Creative Conversations: Jamaica Podcast


Creative Conversations: Jamaica Podcast

On February 28, 2018, Southeast Queens-based artists met at the SUNY Educational Opportunity Center for our monthly Creative Conversations meeting. We were joined by members of the Southeast Queens Artist Alliance (SEQAA) and a few artists who were new to the meeting looking to meet other artists in the neighborhood. Check out our latest podcast on what's happening in Jamaica including an interview with Adrienne Whaley, founder of Innovations in Creative Arts on Linden, a new multi-use creative space in Jamaica, Queens.



The Artist Commissioning Program Launches New Podcast Series

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Let’s say you applied for an arts grant. Or any opportunity, really, artist or otherwise. When you hear back—if you hear back—the feedback is probably a binary. You either got it, or you didn’t. An email congratulating you, or a mass email of the “we regret to inform you” variety.

Often, the latter email doesn’t give you any substantial information about you or your application. So not only are you disappointed by the outcome, but you’re left without any constructive steps to move forward. If you’re like me, you guess what led to this turn of events, obsess about it for a couple of days, and then move on.

But what if we shared feedback as professional development? What if you could actually hear what people said about your application, in real time?


In the context of artists’ applications, I was actually first introduced to this idea by Heather Pontonio, a leader in artists’ professional development and the Art Program Director of the Tremaine Foundation. It’s crazy to me that these arts organizations that pride themselves on artists’ professional development send artists blanket rejection emails with no detail on their applications, she told me over coffee at the College Art Association conference in NYC last year. That is a perfect opportunity for a learning moment, for direct feedback! she continued.

And of course it is. It was one of those things that became so obvious… after she said it. Why just teach hypothetical workshops about best practices in grantwriting when you can actually give them real, direct advice on grants they already wrote?

QCA does give applicants direct feedback on their applications in all our grant programs: artists & organizations can call our staff and hear us relay the panelists’ comments. But we think it could go further. Not only is having to call an extra step, but I can’t help but worry about things that may get lost in translation: a richness of information that inevitably escaped the transition from panelists’ comments, to our notes, to that phone call.


For our new Artist Commissioning Program, we wanted to make the panel process more transparent, so we recorded the panel sessions. This was a first for us: our other grant-making programs—the Queens Art Fund, SU-CASA, ArtHotel Residency—have never recorded its panel sessions. Despite our Executive Director’s fearless encouragement, the prospect made me nervous: A live recording would share names—of the artists, of the art producers serving as panelists. The artists hadn’t agreed to that. And the art producers were new to it too. What if the art producers held back during the panel? What if the giant microphone in their face inhibited them from having a dynamic discussion, the very thing we were trying to encourage?

Ultimately, we came up with an arrangement that would sort of let us have our cake and eat it too: our recording partner, Clocktower, would record all the audio, but we wouldn’t broadcast it live. After we captured all the information, we could figure out what to do with it. We could review it, process it, and edit out any sensitive material, such as names and project titles.

the podcast

I wanted this podcast to be an oral stake in the ground so people can hear what we did...the more of us talk about this, the quicker we can come to a set of words that will be more equitable.
— Hoong Yee Krakauer, Executive Director

We’re now in the process of developing this podcast series, and would like to share the first episode, What Are The Gaps in American Culture? In this segment, I talk with our Executive Director, Hoong Yee Krakauer, about the impetus for establishing the program.

We then hear from Art Producers Brendez Wineglass, Margot Yale, Jacqueline Dugal, and Adele Eisenstein, who discuss their experience selecting the artists for the program, and how they decided what works are not visible in American culture.

Click here to listen to it!


Next month, we will publish audio content directly from the Artist Commissioning Program. I’ll then walk you through our thought process – what I think this accomplishes, and how we could potentially go further.

In the meantime, we’d like to hear what you think.

  • Artists: if arts organizations started giving applicants more feedback, how would it impact your practice?
  • Arts administrators, cultural leaders: do you have any reservations about sharing this information?

Feel free to post your comments below, or you can email me your thoughts at



ArtHotel – A Unique Community-Based Residency

 "Astoria Park" by A. King McCarty

"Astoria Park" by A. King McCarty

 Mirror Painting by Kamille Ejerta (OGMillie)

Mirror Painting by Kamille Ejerta (OGMillie)

With two new artists taking part in the 2018 ArtHotel Residency, QCA invites the Queens community to visit their open studios.

At QCA, we are so lucky to work in such a diverse borough where so many disciplines are represented, but regardless if they’re a visual artist, a dancer, a filmmaker, a musician, or do any other type of practice, one of the biggest challenges facing them is for suitable (not to mention affordable!) studio space to rehearse and create work, as well as spaces to present. Oftentimes it forces artists to be a bit more adventurous and creative to find a place to produce work.

That’s is why our ArtHotel Residencies are such an exciting opportunity, one at the Paper Factory Hotel in Long Island City and one at the Springhill Suites LaGuardia in Corona.

 Kamille Ejerta (OGMillie)

Kamille Ejerta (OGMillie)

By having artists work in a non-traditional art space – a Queens hotel – the residency not only gives them plenty of appropriate space to create, it also gives them the opportunity to focus on their work in the public realm and build relationships with new audiences throughout the borough.

We hope these residencies can give access to the public to view a working artist’s creative process, and hopefully raise interest and increase dialogue in how cultural life can grow in Queens.

For this year’s residency, we are proud to invite two artists: Kamille Ejerta (artists name OGMillie), a self described “visually impaired Street Pop Artist with a vintage flair,” and A. King McCarty, a multidisciplinary artist that looks to use her work to tell stories about herself and her community.

When we asked them both about their projects, both Kamille and A. King highlighted the inspiration they’ve taken from Queens, and how much they look forward to working in a public space that invites Queens residents and hotel guests alike to experience the art-making process in person. They mentioned how important being in the Queens community was in order to learn and gain insights for their projects.

 A. King McCarty

A. King McCarty

Kamille’s project at the Paper Factory Hotel will be large-scale paintings on vintage mirrors, beginning with the Queens Unisphere and then 4 works depicting different cultural icons.

A. King will use her residency at the Springhill Suites to grow her project “Splendid Astoria,” where she combines colored pencil and pen sketches with short essays to illustrate daily life and her relationship with her neighborhood. By expanding the project to “Splendid Queens,” she hopes to speak with visiting community members and inspire them to explore their borough and perhaps even create art based on their neighborhoods themselves.

The artists will have open studios throughout the run of their residencies, and we hope you will come through, view their works in process, and talk to A King and Kamille, and be part of the Queens story they’re hoping to tell. Take a look on our calendar for upcoming open studio dates, and we'll also post more open studios throughout the residency.

To see more upcoming open studio dates, QCA Event Calendar click here

For more information about the 2018 ArtHotel Residencies, click here



QCA Celebrates an Arts Champion

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We are truly fortunate to have a dedicated champion of the arts in Queens who makes sure that there is funding and support for the cultural sector city wide as well as in his home borough.  Jimmy Van Bramer, a past Queens Council on the Arts Board Member, represents District 26 as a twice elected New York City Council Member.

Jimmy is one of a select group of honorees being celebrated by the Queens Council on the Arts at the upcoming Caribbean Carnival 2018 Gala.

Tell me about your work.

I am the New York City Council Member for Astoria, Long Island City, Sunnyside and Woodside. Within this role, I also chair the Council Committee on Cultural Affairs, Libraries and International Intergroup Relations – and have since taking office in 2009. As a lover of arts and a long-time supporter of libraries, I am really proud to chair this committee. It allows me opportunities to ensure that our city’s arts and culture remain vibrant and accessible. In fact, last summer, we released CreateNYC, the city’s first-ever comprehensive cultural plan. The plan is based on feedback from nearly 200,000 New Yorkers from every corner of the city and will help ensure that arts and culture are equitable and accessible to everyone.

 What is your interest in the arts?

I think that art and creative expression connect us all. It’s part of what makes us human and helps us better understand our world. I enjoy visiting museums and galleries and my husband and I love the theater! I also firmly believe that it’s the responsibility of our city government to ensure that our cultural sector remains strong. During my tenure, City Council has allocated more than $1 billion in cultural capital funding. Last year alone, we were able to provide funding for over 1,500 cultural institutions. So to simply say that I am interested in the arts is an understatement. I truly believe that art sustains us, inspires us and allows space for hope.

Do you think art can change the world?

Absolutely! Art has been central to societies, cultural changes and revolutions since the beginning of time. Art encourages free expression and new ideas. Art challenges those in power by allowing people to question truths in deeper ways. Art allows people to tell their stories, connect with one another and to see the world from a different perspective. Art has and will continue to change the world.

What are your thoughts about the arts in Queens at this moment in time?

The Queens arts community is so vibrant and so strong! My first visit to a cultural institution was a fieldtrip from PS 70 in Astoria to Queens Museum, which of course, remains an important arts institution in the borough. It’s exciting, though, to see how the Queens cultural landscape has changed since then. MoMA PS1 is expanding. The Chocolate Factory Theater has just purchased a new space. Museum of the Moving Image now has a permanent Jim Henson exhibition. There’s The Afrikan Poetry Theatre in Jamaica, The Godwin-Ternbach Museum at Queens College, The Knockdown Center in Maspeth, The Kupferberg Center for the Arts in Flushing, The Queens Theatre in Corona… Every pocket of this borough is rich with arts and cultural offerings, and as one of the most diverse counties in the country it’s no surprise that we have such a range of art and artists here.

Come join us at our 2018 QCA Gala: Caribbean Carnival! Where we will celebrate accomplished Queens leaders. Thursday, Friday 15th at 7pm at the Knockdown Center! 
Buy Your Tickets here:


About the Author: Hoong Yee Lee Krakauer helps artists & creative people grow their careers with great grant writing strategies & mindsets she has developed over 15 years as an veteran grant panelist, grant maker & grant writer. Get her FREE Master Grant Strategy Worksheet and insights from a grant reviewer’s point of view.

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The Woman with Wings

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“I have said many times I have the best job in the world.”

With more than 30 years of business experience at the Port Authority, Lysa C. Scully is the chief executive of LaGuardia Airport, ranked the United States 20th largest airport.

She is also someone who looks for poetry on the subways which, in addition to providing an unexpected moment of delight, takes away stress.

It is no wonder that Lysa understands the transformative power of the arts to affect people in ways that reaffirm our humanity and connection to each other.

Queens Council on the Arts will be honoring Lysa as Queens leader at the upcoming Caribbean Carnival 2018 Gala.

In this interview, Lysa shares her thoughts about the intersection of the local Queens artist communities and the new LaGuardia Airport.

 Tell us about your work

The focus of my work, which touches 30 million travellers and 12 thousand employees, is to provide the safest and most secure environment by ensuring the construction and improvements to develop a 21st century airport.

Managing 400 day-to-day airport operations staff members is like being a CEO of a company or a mayor of a city. It is my job to make sure the infrastructure is in place to support our travellers and constituents, delivering service like a well oiled machine, to make LaGuardia Airport a 21st century airport deserving of Queens and New York City.

 Why is my job wonderful?

I enjoy interacting with customers, employees and to be out in the community and I think it is a wonderful opportunity to work with the Queens Council on the Arts (QCA) to “bring the community into the airport” so that the world can see artistic talent in the airport.

What is your interest in the arts?

Personally, I enjoy and appreciate the arts tremendously.

Professionally, I understand the value the arts can bring into the transportation arena to enhance the user experience for millions of customers, not only end to end, but as a full experience that is more personal and engaging. This could be done with a painting, the creative work of an artist in residence, a performance.

I am excited about working together on these kinds of experiences so that customers can have an actual connection to the airport.

With QCA, we can bring in unique art activities.

We have an opportunity for customers to see how art evolves over time and sample some of the vibrancy of the borough as they travel through the airport. Some of our travellers just make connecting flights and may not go into the borough so this is a way they become aware of the diversity that exists in Queens and experience different forms of art that are not simply “window dressing”.

Do you think art can change the world?

I would hope so.

When I think about art, I think about movement through world history, how it has separated and brought people together.

Without question, art creates a dialogue giving people a chance to engage with others and share their own personal experiences. There is so much diversity in this borough embodying many viewpoints.

Bringing this together can bring about emotional and thoughtful change that can transform the way we think.

I love how artists think differently.

When I get on a subway, I always read the poems and look for the artwork – like the little caricature figures climbing out of a box.

 So, instead of anxiety, I have none. This personal experience left a great impression on me.

I hope to leave this kind of impression on our customers so they leave with a great feeling thinking, “Wow, Queens has so much to offer!” or “I had a great experience travelling through this airport.”

When people see the WPA mural at the Marine Air Terminal, I want people to think, “LaGuardia Airport took the time to restore and preserve this work of art. It really cares about the community and its history.” Now, with new Queens artists, people really have something to look at.

Traveling can be stressful and daunting for people. My hope is that LaGuardia Airport will impart a calmness and a serenity for people.

As you grow your business, what are your thoughts about the arts in Queens at this moment in time?

LaGuardia Airport is experiencing a planned evolution.

We are working towards developing an arts program. The Marine Air Terminal is a historic landmark famous for its Arts Deco style. It has a WPA mural that was done by James Brooks in the 40’s. At Hangar 7, you can see a metal sculpture of an eagle. There is a lot of history at the airport that is evidenced by art.

We are excited about bringing in a new art scene with QCA by designing art activities and to work on longer term projects for the future terminal to involve other partners such as Gateway and Delta and to look ahead to the Central Hall as a showcase for art.

 You can think of us as historic, transitional and futuristic – in dynamic movement.

Queens, too, is a dynamic experience of the arts, food and entertainment. There is so much opportunity here to move travellers to experience more of Queens and New York and to move all of us forward into the future.


About the Author: Hoong Yee Lee Krakauer helps artists & creative people grow their careers with great grant writing strategies & mindsets she has developed over 15 years as an veteran grant panelist, grant maker & grant writer. Get her FREE Master Grant Strategy Worksheet and insights from a grant reviewer’s point of view.

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On Wednesday, January 24, QCA hosted an Under the Hood workshop on Project Planning. Under the Hood is a workshop series designed to improve artists skills in grant writing and marketing. This workshop was designed to help artists think through how to write a clear and efficient project plan that would be central to a competitive grant proposal. We were joined by visual artists, singer/songwriters, and performance-based artists looking to fine-tune their project plans in an effort to improve their grant proposal writing.


The workshop was facilitated by QCA Art Service Manager Molaundo Jones and joined by Joan Willette, writer and founder of the Enchanted Goddess Collective. Joan is a recent winner of the 2018 SU-CASA Artist-in-Residence grant program. Joan shared tips based on the project description that helped her win this year’s SU-CASA residency award. Attendees were invited to submit their project plans for feedback and had the opportunity to experience the critique of a project plan submitted by Queens-based filmmaker Danny Khan.


LAB Presents Jinyu Li


LAB Presents Jinyu Li

On Friday, January 19, 2018, the LAB program presented works by painter Jinyu Li. A two-time QCA SU-CASA artist-in-residence, Jinyu's presentation explored Chinese traditional culture and politics. Much of her work reflects the relationship between nature and man and human rights issues in China. 

"In traditional Chinese culture, there is a core concept, 'Harmony between Heaven and Mankind.' If a man acknowledges Heaven, then he must acknowledge Divine, and when his mind is in line with Heaven’s rules, he can seek the harmony between Heaven and himself," says Jinyu. "All aspects of traditional Chinese culture are connected with Heaven, such as the human body, Yin and Yang, the Five Elements, Bagua, Taji, Hetu, Luoshu, Chinese traditional medicine, Chinese characters, Chinese music, so on and so forth. Traditional Chinese culture believes human body is a small universe."


Jinyu wanted to use LAB as an opportunity to share her work and story with a larger American audience and solicit feedback that would help drive her work in the future. She exhibited almost 20 of her paintings via a projected slideshow and also installed several large scale original works. Jinyu's paintings ranged in a variety of styles including traditional Chinese painting and realism. 


Some of her paintings featured images of Chinese royalty and deities, bamboo and lotus flowers, and more mundane aspects of daily life in China. But the work that Jinyu was most passionate about focused on issues related to the persecution of practitioners of Falun Dafa in China.

“According to reliable statistics, more than 80 million Chinese people were slaughtered by the Chinese Communist Party (CCP). Especially after the Great Culture Revolution, traditional Chinese culture became almost extinct. And the slaughtering is still going on- countless Falun Gong practitioners have been jailed, tortured, and killed in mainland China,” says Jinyu.

She shared her own journey from China through Canada and into the United States, and talked about why and how she has used her art as a tool for activism. 






Meet the Art Producer: Ricardo Bentham

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Becoming an art producer gave me the opportunity to help these artists with the business aspects of their creativity. It was important to me to have a window into the other side of the business to better understand the creative process.
— Ricardo Bentham, Art Producer

Tax advisor, entrepreneur, and Jamaica, Queens resident Ricardo Bentham discusses his experience serving as an art producer for the Artist Commissioning Program. Ricardo talked with our Artist Commissioning Program Coordinator, Kelly Olshan, about experiencing the creative process and using his skills to become a resource for arts practitioners. For more about Ricardo, you can check out his full bio here.

Kelly: Tell us about yourself. What is your connection to Queens, and what made you want to become an art producer?

Ricardo: I am proud to say I’ve been a resident of Queens for the last 39 years. It’s where I’ve built my business and raised my children. Being a resident of an underserved community in Queens, originally, I didn’t believe I could make a life in the neighborhood. I thought it was necessary to be corporate, but Queens taught me entrepreneurship.

This community showed me that small businesses in the neighborhood are mainstream, to us, in the same way corporate America is. It provides the resources for my livelihood.  My roots are planted in Queens. I’m a part of the fabric of Queens and I embrace that wonderful mosaic. Queens has produced a lot of excellent artists and I’ve always been inspired by what this community can produce. Art opens up the joy in people and allows me to see life through someone else’s eyes.

When my two daughters were younger, they participated in a traveling dance company, KECDE.  They performed all over Queens and all over the country.  The time that I spent with them at their performances and developing fundraising strategies for the group gave me the opportunity to bring my business expertise to their art form—for me, it was the beginning of having these two worlds collide.  

Becoming an art producer gave me the same opportunity to help these artists with the business aspects of their creativity.  It was important for me to have a window into the other side of the business to better understand the creative process.  

Kelly: As an accountant and an entrepreneur, how have you used your skill sets to assist the program’s artists?

Ricardo: As an accountant and entrepreneur, I’ve had some clients over the span of my career who have been artists.  I’ve served as an agent for the artists in their business endeavors.  I want to ensure that they are adequately represented and have protected their interests and the work that they produce.  

With the Artist Commissioning Program’s artists, my goal is to help them understand the financial process. It may include budgeting, staying in compliance, working with the IRS, bookkeeping, and payroll. I want the artists to know that the work they produce has value and it can produce money; thus, it must be treated as business.

Kelly: You’ve been instrumental in helping put on arts programming in Jamaica, Queens. What was it like to work with an artist in this way, and did you learn anything about the creative process in doing so?

Ricardo: Working with the artists has been a wonderful and reflective experience.  It’s been helpful in making a connection with experiences I had with my children in the past and how impactful art and dance was on my children’s lives. Through working with this program, I’ve learned that art has helped me be an involved parent and supportive of my children and their endeavors.  

I’ve also really enjoyed seeing and being consumed by another person’s reality through working with the artists during their creative process. It has been interesting to watch them paint their reality and make it into art that entertains people. I’ve been utterly impressed by these artists’ creativity. I envy being able to make the connections they do. My mind works differently than the artists I’ve worked with.  For me, I’m very literal: if it doesn’t make dollars, it doesn’t make sense. But artists aren’t limited in that way; they have ingenuity, originality, and imagination.

Kelly: What projects are you working on now?

Ricardo: Queens Council on the Arts' Artist Commissioning Program and Tax Season 2018!

Kelly: Ricardo is also working with Queens Council to plan more Artist Commissioning Program events in Jamaica.

Stay tuned for more details! 



Funding the Individual Artist

 Getty/Hero Images

Getty/Hero Images


As an arts administrator, my mission is to support individual artists. In graduate school, I was always the person to advocate for the creative: in mock copyright cases, in class debates. When it was time to choose an arts organization to study—to interview, to write about, to research—I always chose those ones that serve individual artists.

Post-graduation, this is how I ended up at Queens Council on the Arts, managing a program where I get to work with artists directly via the Artist Commissioning Program. This new initiative brings in a group of art producers, or community members that select the awardees and engage with their artistic process, as well as grants performing artists a $10,000 commission.

Which brings me to taxes.

Money, Money, Money

As a small arts council based in Queens, New York, this is our first time granting out such a large amount of money to individual artists: our primary granting program, Queens Art Fund, distributes $2,500 to artists (among slightly larger organizational grants).

Given that we are new to this space, our Executive Director, Hoong Yee Krakauer, discussed our new project out in the world. Energized from a recent Americans for the Arts conference, she returned to the office with a new idea: Rather than distributing the $10,000 in one lump sum, what if we explored other options? she asked.

The Question

With options, came questions: What are the potential tax implications for our artists? How can we structure this grant to minimize artists’ tax burden? What can and can’t we do as an organization with 501c3 status?

I wanted to know how other grantmaking organizations handle this, and what the best practices in the field are when it comes to fiscally supporting creative practitioners.  Specifically, we had an artist who wanted to use his grant to purchase a piece of equipment. Could we use our nonprofit status to purchase this piece of equipment, and thus save money on sales tax?

Inadvertently Uncovering a Knowledge Gap

Embarking on my research project, I was shocked how many people didn’t know the answer to this question. Executive directors of esteemed NYC-based arts organizations gave me answers like, “I’m not sure, we don’t give grants of that nature,” or, “Good question… let me know what you find out.” One cultural leader brazenly said something to the effect of, “I would just do it until you’re told otherwise.”

What Do Most Arts Organizations Do?

To get some answers, I talked to arts administrators who work or have worked for a variety of arts organizations in this space—including Creative Capital, Creative Time, Doris Duke Artist Awards, and New York Foundation for the Arts who helped answer these questions (and to whom I am grateful for their willingness to share).

In doing so, I found two major trends: 

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Trend #1: Just Send the Money

From my research, it seems like most funders write artists a check and call it a day. This is especially true of arts councils, or other organizations such as New York Foundation for the Arts that are issuing under $10,000 to artists.  This is certainly the easier approach administratively, and arguably makes more sense when you’re dealing with smaller amounts of money that do not have large tax implications.







Trend #2: Use The Calendar Wisely

When you start to issue larger sums of money, the game changes. Creative Capital and Doris Duke Artist Awards, who issue up to $50,000 and $275,000 in funds to individual artists, respectively, allow artists receive it over to multiple years, which enables artists to better manage their awards’ tax ramifications.

Key Takeaways

Here are some other key takeaways I found in talking to cultural leaders:

  • Grants are considered income, and taxed as such. In other words, if an artist usually makes $30,000 a year, and then receives a $30,000 grant in 2018, they made $60,000 in 2018.
  • Distributing funds over multiple years can help artists minimize their tax burden. To extend the earlier example, let’s say that the same artist receives a $30,000 grant, but is able to receive $15,000 of it in 2018, and the other $15,000 in 2019. This will help them stay in the $45,000 tax bracket both years, rather than being taxed in the $60,000 bracket one year.
  • You can sometimes use your organization’s 501c3 status to save on sales tax.
    • When you can: If your organization is producing an artist’s event or project, you can use your 501c3 status. For example, Creative Time has used their tax-exempt status to purchase things like art supplies for their projects.
    • When you can’t: You cannot use your organization’s 501c3 status to buy things for other people. For instance, at QCA, we were considering purchasing a piece of equipment for an artist directly, using the funds from their grant, but were advised against it.
  • The organization’s role—of producer, presenter, or funder—impacts the fiscal relationship with the artists, and thus what you can do from a tax perspective:

Can We Do More?

Most arts organizations start out by hosting a speaker to go over tax issues for their grantees. They go over the basics, then, after the session, the advice is then to seek out additional counsel.

At face value, this sounds perfectly reasonable. But broken down, that means artists have about 30 minutes – 1 hour of information on one of the most complex and personal subjects around.

Moreover, one workshop says nothing of the following issues:

  • If artists can afford to hire an accountant: Most would probably opt to spend the money on necessities or arts-related items.
  • Tax ramifications are so highly individualistic. Should you accept all the funds now? Depends on how much you make. What income should I declare this year? Depends on your expenses.
  • Artists’ projects also change and evolve with the creative process. Wouldn’t it be great if artists had someone to check in with about the financial implications of their decisions?

Yes, these are systemic issues—but is it not our jobs to try to address their impact on the cultural sector?

At Queens Council, we’ve paired a group of art producers with with our grantees—two of whom are CPAs! They’ve been kind enough to offer their continuous council to the artist awardees, and we’ve found it to be one effective way to build advisors into creative production.

I would push arts organizations to become more comprehensive, supportive infrastructures: to go beyond the administrative short cut of writing a check. Enabling artists to receive funds over multiple years is a good start, but I think we can do more. How? By using the very creative problem solving that inspired us to enter the field in the first place.

Disclaimer: I am by no means a tax expert! Just one arts administrator sharing what she found in hopes it will be helpful. For issues pertaining to your specific organization, I must give the same advice that many of us give to artists: seek out a financial advisor or tax lawyer!

Kelly Olshan, Artist Commissioning Program Coordinator / instagram: @kellyolshanfineart