Individuals and groups 2020-21
Writing a new novel
Alexander Davern & Paul Murphy
A collaborative project to produce an immersive multimedia installation for presentation at the Junction Arts Festival in 2021
Dance Bank – an archive of work by Graeme Murphy
The development of a sequel to his picture book, Grandma Z
palawa kani recording project
Developing techniques for new decorative art lighting
The development and presentation of a new work for The Unconformity 2021
The development of an interactive virtual performance - Pandora’s Monster
SELF - installation experience
Joanna Elizabeth Lawton
Seaweed, Science and Ceramics
Park Days development (stages 4 & 5)
An artist publication for TENSE PAST with critical texts
Adapt Get Up Mum into a one-man theatre work
Researching and producing first and second drafts of a new creative work - Wild Once More
Meres (Anna Laverty, Ben Simms, Cody Mills, James Matuszek, Marianne Shannon & Sheridan Kerr)
Recording the groups debut album
Greyscales development (stage 3)
Producing a locally written play
Producing and distributing Tell Me What You Know, a creative non-fiction podcast and publication
Slag Queens (Alexandra Hullah, Amber Perez-Wright, Caitlin Fargher, Claire Johnston, Lucinda Shannon & Wesley Miles)
Recording the group’s second album
On memory - a performative exhibition of new work
The Sleepyheads (Cameron Locke, Daniel Barton, Patrick Broxton & William Shepherd)
Recording the group’s debut album
The peers expressed a high level of confidence in Tasmania’s cultural and creative industries, and their ability to work through the COVID-19 pandemic.
They commented on the broad and diverse range of applications and were excited by the potential of the state’s dynamic and vibrant arts sector.
The peers gave the following feedback to help current and future applicants:
- Peers recommended that all applicants (whether new or experienced) contact Arts Tasmania to make sure their applications were in line with program guidelines.
- Peers encouraged applicants to read the program guidelines and application forms carefully before submitting an application, noting that a number of applications to this round included ineligible expenses in the budget such as equipment purchases.
- Applicants should write in plain English and avoid unnecessary artform specific language or jargon.
- Artists should not assume that the peers have previous knowledge of an applicant’s career or experience.
- Peers recommended that applicants proofread, or ask a friend to proofread, all parts of the application before submitting.
- Applications that stood out in this grant round included information about the applicant’s artistic history and clearly explained how the proposed activity fit in to their future career trajectory.
- Peers recommended that applicants include more information about marketing in their applications, including information on the audiences for the work and how they would be reached. The peers also encouraged applicants to consider engaging professional PR and marketing support as a part of the grant.
- The stronger applications included professional artist CVs as an attachment, rather than a link to a website or social media.
- Applications with clear and detailed budgets were more likely to be supported. The peers noted that applicants should detail the costs of the project and have accurate figures based on industry wages and quotes rather than estimates or broad generalisations.
- Stronger applications included targeted letters of support that spoke about the artistic integrity or benefit of the project and were relevant to Arts Tasmania’s funding rounds.
The following peers assessed this round:
- Angela Prior
- Claire Beale
- Emma Porteus
- Kate Harrison
- Madeline Wells
- Robert Gibson
- Robert O’Connor
- Stuart Loone
- Tyler Richardson
Arts Tasmania carefully manages actual and perceived conflicts of interest for both staff members and peers involved in the assessment process.