Why you need the internet, and why the internet needs you

Disclaimer: I am a consultant/leader for the Creative Capital Professional Development Program “Internet for Artists” workshop.

When trying to build awareness on a public project, there is nothing better than the internet. The internet gets you access to a much larger audience, and it can give your a project a life far beyond its actual lifespan. The internet provides a great repository for sharing the story of your project. There are a few ways that you can really make the internet work for you.

  1. Build a project site. If the project is big enough and you expect to get some press on it, a project site can be helpful* to building project recognition: the press can refer directly to project/site name and people searching for the project name will find the site easily.
  2. Get all your press info (hi-res photos, press release info) online, that way you can respond to requests easily and quickly.
  3. Build your audience.
  4. Share your resources, experience, knowledge, etc.

1 and 2 seem pretty obvious, its 3 & 4 that are more complex.


The Internet, originally uploaded by chade2112.

There are many ways to build your audience online. Although I think it is helpful to remember two things: 1. It takes time to build that audience, and 2. It takes energy to build the audience (what you put in is what you get out). There are of course many resources to do so.

I start with putting up a project site, that just gets the information out there in a cohesive way and it gives me something to point people to. (And strangely enough, with the way the web works, other people will find your site, and if the project is compelling, they will write about it). It is also a great way to keep track of your resources and to solicit feedback on the project.

Then you want to start looking at what other methods you might want to use to promote the project (or solicit resources & feedback depending on what you are seeking). You can use a broad audience social network like MySpace or FaceBook – if you have a lot of friends they can help disseminate information about the project (post blogs about the project to your profile, consider doing a project page, mention the project site in your updates, etc.)

You may find that your time is better spent seeking a more specific audience, in which case seeking out niche or private social networks might be more suitable. These might exist as a private network (on ning or collectiveX) or as a yahoo group or email list. Do a search on the private networks and then do a more general google search for your keyword + group. There are groups out there for everything – fibers, sustainable design, animal rights, light sculptures… If you chose to join these groups you may be rewarded with lots of feedback and resources, but remember to pay it forward – participate in the community and share your knowledge and resources.

This makes for a nice segue to talk about #4 – the idea of sharing your resources, experience & knowledge. You will undoubtedly learn a lot about the process of creating the work that is your project. In doing so you may now have experience which may benefit others. Make a point of sharing what you learn, whether in one of the groups or on a blog or another site like instructables.com. All of these efforts will continue to attract people to your work.

I would also encourage you to consider sharing whatever you can from your project — post photos on flickr, videos on youtube — and do so under a Creative Commons license. (I personally license all of my images and projects under a Creative Commons Attribution Non-Commercial Share-Alike – meaning someone else can use the images or even recreate the project as long as they license the work under the same license and attribute me in all materials). Putting your work out there like that enriches the commons (the things that we all have access to). Just remember that what you are putting out is not your actual work, but representations or documentation of your work. So share and share alike!

All of this work is meant to help *broadcast* about your project, because as we talked about before, you should be telling everyone.

*you can always do a redirect, i.e. www.myprojectsite.com could redirect to www.myportfoliosite.com/myprojectsite if that helps you with managing online identities

A little bit of everything

One thing to think about when you are taking on your own public art project is that you will need to be a little bit of everything:

  • Salesperson – you have to really be able to sell yourself and your project, you will sell to funders, presenters, neighborhood organizations, sponsors and other supporters.
  • Marketer – part of being a good salesperson is being a good marketer. Find clear and compelling ways to talk about your work. Develop an elevator pitch (more on that later).
  • Networker – key to the success of any large project is getting out and talking to lots of people about it. Learn to promote your work and walk into a room and meet all the people you need to meet in the place.
buffet, w hotel, originally uploaded by heather.
  • Public speaker – both to promote your work and afterwards, when the project is so popular that loads of people want you to talk about it.
  • Fabricator – if necessary, to either make the work yourself, or be able to understand the technical needs of your project to be able to successfully translate that to your fabricator and to represent the project to everyone you are promoting it to.
  • Project Manager – understand how to balance, time, resources and output to achieve maximum effect. Get really good at to-do lists, following up & following through and managing communications with all of the players/aspects of your project.

There are probably a few more even, if I think of them (or you know any) I will add them to the list.

The other thing to do is to look at the list and figure out if there are any roles which you are either a) not good at or b) don’t like doing. If those things can be hired out, then do so. Hire a project manager or a grant writer or a pr person. Get them to do the job for you (can you trade services or get their assistance at a discount or in-kind?) or get them to teach you how to do it. I learned a lot from the first grantwriter that I hired. But I’m still not great at it, so I will be hiring one again…

You may be capable of taking everything on, but not have the time – just because you can do everything, doesn’t mean you should do everything. Make sure you consider carefully all the tasks you will need to achieve in order to ensure success of your project and fairly assess what you can and cannot take on. And make it fun!

Fiscal Sponsorship and why you might want it…

or not, keep in mind that you will have to make the decisions that are right for you and your project. Having said that, I can’t think of any good reasons not to work with a fiscal sponsor.

337/365: The Big Money, originally uploaded by DavidDMuir.

Fiscal Sponsors – also called fiscal agent, umbrella organization, fiscal conduit, non-profit sponsor – offer a variety of benefits for artists, including allowing tax deductable donations to the project from individuals and corporations, and allow the artist to apply for grants that are normally reserved for non-profit organizations.

There is a ton of information on the web about fiscal sponsorship, a good place to start is at the Foundation Center.

In short, the fiscal sponsor will accept funds on behalf of the artist and/or project (so the checks are written in the fiscal sponsor’s name, not yours) and then dispersed to you. Many fiscal sponsors will take a small administrative fee for handling the transactions for you. They also take “responsiblity” in the eyes of granting organizations to assure that you complete the project and file grant reports.

Although in my experience I have yet to receive a grant that is normally only available to organizations, the sponsorship has helped with collecting tax deductable donations. (I am still applying for those grants, so I will let you know if that changes).

There are certain rules that apply, especially regarding benefit events, certain dollar amounts and tax requirements and family members donating to the project (their monies cannot pay artist fees), but a good sponsor will give you all of the information regarding these rules and regulations up front.

Two national fiscal sponsors that I know of are New York Foundation for the Arts and Fractured Atlas. Both have different requirements and supply different services in return to the artist.

Let me know if you have specific questions about FS and I will answer them, but that is the quick overview.