News
Policy changes: Reminders and exemptions
In the spring e-newsletter, we announced changes to OAC’s granting policies affecting grant applicants to both project and operating programs. There is a new policy and additional details for one of the policies announced in the spring.
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NEW! Review engagements for operating grant requests of $30,000 and under
The Ontario Arts Council is following the guidelines set by the new Not-for-Profit Corporations Act for its policy on review engagements for organizations applying for operating funding.
- Organizations with annual budgets of under $100,000 or operating grant requests of under $10,000 may submit unaudited financial statements with their operating applications.
- Organizations applying for operating grants over $10,000 and under $30,000 and with annual budgets of over $100,000 are required to submit either financial review engagements or financial audits with their operating applications.
In 2007, the Ontario Ministry of Government Services raised the annual income limit allowed for audit exemption from $10,000 to $100,000 for non-profit corporations. The new Not-for-Profit Corporations Act (ONCA) will come into effect in the next few months. Under the new act, a company is exempt from the audit requirements if:
- it is not a “public benefit” company
- its annual income is less than $100,000 and
- all shareholders (or members) consent to the exemption for that year.
The concept of a “public benefit” company is broader than that of a not-for-profit corporation: it is an organization that receives more than $10,000 a year in the form of gifts, donations or grants. Virtually all organizations applying to OAC would be defined as “public benefit” companies as recipients of grants from OAC and other public funders and therefore are not exempt from the audit requirements.
This new policy will affect organizations applying for 2012-13 operating funding. See definitions
- Application process simpler for smaller operating grants
One of the biggest challenges for OAC is maintaining a balance between accessibility to granting programs and accountability for public funds.
OAC will be introducing simpler grant applications for all 2012-13 operating requests of $30,000 or less. The new applications respond to the pressures on small organizations that are often understaffed and for which the onerous operating application process was out of proportion to the funding request.
- Operating grant reductions
In 2011-12, organizations whose operating grants were reduced in 2010-11 because of assessment concerns may not see a restoration of the funding that was cut even if they meet operating standard in this year’s assessment. This is because there are increasing numbers of new organizations that are meeting operating standard and entering OAC’s funding stream. OAC’s budget has been maintained at last year’s budget level. Funding for new organizations must be found within OAC’s current budget.
- Funding access to project programs
As of September 2011, OAC project grant recipients must submit their final report on their previous grant prior to applying again to that grant program. This will help ensure that more artists have access to OAC’s project programs. The policy change is consistent across all OAC creation programs. Grant recipients will be eligible to apply for other OAC project grants for their different projects as long as their grant reports are not overdue.
There are some exemptions to this policy: Artists in Education, the Ontario and National and International Touring programs and the three third-party recommender programs — Exhibition Assistance, Theatre Creators’ Reserve and Writers’ Reserve.
- Return of support materials
By the end of 2011-12, most OAC programs will no longer return audio/visual support materials to applicants. The growing availability of digital formats in almost all art forms is making support material less expensive to produce and thus unnecessary to return. Some exceptions to this new policy can be made upon request to OAC’s Media Arts programs; for example, it is still costly to make dub copies of full-length films.
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Definitions:
Unaudited financial statements are normally prepared by the organization with no assistance from an external accountant. The financial statements give a report of the organization’s most recently completed fiscal year without external advice, interpretation or verification.
A financial review engagement is a review and presentation of financial statements pertaining to the previous fiscal year by an external accountant. The review engagement gives a report of the organization’s fiscal year as interpreted by the accountant, but not verified by the accountant. It is good practice for the board of directors to approve the financial statements as presented by the external accountant.
A financial audit is a review, verification and presentation of financial statements pertaining to the previous fiscal year by an external accountant. The financial audit gives a report of the organization’s fiscal year as analyzed and verified by the accountant. It is necessary for the board of directors to approve the financial statements as presented by the external accountant. |
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Don’t forget! New requirements for all artists and organizations working with children, seniors and others — coming into effect in fall 2011
Last winter we announced that OAC will be implementing new requirements to help protect vulnerable people.
Starting with OAC’s fall 2011 project program deadlines, artists, collectives and organizations applying for OAC funding to deliver arts programs in schools or community settings will be required to obtain a police background check or vulnerable sector verification for every artist, staff member and volunteer involved in the arts programming. In addition, all arts organizations receiving OAC operating support must establish their own vulnerable sector screening policy and practices in the future to protect participants in their arts programs.
By the end of the 2011-12 fiscal year, all arts organizations receiving OAC operating support will be required to develop a vulnerable sector screening policy. They will also need a set of procedures to obtain a police background check or vulnerable sector verification (whichever is required by your community or educational partners) for every artist, staff member and volunteer involved in programming in educational and community settings.
Detailed information is available here
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Emerging trends in craft making
In the spring we alerted the crafts community to the imminent release of a new report, Tracing Emerging Modes of Practice: Craft Sector Review
. OAC commissioned the report from Jen Anisef last year to gain a deeper understanding of emerging craft practices in Ontario.
The report examines design-oriented craft practices, the use of digital technologies in crafts, creative collaboration and the DIY (do-it-yourself) alternative craft movement, among other trends. Though artists engaged in more traditional modes of craft-making continue to be a vital aspect of the Ontario craft sector, the report suggests that OAC should recognize a much broader range of approaches to reach a more comprehensive understanding of contemporary craft practices.
The full report details findings, summarizes existing gaps and recommends ways to support and develop Ontario’s craft sector.
Key findings
Design
- Contemporary craft artists in Ontario blur the lines between craft, art and design. The report identifies a shift toward integrating design practices in craft, including the adoption of a more commercial approach, particularly among younger practitioners.
Creative collaboration—expanding practice beyond the individual
- Contemporary craft practice has become increasingly collaborative, interdependent and interdisciplinary. Creative collaboration takes many forms, including partnerships with industry and small-scale manufacturers and collaborations between craft practitioners and sectors outside of craft and with communities abroad.
Technology
- Digital technologies are gradually becoming more integrated into craft design and production processes, serving as valuable creative and production tools and in some cases opening up broader employment opportunities.
DIY/Indie craft
- The DIY (do-it-yourself) or indie craft movement is influencing many aspects of the culture of craft. The report discusses the trend, explores the areas of tension between DIY craft artists and the studio craft community and suggests ways in which both sectors could benefit from increasing cross-pollination of ideas and knowledge, for the sake of growth and financial sustainability in the craft community.
Social and environmental responsibility
- The report identifies an increased dialogue about environmental sustainability in craft and design. Trends include creative re-use and a greater consciousness about the environmental impact of materials and techniques. Some emerging practitioners produce work with a social responsibility dimension, a practice that moves beyond the expression of the individual maker. As well, projects support economic and cultural sustainability among communities abroad and at home.
The Craft Project grant programs will be restructured but the October 17, 2011 deadlines will remain the same.
Craft Projects: Individuals and Craft Projects
Craft Projects: Collectives and Organizations
will be renamed:
Craft Projects—Creation and Development
Craft Projects—Connections
Program applications and guidelines will be posted before the end of August, and OAC will send an e-mail to the crafts community.
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Front and Centre: Disability and Deaf Arts in Ontario
On June 23, 2011, the Ontario Arts Council (OAC), the Canada Council for the Arts (CCA) and the Art Gallery of Ontario (AGO) partnered on a day-long gathering with Ontario’s Deaf artists and artists with disabilities. The AGO-hosted event created an opportunity for learning and exchanges on the issues of disability and Deaf arts in Ontario.
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From left, Tala Jalili, American Sign Language Interpreter, Alan Shain, multidisciplinary artist and panel moderator for Front and Centre, a roundtable discussion on disability arts and deaf artists, and Janna Gorham, panelist and poet. (Photo courtesy of the Art Gallery of Ontario)
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Multidisciplinary performing artist Alan Shain moderated the panel, with presentations by Chantal Deguire (media artist); Luis Orbegoso (percussionist); Jes Sachse (photographer); Janna Gorham (poet); and Toronto Star columnist Helen Henderson, who offered reflections on the panel presentations. Presenters offered perspectives on their careers and art practices and delved into the issues and challenges as well as unique aspects of their work, identity and needs in their community. The talks revealed a strong appetite for creating further opportunities to connect, engage, learn and support disability arts in Ontario.
Following the panel and the Q&A, there were adapted tours of AGO exhibits: a tour of the Canadian collection with a gallery guide and an ASL interpreter; sample multi-sensory tours featuring the methods used to make art experiences accessible to people with vision loss; and an interactive experience of the AGO collection with a gallery guide. After the tours there were performances by musician King Achilla Orru Appa-Idomo, performer Kazumi Tsuruoka accompanied by Tania Gill, the group Keys to the Studio and a networking reception.
OAC is conducting a post-event survey to gather feedback to help us improve future events and access to OAC funding programs for artists who are deaf or have a disability.
Front and Centre: Disability and Deaf Arts in Ontario was organized through OAC’s Outreach and Development office with support from Gillian McIntyre, the AGO’s Adult Program Coordinator, Elizabeth Sweeney, CCA’s Disability Arts Officer, and other staff from the three partnering organizations.
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