Grantwriting 3.0: Grantwriting for Indigenous Artists & Curators
Artists need time and money to make work and present it to the public.
Public funding for the arts plays a crucial role in that process, but most artists
and curators find successful grantwriting a challenge. What works? What to avoid?
How do juries function? What are the programs at the arts councils dedicated to Indigenous artists about? How can applicants be successful?
- This free, day-long workshop for Indigenous artists & curators will feature:
• guest speakers sharing their knowledge and experience writing successful grants
• officers from the Canada Council for the Arts and the Ontario Arts Council explaining grant programs and offering advice
• opportunities for one-on-one meetings to discuss project ideas
• follow-up mentorships for up to five participants.
Confirmed Presenters:
Ryan Rice
Ryan Rice, Kanien’kehá:ka of Kahnawake, is an independent curator and the Associate Dean, Academic Affairs in the Faculty of Liberal Arts / School of Interdisciplinary Studies at the Ontario College of Art and Design (OCAD) University (Toronto, ON). His curatorial career spans over 25 years in museums, artist run centres and galleries. Rice served as the Chief Curator at the IAIA Museum of Contemporary Native Arts (Santa Fe, NM) and also held curatorial positions at the Indigenous Art Centre (Ottawa, ON), named curatorial fellowships with the Art Gallery of Greater Victoria (Victoria, BC) and the Walter Phillips Gallery (Banff, AB), and Aboriginal Curator-In-Residence at the Carleton University Art Gallery. He received a Master of Arts degree in Curatorial Studies from the Center for Curatorial Studies, Bard College, New York; graduated from Concordia University with a Bachelor of Fine Arts in printmaking and received an Associate of Fine Arts from the Institute of American Indian Arts. Rice’s writing on contemporary Onkwehonwe art has been published in numerous periodicals and exhibition catalogues, and he has lectured widely. Some of his exhibitions include ANTHEM: Perspectives on Home and Native Land, FLYING STILL: CARL BEAM 1943-2005, Oh So Iroquois, Scout’s Honour, LORE, Hochelaga Revisited, ALTERNATION, Soul Sister: Re-imagining Kateri Tekakwitha, Counting Coup, Stands With A Fist: Contemporary Native Women Artists and ARTiculations in Print. In the fall of 2017, he presented the award-winning inaugural exhibition of the new Onsite Gallery in Toronto with his exhibition “raise a flag: work from the Indigenous Art Collection 2000-2015.” Rice’s service to community, leadership, and organizational experience includes co-founder and former director of the Aboriginal Curatorial Collective, the Art Gallery of Ontario’s Education Council, the Inuit Art Foundation and the Native American Arts Studies Association board of directors.
Nick Ferrio
Nick Ferrio is a singer-songwriter and musician living in Peterborough, ON. Currently, he performs his own material with his band, and accompanies/collaborates with Evangeline Gentle and Leanne Betasamosake Simpson on their creative endeavors. He has worked as a session musician, songwriter and producer on a variety of projects over the past decade and has toured extensively throughout Canada and Europe. His own music is equal parts power-pop and poetics, and his live performance is the manifestation of an artist completely at ease interpreting the world around him and singing it back out again.
Tia Cavanagh
Originally from the northern shores of Lake Huron in Ontario, Tia Cavanagh has lived and studied in Havelock, Norwood, Peterborough, Montreal, and Toronto. Achieving her BFA at OCAD University, she now studies at Trent University working on her Masters degree in Canadian and Indigenous Studies. Cavanagh is a multi-disciplinary artist who uses materials such as paint, wood, fabrics, sculpture, and projection. For her, storytelling, process, discovery, and new meaning are at the core of art making. With these aspects at the root, she continues to explore approaches and understanding through the creative lens of an Indigenous woman drawing upon Indigenous research methodologies.
William Kingfisher
Independent Curator William Kingfisher is a member of the Chippewas of Rama First Nation. A Ph.D. candidate in the Indigenous Studies Department at Trent University and artistic associate producer at Indigenous Performance Initiatives (IPI), Kingfisher's work explores the connections that take place between landscape, traditional anishinaabe knowledge, and contemporary Native art. At IPI Kingfisher supports Indigenous artists to tell their own stories: through dance, music, theatre and video, creating stories of this generation -- merging cultural history with current concerns, presenting dreams and images for the future. His curatorial work, ayaandagon: outdoor installations in an anishinaabe garden profiled in this issue of MUSKRAT Magazine continues to be used today as a place to engage in local history, anishinaabe Indigenous knowledge, teaching children, and our relationship to the changing landscape.
Couzyn van Heuvelen
Couzyn van Heuvelen is an Inuk sculptor and installation artist originally from Iqaluit, NU, currently based in Bowmanville, ON. Van Heuvelen received his BFA from York University in 2011 and his MFA in 2015 from NSCAD University. His artistic practice primarily consists of sculptural and installation works that draw from both art history and Inuit life. Across his varied pieces, he fuses traditional practices and forms with contemporary materials and fabrication processes.
Nadia McLaren
Nadia is an Anishnaabe whose family roots are in Heron Bay, Pic River located on the North Shore of Lake Superior. She grew up in small towns across Northwestern Ontario and calls Sioux Lookout home. Nadia is a mother of two, a Drawing and Painting graduate of the Ontario College of Art and Design, a published author and is currently finishing a graphic novel entitled, “Ever Good,” which was awarded a grant from the Truth and Reconciliation Commission as a project of commemoration.
As Educational Developer (Indigenous Learning), Nadia brings deep knowledge and experience in the areas of Indigenous pedagogy, professional development and community engagement to her work. Nadia is an accomplished educator, artist and storyteller with more than 15 years’ experience working in Indigenous educational contexts. She is also the creator (writer/director/producer) of an award-winning documentary, “Muffins for Granny,” (Mongrel Media 2007). This documentary involved extensive research with community Elders and residential school survivors, was the recipient of a prestigious Aboriginal Healing Foundation grant and is part of the esteemed Criterion Collection
Workshop Advisors
Jenn Cole
Jenn Cole is a mixed-ancestry Algonquin Anishinaabe-kwe and Assistant Professor in Gender and Women’s Studies at Trent University. She researches Indigenous Performance as it intersects with settler/Indigenous relations and reciprocal relationship to the land, especially at the site of the Kiji Sibi/Ottawa River in Algonquin Territory and the Odenabe in Michi Saagig Territory, where she lives. In programming, curation, publication, public talks, teaching and performance, she works to create experiences that enable participants across generations to decolonize their relationships to place and one another through multi-arts practices. She is Creative Director of the Aging Activisms Research Collective; Co-Investigator in the SSHRC-funded partnership development project, Gatherings: Archival and Oral Histories of Canadian Performance; Co-Conveynor of the Indigenous Performance Research in the Americas Working Group for the American Society for Theatre Research; and editor of Gatherings, a publication for the collection and distribution of creative scholarly work in performance.
Jon Lockyer
Jon Lockyer is a curator, educator, and writer from Toronto, Ontario. Lockyer’s interest as a curator focuses on issues of social and political engagement, and that challenges the aesthetic and pedagogical boundaries of contemporary art. More specifically, Lockyer is interested in Indigenous art and curatorial practices that have originated in North America since the early 1960s. Lockyer received his BA from Trent University in Canadian Studies, and recently completed an MFA at OCAD University in Criticism and Curatorial Practice. He has worked previously at the Museum of Contemporary Native Arts (Santa Fe, NM), the Art Gallery of Ontario (Toronto, ON) and C Magazine.
William Kingfisher
Independent Curator William Kingfisher is a member of the Chippewas of Rama First Nation. A Ph.D. candidate in the Indigenous Studies Department at Trent University and artistic associate producer at Indigenous Performance Initiatives (IPI), Kingfisher's work explores the connections that take place between landscape, traditional anishinaabe knowledge, and contemporary Native art. At IPI Kingfisher supports Indigenous artists to tell their own stories: through dance, music, theatre and video, creating stories of this generation -- merging cultural history with current concerns, presenting dreams and images for the future. His curatorial work, ayaandagon: outdoor installations in an anishinaabe garden profiled in this issue of MUSKRAT Magazine continues to be used today as a place to engage in local history, anishinaabe Indigenous knowledge, teaching children, and our relationship to the changing landscape.
Arts Council Officers:
JL Watson - Canada Council for the Arts
Maura Broadhurst - Ontario Arts Council
Where: Nogojiwanong Friendship Centre
580 Cameron St, Peterborough, ON K9J 3Z5
When: November 23rd, 10:00 am - 4:00 pm
Want more info?
EMAIL: programmanagerelectriccitycc@gmail.com
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