approval of changes in compensation, an I-9 immigration form, and withholding forms for taxes, benefits, deferred compensation, and charitable contributions. G. FISCAL AGENT STATUS 1. The ______(organization) executive committee must authorize all fiscal sponsorship arrangements, which are then approved by the board. 2. All fiscal sponsorship arrangements will begin with a written agreement, stating the terms of the relationship and the purpose for the use of funds. 3. Fiscal sponsorships will be limited to projects for which the ______(organization) executive committee determines that the project is charitable and consistent with the ______(organization) mission, and that no real or perceived conflicts of interest exist with board or executive committee members.

Sample—Financial Procedures Manual, cont. The Ultimate Residency Resource Guide 309

4. The ______(organization) will negotiate with the sponsored project a rate for indirect or direct costs to cover the ______(organization) expenses of administering the temporarily restricted fund. 5. Sponsored projects will be required to submit full and complete quarterly and year end reports to the ______(organization) by the end of the ______(organization) fiscal year, (date)______,: and must include: a. detailed expenses using budget categories for original grant; b. program accomplishments and activities; c. lobbying expenditures; and d. amount of remaining funds. 6. Any changes in the purpose for which grant funds are spent must be approved in writing by the ______(organization) before implementation. The ______(organization) retains the right, if sponsored project’s breaches the fiscal sponsorship agreement, or if a sponsored project jeopardizes the ______(organization) legal or tax status, to withhold, withdraw, or demand immediate return of grant funds. 7. The ______(organization’s) executive director will submit quarterly reports to the Executive Committee, to be circulated to the entire board, on the status of active fiscal sponsorships. 8. The ______(organization) will file appropriate tax forms for sponsored projects, including IRS form 1099.

From: The Minnesota Council of Nonprofits www.mncn.org/info/template_fin.htm#Sample%20Financial%20Procedures%20Manual

Sample—Financial Procedures Manual, cont. Organizational Management: Financial Management—Policies & Procedures 310

Additional Resources

In Print

All the Way to the Bank: Smart Money Management for Tomorrow’s Nonprofits by Susan Kenny Stevens and Lisa M. Anderson Paperback: 116 pages Publisher: Stevens Group at LarsonAllen; 1st edition (August 1, 1997) ISBN: 0965220877

Bookkeeping for Nonprofits: A Step-by-Step Guide to Nonprofit Accounting by Murray Dropkin, James Halpin Paperback: 272 pages Publisher: Jossey-Bass (May 6, 2005) ISBN: 0787975400

Online

Minnesota Council of Nonprofits www.mncn.org/info/template_fin.htm

MAP for Nonprofits www.managementhelp.org

National Council of Nonprofit Associations www.ncna.org

Nonprofit Financial Center www.nfconline.org Financial Management — Budgeting Organizational Management: Financial Management—Budgeting 312

Budgeting—Introduction

A Guide for Small Nonprofit organizations

Introduction The need for each nonprofit organization to budget both its expectations of income and the attached costs and expenses is one that is easily recognized; however, most guides on the subject are written with the large organization in mind.

Every volunteer or founder brings to a small nonprofit organization the enthusiasm and interest necessary to do a good job. Most small nonprofit organizations lack the funds necessary to seek and pay for professional guidance in the business and larger nonprofit world.

This guide is written to present the theories and practicalities of budgeting for the small nonprofit organization staffed by volunteers or paid staff whose expertise does not always correspond with the budgeting needs of the organization.

In this guide, Goodworks, Inc. is a hypothetical nonprofit organization that receives contributed income from grants and individual contributions, and earned income from ticket sales. The example of Goodworks, Inc. should provide guidance for most nonprofit organization budget situations.

Selecting the budget committee A budget is a planning tool for the nonprofit organization. The budget committee should reflect the collective knowledge of the organization concerning the goals and objectives for the period in question. Volunteers who serve on the budget committee also should have the following qualities: a familiarity with prior years’ activities and the changes that are contemplated in the year(s) to come; a desire to serve the organization as a whole rather than to lobby for a particular project; a knowledge of ordinary budgeting, whether on the personal or business level; hands-on experience with budgeting.

While the qualities listed above are desirable, their absence should not preclude excellent service by volunteers who are otherwise interested and dedicated.

The task of the budget committee The first task of the budget committee is to review the current year’s budget-to-actual reports. If there was no budget for the previous year, then a stating point is the actual expenses and categories that have occurred so far in the current year.

The need to present the budget to the board for approval will be the overriding constraint in planning the time frame for the budget process. There must be time to consider, question, and change the budget both before and after the presentation to the board.

At the first meeting of the budget committee, a definite set of goals and a schedule for the budget process itself must be set. Where there are many tasks that need to be separated, researched, organized, and presented to the committee, sufficient time must be allowed for the process.

A budget for capital expenditures: bought or received Capital expenditures are those that acquire assets whose useful lives are greater than the current period. Many times a small organization will borrow assets, or members will use personal assets for the needs of the organization. Assets that are given to the organization should be treated as both income (a contribution) and outgo (the purchase of an asset). Donors of non-cash items will need to help provide a solid estimate of the value of the items, both for the organization’s records and for the donor’s records for tax and other purposes. The Ultimate Residency Resource Guide 313

Some donated items, such as stock or a vehicle, require a transfer of title, which is recorded with local or federal authorities. Make sure this transfer of title is carried through in an orderly and timely manner.

Some gifts bring new responsibilities to the organization. Can you safeguard this asset? Does it need to be insured? Do you need a safe deposit box? If an asset is housed on premises that do not belong to the organization, then a master list of such assets and their whereabouts should be prepared and maintained in a safe and central location.

There are other gifts that need accounting and budgeting. One is the forgiveness of rent for space. The fair market value of the rent should be recognized on both the budget and actual financial information as income and expense.

This type of recognition gives a better picture of the true state of affairs for the organization. If you lose the free rent, can you make up the difference in cash donations and afford to pay the rent? This question is best answered when the value of the prior gift is recorded.

Capital budgets can be achieved over a period of years when a sinking fund is established to collect money for a future capital expense.

Setting budget priorities and realities: revenues A budget may start in one of two places. One is to plan based on the amount that must be spent to fulfill the goals and objectives of the organization.

This method unfortunately tends to encourage a “pie in the sky” attitude, where so much is needed that the revenues necessary to pay for such a plan are not available even in the most optimistic of projections. This is when reality must be considered. The budget committee will need to examine the reasonable expectations of revenue. Each potential source of revenue must be examined to determine possible enhancements in the future. The availability and probability of grants from outside sources must be discovered. Together with the possibility of grants, there must be a measurement of the costs of such grants.

Do separate accounting reports need to be provided to the grant-giving organization? Are the funds restricted to a particular purpose? Does the grant provide an allowance for overhead expenses of the organization? And must the organization be audited in order to qualify for the grant or to account for it? Sometimes the cost of revenue may be more than it’s worth.

There are grants that are unrestricted. They may match contributions from outside contributors, or they may be from small, local charities that are interested in your type of program.

What are the expectations of contributions from the public? Be realistic! Is there a history of increases in past years? Has a major contributor had a good year or a bad one?

What are the fundraising possibilities of the organization itself? What are the costs of fundraising? What are the legal implications of selling goods and services in order to raise funds? Are “suggested donations” better than a fee for a production or fundraiser? Some of these questions require knowledge of local and state laws, but the best answers may keep the organization out of trouble later.

Setting budget priorities and realities: expenses and costs The opposite side of revenues (income) is expenses (costs). Sometimes revenues and expenses are tied together, as in fundraising projects that generate revenue at a certain cost. Excess revenue over expenses can usually be used to cover other expenses of the organization, e.g., programs that do not generate revenue and administrative expenses.

Expenses are generally associated with those disbursements that do not have a future value, e.g., postage, tele-

Budgeting—Introduction, cont. Organizational Management: Financial Management—Budgeting 314 phone service, etc. Costs are associated with items that have a future benefit, e.g., desks, computers, and other assets. These also are known as capital expenditures. In either case they must be budgeted.

As noted in the revenue section, some programs are funded entirely by grants. The budgets for specific grant programs are made at the time of the grant application. These budgets should include not only requests for the specific costs of the program, but also enough to cover the internal costs of administering the program if the grant is awarded. Many a program has been granted based on direct costs, without any consideration of the indirect costs of telephone, transportation, stationery, postage, and the incidentals that can add up quickly and doom a well-planned effort.

Planning for programs that are to be covered by general contributions and unrestricted grants entails a budget that has some elasticity.

When to prepare the budget A budget is a planning tool and should be prepared well in advance of the period of the actual performance. Plenty of time should be allowed for presenting the budget to the board of directors for approval, and for making changes. After your hard work preparing the budget, it may be hard to recognize good suggestions for improvement, but you must be willing to go back to the drawing board.

Using a budget Once the budget is prepared and approved, don’t put it away in a dark corner. The budget should be compared with the actual experience in order to measure whether the organization’s goals, set by the budget, are being met.

Budget-to-Actual Comparison Actual Budget Variance Income Contributed Income Individual contributions 25,000 28,000 (2,500) Grants (unrestricted) 5,000 5,000 0

Earned Income Sales (Net) 4,325 4,000 325

Total income 34,325 36,500 (2,175)

Expenses Staff 10,000 12,000 (2,000) Office Expense 1,120 1,000 120 Telephone 5,665 6,000 (335) Consulting 12,000 12,000 0 Trave l 4,960 5,000 (40) Misc. Support 510 500 10

Total expenses 34,255 36,500 (2,245) Gain/loss 70 0 ( 70)

Budgeting—Introduction, cont. The Ultimate Residency Resource Guide 315

This is a simple comparison at the end of a period. Ideally, with every presentation of financial information there should be a comparison and recognition of what remains to be done to achieve the budget expectations for the year. There are other types of budget reports that are essential to the smooth running of an organization.

For the small group, the most important is a cash flow budget. This is the budget of income and expense broken down monthly to ensure cash will be there when needed. If you expect all your expenses in the first three months of the year and all your income in the last three months of the year, you will be out of luck unless the organization has built up a large cash surplus. Plan your cash flows.

Restricted grants Budgeting for restricted grants must be done in advance. A careful inquiry of the grant giver will allow you to know the expectations of the grant-giving organization. As noted in the discussion of revenue sources, there can be many strings tied to grants. Be aware of them. Discuss the requirements not only with the grantor, but, if possible, with another organization that has received such a grant in the past.

Changes and conclusions Can budgets be changed? Sometimes they have to be when expectations are not met. Rather than abandon a sound budget plan when an emergency or opportunity arises, an organization should be able to handle the change in an orderly fashion.

If an expected donation that has been budgeted does not materialize, you have several choices. The most obvious is to seek other sources of funds. Next you can cut expenses. Less obvious is a rearrangement of expenses. A gift of an asset, as previously discussed, might relieve a budgeted expense. A program that was scheduled to begin in one quarter might be moved to another period, allowing the expenses of that program to be moved as well. All of the decisions above should be made with reference to the budget, as well as to the current cash and financial picture.

Budgets should be a major part of every organization’s plan. This plan should give the flexibility needed to achieve goals with order and success. The documentation of budget assumptions and changes will provide a basis for improving the efficiency of the budgeting process each year.

Reprinted with permission from the Virginia Society of Certified Public Accountants P.O. Box 4620, Glen Allen, VA 23058-4620, (804) 270-5344 www.vscpa.com/Visitors/Nonprofit_Resources/Budgeting_Small.aspx

Budgeting—Introduction, cont. Organizational Management: Financial Management—Budgeting 316

Art Omi—Financial Statement for Year 2002

REVENUE Contributions General public support, sponsorship, and grants 491,107 75% Open Day event at Art Omi 12,881 2% Art Omi Theater Benefit in New York City 143,245 22% Investment and other income 7,491 1%

Total Revenue $654,724 100%

EXPENSES Program services 551,567 84% Supporting services Professional fees 24,795 4% General and administration 14,479 2% Moving and installing sculptures 37,589 5% Fundraising events 30,140 5%

Total Expenses $658,570 100%

INCOME (LOSS) FROM OPERATIONS ($3,846)

Sample Budgets and Financial Statements—Art Omi The Ultimate Residency Resource Guide 317

Sample Budgets & Financial Statements Atlantic Center for the Arts—Operating Budget for 2005

INCOME Mission-Related Income Memberships 77,350 Donations (Trustees/INside OUT) 54,978 Associate Fees 78,000 Application Fees 12,500 Scholarships 26,000 HH Gallery Sales 3,000 Children’s Programs 20,000 Adult Programs 8,000 Sponsorships 10,625 State of Florida 37,460 County of Volusia 75,000 Foundations 97,000 Donor Development 30,000 UCF/SUS 200,000 Investment Income 188,000 Non-Mission-Related Income HH Gift Shop Sales 5,000 Horsin’ Around 190,000 Special Benefits 18,000 Images Art Festival 15,000 Touring Exhibitions 4,125 Bernar Venet Exhibition 70,000 Old Town by the Sea Book Sales 5,000 Contractual Services 64,500 Facility Rentals/Workshops 70,000 Contingency Income Horsin’ Around 20,000

TOTAL INCOME $1,379,538

EXPENSES Mission-Related Expenses Wages 478,500 Taxes/Benefits 89,863 Pension Plan 19,525 Master Artist Expense/Supplies 16,525 Master Artist Honorariam 108,000 Master Artist Travel 24,600 Residency Meals 13,200 Exhibitions 8,700 Residency Promotion 9,400 University Student Exhibition (USE) 1,900 Commissions/HH Gallery 1,500 Children’s Programs 15,000 Adult Programs 6,000

Sample Budgets and Financial Statements—Atlantic Center for the Arts Organizational Management: Financial Management—Budgeting 318

Community Outreach 2,000 Volunteer Expense 2,000 Membership Expenses 6,000 Publicity/Public Relations 29,900 Audit Expense 27,000 Board Expense 1,000 Staff Travel 4,400 Utilities 68,250 Telephone 26,000 Postage 23,650 Liability Insurance 70,000 Office/Operating Supplies 10,000 Dues/Licenses/Subscriptions 3,500 Pension Fees 750 Equipment Lease 14,850 Maint/Repairs/Vehicles 3,000 Maint/Repairs/Buildings/Grounds 25,000 Maint/Repairs/Equipment 10,000 Non-Mission-Related Expenses National Council 5,000 Commissions/HH Gift Shop 3,500 Gift Shop Cost of Merchandise 1,500 Horsin’ Around 50,400 Special Benefits 5,000 Images Art Festival 0 Opera Workshop 93,000 Touring Exhibitions 4,125 Bernar Venet Exhibition 70,000 Facility Rental Expense 7,000 Contingency Expenses Horsin’ Around Reserves 20,000

TOTAL EXPENSES $1,379,538 Excess Revenue Over/(Under) Expenses 0

Sample Budgets and Financial Statements—Atlantic Center for the Arts, cont. The Ultimate Residency Resource Guide 319

The Bogliasco Foundation—Expenses for Year 2000

Residency Program Expenses Salaries and related costs 285,562 Fellowship lodging expenses 43,494 Travel 7,896 Utilities 29,852 Telephone 6,108 Insurance 7,307 Repairs and maintenance 14,405 Rubbish removal 2,194 Supplies 12,746 Miscellaneous 9,604 Depreciation 32,116

Total Residency Program Expenses $451,283

General and Administrative Expenses Salaries and related costs 37,463 Rent 18,000 Insurance 9,488 Accounting fees 10,776 Legal fees 7,550 Office expenses 11,547 Miscellaneous 6,431

Total General and Administrative Expenses $101,255

Investment Expenses $32,021

Total Expenses $584,560

Sample Budgets and Financial Statements—The Bogliasco Foundation Organizational Management: Financial Management—Budgeting 320

The MacDowell Colony—Expenses & Operating Support for 2003-2004

EXPENSES Program 1,400,632 62% Administration 443,171 20% Development 410,323 18%

Total Expenses $2,254,126 100%

REVENUE Contributions Individuals 245,445 11% Corporations 765 0% Foundations 117,530 5% Bequests and Restricted Contributions 733,887 34% Government Grants 30,000 1% Events 353,947 15% Subtotal $1,481,574 66%

Admissions, Royalties & Others 66,197 3%

Transfer from Unrestricted Funds 706,355 31%

Total Revenue $2,254,126 100%

Sample Budgets and Financial Statements—The MacDowell Colony The Ultimate Residency Resource Guide 321

Yaddo—Operating Budget for 2005

REVENUE Grants 50,000 Contributions Board 340,000 Individuals & Artists 134,000 Garden Assoc 5,000 Foundations & Corporations 80,000 Benefits (Gross) 400,000 Weddings 7,000 Subtotal Unrestricted Gifts 1,016,000 Use of Restricted Gifts 120,000 Other Land Lease 26,448 Application Fees 23,000 Miscellaneous 16,452 Total Revenue 1,201,900

Transfers from Investments 744,000 Transfer to cover Inv. Fees 130,000 Use of Restricted Inv Income 110,000 Total Transfers from Investments 1,070,000 Total Resources $2,271,900

EXPENSES Summary 1 Summary 2 Artistic Program 330,634 Salaries & Fringe Benefits 1,238,407 Kitchen 288,852 Audit & Professional Fees 250,450 Housekeeping 194,998 Admissions Committee 17,500 Buildings & Grounds 337,580 Food 61,000 Administration 422,470 Travel 84,300 Public Relations 199,060 Communications 82,831 Development (Operations) 335,656 Fuel and Utilities 95,400 Development (Events) 115,500 Repairs and Maintenance 55,800 Garden 19,950 Supplies and Equipment 77,450 Total Operating Expenses 2,244,700 Benefits & Special Events 115,550 Capital Expense 27,200 Insurance 72,500 Total Expenses $2,271,900 Donor Cultivation 25,000 Vehicle Repairs & Maintenance 12,272 Books & Subscriptions 10,965 Space Rental 10,850 Medals 4,300 Meetings & Conferences 4,050 Credit Card Fees 4,000 Piano Tuning 1,800 Miscellaneous 20,275 Total Operating Expenses 2,244,700 Capital Expense 27,200 Total Expenses $2,271,900

Sample Budgets and Financial Statements—Yaddo Fundraising — Development Plans Organizational Management: Fundraising—Development Plans 323

VCCA Development Plan FY 2005

I. VCCA Fundraising Goals—2005 Annual Fund (Operations) $446,000 Individual Contributions $290,000 (Board—$175,000; other—$115,000) Corporate 10,000 Foundations 100,000 State 25,000 Misc (restricted/release) 21,000 Capital Goal Long-term (includes renovation of 10 studios)$3,000,000

Endowment Campaign $2,000,000

II. Funding Strategies Annual Fund Carter McNeely, VCCA President Focus on board—current, past, honorary Staff Mailings (w/ remittance envelope) Newsletter—mailing 8/30 Annual Report—10/25 Annual Appeal—11/15 Fellow’s Council letter—2/15 2nd Newsletter—3/15 2nd Drop Annual Appeal—4/15 Expand Individual Donor Pool Board sponsored friend-raising events: Charlottesville Richmond Roanoke & Western VA Lynchburg Norfolk/Tidewater NOVA/Winchester Board sponsored visits to VCCA Corporations—board/volunteer networking Foundations—review comprehensive list-identify board contacts Expand Programs Fund a Fellow—develop marketing plan (in conjunction with PR strategy) Major VCCA Fundraising Event

Capital Identify short-term goals and develop marketing piece, prospect list (Focus on enhancing entrance, restoring grounds w/Bldg & Grds committee) Extend appeal to Fellows Endowment Planned Giving—Annual Report acknowledgement, Legacy Club Develop marketing piece with endowment opportunities

Sample Development Plan—Virginia Center for the Creative Arts The Ultimate Residency Resource Guide 324

Moulin a Nef—France Vision for programming and fund development being researched. Goals include programming for 6 months of calendar year 2005

III. Marketing/PR—Raise Universal Visibility (Strategic Planning Committee: Appoint committee/develop PR strategy targeting local, national, international audiences.

Sample Development Plan—Virginia Center for the Creative Arts, cont. Fundraising — Grants Organizational Management: Fundraising—Grants 326

Grants—Overview

I. Types of Grantmakers A. Government Funders 1. Definition: These are agencies funded by the federal, state, regional, county, and municipal governments. Often the money “trickles down” from a national agency (e.g., National Endowment for the Arts) to a state agency, to a local agency. There are government-funded state arts agencies in all 50 states, as well as U.S. territories. 2. Approach: The mission of these agencies is often three-fold: to support excellence in the arts; to increase access to the arts; and to provide leadership in arts education. Most state and local agencies are particularly interested in how an applicant will be serving state and local artists.

B. Corporate Funders: The two types of corporate funding listed below are at times coordinated under a general policy and may be administered by the same staff. In other cases, a private foundation bearing a name associated with a corporation may have few if any ties with the original source of funds. In this case, it becomes an independent foundation and is no longer considered a corporate foundation. 1. Corporate Foundations a. Definition: A corporate foundation is a private foundation under the tax law, and derives its funds from a profit-making company or corporation. A corporate foundation often maintains close ties with the donor company, but it is a separate, legal organization, sometimes with its own endowment, and is subject to the same rules and regulations as other private foundations. Because it is independently constituted, a corporate foundation makes it possible to continue funding even in years when company earnings may be reduced, and the needs of charitable organizations are usually greater. b. Approach: Often a corporate foundation focuses its giving in geographic areas in which its parent company operates. Corporate foundations also generally have specific value statements that are supported by their giving (e.g., Bank of America’s Foundation states: “Our approach to charitable investments focuses on fostering local neighborhood excellence. Our Foundation supports local, regional and national nonprofit organizations that deploy resources and programs at a local market level.”). 2. Corporate Giving Program a. Definition: A corporate giving (direct giving) program is a grantmaking program established and administered within a profit-making company. Gifts or grants go from the corporation directly to charitable organizations. Corporate giving programs do not have a separate endowment; their expense is planned as part of the company’s annual budgeting process and usually is funded with pre-tax income. Funding levels generally depend on how well the company is performing. b. Approach: The approach is similar for corporate foundations; in addition, a corporate giving program may be particularly interested in what level of visibility your program will give (e.g., use of their logo, naming rights, etc.). Many corporate giving programs do not have specific guidelines and application procedures. The discretionary nature of these giving programs can be both a blessing and a curse: it is a challenge to make a connection with the staff handling funding requests, but there is generally more flexibility regarding what gets funded.

C. Private Foundations 1. Definition: This term usually refers to an organization that is privately funded with gifts that are held in endowment, and that supports programs primarily through the making of grants. Many private foundations were created with monies from a corporation, but operate independently. Private foundations make grants to other tax-exempt organizations to carry out their charitable purposes. Private foundations must make charitable expenditures of at least 5% of the market value of their assets each year. — Independent foundations: Independent foundations are a type of private foundation. The Ultimate Residency Resource Guide 327

There is usually an individual founder, often by bequest; sometimes individuals or groups of people, such as family members, form a foundation while the donors are still living. Many large independent foundations, such as the Rockefeller Foundation, are no longer governed by members of the original donor’s family. The Ford Foundation and the John D. and Catherine T. MacArthur Foundation are two other examples of well-known independent private foundations. 2. Approach: Approaching a private foundation varies according to size and level of establish- ment. Most foundations have written guidelines on what they fund and follow a set of funding priorities, though these can change from time to time. As with any funder, building a relationship is important, and the relative openness of private foundations allows for greater partnership between the funder and the grant-seeker.

D. Family Foundations 1. Definition: The Council on Foundations defines a family foundation as a private foundation established by an individual donor with the donor and/or the donor’s family playing a significant governing role. Funding for a family foundation normally comes from one person, one couple, or a limited number of family members. Often, once the endowment has been formed, the only sources of funding may be investment income or bequests at the death of the donor or family members. Family foundations make up nearly half of all private foundations. 2. Approach: Because of limitations in scope and staff, many family foundations do not accept unsolicited applications. The funding priorities generally stem from the personal interests of the family, and are often geographically-specific. Approaching a family foundation is much like approaching a potential individual contributor; success depends largely on establishing a personal connection between the funder and your program.

E. Community Foundations 1. Definition: A community foundation is a repository and distributor of collective individual contributions. Community foundations work with individual contributors to determine their areas of interest, and advise on community philanthropic needs. In general, community foundations have relative independence to determine the best use of those funds, and adhere to a sense of community that overrides individual interests and objectives. 2. Approach: Community foundations often focus their funding on capacity-building (such as fellowships or grants for professional/organizational development), neighborhood development, and special initiatives. They are usually administered much like a private foundation, with dedicated program staff and guidelines and procedures for applying for funding.

II. Researching Grants A. Online Resources: Searching for funding sources online can quickly become overwhelming. There are a few excellent databases that are fairly comprehensive. 1. The Foundation Center (www.fdncenter.org) a. What it is: The Foundation Center is the most widely-used database of information on grants for individuals and organizations, grantwriting tips, and other resources, and much of its resources are free online. The grants search database, however, is subscription-based; a basic subscription is $19.95 (for one month). Many libraries subscribe to the Foundation Center, which you can then access for free at the library (to find a library near you, click on “Library Web Sites” from the home page, then click on “Cooperating Collections”). b. How it works: 1) Search for a specific foundation to learn more about what they fund, or you can search for grants by fields of interest (e.g., arts), types of support (e.g., general operating, capital campaign, seed money, etc.), geographic focus, and type of grantmaker (e.g., community foundation, corporate philanthropy, etc.). The records include the name of the foundation and contact name and information. In addition, to provide you with a sense of a foundation’s grantmaking priorities, records include the estab-

Grants Overview, cont. Organizational Management: Fundraising—Grants 328

lishment date; names of donors; purpose and activities statements; fields of interest; funding limitations; types of support; application information; trustees, officers, and donors names and titles; publications; a link to the foundation’s 990-PF (IRS return); and, where available, a selected grants list (with previously funded organizations, locations, and grant amounts awarded). 2) Read up on trends in funding, shifts in giving priorities, and more, under “Researching Philanthropy.” 2. The Council on Foundations (www.cof.org) a. What it is: This is a membership organization of more than 2,000 grantmaking foundations and giving programs worldwide. In addition to serving their members, they provide information to the public on grantmakers. b. How it works: You can find information on community foundations, corporate philanthropy, family foundations, international funders, private foundations, and public charities. Only the name and contact information are provided for specific funders, but the site does include useful information on the differences between types of funders and allows you to search by location for funders in your area. 3. National Assembly of State Arts Agencies (www.nasaa-arts.org) a. What it is: NASAA provides information on state arts agencies across the U.S., and in Puerto Rico, the Virgin Islands, American Samoa, Guam, and the Northern Marianas. b. How it works: You can search for your state and regional arts councils, as well as for “Major Grantmakers in Arts and Culture” (this list is located at www.nasaa- arts.org/aoa/grant_makers.shtml)

B. Print Resources: Many local libraries carry the following resources. A word of caution: books on funders quickly become out-of-date, while periodicals are a more reliable source of current information. 1. National Guide to Funding in Arts & Culture, published by The Foundation Center. The book contains three indices by which to search: type of organization generally funded, subject focus of the foundation’s grants, and geographic area in which the foundation has already funded projects. In addition, the book contains an index to donors, officers, and trustees. 2. The Foundation Directory, published by The Foundation Center. This book contains information on private, corporate, and community foundations, with indexes by donors, officers, and trustees; geographic region; types of support; and subjects of interest. 3. Chronicle of Philanthropy: The Newspaper of the Nonprofit World is a biweekly publication that lists recent grants awarded and upcoming grant deadlines. The paper also includes articles about gifts and giving, fundraising, managing nonprofits, and grantmakers. While the articles are available online (http://philanthropy.com), the list of grants is only in the print edition. 4. Grantmakers in the Arts Reader: Ideas and Information on Arts and Culture is published three times a year. The Reader includes lots of topical information on funding trends, arts funding news, and other resources on funding in the arts. (www.giaarts.org)

C. Matchmaking: Finding the right funding match is more an art than a science. While your program may technically conform to the guidelines of a funder, there are many other factors to consider, for example: 1. Mission and values that are in line with your organization’s 2. Previous funding of a similar program or organization (consider location, size, scope, and the intended audience) 3. Accessibility of the funder in providing insight into funding priorities, feedback on prospective projects, and transparency regarding the funding selection process

III. Grantwriting Resources A. Non-profit Guides offers free web-based grantwriting tools for nonprofit organizations, including guidelines, proposal overviews, sample documents, and additional resources. (www.npguides.org)

B. The Foundation Center offers free grantwriting resources online, listed in their “Learning Lab,” as

Grants Overview, cont. The Ultimate Residency Resource Guide 329

well as resources for additional training. (www.fdncenter.org)

C. Grantwriting workshops: Many local services exist for training in grantwriting, often through a local or state arts agency, college, or nonprofit resource center, such as the Donor’s Forum of Chicago.

IV. Making an Initial Approach A. General Operating vs. Project Support: It is increasingly difficult to secure general operating funding, rather than project-specific support; this trend is not likely to change any time soon. While you may already have some excellent projects (e.g., an exhibition series, workshops, outreach activities, studio expansions) appropriate for funding requests, it can be a challenge to find funding for your residency program itself. Often you can shape a “project” out of a residency program by considering what you’d like to accomplish and attaching quantifiable goals. The following could all be examples of residency projects: 1. Attracting a wider pool of applicants, e.g., artists who have never done a residency, artists from rural areas, artists of all career stages 2. Serving artists from a specific discipline, e.g., attracting filmmakers to a primarily painting and sculpture-based program, expanding a writing residency to include scholarship, etc. 3. Expanding your residency capacity, e.g., offering more residencies, providing stipends, increasing the length of residencies or residency season, etc.

B. Cultivation: Some grantmakers discourage preliminary contact before a letter of inquiry has been submitted. In this case, see “Letter of Inquiry” below. 1. Timing: Once you’ve done your matchmaking, it is time to approach a grantmaker. You should contact them at least a month before proposals are due, if possible. 2. Pitching your project: You should present a few different programs/projects to the program officer and ask for feedback as to what the funder is most likely to be interested in. If the funder has different categories of support, this is also a good time to ask which category your organization or project would fall under.

C. Letter of Inquiry (1-2 pages): Many grantmakers only accept full proposals by invitation, and require a preliminary letter of inquiry. The goal of your inquiry is to receive an invitation to submit a full proposal. Letters of inquiry are generally 1-2 pages and establish the following: 1. An introduction to the organization’s purpose 2. Reason for and amount of funding you intend to request 3. Needs or problem that funding might alleviate 4. Brief description of project or program

V. Submitting a Proposal A. General Tips 1. Always follow the exact specifications in the grant application, including items to submit, number of copies, length of narrative, format of work samples, order of materials, mailing instructions, etc. 2. Present your proposal neatly, professionally, and in an organized manner. Only include the information specifically requested by the grantmaker.

B. Components (these are commonly requested items, though requirements will vary) 1. Cover letter—optional (1 page, on letterhead): A clear, concise overview of the organization, purpose and reason for the amount of the funding request. 2. Cover sheet (1/2 page): An executive summary, this is a case statement and proposal summary. Introduce the proposal and present a clear, concise summary of the framework of the project, including purpose of funding request, need/problem addressed by the grant, objectives, total project cost, and amount requested. (Sometimes the foundation provides a cover form.) 3. Narrative (length often determined by funder) a. Needs assessment (1-2 pages): Objectively address the problem/issue/need your proposal

Grants Overview, cont. Organizational Management: Fundraising—Grants 330

addresses. Support your statement with evidence to justify the need, and include a description of the target population to be served. b. Program goals and objectives (1-2 pages): Describe the outcome of the grant in measurable terms, as well as overall goals and specific ways in which you will meet these goals. c. Methodology (2+ pages): Describe the process to be used to achieve the project within a rational, direct, chronological description, including: 1) Actions that will be taken to accomplish your objectives 2) Impact of your proposed activities 3) How the activities will benefit the target population 4) Who will carry out the activities 5) Timeline of activities 6) Long-term strategies for maintaining the project d. Participants: Who will be involved in the project (staff, board, volunteers, etc.), what their roles will be, what their qualifications are, who has oversight, how outside participants will be selected, etc. e. Evaluation (1-2 pages): It is essential to demonstrate how you will evaluate the success of your project, including: 1) Your measured criteria for a successful project 2) Who will be involved in evaluating 3) Expected outcome/achievement at the end of the funding period f. Sustainability: If this is (or will be) an ongoing project, briefly state how it is to be sustained (for example, if you plan to leverage an initial grant to attract additional funders, or if you plan to develop earned income to sustain the project). If the project is finite, indicate how a one-time project benefits the organization. 4. Budget: For general operating support, you will be asked to submit a budget for the fiscal year or for the funding period covered by the grant. For project-specific funding, you may be asked to submit a separate project budget, or to indicate project-specific expenses within a general budget. When determining a project budget, consider direct expenses needed to accomplish the project, as well as a portion of salaries and other administrative expenses. For either budget, include the following: a. Costs to be met by the funder b. Other funding sources (committed and pending sources of contributed income) c. Separate personnel from general administrative expenses, and if appropriate, indicate the portion of salary expense dedicated to the project d. In-kind goods and services (donated goods/services for which you can quantify monetarily and would otherwise have to pay, e.g., design fees, interns, etc.) 5. Qualifications (1-2 pages): This section is meant to establish credibility, and should include history of other successful programming, past participants to show the caliber of participants your organization attracts, community partners, etc. This is particularly significant for new projects and for young organizations. Often a grantmaker asks for specific information, including: a. Evidence of support for the project (e.g., a letter of support from the board chair) b. Letter of commitment from proposed participants (e.g., consultants, community partners, etc.) c. Evidence of board involvement; key project personnel, with qualifications and administrative competence. 6. Conclusion (1/2 page): Present a brief, concise summary of your proposal that restates your case, problem, and solution. 7. Appendices: Additional attachments are usually required at the grantmaker’s discretion, and may include: a. IRS determination letter of nonprofit status b. Listing of Board of Directors and officers, with professional affiliations c. Financial statements for the last completed fiscal year (audited statements may be required) d. Current general operating budget

Grants Overview, cont. The Ultimate Residency Resource Guide 331

e. Current funding sources f. Biographies of key project personnel g. Work samples — Note: Work samples for a residency can be difficult if your request is for funding residencies before the artists are selected. The purpose of work samples is to show the quality of the work. Consider the following in lieu of a list of known participants and their work: i. Samples of work previously done at your site ii. List of artist alumni, including media in which they work, titles of well-known works, awards won, and other identifying characteristics iii. List of selection panelists-since the grantmaker doesn’t know specifically which artists will be served, knowing who will select them is an important consideration.

VI. Following Up A. Before you are notified: If it isn’t clear when you’ll be notified, and if the grantmaker hasn’t requested that they not be contacted, contact the program officer to find out the status of your proposal. Ask when you can expect to hear from them with a final determination.

B. If you are awarded a grant… 1. Say thank you! Send a letter or note to the foundation’s director and program officer when you receive notification (this is preferable to an email). Send this separate from other correspondence about the grant. 2. Follow all instructions on reporting requirements, request for funds, etc. You may jeopardize your eligibility for future funding if you do not. 3. Acknowledge the grantmaker in all appropriate materials—Web site, newsletters, project documentation, etc. This is good policy even if it isn’t required by the grantmaker (and often, it is). 4. Notify the grantmaker of significant changes to your project. 5. Keep on their radar screen. Just because you’ve gotten your check doesn’t mean you check out. Make sure they receive your newsletters and annual report, and any press releases or other publicity about the project. 6. Invite them to participate in any activities around the project (e.g., fundraiser, gallery opening, etc.) 7. Know the policies for renewing or re-applying for funding in the future.

C. If you are not awarded a grant… 1. Remember, it is common that an organization not be awarded a grant the first time they apply. 2. Contact the program officer and ask if he/she can share any feedback (wait at least a few days after notification before doing this). Did the proposal fall outside the grantmaker’s guidelines? Would the grantmaker be interested in future proposals? Accepting constructive criticism can be the key to future funding! 3. Determine whether you are eligible to apply in the future (some grantmakers require applicants to wait a certain amount of time before applying again). 4. If you receive encouraging feedback and are eligible to apply in the future, write a letter to the program officer thanking him/her for the consideration and stating that you look forward to continuing your relationship. 5. Keep on their radar screen. Sometimes grantmakers simply aren’t familiar enough with your organization to be comfortable awarding funding. Make sure they receive your newsletters and annual report. Invite them to events. 6. Know when to call it quits. If you’ve applied for several years and have never received funding, and you aren’t receiving specific encouragement from the grantmaker to continue applying, take a break. Perhaps the funder’s priorities will shift to be closer in line with your organization. Perhaps you’ll develop programs in the future that are more in line with the funder.

Grants Overview, cont. Organizational Management: Fundraising—Grants 332

Sample Letter of Inquiry

April 1, 200X

Mr. Grant Maker CEO Community Help Foundation 100 Main Street Any-City, Any-State, USA

Re: Letter of Inquiry

Dear Mr. Maker:

Thank you for your consideration of the Neighborhood Improvement Association, Inc. We welcome the opportunity to submit a Letter of Inquiry to the Community Help Foundation, and to submit a full proposal for funding, should we be invited to do so.

The Neighborhood Improvement Association (NIA) has enjoyed a significant growth within the last ten years. Last year, NIA launched five new programs, including a community day care center, computer training center, substance abuse program, and an alternative learning program for high school drop-outs—a total of $15 million in community improvement projects in one year alone; an outstanding record of achievement. Our staff has doubled in an effort to effectively administer our new programs as well as keep pace with our organization’s growing administrative responsibilities.

I am pleased to write to you about a project that I believe will be of interest to the Foundation. The NIA is seeking $550,000 over three years to expand its very successful Tech Ed (Technical Education) program to provide aggressive, hands-on computer training and alternative education programs in our inner-city neighborhoods.

Tech Ed is a highly effective five-year-old academic enrichment program for inner-city junior high and high school students. Formed through a partnership between NIA, the local college and the city’s school district, the program currently has a total enrollment of 500 students, and is funded by the school district and matching HUD CD funds which are administered by the city.

The newly expanded PUTER (People Using Tech Ed Resources) outreach program will, utilizing the resources and leadership of Tech Ed students, bring computer skills and knowledge to high school drop-outs, underskilled and unemployed adults, single parents, and other community members lacking the adequate computer skills and educational resources needed to secure and maintain skilled jobs with which to support themselves and their families.

We are seeking support from the Foundation to enable us to develop a pilot PUTER program and demonstrate its soundness and effectiveness to the Tech Ed funders, the city, community development agencies, and local private funding sources for future funding of the long-term program.

We ask for your partnership because of the Foundation’s demonstrated interest in alternative education and youth leadership development, especially for those from the underrepresented minority communities.

We critically need funds to launch this sorely needed computer training program, and fund the equipment, software, and the resources of two teachers to oversee and assist the volunteer student educators. This equipment and support resources will constructively assist the 2,500 undereducated minority residents to be served by our new community service program. The ethnic composition is approximately 49% Hispanic, 39% African- American, 9% Asian-American, and 2% Other.

Sample—Letter of Inquiry The Ultimate Residency Resource Guide 333

NIA has already raised an initial investment of more than $50,000 toward a computer systems, training and services budget of more than $1 million. We anticipate receiving additional grants and donations totaling $300,000 from private sector sources, banks, foundations and private donors.

Despite our general fundraising efforts, our program budget is far from balanced. Cuts in government financing continue, with more expected, especially those affecting our clients with incomes below poverty level. Undaunted, NIA is an organization committed to excellence, with a clear vision and a passion for delivering outstanding results. We ask you to work with us to capitalize on our growth and these strengths.

Over the years the Foundation has proven the effectiveness of youth leadership development and community- based programs. The Foundation has helped to demonstrate that community outreach programs which are developed and managed by a community for a community make a striking impact. With the partnership of the Foundation, our young Tech Ed leaders will bring vital alternative education and critically-need training skills to their neighbors, family members and peers, and, in so doing, will effect positive change in their own communities.

Tech Ed student teachers will serve as a model outreach volunteer corps for our inner-city neighborhoods throughout the country. The Tech Ed program has attracted national attention as an innovative prototype for academic enrichment, and has been replicated in at least four major cities already.

The challenge at this stage is to seize the opportunity, to take the risk, to realize an innovative, new, rewarding and productive future. With the strength which has made NIA and the Tech Ed program what it is today, the choice is an easy one—help our community meet the challenges of the 21st Century.

The need for effective computer training and education cannot be overstated. The technical training requirements of our community are overwhelming and mirror the needs of most other inner-city populations. The PUTER program is ready to be launched as a national model for building a future, uplifting individuals, and creating self-sufficiency.

Thank you for your support and assistance to NIA, and the community residents it serves. We look forward to your consideration of our request and the opportunity to submit a formal proposal for your review. We will be pleased to submit additional information at your request. Please do not hesitate to contact me at 234-555-1000.

Sincerely,

Dolly Do-Good Executive Director

Attachments: audited financial statement for the fiscal year ending December 31, 200X, IRS 501(c)(3) designation, and 200X annual report.

Information from: Nonprofit Guides www.npguides.org/guide/inquiry_letter.htm

Sample—Letter of Inquiry, cont. Organizational Management: Fundraising—Grants 334

Sample Cover Letter

Date

Name, Title (Grantmaker Contact) Foundation, Bank, Corporation (Grantmaker) Address City, State, Zip Code

RE: Name of Grant

Urban Housing Assistance (UHA) is pleased to submit this request for your review. We look forward to your partnership in our cooperative efforts to rebuild the Woodlawn Community.

Our proposal requests $50,000 to launch our creative homeowner downpayment revolving loan program to provide a 50/50 match downpayment to enable the low- and moderate-income residents of Woodlawn Community the opportunity to own their own homes.

Our homeownership downpayment loan model is creative in promoting homeownership opportunities for the tenants of UHA rental housing. This program supports the UHA’s objectives to promote community resident home-ownership opportunities.

We have secured $50,000 funds to seed the program, have pre-qualified more than 100 community residents for downpayment loans, and bring a 50/50 match for every dollar in this request.

For the last fifteen years, UHA has successfully produced affordable housing in Woodlawn Community. We have delivered more than 1000 units of affordable housing to our community. Your ongoing investment in our housing programs and projects will enable us to continue to effectively serve our impoverished community, and its working poor residents.

Thank you for your interest in Urban Housing Assistance. We envision building upon our collaborative success by developing our homeownership downpayment loan program with you.

Sincerely,

(Name of CEO/Board Chair) (Title of CEO/Board Chair)

Information from: Nonprofit Guides www.npguides.org/guide/cover_letter.htm

Sample—Cover Letter The Ultimate Residency Resource Guide 335

Sample Cover Sheet

May XX 200X (date of application)

Neighborhood Improvement Association, Inc. (NIA) (exact legal name)

Project name: Do-Good Housing Management Initiative

Project purpose: NIA will use Urban Betterment Foundation funds to form a housing management company that will forge private and public partnerships to manage a portion of the City-owned or controlled low-income housing units in our community.

Contact Information: 100 Main Street, Any-City, Any-State, USA Telephone: 888-800-8888 Web site: www.niainc.org Executive director: Dolly Do-Good Additional contact: Grant Find, Director of Fundraising

Grant request: $25,000

Grant type: Project support

Total organizational budget (for current fiscal year): $2,100,000

Budget period: January 1, 200X - through December 31, 200X

Total project budget: $25,000

Dates covered by project budget: June 1, 200X - May 31, 200X

Information from: Nonprofit Guides www.npguides.org/guide/cover_sheet.htm

Sample—Cover Sheet Organizational Management: Fundraising—Grants 336

Alliance of Artists Communities Protecting Creativity: Advancing the Field of Artists’ Communities - Leveraging our Collective Strengths

Executive Summary

Artists’ communities serve approximately 12,000 artists each year, providing them with time, space, facilities, and fellowship with other artists. Each year, these 12,000 include many accomplished as well as emerging artists. In an era when support for individual artists can be difficult to find, the role artists’ communities play in supporting these artists is key to the vitality of creativity in our society. Cultivating the evolution of new art and ideas—which cross boundaries posed by religion, race, ethnicity, gender, class, age, and physical disability—is the fundamental work of artists’ communities.

Supporting artists’ communities in this work, as well as acting as a collective voice for the field, is the purpose of the Alliance of Artists Communities, which is a consortium of artists’ communities, individuals, and other organizations that support artists and the creative process. As David Grant stated so well in a letter to the Alliance on June 18, 2002, “Affirming the value of creativity in almost every American endeavor and defining an expanded role for artists in public life continues to be of paramount importance to our culture.” Artists’ communities continue to offer artists a much-needed opportunity to reevaluate their public role, a need which seems even more critical in times of political unrest. And with the focus of artists’ communities placed on the creative process, rather than creating a product, these retreats are valuable protectors of creativity.

This year’s project focuses on advancing the field of artists’ communities by leveraging our collective strengths— facilitating ways in which artists’ communities and the people they serve can learn from each other. The goal of this project is to generate peer-driven professional development, and increase visibility of artists’ communities and the collective field.

The project continues the core work of the Alliance as it continues to grow and develop as a service organization. Since moving to Providence, RI a year ago, the Alliance has added a new staff member and several new board members. The Alliance is striving to develop a strong position in Providence and the northeast, while continuing to serve the broad needs of our international membership.

The budget for this one-year project is $104,202. We respectfully request a leadership grant of $40,000 for this project, which would play a key leveraging role in raising other project funds and help sustain the Alliance’s critical work over the next year.

Sample—Executive Summary The Ultimate Residency Resource Guide 337

Sample Narrative

I. PROJECT DESCRIPTION

A. Brief statement of problem to be addressed

We are requesting a grant to strengthen the capacity of our organization by funding the anticipated two-year planning, development, implementation, start-up and expansion period for our new housing management company.

Our successful joint-venture bid to manage 250 units of multi-family low-income homeownership housing, owned by the City, kicks-off our expanded management program to attract working individuals and families back to an economically revitalizing area, and continue to stabilize and rebuild the economic base of this community.

However, our current organizational structure does not include the requisite separate housing management company prescribed by the City in order to be qualified to enter into municipal contracts to manage certain City-owned properties.

We will create a subsidiary housing management company structured to develop a public/private partnership tailored to meet the City’s criteria.

We will then be able to contract with the City to manage a portion of the 2,500 occupied City-owned scattered-site substandard and inadequately maintained housing units in the community area we serve.

The new housing management company will also enable us to, independently and more effectively, manage the buildings that we currently own and manage.

B. Goals and objectives

Property management is a distinct profession and a difficult task under normal circumstances. Low- income occupancy just increases the challenges. Regardless of our growth, our residents deserve excellence and access. Residents who have complaints or are looking for information must be able to contact an on-site resident manager and receive the assistance and information they need. The importance of good housing management is critical.

Our community is attractive because of its masonry tenement housing stock, its advantageous location, proximity to downtown, good subway connections, and access to major regional thoroughfares.

However, about half of the housing and land in community area which NIA serves is publicly-owned; with approximately 18,500 units of City-owned or controlled housing, much of which is substandard and inadequately maintained. Many of these buildings are small and scattered, making them difficult to manage.

Faced with these statistics, ever-decreasing government funds and shrinking support services and programs for this community, many would view this picture as futile.

But, NIA sees this picture as an opportunity to produce efficient housing management systems for this large resource of publicly-owned housing, significantly influencing the housing needs of this neighborhood.

Sample—Narrative Organizational Management: Fundraising—Grants 338

C. Target population

Established before the turn of the century, the community area of this city which NIA serves is an impoverished community of more than 150,000 residents with a median household income of $14,000, nearly all of whom are minority (Black—52% and Hispanic—39%); many are immigrants who arrive poor, with a lack of basic language skills, and minimal social, educational and vocational skills necessary to gain employment and participate in society. (2000 Census Data)

Culturally, the population features large extended families requiring greater financial resources to sustain themselves. The unemployment rate is overwhelming. Much of this can be traced to the lack of employable skills, or a mismatch between the skills of the residents and those required by regional industries. Most of the members of the local community who are employed work in low wage jobs such as machine operators, clerical support, service work, sales and general labor.

In February, 1999, the City’s Department of Housing (CDH) reported that the City’s 1999 median monthly gross rent (including utilities), was $630. The 1999 City’s Housing Vacancy Report reported that those earning less than $20,000 pay about half of their income towards housing costs; and the 2000 Housing Vacancy Report indicates little or no change.

The need for safe, decent affordable housing is critical for the community area which NIA serves. NIA currently provides housing and related services for permanent and temporary residents of this community, most with household incomes below 60 percent of the area median household income.

D. Project activities

Establishing a new housing management company will permit us to expand and improve our fast-paced two-year housing agenda responsibly, efficiently and effectively.

The new housing management company will create a reliable mechanism to quickly respond to changing internal and external market conditions, and coordinate our management action plans through joint-ventures.

We will use Urban Betterment Foundation funds to form a housing management company that will forge private and public partnerships to manage 250 City-owned or controlled low-income homeownership housing units in our community.

The result will double or even triple our residential property management capacity and will benefit hundreds of additional low-income residents in our community.

Urban Betterment Foundation funds will greatly improve our delivery of competent management services to more than 5,000 NIA residents in 150 scattered-site buildings, about the size of a small town.

E. Key staff (Resumes are attached)

NIA has a staff of 75: 10 professional, including 5 property managers; 10 clerical support staff, and 50 maintenance staff.

40 are full time, and 35 are part time.

Our staff, board members, and many of our 3,500 housing residents provide volunteer work for our projects and community activities. Our Board of Directors serve on community boards, charities,

Sample—Narrative, cont. The Ultimate Residency Resource Guide 339

churches and other community service organizations.

In addition, NIA has fostered, built and maintained strong bonds and relationships with the community-based organizations of our community, as well as the City’s housing agencies, to deliver a multiplicity of programs and services to the residents of this impoverished area.

II. PLAN FOR MEASURING PROJECT RESULTS

We will measure our 2002 housing management project by the numerous housing management programs and initiatives which we have developed and implemented over the past 30 years which have already significantly impacted the practice of quality housing management in our community, and stand as a model for the City.

We will submit a project report upon the completion of the 2002 fiscal year, funded in part by the Urban Betterment Foundation.

We will keep detailed accurate, complete records of expenditures made under the Urban Betterment Foundation grant, and participate actively in the evaluation of project activities during the course of the 2002 fiscal year.

Upon request, we will provide an audited financial statement of the income and expenditure related to the grant by an independent certified public accountant as documentation that the grant money is spent on the purposes for which it was provided.

Further, evaluation of NIA’s overall effectiveness as a housing manager is measured by resident satisfaction, and the level of successful tenant services provided. Our tenants serve on our Board of Directors. The board meets monthly, and is closely involved with our programs, management, and oversight.

Organization Background

History: In 1970, a few residents, merchants and church leaders banded together in an informal block association to buy abandoned buildings in our neighborhood in an effort to save the neighborhood from decay and destruction. They succeeded, and formed NIA, an organization founded on the basis of self- sufficiency.

Today, 30 years later, NIA is a recognized not-for-profit leader in affordable housing development and management in this city; a company with a $2 million annual operating budget and a management portfolio of 2,500 units in 150 buildings.

Whole sections of our community are revitalized with new and rehabilitated safe, decent, affordable housing developed and managed by our organization.

Mission: NIA’s overriding objective is to deliver top-notch and comprehensive housing development and management services to the residents of our neighborhood, while providing leadership and a positive vision to the people of this community.

Current programs and accomplishments: Year after year, we help the residents of this community take their neighborhoods back from drugs, crime and decay. Building by building. Lot by lot. Block by block. We have developed, on an average, nearly 70 affordable housing units for each of our 30 years.

Our current housing management portfolio represents the entire housing ladder, ranging from housing

Sample—Narrative, cont. Organizational Management: Fundraising—Grants 340

for formerly homeless households to homeownership for low-income working families. Our tremendous ten year growth record attests to our proficiency.

In 1999 alone, NIA completed 25 buildings with 350 apartments, and started another 150 units in 10 more buildings. A total $50 million in construction in one year!

We built housing on a block where residents had to pay a “toll” to the gangs to walk through unharmed. Today, residents live, work and walk on that block, safe and unharmed. Our renovation of vacant tenements to rental apartments has attracted stable low-income working families and new businesses to the area.

We built housing for the elderly and physically handicapped on a lot used as a heroin den, filled with junk cars, garbage, drug dealers and users. Today, there is a park filled with flowering trees and plants and sitting areas and 100 beautiful apartments housing our seniors in peace and dignity.

Complimenting our housing efforts, we build gardens, plant trees, create murals, sponsor festivals and activities for people of all ages. We train, educate, and provide support services to NIA residents in order to help stabilize and rebuild the economic base of this community.

Since its inception, NIA has held open, public annual board meetings and elections. Our tenants serve on our Board, and every NIA housing resident is a member of our corporation.

We are an organization with a clear vision and a passion for the future. Our goal is to be the best community-based not-for-profit affordable housing developer and manager in the nation.

We draw on existing resources—the neighborhoods where we have built and re-built lots and buildings the creative potential of our residents—and turn them into assets to banish decay and despair, to build a vibrant, healthy community.

Conclusion

Our community is a collection of many sub-communities which include a variety of old and new mixed use residential buildings, an enormous amount of conventional elevator-type public housing, and retail and small manufacturing firms. About half of this area’s housing and land is City-owned. The area is an ethnic blend with just over 90 percent of the residents Black and Hispanic, most of whom are poor with a median household income of $14,000.

The need for affordable housing is more dramatic than the census data reveals, with a 10 percent under count verified by the City’s Department of Housing and the Census Bureau. This under-reporting can be largely attributed to the number of public housing residents, illegal aliens and the language barrier, making official census reporting extraordinarily difficult.

NIA is a recognized not-for-profit leader in affordable housing development and management in this city. We have a 30-year history that stands as a model for the City, a $2 million annual operating budget and a management portfolio of 2,500 units in 150 buildings.

The City is committed to a course of privatizing the management of its buildings. The future of low- income housing in this community will be answered through public-private partnerships, which have the support and backing of the community and the capability of producing and managing affordable housing for the community’s low-income residents.

A grant from the Urban Betterment Foundation will provide NIA the opportunity to form a public-pri-

Sample—Narrative, cont. The Ultimate Residency Resource Guide 341

vate partnership with the City to efficiently manage 250 City-owned low-income homeownership housing units in our community, and continue to preserve, improve and dignify the fabric of our community.

Appendices (Attachments)

Certificate of Incorporation and By-Laws IRS 501(c)(3) determination letter List of officers and Board of Directors Staff Biographies and Key Staff Resumes Organization Operating Budget 200X Audited Financial statement (fiscal year ending December 31, 200X List of other current funding sources and uses (5 years) 200X Annual Report Two support letters

Information from: Nonprofit Guides www.npguides.org/guide/grant1.htm

Sample—Narrative, cont. Organizational Management: Fundraising—Grants 342

National Endowment for the Arts Alliance of Artists Communities—Sample Narrative a) Major project activities: To develop and publish a case-studies report on community engagement; to host a training workshop on community engagement at our 2004 Annual Member Meeting; to gather information for instructional materials at two regional meetings; and to incorporate training materials on community engagement into a new “Lessons Learned” guide and our Peer Mentorship manual.

G CASE STUDY REPORT: The first phase of this project will be to develop six case studies of a variety of artists’ communities who have successfully incorporated community engagement into their programming. The case studies will represent rural and urban communities; independent organizations and those with larger affiliations; and service to artists of many disciplines. The case studies will be researched and written by a team of professional consultants with a broad range of professional arts experience (see participants list for consultant information). We will ask consultants to also write a brief introduction or epilogue that draws on their own knowledge from outside the field of artists’ communities, and discuss how other models might apply to our field. The Alliance will publish this report as a follow-up to “Artists’ Communities at Work: Lessons Learned” (published Feb. 2003).

G TRAINING WORKSHOP AND MATERIALS: The Alliance will hold a training workshop at the Annual Member Meeting in the fall of 2004 to focus on the nuts and bolts of community engagement programming. The workshop will be led by the same team of consultants. This workshop will move away from specific case-studies, and instead inform our members on practical ways of implementing community engagement programs—from how to approach a potential community partner, to creating collaborations, to finding alternative ways of interacting with the public. The consultants will develop curriculum materials for this workshop; these materials will be used to develop the first manual in a new “Lessons Learned” series of guidelines. The “Lessons Learned” series will address various topics for artists’ communities, chosen from feedback from our members. The curriculum materials will also be incorporated into our Peer Mentorship manual. These community engagement guidelines will be designed to help new and emerging artists’ communities plan community engagement early on, and to assist established organizations with the basics of incorporating community engagement into their existing programming. The curriculum materials will be developed from a session at two regional meetings that will focus on the challenges our members face regarding community engagement. One consultant from the team will be at each of these meetings to guide the discussions and gather information. The small size of the regional meetings lends itself to more in-depth discussions among the membership, and will provide more comprehensive information than could be gathered through a survey. b) Project goals: The goal of this project is to facilitate ways in which the field of artists’ communities can become more involved in community engagement. By encouraging our members to participate in community engagement, artists’ communities will become a more integral part of their own communities, artists-in-residence will gain greater visibility, public awareness of the field of artists’ communities will increase, artists will gain valuable experience in engaging their public, and the public will gain greater access to the arts.

NEED FOR THIS PROJECT: Because of the private nature of most artists’ communities, the field has traditionally not engaged the public community in “outreach” activities. This is still the norm for many artists’ communities—many are not sure how to protect their artists’ privacy while doing public programming; still others would like to begin community engagement but don’t have sufficient models for success. The field of artists’ communities was forged primarily from independent-thinking artists who created new spaces of creativity that conformed to few other models in existence. As a result, professional development tools need to come from within. Drawing from case-study models within the field, and developing practical management skills presented in a peer-driven environment leverages the field’s collective strengths, whereby emerging programs stand a better chance of survival, stronger members remain engaged in the collective by sharing their experiences, and the field as a whole gains visibility and strength with each success.

Sample—NEA Narrative The Ultimate Residency Resource Guide 343

In a recent survey on community outreach and engagement, our members indicated that the key question that troubles artists’ community directors is whether an organization whose core mission is to protect artists from external demands so that they can accomplish their basic work can at the same time be a full participant in a local community which might or might not have any real interest in the work of the resident artists. When asked what services can help in creating appropriate programs that involve the public, our members responded that models for success and basic how-to information was essential. Members asked that the Alliance advocate more vigorously on behalf of the core mission of artists’ communities, provide case studies and reference materials, and facilitate partnerships in creating community outreach projects. Many of our members have faced criticism from funders for not doing “outreach”; others have found that public programming can be a vital source of earned income. Still others hope to find new ways to promote artists and the significant role arts play in our society.

The Alliance is committed to providing our members with the tools to move forward in each organization’s local community, and as a collective field. We believe many of the answers already exist within our membership, and our goal is to facilitate a sharing of ideas and a creative-thinking process that will encourage management- sound, stable, and engaged artists’ communities. c) Schedule of key project dates Jan. ’04 Select case study subjects Jan.-Mar. Plan and promote regional meetings with community engagement focus Feb.-May Research and write case studies April Southeast regional meeting at Arrowmont School of Arts & Crafts (Gatlinburg, TN) Jun.-July Publish case study report (in print and on the Web) June Pacific Northwest regional meeting at Oregon College of Art & Craft (Portland, OR) July-Sept. Develop training curriculum materials Oct. Conduct training workshop at Annual Conference, at Santa Fe Art Institute (Santa Fe, NM) Dec. Analyze training evaluations; determine next steps d) Key project participants: The Project Director is Alliance Executive Director Deborah Obalil, supported by staff members Michael Cochran and Caitlin Glass. Chair of the Alliance’s Member Services Committee, Susan Tillett (also Executive Director of Ragdale Foundation) will be intimately involved in the planning and execution of the project, along with Vice-Chair for Programs, Ree Schonlau. The consultant team for the project will be: Caron Atlas, Kathie de Nobriga, and a third partner to be determined. e) Target population: The project’s direct audience is the Alliance members, which consists of four categories - Organizational Members, Emerging Programs, Affiliates, and Individuals. In addition, this project could directly affect all staff, board, volunteers, and the 12000+ artists-in-residence at artists’ communities each year. Through greater community engagement and the creation of public programming, tens of thousands of public audience members will potentially be served by this project. f) Promotion: The Alliance will promote the project through the Alliance newsletter, email listserve, direct mail to our membership, and marketing and promotional materials to media, funders, and other arts organizations. Much of the information will also be available directly from the Alliance Web site. g) Plans for monitoring the project/assessing our goals: The Alliance Board will evaluate this project through ongoing governance at approximately ten meetings per year. In addition, the Alliance will incorporate evaluation tools into specific projects. Participants in the Peer Mentoring Program will be required to fill out a detailed evaluation of the program, with specific questions on community engagement. Evaluations will be distributed to all attendees of both regional and national meetings. The regional meeting evaluations will directly inform the curriculum materials; national meeting evaluations will assess the training workshop and help determine need for future related services. Purchasers of the Lessons Learned guide to community engagement will be asked to give us feedback on the usefulness of its new content. To gauge the effectiveness of this project overall, the Alliance will conduct a survey of the membership in 2005 to evaluate progress in the field, assess the continuing

Sample—NEA Narrative, cont. Organizational Management: Fundraising—Grants 344 needs of our membership in relation to programming community engagement, and gather data on the successes and challenges of community engagement encountered by our members.

h) Plans for making the project accessible: All three meeting sites are accessible to people with disabilities.

i) Budget: The Alliance is applying for several other grants to cover the additional costs of this project. If we receive less than 50% of the requested amount, we will scale back the number of case studies used, reducing our number of consultants; and present one regional meeting instead of two.

Sample—NEA Narrative, cont. The Ultimate Residency Resource Guide 345

Additional Resources

In Print

Grant Writing for Dummies by Beverly A. Browning Paperback: 336 pages Publisher: For Dummies (February 19, 2001) ISBN: 0764553070

The Only Grant Writing Book You’ll Ever Need: Top Grant Writers and Grant Givers Share Their Secrets! by Ellen Karsh, Arlen Sue Fox Paperback: 368 pages Publisher: Carroll & Graf Publishers; 1st Carroll edition (July, 2003) ISBN: 0786711752

Online

The Foundation Center provides a database of information on grants for individuals and organizations, grantwriting tips, and other resources. www.fdncenter.org

The Council on Foundations provides information to the public on grantmakers—community foundations, corporate philanthropy, family foundations, international funders, private foundations, and public charities—as well as useful information on the differences between types of funders. www.cof.org Fundraising — Individuals Organizational Management: Fundraising—Individuals 347

Individual Fundraising—Overview

I. Fund-raising vs. friend-raising Building a donor base is about building relationships. This approach will not only help you solicit contributions, it will help you keep them. Consider that roughly 50% of first-time donors do not renew their support, and that within five years, only 10% still give to the same organization. What can you do to make a stronger connection with your donors, so that they feel good about contributing and continue to support your organization? For an excellent book on this subject, see Donor-Centered Fundraising, listed under “Additional Resources.”

II. Who do you ask? Fundraisers talk about the concentric circles of donors: start with the inner core and work your way out. Benjamin Franklin said, “[First] apply to all those who you know will give something; next to those of whom you are uncertain whether they will give anything or not, and show them the list of those who have given; and lastly, do not neglect those who you are sure will give nothing; for in some of them you may be mistaken.”

Just as you would when looking for foundation grants, consider first people who have given to organizations with similar values. Also consider people who have already invested in your organization—volunteers, people who have attended events, artists, etc.

III. The fundraising pyramid While having major gift-givers is always a good idea, an organization that is overly dependent on a small group of contributors is in a risky position. On the other hand, cultivating hundreds of small donations is not always efficient. A common strategy is to build a fundraising pyramid, with small, medium and large gifts coming from a variety of contributors. Once you’ve determined what your overall fundraising goal is, and what small, medium, and large gifts look like for your organization (start with the smallest amount it is worth your energy to pursue), you can assess how many donors in each category you will need to reach your goal. For example:

6 donors x $2,500 each = $15,000 20 donors x $750 each = $15,000 60 donors x $250 each = $15,000 Total goal = $45,000

Determining which size gift to solicit from a specific individual is trickier. Having different giving levels allows a potential donor to select the amount that is most appropriate. It’s important to know your donor—asking someone for a small gift when they are accustomed to giving large gifts can been seen as an insult, as well as not worth the effort. You can start by finding out what a potential donor has given to other organizations.

IV. Types of gifts A. Cash contributions—general purpose vs. earmarked gifts: Many residency programs provide specific giving opportunities, as well as accept gifts for general purpose. The most common of these are sponsorship of a fellowship (generally the cost of one residency) and endowed fellowships (supporting a residency in perpetuity); contributors sometimes specify that they wish to sponsor a residency for a particular type of artist (a poet, an emerging artist, a woman artist, etc.). Gifts may also be earmarked for a new studio, the purchase of new equipment, an exhibition or workshop series, etc. Even when soliciting general purpose contributions, it can be useful to inform the donor what can be accomplished with a specific gift size (for example, The Ultimate Residency Resource Guide 348

“$3,000 provides a month-long residency for one artist”). Obviously it is a good idea to provide as many different ways for donors to make contributions to your organization; however, gifts that are earmarked for a specific purpose are restricted and may not be used for other expenses. Therefore, for the purpose of organizational stability, it is to your advantage to have as many unrestricted contributions as possible (much like have general operating grants rather than project-specific grants). B. Matching gifts: Many employers have a matching gifts program, whereby the employer gives a matching contribution. Matches are typically 1:2 (50 cents matched for every dollar donated), 1:1 (a dollar matched for every dollar donated), or 2:1 (two dollars matched for every dollar donated). The donor includes a matching gift form when making a gift to you, which you then fill out and return to the company, who then sends a donation. C. In-kind contributions: Many contributors give in the form of donated goods and services. Donated goods may include furniture, food for a reception, books, etc. Donated services may include discounted or free design services, an intern provided by a local university, pro bono bookkeeping, etc. For audit purposes, in-kind contributions must be assigned an equivalent monetary value (the value is often estimated, especially in the case of donated services), and the value of the contribution should be assigned by the donor, not the recipient organization. It is not recommended that you recognize in-kind donations within dollar categories, the way you might recognize cash donations. D. Gifts of stock: Gifts of stock are fully tax-deductible at the total appreciated value of the stock at the time of the transfer. Talk to your financial advisor about setting up a brokerage account so you can accept stock transfers. E. Planned giving: Bequests can be made in the form of assets, including cash bequests, stocks, real estate, the rights to and royalties from works of art, and significant items such as book collections, equipment, and furnishings, that transfer to the organization upon the donor’s death.

V. Solicitation methods/opportunities: Whatever your method, it costs money to raise money, though keep in mind that the amount spent on fundraising is not necessarily proportional to the amount raised. A. Annual campaign: Many organizations send out an annual solicitation letter to current and potential donors. While annual appeals have traditionally been made toward the end of the year, consider what is most appropriate for your organization in terms of cash-flow needs, connecting an appeal to other activities, and the timing of other solicitations. B. Special events: Fundraising events can include ticketed benefits (dinners, cocktail parties, performances, exhibitions), free events (during which attendees are asked to contribute), auctions/art sales, etc. Special events often take considerable effort to plan and facilitate, though several models for low-impact, high-yield benefits have been very successful (for example, the McColl Center’s Ashes to Art annual luncheon; see page 100). C. Capital campaign: Capital campaigns typically take several years to complete, and on average, major gifts make up 70-80% of the funds raised. The remaining smaller gifts are solicited much like any other gift—through direct mail, phone solicitations, personal asks, and events. Capital campaign solicitations often depend greatly on your ability to communicate the end result of the campaign (a new studio, building renovations, etc.) and inspire donors to “buy in” to the organization’s vision. D. Endowment campaigns: Endowments are generally established with an endowment campaign, with stated goals and a defined time frame; ongoing gifts beyond the initial campaign contribute to the continued growth of an established endowment. Endowments are restricted funds that are invested and pay out an amount in interest to the organization. Endowments are a way of ensuring the viability of the organization or a particular program, and contributors to an endowment tend to be those most interested in ensuring future programming and perpet- uating their values for the continued benefit of others. E. Other: Consider providing the opportunity to give in all your communications—on your Web site, in your newsletter, at your gallery or performance space, at regular events, etc.

Individual Fundraising—Overview, cont. Organizational Management: Fundraising—Individuals 349

VI. Acknowledgements A. Thanking a donor for his/her gift is critical. This should be done quickly (ideally within a week, and no more than a month after receiving the contribution), and should include information about the tax-deductibility of the gift. If the gift was solicited by a specific individual (like a board member), ideally that person would add a personal note to the thank-you letter. Anything to personalize a thank-you letter can go a long way. B. Always give a donor the option of remaining anonymous C. Ask how a donor would like to be acknowledged in printed materials D. Do not ask for additional contributions in an acknowledgement letter

VII. Data collection: Consider what data will be helpful to you in evaluating the effectiveness of your fundraising efforts and planning for future efforts, including: A. When and how a donor made a contribution (e.g., in response to an annual campaign letter, at an event, returning a donor card in a newsletter, personal solicitation, etc., as well as if a gift was given in memoriam) B. Rate of renewal C. Increases/decreases in subsequent giving D. Average gift size

Individual Fundraising—Overview, cont. The Ultimate Residency Resource Guide 350

Supporting Art Farm

There are many ways to help and support the activities and programs at Art Farm:

Volunteering

Be part of the Art Farm team and participate in art projects. Art Farm is always looking for volunteers to help with the general maintenance and running of Art Farm and to assist during special Events and Projects.

Summertime helpers are needed for: mowing and maintaining trails; general groundswork; gardening. Skilled helpers are also needed for machinery maintenance and the maintenance and repair of sculptures;

Art Harvest: is Art Farm's annual Open Weekend when the public is invited to visit Art Farm to meet the artists and to see the latest artworks. Volunteers are often needed to assist with preparations for Art Harvest and during the event.

Docents: Art Farm is seeking volunteers to lead groups and tours around Art Farm's sculpture park. Learn all about the history and environment of Art Farm, the art and the artists and lead walking tours.

Special Events and Projects:

Art Farm sometimes needs volunteers to help artists on special projects. In 2004, Beili Liu, an artist from Ann Arbor, Michigan is constructing a replica of the adobe brick house that she was born in, in N. China. Beili needs help with adobe-brick making and in the construction of her clay, straw and wood house. This is a "hands-on" project and an opportunity to learn some new skills.

If you are interested in the arts and/or have skills that might be useful for any of the activities above, please consider Volunteering at Art Farm. Volunteer orientations will be held in the spring. For further information, contact Janet or Ed at artfarm.

Contributions/Donations

Gifts and Program Supports to Art Farm Whilst Art Farm operates by voluntary donation of time and service by its directors, artists and student interns, we require support to run our programs and to maintain our facilities to enable us to host up to 6 artists-in-residence each year.

To support Art Farm, you can make an outright gift or a designated contribution can be made to the following projects: General Operations Fund—to cover general running expenses of Art Farm e.g. Administration, office and facilities. Artist-in-Residence Program—to cover expenses specifically related to the artist-in-residence program e.g. the artist's accommodation and studio facilities Artists Support Fund—to directly support an artist-in-residence Building and Renovations Fund—to help build Art Farm for the 21st century

Please feel free to contact us for further information.

Sample Giving Opportunities—Art Farm Organizational Management: Fundraising—Individuals 351

Gifts to MacDowell

Gifts to MacDowell are essential in helping us continue our mission of the past 98 years: to nuture the arts by offering creative individuals of the highest talent an inspiring environment in which to produce enduring works of the imagination. The MacDowell Colony depends upon public interest and generosity to continue to provide an ideal working place for gifted artists.

The MacDowell Colony gratefully accepts contributions, including donations of cash, property (such as securities and real estate), and gifts-in-kind from individuals, foundations, and corporations. Gifts may be unrestricted for the general operating support of the Colony or designated by the donor for a specific purpose, such as a studio endowment or a Fellowship. Unique naming opportunities are available for studios, rooms, special equipment, landscaping elements, and endowment funds.

The MacDowell Circle was established in 2000 to recognize donors who have made generous annual gifts to the Colony. MacDowell contributors receive invitations to special MacDowell events, the Colony’s Annual Report, and semiannual newsletters.

The Marian MacDowell Society was established in 2002 to honor the Colony’s many supporters who have chosen to remember MacDowell in their wills.

Please refer to Annual Appeal, Honor and Memorial Gifts, Stock Gifts, Matching Gifts, In-kind Gifts, Events, Fellowships, Corporate Giving, and Bequests for information on these types of gifts to MacDowell.

Give a Gift The MacDowell Colony is a nonprofit 501(c)(3) tax-exempt organization that relies on public support to operate. Charitable contributions from individuals, foundations, and corporations help MacDowell to continue its support of artists and their creative work. All gifts to MacDowell are fully tax-deductible to the extent provided by law.

To make a gift to MacDowell by check or credit card, please complete our Gift Form. To charge a gift on a credit card by phone, please call the Development Office at 212-535-9690.

Tax Status The MacDowell Colony is a nonprofit corporation that was founded in 1907 under the laws of the state of New York “to promote the arts.” It is a 501(c)(3) tax-exempt organization.

The Internal Revenue Service has certified that The MacDowell Colony is not a private foundation as defined in Section 509(a) of the Internal Revenue Code as revised in 1969, and that the Colony is an organization described in Code Section 509(a)(2). Consequently, all gifts and bequests to the Colony are fully deductible for income- and estate-tax purposes.

A copy of the Colony’s audited financial statement and IRS 990 are available upon request.

Annual Appeal MacDowell’s Annual Appeal is sent each fall to the Colony’s friends, supporters, and artists. Annual contributions are directed entirely toward the support of the residency program at MacDowell, helping to provide Fellowships to artists of all disciplines.

Gifts, large and small, made in response to the Annual Appeal help MacDowell provide artists with uninterrupted time and an ideal place where they may concentrate on their work.

To make an Annual Appeal gift, please click on Give a Gift or call 212-535-9690.

Samples Giving Opportunities—The MacDowell Colony The Ultimate Residency Resource Guide 352

Honor and Memorial Gifts With a contribution of $25 or more, you can honor or memorialize a person while assisting The MacDowell Colony in continuing its mission to support artists and their creative work.

Your gift of $7,500 can establish a named Annual Fellowship in honor or in memory of an individual, while an Endowed Fellowship gift will permanently honor the memory of the named individual.

The Colony will send you an acknowledgment of the gift and will notify, at your request, the individual or family you indicate on the Tribute Form. Honor and Memorial Gifts are recognized in The MacDowell Colony’s Annual Report. All gifts to MacDowell are fully tax-deductible to the extent provided by law.

Stock Gifts Gifts of stock are an excellent way to make a contribution to The MacDowell Colony and maximize the benefit of your gift. To the extent provided by law, the donation is fully tax-deductible at the total appreciated value of the stock at the time of the transfer.

If you wish to make a gift of stock, we ask that you or your broker contact The MacDowell Colony’s development office for more information.

Matching Gifts The MacDowell Colony gladly accepts matching gifts from your company. If your employer has a matching gifts program, your gift to MacDowell could be doubled or tripled. The total of your annual gift and its matching gift will be recognized in establishing your membership level in The MacDowell Circle.

Please include a matching gift form when making your gift by mail. Matching gift forms are generally available through your employer’s human resources department.

To make a gift that will be matched, please click on Gift Form and check Matching Gift.

In-Kind Gifts The Colony is grateful for contributions from Colony Fellows of their books, recordings, films, slides, and other works of art, which are placed in MacDowell’s archive and made available to artists-in-residence.

In addition, The MacDowell Colony welcomes inquiries about gifts of equipment, furnishings, or other useful items. MacDowell must approve gifts of tangible personal property prior to acceptance. For the Colony to provide an acknowledgement for tax purposes, the donor must provide a written valuation for In-Kind Gifts valued at $250 or more.

Planned Giving Throughout its history, the Colony has benefited from legacies of assets, including cash bequests, stocks, real estate, the rights to and royalties from works of art, and useful items such as books, equipment, and furnishings. A Bequest is a very simple way to provide a planned gift, and it often allows donors to make significant contributions that may not have been possible during their lifetimes.

We recommend that you have your will prepared by an attorney. Sample language for a bequest may be:

“I give and bequeath to The MacDowell Colony, Inc., 100 High Street, Peterborough, New Hampshire, [a specific sum, property, all or percentage of your estate] to be used for the purpose of the Colony [or for a specific purpose designated by you].”

Please consider expressing your commitment to MacDowell through a Bequest or planned gift. When you are considering these types of gifts, we would be pleased to assist you and your legal or financial advisors.

Samples Giving Opportunities—The MacDowell Colony, cont. Organizational Management: Fundraising—Individuals 353

Events The MacDowell Colony plans a number of special events each year for friends and supporters. These events raise funds essential to the support of the Colony’s artist residency program, and introduces new friends to the work of the Colony.

For further information about MacDowell’s Annual Benefit in New York City, Medal Day in Peterborough, NH, and other Special Events, please refer to the Events section of the Web site.

Samples Giving Opportunities—The MacDowell Colony, cont. The Ultimate Residency Resource Guide 354

VCCA Giving Opportunities: Supporting Artists in Their Work

Named Endowed Fellowship—$50,000-$100,000 Leadership gifts for Named Fellowships build the VCCA’s endowment while underwriting residencies of promis- ing writers, visual artists and composers in perpetuity.

- $50,000 endows a two-week residency annually. - $100,000 endows a four-week residency annually. - Candidates selected through the VCCA’s juried selection process. - Fellowship recipients and sponsors recognized in VCCA’s Annual Report.

Named Studios*—$50,000 A leadership gift to name a studio offers an opportunity to honor a family or individual whose ties are histori- cally important to the VCCA.

- A gift of $50,000 helps build the endowment to provide perpetual care of 22 studios, including roof replacement and maintenance. - Named studios honor those patrons of the arts whose support and vision provide inspiration. - Recognition includes a bronze plaque on the studio door reflecting the donor’s vision.

*Ten studios have been named, including two in honor of founders Elizabeth C. Langhorne and Nancy Hale.

Barn Roof/Hayloft Renovation—$50,000 While funding for the major portion of replacing the barn roof has been completed, the hayloft area has specific insulation and renovation requirements that were not included in the original quote. This space will offer multiple opportunities including exhibits, experimental installations and VCCA hosted gatherings.

Entrance Enhancement/Related Roadwork—$50,000 New pillars at the property entrance with historic restored ironwork gate and new surface material for Fellows/Guest parking area are planned and provide an opportunity for recognizing a benefactor who provides a salutatory greeting for all who enter the magic world of the VCCA. Upgrades, including grading, drainage, resurfacing and lighting for pedestrian safety, are also planned.

Restoration of the Antebellum Gardens—$50,000 The original gardens at Mt. San Angelo, while including many rare, mature specimens of plants and trees, have fallen behind as resources have been focused on renovating and refurbishing existing structures. A recent initiative was undertaken to reclaim a small portion, an ancient sunken garden that has been named in honor of Linda Wachtmeister. The results were dazzling and indicative of the rewards of rebuilding the mazes, arbors, and contemplative places that once surrounded the original Italianate mansion.

Samples Giving Opportunities—Virginia Center for the Creative Arts Organizational Management: Fundraising—Individuals 355

Sample Annual Appeals—Fine Arts Work Center The Ultimate Residency Resource Guide 356

Sample Annual Appeals—Fine Arts Work Center, cont. Organizational Management: Fundraising—Individuals 357

Sample Annual Appeals—Fine Arts Work Center, cont. The Ultimate Residency Resource Guide 358

Sample Annual Appeals—Fine Arts Work Center, cont. Organizational Management: Fundraising—Individuals 359

Sample Annual Appeals—Hall Farm The Ultimate Residency Resource Guide 360

Sample Annual Appeals—Hall Farm, cont. Organizational Management: Fundraising—Individuals 361

Sample Annual Appeals—Hall Farm, cont. The Ultimate Residency Resource Guide 362

(the following is a letter sent to artists-in-residence along with their letter of invitation to be in residency at Yaddo)

Dear Guest:

Some years ago, when Yaddo faced a severe deficit, the Board of Directors followed the lead of the other artists’ communities by asking all guests to pay a fee toward the cost of their visits. No one was happy to have to do this, but given the Board’s responsibility for the fiscal integrity of Yaddo, it was felt to be a necessity. In 1996, however, the Board agreed to suspend the policy of asking guests to pay in hopes that increased voluntary contributions from current and former guests would allow us to remove the burden (both psychological and material) that the fee imposed on guests of straitened means.

The policy of not charging guests any fee whatsoever for their stay at Yaddo continues. Obviously, though, given this period of economic difficulties for artists and the arts, Yaddo’s own need for support remains real: we very much count on the generosity of artists who have been to Yaddo for our financial well-being. It is also important that we can demonstrate that those who understand best the value of the opportunity for sustained creative work that Yaddo provides (i.e., you, the artists) are prepared to underwrite it.

So, this is the yin and yang of the situation we are in: We have no requirement that any fee be paid, but we need those of you who are in a position to do so to give, and to give as generously as you can. Whatever your means, I therefore ask you to accept our invitation to visit in the free spirit with which we offer it. And if you can make a financial contribution-either now or in the future-I also ask you to do so in the knowledge that you will be helping to preserve Yaddo as a place for artists to work for generations to come.

Your sincerely,

Elaina Richardson President

P.O. Box 395 - Saratoga Springs - New York 12866 - 518.587.4886 - Fax 518.584.1312

Sample Fundraising Letters—Yaddo Organizational Management: Fundraising—Individuals 363

Sample Benefit Invitations—Djerassi The Ultimate Residency Resource Guide 364

Sample Benefit Invitations—Djerassi, cont. Organizational Management: Fundraising—Individuals 365

Sample Benefit Invitations—Djerassi, cont. The Ultimate Residency Resource Guide 366

Sample Benefit Invitations—Djerassi, cont. Organizational Management: Fundraising—Individuals 367

Sample Benefit Invitations—Djerassi, cont. The Ultimate Residency Resource Guide 368

Sample Benefit Invitations—Sculpture Space Organizational Management: Fundraising—Individuals 369

Sample Benefit Invitations—Sculpture Space The Ultimate Residency Resource Guide 370

GIFTS TO THE HERMITAGE ARTIST RETREAT Gifts to The Hermitage Artist Retreat are essential in helping us continue our mission to nourish and sustain creative artists by providing them with time, a quiet studio, a beautiful setting, and a stimulating community of artists working in diverse disciplines.

The Hermitage Artist Retreat depends upon public interest and generosity to continue to provide an ideal working place for gifted artists.

The Hermitage Artist Retreat gratefully accepts contributions, including donations of cash, property (such as securities and real estate), and gifts-in-kind, from individuals, foundations, and corporations. Gifts may be unrestricted for the general operating support of the Artist Retreat or designated by the donor for a specific purpose, such as a studio endowment or a fellowship.

Unique naming opportunities are available for studios, rooms, special equipment, landscaping elements, and endowment funds

GIVING

Gift Form (115 KB)

Instructions: Click on the link above to download a Gift Form in PDF format. After the download is completed, the file will open using the Adobe Acrobat Reader software. If you do not have the Adobe Acrobat Reader, you may download it for free from the following link:

Sample Online Giving Materials—The Hermitage Artist Retreat Organizational Management: Fundraising—Individuals 371

Support The Banff Centre

Every year, thousands of people arrive at The Banff Centre to participate in unique professional development opportunities. They come to learn from some of the world’s most accomplished performers, creators, and teachers—and from each other. They leave with new skills and enrich their communities. Participants of the Centre—and their works—can be found on stages, in theatres, in books, at galleries, in films and television programs, and in boardrooms. Your support is essential for us to continue offering talented artists and leaders access to specialized learning opportunities that are not found anywhere else.

We raise the majority of our revenue through initiatives such as donations, conference sales, and sponsorships. Your contribution will support programs, scholarships, and our exceptional facilities. You can choose where your money goes.

You benefit too Your tax deductible donation is an investment in Canada’s cultural development, progress, and future. We provide donors with specific recognition opportunities on our Donors Wall at the Centre and in various publications. Depending on the level of support, we can customize recognition opportunities to suit donors’ individual needs.

Ways to give to The Banff Centre There are a variety of ways you can support The Banff Centre. We would be pleased to speak with you about what giving option might suit you best.

G Donate to the Annual Fund G Start a Named Scholarship G Support a Regional Artists’ Fund G Participate in the Commemorative Bench Program G Establish an endowment fund G Contribute to the Paul D. Fleck Fellowships in the Arts G Contribute to the Susan and Graeme McDonald Music Scholarships G Contribute to the Piano Restoration Program G Make a planned gift G Become a sponsor G Volunteer your time or skills

Donate to the Annual Fund Annual fund donors enable many aspects of The Banff Centre experience and provide financial assistance to artists and community leaders who could not otherwise afford opportunities for professional development and growth. Donations to the fund can be designated to a program area of choice, through an annual contribution or a multi-year pledge. The Annual Fund is supported by individuals, foundations, and corporations.

Start a Named Scholarship By donating at least $2,500 per year for three years, individuals, organizations, or foundations may establish a three-year scholarship in their name. Donors may decide where the donation is designated or leave the decision to The Banff Centre to decide where a donation will have the greatest impact.

Sample Online Giving Materials—Banff Centre The Ultimate Residency Resource Guide 372

Support a Regional Artists’ Fund There are several regional funds designed to meet artists’ needs through Banff programs. There are regional funds for artists from British Columbia, Alberta, the Prairie provinces (Saskatchewan and Manitoba), Ontario, Quebec, and the Atlantic provinces. Contributions to The Banff Centre regional artists’ funds guarantee that talented artists have opportunities to experience the Centre’s inspirational programs, develop skills, and take the next steps in their careers.

Participate in the Commemorative Bench Program Pay tribute to an important person or event in your life. A limited number of handcrafted cedar log benches and rundlestone benches have been commissioned for scenic locations around the Centre’s grounds. Each bench costs $1,500. The Banff Centre will issue a tax receipt for the full amount.

Establish an Endowment Fund The Banff Centre establishes endowment funds in honour of individuals, families, corporations and other organizations. Proceeds generated provide scholarships for artists or management participants—in perpetuity. Start a special endowment, or contribute to an existing one.

Contribute to the Paul D. Fleck Fellowships in the Arts The Banff Centre established the Paul D. Fleck Fellowships in the Arts to recognize Paul D. Fleck (1934-1992) who was president of the Centre from 1982 to 1992, guiding the Centre through a renaissance of vision and influence. Each year, proceeds from this endowment enable gifted artists to participate in Banff Centre programs and create new work. Out of admiration for Dr. Fleck and a commitment to The Banff Centre, the Fleck family will match funds donated to the endowment, doubling the impact of each donation. This generous matching opportunity is available only until December 31, 2001.

Contribute to the Susan and Graeme McDonald Music Scholarships “We are passionately committed not only to building on Canada’s strong cultural traditions, but also to continuing to be creative ourselves in preparing artists for their critically important role as our thought-provokers, our music-makers, and our story-tellers.” —Graeme D. McDonald, CM (July 17, 1944 - December 8, 2001)

Dr. Graeme D. McDonald, had a vision for The Banff Centre—to serve artists. He believed providing time, resources, and support for artists to grow professionally also serves audiences, communities, and all those who are inspired by their example. As president from 1993 - 2001, Graeme brought an ambitious financial vision and relentless drive for program excellence to The Banff Centre. He was passionate in his commitment to ensure all program participants had the means and environment to achieve their goals. And as a team, Graeme and Susan immersed themselves in The Banff Centre experience, both giving their very best to advance the goals of the Centre.

The Banff Centre has established the Susan and Graeme McDonald Music Scholarships, an endowment that both celebrates and carries on the McDonalds’ legacy of service to artists. Each year, proceeds from this endowment will bring

Sample Online Giving Materials—Banff Centre Organizational Management: Fundraising—Individuals 373

gifted musicians together from across Canada and around the world for transfor- mational learning experiences in Banff Centre music programs.

Announcement - December 10, 2001 Graeme D. McDonald Biography

Contribute to the Piano Restoration Program The Banff Centre is one of the world’s foremost piano restoration facilities. A $10,000 contribution allows The Centre to purchase a second-hand piano and enables craftsmen to be trained in this time-honoured tradition. Each piano undergoes a complete transformation and, in the end, will have a value of $75,000 to $100,000. Pianos may be named after the donating individual, or someone the donor wishes to acknowledge.

Make a planned gift Establish a Banff Centre endowment for a chosen purpose, augment an existing endowment, or contribute to a specific project. Planned gifts may be outright (now) or deferred for a future time.

Outright gifts include cash, publicly traded securities, artwork, or other appreciated property. If the value of the gift has appreciated during the time of possession, there may be a capital gain, which is subject to taxation. To encourage gifts of publicly traded securities, Revenue Canada has provided an incentive to donors by reducing the capital gain from 50 per cent to 25 per cent on the amount of appreciation. This opportunity exists until December 21, 2001, at which time it will be evaluated for its impact on charities.

Deferred gifts include charitable bequests through wills, life insurance gifts, charitable gift annuities, charitable remainder trusts, and gifts of residual interest.

Become a sponsor There are numerous sponsorship opportunities for which sponsors receive named recognition. Consider sponsoring a production, a facility, a room, or a program.

Volunteer your time or skills Volunteer to help with special events, become an ambassador for the Centre in your community, or help us approach your organization for a donation to the Annual Fund or a gift-in-kind. Your professional or individual assistance is invaluable.

Yes! I want to give to The Banff Centre Click here to make an on-line donation Click here for a downloadable (.pdf) fax or mail donation form

Sample Online Giving Materials—Banff Centre The Ultimate Residency Resource Guide 374

Give us a call To make a donation or find out more about these programs, contact: Development ph. 403.762.6385 toll free 1.800.422.2633 fax. 403.762.6398 Or e-mail: [email protected]

Charitable registration numbers: (Canada) 11921 4955 RR0001 (US) 98-0078729

The Banff Centre Foundation

Mission The Banff Centre Foundation’s mission is to enhance program quality and to improve the financial stability of the Centre by raising endowment and capital funds. Specifically, the Foundation’s mandate is to raise funds for building endowments to support specific capital and program needs; funding new capital or new program requirements of The Banff Centre as directed by donors; and funding capital needs of the Centre. Members

Giving Opportunities Donors may make unrestricted or restricted gifts to The Banff Centre’s endowments with earnings directed to fund program or operating needs. The Foundation will work with donors to these endowments to ensure that they receive appropriate recognition for their contribution.

Donors may also choose to donate to the Annual Fund, start a named scholarship, support a Regional Artists’ Fund, or contribute to the Paul D. Fleck Fellowships in the Arts.

The Banff Centre Foundation offers specific recognition opportunities for donors and is also able to customize recognition or naming opportunities to suit the needs of donors. Naming opportunities exist for contributions ranging from $10,000 to $10 million.

Sample Online Giving Materials—Banff Centre Organizational Management: Fundraising—Individuals 375

Djerassi Resident Artists Program Friends of Djerassi

The mission of the Djerassi Resident Artists Program is to support and enhance the creativity of artists by providing uninterrupted time for work, reflection, and collegial interaction in a setting of great natural beauty, and to preserve the land on which the Program is situated. Home Help us fulfill this mission with a tax-deductible donation. Formerly a About Us private family foundation, the Djerassi Resident Artists Program is now Residency Programs an independent 501(c)(3) nonprofit arts organization. The program Events relies on charitable contributions from individuals in order to provide residencies free of charge for artists of all disciplines from around the Publications world. In this glorious setting, artists are able to concentrate on the cre- Contribute ation of new work away from the distractions of daily life. Artists & Alumni Contact Us You can support DRAP with gifts of cash, credit and stock. Annual gifts in the amount of $100 or more help us maintain our operating Employment budget of $500,000, providing for housing, studio space, meals, local Translate Page transportation and professional assistance.

In appreciation of your gift, the various benefits of support include copies of the Program’s newsletter and Annual Report, invitations to special events, and dinner with the artists-in-residence.

Higher levels of support include the Artist Fellowship Program. The Program consists of Annual and Endowed Fellowships, which may be named at the donor’s discretion and are fully tax-deductible.

An Annual Fellowship provides for a full residency for one artist. Annual fellowships are created with a contribution of $5,000 or more by individuals, foundations and businesses who wish to provide the financial support for an artists residency at DRAP.

An Endowed Fellowship is a permanently named fellowship and is a desirable way to leave a lasting legacy in the arts. These fellowships are created through contributions of $60,000 or more to the Program’s endowment fund, which is invested in perpetuity. The interest earned on investments is sufficient to support the residency of one artist each year at Djerassi.

Gifts of stock are an efficient means of making a significant contribu-

Sample Online Giving Materials—Djerassi The Ultimate Residency Resource Guide 376

tion to the Program and can maximize the benefit to the donor. The donation is fully deductible at the total appreciated value of the stock at the time of the transfer.

To do this ask your broker to transfer shares of stock, indicating name of company, to: Djerassi Resident Artists Program Account #XXX- XXXX c/o Schwab Institutional, DTC #XXXX, Code XX

For physical delivery of gifts of stock call the Djerassi Program office Home at (650) 747-1250 About Us Then, you or your broker must notify the Djerassi Program of the trans- Residency Programs fer and provide the Program with your original purchase price. It is Events important that the Djerassi office be notified right away as it is difficult Publications to trace the origin of stock gifts without such notice. Failure to notify the Program office may delay or prevent acknowledgment of the receipt Contribute of your gift. Artists & Alumni Contact Us We also welcome art books, film videos and other gifts of property. Employment Please call the Djerassi Program at (650) 747-1250 for more information on or questions about these special gift opportunities, or email us at Translate Page [email protected].

To obtain a Support Request Form: Press Here

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Djerassi Resident Artists Program is a 501(c)(3) nonprofit corporation, Federal Tax I.D. #94-6115995

YOUR GIFT TO THE DJERASSI RESIDENT ARTISTS PROGRAM IS TAX-DEDUCTIBLE AND DEEPLY APPRECIATED.

Sample Online Giving Materials—Djerassi Organizational Management: Fundraising—Individuals 377

Support Us

While rich in artistic vision and cultural history, the Pillow must raise funds year-round in order to deliver exceptional programs. Our most sustaining contributions are from individuals. We invite you to become a Member and invest in the creation, presentation, preservation, and support of dance. Hubbard Street Dance Chicago in Nacho Duato’s Jardi Tancat How you can help Photo © Lois Greenfield Enhance your Pillow experience by becoming Contact Us a Member or Supporter. Your generosity helps Store us present major established and emerging dance companies from around the world; sus- Box Office tains our renowned professional School, free Donate Now public programs, and vital community out- Search reach initiatives; and helps us build and Site Map enhance our rare and extensive archives with preservation and ongoing documentation of new works. Now a National Historic © Jacobs Pillow 2004 Landmark, the Pillow’s beautiful site with 161 acres and 30 buildings needs ongoing care and attention. Our supporters make a tremendous difference!

See below for the many ways to get involved, and the rewards of support.

Membership Circles of Support Planned Giving Business Alliance and Corporate Support Support the School Special Events Who Funds the Pillow?

Who to contact

For more information about giving to Jacob’s Pillow please contact Jeffrey Cranor: 413.243.9919 x24

Sample Online Giving Materials—Jacob’s Pillow The Ultimate Residency Resource Guide 378

Circles of Support

Are you interested in making a week of performances possible and getting to know the artists?

Or would you like to help a young dancer fulfill their career aspirations by providing a student sponsorship in The School at Jacob’s Pillow?

Would your business like to sponsor performances on the Inside/Out stage and reach our audiences with a company banner?

Ted Shawn’s Men Dancers Would you like to include the Pillow in your estate plans?

Box Office The Ted Shawn Circle Donate Now The Producers’ Circle The Chairman’s Circle Search The Landmark Circle Site Map Business Alliance

THE TED SHAWN CIRCLE: $1,000 - $9,999

Silver Level $1,000+

Earliest ticket purchase, before Members and Subscribers Ticket service hotline for ticket purchases and exchanges** VIP priority parking during the Festival Entrance to all weekly Festival Cast Parties Annual Ted Shawn Circle events Guaranteed reservations at The Pillow Café*** Prominent recognition in Festival Program Book Entrance to showings and rehearsals with artists

Gold Level $2,500+ Inside/Out Producer of the Week

Support a week of Inside/Out performances Recognition in the week’s Inside/Out program Reserved Seats for selected Inside/Out performance Guided backstage tour* for up to six guests 20% discount on facilities rentals for your private/corporate event Season Preview Video

Platinum Level $5,000+

choose either:

Duke Producer of the Week

Support a week of performances in the Doris Duke Studio Theatre and host the Cast Party Prominent recognition in the week’s printed program “Lunch and Learn” with a Jacob’s Pillow Scholar-in-Residence for you and four guests Two guaranteed seats to any show***

Sample Online Giving Materials—Jacob’s Pillow, cont. Organizational Management: Fundraising—Individuals 379

or Student Sponsor

Sponsor a student in The School at Jacob’s Pillow, which provides a full scholarship, room, and board Invitation* to New York City auditions (or other available city of your choice) Invitations to observe class and attend a luncheon with Scholarship Students and Faculty Two guaranteed seats to any show***

For more information about the Ted Shawn Circle, please call 413.243.9919 x25.

THE PRODUCERS’ CIRCLE: $10,000 - $24,999 Includes all Ted Shawn Circle benefits plus: choose either: Ted Shawn Producer of the Week

Support a week of performances in the Ted Shawn Theatre and host the Cast Party Prominent recognition in the week’s printed program “Lunch and Learn” with a Jacob’s Pillow Scholar-in-Residence for you and four guests Annual Producers’ Circle Dinner Photo of you with your sponsored artist

or Student Sponsor Sponsor two students in The School at Jacob’s Pillow, which provides a full scholarships, room, and board Invitation* to New York City auditions (or other available city of your choice) Invitations to observe class and attend a luncheon with Scholarship Students and Faculty Annual Producers’ Circle Dinner Please call 413.243.9919 x27 to join or for more information.

THE CHAIRMAN’S CIRCLE: $25,000+ Join Pillow Board members and major supporters in this group of major supporters. Please call 413.243.9919 x27 for more information.

THE LANDMARK CIRCLE Whether supported through an outright gift or planned gift, all Pillow programs are made possible through the generosity and commitment of people like you. A planned gift to the Pillow Landmark Circle helps to ensure the future of the services and programs we provide in your community and worldwide and may further your financial goals.

Special events and privileges are available to members of the Landmark Circle. Please call 413.243.9919 x27 for more information. Thank you!

THE PILLOW BUSINESS ALLIANCE Would your business benefit by reaching Pillow audiences and supporters? Join the Pillow Business Alliance and gain visibility and access for your business and employees.

more...

*reservations required **up to 2 tickets; subject to availability; minimum 48 hours notice *** minimum 24 hours notice

Sample Online Giving Materials—Jacob’s Pillow, cont. The Ultimate Residency Resource Guide 380

The MacDowell Colony THE COLONY ARTISTS NEWS GIVE APPLY CONTACT CALENDAR GIVING Gifts to MacDowell Gifts to MacDowell Gifts to MacDowell are essential in Give a Gift helping us continue our mission of Gift Form (PDF) the past 98 years: to nuture the Tax Status arts by offering creative individuals Annual Appeal of the highest talent an inspiring Honor and Memorial Gifts environment in which to produce Tribute Form (PDF) enduring works of the imagination. Stock Gifts The MacDowell Colony depends Matching Gifts upon public interest and generosity In-Kind Gifts to continue to provide an ideal Events working place for gifted artists.

The MacDowell Colony gratefully For further information about any accepts contributions, including of the items listed above or to dis- donations of cash, property (such cuss the many kinds of Giving as securities and real estate), and opportunities available, please con- gifts-in-kind from individuals, foun- tact the development office at 212- dations, and corporations. Gifts 535-9690 or may be unrestricted for the general operating support of the Colony or [email protected] designated by the donor for a specific purpose, such as a studio endowment or a Fellowship. Unique * to download Acrobat Reader click here naming opportunities are available for studios, rooms, special equipment, landscaping elements, and endowment funds.

The MacDowell Circle was established in 2000 to recognize donors who have made generous annual gifts to the Colony. MacDowell contributors receive invitations to special MacDowell events, the Colony’s Annual Report, and semiannual newsletters.

The Marian MacDowell Society was established in 2002 to honor the Colony’s many supporters who have chosen to remember MacDowell in their wills.

Please refer to Annual Appeal, Honor and Memorial Gifts, Stock Gifts, Matching Gifts, In- kind Gifts, Events, Fellowships, Corporate Giving, and Bequests for information on these types of gifts to MacDowell.

Sample Online Giving Materials—The MacDowell Colony Organizational Management: Fundraising—Individuals 381

Join the Saltonstall Foundation in supporting artists and their art-making

Dear Friends,

THE CONSTANCE SALTONSTALL FOUNDATION FOR THE ARTS provides the time, resources and space needed to support and inspire artists at the most critical point in the creative process.

Through your support of the Saltonstall Foundation, you make an investment in the diverse voices of individual artists and writers of New York State. The majority of cultural philanthropy goes to organizations and institutions. Very few resources are available to support the individuals who create the paintings and sculptures, photographs, poetry, essays and novels before they find their audience.

Your direct, vital support allows you to assist the lives of many artists and writers who make the artworks that add value and interest to our communities, and help define contemporary culture. We gratefully accept contributions, including donations of property (such as securities and real estate) and gifts-in-kind. Your gift to the Constance Saltonstall Foundation for the Arts will be directed in its entirety to support our Individual Artist Grants and Fellowships.

We offer donors a unique opportunity to establish a named Annual Fellowship in honor or in memory of an individual, while an Endowed Fellowship will leave a legacy that will survive you and assist countless artists through the years. Endowment pledges may be fulfilled over a number of years. They offer immediate and long-range tax benefits and simultaneously provide significant support for artists today and for years to come.

We welcome individuals and artists, art patrons, foundations, businesses and corporations that wish to invest in creativity and support art at its source. All contributions are fully tax-deductible to the extent provided by law.

To make a gift to the Saltonstall Foundation, please click here, or make your gift by mail, or contact us at 607.277.4933. Your support is deeply appreciated. Thank you for all that you do to support the arts in your community and the artists who have inspired your life.

YOUR GIFT to the Constance Saltonstall Foundation for the Arts will be directed, in its entirety, to support our Individual Artist Grants and Fellowships.

LEVELS OF GIVING MAKE YOUR DONATION ONLINE

Friend of Saltonstall ... up to $35 Place your donation securely online through Donate.net by clicking here. Artist’s Circle ... up to $100 Writer’s Circle ... up to $500 Please call us at 607.277.4933 if you would like to: Patron’s Circle ... up to $2500 Benefactor’s Circle ... up to $10,000 o Make a gift of stock. Connie’s Circle ... $10,000+ o Establish a named Annual Fellowship in honor or memory of an individual. Place your donation securely online through Donate.net by clicking here. o Establish an Endowed Fellowship, which will permanently leave a legacy that will survive you and assist The Constance Saltonstall Foundation for the Arts countless artists through the years. Endowment is a nonprofit 501(c)(3) tax-exempt organization. pledges may me fulfilled over a number of years. Charitable contributions from individuals, foun- These can offer immediate and long range tax bene- dations, and corporations help the Saltonstall to fits and simultaneously provide significant support for continue its support of NYS artists and writers artists today and for years to come. and their creative work. All gifts to the Saltonstall are fully tax-deductible to the extent provided by law.

Sample Online Giving Materials—The Constance Saltonstall Foundation for the Arts The Ultimate Residency Resource Guide 382

2004 IN-KIND CONTRIBUTION FORM

Thank you for your support of the Alliance of Artists Communities. In order for us to achieve a more accurate assessment of our operations, it is important to have a record of all in-kind contributions. This form will also serve as a receipt of your contribution for tax deductible purposes. Please contact the Alliance at (401) 351-4320 if you have questions about completing this form or about your in-kind contribution.

Donor Name/Organization: Rhode Island School of Design

Address: 2 College Street

Providence, RI 02903

Phone: Fax:

Goods and/or Services Donated (please attach receipts if applicable):

Conference Room use - May 13 & 14, 2004

Estimated Value: $ 300

Signatures: Authorized personnel signature Print name

June 3, 2004

Deborah Obalil Date Executive Director Alliance of Artists Communities

PLEASE RETURN COMPLETED FORM TO:

ALLIANCE OF ARTISTS COMMUNITIES 255 South Main Street, Providence RI 02903 phone: 401-351-4320; fax: 401-351-4507 email: [email protected]

Sample In-Kind Contribution Form—The Alliance of Artists Communities Organizational Management: Fundraising—Individuals 383

May 23, 2004

John and Jane Q. Public 1234 Main Street Cleveland OH 44106

Dear Mr. and Mrs. Public,

Thank you so much for your recent contribution of $50 to the Alliance of Artists Communities. We are pleased to recognize you as a donor of the Alliance. Such gifts are integral to the Alliance achieving its goals and providing support for the field of artists’ communities and individual artists across the country.

With your gift, you have joined a fantastic group of individuals passionate about the arts and supporting the future of creativity in our society. Thank you again.

Sincerely yours,

Deborah Obalil Executive Director

* The Alliance is a 501(c)3 organization and certifies that no goods or services have been provided in exchange for payment. As such, your donation is tax exempt to extent allowed by law.

Sample Thank-you Letters—The Alliance of Artists Communities The Ultimate Residency Resource Guide 384

November 1, 2004

John Smith 555 High Street Capital City, RI 02903

Dear John,

Thank you so much for your recent contribution of $1,500 to the Alliance of Artists Communities. Renewing your support as a member of the Patrons Council is greatly appreciated. Individuals like you are integral to the Alliance achieving its goals and providing support for the field of artists’ communities. As you know, you are part of a fantastic group of individuals passionate about the arts and supporting the future of creativity in our society. Thank you again.

I trust that you are receiving the Alliance newsletter and the special Patrons Council updates. If there is any way we can better inform you about how your donation is being put to work, please don’t hesitate to contact me.

Sincerely yours,

Deborah Obalil Executive Director

P.S. The Alliance is a 501(c)3 organization and certifies that no goods or services have been provided in exchange for payment. As such, your donation is tax exempt to extent allowed by law.

Sample Thank-you Letters—The Alliance of Artists Communities, cont. Organizational Management: Fundraising—Individuals 385

Additional Resources

In Print

Donor Centered Fundraising: How to hold on to your donors and raise much more money by Penelope Burk Paperback: 238 pages Publisher: Burk & Associates Ltd. (June, 2003) ISBN: 0968797814

Effective Fundraising For Nonprofits: Real World Strategies That Work by Ilona Bray Paperback: 350 pages Publisher: NOLO (March 30, 2005) ISBN: 1413300944

Fundraising for Dummies by John Mutz, Katherine Murray Paperback: 384 pages Publisher: For Dummies (May 8, 2000) ISBN: 0764552201

Fundraising on the Internet: The ePhilanthropyFoundation.org’s Guide to Success Online, 2nd Edition by Mal Warwick, Ted Hart, Nick Allen Paperback: 256 pages Publisher: Jossey-Bass; 2nd edition (November 1, 2001) ISBN: 0787960454

Nonprofit Internet Strategies: Best Practices for Marketing, Communications, and Fundraising Success by Ted Hart, James M. Greenfield, Michael Johnston Hardcover: 360 pages Publisher: John Wiley & Sons (March 4, 2005) ISBN: 0471691887

Relationship Fundraising: A Donor Based Approach to the Business of Raising Money by Ken Burnett Hardcover: 384 pages Publisher: Jossey-Bass; 2nd edition (June 15, 2002) ISBN: 0787960896

Online

The Nonprofit Times A description of endowment campaigns, types, and ask strategies. www.nptimes.com/enews/tips/endowments.html Marketing Organizational Management: Marketing 387

Developing Your Identity 101: Getting it Right the First Time

Developing your identity is an issue for the whole organization; it is not just a materials issue and it involves all staff, board and volunteers. Alumni, by default, are integral to your brand identity.

A clear, unique identity creates value, garners support, makes you recognizable and builds your reputation.

Many people are affected by your identity, including your board, artists, foundations, individual donors, community leaders and partners, staff and volunteers, and other program participants.

There are two things which you need to consider when building your identity: G Who needs to know about you (the target) G What they need to know (the message)

Repetition will implant your product in the unconscious mind; here are some keys to successful repetition: G Clarity G Brevity G Consistency G Connection

A brand is a trusted promise, and encapsulates a big idea. Branding defines you relative to the competition, and depends on an understanding of the needs and motivations of the customers. Branding is highly focused, and asks the question “What do I have that is worth their time, attention, effort and money?”

The tasks of a brand are to create value by meeting real consumer needs, promise you are unique and different, bind people together, and celebrate differences by allowing for new and creative ideas.

Branding will provide you an expressway into the target’s mind, it will provide you focused and efficient messages, and is key to distinct visual identity or image. Some examples include: Nike, Starbucks, Ikea, and Amazon Books.

Branding components include: G Customer—Who needs to know about you? G Competitive Advantage—Who do you compete with for their money? G Core Competency—How can you make the mission relevant in their eyes?

Step 1: The Customer

G Who are they (demographic description)? G What are their wants, needs, desires, attitudes, interests, barriers, concerns, pressures? G How could you benefit them? Solve a problem? G What, if any, position or image do you conjure in their minds?

Artists Community Customer Segments: G Artists G Donors G Foundations/Grant makers G General Public/Community Constituents G Others? There are many ways to obtain customer information, they include artists application and exit surveys, alumni surveys, donor relationships and foundation research (Chronicle of Philanthropy, Foundation Center, and local Donor’s Forums). The Ultimate Residency Resource Guide 388

Step 2: The Competition

G What are each target group’s leisure-time/disposable income priorities? G What are the competition’s strengths in the target’s mind? Weaknesses? G Where are they on the target’s mental ladder? Benefits? G How do you compare? Contrast? G Unoccupied position you could claim?

Who exactly is the competition? G Local community G Regional/National community—within and beyond the field

Some examples of competition for artists communities include: staying at home and working in the artists’ own studio, other artists’ communities, and personal work and other obligations.

Some examples of foundation and donor competition include: non-arts issues and organizations such as poverty, child abuse, hunger, etc., other arts organizations such as museums and community based centers, and other artists communities/residency programs.

It is important to funders (foundations, NEA, etc.) that there is a differentiation in the field. Diversity is key; however, what is it that makes you better?

Here are some examples of Director’s quotes which all seem to say the same thing:

G “Time at XXX is an opportunity to work, relax, reflect and be inspired by the quiet refuge of the countryside.” G “The program provides the ideal combination of seclusion and community in a setting of truly inspirational beauty.” G “The solitude, uninterrupted time, and an appropriate workspace, all within a supportive community of other creative people, make for the perfect environment.” G “Artists have the opportunity to spend their residency in quiet, contemplative solitude and immerse themselves in their work.”

Now here are some examples of Director’s quotes that stand out:

G “Time is measured by sun and night sky, not by clock or calendar. Space finds its borders by proximity to sound and silence. The sky and your ears are full of sounds and shapes of birds and bugs. And, like it or not, the weather will be your collaborator in all undertakings.” (Art Farm) G “It is our hope that these explorations will build one on top of the other, ever raising the standards in the execution and the content of work in the medium of kiln glass, and that in so doing, will create a platform from which future artists will be able to work. It is often artists from outside of the medium of glass that break significant ground in both respects, and we encourage these artists to apply.” (Bullseye Connection)

Take the Kitchen Table Test and throw all of your marketing materials on the table with those of your competition. Look for the ones that have the ability to speak to the heart, that have a clear target, that have consistent imagery and that stand out.

Step 3: Core Competency (AKA: What is your Uniqueness?) G What is your image now? G What is unique compared to your competition? G Where are you vulnerable? G What do customers need to know about you to “buy”?

Developing Your Identity 101, cont. Organizational Management: Marketing 389

How do you know what your uniqueness is?

G List 10 things your group, and only your group, does. G Focus on benefits, not facts. G If you move to another city, what do they have to fear? G If your organization died tomorrow, how would it be eulogized?

Here are some tips on how to cut through the clutter and have a more recognizable image:

G Use powerful language G Create impactful visuals G Use color for effect G Make it easy to read G Establish and maintain consistent layout style G Develop a logo or logotype

It is important to design with your brand, not against it. Some ways to do this include creating a style guide, making consistency a science in the office, letting your ad designers become part of your brand signature, and if you have a strong logo, repurposing it creatively in your ads.

Some good examples of artists communities that have a well defined branding include ArtPace: www.artpace.org Sitka: www.sitkacenter.org

Some reasons for a unique and clear identity are to create value, garner support, make you recognizable, and build your reputation.

Put your brand to work by matching target to message and message to media. Here are some tips about how to match your target to your message and your message to the media: G Challenge some preconceptions. G Ask yourself if your media matches your message. G Does it have to be an ad? G Does it have to be a brochure? G Why can’t it be a sandwich-board worn by a man standing in a canoe? On a street? In his underwear?

Don’t Apologize!! If you feel you have to beg something from someone, turn around and demand it. Pretend you are a two year old and ask “why?” about 100 times.

If you can answer some of those questions then it may lead you to some breakthrough ideas.

It is always important to remain objective. Your audience will never care about your organization the way that you do, so make them care. Focus all your efforts on one point that hits the audience where they decide—if you decide to go for the gut, go for the gut. Don’t clutter an emotional piece with logic.

Developing Your Identity 101, cont. The Ultimate Residency Resource Guide 390

Utilizing Your Web Site

What makes a good Web site?

When trying to create a presence on the web, most sites focus on the latest technologies and trends. Often, something is sacrificed. Content becomes obscured—as do other critical components of a Web site. Because of the average viewer’s decreasing attention span, the prominent thought is “the flashier the site, the better.” Commercial sites intent on selling a product—movies, music, sports, etc.—rely heavily on glitz and glamour.

But what if your site is primarily a source of information? What if your site is not created with a central product in mind? How do you compete? How do you capture the attention of an increasingly tech-hungry demanding audience? Answer: Simplicity. Keep your objectives simple.

By focusing on basic components, the web designer for your organization can successfully attract the viewer and disseminate information without sacrificing content to technology.

Things to keep in mind while designing your web presence:

G Functionality G Aesthetic G Target Audience

Functionality Functionality refers mainly to the navigability and ease-of-use to the viewer. Can the user find the information they need? Can they find the information without difficulty? Or is it like searching for the Holy Grail?

Navigation is the viewer’s primary source for information.

Web sites provide text and/or icons (images) for navigation. While some consider using both forms redundant, each form provides a necessary function. Some icons, while seemingly generic and intuitive to your organization, don’t necessarily translate well to the common viewer. Having text act as part of your navigation allows for a larger audience, including those who use alternative methods of searching the web (e.g., vision-impaired). (See more on Accessibility below.)

Web content needs to be organized and streamlined. When arranging your web page consider a basic component of general design: hierarchy of information. What is most important on your page? Where do you want to direct the viewer’s focus? How do you want to present your information? Pre-emptive organization of web pages allows for quick placement of information.

G Navigation menus should be located in the same place on every page. If your design calls for alternate navigation menu locations, clearly label the navigation. Easy recognition by the viewer will decrease frustration and confusion. G Determine the layout based on the amount of information you want to present on a single page. Too much information can cause the viewer to lose interest. G Avoid missing or broken links. Test links prior to uploading your pages. Make sure they work. Broken links can cause the viewer to assume your organization is unprofessional. G Keep the information fresh and updated. Outdated information prompts the viewer to dismiss your site and limit return visits.

Aesthetic Aesthetic design and overall feel of a Web site can be the bridge between technology and content provision. The Organizational Management: Marketing 391 use of higher end software and web design tools can be circumvented by choosing layouts that appeal to the viewer. Consistency is crucial—not only when determining navigation, but also in creating a space that incorporates innovation with a visually pleasant environment.

Allowing for some creative leniency, assemble your web components judiciously. Select images and colors that represent or compliment your organization’s identity. Maintain a scheme throughout all of your web pages. The use of fonts and logos prevalent in your publications and other promotional materials assists in creating a welcoming and consistent feel.

Target Audience Who will be viewing your Web site? While most residency programs create an environment with their main audience—artists—in mind, you should also consider other prospective viewers such as the general public, donors, visitors, etc.

While you can’t please every viewer, you can shape your Web site design to reach a broader audience. Clear and concise is the easiest approach and streamlined content will appeal to the general internet surfer. Simplicity and brevity are your friends.

Language plays an important role in making your site inclusive to multiple audiences. By choosing effective language, an organization can get their information across to a wider audience. Using field-specific language or vague descriptions can contribute to the limitation of your site.

Lengthy or detailed information can be included on pages further into your site, while the home page should connect simply with a fairly wide audience. For example, using technical terminology to describe your facilities or the scope of your program in your home page may frighten off the general viewer. And while your primary target audience may be artists who understand and seek out such information, other audiences may not.

Overly vague language can cause problems as well. For example, if your organization serves visual artists, but you simply say “artists,” a prospective constituent may be confused or frustrated by a lack of simple clarifica- tion.

Another thing to keep in mind is the difference between language used on the web and language used in business documents or other print materials. The language of the web is relatively informal. The way we process language on the internet is quick-paced. When selecting the language, remember that:

G Philosophical prose will not hold the attention of the viewer. G In any narrative, less is more. Formatting details in bulleted lists, rather than in paragraph form, adds clarity.

Accessibility Not everyone surfing the internet uses the standard keyboard-mouse setup. With the availability of new technology, there is a rise in users, who either by choice (pda, cell phones, etc.) or circumstance (vision or hearing impaired), resort to non-standard web-browsing.

Non-standard web-browsing includes screen-readers, text-to-speech software, and screen-magnification.

How can your organization make its site more accessible?

Utilizing Your Web site, cont. The Ultimate Residency Resource Guide 392

While most browsers possess their own “Accessibility” settings, there are ways to assist in the accessibility of your site.

G Use alternative text tags (alt tags) when creating links and using images. By using alt tags, text recognition software makes it easier for the viewer to determine navigation. G Within the realm of alternative text tags, use short descriptions for images. G Depending on the sensory environment your organization hopes to create through your Web site, audio captions can be inserted within your site.

For more information on this, visit http://www.w3.org and search for “Web Content Accessibility.”

Now that you’ve designed your site, what do you include?

For your artist-in-residence program G Information about your location and setting G Information about your facilities (how many artists are in residence, the size of your property, a description of living quarters and studio spaces, whether studio spaces are general-use or discipline-specific, etc.) G Who is eligible—“artist” means different things to different people, so be specific G Application information (requirements, deadlines, online application, etc.) G Residencies fees and/or stipends, including financial aid/scholarships available G Current artists in residence and alumni G Frequently asked questions (FAQs)

General Information G Organizational history, mission, board, and staff G Contact information G How to make a donation and a list of current contributors G News and events G Member organizations to whom you belong (e.g., the Alliance of Artists Communities) G Employment and volunteer opportunities

Utilizing Your Web site, cont. Organizational Management: Marketing 393

3 2

Art Farm’s web design creates a sense of place that resonates throughout, with color scheme, barn photo, watermark and choice of artists’ images. The simplicity of the site is marked by their use of well-organized, brief narrative. Please see attached for further examples.

1 - Organization’s name/logo Prominent placement of the name and logo lets the viewer know where he/she is at all times.

2 - Side navigation The side navigation for Art Farm is simple and concise.

3 - Watermark image & color choice By using a watermark image and an earth tone, Art Farm achieves a rustic look that falls in line with their rural location. This choice of design creates an overall sense for the viewer of Art Farm’s uniqueness.

4 - Central/main information This is the where the primary content appears on each page.

For the entire Web site, please go to www.artfarmnebraska.org

Sample Web Pages—Art Farm The Ultimate Residency Resource Guide 394

3 2

1 - Organization’s name/logo 2 - Side navigation 3 - Watermark image & color choice 4 - Central/main information

Sample Web Pages—Art Farm, cont. Organizational Management: Marketing 395

2 1

Artpaces’s web design provides a comfortable space for a lot of information. The images, colors, use of negative space, and choice of font all assist in providing a crisp look and feel. Please see attached for further examples.

1 - Organization’s name/logo Prominent placement of the name and logo lets the viewer know where he/she is at all times.

2 - Top navigation The navigation remains in the same location throughout the Web site. The use of lower case font reinforces the typeface of Artpace’s logo.

3 - Side sub-menu bar This sub-menu provides the viewer with a choice of internal pages associated with the main topics (“Exhibitions,” “About us,” etc.).

4 - Central/main information & consistent image placement This is the where the primary content appears on each page. While the placement of images and text varies on subsequent pages, the main content is contained within the same location, balancing variety with consistency.

For the entire Web site, please go to www.artpace.org

Sample Web Pages—Artpace The Ultimate Residency Resource Guide 396

2 1

1 - Organization’s name/logo 2 - Top navigation 3 - Side sub-menu bar 4 - Central/main information & consistent image placement

Sample Web Pages—Artpace, cont. Organizational Management: Marketing 397

Exploratorium’s web design does a great job of combining functionality and aesthetic. It incorporates the overall image of the organization in a user-friendly environment. While it offers a lot of information on each page, the information is framed similarly on each subsequent page. This assists in guiding the viewer in his/her search. Please see attached for further examples.

1 - Organization’s name/logo Prominent placement of the Exploratorium name and logo lets the viewer know where he/she is at all times. After clicking through dozens of sub-webpages during a search, viewers can become disoriented of their starting point. Exploratorium’s consistency in design avoids such confusion and frustration.

2 - Consistent image placement By using a side image, Exploratorium frames their information and provides visually-interesting white space to balance the density of the rest of the page.

3 - Bottom navigation This bottom navigation is set up for technical information on the Exploratorium. It is available to the viewer but does not detract from the overall design.

4 - Top navigation The top navigation for Exploratorium is color-coded for each individual topic. The viewer can see what page he/she is on by color association and the highlighted position in the navigation bar of each page. The accompanying icons add visual interest and reinforc the Exploratorium as a fun and kid-friendly place.

5 - Side sub-menu bar The side sub-menu offers alternative points of interest that directly correlate to the assigned webpage.

6 - Central/main information This is the where the primary content appears on each page.

For the entire Web site, please go to www.exploratorium.edu

Sample Web Pages—Exploratorium The Ultimate Residency Resource Guide 398

2 5

3 1 - Organization’s name/logo 2 - Consistent image placement 3 - Bottom navigation 4 - Top navigation 5 - Side sub-menu bar 6 - Central/main information 1 4

2 5

Sample Web Pages—Exploratorium, cont. Organizational Management: Marketing 399

4 2

1 - Organization’s name/logo 2 - Consistent image placement 3 - Bottom navigation 4 - Top navigation 5 - Side sub-menu bar 6 - Central/main information 1 4

2 5

Sample Web Pages—Exploratorium, cont. The Ultimate Residency Resource Guide 400

Hedgebrook’s web design incorporates language, images of both the people and the place that define Hedgebrook, and signature colors as design elements in creating both style and continuity throughout the site. On the main page, the ripple effect—as seen on their logo—is used as a watermark. On subsequent pages, a reverse use of color in their logo is subtle but manages to create an impression of change. The home page uses text and images sparingly to convey the organization, while subsequent pages provide more in-depth narrative. Please see attached for further examples.

1 - Organization’s name/logo

2 - Top navigation

3 - Side navigation (can be seen in examples)

4 - Consistent image/title placement (can be seen in examples)

5 - Central/main information This is the where the primary content appears on each page.

For the entire Web site, please go to www.hedgebrook.org

Sample Web Pages—Hedgebrook Organizational Management: Marketing 401

2 4

1 - Organization’s name/logo 2 - Top navigation 3 - Side navigation 4 - Consistent image/title placement 5 - Central/main information

2 4

Sample Web Pages—Hedgebrook, cont. The Ultimate Residency Resource Guide 402

Through color scheme and element placement, Jacob’s Pillow’s web design offers a vibrant user-friendly forum. Please see attached for further examples.

1 - Organization’s name/logo

2 - Top navigation and title placement The top navigation remains consistent throughout the Web site. When a visitor clicks on a topic, that topic is highlighted on the top navigation bar. On the internal page, the page title appears on the top right-hand side of the page.

3 - Side navigation Jacob’s Pillow uses two side navigation bars—one changes with each main topic and the other remains the same throughout.

4 - Central/main information This is the where the primary content appears on each page. The columnar format is consistent throughout, while the placement of text and images changes.

For the entire Web site, please go to www.jacobspillow.org

Sample Web Pages—Jacob’s Pillow Organizational Management: Marketing 403

3 4

1 - Organization’s name/logo 2 - Top navigation and title placement 3 - Side navigation 4 - Central/main information

3 4

Sample Web Pages—Jacob’s Pillow, cont. The Ultimate Residency Resource Guide 404

2 3

Jentel’s web design does a great job of applying simplicity with its functionality and aesthetic. It incorporates the overall image of the organization in a minimalist, user-friendly environment. Please see attached for further examples.

Using every visible element—Jentel’s logo and page titles as watermarks, complimentary colors on internal pages, the use of brush strokes for both the logo and the image framing, and consistent logo placement—Jentel reinforces their identity throughout their site.

1 - Top navigation Jentel’s top navigation, while understated, remains in constant view framed against the black backdrop.

2 - Consistent image placement Jentel uses images to convey the meassage of each page’s text.

3 - Organization’s name/logo Prominent and consistent placement of the Jentel name and logo lets the viewer know where he/she is at all times.

4 - Central/main information This is where the primary content appears on each page.

For the entire Web site, please go to www.jentelarts.org

Sample Web Pages—Jentel Organizational Management: Marketing 405

2 3

1 - Top navigation 2 - Consistent image placement 3 - Organization’s name/logo 4 - Central/main information

3 2

Sample Web Pages—Jentel, cont. The Ultimate Residency Resource Guide 406

2 3

1 - Top navigation 2 - Consistent image placement 3 - Organization’s name/logo 4 - Central/main information

Sample Web Pages—Jentel, cont. Organizational Management: Marketing 407

1 3

John Michael Kohler Arts Center’s web design, using a top/side frame and choice of primary colors, showcases content throughout their website. Please see attached for further examples.

1 - Consistent image/title placement By using a different image for each sub-page in conjunction with the page title, JMKAC increases exposure to a variety of images, while maintaining a consistent aesthetic.

2 - Side navigation The side navigation offers easy access to all of JMKAC’s available information.

3 - Organization’s name and page title Prominent placement of JMKAC’s name reinforces the identity of the organization. Subsequent page titles vary in style, but maintain consistent placement and sizing.

4 - Central/main information This is the where the primary content appears on each page.

For the entire Web site, please go to www.jmkac.org

Sample Web Pages—John Michael Kohler Arts Center The Ultimate Residency Resource Guide 408

1 3

1 - Consistent image placement 2 - Side navigation 3 - Organization’s name and page title 4 - Central/main information

1 3

Sample Web Pages—John Michael Kohler Arts Center, cont. Organizational Management: Marketing 409

1 3

Millay Colony’s web site focuses on providing detailed information on both the program and the organization. It’s approach is direct and classic. Please see attached for further examples.

1 - Organization’s name and top navigation Prominent placement of the Millay Colony’s name and the top navigation bar lets the viewer know where he/she is at all times.

2 - Consistent image placement By using a black background, Millay can blend its choice of images into their color scheme.

3 - Central/main information This is the where the primary content appears on each page.

For the entire Web site, please go to www.millaycolony.org

Sample Web Pages—Millay Colony for the Arts The Ultimate Residency Resource Guide 410

3 2

1 - Organization’s name and top navigaiton 2 - Consistent image placement 3 - Central/main information

3 2

Sample Web Pages—Millay Colony for the Arts, cont. Organizational Management: Marketing 411

1 3

4 2

PlatteForum’s web site integrates various design elements to provide an overview of their organization. While the visual elements—choice of colors, navigation style, images, fonts—are easy to follow and well organized, there is a sense of playfulness in the design, which reinforces their mission. Please see attached for further examples.

1 - Organization’s name/logotype

2 - Side navigation Each internal page has a side menu that offers more information associated with the page’s main topic.

3 - Top navigation and color scheme Each internal page is bordered by a different color assigned to each main topic.

4 - Central/main information This is the where the primary content appears on each page.

For the entire Web site, please go to www.platteforum.org

Sample Web Pages—PlatteForum The Ultimate Residency Resource Guide 412

1 3

1 - Organization’s name 2 - Side navigation 3 - Top navigation 4 - Central/main information

1 3

Sample Web Pages—PlatteForum, cont. Organizational Management: Marketing 413

A Studio in the Woods’s design uses its lush location and its mission of preserving the environment to create a habitat right on its Web site. Using different hues of green and natural imagery, ASITW deliberately transports the visitor to a virtual forest. Please see attached for further examples.

1 - Organization’s name/logo ASITW’s name/logo appears on every page. The carved look of the letters blends seamlessly into the design.

2 - Consistent image/title placement & navigation

3 - Central/Main information This is the where the primary content appears on each page.

For the entire Web site, please go to www.astudiointhewoods.org

Sample Web Pages—A Studio in the Woods The Ultimate Residency Resource Guide 414

1 - Organization’s name/logo 2 - Consistent image/title placement & navigation 3 - Central/main information

Sample Web Pages—A Studio in the Woods, cont. Organizational Management: Marketing 415

The Writers’ Colony at Dairy Hollow uses a simple but rather effective web design. The visual elements—the torn paper edge of the sidebar, the logo design, the choice of images, and the color scheme—create a cohesive aesthetic with a “country home” feel. Even with a simple design, Dairy Hollow is current with today’s technology by offering an online residency application. Please see attached for further examples.

1 - Organization’s name/logo and name repetition Dairy Hollow incorporates their name and logo throughout the page.

2 - Side navigation The side navigation provides additional sub-menus for internal pages.

3 - Central/main information This is the where the primary content appears on each page.

For the entire Web site, please go to www.writerscolony.org

Sample Web Pages—Writers’ Colony at Dairy Hollow The Ultimate Residency Resource Guide 416

1 - Organization’s name/logo and color scheme 2 - Side navigation 3 - Central/main information

Sample Web Pages—Writers’ Colony at Dairy Hollow, cont. Public Relations Organizational Management: Public Relations 418

A STUDIO IN THE WOODS 13401 River Road, New Orleans, La. 70131 * (504) 392-5359 * [email protected]

Dr. Michael White / New Orleans, LA Composer/Musician-in-residence November 2003-February 2004

Dr. Michael White, a world renowned clarinetist, composer and jazz historian, was A Studio in the Wood’s first long-term musician resident. From November to February he spent a series of overnights and daylong sessions in the woods. Originally Michael set out to compose one piece of new music but during the residency he created the bases for more than two dozen pieces, 14 of which became finished works. Dr. White’s soon to be released album from Basin Street Records, Dancing in the Sky, will feature 10 of these newly composed pieces from out of the woods.

On May 23, A Studio in the Woods will host a free outdoor community concert which will feature Dr. White’s new compositions.

“I was able to draw upon the Studio’s rich natural environment; the woods, the pond, peace and quiet, curious animals and the Mississippi River to listen to music, concentrate, practice, meditate, and out of that experience came a newfound musical awareness and my most productive creative period to date.”

Dr. Michael White is the New Orleans musician/composer who has been instrumental in helping to perpetuate the New Orleans jazz tradition. Among the most respected jazz musicians in the Crescent City, Dr. White is one of only a few clarinetists to explore and develop an original manifestation of the unique New Orleans clarinet tradition.

Currently, Dr. White holds the Rosa and Charles Keller Endowed Chair in the Humanities/New Orleans Music and Culture at Xavier University, where he has taught for over 20 years. Dr. White frequently lectures, publishes and is a consultant for numerous jazz programs, documentaries and feature films.

Sample Press Releases, Residency/Alumni News—A Studio in the Woods The Ultimate Residency Resource Guide 419

Poet Jean Valentine Wins National Book Award Four Other Yaddo Authors Nominated

(November 18, 2004) - Jean Valentine’s Door in the Mountain, a collection of more than 70 new poems accompanied by selections from her previous books, is the winner of the 2004 National Book Award for Poetry; it was announced Wednesday.

Many of the new poems in Door in the Mountain were written at Yaddo in the winter of 2002-2003, when Valentine held the Martha Walsh Pulver Residency for a Poet.

Four other Yaddo writers were nominated for the prestigious awards. Valentine’s fellow poets William Heyen and the late Donald Justice and fiction writers Joan Silber and Kate Walbert also were among the 20 finalists for the awards. Mr. Heyen was nominated for Shoah Train, a collection of “unblinking” poems inspired by the Holocaust. Mr. Justice, who died earlier this year at age 78, was nominated for Collected Poems, a selection of work from his last seven books alongside 10 new poems. Ms. Silber’s nominated book was Ideas of Heaven: A Ring of Stories, a group of tales set in the past and present in France, Italy, New York, and China that are linked by a minor element in one that becomes major in the succeeding story. Ms. Walbert’s fiction entry was Our Kind: A Novel in Stories, the collective tale of a group of women who came of age in the 1950s and must face life after their husbands and children have left home.

Finalists were selected by four independent panels of judges who were asked to select what they deem to be the best books written by an American and published in the United States between December 1, 2003, and November 30, 2004. This year, the judges chose from a record 1,074 entries submitted by 226 publishers and imprints. For the first time in the awards’ 55-year history, all five of the fiction finalists were women.

Sample Press Releases, Residency/Alumni News—Yaddo Organizational Management: Public Relations 420

The winners in each of the four categories—young people’s literature, nonfiction, poetry, and fiction—were announced last night at a benefit dinner and ceremony in New York City hosted by Garrison Keillor. Each winner receives $10,000 plus a bronze statue; each finalist receives a bronze medal and a $1,000 cash award.

Four Yaddo writers served on the 2004 National Book Awards judging panels. Rick Moody chaired the fiction panel, which also included Linda Hogan; and Michael Waters chaired the poetry panel, which included fellow Yaddo poet Lynn Emanuel.

Yaddo P.O. Box 395 Saratoga Springs, NY 12866 Phone: 518-584-0746 Fax: 518-584-1312 Email: [email protected]

Sample Press Releases, Residency/Alumni News—Yaddo, cont. The Ultimate Residency Resource Guide 421

October 26, 2004 For immediate release

Hambidge Center Has New Executive Director

Kim Waters, of Gainesville, Georgia, was named today as the new Executive Director of the Hambidge Center for Creative Arts and Science in Rabun Gap, Georgia. According to the co-chairs, Judy Lampert and Ruth West, Ms. Waters will assume her duties immediately. The Hambidge Center is a residency program for visual artists, composers and writers located on 600 wooded acres on Betty’s Creek Road in Rabun Gap. Founded by Mary Crovatt Hambidge in 1934, the Center also hosts workshops with distinguished instructors from all parts of the country and conducts classes in its new state of the art pottery studio. Ms. Waters is a native of Gainesville, Georgia and presently serves as adjunct faculty in business and mathematics at Gainesville College. She is a graduate of Georgia Institute of Technology with a BS degree in Industrial Management and received her masters degree in business administration from Georgia State University. In addition to her experience in business and academia, she is an accomplished watercolorist and writer. For further information, contact Jack Lawing, (706) 746-2607, jacklawing@mind- spring.com

The Hambidge Center PO Box 339 Rabun Gap, GA 30568 (706) 746-5718 [email protected]

Sample Press Releases, New Staff—The Hambidge Center Organizational Management: Public Relations 422 News Release

From NORTHWOOD UNIVERSITY, Midland, MI CONTACT: Charlene Rosin Public Relations Director Northwood University 4000 Whiting Drive Midland, MI 48640-2398 (989) 837-4237 or fax: (989) 837-4442 email: [email protected]

December 13, 2004

Christianna Schartow New Assistant Director of Northwood’s Alden B. Dow Creativity Center

MIDLAND, Mich. - Dr. Grover Proctor, Jr., executive director of the Alden B. Dow Creativity Center, recently announced that Christianna Schartow is the new assistant director of the center. She replaces Liz Drake who recently retired from Northwood. According to Dr. Proctor, “Christianna will be a great addition to our staff, bringing with her as she does a combination of experience in enterprise and the not-for-profit sector. Her energy, idealism, and intelligence will assure that the Creativity Center will continue to grow and prosper.” Christianna Schartow Christianna graduated from Northwood University in 2000 with a bachelor’s degree in business administration. She brings 15 years of business experience with her to the center. The last nine years she spent with The Dow Chemical Company as an office professional for the Polyurethanes New Business Development group and in the customer service center as a receivables specialist. She resides in Midland with husband Jeff, son Evan, and daughter Kellie. About the Creativity Center: The mission of the Alden B. Dow Creativity Center is to encourage creativity in individuals and to preserve the architectural philosophy of Alden B. Dow. For more information visit http://www.northwood.edu and click on “About Us.”

# # #

Sample Press Releases, New Staff—Northwood University Alden B. Dow Creativity Center The Ultimate Residency Resource Guide 423

NEWS RELEASE

FOR IMMEDIATE RELEASE Contact: Sharon Dynak (307) 737-2291 [email protected]

UCROSS FOUNDATION NAMES MICHELLE M. SULLIVAN PRESIDENT

Ucross, Wyoming, February 23, 2004 -- The Board of Trustees of the Ucross Foundation has named Michelle M. Sullivan the new Foundation president, effective April 1, 2004. Founded in 1981 by Apache Corporation Chairman Raymond Plank, the Foundation is a nonprofit organization located on an historic 22,000-acre working cattle ranch in northern Wyoming. The Foundation operates an international artists and writers retreat, and a variety of conservation programs designed to protect and preserve the Western heritage and landscape. “Sullivan brings to the table many years of experience in successful organizational leadership, and the Trustees look forward to working with her,” said Plank, who also serves as Ucross Board Chairman. “The Ucross Foundation has made tremendous progress in the past 20 years in protecting natural resources, developing our conservation program and broadening our artists-in-residence program. Looking to the future, we envision a dynamic, changing organization where Sullivan will have the chance to put her many creative ideas into action.” Sullivan most recently served as vice president and director of the Wyoming office of the Daniels Fund, a private, education-focused foundation established by cable entrepreneur and philanthropist Bill Daniels. Of her appointment to the Ucross Foundation, Sullivan said, “I am privileged to have the opportunity to work with this prestigious organization. Ucross is poised to begin a number of exciting projects and I look forward to playing a role, along with the Board and staff, in developing its future.” Sullivan’s experience includes service with the Aspen Institute’s Community Strategies Group and the Global Interdependence Initiative in Washington, D.C. She founded the Snake River Institute in Jackson Hole, Wyoming, which presented educational programs in the arts and humanities throughout the American West, and she worked with the Greater Yellowstone Coalition to organize events around the 125th anniversary of Yellowstone Park. From 1995 through 1999, Sullivan was a Kellogg National Fellow, and traveled internationally to explore issues of cross-cultural conflict and its resolution. In 1994 she was awarded a Loeb Fellowship at Harvard University’s Graduate School of Design. She graduated in 1986

Sample Press Releases, New Staff—Ucross Foundation Organizational Management: Public Relations 424 with a degree in Fine Art from The Colorado College, where she was later awarded an honorary Doctorate for her work with the Snake River Institute. A native of Wyoming, she lives with her husband, Brian, three-year-old son Patrick, and 18-month old daughter Maggie in Big Horn, Wyoming. Since opening its doors in 1983, the Ucross Foundation Residency Program has hosted over 1,000 artists, writers and music composers from all over the United States as well as from 20 countries around the world, including Canada, Scotland, Poland, France, Egypt, Germany and many others. Past Ucross Fellows include Pulitzer Prize-winning author Annie Proulx, MacArthur Award winner Colson Whitehead, Pulitzer Prize-winning playwright Paula Vogel, and author Ha Jin, winner of the National Book Award. The Foundation works collaboratively with national nonprofit organizations such as the Sundance Institute, the Ernest Hemingway Foundation, the John F. Kennedy Library and the Herb Alpert Foundation, and is a member of the Alliance of Artist Communities, a national consortium of over 200 arts organizations. The Foundation’s ranching operation, under the direction of Mark Gordon, is managed as a model for ecologically sound, holistic ranching practices. In 1999, a conservation easement was placed on over 12,000 acres of the Ucross Ranch with Wyoming Chapter of The Nature Conservancy and the Foundation established a Conservation Program to focus on the enhancement of the area’s unique heritage and landscape. The Foundation’s historic complex of buildings, known as Big Red, was built in 1882 and is listed on the National Register of Historic Places. The Ranch House accommodates administrative offices and The Big Red Barn houses conference space in the Loft, as well as an Art Gallery which features contemporary art as well as exhibits of regional historic interest.

***END***

Sample Press Releases, New Staff—Ucross Foundation, cont. The Ultimate Residency Resource Guide 425

Yaddo Announces New Leadership For Its Second Century

Saratoga Springs, NY (September 8, 2003) — Yaddo, the world- famous artists' community in Saratoga Springs, is under new leadership, having just elected Peter C. Gould, an intellectual property lawyer, as chairman, and renowned magazine editor Patricia Towers as vice chairman.

Mr. Gould succeeds Donald S. Rice, a New York City attorney who is stepping down after 16 extremely successful years as Yaddo's board chairman. Mrs. Towers follows the Rhode Island-based poet and literary critic Nancy Sullivan, who has served as vice chair for 8 years. Mr.

Peter C. Gould Gould and Mrs. Towers assumed their new positions at a meeting of the members and directors of The Corporation of Yaddo held September 5-7 at Yaddo.

"My love for Yaddo and its mission has sustained me through my sixteen year reign," said Mr. Rice. "I have derived indescribable joy from the experience of chairing Yaddo; it's been a uniquely enriching experience, taking me to realms beyond the legal, political and business worlds of my professional life. This legacy of joy and enthusiasm emanating from the Trasks I willingly but reluctantly cede to Peter. I have great faith in his ability to lead Yaddo into new decades of artistic achievement."

Mr. Gould, a member of The Corporation of Yaddo since 1997, is a managing partner at Sabin, Bermant & Gould LLP, a New York City firm that maintains a general corporate law practice with a specialty in media law. The firm's clients include The Condé Nast Publications, Fairchild Publications, and Parade Magazine.

"After being on the board for a while, and knowing the central role Yaddo has played in America's cultural life for over a hundred years, I'm greatly looking forward to the Chairmanship," Gould noted. "Working with the many wonderful people who love and support Yaddo, I'll do my absolute utmost to build on the achievements of my predecessors. It's inspiring to have the opportunity to help preserve and enhance this cherished place for artists."

Prior to becoming a managing partner at Sabin, Bermant & Gould, Mr. Gould was a partner specializing in all aspects of publishing law and an associate specializing in editorial aspects of publishing law. He previously worked as an associate at Townley, Updike, Carter & Rodgers, specializing in litigation and counseling for media clients, including The Daily News and Newsday. A graduate of C.W. Post College and Columbia University, Mr. Gould was admitted to the New York State Bar Association in 1973. He is a member of the Legal Affairs Committee for the Newspaper Association of America and formerly served as a member of the City of New York Bar Association Committee on Communications Law and as chair of the

Sample Press Releases, New Board Members—Yaddo Organizational Management: Public Relations 426

Magazine Publishers of America Legal Affairs Committee.

Mrs. Towers is features director at O, the Oprah Magazine, and has been a member of The Corporation of Yaddo since 1995. She began her publishing career at Time magazine, then moved to the book publisher Harcourt, Brace, before going to The New York Times Book Review. Mrs. Towers was a founding editor of Vanity Fair magazine, was in on the launch of 7 Days, and has worked at Mirabella and Elle magazines. Throughout her career, she has champi- oned writers, working with leading authors and nurturing newcomers.

Yaddo's president, Elaina Richardson, said, "Yaddo has always been incredibly lucky in its leadership, and that trend clearly continues with the appointment of Peter Gould and Pat Towers. Both have had remarkable careers in which they've built their reputation on intelligence, empathy, and good judgment. They couldn't be more highly-regarded in the publishing world, and they have the appreciation and support of all the artists in Yaddo's world."

Sample Press Releases, New Board Members—Yaddo, cont. The Ultimate Residency Resource Guide 427

FOR IMMEDIATE RELEASE Contact: Kim Carpenter Communications Coordinator [email protected] Direct: 402.934.8059

Bemis Center for Contemporary Arts Announces the Creation of the Bemis Center Community Artist Fellowship

Omaha, NE - Artists in our community do a great deal to enhance our environments and enliven our public spaces. Yet they often don’t receive the recognition they deserve, fading into the background even as their art takes center stage. For this reason, the Bemis Center for Contemporary Arts is extremely pleased to announce the creation of a new prestigious grant geared toward recognizing the talent and nurturing the careers of our local artists. The Bemis Center Community Artist Fellowship will be awarded biannually to outstanding local artists. This year, Karen and Robert Duncan will sponsor the award. Catherine Ferguson and Leslie Iwai, who have both contributed to the community over the past year with prominently placed sculptures in public spaces, will be the first Bemis Center Community Artist Fellows. The Fellowships will run between three to four months, during which Ferguson and Iwai will be granted studio space as well as free access to all Bemis Center facilities and equipment, ranging from kilns and forklifts to woodshops and darkrooms. The Fellowship concludes with a special exhibition of each artist’s new body of work. The total grant package is valued at $4,000 for each artist and includes a $1,000 cash stipend.

Sculptor and installation artist Catherine Ferguson believes that the alchemy of art can lead to profound, personal transformation, and she uses her art to prompt reflections and change per- ceptions. In this respect, Ferguson has contributed valuably to Omaha’s public art spaces through numerous public commissions, and her work is featured in public and private collections in Nebraska and beyond, including the Sheldon Memorial Art Museum in Lincoln, the University of Nebraska at Omaha, the Museum of Nebraska Art and the Landmarks building. Awarded an Omaha Public Art Commission in 2004, Ferguson created Totem for the Omaha Public Library’s Main Branch. For this outdoor sculpture, which is situated before the library’s entrance, Ferguson deftly wove animal symbols inherent in the imagery, myth and mysticism of the prehistoric North American mound builders. In commenting on the receipt of the Bemis Center Community Artist Fellowship, Ferguson says: “It’s a beautiful tribute, and I am appre- ciative and delighted to receive it. Because the Bemis Center is a research laboratory for visual artists who are serious about investigating new dimensions for their work, I am anticipating rewarding challenges by working in that stimulating milieu. I am expecting my time there to be an exciting and productive experience.”

Sample Press Releases, Program Announcement—Bemis Center for Contemporary Arts Organizational Management: Public Relations 428

Sculptor and photographer Leslie Iwai creates careful compositions characterized by situations where shape, color and material relationships combine to form gentle harmonic balances. The Director of the Hope Center for Kids in Omaha, Iwai coordinates art programs for urban youth, connecting youth with local artists and community members. Trained as an architect, her art often touches on public spaces, and she explores the formation of those spaces as an experien- tial event, with her work existing between architecture and sculpture. Iwai has participated in an environmental arts exhibition at Fontenelle Forest, and most recently received widespread media attention for her Omaha Public Art Commission of serene Sounding Stones in Turner Park. The pieces, a monumental series of concrete sculptures, involved the delicacy of concrete over a much larger span of time. Says Iwai of being chosen for the Bemis Center Community Artist Fellowship: “I am especially grateful to receive this fellowship, [and] I am overwhelmed by the generosity of the award. Being on site at the Bemis Center is a great opportunity to integrate with national and international resident artists… I see the fellowship as an interchange, increasing our community awareness of the wonderful resource of contemporary art that is the Bemis Center for Contemporary Arts and as a substantive demonstration of valuing the artistic talent in our community.”

Mark Masuoka, the Bemis Center’s Executive Director, notes: “This is an exciting development for us. The Bemis Center is Omaha’s Contemporary Arts Center, and we want to emphasize that by supporting our area’s artistic talent and creativity. Catherine and Leslie are emblematic of the artist excellence that exists in our community, and we are dedicated to helping that talent thrive. We look forward to continuing to reward our community’s outstanding artists with the Bemis Center Community Artist Fellowship.” ______

Bemis Center Community Artist Fellowship Exhibitions (Exhibitions not yet titled): Leslie Iwai: June 10 - August 13, 2005 Catherine Ferguson: November 18, 2005 - February 17, 2006

Located at 724 S. 12 Street in Omaha (Corner of 12th and Leavenworth, Old Market), the Bemis Center for Contemporary Arts is an internationally recognized artist-in-residence, education and exhibition program. Founded in 1981, on the guiding principle that exceptional talent deserves to be supported, the Bemis Center provides well-equipped studio spaces, living accommodations and monthly stipends to artists awarded residencies. Located in two urban warehouses totaling 110,000 sq. ft. in the Old Market district of Omaha, Nebraska, the Bemis Center offers a supportive environment for creative growth, education and experimentation. Support for the Bemis Center is provided, in part by, Nebraska Arts Council, National Endowment for the Arts, Omaha Steaks, Clark Creative Group, Peter Kiewit Foundation, Millard Foundation, Douglas County Tourism Fund and individual members.

Sample Press Releases, Program Announcement—Bemis Center for Contemporary Arts, cont. The Ultimate Residency Resource Guide 429

FOR IMMEDIATE RELEASE Contact: Jeremy Stern, Assistant Director [email protected] Direct: 402.341.7130 x13

Go Underground for Art Above the Norm: The Bemis Center for Contemporary Arts Announces the bemisUNDERGROUND

Omaha, NE- In ancient mythology, heroes often had to make harrowing trips to the underground world. Larger than life figures such as Odysseus, Aeneas and Gilgamesh all went below ground to survive a series of harrowing feats ultimately to emerge unscathed but very much transformed. Now, art lovers can similarly make their own journeys to the underworld - but unlike the heroes of yore, they needn’t face imminent peril to experience transformation. They simply need to visit the bemisUNDERGROUND.

Beginning in late January, the Bemis Center for Contemporary Arts is pleased to showcase this new curatorial program, which complements its internationally renowned Artist-in-Residency program. The bemisUNDERGROUND is a basement level gallery space ideal for presenting visual, audio and performance art in an interactive environment dedicated to experimentation. Projects are selected by a jury and run for five weeks each. In December, the Andy Warhol Foundation for the Visual Arts awarded an $80,000 grant to the Bemis Center for Contemporary Arts, in part impressed by the unique character of the bemisUNDERGROUND, not just in Omaha and Nebraska, but in the country as a whole. Bemis Center Assistant Director Jeremy Stern oversees the bemisUNDERGROUND and observes: “We are very excited about this program. It’s a means for local artists to experiment, grow and learn about what is involved to curate and install an exhibition. Area artists will really have an opportunity to promote themselves. From beginning to end, the shows are their responsibility, so they are experimenting not just in terms of their art, but they are also learning about the business end of being an artist. We hope the public comes to the UNDERGROUND and supports them in their endeavors.” Omaha artist Scott Blake will curate the bemisUNDERGROUND’s first show Bring Your Barcodes, which opens January 28 and runs through March 6, 2005. Blake is both the curator and exhibiting artist for the show, and he is responsible for filling a 3,000-square foot exhibition space, a daunting task for any artist. Blake has received international accolades for his slyly wry barcode portraits, and celebrity Jane Fonda even gave Blake a “high five” when she viewed his barcode portrait of her and purchased it for her own private art collection. For this show, Blake will not limit his bar codes simply to portraits, but he will also incorporate them in other multi-media installations and paintings. Five other exhibitions by local artists are additionally scheduled through early November 2005.

Sample Press Releases, Exhibition Announcement—Bemis Center for Contemporary Arts Organizational Management: Public Relations 430

While taking in the artwork featured in the bemisUNDERGROUND may not be as perilous as journeying to the underworld of ancient mythology, it will be every bit as enlightening, inspiring and transformative. Both for viewers - and the artists themselves.

For more information on the bemisUNDERGROUND, please contact Jeremy Stern, Assistant Gallery Director, at 402.341.7130 ext. 13, or [email protected]. bemisUNDERGROUND Exhibition Schedule 2005: January 28 - March 6, 2005 Bring Your Bar Codes Curated by and featuring the work of Scott Blake.

March 18 - April 24, 2005 Life Without Christ Curated by Joshua Lux, featuring the work of John Bruggeman, Liz England, Matthew Hilker, Tad Laurintzen-Wright, Joshua Lux, Joey Lynch, Anthony Remisosky, Matthew Rooney, George Sisson and Patrick Studebaker.

May 13 - June 19, 2005 Jody Boyer/Russ Nordman: Collaborative Installation Curated by and featuring the work of Jody Boyer and Russ Nordman.

July1 - August 7, 2005 Far Away in the Orchard: An Adaptation of Anton Chekov’s The Cherry Orchard Curated by Douglas Hayko.

August 19 - September 25, 2005 Skin Deep Curated by Peter Fankhauser, featuring the work of Peter Fankhauser, Alexia Madara, Erin Onkka and Natalie Sorenson.

October 7 - November 6, 2005 Title to be announced* Curated by Meghan Boylan and Erin Foley, featuring the work of Steve Asivido, Sara Atkison, Loo Bain, Steve Bell, Scott Blake, Meghan Boylan, Grant Brownyard, Adam Findley, Chris Fischer, Erin Foley, Allyson Gibbs, Sara Jacobson, Ethan Jones, Tim McEvoy, Pat Oakes, Justin O’Conner, Anne Stevens and Ted Stevens.

Sample Press Releases, Exhibition Announcement—Bemis Center for Contemporary Arts, cont. The Ultimate Residency Resource Guide 431

The Hambidge Center for Creative Arts and Sciences P.O. Box 339 Rabun Gap, Georgia 30568

Release Date: For Immediate Release For More Information Contact: Phyllis Martin, Program/Development Director 706.746.7187 [email protected]

Hambidge Center for Creative Arts and Sciences Offers Series of Workshops Painting, Pottery, Nature Journaling, Writing Slated for Spring and Summer

Rabun Gap, GA - The Hambidge Center for Creative Arts and Sciences has rolled out its schedule of spring and summer workshops for artists of all levels. Workshops in painting, pottery, writing, and nature journaling will begin in April 2004, and are scheduled to run through the month of August. All workshops are being held at the Center, which is located in Rabun Gap, Georgia. The series begins with a two-day pottery demonstration instructed by Steven Hill on April 2. Mr. Hill will throw and alter pots, demonstrate slip trailing, and use the extruder; all while communicating his enthusiasm for functional stoneware and single-firing. Discussions during this workshop will cover philosophy, design, technique and the business of making a living in clay. “Hambidge is fortunate enough to have a brand new pottery studio. We are thrilled to have potters and ceramicists of this caliber coming to Hambidge. We are more excited to be able to offer classes to people in our community and throughout Georgia and hope this line-up of potters will excite and entice folks to come and spend some time at Hambidge,” said Dawn Holder, Director of Hambidge’s Antinori Pottery Studio. Other pottery workshops on the schedule include Low-Fire Techniques: Developing Form and Surface instructed by Andy Nasisse, The Art of Raku-Smoke, Fire, and Kiln-Building, taught by Steven Forbes de Soule, and Anagama and Salku, instructed by Rick Berman. The annual Jugtown Pottery Festival is also on the schedule rounding out this exciting season of pottery workshops. In addition to the pottery workshops, Hambidge is offering two sessions focusing on painting. Alice Williams will be at Hambidge in late June offering a weekend workshop on oil painting and Libby Mathews will host a week-long plein aire oil painting session in May. Williams, who as been creating charming interiors, landscapes and figurative paintings for the last thrity-five years has been greatly influenced by her mother’s love for the arts. She has years of experience studying with many of the most well-known painters of the 20th century such as Chatov, Shank, Kintsler and Al Green. Mathews has taken her love of landscape to Italy, Wyoming, California, and Central America and has been recognized

Sample Press Releases, Program Announcement—The Hambidge Center for Creative Arts and Sciences Organizational Management: Public Relations 432 and honored at exhibits throughout the southeast and is included in many important collections. Rounding out the Spring and Summer schedule are two workshops in Nature Drawing. Suzanne Stryk will be at Hambidge in late April to demonstrate and instruct in the art of keeping a naturalistic journal combining drawing and writing. A Virginia-based artist who exhibits her conceptual nature paintings throughout the country, Stryk has shown her work in over 30 solo exhibits including Blue Spiral 1 in Asheville, NC and Gescheidle Gallery in Chicago. Author Peter Loewer will be at Hambidge in mid-May as he takes students through Nature’s Notebook: A Course in Botanical Art. Mr. Loewer’s workshop will begin with a slide lecture about the history of botanical art. Throughout the weekend students will learn to collect and sketch materials from around the natural area of Hambidge. Loewer is a writer and botanical artist of long standing, having written and illustrated his first book “The Indoor Gardener’s How-To-Handbook” in 1973. In 1992, his book “The Wild Gardener” was chosen as one of the best gardening books of the 20th Century. June 6-11 will host the Second Annual Summer Writer’s Workshop. Writers of all levels are invited to attend this week-long workshop that offers intimate lectures, daily instruction, individual critique and feedback from seasoned, published authors, and a group dynamic that rivals all other writer’s workshop experiences. Workshops will begin at 9:00 a.m. daily and run until noon at which time lunch will be offered. Afternoons may be spent working on individual writing, meeting with instructors, or attending individual readings from authors and other participants. Evenings will be spent sharing a meal and discussing participant work, hiking around the Hambidge property or attending special presentations. All classes will be held to a maximum of 10 participants per section, insuring individual time with instructors. Participants will be asked to submit material prior to attending the workshop so that instructors have time to edit and critique prior to the workshop. Once the workshop begins, participants will have a place in which to begin working and instructors will be familiar with the writing of all participants. Instructors for this week-long workshop include Barber Bancroft, Ph.D, Judith Harway, MFA, Kay Byer, MFA, Mark Weston, attorney, Trina Lambert,MFA, and Michael Datcher, MA. Guest speak- er, Gregory Maguire, author of the “Mirror, Mirror”, “Confessions of an Ugly Stepsister”, and the hit Broadway Musical, “Wicked” will be presenting on June 10. Author and instructor Michael Datcher, whose memoir “Raising Fences: A Black Man’s Love Story” appeared on the New York Times Best Seller List, will open the workshop with an evening presentation. For specific workshop information, fees or registration information please contact The Hambidge Center, 706.746.5716. The mission of The Hambidge Center is to maintain a national and international artists’ working residency program serving artists from different fields in an unspoiled natural setting.

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100 High Street Peterborough, New Hampshire 03458 603.924.3886 ph 603.924.9142 fax

FOR IMMEDIATE RELEASE

SOLITUDE AND FOCUS Recent Work by MacDowell Colony Fellows in the Visual Arts

January 23 - June 22, 2005 Opening Reception: Sunday, January 23, 2005, 4 to 6 pm

Ridgefield, CT (November 1, 2004) - The Aldrich Contemporary Art Museum is pleased to present the exhibition, Solitude and Focus: Recent Work by MacDowell Colony Fellows in the Visual Arts, featuring the work of thirteen artists who participated in recent residencies at The MacDowell Colony. The exhibition will be on view at The Aldrich from January 23 through June 22, 2005. An opening reception will be held on Sunday, January 23, from 4 to 6 pm. Round-trip transportation from NYC is available, please call the Museum at 203.438.4519 for reservations.

Founded in Peterborough, New Hampshire, in 1907, by the American composer Edward MacDowell and his wife, Marian MacDowell, The MacDowell Colony is one of the most revered artist retreats in the US. Each year more than 240 artists, including architects, composers, filmmakers, writers, visual artists, and those working in interdisciplinary genres, come to MacDowell from all over the world to focus on their work in an inspiring environment created to foster the imagination. The Colony’s mission remarkably parallels that of The Aldrich in their commitment to supporting new work by visual artists.

Organized by Richard Klein, Aldrich director of exhibitions, the exhibition will represent a cross-section of visual arts disciplines, including photography, painting, drawing, animation, sculpture, printmaking, video, and installation. Participating artists include: John Bisbee, Lynn Cazabon, Neil Goldberg, Mark Greenwold, Bill Jacobson, Joyce Kozloff in collaboration with Judith Solodkin, Sarah Jane Lapp and Mark Dresser, Jane South, Whiting Tennis, Alan Wiener, and Amy Yoes. A new video by New York-based artist Neil Goldberg will provocatively explore the need and motivation to create art. Shot in 2001 while Goldberg was a Fellow at MacDowell, the video pieces together interviews with five other artists who were in residence at the time and will premiere at The Aldrich. Each work chosen for this exhibition will aim to convey a sense of the individual achievement of MacDowell Fellows and

Sample Press Releases, Exhibition Announcement—The MacDowell Colony Organizational Management: Public Relations 434 their ongoing contribution to America’s cultural life. A catalogue will be published in conjunction with the project, including commentary by Klein and participating artists.

The MacDowell Colony nurtures the arts by offering creative individuals of the highest talent an inspiring environment in which to produce enduring works of imagination. Since its inception in 1907, more than 5,500 women and men of exceptional ability have come to the Colony. Situated on 450 acres of woodlands and fields, the Colony has 32 studios, is listed in the National Register of Historic Places, and is a National Historic Landmark. Works of art conceived, developed, and completed during residencies at MacDowell have added immeasurably to our country’s cultural life. In 1997, The MacDowell Colony was awarded the National Medal of Arts for “nurturing and inspiring many of this century’s finest artists.”

# # # # The Aldrich Contemporary Art Museum, located at 258 Main Street, Ridgefield, CT, is renowned as a national leader for its presentation of outstanding new art, cultivation of emerging artists, and innovation in museum education. Regular Museum hours are Tuesday through Sunday, 12 noon to 5 pm. For more information, please call 203.438.4519 or visit www.aldrichart.org.

Sample Press Releases, Exhibition Announcement—The MacDowell Colony, cont. The Ultimate Residency Resource Guide 435

100 High Street Peterborough, New Hampshire 03458 603.924.3886 ph 603.924.9142 fax

For Immediate Release, November 2003 Contact: The MacDowell Colony, Adria Santo (212) 535-9690

MACDOWELL COLONY BENEFIT — DECEMBER 11, 2003 TO HONOR ART PATRON AND COLLECTOR WERNER H. KRAMARSKY

The MacDowell Colony’s Annual Benefit will be held on Thursday, December 11, 2003, in New York City. This year, the Colony is pleased to honor art patron and collector Werner H. Kramarsky for his longstanding commitment to supporting emerging artists. By widely exhibiting his collection of works by younger artists alongside those of established artists, and by generously donating works to important institutions, Mr. Kramarsky has opened doors for new talent. His exemplary activities are in harmony with MacDowell’s mission of nurturing contemporary creative artists.

The annual benefit raises a major portion of the Colony’s budget and makes possible residencies for more than 240 artists each year. The gala evening will feature cocktails, dinner, and an array of performances. Author, veteran newsman and MacDowell Colony Chairman, Robert MacNeil, will serve as Master of Ceremonies for the program featuring internationally-known actress Jane Alexander, Colony Fellow and writer Jonathan Franzen, jazz trombonist Wycliffe Gordon, Colony Fellow and composer Eric Moe, and theater legend Elaine Stritch.

The MacDowell Colony is the nation’s oldest and most distinguished artists’ colony. Founded in 1907 by American composer Edward MacDowell and his wife, Marian MacDowell, the Colony has allowed artists of all disciplines the time and space to pursue creative work without interruption for nearly 100 years. Fellowships to artists consist of room, board, and the exclusive use of one of the Colony’s 32 private studios for up to two months. The sole criterion for acceptance is talent. Situated on 450 acres of tranquil woodland in rural Peterborough, New Hampshire, the colony welcomes more than 240 composers, writers, visual artists, architects, interdisciplinary artists, and filmmakers from the United States and abroad each year. It stands now on its own record with over 5,500 artists having worked there.

Sample Press Releases, Special Event Announcement—The MacDowell Colony Organizational Management: Public Relations 436

The MacDowell Colony has had a profound impact on the fields of music, literature, and the visual arts during the past 100 years. Aaron Copland composed parts of Appalachian Spring at the Colony; Virgil Thompson worked on Mother of Us All; Leonard Bernstein completed his Mass; Thornton Wilder wrote Our Town. Benny Andrews, Milton Avery, James Baldwin, E.L. Doctorow, Janet Fish, Spalding Gray, Meredith Monk, and Alice Walker have all come to MacDowell to concentrate on their work. More than 100 Pulitzer Prizes, Rome Prizes, and MacArthur Awards have been awarded to Colony Fellows. In 1997, the National Medal of Arts was awarded to MacDowell “for nurturing and inspiring many of this century’s finest artists.” It was only the fourth time in the history of the Medal that an arts organization had been so honored and the only time an artists’ residency program has been cited. The MacDowell Colony is a National Historic Landmark and is listed on the Register of Historic Places.

Tickets to the Benefit are $750, $1,000 and $1,500 per person. Tables of ten for the Benefit are $7,500, $10,000, and $25,000. For details and reservations, call (212) 535-9690. For additional information, visit www.macdowellcolony.org.

Sample Press Releases, Special Event Announcement—The MacDowell Colony, cont. The Ultimate Residency Resource Guide 437

100 High Street Peterborough, New Hampshire 03458 603.924.3886 ph 603.924.9142 fax

FOR IMMEDIATE RELEASE MAY 10, 2004

ACCLAIMED VISUAL ARTIST NAM JUNE PAIK TO RECEIVE EDWARD MacDOWELL MEDAL ON SUNDAY, AUGUST 22, 2004

The Colony grounds and artist studios are open to the public for the daylong festivities and celebration.

The MacDowell Colony, the nation’s leading artist colony, will present its Edward MacDowell Medal this year to legendary visual artist Nam June Paik. He will be the 45th recipient of the MacDowell Medal. The Medal is awarded annually to an individual who has made an outstanding contribution to the arts. Mr. Paik joins an impressive list of past recipients, including Edward Hopper, Joan Didion, Merce Cunningham, and Leonard Bernstein. The award will be presented to Mr. Paik in a public ceremony during the annual Medal Day celebration on Sunday, August 22, 2004, beginning at 12:15 pm on The MacDowell Colony grounds in Peterborough, New Hampshire. Robert MacNeil, chairman of The MacDowell Colony, will present the Medal along with Carter Wiseman, president of the board, and Cheryl Young, executive director. Long considered the leader in video art, Nam June Paik has consistently used innovation to challenge art itself, and in turn, its audience. “Nam June Paik is the founding father of video art,” according to Adam D. Weinberg, Alice Pratt Brown Director of the Whitney Museum of American Art and chairman of the 2004 Medal Selection Committee. “His influence on generations of artists and people across the globe has been enormous.” Other members of this year’s committee included Susan Sollins-Brown, director and producer of the Emmy-nominated PBS series Art 21; painter Robert Mangold; Linda Shearer, director of the Williams College Museum of Art; and artist Lorna Simpson. Born in 1932 in Korea, Mr. Paik has had a profound impact on the visual art world. In addition to being the first video artist selected for a retrospective at the Whitney Museum in 1982, he was chosen for the first show of the new millennium at the Solomon R. Guggenheim Museum in January of 2000. He has exhibited at the Centre Pompidou in Paris, the Tokyo Metropolitan Art Museum, and the Museum of Modern Art in Seoul, among many others. He

Sample Press Releases, Special Event Announcement—The MacDowell Colony Organizational Management: Public Relations 438 received the Artist Award of New York, as well as the city’s Medal of Freedom Award, in 1996 and earned the Golden Lion Award for Best Pavilion at the Venice Biennale in 1993. Mr. Paik’s inventiveness has led to collaborations with such artists as Merce Cunningham, Joseph Beuys, and David Bowie; early in his career, he was a member of a circle of artists known as Fluxus, a group that challenged the conventional notions of art in the 1960s. Though known primarily for his video work, Mr. Paik studied piano and composition and completed degrees in music as well as aesthetics in Japan before pursuing graduate work in philosophy. Some of his notewor- thy experiments have occurred outside museums in radio and television, and he is reputed to have coined the terms “information superhighway” and “the future is now.” “I used the term information superhighway in a study I wrote for the Rockefeller Foundation in 1974. I thought: If you create a highway, then people are going to invent cars. That’s dialectics. If you create electronic highways, something has to happen,” he explains. “Our life is half natural and half technological. Technology has become the body’s new mem- brane of existence. Yet if you make only high-tech, you make war. So we must have a strong human element to keep modesty and natural life.” After the ceremony awarding the Medal to Mr. Paik, guests will enjoy picnic lunches and current MacDowell artists-in-residence will open their studios to the public from 2 pm until 4 pm. There is no charge to attend the ceremony or the open studios. Since 1907, The MacDowell Colony has provided more than 5,500 artists of all disciplines with the time and private space for creative work; of these, 1,584 have been visual artists, including such notables as Milton Avery, Janet Fish, and Benny Andrews. Situated on 450 acres of woodland in Peterborough, New Hampshire, the Colony welcomes more than 240 composers, writers, architects, filmmakers, and visual and interdisciplinary artists from the United States and abroad each year. The sole criterion for acceptance is talent; a panel in each discipline selects Fellows. In 1997, The MacDowell Colony was awarded the National Medal of Arts for “nurturing and inspiring many of this century’s finest artists.” For more information, please log on to www.macdowellcolony.org or contact:

Brendan Tapley Communications Director The MacDowell Colony 100 High Street Peterborough, New Hampshire 03458 603.924.3886 603.924.9142 fax [email protected] www.macdowellcolony.org

**DIGITAL IMAGES ARE AVAILABLE UPON REQUEST**

Sample Press Releases, Special Event Announcement—The MacDowell Colony, cont. The Ultimate Residency Resource Guide 439

FOR IMMEDIATE RELEASE Contact: Kim Carpenter Communications Coordinator [email protected] Direct: 402.934.8059

Bemis Center for Contemporary Arts Greets the New Year with Receipt of Three Prestigious Grants

Omaha, NE- As 2004 comes to a close, the Bemis Center for Contemporary Arts is pleased and proud to announce that it has been awarded three prestigious grants, which will all contribute to supporting and fostering the Center’s programs and public art initiatives. The Peter Kiewit Foundation, the Andy Warhol Foundation for the Visual Arts, Inc. and Omaha Steaks have awarded grants that reflect an exciting time for the Bemis Center. Founded over twenty years ago, the Center has always attracted the best contemporary artists in the world to Omaha through its Artist-in- Residency program. But the Bemis Center is also beginning the next phase of its development by increasing its focus on engaging the public in a wide variety of projects and programs.

The Peter Kiewit Foundation announced in December its decision to award the Bemis Center $25,000 as a means for initiating public art within local communities as well as for stimulating audience development. Through this generous support, the Bemis Center has been able to create a new facilities brochure, which details the organization’s mission, Artist-in-Residency program, exhibition programs and educational lectures. Additionally, the Bemis Center will now be able to continue its implementation of public arts within the community. Mark Masuoka, the Center’s Executive Director, noted: “We want local communities to realize that the Bemis Center is their contemporary arts center. Through programs like the Bemis Window Project in 2003 and the Art for Omaha Projects, which will be implemented at the Qwest Center Omaha in 2005, we are working to get people to contribute to the creation of public art. The Peter Kiewit Foundation is playing a significant role in helping us to realize this goal.”

Impressed with the Bemis Center’s ongoing commitment to support exceptional talent, the Andy Warhol Foundation for the Visual Arts awarded an $80,000 grant to the organization in early December. In addition to helping fund the Center’s internationally-recognized Artist-in- Residency program, the Andy Warhol Foundation grant will go toward enhancing the exhibition program as well as toward the bemisUNDERGROUND, a newly inaugurated component of the Bemis Center’s programming designed to give local artists the opportunity to present visual, audio and performance art in an interactive environment dedicated to experimentation. Projects are selected by a jury and run for five weeks each, and Omaha artist Scott Blake will curate the first show Bring Your Barcodes, which opens January 28 and runs through March 6, 2005.

Sample Press Releases, Grant Announcement—Bemis Center for Contemporary Arts Organizational Management: Public Relations 440

Jeremy Stern, the Bemis Center’s Assistant Director, remarked: “The bemisUNDERGROUND represents a significant component in developing community ties to the Bemis Center. The Andy Warhol Foundation was really impressed with this program, because it is unique not just to Omaha, but to the entire country.”

Omaha Steaks, a company with an established tradition of support for the contemporary arts in Omaha, has awarded the Bemis Center a $255,000 grant designed to help develop exhibitions and fund audience development over the next three years. Todd Simon, Senior Vice President of Omaha Steaks and President of the Board of Directors for the Bemis Center for Contemporary Arts commented, “Our decision to take a leadership role in the visual arts funding of the Bemis Center was based on our firm belief that it will ultimately provide an outstanding cultural benefit to our entire community. We commend the Bemis Center for its artistic vision and involvement in projects like ”Art for Omaha“ at Qwest Center Omaha, which help bring a public awareness to value of the contemporary art experience.”

The Bemis Center, of course, is also pleased with the public support. Mark Masuoka noted: “These grants are critical for sustaining our operations. We cannot offer programs that get the community involved without the generous support of organizations like the Kiewit Foundation, the Andy Warhol Foundation and Omaha Steaks. We are grateful to them, and we hope they will inspire others to support contemporary art in our community.”

Those interested in learning more about supporting the Bemis Center for Contemporary Arts can visit the Center’s web site at www.bemiscenter.org or call 402.341.7130 for more information.

______The Bemis Center for Contemporary Arts was founded on the belief that exceptional talent deserves to be supported. The Bemis Center provides well-equipped studio spaces, living accommodations and a monthly stipend to artists who are awarded residencies. Located at 724 South 12th Street in Omaha’s Old Market, the Bemis Center for Contemporary Art is open Tuesday - Saturday, 11:00 a.m. - 5:00 p.m. As always, admission is free. For more information, call 402.341.7130 or visit www.bemiscenter.org.

Sample Press Releases, Grant Announcement—Bemis Center for Contemporary Arts, cont. Strategic/Business Planning Organizational Mangement: Strategic/Business Planning 442

Strategic Planning: Introduction

Whether starting a new organization or assessing an established one, strategic planning plays an important part in evaluating current operations and shaping the future. Done well, a strategic plan can serve as a touchstone for years to come. The process itself can also energize, inspire and strengthen an organization.

Strategic planning is a disciplined effort to produce fundamental decisions and actions that shape and guide what an organization is, what it does, and why it does it, with a focus on the future.

The future is not the result of choices among alternative paths offered by the present, but a place that is created—created first in the mind and will, created next in activity. The future is not someplace we are going to but one we are creating. The paths are not to be found, but made, and the activity of making them changes both the maker and the destination.—John Schaar

What strategic planning can do for your organization: G Clarify future directions and create a framework for making today’s decisions in light of future consequences G Build a cohesive image/perception of the organization among board, staff, volunteers, and other organizational participants—put everyone on the same page G Increase the level of commitment to the organization and its goals G Strengthen the foundation for fundraising and board development G Increase the ability to communicate within the organization, as well as with the organization’s public and stakeholders G Improve the quality of programming and a means for assessment G Enhance ability to deal with risks from the external environment G Foster greater community commitment to the organization

A successful strategic plan: G Is based on quality data G Is externally focused and sensitive to the organization’s environment G Accepts accountability to the community G Proceeds from mission and values; expresses how an organization over time can breathe life into its mission and continue to fulfill its mission as it builds a bridge from current realities to desired futures

The planning process: The value of planning is the process, and the process is at least as important as the written document. Successful processes and plans reflect and are tailored specifically to the organization; reflected are the organization’s current realities, working styles, dynamics, environments, vision, beliefs and needs.

A successful strategic planning process: G Is supported by organizational leadership; key leadership has gained ownership of the process and there is widespread buy-in and contribution to the plan G Builds a shared vision that is values based G Is an inclusive, participatory process in which board and staff take on shared ownership G Provides opportunities for collaboration and broad involvement of those who impact and are impacted by the plan G Requires an openness to questioning the status quo, is flexible, and provides a fluid process for learning and discovery through which creative strategies can emerge G Acknowledges that disagreement is inevitable, welcomes divergent ideas, really works to get the best ideas out, does not shy away from argument, and allows for talking through delicate subjects G Leads to action and is a key part of effective management—the plan does not sit on a shelf, the plan is truly valued and truly drives meaningful decisions, implementation is not left to chance The Ultimate Residency Resource Guide 443

Sample planning process model: 1. Get organized 2. Take stock (assess current realities, internal and external environments) 3. Dream and debate (mission, values, vision, identifying issues) 4. Draft plan (developing goals, objectives, strategies, and actions) 5. Approve and implement

Obstacles to planning: G Lack of or limited understanding, familiarity, and comfort with planning G Limited financial, personnel, and time resources to carry out the process G Resistance to planning on the part of board members, staff, and other individuals due to fear of change in the organization’s structure, operations, or interpersonal dynamics G Inability to see beyond current problems and the immediate future G Lack of commitment to implementation G Unpredictability of external environment impedes planning efforts

Strategic/Business Planning Introduction, cont. Organizational Mangement: Strategic/Business Planning 444

A Brief Tutorial on Business Planning for Nonprofits

Compared to the private sector, nonprofits rarely do enough research and business planning before beginning a new program. A structured process that culminates in the presentation of a formal business plan can separate the successful from the unsuccessful. This brief tutorial offers answers to frequently asked questions and a list of resources on business planning for nonprofit enterprise.

What is a business plan? The main tool for business development is the business plan. A business plan is a formal, written document that describes the business—what it does, how it does it, and why. It is the distillation of research into a comprehensive, coherent, and concise document. Emerging businesses need a written plan to force careful thinking, encourage discipline, forge internal communication, and enhance coordination and clarity of purpose among managers and investors. Business plans help us assess the amount of capital required by a venture, and help to raise it. And, once a business is operating, the plan provides a yardstick against which to define and measure progress.

The key issues addressed in a business plan include market demand, management, human resources, operations, and capitalization. It describes the extent of the relationship between the business venture and the mission of the parent organization. A nonprofit organization writing a business plan for growing an existing enterprise, as opposed to a start-up venture, has the advantage of forecasts that are based on a financial and operational history. Whether planning for a new or ongoing enterprise, you must make your business plan both comprehensive and compelling.

Typical business plans have several components that, taken together, provide the reader with a complete picture of the financial and operational opportunities and challenges of the nonprofit enterprise.

How does nonprofit business planning differ from for-profit business planning? In the broadest sense, nonprofit business planning does not differ greatly from for-profit business planning. Both examine the industry and the market for the venture’s product or service, spell out operating and marketing plans, identify organization and management needs, and translate goals into monetary terms via pro forma financial statements. Both determine the purpose(s) for writing a business plan and couch the writing in terms of the audience they wish to address.

Differences surface, however, when analyzing the goals of each. In general, the primary goal of private sector enterprise is to make money for its owners. Enterprise among nonprofits, on the other hand, often exhibits several equally important goals. The goals may not always be consonant. Multiple goals make business planning more complex and harder to perform.

Business plans for nonprofit enterprise often reflect a social commitment—the mission of the nonprofit organization is incorporated into the plan. A nonprofit may seek to generate income, but not, for example, at the expense of the relationship between the nonprofit and the community in which it operates.

What is the purpose for writing a business plan? A business plan is important because it forces careful thought and research, and facilitates realistic decision- making based on accurate, market-based financial projections.

Merely writing a business plan, however, will not ensure the success of your organization if it is not viable. It will not serve as a smokescreen for hiding management incompetence or financial incapacity.

What a business plan will do is provide management, funders and other stakeholders with the information necessary to substantiate current and future programming demands, and detail management and financial capacity. It will institutionalize your financial and programmatic objectives, and provide you with a guideline for tracking performance and course correcting as required. Further, you can use it as a tool to market your enterprise and The Ultimate Residency Resource Guide 445 attract funding.

How do we begin? The business plan is the natural successor to the feasibility study, the document that examines various ways your business can operate and investigates the conditions that would make it profitable. You may write your business plan before start-up (to raise capital) or after start-up (to raise additional capital, for credibility purposes, or for managerial planning). In either case, you begin writing your business plan when you have gathered all the information necessary to prove that your organization can succeed.

How long should it take to complete our business plan? Recent research with nonprofit organizations indicates that it takes a nonprofit between three and twelve months to research and write a business plan.

The time it takes to complete a business plan can vary, however, depending on a number of factors. It depends on the status of the organization, as well as the number of staff and/or board members who are participating in the process. It depends on whether you have conducted a feasibility study and, therefore, have data to support that your business concept is solid and market driven, your financial projections are realistic, and your management has the requisite talent and experience. If these components are wanting, the length of time to complete your business plan will depend on how many aspects of the research and writing you need to do, and how many you can do simultaneously.

Clearly, all key parties who will be involved in your venture should weigh in. It does no good to prepare a plan unless it is based on a realistic appraisal by those who will implement it. Our experience is that the entire process goes most smoothly when the organization designates an organizational “champion” to manage the process and move it forward.

Who should write our business plan? Several possibilities exist. One is for a key staff member to develop the plan. Another more common possibility is for one or more staff and board members to jointly write the plan. The team might include the executive director, the financial director, the development officer, the special projects manager, and board members. Lastly, many organizations work with business consultants to help them research and write their plans—you might want to consider this option as well.

Technically, anyone with a thorough understanding of the organization, familiarity with the construction of financial statements, and strong writing skills is capable of writing a business plan. The three most important considerations in determining who writes your business plan are the requisite skills, the available time, and a clear understanding of the relationship and interplay between the business and the exempt mission of the organization.

How long should the business plan be? Your business plan should be as many pages as necessary to describe your venture and provide the details required to demonstrate how it will succeed. That said, good business writing is succinct and to the point. For example, in describing what business you are in, you should be able to describe it in no more than one or two sentences. Typical business plans for nonprofits vary from 5 to 60 pages long.

Should our business plan incorporate a Social Return on Investment (SROI), and if so, how? The Social Return on Investment (SROI) calculation is a non-financial return sought by a social entrepreneur. These returns vary depending upon the type of business activity. Examples of SROIs are the number of jobs created through an organization and professional development opportunities provided to artists.

According to some funders, calculating a SROI improves the “bottom line,” and presents a very compelling argument for funding and other types of support. If applicable to your enterprise, you might want to include an SROI in your business plan.

Business Planning Tutorial, cont. Organizational Mangement: Strategic/Business Planning 446

Developing the SROI calculation depends on the nature of your enterprise.

What resources will show us how to write a business plan, and where can we see examples of well researched and written business plans? There are numerous business planning guides on the market that provide guidance on writing a business plan. Although the sequence and details may differ, most provide outlines for covering the same general categories. A visit to a local library or bookstore will prove a useful way to begin your search.

The following resources are directly targeted to the goal of business planning for nonprofits.

Abrams, Rhonda M. The Successful Business Plan: Secrets and Strategies. Oasis Press. Grants Pass, Oregon. 1993. Alter, Sutia Kim. Managing the Double Bottom Line: A Business Planning Reference Guide for Social Enterprises, Pact Publications, Washington DC, 2000. Landy, Laura. Something Ventures, Something Gained: A Business Development Guide for Non-Profit Organizations. New York, NY: American Council for the Arts, 1989. Massarsky, Cynthia W. “Business Planning for Nonprofit Enterprise,” The Nonprofit Entrepreneur (Edward Skloot, editor). New York, NY: The Foundation Center, 1988. Starkey, Kim. “Quantifying Social Costs: A Case Example from Rubicon’s Buildings and Grounds Business.” Investor Perspectives, Roberts Foundation, San Francisco, 1999. Upper Manhattan Empowerment Zone. Translating Your Vision Into Success: Basic Manual for Preparing A Business Plan. New York, NY. 1988.

Information from: Cynthia W. Massarsky www.ventures.yale.edu/docs/brieftutorial.pdf

Business Planning Tutorial, cont. The Ultimate Residency Resource Guide 447

Strategic Planning Recommended Plan Review Criteria

I. SENSE OF IDENTITY G Is it clear that the organization knows who it is? G Has it expressed a set of core values? G Does it have a significant vision for the future? G Is the vision shared within the organization? G Is its mission one that is vital to an identified community? G Can the organization describe its artistic philosophy and product?

II. CURRENT REALITIES G Does the organization recognize and understand its current realities? G Does the plan present and analyze relevant facts about the organization? G Does the plan present and analyze relevant facts and information about the organization’s target markets (audience, donors, communities)? G Does the plan present and analyze relevant facts about the wider external environment?

III. FUTURE PLANS G Has the organization articulated a clear sense of direction for its future? G Will the goals expressed advance the organization toward its vision? G Has the organization assessed its ability to compete for and secure resources? G Does the organization have the capacity to implement the actions it enumerates? G Does the plan differentiate between primary and secondary priorities? G Does the plan provide contingency plans or multiple scenarios? G Does the plan identify expected outcomes/results and evaluation measures?

IV. BUDGETS AND TIMELINES G Are budgets built upon elements of data review—such as expenses by program/cost center and cash flow projections? G Are budgets realistic and healthy? G Are they accurate and complete with sufficient detail including fund balances? G Are timelines realistic? Are key tasks clearly allocated? Is there sufficient detail?

V. PLANNING PROCESS G Does the plan evidence that all parts of the organization have been involved in planning? G Has learning taken place in the organization? G Have internal processes (such as decision-making, conflict resolution, critical response to artistic product) been made explicit? G What specific organizational capacities have increased during the planning process? G Will planning continue to take place in the organization?

by Laurel Jones Reprinted from the “National Endowment for the Arts Advancement 95/96 Handbook” Organizational Mangement: Strategic/Business Planning 448

Strategic Planning—Organizational Assessment Checklist

An organizational assessment is a good place to start the strategic planning process, to identify areas that need additional attention and to evaluate the capacity for implementation.

Strong Adequate Weak N/A ORGANIZATIONAL PURPOSE 1. Concise, written Mission Statement 2. Concise, written Artistic Philosophy/Vision Statement 3. Understanding of mission and philosophy by board 4. Understanding of mission and philosophy by staff 5. Understanding of mission and philosophy by constituencies/general public 6. Understanding of mission and philosophy by prospective funders 7. Mission statement and philosophy reviewed regularly 8. Concise, written history of the organization

PROGRAMS 1. Sense of vision and continuity provided by artistic leadership 2. Annual program planning process 3. Written annual program plan 4. Formal communication of annual program plans to staff 5. Formal communication of annual program plans to Board/volunteers 6. Method for review/evaluation of prior year’s program 7. Method for determining whether programs meet constituent needs 8. Written multiyear program plan 9. System for costing-out program elements 10. Volunteer support of programs 11. Other artistic issues

GOVERNANCE 1. Understanding of the responsibilities of the board 2. Written board member job descriptions 3. By-laws: current, functional, used 4. Procedures for evaluating short-term/long-term objectives 5. Procedures for recruiting new board members 6. Procedures for orientation of new board members The Ultimate Residency Resource Guide 449

Strong Adequate Weak N/A 7. Procedure for evaluating board members and/or board rotation 8. Structure of board committees 9. Frequency of board meetings 10. Attendance at Board meetings 11. Procedure for meeting notice and preparation 12. Effective use of time at Board meetings 13. Board attendance at performances/exhibits 14. Staff input into Board decision-making 15. Understandable financial reports presented to Board 16. Board’s understanding of finances 17. Method of reviewing auditor’s report 18. Board represents community served 19. Board’s understanding of Board/staff relationships 20. Board’s understanding of fundraising 21. Board members make sufficient cash donations annually 22. Board members give time/expertise 23. Board members advocate the organization in the community 24. Board members review/approve long range plan 25. Board members recruitment of new donors 26. Board members sense of involvement 27. Board members sense of accomplishment 28. Role of advisory committees 29. Other Governance issues

STAFF 1. Clarity of reporting relationships 2. Current and accurate written job descriptions 3. Administrative leadership 4. Communication among staff members 5. Communication between staff and board 6. Communication among staff, board and artists 7. Staff’s understanding of the function and duties of the board

Organizational Assessment Checklist, cont. Organizational Mangement: Strategic/Business Planning 450

Strong Adequate Weak N/A 8. Staff participation in planning 9. Appropriateness of staff size re: programming challenge 10. Staff experience in relationship to the job assignment 11. Time available to perform jobs satisfactorily 12. Opportunities for staff training and personal development 13. Systems for recruiting/using/thanking staff & volunteers 14. Written personnel manual and policies 15. System for annual performance reviews 16. Benefit package for staff 17. Salary scale for staff 18. Staff use of consultants/contractors 19. Staff morale 20. Office equipment 21. Other personnel issues

MARKETING 1. Understanding of who currently patronizes organization (e.g. event attendees, artists, members, etc.) 2. Understanding of who organization wants as patrons (target markets) 3. Understanding of competition and annual review of their activities 4. Tracking of actual ticket sales/attendance by event & fiscal year 5. Mechanism for regular market research and analysis 6. Annual written marketing plan 7. Effective marketing/promotional materials 8. Marketing budget 9. Analysis of cost-per-unit to sell each product 10. Size of marketing staff in relation to task 11. Experience of marketing staff in relation to task 12. Staff use of marketing consultants 13. Volunteer assistance with marketing/sales 14. Ability of organization to accurately project earned income goals 15. Ability of organization to consistently meet earned income goals

Organizational Assessment Checklist, cont. The Ultimate Residency Resource Guide 451

Strong Adequate Weak N/A 16. Process for evaluating effectiveness of marketing plan 17. In-house mailing list/database 18. Mailing list/database: procedures for updating/purging information 19. Other marketing issues

PUBLIC/COMMUNITY RELATIONS 1. Consistency and clarity of organizational image communicated to public 2. Mechanism for handling of public queries, complaints, etc. 3. Annual public relations plan 4a. Effectiveness in representing the organization: to its constituencies 4b. Effectiveness in representing the organization: to the general public 4c. Effectiveness in representing the organization: to the press 4d. Effectiveness in representing the organization: to critics 5. Mechanisms for receiving and evaluating feedback from various sources 6. Organization’s publications 7. Size of staff in relation to task 8. Experience of staff in relation to job assignment 9. Budget for public relations 10. Understanding of difference between marketing and public relations 11. Other public/community relations issues

FUNDRAISING 1. Process for setting annual fundraising goals 2. Mechanism for providing development staff input into fundraising goals 3. Mechanism for providing Board input into fundraising goals 4. Ability of organization to consistently meet fundraising goals 5. Written development plan for annual operating support 6. Plan indicates secured, renewable and speculative contributed income 7. Size of development staff in relation to task

Organizational Assessment Checklist, cont. Organizational Mangement: Strategic/Business Planning 452

Strong Adequate Weak N/A 8. Experience of staff in relation to job assignment 9. Grantwriting expertise 10. Individual donor research capacity 11. Corporate, foundation, govt. grants research capacity 12. Special events, consistently net at least 50% of income as profit 13. Impact on organization of producing special events 14. Leadership of Board in special events 15. Involvement of Board in prospect identification 16. Involvement of Board in individual donor solicitation 17. Non-Board volunteer support of fundraising effort 18. Solicitor training 19. Earned income/contributed income mix 20a. Organization’s ability to attract individual donations, gifts 20b. Organization’s ability to attract corporate gifts 20c. Organization’s ability to attract private foundation funding 21. Level of local government grants (arts & non-arts) 22. Level of state government funding 23. Level of national government funding 24. Development materials 25. Computer support for fundraising 26. Gift recording system 27. Gift acknowledgment system 28. Systematized information about donors/prospects 29. Mechanism for systematic renewal of past/lapsed donors 30. Systematic plan for expanding donor base 31. Budget for fundraising expenses 32. Other fundraising issues

FINANCIAL MANAGEMENT 1. Annual budgeting process 2. Computerized accounting/budgeting/reporting systems 3. Board mechanism for reviewing monthly statements

Organizational Assessment Checklist, cont. The Ultimate Residency Resource Guide 453

Strong Adequate Weak N/A 1. Annual budgeting process 2. Computerized accounting/budgeting/reporting systems 3. Board mechanism for reviewing monthly statements 4. System for regular cash flow projections and monitoring 5. Ability of organization to manage cash flow 6. Formalized cost controls 7. Ability of organization to pay accounts payable within 30 days 8. Annual financial audit (with management letter) by CPA 9. Board system for reviewing audit 10. System of internal controls 11. Payroll tax deposits made when due 12. Ability of org. to manage debt repayment of notes/loans outstanding 13. Line of credit for the organization 14. Investment and endowment returns 15. Formal policy that maintains integrity of cash reserve or endowment 16. System for segregating pre-payments in restricted accounts 17. Size of staff in relation to tasks 18. Experience of staff in relation to job assignments 19. Staff’s understanding of financial systems 20. Other financial management issues

FACILITIES 1. Space for productions/exhibits/activities at present level 2. Space for expanded productions/exhibits/activities 3. Space for current administrative staff 4. Space for expanded administrative staff 5. Space for current production staff 6. Space for expanded production staff 7. Storage facilities 8. Image the facility communicates to constituents 9. Ambience of space for staff and volunteers

Organizational Assessment Checklist, cont. Organizational Mangement: Strategic/Business Planning 454

Strong Adequate Weak N/A 10. Degree of organization’s control of facility 11. Length of lease agreement 12. Other facilities issues

PLANNING 1. Multi-year plan in place and in use 2. Plan reviewed and updated annually with board and staff 3. Evaluation of previous year activities in relation to plan 4. Other Planning issues

COMMUNICATION/DECISION MAKING 1. Communication within the organization is open, candid, timely 2. Decision making process is well-informed, timely 3. Other Communication/Decision Making issues

EXTERNAL ENVIRONMENT 1a. Understanding of local/regional economic climate 1b. Understanding of local/regional giving to the arts 1c. Understanding of local/regional attendance of the arts 2. Organization’s knowledge of/relationship to arts community 3. Organization’s knowledge of/relationship to non-arts community

FINAL COMMENTS

LIST OF PARTICIPANTS IN SELF ASSESSMENT ON (date______)

From: Morrie Warshawski, Editor National Endowment for the Arts, Lessons Learned: A Planning Toolsite http://arts.endow.gov/resources/Lessons/index.html

Organizational Assessment Checklist, cont. The Ultimate Residency Resource Guide 455

Alliance of Artists Communities Strategic Plan 2005-2008 Adopted November 16, 2004

I. WHO WE ARE

Mission The Alliance of Artists Communities contributes to America’s creative vitality by supporting our membership of diverse residency programs and advocating for creative environments that advance the endeavors of artists. The Alliance is the only national service organization supporting the field of artists’ communities. As such, we are also the only national organization concerned with independent artists across all disciplines. Cultivating new art and ideas—which cross boundaries posed by discipline, religion, race, ethnicity, gender, class, age, and physical ability—is the fundamental work of artists’ communities. Supporting artists’ communities in this work, as well as acting as a collective voice for the field, is the work of the Alliance.

History The Alliance of Artists Communities grew out of the MacArthur Foundation’s 1990 program entitled “Special Initiative on Artists’ Colonies, Communities, and Residencies.” The eighteen recipients of grants under this one- time program formed the Alliance in 1992 with seed money from the MacArthur Foundation and the National Endowment for the Arts. This original group of 18 included: Alternative Worksite (now the Bemis Center for Contemporary Arts), Atlantic Center for the Arts, Capp Street Project, Centrum, Djerassi Resident Artists Program, Fine Arts Work Center, Headlands Center for the Arts, the Institute of Contemporary Art (now PS1), Jacob’s Pillow, the MacDowell Colony, Mattress Factory, the Millay Colony, Palenville Interarts Colony, Ragdale Foundation, Sculpture Space, Virginia Center for the Creative Arts, Yaddo, and Yellow Springs Institute.

The directors of these organizations began meeting that same year at the invitation of Doris Leeper, founder of Atlantic Center for the Arts, and with the support of A Friends Foundation. The participants agreed to pool some money from their MacArthur grants to form an organization to represent artists’ communities, and they called themselves the Fairly Loose Association of Artists’ Communities. There was no staff at this point, and administrative work (and fiscal agency) was passed along from one artists’ community to another. The group met once a year, and slowly began to add new members. The first part-time staff was hired in 1992, and the organization had become known as the Alliance of Artists Communities. In 1994, an office was created in San Francisco by then Executive Director Tricia Snell, who later moved the operation with her to Portland, Oregon.

Since its founding, the Alliance has convened 13 annual conferences and two national symposia. The first of these symposia, “American Creativity at Risk,” in Providence in 1996, expanded the membership and earned the Alliance national recognition within the arts world. The second was held in 2001 in Chicago, and was titled “The Future of Creativity.” The Alliance has also put out several publications, including two editions of the Directory of Residencies, in 1996 and 2000, research reports on the field, and compilations of organizational development data. In January, 2002, the Alliance moved its headquarters to its current home in Providence, Rhode Island, and welcomed Deborah Obalil as its Executive Director. And in 2003, the Alliance began conven- ing two regional meetings a year in addition to its national conference. The Alliance membership now includes more than 200 organizations and individuals, and recent research indicates that over 12,000 artists are served by US artists’ communities each year.

From the days of the “Fairly Loose Association” to today, the Alliance has developed into a strong network, providing professional development for its membership, encouraging the growth and stability of dozens of start-up residency programs, and advocating on behalf of the field nationally and, with the Alliance’s international partner Res Artis, worldwide.

Sample Strategic Plan—Alliance of Artists Communities Organizational Mangement: Strategic/Business Planning 456

Current Programs In addition to the special projects highlighted above, the Alliance provides the following programs and services on a regular basis each year: G Annual Conference providing networking opportunities, professional development seminars and discussion panels G Regional Meetings (2 annually) providing a more intimate setting for networking and discussions of regionally based issues and collaboration opportunities G Newsletter (3 annually) sharing news from the field, articles on topics of interest to the field, and updates from the Alliance regarding current projects and programs G Resource publications and limited consulting on management issues facing artists’ communities (both for start-ups as well as established organizations) G Web site designed to be the information source on residency programs in the US, serving to both promote our member organizations as well as assist artists in finding the appropriate residency opportunities for them; the site is also linked to additional resources artists may find useful (e.g. retreat and workshop programs, international residencies, etc.) G Regular presence at national conferences and gatherings, representing the field of artists’ communities within the broader arts network

II. VISION AND THEORY OF CHANGE

There are people, even now, who are constantly reimagining not just their future but also their present, and the present and future of the collective. They are the creative minds that one must turn to at times like this, when the world is sent into turmoil and the failure of a coherent vision for our own society’s future is all too apparent. They are the green ants dreaming. They make the “art,” as Zygmunt Bauman writes, “that transforms the improbable into the inevitable.”—Carol Becker, The Future of Creativity, 2001

The Alliance believes that creativity must be nurtured, supported and catalyzed for the continuation and betterment of our society, now and for the future. Without support for the artists creating today, there will be no arts for future audiences and citizens to engage with and enjoy in the future. Artists’ communities provide this most necessary support to artists of all disciplines and backgrounds, while creating environments that encourage critical discourse and exchange of ideas. It is these two elements—discourse and exchange—that make artists’ communities unique within the diverse and growing network of support for independent artists. It is also these two elements which must be both protected and expanded as we strive to create that “coherent vision for our own society.”

Artists’ communities are a necessary piece of the arts ecology, and the Alliance exists to support and further the field’s work. Toward achieving our mission, and ultimately our vision for society, the Alliance has identified the following goals for its work over the next four years, as well as strategies and tactics to achieve them.

Overall goals:

1. Expand our role as Advocate/Promoter of the field of artists’ communities. 2. Continue to evolve our direct member services in response to the changing needs of the field, especially developing our role as connector/convener. 3. Grow and diversify our financial resources in support of our mission and programs. 4. Develop our organizational capacity to support the implementation of these strategies toward fulfilling our mission.

Sample Strategic Plan—Alliance of Artists Communities, cont. The Ultimate Residency Resource Guide 457

III. GOALS & OBJECTIVES

A. Expand our role as Advocate/Promoter of the field of artists’ communities

2005 G Establish a board committee to oversee and catalyze activity in this area. G Identify key issues and plan to communicate them (e.g., critical discourse, international exchange). G Create and implement media plan/program to regularly disseminate information to key media outlets on activities and accomplishments of the field and the Alliance. G Ensure regular presence of Alliance staff and board on key conference panels. Develop list of prioritized conferences and meetings and identify potential speakers for each. G Determine necessary research to methodically determine impact of the field—on artists, in terms of eco- nomics, etc. G Determine next “big project” (similar to Creativity Symposia in past) appropriate to further the Alliance’s advocacy goals, including identification of appropriate partners to facilitate implementation and impact.

2006 G Conduct any research identified in previous year. G Ensure regular presence of Alliance staff and board on key conference panels through implementation of plan created above. G Continue implementation of media plan/program. G Continue implementation and evaluation of advocacy plan. G Begin planning and fundraising for “big project” as determined in 2005

2007 G Ensure regular presence of Alliance staff and board on key conference panels through implementation of plan created above. G Continue implementation of media plan/program. G Continue implementation and evaluation of advocacy plan. G Continue planning and fundraising for “big project”

2008 G Implement “big project” G Ensure regular presence of Alliance staff and board on key conference panels through implementation of plan created above. G Continue implementation of media plan/program. G Continue implementation and evaluation of advocacy plan.

B. Continue to evolve our direct member services in response to the changing needs of the field, especially developing our role as connector/convener

2005 CORE G Create and disseminate annual “fact sheet” on the field to increase knowledge within and beyond the field of its impact. G Develop pilot program of internal affinity groups for members to create small groups within growing membership. First two groups developed would be Emerging Programs and Arts/Ecology. G Develop Emerging Program institute/mentorship program. G Complete final year of Visions from the New California project and evaluate whether/how to continue the program, as well as how to expand upon it to continue to create programming initiatives that address issues of diversity.

Sample Strategic Plan—Alliance of Artists Communities, cont. Organizational Mangement: Strategic/Business Planning 458

DEPENDENT ON FUNDING G Develop partnership with LINC (Leveraging Investments in Creativity) to create a program facilitating international artist exchanges through Alliance members. G Create and pilot Leadership Institute to develop new generation of artists’ community leaders. G Research potential regional and national joint funding and re-granting programs for membership (e.g. Visions project with Irvine Foundation).

2006 CORE G Continue Regional Meeting cycle (begins repeating this year) and conduct Annual Conference. G Produce annual “fact sheet” on the field. G Evaluate success of pilot affinity group program and add new groups as appropriate (e.g., urban programs, performing arts issues, serving emerging artists, etc.). G Continue development of fee-for-service programs for Emerging Programs.

DEPENDENT ON FUNDING G Develop appropriate regional and national joint funding/re-granting programs for membership based on research. G Implement international artist exchange program with LINC. G Develop retreat programming for Executive Directors, Development Directors, Residency Directors and Facilities Directors/Managers to expand network beyond single person at member organizations and address issues specific to these roles in the field.

2007 CORE G Conduct research for 4th Edition of the Artists Communities directory. Consider creation of two directo- ries—one for North America, another for remainder of globe in partnership with Res Artis. G Produce annual “fact sheet” on the field.

DEPENDENT ON FUNDING G Implement international artist exchange program with LINC. G Continue appropriate regional and national joint funding and re-granting programs for membership.

2008 CORE G Publish and distribute 4th Edition of Artists Communities. G Conduct comprehensive program audit to prepare for new strategic planning process.

C. Grow and diversify our financial resources in support of our mission and programs.

2005 INDIVIDUAL DONOR STRATEGY G Develop new and increased individual giving through expanded (higher) Patrons Council levels. G Develop comprehensive retention plan for all donors. G Develop new materials with targeted message for donor cultivation—use advocacy issues and “big picture” role of field. G Create and implement one high-level, “special” donor event annually G Evaluate benefit gallery exhibition from Fall 2004 and determine plan for future fundraisers of this type.

FOUNDATION/CORPORATE STRATEGY G Develop programming plan that will attract higher-level foundation grants (e.g. Ford, Annenberg, Rockefeller, Rockefeller Bros. Fund, Allen, Warhol, etc.)—this may require re-granting.

Sample Strategic Plan—Alliance of Artists Communities, cont. The Ultimate Residency Resource Guide 459

PLANNED GIVING/ENDOWMENT STRATEGY G Conduct organizational development assessment to determine necessary size and structure for an endowment, and create appropriate opportunities to facilitate planned giving/endowment giving.

EARNED INCOME STRATEGY G Research other association models (arts and non-arts) to develop new earned income sources.

2006 INDIVIDUAL DONOR STRATEGY G Create local councils in key geographic regions with specialized salon programs 2-3 times annually in each location to increase connection to the Alliance among donors. Program would be piloted in SE New England in first year. G Implement annual “special” donor event. G If appropriate, conduct benefit exhibit/auction/performance based on model of Fall 2004 benefit gallery exhibition.

FOUNDATION/CORPORATE STRATEGY G Implement programming plan that will attract higher-level foundation grants.

PLANNED GIVING/ENDOWMENT STRATEGY G Continue to identify and facilitate planned/endowment giving among current supporters of the Alliance.

EARNED INCOME STRATEGY G Implement new services/products identified as earned income opportunities.

2007 INDIVIDUAL DONOR STRATEGY G Expand local councils program to two additional areas (e.g. San Francisco Bay Area, Los Angeles/Southern CA, New York City, Chicago, Santa Fe). G Implement annual “special” donor event.

FOUNDATION/CORPORATE STRATEGY G Implement programming plan that will attract higher-level foundation grants.

PLANNED GIVINGE/ENDOWMENT STRATEGY G Conduct feasibility study for an endowment campaign.

EARNED INCOME STRATEGY G Continue implementation of services/products identified as earned income opportunities.

2008 INDIVIDUAL DONOR STRATEGY G Expand local councils program to two more additional areas, for a total of 5 local councils.

FOUNDATION/CORPORATE STRATEGY G Implement programming plan that will attract higher-level foundation grants. G Achieve financial stability—defined as core operations covered by earned/programmatic income, and individual donations, not foundation/corporate support.

ENDOWMENT STRATEGY G Implement endowment campaign (if determined feasible).

Sample Strategic Plan—Alliance of Artists Communities, cont. Organizational Mangement: Strategic/Business Planning 460

EARNED INCOME STRATEGY G Continue implementation of services/products identified as earned income opportunities.

D. Develop our organizational capacity to support the implementation of these strategies toward fulfilling our mission.

2005 GOVERNANCE G Evaluate the structure of the Board of Trustees (purpose, make-up, goals, expectations of service, etc.) in regards to its ability to lead the organization in the achievement of its strategic goals. G Implement phase I of Board growth plan to increase capacity and achieve desired diversity goals (ethnic, skill, geographic, age, etc.). Add 4 new members assuming 3 positions are vacated.

STAFF/INFRASTRUCTURE G Increase staff to 3 Full-Time Employees o Exec. Director—primary development officer, board management, strategy and vision o Program & Comm. Director—primary program responsibility, primary communications responsibility including advocacy o Administrative Assistant—task support for 2 positions and activities above G Develop Technology Plan to accommodate both staff and programmatic growth. G Develop plan for physical expansion to accommodate staff growth.

2006 GOVERNANCE G Implement phase II of Board growth plan. Add 4 new members assuming 2 positions are vacated.

STAFF/INFRASTRUCTURE G Increase staff to 4 Full-Time Employees o Keep all above positions o Add Development Director to support increased development activities (foundation/corporate re- granting, local individual donor councils, endowment campaign planning) G Implement physical expansion plan.

2007 GOVERNANCE G Implement phase III of Board growth plan.

STAFF/INFRASTRUCTURE G Increase staff to 4.5 or 5 Full-Time Employees o Keep all above positions o Add part or full-time program assistant to maintain service quality to increasing membership and assist in managing new programs G Develop leadership succession plan for Executive Director including description of qualities and experiences required by next individual to hold position, as well as appropriate/necessary salary level and benefits.

2008 G Evaluate organizational capacity in preparation of next strategic planning process.

Sample Strategic Plan—Alliance of Artists Communities, cont. The Ultimate Residency Resource Guide 461

McColl Center for Visual Art Strategic Plan 2003 - 2008

A) Focus on the Artist-in-Residence (AIR) and Affiliate Artist (AA) Programs—These are our core programs. They will guide our logic in determining all other activities and programs. We will provide for the highest quality experience for AIRs and AAs.

G By 2006, McColl Center will reestablish the number of residency sessions at three per year. This will provide increased opportunity for connections to be made between AIRs and the community and will expand the visibility of contemporary art and recognition of the artists in the community.

G By summer of 2002, AIRs will be selected 12 - 24 months in advance of their residency.

G Achieve a critical mass of artists working at McColl Center as AIRs or AAs by 2003: increase number of AIRs each session from six to ten and thereby increase the total number of artists in combination (AIRs and AAs) to eighteen per session.

As the cumulative number of AIRs and AAs grows over time, so will the prestige of McColl Center as those artists continue to make advances in their careers. Emerging, mid-career and established (nationally and internationally-recognized) artists are selected either by application, nomination, or a curatorial process.

To ensure excellence:

G Nominators will participate in an orientation phone call with the Director of Residencies and Exhibitions prior to being asked to recommend potential AIRs to McColl Center. An orientation will provide an opportunity to impart to the nominator McColl Center’s criteria for AIR eligibility and the importance of identifying AIRs who are committed to community interaction. McColl Center is interested in finding the best possible match between an artist, the organization, and the community.

G Nominators will be apprised when artists that they have recommended for residency are selected and participate in a residency. A connection will be made between the nominator, the resident artist, and McColl Center.

G AAs will continue to be selected through an open application and a jurying process every 12 to 14 months.

G The annual AIR and biennial AA selection panels will identify twice as many artists as McColl Center has studios. McColl Center will follow up with an in-depth and substantive interview of prospective artists prior to their final selection. Final selection will be done by the Director of Residencies and Exhibitions. An interview will help assess what stage of professional and artistic development the prospective AIR’s and AA’s have attained, what new ideas they may bring to the ongoing conversation about contemporary art in Charlotte, how they may add to the dynamic of the residency program, and how they may interact with the local community and other artists-in-residence.

G The interview process provides an opportunity to let prospective AIRs and AAs know that, if they are selected, the institution will be making a significant investment of money and time in their residency. An interview also provides the opportunity to inform the prospective AIR and AA about the value of having twenty- four hour access to the state-of-the-art equipment and facility. The interview allows the Director of Residencies and Exhibitions to express McColl Center’s strong desire that the selected AIRs and AAs take the opportunity seriously and use every minute of their time as they are getting paid for it—because there is significant monetary value to each residency.

G The outreaches conducted by the AIRs will be expanded to include the AAs and will be planned more in advance to better connect the AIRs and AAs to partner institutions whose targeted audiences can benefit by

Sample Strategic Plan—McColl Center for Visual Art Organizational Mangement: Strategic/Business Planning 462

a lecture/demonstration/critique or other programming. It is important to McColl Center that the AIR and AA have meaningful outreach experiences from which they can learn and benefit, too.

G McColl Center and partner institutions will work jointly on public relations and marketing efforts to publicize the outreaches. Partner institutions must participate in the public relations and marketing efforts to guarantee a broader audience for the outreach program and, subsequently, McColl Center’s AIR and AA programs.

G Possible institutional partners: Arts and Science Council, ASC’s Public Art Commission, University of North Carolina Charlotte, Mint Museum of Art, Mint Museum of Craft + Design, Carolinas HealthCare Foundation, Afro-American Cultural Center, Discovery Place, Levine Museum of the New South, North Carolina Blumenthal Performing Arts Center, The Light Factory, Charlotte Mecklenburg Schools, Charlotte/Mecklenburg County Public Library, Charlotte Center City Partners, Community Building Initiative, Fourth Ward, First Ward, Mecklenburg Parks and Recreation Department, Southeast Center for Contemporary Art, North Carolina School of the Arts, North Carolina Dance Theater, The Moving Poets, and the City of Charlotte.

G Advanced knowledge (12 - 24 months) of who is selected as an AIR will provide opportunity for targeted fundraising for sponsorship of residencies, exhibitions, and/or collaborative projects with other institutions. Sponsors can be appropriately acknowledged in publications and signage in a timely fashion.

G Advanced in-depth information about and communication with AIRs and AAs allows the Director of Artist and Community Relations to more easily facilitate connections between the AIRs, AAs, and local artists. Opportunities for local artists who may have an interest in specific AIRs in regard to the medium they work in, the processes they utilize, and the experience they possess, will be created and meetings arranged between them and the AIRs shortly after the AIRs arrived at McColl Center. Connections are made early between local artists and AIRs, and possible relationships may develop during the residency.

G Other programs/activities of McColl Center will have a clear link to AIR program. Artists Services and Education will directly be linked to the AIR program through the Director of Artist and Community Relations, who serves as the liaison between AIRs, AAs, and area artists as stated above. Exhibitions at McColl Center by non-resident artists will provide programming activities focusing on exhibitors, residents, affiliates, and area artists to create dialogue about content, genre, or technique-based exhibitions.

G Open studios during gallery hours is intended to provide regular public access to AIRs and AAs working at McColl Center. Access will make the artistic process more visible to the public and patrons. This furthers McColl Center’s educational mission and specifically provides opportunities to demystify the creative process. To open the studios was determined in response to requests made by AIRs, local artists, and the general public for more interaction with AIRs and AAs.

G A new McColl Center for Visual Art interactive Web site will be created by the end of fiscal year 2003 to provide comprehensive information to artists, nominators, and the community and permit the Center to receive nominations and applications on-line. A Web site that is dynamic and cost- effective and allows for multiple ways of communicating with artists, nominators, applicants, members, patrons, and the local, national and international arts community could be an efficient tool to share information and keep audiences engaged. The Web site will include an electronic alumni newsletter. Actively engaged alumni will be in a better position to serve as knowledgeable spokespersons for McColl Center in their respective communities. Such involvement will increase McColl Center’s reputation and assist it in enlarging the AIR applicant pool.

G Establish a National Advisory Council by 2004, made up of nationally recognized artists and administrators that meets annually to help assess the quality of McColl Center’s program and provide guidance in improving it. The National Advisory Council will act as ambassadors of McColl Center on a national level.

Sample Strategic Plan—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 463

B) Focus on Diversity

The goal is to achieve diversity in all aspects of the Center’s organization and programs so that they reflect the changing population of Charlotte and the specific communities served by McColl Center.

Diversity must be defined to extend to not just an ethnic and racial mixture but also differences in economic levels and age, sexual preference, religious orientation, and physical ability.

The Communities served by McColl Center can be divided into five groups: 1. McColl Center-based Artists and Artist Entities i. Artists in Residence (International, National, Local) ii. Affiliate Artists iii. Alliance of Artists Communities and its Members 2. Carolina Artists at large 3. Board of Directors, Employees, Volunteers and Vendors 4. Partners/Collaborators i. Members, Contributors and Visitors ii. Arts & Science Council / Public Art Commission iii. University of North Carolina at Charlotte iv. Carolinas HealthCare System v. Charlotte Mecklenburg Schools vi. Discovery Place Museum vii. Edwin Towers & Fourth Ward Neighborhood viii. Afro-America Cultural Center ix. Religious Community x. Latino Community xi. Center City Partners xii. Caversham/International Residencies xiii. The Light Factory xiv. Others as they come into being 5. The Community at Large

To measure the success of our diversity efforts we must evaluate the presence of and participation by these communities at all levels of our operation. The intention is to objectively analyze numerical data and subjective written evaluations over three to five years. Using actual demographic data from Charlotte Mecklenburg Metropolitan Statistical Area (CMSA) and McColl Center for Visual Art’s past programming data for comparison analysis, the Diversity Committee shall identify specific groups within communities to track and review to determine if immersion is happening at all levels of program operation.

C) Focus on the Facility—a unique asset to be celebrated and promoted. 1. Create more accessibility to, interaction with, and awareness of the facility among communities served (local artists, members/patrons, broader and emerging visual art audience) i. Cause the creation of a gathering place within or adjacent to the facility (café/gallery/performance space) for AIRs/AAs, members/local artists/neighbors, etc. The site could be in the reno- vated manse or in a commercial space in the condo complex across Church Street. ii. Expand the exhibitions to all gallery spaces throughout the building including second and third floor walkways. iii. Have AIRs be available for public visits to their studios during gallery hours. iv. Develop ways for local artists to have access to specific studios with technical assistance (eg., master printer available in print studio for local artists two days a week for a nominal hourly fee and/or a media technician in lab two days a week for hourly fee). v. Within two years, research and negotiate a fee arrangement for a private press to operate out of our print shop. The facility will be provided free of charge to the press for the service it pro-

Sample Strategic Plan—McColl Center for Visual Art, cont. Organizational Mangement: Strategic/Business Planning 464

vides to AIRs, AAs, and local artists. Or, another comparable arrangement for print shop management and use could be arranged. 2. Phase out activities not centered in the building i. Negotiate a win-win agreement with key leaders/influencers to discontinue Spirit Square programming. Hold public forums for area artists to determine interests, needs regarding exhibition space, and the possibility to have those needs met at McColl Center. ii. Begin a dialogue to foster a win-win situation with local artists during the calendar year and offer exhibitions focused on local artists. (e.g. What’s New; What’s New Two; Celebrating the Legacy of Romare Bearden; Affiliates Working in Clay; AIR talks at McColl Center for Visual Art, etc.). Continue the dialogues with monthly McColl Forums at McColl Center so local artists feel connected to each other and the Center. iii. Work with Queens College’s McColl School of Business the summer of 2002 to conduct a case study to evaluate Clayworks as a sustainable program—consider spinning it off as separate entity, shutting it down, or identifying what will be required to make it sustainable.

D) Fiscal Management—Strengthen Development and Financial Capability—to create consistent, sustainable revenue streams. 1. Hire a Director of Development by July 1, 2002 2. Create a strategic development plan by December 2002, aligned with new direction and including clear goals and plans for: i. Membership Program(s) ii. Major Donor Program(s) iii. Grant Funding iv. Sponsorship of AIRs and International Exchanges v. Capital Campaign to increase endowment, build cash reserve, outfit new offices, convert current offices to studios, convert manse to usable space, and establish an endowment for facility maintenance vi. Annual Contemporary Art Trip that serves as educational program and provides revenue

E) Strengthen “Brand” Identity among communities served GOALS 1. Build a greater awareness of the McColl Center “brand” for arts advocacy and promotion (Brand awareness goal). i. Landmark building ii. Regional/national/international impact (Carolina HealthCare, UNCC, CMS, and Dovetail Garden) iii. Brand continuity in all communications 2. Support overall development objectives i. Increase endowment ii. Develop stronger membership base iii. Increase grant funding iv. Build major donor program v. Develop sponsorships for individual AIRs 3. Support overall McColl Center programs and special events with promotion and publicity (Special Events Goal) i. Open Houses ii. Ashes to Art iii. Art Talks iv. Outreaches v. Charlotte Shout 4. Key Audiences i. Regional artists—North and South Carolina ii. Alliance of Artists Communities—peers and other trade professionals

Sample Strategic Plan—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 465

iii. Existing donor base iv. Potential donors: upscale, urban and suburban v. Community leadership and opinion leaders vi. General Public (Charlotte MSA) vii. MSA Working Press: newspapers, radio/TV, magazine viii. Web site editors—regional and local 5. Strategies i. Conceptual (4 - 7/02) — Develop and approve marketing plan: implementation and budget ii. Implementation (8 - 9/02) — Creative Development, brand awareness strategy: The McColl Center as a source of creativity, appeal to “risk takers” iii. Refinement (10 - 11/02) — “Building awareness” strategy: “a wellspring of creativity,” public visits, special events, an urban artist community; develop support strategy iv. Ongoing (12/02) — Artist Services, Community Services, Education, Exhibitions

F) Strengthen Internal Business Infrastructure and Practices 1. Redesign accounting and financial control systems/practices. 2. Implement reliable common information system, especially database. 3. Manage the Board—structure and approach it to fully leverage board members. Implement an ongoing Board development plan that includes orientation, fundraising training, an annual retreat, and frequent communication between its members and the President. 4. Manage valuable staff resources so that “burn out” doesn’t occur. i. Hire to current job descriptions and needs of organization. ii. Implement a Performance Management program by September 2002 as a way to set annual goals, assess performance, and provide ongoing coaching in the areas of need. Job descriptions will be updated by September 2002. The goal is to gain maximum individual performance while achieving departmental and institutional goals and creating a team environment. An annual assessment of the effectiveness of the Performance Management program will take place and refinements will be made based on the results of the organization-wide assessment. iii. Fund training and travel to regional and national professional meetings for each staff member at least once every 24 months.

STRATEGIC PRIORITIES 2005 - 2008

I. The Balanced Equation 2004 This irreducible minimum represents the base level of programming. We are able to provide only the bare basics in exhibitions, support (financial, technical, and staff) to Artists-in-Residence and Affiliate Artists, outreach activity, marketing/branding efforts and materials, and maintenance of the facilities and infrastructure. All organizational efforts and programs are under-resourced (financially and in terms of human resources) but managed with incredible amounts of energy and resourcefulness from the highly professional and dedicated staff. A. AIRs and AAs: 1. The number of residency sessions has been reduced to two in 2003 & 2004 from the three that were held in 2001. 2. Artists’ stipends have been reduced to $1,100 per month for each artist from between $1,500 and $4,000 per month depending on their professional level (emerging, mid-career, or senior) of the AIR. 3. Part-time technical support is provided in the media lab, and ceramics and print studios. 4. No financial support for materials is provided to AAs. 5. A utility fee is charged ($175) per month to AAs. 6. While outreaches are thoughtfully planned, enough time is not available to skillfully plan for out-

Sample Strategic Plan—McColl Center for Visual Art, cont. Organizational Mangement: Strategic/Business Planning 466

reaches of more depth with greater community interaction and with longer lasting implications (e.g., Franco Mondini-Ruiz) for all involved and for McColl Center 7. Time is not available to design AIR residencies around community projects. These projects could take up to 12 - 18 months to complete (Dovetail Garden) and require a significant additional staff time to plan, fundraise, write grants, coordinate, and supervise. 8. AAs could present outreaches in the community or be active with community projects. Staff time is required. 9. Invite a regional and/or national critic once during each session to meet each AIR and speak with them about their work. 10. Photo document each AIR for archives and Web site B. Exhibitions 1. Two AIR exhibitions to coincide with their residencies, one curated by staff and the other curated by June Lambla; one Summer Affiliate exhibition; two special exhibitions: Mark Maio photo exhibit and NC Fellowship Recipients exhibition 2. Opening receptions coincide with Open Houses and/or Gallery Crawl 3. Signage and program publication is done in house; program lacks professional polish and attention to detail 4. Photo documentation is not done 5. Press releases are distributed re: the Open House; we have never had a review written about an exhibition at McColl Center’s main facility (reviews have been written about prior exhibitions at Spirit Square) C. Marketing 1. Produce most publications in-house with interns and volunteers, with the exception of the newsletter 2. Rely on largess of The Charlotte Observer, Creative Loafing, etc., to publish notices about open houses, lectures, etc. 3. Continue to design in-house and use primarily electronic email blasts to inform our constituency of upcoming events 4. Just beginning to document outreaches w/photos and description of event and adding to Web site 5. Invite press and galleries to meet AIRs and AAs D. Infrastructure 1. Maintain building, condos, automobiles, and equipment for daily use 2. Hire management company to lease out spare condos and to offset expenses and develop revenue stream 3. Obtain new banners for front of building 4. Obtain quote for repointing mortar on exterior of building 5. Identify future use of manse E. Development 1. Hire Development staff 2. Implement new fundraiser (Ashes to Art) ask event 3. Raise $450,000 to meet budget needs

II. Restoring Programming 2005-2006 A. AIRs and AAs — By 2006, add the third residency session for the Summer (increasing the total number of AIRs each year from 12 to 18) B. Exhibitions 1. Five curated or traveling exhibitions (two medium and three small) annually on first floor of McColl Center. 2. Rotating work by AIRs and AAs on second and third floor galleries. 3. Brochures or catalogues are published for each exhibition as “take aways” for the public and a means to document exhibits. These are used in grant applications and funding proposals to demonstrate the level of programs presented by McColl Center.

Sample Strategic Plan—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 467

4. Each exhibit is photo documented for archives and for use on Web site. C. Marketing 1. Hire experienced in-house graphic designer who also manages media lab 2. Use radio, television, etc. as additional marketing opportunities, e.g., sponsor WDAV with drive- time ads 3. Collect testimonials from AIRs and participants in outreaches (when appropriate) from host institution and/or students—use them in newsletters, on Web site, and in proposals and grant applications 4. Collect testimonials from local artists and others about the impact for them of having McColl Center in Charlotte—use in promotional material and grants 5. Continue to upgrade and refine Web site; add on-line donation capacity and add on-line capacity to sell artwork 6. Invite press and galleries to meet AIRs and AAs 7. Invite AIRs to galleries 8. Advertise gallery hours and open houses in area publications: Charlotte Magazine, South Park magazine, Lake Norman magazine, Playbill for the Performing Arts Center 9. Commission a public art piece for front lawn of building or on the building (neon) to draw attention to building, inform the public that the facility is no longer a church, and create awareness of McColl Center D. Infrastructure 1. Budget for software upgrades for media lab and administration (finance, donor, and general administration) 2. Budget for IT support 3. Begin masonry repair on exterior of building (to be done in stages) E. Development 1. Hire full-time Development Associate 2. Begin building capital reserve for building maintenance and operations 3. Begin to raise necessary funds for conversion of manse 4. Increase membership by 20% and AIR sponsorships to seven from four 5. Produce an Annual Report to be used for donor cultivation and support material for grants and corporate proposals 6. Build upon Medici Society in number and breadth of representation in community—attain a total of 35 Medici members

III. Optimum Level of Program and Operations 2007-2010 A. AIRs and AAs: 1. Increase the number of AIRs per session to ten; four international and six from the U.S. 2. AIR stipends $2,000 per month for each artist 3. Increase materials support to each AIR to $2,500 4. Provide full-time technical support in media lab and print studio. 5. Provide financial support for materials in the amount of $2,000 to twelve-month AAs. 6. Eliminate utility fee charged ($175) per month to AAs. 7. identify the appropriate community intersections for each AIR and plan to create those intersections through programs and/or outreaches at the same scale as Franco Mondini-Ruiz (enough time needs to be dedicated to skillfully planning for outreaches of more depth with greater community interaction and with longer lasting implications for all involved and for McColl Center 8. Two AIR residencies per session are designed around community projects. These projects could take up to 12 - 18 months to complete (Dovetail Garden) and require a significant additional staff time to plan, fundraise, write grants, coordinate, and supervise. 9. AAs present outreaches in the community or be active with community projects. 10. Invite two regional and/or national critics or curators during each session to meet each AIR and AAs to speak with them about their work. 11. Photo document each AIR and their outreaches for archives and Web site. Provide each AIR with two slides of them in their studios. They can use it in their promotion if McColl Center and Mitchell Kearney are credited. Use in annual report.

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B. Exhibitions 1. Produce five regionally (and/or nationally) acclaimed exhibitions that could travel by virtue of quality and relevance. 2. Produce accompanying catalogues for each exhibit with essays by the curator. 3. Each exhibit is photo documented for archives and for use on Web site. 4. Hold press reception as preview to exhibit to get advanced publicity C. Infrastructure — Implement plan for manse D. Development 1. Find multi-year sponsors for international AIRs 2. Secure AIR sponsors for each curated slot 3. Build Medici membership to 50 4. Raise $500,000 from Board and their accounts 5. Build endowment to $20 million (generate $1 million in operating revenue) E. Marketing 1. Market the exhibitions in city-wide and regional publications to attract a broader audience and to gain more brand recognition 2. Market program in Performing Art Center’s Playbill to build brand among the concert, dance, theater, and opera audience. 3. Document outreaches (photo and description of event, include testimonials when appropriate from host institution and/or students) and add to Web site 4. Market outreaches as a huge benefit to Charlotte

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Budget # Artists $$ # Months # sessions Budget Growth 2004/2005 Incremental Base $1,439,490 2005/2006 AIR Additional Budgeted Expense Stipends 6 additional (SUMMER) AIR's 6 3,300 19,800.00 Materials 6 additional (SUMMER) AIR's 6 2,000 12,000.00 R/T Travel - 6 new AIR's 6 1,150 6,900.00 Shipping - 6 additional AIR's 6 1,000 6,000.00 Contracted services 6 500 3,000.00 Furnishings and utilites - condos 6 275 1,650.00 Revenue Reduction (Opportunity Cost) 6 Condos 6 900 3 16,200.00 6 AA's revenue loss 6 175 5 5,250.00 $70,800.00 EXHIBITIONS (same frequency as prior year) Additional Budgeted Expense Fees (eliminated Exhibit Rental fees) (14,300.00) Shipping (larger shows/longer distance) 4,500.00 Curator (all guest curators) 15,000.00 Photography (more extensive documentation) 3,200.00 Reception (increase in attendance) 250.00 Signage (increase quality) 250.00 Honorarium, travel, per diem, & accommodations 4,840.00 Supplies (pedestals, platforms, etc.) 1,100.00 Installation (more elaborate shows = more time) 3,600.00 Postage (additional mailings) 1,000.00 Design & Printing (increase quality) 1,000.00 Advertising (more radio and publications) 1,000.00 $21,440.00

2005/2006 Increase $92,240.00 $1,531,730 6.41% 2006/2007 Budget AIR # Artists $$ # Months # sessions Budget Growth Additional Expense Stipend increase - +900 per artist per month 5 900 3 1 13,500.00 6 900 3 2 32,400.00 Materials increase 6 500 3 9,000.00 4 AA's revenue loss (eliminate AA Utility fee) 4 175 12 8,400.00 AA's materials budget (institute paying AA materials stipend) 4 2,000 8,000.00 $71,300.00 EXHIBITIONS (same frequency as prior year) Additional Budgeted Expense Shipping (larger shows/longer distance) 4,000.00 Curator (all guest curators) 1,000.00 Photography (more extensive documentation) 1,500.00 Reception (increase in attendance) 250.00 Signage (increase quality) 250.00 Honorarium, travel, per diem, & accommodations 4,725.00 Supplies (pedestals, platforms, etc.) 1,000.00 Installation (more elaborate shows = more time) 1,000.00 Postage (additional mailings) 2,000.00 Design & Printing (increase quality) 1,000.00 Advertising (more radio and publications) 1,500.00 $18,225.00

2006/2007 Increase $89,525.00 $1,621,255 5.84%

Sample Strategic Plan—McColl Center for Visual Art, cont. Organizational Mangement: Strategic/Business Planning 470

Supplies (pedestals, platforms, etc.) 1,100.00 Installation (more elaborate shows = more time) 3,600.00 Postage (additional mailings) 1,000.00 Design & Printing (increase quality) 1,000.00 Advertising (more radio and publications) 1,000.00 $21,440.00

2006/2007 Increase $89,525.00 $1,621,255 5.84%

Budget 2007/2008 # Artists $$ # Months # sessions Budget Growth AIR Additional Expense Art critics - R/T 6 1,000 6,000.00 Honorarium 6 1,500 9,000.00 Per Diem 6 100 600.00 Accommodations 6 120 720.00 $16,320.00 EXHIBITIONS (same frequency as prior year) Additional Budgeted Expense

Sample Strategic Plan—McColl Center for Visual Art, cont. The Ultimate Residency Resource Guide 471

STUDIO for Creative Inquiry College of Fine Arts Carnegie Mellon University

STRATEGIC PLAN 2002-2007

MISSION The STUDIO for Creative Inquiry, an arts research center, exists to support creation and exploration in the arts, especially interdisciplinary projects that bring together the arts, science, technology and the humanities, and impact local and global communities.

VISION We perceive a world where artists and scientists collaborate directly with each other to create innovative interdisciplinary work and projects that have a positive impact on society, technology and culture.

Gray Matters: The Brain Movie

Sample Strategic Plan—STUDIO for Creative Inquiry Organizational Mangement: Strategic/Business Planning 472

TABLE OF CONTENTS

Mission & Vision

Introduction The Planning Process

Strategic Areas and Goals 1. Program 2. Management & Infrastructure 3. Communications 4. Intra-University Relationship 5. Funding 6. Facility

Addenda Communications Strategy—Target Audiences Space Analysis—Needs & Possible Locations Acknowledgements

Background I. Overview II. Mission III. Programs IV. Personnel and Administration V. Finances VI. Timeline

Gray Matters: The Brain Movie

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 473

INTRODUCTION The role of artists is unique and evolving, frequently reflecting on current issues, challenging societal restrictions and mores, sometimes creating beauty and order, sometimes demonstrating the inherent chaos of contemporary life, addressing government decisions and asking philosophical questions. Artists have been vision- aries, provocateurs, and iconoclasts … sometimes praised for their “The Studio is definitely unique ability to conceptualize the future, and other times chastised for in its support of a blend of art, breaking with the norm. technology, science and envi- Artists in the 21st Century operate in a fascinating environment, ronmental inquiry. I think of you unlike that of their predecessors. Advances in technology and sci- and the Exploratorium as being ence have made previously unimaginable concepts wholly possible. The STUDIO for Creative Inquiry serves as a home to artists in a category of your own, very whose practices encompass this developing interdisciplinary cutting edge, with a strong edu- approach—artists who imagine the future, who question the direc- cation and environmental ele- tion of humanity, who are able to synthesize the constantly chang- ment, supporting new blends of ing technology, viewpoints and culture into their artistic vision. disciplines and brand-new Artists who are STUDIO fellows frequently are risk-takers-challenging commonly held beliefs. With the support of the STUDIO, thinking (not simply exploration these artists are able to pursue their vision, communicate with tar- within an already defined medi- geted audiences and impact the global community. um.) The STUDIO exists in the zone between academia and the community. It provides individual artists access to the extraordinary “I think of you, in fact, as nur- resources and technology of the university, enables them to operate turing ’domain creators’ at the highest level of effectiveness and insures that their work …these are people who alter impacts the most important issues of our time. an established tradition, and With minimal financial resources and step-by-step development, reject the prevailing way of the STUDIO has established a sound operational base and credibil- doing things.” ity both within and outside of the university. Significant projects have been completed. University and external recognition and support have validated the unique and energetic work being carried Tricia Snell, out in the STUDIO. The university and its College of Fine Arts Executive Director, have consistently supported the basic operating expenses. The Alliance of Artists Beyond fulfilling its mission, the STUDIO has clearly established Communities itself as a vibrant model organization for incubating and nourishing the artist-entrepreneur. Artists are encouraged to engage pressing issues of our times and work as social moderators in all levels of the community.

As the scope and size of the projects undertaken by the STUDIO have expanded, so have the needs for space and operating resources. The amount of activities and scale of the projects have increased in the last four years, while administrative support (funds) and staff have remained level. Since the founding of the STUDIO, the directorship position has been unfunded or voluntary.

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 474

THE PLANNING PROCESS To address these issues, the STUDIO undertook a strategic planning process. The Planning team included the STUDIO staff, an advisor and a consultant. The team began by creating a historical summary (timeline) and background document. Then brainstorm- ing and feedback sessions were held with the community of fellows, an advisory committee and the leadership of the College of Fine Arts. A day-long session with the fellows included an analysis of key contextual issues, addressing the impact of external environments on the STUDIO; analysis of the STUDIO’s position within the local, national, and international landscape; a SWOT analysis (analysis of the STUDIO’s internal strengths and weaknesses, and external opportunities and threats) and a matrix, in which participants developed possible strategies based on strengths and opportunities to address the threats and weaknesses.

The SWOT analysis uncovered such strengths as the high caliber of the fellows’ projects; the ability to synthesize visionary concepts with the practical and applied; the STUDIO’s affiliation with Carnegie Mellon; and representation of a wide array of disciplines within the arts and sciences. Among the weaknesses noted were the STUDIO’s lack of visibility; the fact that the STUDIO’s projects are better known than the STUDIO itself; lack of communication channels, both within the university and externally; lack of steady funding; and an unclear mission.

Some of the opportunities noted were the STUDIO’s ability to serve as a model for other universities and to partner with corporations. Threats included competition for funding, and the possibility of losing space.

An issue arose out of the success of the STUDIO’s program model: shall we support current fellows and their successful projects by extending the residency period indefinitely, or commit to bringing in new artists on an ongoing regular cycle, or find resources to do both?

Based on these analyses, the planning team then identified six strategic areas: program; management and infrastructure; communications; intra-university relationships; funding; and facilities-all of which are addressed in the Strategic Plan.

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 475

STRATEGIC AREAS AND GOALS 2002-2007 1. PROGRAM Acknowledge the success of the STUDIO for Creative Inquiry model, and commit to impacting more artists and projects in the future. “…Studio works by a kind of GOALS creative interactive Facilitate the creation of interdisciplinary art. anarchy…coming at a time G Support artist-initiated projects that address or respond to when the boundaries between contemporary issues. the arts and other disciplines G Focus an ongoing fellowship cycle around current themes, the are increasingly questioned in first of which is artists working as collectives. G Continue to support one-year fellowships as leverage for similarly anarchic terms.” fellows to develop and complete large-scale projects. G Maintain a cooperative relationship with Center for Arts and Pittsburgh Tribune Review, Society. August 25, 2000, Establish policies regarding guidelines, terms, and roles of fellows. “New Models of Artmaking” G Establish timeframes for development and completion of by Graham Shearing projects. G Develop systems for fellows to have clearer roles and a voice in policymaking. G Design a transition process for successful projects.

Fellows will develop methods of sharing the knowledge they gain through their work at the STUDIO. G Explore teaching opportunities for fellows within the college and university. G Explore project-based courses, student fellowship appointments, and independent studies for graduate students to work with fellows. G Explore opportunities for non-traditional ways to transfer knowledge. G Develop educational materials.

Projects will have an impact at the local and global level. G Increase opportunities for artists to address the most pressing issues of our times and promote their work through develop- Journey into the Living Cell ment of an advocacy program. G Generate conferences, think tanks, and short-term programs. G Develop a regular schedule of public presentations/lectures.

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 476

2. MANAGEMENT & INFRASTRUCTURE

GOALS Structure the STUDIO’s management and infrastructure to sustain the program and ensure the continuation of the STUDIO through times of change. G Research and select options for new management structure (by fall 2002) “…testimony to the fact that

G Implement new management structure. artistic and esthetic skills can G Identify, nurture and appoint successor(s) for co-directors if be applied successfully in solv- necessary. G Evaluate possible direction for stewardship of the STUDIO— ing problems of ecology and consider creating a steering committee of Heads and/or environment, and in defining representatives of the Schools of the College of Fine Arts. major research projects.…” G Create an endowed fellowship School of Art Advisory Board Insure that infrastructure (space, staff) supports optimal level of programming. Report, October 1998, Barrie Dinkins Simpson, Chair Increase the STUDIO’s access to community resources and knowledge. G Expand the current Advisory Committee to include a broad array of representatives from throughout the university and the city, including technologists and humanists.

Create a system for annually tracking and evaluating the effectiveness of the STUDIO. G Conduct benchmark study of other research centers and artist communities regarding operations, programming and services. G Require fellows to report annually on progress.

Photos this page: Persephone Project

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 477

3. COMMUNICATIONS

Promote awareness and create a positive identity for the STUDIO by identifying target audiences and developing a plan for internal and external communications to reach these audiences.

GOALS The STUDIO will be recognized as a cutting-edge arts research “…its significance comes organization within Carnegie Mellon, as well as among artists, from the complexity of the other arts organizations, universities, research centers, the funding interdisciplinary projects that it community, and the general public. G Communicate regularly with its key audiences through such supports. Both as a meeting vehicles as annual reports, fact sheets, newsletters, press ground for think tank like releases, feature stories in Carnegie Mellon publications, web exchange and as a facilitator site, e-mail, and other targeted communications. linking visiting artists with local G Develop marketing/communications plan by December 2002. resources….” G In communications, emphasize the program of the STUDIO. G Develop opportunities for advocacy within communications plan. Pittsburgh Post-Gazette, G Update current identity for STUDIO by creating an integrated September 16, 2000, identity. “Artist’s Think Tank Tucked

G Develop policies and boilerplate language for fellows and the Away at CMU” STUDIO to use in materials. by Mary Thomas

The Loaded Gesture Project

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 478

4. INTRA-UNIVERSITY RELATIONSHIP

Strengthen relationships within Carnegie Mellon, including College of Fine Arts and its Dean’s Office, and entire university to ensure the STUDIO’s longevity.

GOALS Build alliances with the Schools of College of Fine Arts “The University benefits

G Collaborate on activities, events, and recruitment of potential because the members of fellows based on mutual interest and benefits. the STUDIO encourage G Assess need for involving students as project directors. G Create steering committee whose members consist of participation by both representatives from the College of Fine Arts schools. undergraduate and graduate students on their projects.” Formalize and strengthen relationship with the Dean’s Office G Ascertain and support goals of Dean’s Office. The Wall Street Journal, G Develop measures for reporting and accountability. June 17, 1996, G Co-sponsor events and projects. “Steeltown’s Techno-Esthetes” Broaden relationships throughout university by Stanley Angrist G Collaborate on activities, events, and recruitment of potential fellows based on mutual interest and benefits.

EventScope Project

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 479

5. FUNDING

Diversify the funding base to ensure the long-term financial viability of the STUDIO, and to allow the STUDIO to support fellowships for artists and their work.

GOALS Establish working relationships and explore funding opportunities “Through the STUDIO for with the university and college development offices. Creative Inquiry and CMU, I have started numerous Develop relationships with at least three primary funders (local and national) who support interdisciplinary arts research and cultural projects that were previously development. unthinkable and out of range as an individual artist working Work with university development office to target major donors for in New York.” creation of endowed fellowship.

Collaborate with other research centers, departments, or colleges Heidi Kumao, artist on campus to sponsor joint fellowship appointments.

Research the feasibility of marketing the STUDIO concept as a model for other universities to follow. G Develop consulting program and fees, and promote program through participation in conferences, printed literature, etc.

Explore opportunities to develop industry partnerships and corporate memberships with STUDIO. G Target three potential industry partners.

Stelarc

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 480

6. FACILITY

Evaluate and plan for the short- and long-term space needs of the artists and administration in keeping with the STUDIO’s vision and mission.

GOALS Develop plan for move from current STUDIO location by spring “…contributes to the larger 2003. community by sharing the works of these boundary Conduct space needs analysis to meet long-term goals, considering opportunities on campus, off campus, and beyond Pittsburgh. dissolving artists, which by G Evaluate space requirements for administrative space, fellows’ their nature are unlikely to offices, production studios, media lab, presentation, meeting, turn up in commercial galleries, equipment, and storage space. or even museums that favor G Evaluate funding requirements and possible sources. more established, main stream players.”

Pittsburgh Post-Gazette, September 16, 2000, “Artist’s Think Tank Tucked Away at CMU” by Mary Thomas

Journey into the Living Cell

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COMMUNICATIONS STRATEGY—TARGET AUDIENCES

Internal Audiences/Possible Communications Vehicles G Fellows—meetings, e-mail, events, lectures, conversations G College of Fine Arts dean, heads—meetings, presentations G University (provost, deans, heads and general community)—regular announcements and grants, electronic bulletin boards, “8-1/2 x 11 News,” “Carnegie Mellon Magazine” G Advisory committee of faculty representatives—meetings, email, presentations

External Audiences/Possible Communications Vehicles G Advisory committee—meetings, e-mail, presentations G Artists—newsletters, e-mail, annual report G Local, national, international media—press releases, fact sheets, annual report G Students and educators—develop relationships with professional organizations, posters in schools G Scientists—newsletters, e-mail, annual report G Special interest research groups—newsletters, e-mail, annual report G Peer organizations (art/research centers)—newsletters, e-mail, annual report G Other universities/art schools—develop personal relationships, newsletters, e-mail, annual report G Funders—annual report G Specialized industries—annual report G Arts organizations—annual report G Government—annual report G Potential graduate and undergraduate students, faculty and researchers—newsletters, e-mail, annual report

Nine Mile Run Greenway Project

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 482

SPACE ANALYSIS—NEEDS

Space needs Best meet mission and Goals and Objectives Funding Source(s) vision? Fellow Offices G Flexible G Flexible G Corporate sponsorship G Working together on teams G Maintain acoustic barriers G Corporate Grants G Encourage dialogue G Moveable Furniture G Private Foundations G Varied Needs G Private/Quiet Space Administrative Offices G General Public Interface G Close proximity to Fellow G Accessible to Fellows offices G Director’s Private Space

Office Equipment Center G Accessible to all users G Not in administrators office G Centrally located G High-end equipment centrally located Conference Room G Meeting Space G Light v. Dark G Private G Varied wall surfaces (pin-up v. wipe boards) G Good acoustics G Flexible Presentation Space G Clean (same as above) G Public Accessible G Media equipped G Flexible

Media Lab G Shared high-end equipment G Computer equipment G Moveable stations G Video editing equipment G Clean space G Close proximity to Office Equipment Center Production STUDIO G Workshop environment G Shared G Get Dirty space G Possibly off-site G Fabrication G Wood/Metal/Plastic working equipment Kitchenette G Lounge-like setting G Adequate seating for all G Secondary conference space Fellows/Staff Storage G Archives G Accessible to G Office Supplies Administrative Offices G Minimal or Office Equipment Center

SPACE ANALYSIS—POSSIBLE LOCATIONS

Locations On Campus Off-Campus National/International G Margaret Morrison Wing G 4913 Forbes basement G Atlanta, Georgia (unbuilt) (Annex) G Berlin, Germany G Miller Gallery, 2nd FL G Single Family House in G Tokyo, Japan G Digital Greenhouse Oakland/Squirrel Hill/ G Carnegie Mellon West G Bio-Engineering Shadyside Greenhouse G Public Storefront (Annex) G School of Art building G Cultural District (ArtStation (unbuilt) concept)

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 483

ACKNOWLEDGEMENTS

Thank you to all those who influenced and helped in the creation of this plan.

Omer Akin, STUDIO Fellow Bob Bingham, Co-Director Karen Brean, Brean Associates Jennifer Brodt, Business Manager Bill Brown, Biology, Carnegie Mellon Lowry Burgess, STUDIO Fellow Yang Cai, STUDIO Fellow Angelo Ciotti, STUDIO Fellow Vicky Clark, Pittsburgh Center for the Arts Marilyn Coleman and ProArts AMES Program Tim Collins, STUDIO Fellow Peter Coppin, STUDIO Fellow Beth Cornell, PA Department of Education Roger Dannenberg, STUDIO Fellow James Duesing, Co-Director Helen Faison, Chatham College Chris File, Development, Carnegie Mellon Karl Fischer, STUDIO Fellow Lorrie Flom, Consultant Stephanie Flom, STUDIO Fellow Reiko Goto, STUDIO Fellow Charlie Humphrey, Pittsburgh Filmmakers Dan Martin, Advisor Michael Mateas, STUDIO Fellow Patricia Maurides, STUDIO Fellow Marge Myers, Associate Director Indira Nair, Carnegie Mellon Joelle Park, Public Relations, Carnegie Mellon Ronald Placone, Human Resources, Carnegie Mellon John Pollock, STUDIO Fellow Martin Prekop, Dean, College of Fine Arts, Carnegie Mellon Diane Samuels, Artist Janet Sarbaugh, Heinz Endowments John Schombert, Three Rivers Wet Weather, Inc. Susanne Slavick, Art, Carnegie Mellon Tricia Snell, Alliance of Artists Communities Susan Tolmer, Development, Carnegie Mellon Jane Werner, Pittsburgh Children’s Museum Faith Wilding, STUDIO Fellow Thelma Wodzinski, ASSET Program SK Woodall, STUDIO Fellow

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 484

BACKGROUND

I. OVERVIEW

In 1989 the Carnegie Mellon University provost appointed a task force to recommend directions for research activities in the arts. Bryan Rogers was the chair. This task force’s report led to the founding of the STUDIO.

With minimal financial resources and step-by-step development, the STUDIO has established a sound operational base and credibility both within and outside of the university.

Significant projects have been completed and new projects undertaken. University and external recognition and support have validated the unique and energetic work being carried out in the STUDIO.

Beyond fulfilling its mission, the STUDIO has clearly established itself as a vibrant model organization for incubating and nourishing the artist-entrepreneur. Artists are encouraged to engage pressing issues of our times and work as social moderators in all levels of the community.

As the scope and size of the projects undertaken by the STUDIO have expanded, so have the needs for space and operating resources. In the coming years, it is likely that the STUDIO will be developing a new facility that is more appropriate for its activities.

The amount of activities and scale of the projects has increased in the last four years while administrative support (funds) and staff have remained level.

In January of 2000, the director left the University to become Dean of the College of Art and Design at the University of Michigan. To guide the STUDIO through this transition, the Dean of the College of Fine Arts appointed two faculty members from the School of Art to serve as co-directors.

II. MISSION

The STUDIO for Creative Inquiry, an arts research center, exists to support creation and exploration in the arts, especially interdisciplinary projects that bring together the arts, science, technology and the humanities, and impact local and global communities.

As a center for interdisciplinary, technology-related work in the arts, the STUDIO is unique not only Pittsburgh, but in the United States as well. A number of such centers do exist internationally and several academic institutions have recently started similar programs. We are members of the Alliance of Artist Communities and the National Alliance of Media Art Centers.

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 485

III. PROGRAMS

The primary activity of the STUDIO is long-term artist fellowships. Until 1996, resources allowed the support of two full-time artists-in-residence each year. In 1997, two large projects began that more than doubled the number of artists. In 1999, with funds from Microsoft, four more fellows were appointed. There are currently 13 active projects in the STUDIO, a total of 43 research fellows and associates, and also five project staff. An average of five additional artists is supported annually for short-term visits and presentations.

Artist Residencies At any given time, the STUDIO is actively supporting between five and 10 projects at various stages of development.

Resident artists do not have teaching responsibilities. A major goal of the STUDIO is to support artist- initiated projects at their beginning stages and assist the artists with finding new sources of major support, including funders that typically fund only science or research. The STUDIO’s proposition that artists working collaboratively with other professionals can lead complex processes in both imaginative and useful directions was substantially strengthened by our work in the last three years.

Artist Projects Since its inception in 1989, the STUDIO and its artists have received national and international acclaim for the production of highly experimental work. A unique portfolio of artworks and educational tools has been developed. Among the innovative works completed and in progress are:

Past Projects G The Networked Virtual Art Museum (Carl Loeffler) G Light Dance (Seth Riskin) G Journey into the Living Cell (Rob Fisher) G Piano Tutor (Roger Dannenberg, Annabelle Joseph and Marta Sanchez) G Nine Mile Run Greenway (Robert Bingham, Tim Collins, Reiko Goto and John Stephens) G Gray Matters: The Brain Movie (Rob Fisher)

Current Projects G EventScope (Peter Coppin) G 3 Rivers - 2nd Nature (Tim Collins and Reiko Goto) G Sex and Gender in the BioTech Century (Faith Wilding) G Persephone - Art Gardens (Stephanie Flom) G Sustainable Landscape Architecture Program (S.K. Woodall) G TenderBodies (James Duesing) G Tissue Engineering for Life (John Pollock)

Projects Under Development G Abandoned Mine Reclamation (Angelo Ciotti) G Turkish Nationality Room (Omer Akin) G CHASTE: The Center for Hybrid Art Science Technology Experimentation (Robert Atkins) G Visualization (Yang Cai)

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 486

IV. PERSONNEL AND ADMINISTRATION

The STUDIO is a research center in the College of Fine Arts overseen by the dean of the college and evaluated by the School of Art.

In September 1994, at the direction of the dean, the STUDIO formed an advisory committee to act as a conduit for information to and from the departments of the College of Fine Arts and to act as advocates for interdisciplinary art. Members were selected for their knowledge of experimental art and familiarity with contemporary technology. It is comprised of five permanent faculty representing the five schools of the College of Fine Arts.

The STUDIO is staffed by a full-time business manager and associate director who manage the day-today activities in the facility, support the work of the fellows, coordinate all public events, and manage the business and financial affairs and record keeping. The co-directors oversee all decisions, mediate with the university, insure that established policies are followed, and provide philosophical and artistic direction.

The STUDIO receives an annual allocation from the College of Fine Arts toward operating expenses. The amount is determined by the dean in consultation with the co-directors. Budgeting within the STU- DIO is proposed by the business manager and associate director and approved by the co-directors. Decisions regarding the selection of fellows is a staff-involved process and includes: submission of a proposal by the artist in consultation with the associate director, exchange of feedback and questions with the artist from the co-directors, review by advisory committee, co-directors, associate director and current fellows.

V. FINANCES

The annual budget of the STUDIO has grown gradually. It is comprised of four components. G Education and General Operating Allocation (E&GO) G Funding from the College of Fine Arts Dean’s Office (CFA Endowment) G Partnerships with other departments in the university G Funding from sources outside the university

The operating and staff costs of the STUDIO have been supported by seed funds from university general funds and the College of Fine Arts.

Development The STUDIO has a unique position and profile as an arts organization under the umbrella of the university. While the staff of the university can assist with development, the STUDIO’s needs are, of necessity, a lower priority. Consequently, it is necessary for the STUDIO staff to plan and implement fundraising activities.

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 487

VI. TIMELINE

1988 G Harry Holland, Director of the Center for Art and Technology resigns G Jennifer Brodt hired as Office Coordinator

1989 G Bryan Rogers appointed Acting Director of Center for Art and Technology G Lowry Burgess, Dean of the College of Fine Arts, secures funding for an art and science research center G Wendy Plesniak hired as Artistic and Technical Coordinator G Task force chaired by Bryan Rogers is appointed by Provost Angel Jordan to recommend future direction for the Center for Arts and Technology

1990 G Task Force recommendation accepted by Provost Jordan forming the STUDIO for Creative Inquiry—broadening the mission of the former Center for Art and Technology G Bryan Rogers appointed Director of the STUDIO for Creative Inquiry G Seth Riskin appointed as research fellow G Joe Bates and Margaret Kelso create the Interactive Drama Workshop G Simon Penny and Wendy Plesniak are guest editors of ArtCom G Digital Art Exchange (DAX) Group creates slowscan television event for the Goree-Almadies Memorial Celebration G Artur Matuck and Matt Wrbican create fax exchange for City Portraits with Artistes Contemporains Exhibition, Paris Ecole D’arts Plastiques and Manufaxtura with Prague G STUDIO cosponsors the ARTTRANSITION ’90—International Conference on Art, Science and Technology, with the Center for Advanced Visual Studies, MIT

1991 G Special Kwanzaa Honor Award given to DAX Group by the Africa Network G Artur Matuck, Matt Wrbican and Robert Dunn participate in Paris by Telepathy fax exchange with Art Reseaux, Paris G Seth and Noah Riskin present Light Dance performance, College of Fine Arts G ARTTRANSITION ’90 Exhibit, Hewlett Gallery, March 19-23 G Texts, bombs & videotape: Journeys into the Zone collaborative telecommunications event, Pittsburgh Center for the Arts, DAX Group, March 23-April 20 G Light Dance performance, College of Fine Arts, Seth Riskin, April 5/May 2 G Three Rivers Arts Festival, Pittsburgh, Performance and Installation by Artur Matuck and Seth Riskin G Artist of the Year Exhibition-Harry Holland, Pittsburgh Center for the Arts G Visit to Sparta, Greece for Sparta Institute, Lowry Burgess and Bryan Rogers G Reflux exhibition including twenty-five public events, Hewlett Gallery, Artur and Maria Matuck G Marge Myers joined staff as Assistant Director G STUDIO administrative structure and formal procedures created G Carl Loeffler appointed as research fellow G Darshana: A Vision of Classical Indian Dance, International Festival ’91, Carnegie Mellon, Oopalie Operajita G 21st Biennial Art Exhibition, Sao Paulo, Brazil, Artur Matuck and Seth Riskin G STUDIO tour for Allegheny County High School art teachers.

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 488

G Light Dance Lecture-Demo at fellows meeting by Seth Riskin G Bijli Lightning performance of Indian dance and lighting technology, College of Fine Arts, Oopalie Operajita and Seth Riskin G PAX Telecommunications Art Exchange with Israel Museum and the Pittsburgh Children’s Museum by Artur and Maria Matuck

1992 G Piano Tutor licensed by Vivace G Hosted visit by delegation from Sparta, Greece, Protocol of agreement signed for Project Sunbridge G Performance of Light Dance in CFA Alumni Concert Hall by Seth Riskin and Oopalie Operajita G Joe Bates organized an art exhibition for the National Conference of the American Association for Artificial Intelligence, San Jose, CA G Networked Virtual Art Museum demonstration, Expedition 92: A Journey to the New Frontiers of Learning Conference, Munich, Germany G EDUCOM prize awarded to Carl Loeffler telecommunications—virtual reality work G Seth Riskin profiled on Cable News Network (CNN) and received Fulbright fellowship to India G Carl Loeffler presented first demonstration of Networked Virtual Art Museum (Munich < > Pittsburgh) G Fellow Shigehiko Hongo commissioned to create sculpture for the Pittsburgh Children’s Museum G Artur Matuck presented international telecommunications art event in conjunction with Carnegie Mellon International Festival. G STUDIO received first grant for short-term artists’ residencies from Pennsylvania Council on the Arts

1993 G Joe Bates curated the Artificial Intelligence Art Exhibit in the Hewlett Gallery G Shigehiko Hongo created 20 new metal sound sculptures for exhibition in the Hewlett Gallery G Loeffler’s Virtual Reality project profiled on Cable News Network (CNN) and WTAE, and by Reuters and Associated Press wire services G STUDIO presented Newband in concert featuring the instruments and music of Harry Partch in partnership with the University of Pittsburgh, Three Rivers Arts Festival and the Carnegie Mellon Music Department G Presented lecture demonstration by international performance artist Stelarc G Hosted Grants Workshop for interdisciplinary artists G Carl Loeffler received funding from the Information Networking Institute to support graduate students’ thesis project in networked virtual reality G Second demonstration of Networked Virtual Art Museum sponsored by International Conference on Tele Existence ’93 (Tokyo< >Pittsburgh) G Initiated “Open Houses” in which fellows give hands-on demonstrations of projects for the media and public G Upgraded voice and computer network with the assistance of Academic Services G Received grant for Rob Fisher’s residency from Pennsylvania Council on the Arts

1994 G Organized third demonstration of Networked Virtual Art Museum sponsored by Virtual Vienna (Vienna< >Tokyo< >Pittsburgh) G Commissioned by Intel to create Virtual Ancient Egypt: The Temple of Horus as part of an exhibition at the Guggenheim Museum entitled Virtual Reality: An Emerging Medium

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 489

G Supported Rob Fisher’s production of a 3D sequence for the Carnegie Science Center Planetarium’s show Seven Wonders of the Sun with additional financial support from the Society of Analytical Chemists of Pittsburgh G Presented teacher in-service workshop for K-12 arts educators entitled Cutting Edge Technology G Co-sponsored a performance of John Zorn’s Cobra and a pre-concert lecture by the avant-garde composer in collaboration with several Pittsburgh organizations G Presented a performance/lecture by Ping Cao on traditional Chinese Opera G Supported a collaboration by ecological/environmental artist Agnes Denes with a local surveyor and a lecture about her work G Collaborated with the Science and Technology Center and the Carnegie Science Center to create an interactive planetarium show on the living cell, a project funded by the National Science Foundation and Buhl Foundation G Assisted Community Media, a local black arts organization, with the promotion of the Pittsburgh premiere of Haile Gerima’s film Sankofa G Presented a program called How Do Artists and Scientists Solve Problems to K-12 teachers as part of the Arts and Sciences Institute G Hosted elementary school students from the Careers in Applied Science and Technology (CAST) program who were exploring science, technology and the arts G Supported Nathaniel Bobbitt in his collaboration with Roger Dannenberg on interactive pieces for flute and computer G Hosted fourth grade students from the I Have A Dream Foundation of Pittsburgh G Collaborated with the Pittsburgh Dance Council to support MerceMonth in honor of choreographer Merce Cunningham with activities such as a lecture (part of the Art Department Lepper Distinguished Lecture Series), a public hands-on demonstration of LifeForms software and a roundtable discussion with programmer Thecla Schiphorst G Rob Fisher, year-long residency, 7/94-6/95 G George Roland, year-long residency, 7/94-6/95 G Beauvais Lyons, exhibit, co-sponsored by Hewlett Gallery, Carnegie Mellon G Oopalie Operajita, performance, Pittsburgh G Taka Imura, lecture, Carnegie Mellon G Charles Garorian, lecture/demo, Carnegie Mellon G Michael Pestle, installation exhibit, co-sponsored by Hewlett Gallery

1995 G Rob Fisher and Andy Witkin, professor in Computer Science, taught a class in Interactivity G Diane Samuels presented lecture/demo G Rob Fisher presented at four national arts conferences including Small Computers in the Arts Conference and Fourth International Symposium on Electronic Art G Carl Loeffler and Lowry Burgess created SIMLAB and move to the Robotics Engineering Consortium G Heinz Endowments awarded first grant for a year-long artist fellowship G Diane Samuels accepted appointment for fellowship G Rob Fisher, Paul Vanouse and Patricia Maurides collaborate with the Science and Technology Center, Lans Taylor and John Pollock and premier planetarium show Journey Into the Living Cell at the Carnegie Science Center

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 490

1996 G Rob Fisher, Paul Vanouse and Patricia Maurides, develop proposal for planetarium show Tracking the Human Brain G Julian Thayer, behavioral scientist and musician, begins residency G Composer Yannis Xenakis hosted for luncheon/discussion, 4/96 G Julian Thayer and Rob Fisher present Night of the Living Cell multimedia concert, 4/96, Manchester Craftsmen’s Guild, Pittsburgh G Initiated residency project with the National Black Programming Consortium and WQED for 3 African-American media artists G Fellow Ping Cao presented Chinese opera performance G Demetria Royals and Portia Cobb awarded residencies, in partnership with the National Black Programming Consortium G Allan Comp, of the Acid Mine Drainage and Art Project, received support for artist fees and travel to Cambria County, PA

1997 G Reiko Goto gave lecture/demonstration at Ellis School G Stelarc accepted appointment for fellowship, created new work, presented lectures and a weekly discussion on human-machine interaction, and presented performance work Parasite at the Wood Street Gallery G Carolyn Speranza and Lisa Link created End of the Line: Building Bridges with Pittsburgh’s Busways G Tim Collins, Reiko Goto and Bob Bingham, began Nine Mile Run Project, including public workshops at various community and on-site locations with funding from the Heinz Endowments G Research Associate Paul Vanouse created the Consensual Fantasy Engine G Rob Fisher directed interdisciplinary team to produce Tracking the Human Brain planetarium show with funding from the National Science Foundation G Tim Collins, Reiko Goto, Bob Bingham and John Stephen continued community education workshops, tours and presentations and published report about their inquiry at Nine Mile Run.

1998 G Regi Allen, media artist, year-long residency, in partnership with the National Black Programming Consortium G Regi Allen, panelist at community forum entitled “Black Popular Culture” at the Andy Warhol Museum G Regi Allen receiveed grant for a documentary from the Urban League of Pittsburgh G Paul Vanouse presented his projects at University of Wisconsin, Conference on Twentieth Century Studies, and the International Symposium on Electronic Arts, Chicago G Student artists from the Creative and Performing Arts High School, Pittsburgh hosted by STUDIO to encourage interdisciplinary career paths G 15 artists and team members of Tracking the Human Brain project attended a brain dissection G James Duesing, animation artist, began fellowship appointment G Michael Moschen, performance artist, presented at Watson Festival G Charlee Brodsky, photographer, initiated development of The Subject is Pittsburgh, a CD-ROM project G Nine Mile Run Team served as panelists for “Collaboration: Who does it and what are they doing,” sponsored by Pittsburgh Dance Council G Nine Mile Run Project team created exhibit of children’s work, reception and symposium for teachers

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 491

G Nine Mile Run Project team received Three Rivers Environmental Award G Carnegie Mellon University trustee partners attended demonstrations of STUDIO projects. G STUDIO projects accepted for US pavilion at Expo 2000 G Kenneth Love appointed and began editing documentary video about Teenie Harris G Michelle Illuminato developed the Road Trip project G Peter Sellars met artists and discussed potential project G Faith Wilding initiated Sex and Gender Project G Carolyn Speranza initiated Building Electronic Community G Nine Mile Run team’s River Conservation Plan accepted with praise G Tracking the Human Brain laboratory space ready for operations G Nine Mile Run Project team presented at Carnegie Museum’s Bioblitz and created their Web site G Carolyn Speranza coordinates a presentation by AMICO (American Museums Image Consortium On line) G Architect/City Planner John Rahaim’s presented international summary of industrial public art installations G Carolyn Speranza developed Internet sites for the Andy Warhol Museum G STUDIO hosted a discussion with PA Arts Council staff Caroline Savage regarding support for interdisciplinary artists projects, and a subsequent discussion with ProArts G Marge Myers presented at the Artpride Conference in NJ G Carolyn Speranza and Regi Allen presented at the Community Forum at the Warhol Museum G Marge Myers presents at Arts Education day in Harrisburg G Staff and artists made presentations to youth from: Allegheny Middle School, Carnegie Science Center’s Youth Alive program, Exploring Your Horizons for pre-teen girls, AAA National Public Science Day and the Homewood Montessori School G Staff and artists served on the advisory group for the Pittsburgh High School Art Showcase, the Three Rivers Wet Weather Demonstration Project and the Arts Education Congress G Faith Wilding created artwork, formed a collaborative group around technology and women’s reproductive health called subRosa, and presented her work at several international events. G STUDIO programs, management and institutional development were evaluated by an advisory board of national artists and educators in the spring. The members included: Richard Armstrong, Joyce Bowie Scott, Mel Chin, Maxwell H. Connan, Paul Glabicki, Mary Jane Jacob, Joyce Kozloff, Suzanne Lacy, Achim Lipp, Philip Pearlstein, David Pease, Louis Scheimer and Konrad Weis.

1999 G STUDIO received $175,000 grant from Microsoft G Staff created call for applicants for the Microsoft Fellowship and managed the selection process G STUDIO launched Microsoft artist residencies: Frank Garvey, Michael Moschen, Heidi Kumao, Robert Atkins G Faith Wilding presented Women and Biotechnology Panel G Rob Fisher and Paul Vanouse made presentation at Assoc. of Science and Technology Centers on the Brain Show G Staff does in-service presentation for K-12 art teachers: Artists as Researchers G SK Woodall received appointment and presented SLAP project for high school students G Kaori Maramatsu created a presentation on Dance and Biomechanics

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. Organizational Mangement: Strategic/Business Planning 492

2000 G Bob Bingham and James Duesing become co-directors G Gray Matters: the Brain Movie premiered G EventScope Project began G Nine Mile Run Project exhibited in the new Miller Gallery G STUDIO staff made presentation for university development staff G Brodsky demonstrated Pittsburgh: a City Seen to advisory group G Atkins created Hybrid Panel series and presented the first of four in the Miller Gallery G STUDIO staff presented to national meeting of art librarians G STUDIO staff invited to Role Models Dinner G Nine Mile Run Project CD-ROM published G Nine Mile Run Project created exhibit for the Frick Nature Center G 3 Rivers 2nd Nature launches boat and began riverfront study, signed partnership agreement with 3 Rivers Wet Weather Project and received funding from the Heinz Endowment

2001 G Peter Coppin created a course in “Remote Experience” for the School of Art and Robotics G STUDIO staff began strategic planning process G Stephanie Flom appointed and initiated the Persephone Project G Angelo Ciotti received appointment and presented his reclamation projects to the university G John Pollock initiated the Tissue Engineering for Life project with funding from the National Institutes of Health in partnership with the Pittsburgh Tissue Engineering Initiative G EventScope deployed in nine Pittsburgh area schools including Arlene Lissner H.S., Gateway Middle School, Holy Trinity, Ingomar Middle School, St. James, Shadyside Academy Middle School, Sto-Rox Junior Senior High, Riverview Junior Senior High, and The Pittsburgh School G Reiko Goto presented Gently Down the Stream, a workshop for teachers held at the Frick Nature Center and funded by the Department of Environmental Protection G Acid Mine Drainage and Art project presented work in progress G STUDIO fellows toured home of Angelo Ciotti constructed of polyurethane foam G Rob Fisher and Roger Dannenberg presented at the Connecticut College Symposium on Art and Technology G Critical Art Ensemble appointed to the STUDIO as a collective G EventScope team presented workshop for teachers on using their software in the classroom G Previous fellow Seth Riskin gave lecture/demonstration of recent work G STUDIO presented for the International Sculpture Conference, including: hosting a Rapid Prototyping workshop, funding local artist commissions, presenting an Art/Ecology/Urban Planning narrated tour of the three rivers by boat, and demonstrating works in progress in the form of a multi-media open house G 3 Rivers 2nd Nature sponsored boat tours and workshops on water quality, botany, stream daylighting, and public engagement in policy regarding the three rivers G EventScope presented workshop for the youth in the CMITES program G Noriyuki Fujimura arrived from Japan to begin year long fellowship

Sample Strategic Plan—STUDIO for Creative Inquiry, cont. The Ultimate Residency Resource Guide 493

Additional Resources

In Print

Driving Strategic Planning: A Nonprofit Executive’s Guide by Deborah L. Kocsis, Susan A. Waechter. Paperback: 47 pages Publisher: Boardsource (July 1, 2003) ISBN: 1586860747

Strategic Planning for Nonprofit Organizations, Second Edition by Michael Allison, Jude Kaye Paperback: 320 pages Publisher: Wiley; 2nd edition (July 11, 2003) ISBN: 0471445819

Strategic Planning for Public and Nonprofit Organizations: A Guide to Strengthening and Sustaining Organizational Achievement, 3rd Edition by John M. Bryson Hardcover: 464 pages Publisher: Jossey-Bass; 3rd edition (September 17, 2004) ISBN: 0787967556

Strategic Restructuring for Nonprofit Organizations: Mergers, Integrations, and Alliances by Amelia Kohm, David La Piana Hardcover: 168 pages Publisher: Praeger Publishers (October 30, 2003) ISBN: 0275980693

Online

Alliance for Nonprofit Management Web site has an excellent and extensive section on frequently asked questions on strategic planning. In addition, it has other sections with a similar format on board development, financial management, risk management and credit card acceptance. www.allianceonline.org/FAQ

National Endowment for the Arts—Lessons Learned: A Planning Toolsite This toolsite was developed by consultants who formerly worked with the NEA’s Advancement Program. Includes a great deal of information based on “in-the-trenches” experience and extensive bibliography. There is an excellent organizational self-assessment tool included. arts.endow.gov/resources/Lessons/index.html

Illinois Arts Alliance Foundation (IAAF)—Arts Leadership for the 21st Century Over the past five years, the IAAF has been engaged in extensive research and development of programming that addresses the issue of leadership succession in the arts. Available in print and online are two publications on interest: Succession: Arts Leadership for the 21st Century (research compilation on the issue) and Planning for Succession Toolkit. www.artsalliance.org Organizational Mangement: Strategic/Business Planning 494

The BoardSource (formerly The National Center for Nonprofit Boards) Available through the BoardSource are excellent publications on different aspects of planning. The titles are: G Strategic Planning: Workbook for Nonprofit Organizations G Strategic Planning G Managing Change G The Nonprofit Board’s Role in Setting and Advancing the Mission G Driving Strategic Planning G To Go Forward Retreat www.theboardsource.org

CompassPoint Nonprofit Services A training, consulting and research organization supporting nonprofits, the Web site includes a frequently asked questions section on management and planning. www.supportcenter.org Chapter V

FACILITIES MANAGEMENT Accessibility Facilities Management: Accessibility 497

Accessibility

Many residency centers are in remote areas and in old buildings that do not meet Americans with Disabilities Act (ADA) requirements. The 1990 act requires buildings providing programs for the public to be accessible to those with disabilities. Buildings after 1990 have to be built with accessibility in their blueprints. Those built before that time must remove barriers to accessibility. There are exceptions, such as if removal of the barriers causes a severe financial burden or the removal would cause a fundamental alteration to the service (i.e., a hearing-impaired person who needed light on stage for an interpreter during a planetarium presentation would be considered an untenable change in the planetarium’s programs). The first exception is what limits many residency programs from becoming ADA compliant.

Within the Alliance membership, 26% of residency centers are fully wheel-chair accessible; 26% have accessible living quarters; 36% have accessible studios; and 45% have accessible public spaces. In addition, 6% have special accessibility for the visually impaired, and 4% for the hearing impaired.

When retrofitting existing facilities, it is important to work with an architect who has experience with accessibility and can address accessible design with regards to art studios. The American Institute of Architects (AIA) has a searchable database for finding an architect in your area, and you can search specifically for architects with experience in arts facilities (www.aia.org/architect_finder/).

Additional Resources G ADA Accessibility Guidelines for Buildings and Facilities (ADAAG) on the web at:

www.access-board.gov/ada-aba/final.htm

The ADA also publishes a manual that explains in lay terms what businesses and nonprofit agencies must do to ensure access to their goods, services, and facilities. Many examples are provided for practical guidance.

www.ada.gov/taman3.html

G Guide to ADA & Accessibility Regulations This comprehensive guidance manual provides the information you need to ensure that your property meets the requirements of the Americans with Disabilities Act. Published by BOMA International, 2003. 175 pages.

www.boma.org/ProductsAndResearch/StandardsandCodes/GuidetoADA AccessibilityRegulations.htm

G The National Arts and Disability Center is the national information dissemination, technical assistance and referral center specializing in the field of arts and disability. They provide specialized consultation in the areas of program development, networking, marketing to the disability community, ADA accessibility, and services and accommodations for artists and audiences with disabilities.

nadc.ucla.edu/ Studio Policies Facilities Management: Studio Policies 499

Health and Safety in the Arts

The Health and Safety in the Arts Web site is a searchable database of health and safety information for artists provided by the city of Tucson, Arizona, and the Environmental Management Division of the city of Tucson. www.ci.tucson.az.us/arthazards/home.html

The Website is divided into four sections, with information on each subcategory.

I. Database of Art Mediums: This section includes, for each of the media listed below, information such as inhalation, ingestion, skin contact, and other hazards based on technique used; as well as safety precautions that can be taken. G Ceramics G Child Art G Child Art Materials to Avoid G Child Art Rules for Safety G Commercial Art G Glass Art G Jewelry G Metalworking G Metalworking Patina Hazards G Modern Technology in Art G Other Art G Painting and Drawing Pigments G Painting and Drawing Preservatives G Painting and Drawing Techniques G Photography Techniques G Photography Chemicals G Printmaking Techniques G Sculpture G Textile Art G Textile Art Mordants G Woodworking G Woodworking Toxic Materials

II. Database of Studio Safety: This section includes hazard information and safety precautions for each of the following topics. G Flammables G Storage of Art Materials G Personal Protective Equipment G Material Safety Data Sheets G Disposal of Art Materials G Product Search G General Safety Information

III. Recommended Reading: This section includes additional print resources.

IV. Links: This section links readers to other online resources for health and safety in the arts, including media- specific arts safety guidelines, the Environmental Protection Agency, and essays on health and safety in the arts. The Ultimate Residency Resource Guide 500

POTTERY STUDIO GUIDELINES

SAFETY SUPPLIES G safety boots (artist keeps) G safety glasses with side shields G gloves G ear plugs G organic vapor respirators (available as needed) G hard hat

MAINTAINING THE SPACE You are free to use the plaster shop 24 hours a day, seven days a week, if you keep things clean and put tools back where you found them. If you do not, you (and possibly other artists) will not be allowed to work there. These are fine craftsmen who respect their tools, and you are expected to do likewise.

Kohler Co. does not allow artists to mix clay and plaster.

After using a sponge for size (plaster mold parting soap), rinse it out.

Dump excess plaster in provided barrels. No plaster in the sinks.

The slip line must be closed when it is not in use. This is very important to remember. This means not only the faucet at the end of the hose, which has two valves, but also the faucet at the main drop. When not in use, the end of the hose must always be kept in the provided bucket of water. The valves at the end of the hose are very sensitive and can be accidentally turned on when returning the hose to the bucket of water, causing a spill.

Lean, scrap clay (unglazed) needs to be dumped in the appropriate, labeled barrels in the casting aisle on the periphery of the studio spaces. The barrels are labeled: green scrap, clean slip, and floor scrap. The barrels are emptied, and clean slip and clay is recycled every afternoon.

Any garbage (paper, wood, plaster, etc.) must be put into a “burnable” or “nonburnable” trash barrel. Please observe this or artists’ area trash will not be picked up. All large amounts of garbage or large pieces of scrap must be carted to the dumpsters on the loading dock.

Maintain a clean work space at all times. Please sweep every day. Pottery regulations require that the artist’s space be maintained in the same manner as the production floor. As an artist in the program, it is your responsibility to maintain your personal studio space. Additionally, whatever lab you work in, make sure everything is clean and in its place before you leave.

Watch out for the moving ware carriers. They can be hazardous if you are not watching out.

ALWAYS LOOK BOTH WAYS; the factory can be a dangerous place if you’re not careful.

Sample Studio Policies—John Michael Kohler Arts Center Facilities Management: Studio Policies 501

Cleaning up: At the end of your residency, you will be very busy getting the last pieces out of the kiln and packing up. During this time, plan ahead and reserve two days to clean out your work space thoroughly. Take all cull production molds to the cull pit on a cart. Toss all glaze materials and test tiles—your formulas will not be available to future artists without your permission. Return any “common use” tile or setter molds as well as tools, pipe clamps, and funnels to the appropriate cabinet or shelf. Return ware boards and props. Clean out your storage cabinet, clean empty buckets, and be considerate of incoming artists. If staff has to clean your space, $50 will be deducted from your last stipend check.

GENERAL NOTES G Mixing plaster and clay is not allowed, especially clay and cured plaster. Plaster chunks mixed into the clay cast will cause fatal cracking to your work during the firing process. G The plaster dryer is located downstairs in the mold shop. If you want work put in the dryer, leave it in an agreed-upon place, marked with Date, Your Name, Arts/Industry. Talk to the technician regarding a space assignment. It is your responsibility to cart your molds to and from the dryer. Do not leave your work downstairs—otherwise your mold may be considered cull or lost forever (sugges- tion: always follow up to see if your work actually got into the dryer downstairs in the mold shop). The dryer is heated to 150° and is normally loaded and started every Wednesday and Saturday by 12:00 p.m. Always ask the individual loading the dryer when your mold will be ready for pick up. Artists can also dry small molds in the designated area between the one-fire kilns. G Metal bands can be made for your molds during the day. Check with the technicians. G Various sizes of ferrules, wood, and plastic buttons are available. Check with the technician G You can use the plaster machine if and only if someone from that department is around to supervise or witness. The best times are usually 6:30 a.m. to 3:00 p.m. G There are some factory case molds for large setter tiles. If you are planning to use many setter molds, you can make them. It is necessary to plan in advance. G When building your flasks for casting plaster molds, please be aware of your use of materials and associate time. If your mold is particularly complicated, it may take some consultation. Kohler Carpenters are available and expensive for artists. Please be aware that you may be responsible for paying Kohler Co. if you choose to consult a Carpenter and or use his/her tools and time. Always consult your area technician before woodworking—it will save you personally from being charged $50 an hour for their services.

Sample Studio Policies—John Michael Kohler Arts Center, cont. The Ultimate Residency Resource Guide 502

MacDowell Colony

DARKROOM ORIENTATION

1. An inventory list is posted in your darkroom. You are responsible for proper maintenance of all darkroom items. Please review the list and make sure all is in order at the beginning of your stay.

2. Please check with maintenance foreman John Sieswerda before attempting any procedure that you are not fully familiar with; e.g. changing the light head on the enlarger.

3. All chemistry must be disposed of properly in the recycling barrels provided. Do NOT pour chemistry down the drain. Please leave a note in the Maintenance Department if the barrels are nearing capacity during your stay.

4. Please leave the darkroom as clean or cleaner than you found it. Please inform the office if the darkroom isn’t clean when you arrive.

Sample Studio Policies—MacDowell Colony Facilities Management: Studio Policies 503

McColl Center for Visual Art Emergency and Safety Procedures

All studios are equipped with a Yellow Flammable Cabinet and Red Flammable Waste can. Please use them at all times to store paint thinners, oily rags, and other appropriate materials.

No Open Flames in studio.

Please inform the Facilities Manager about the use of any electrical devices above and beyond standard light fixtures for studio projects.

All work areas (Wood Shop, Metal Shop, Sculpture Studio) are to remain locked when not in use and are equipped with the necessary safety gear, eye, and hearing protection. For all special equipment (respirators, welding clothes, sandblasting suit, etc.) please see the Facilities Manager.

Exercise extreme caution after hours, especially while using the shop tools. If you have a cell phone, please carry it with you when working in the shops by yourself after hours. There are phones located in each of the Shops— Sculpture, Wood, and Metal—for you to dial out if needed.

Remember, if you need to dial out from one of these phones, please dial 9 to get an outside line. To Dial 911, you would actually dial 9911.

SAFETY RULES G No overnight sleeping. G No smoking. G No pets allowed in the building. G No open flames, no candles, no incense. G Use metal wastebaskets. G Unplug all electrical appliances when not in use. While you are in your studio, all electrical appliances must be plugged into a power strip with surge protector. G No cooking in studio. To heat water for tea, coffee, etc., use an electrical kettle (no open flames or hot plates) with automatic shut-off switch. G Any overhead lighting must be firmly secured and wattage of light bulbs must not exceed recommended limits. Halogen lighting is recommended. G Do not use light sockets as plugs. G Extension cords must be relatively new, not homemade, or frayed, and have grounds. They should not be used as permanent wiring and must be unplugged when not in use. G Keep studio clean. There must be clear, unblocked access routes to all exits. G All used or oily rags must be kept in a lidded metal container. G All flammables must be stored in a closable metal container or in a fireproof metal cabinet, and the quantity of flammable materials in your studio should be kept to a minimum. Please properly dispose of any flammables you will not be using. G Label all containers. G Do not use studio for storage. It is a workspace. G Do not dump paint, plaster, or chemicals down drain. G No modifications can be made to the studio. G Follow safety precautions of all materials or media used. G You are responsible for the proper disposal of toxic materials off-site.

Sample Studio Policies—McColl Center for Visual Art The Ultimate Residency Resource Guide 504

Workspace for Choreographers

USE OF STUDIO

NO SHOES IN STUDIO NO FOOD. . . DRINKS ARE OK PLEASE CLOSE DOORS WHEN USING MUSIC OR MAKING NOISE PLEASE CLOSE SHOWER DOOR COMPLETELY DO NOT OPEN WINDOWS TO THEIR FULLEST (they will come out of their tracks) PLEASE DO NOT USE FURNITURE AS PROPS WITHOUT PERMISSION THE FELDENDRAIS TABLE IS FOR LESSONS ONLY—DON’T USE FOR SITTING, HOLDING BELONG- INGS, ETC. PLEASE WATCH NOISE UNCONNECTED WITH WORK—i.e., talking in foyer, letting doors slam shut

IF YOU NEED TO DRIVE UP, PLEASE PARK IN SPACES TO THE LEFT OF DRIVEWAY

BEFORE YOU LEAVE STUDIO EACH TIME G Turn off musical equipment Unplug CD—plug marked w/ blue tape Unplug video camera G Close & lock windows (do not overcrank the windows when closing) G Turn out lights and fan—this includes lights on separate dimmer by double doors and foyer lights

G Throw away your trash G Consolidate your personal belongings G Unplug coffee pot G Let Sally know you’re leaving if her door is open

IN ADDITION, BEFORE YOU LEAVE AT THE END OF THE DAY G Sweep G Lock windows G Clean up any muck in foyer, bathroom, and dressing room G Wash up any dishes you have used including the coffee pot G Turn heat down to 40

Sample Studio Policies—Workspace for Choreographers Facilities Management: Studio Policies 505

Studio Health & Safety—Additional Resources

In Print

Artist Beware, Updated and Revised: The Hazards in Working with All Art and Craft Materials and the Precautions Every Artist and Craftsperson Should Take by Michael McCann, PhD, CIH Paperback: 608 pages Publisher: The Lyons Press; Revised &Updated edition (June 1, 2005) ISBN: 1592285929

The Artist’s Complete Health and Safety Guide by Monona Rossol Paperback: 405 pages Publisher: Watson-Guptill Publications; 3rd edition (December 1, 2001) ISBN: 1581152043

The Health & Safety Guide for Film, TV & Theater by Monona Rossol Paperback: 256 pages Publisher: Allworth Press (October 1, 2000) ISBN: 1581150717

Health Hazards Manual for Artists: Fifth Revised and Augmented Edition by CIH, Michael McCann, PhD Paperback: 176 pages Publisher: The Lyons Press; 5th edition (December 1, 2003) ISBN: 1592280935

Making Art Safely: Alternative Methods and Materials in Drawing, Painting, Printmaking, Graphic Design, and Photography by Merle Spandorfer, Deborah Curtiss, Jack Snyder Paperback: 255 pages Publisher: Wiley (October, 1995) ISBN: 0471287288

Overexposure: Health Hazards in Photography/Everything You Need to Know About Photographic Materials and Processes to Make Your Workplace Safe and Comply with United States and Canadian Right-to-Know Laws by Susan D. Shaw, Monona Rossol Paperback: 320 pages Publisher: Allworth Press; 2nd edition (October 1, 1991) ISBN: 0960711864

Safety in the Artroom by Charles A. Qualley Paperback: 120 pages Publisher: Davis Publications (February 1, 1986) ISBN: 087192174X The Ultimate Residency Resource Guide 506

Ventilation by Nancy Clark, Thomas Cutter, Jean-Ann McGrane Paperback: 128 pages Publisher: Lyons Press; Reprint edition (September 1, 1987) ISBN: 0941130444

Online

Keith Howard, Director, Canadian School for Non-toxic Printmaking, has written extensively on establishing non-toxic printmaking studios. An article on the subject, as well as contact information, can be found at: www.art2u.com/news/nontoxic.html

Fields, Scott. “Exposing Ourselves to Art.” Environmental Health Perspectives Volume 105, Number 3, March 1997. This article discusses the history of art hazards, new media, risks of experimentation, precautions and changes, and art outside of the classroom. ehp.niehs.nih.gov/docs/1997/105-3/focus.html

Best Management Practices for Fine Art Painting Studios, published by the Narragansett Bay Commission’s Department of Environmental Health & Safety. www.narrabay.com/Documents/PDFs/ArtistBMP.pdf

The following site includes a series of articles on health and safety in the arts, including a list of related publications. www.trueart.info/hazards.htm GENERAL RESOURCES General Resources 508

Print Resources

How to Form a Nonprofit Corporation by Anthony Mancuso, Diana Fitzpatrick (Editor), Mari Stein (Illustrator) Paperback: 368 pages Publisher: NOLO; 6th Book&CD-Rom edition (October 30, 2004) ISBN: 1413300391

The Jossey-Bass Handbook of Nonprofit Leadership and Management by Robert D. Herman, & Associates Hardcover: 816 pages Publisher: Jossey-Bass; 2nd edition (October 8, 2004) ISBN: 0787969958

Managing a Nonprofit Organization in the Twenty-first Century by Thomas Wolf, Barbara Carter Paperback: 368 pages Publisher: Free Press; 3rd Revised &Updated edition (June 15, 1999) ISBN: 0684849909

Nonprofit Kit for Dummies (With CD-ROM) by Stan Hutton, Frances Phillips Paperback: 356 pages Publisher: For Dummies; Book & CD-Rom edition (January 15, 2001) ISBN: 076455347X

The Public Relations Handbook for Nonprofits: A Comprehensive and Practical Guide by Art Feinglass Hardcover: 336 pages Publisher: Jossey-Bass (May 13, 2005) ISBN: 0787974544

Starting and Managing a Nonprofit Organization: A Legal Guide by Bruce R. Hopkins Paperback: 360 pages Publisher: Wiley; 4th edition (September 3, 2004) ISBN: 0471680001

Starting and Running a Nonprofit Organization by Joan M. Hummel Paperback: 152 pages Publisher: University of Minnesota Press; 2nd edition (July 1, 1996) ISBN: 0816627770

Sustaining Nonprofit Performance: The Case for Capacity Building and the Evidence to Support It by Paul C. Light Paperback: 211 pages Publisher: Brookings Institution Press (August, 2004) ISBN: 0815752253 The Ultimate Residency Resource Guide 509

Online Resources

Idealist.org This online resource allows nonprofits to post jobs, events, and projects for consultants; and connects nonprofits to other resources. www.idealist.org

The Gilbert Center The Gilbert Center is an incubator, research institute, consulting firm, and publishing house working to support nonprofits by strengthening organizational communication, whether for internal organizational health and renewal, for successful outreach to members, funders or the public, or for online communication. www.gilbert.org

MAP for Nonprofits MAP’s purpose is to build the capacity of nonprofit organizations to achieve mission-driven results. They provide quality, affordable management consulting and board recruitment services, publications, a free online management library (at www.managementhelp.org), and other support. www.mapfornonprofits.org

Isoph Institute The Isoph Institute provides online courses, web conferences, and e-learning resources for nonprofits. www.isophinstitute.com

The McKinsey Quarterly—Online magazine The McKinsey Quarterly, a print and online publication, is a source of strategic thinking, industry scenarios, and real-world market analysis, that offers new ways of thinking about management in the private, public, and nonprofit sectors. www.mckinseyquarterly.com

Compass Point Compass Point is a nonprofit training, consulting, and research organization. Their online resources include numerous documents on a variety of nonprofit topics, as well as e-networks for nonprofit managers, funders and boards. www.compasspoint.org

The Philanthropy Journal The vision of the Philanthropy Journal is to help people understand, support and work in the nonprofit and philanthropic world, and help them recognize and solve social problems.

Through a daily web site and free, weekly email bulletin, they deliver news, information and opinions about charitable giving, fundraising and management, focusing in particular on organizational effectiveness, donor engagement and collaboration. www.philanthropyjournal.org

Nonprofit Nuts & Bolts Non-Profit Nuts & Bolts . . G aims to provide practical, timeless management ideas that help nonprofit professionals tackle the nuts and bolts of managing their organization. G strives to be a valuable, information-packed resource for busy, budget-stretching nonprofit professionals. G covers key topics such as fundraising, volunteer management, public relations, special events, leadership, marketing, meetings, staff management, motivation, board relations, team building, time management, committees and technology. www.nutsbolts.com/np-home.htm General Resources 510

FirstGov.gov This site serves as an official web portal to the U.S. government, and provides a business library and other resources to nonprofits. www.firstgov.gov/Business/Nonprofit.shtml

Nonprofit Resource Center The Nonprofit Resource Center provides online resources on boards; legal issues; finance, accounting, and general management; fundraising; marketing and human resources; and support organizations. www.not-for-profit.org

Jossey-Bass Jossey-Bass, a Wiley Publishing subdivision, offers numerous titles specifically dealing with nonprofit organizations—everything from board development to strategic planning to fundraising. www.josseybass.com INDEX OF SAMPLES Index of Samples 512

Index of Samples

18th Street Arts Center 20 John Michael Kohler Arts Center 247-251, 284- Abrons Art Center / Henry Street Settlement 99 287, 407-408, 500-501 American Academy in Berlin 20 The MacDowell Colony 99-100, 107, 320, 351-353, Anderson Center for Interdisciplinary Studies 173- 380, 433-438, 502 175 McColl Center for Visual Art 24-28, 65-81, 93, Anderson Ranch Arts Center 118-129 113-114, 199-203, 252-256, 278, 288-289, 295, 461- Arrowmont School of Arts & Crafts 176 470, 503 ArtCenter / South Florida 97 Millay Colony for the Arts 409-410 Art Farm 177-179, 350, 393-394 Montalvo 20 Art Omi International Arts Center 20, 316 Northwood University, Alden B. Dow Creativity ArtPace San Antonio 91, 180, 211-218, 395-396 Center 422 Atlantic Center for the Arts 20, 64, 92, 162-170, Penland School of Crafts 20 195, 196-198, 279-280, 317-318 Pilchuck Glass School 101-102 The Banff Center / Leighton Studios 371-374 PlatteForum 411-412 Bemis Center for Contemporary Arts 427-430, 439- Ragdale Foundation 181-182, 192, 257-262 440 Rockmirth 114 The Bogliasco Foundation 319 Roswell Artist-in-Residence Program 20 Archie Bray Foundation 20 Sacatar Foundation 263-271, 293 Bullseye Connection 20 Constance Saltonstall Foundation for the Arts 20, Caldera 20 381 Center for Contemporary Printmaking 20 Santa Fe Art Institute 20, 183-184 Djerassi Resident Artists Program 219-233, 363- Sculpture Space 368-369 367, 375-376 Sitka Center for Art & Ecology 102, 130-140 Exploratorium 397-399 Lillian E. Smith Center for the Creative Arts 21 Fine Arts Work Center 101, 355-358 STUDIO for Creative Inquiry 471-492 The Hall Farm Center for Arts & Education 20, A Studio in the Woods 97, 104, 161, 204, 272-275, 359-361 294, 296, 413-414, 418 Hambidge Center for Creative Arts & Sciences 97, Ucross Foundation Residency Program 21, 185- 421, 431-432 189, 423-424 Headlands Center for the Arts 277 Virginia Center for the Creative Arts 29-33, 82-86, Hedgebrook 20, 400-401 94, 205, 290-291, 297, 323-324, 354 Hermitage Artists Retreat 370 Workspace for Choreographers 190-191, 206-207, Hopscotch House / Kentucky Foundation for 504 Women 105, 234-238, 281-282 Writers’ Colony at Dairy Hollow 415-416 Jacob’s Pillow Dance Festival & School 20, 101, Yaddo 21, 34-41, 95, 97-98, 100, 102-103, 104, 106, 104, 111-113, 377-379, 402-403 107-108, 109-110, 193, 208, 298-299, 321, 362, 419- Jentel Artist Residency Program 239-246, 283, 404- 420, 425-426 406 Other Publications by the Alliance of Artists Communities

Please visit the Alliance Web site at www.artistcommunities.org for more information or to order publications.

Artists Communities—A Directory of Residencies That Future of Creativity Report (2002). Organized by the Offer Time and Space for Creativity, Third edition (2005). Alliance of Artists Communities and hosted by the School The 3rd Edition of this widely-praised directory has been of the Arts Institute of Chicago, the “Future of Creativity” revised and updated to include an index of 347 residency symposium brought together some of the nation’s leading opportunities worldwide, as well as comprehensive details thinkers to present a range of models of innovative, sus- on 95 residency centers. tainable communities. Symposium speakers and panelists included Carol Becker, Stanley Crouch, Kahil El’Zabar, Engaging Communities: Lessons Learned (2004). This Guillermo Gómez-Peña, Dr. Clifford A. Jones, Sr., Bill Joy, report explores the question of how an organization whose T. Allan Comp, Monica Haslip, Ruby Lerner, Chris Quigg, core mission is to protect artists from external demands so Alan Weisman and Street-Level Youth Media, among oth- that they can accomplish their basic work can at the same ers. The book is a narrative report of the proceedings. time be a full participant in a local community. The publication documents successful practices within the field, while American Creativity at Risk Report (1997). Organized by also sharing the challenges faced by artists’ communities the Alliance of Artists Communities and hosted by Brown along the path to success. The report also includes new University and the Rhode Island School of Design, the research exploring artists’ perspectives on participating in “American Creativity At Risk” symposium explored the public programs as part of a residency. nature of human creativity and its significance in a wide range of disciplines, taking artists’ communities as a model Artists’ Communities at Work: Lessons Learned (2003). and a metaphor for fostering pure research and innovation The first in the “Lessons Learned” series addresses three in all sectors of our society and culture. The symposium critical issues in the field of artists’ communities: Fund resulted in a call to action addressing the challenges and Development, Building Community Within, and opportunities of restoring creativity as a priority in public Community Engagement/Outreach. The report includes policy, cultural philanthropy, and education. Symposium case studies of six artists’ communities, detailing the pro- speakers and panelists included Robert MacNeil, Lewis grams, fundraising ideas, and creative environments that Hyde, Brendan Gill, Guillermo Gómez-Peña, Mary Schmidt have enabled them to thrive. Campbell, Mierle Laderman Ukeles, Ellen Winner, David The Programs and Management Practices of U.S. Artists’ Liddle, Mary Catherine Bateson, Ned Hall, and Stewart Communities (1999). The result of two years of intensive Brand, among others. The book is a narrative report of the research on the field of artist communities, this report pro- proceedings. vides information to help artists’ community staff and boards manage, stabilize, fundraise for, develop, and market their organizations.

Alliance of Artists Communities 255 South Main Street Providence, Rhode Island 02903 USA tel 401.351.4320, fax 401.351.4507 [email protected] www.artistcommunities.org