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Offering great crowdfunding rewards (for Kickstarter, IndieGoGo or Crowdfunder campaigns) can be a key way to involve your backers in the creative process, provide an incentive for people to back your project and allow backers to own the end product
Talking with Bruce Asbestos about his recent Tiny Canvas Friday project on Facebook and the notion of entrepreneurship as a creative practice, social media as ‘form’, inhabiting online spaces, A/B testing and soliciting interaction from potential audiences in social spaces.
Over the last 2 years, I have worked on 2 successful Kickstarter campaigns (Cornish Smuggler & Waggle Dance, raising over £50,000 in total) with Grublin Games (an indie boardgame publisher based in Cornwall) which has involved a fair amount of research into different approaches to using Kickstarter. In that time, it has also become more usual for artists and arts organisations to use crowdfunding as a way to raise money for their projects.
As an artist, what are your challenges when getting your work to an interested audience?
What is the established distribution model for the types of work you are interested in making?
How can you use a crowdfunding platform to by-pass that distribution model to reach an audience that would be interested in your work?
Your Project Rewards shouldn’t be an afterthought – they can actually be a way to form your project.
How can you think about the exchange value of what you are generating through the project and approach this creatively to give your campaign a better chance of success?
In the most successful boardgame projects, there is an on-going conversation between the project creators and backers, and between backers from around the world. The sense of temporary community generated through this conversation creates an engaged community of interest and can be exciting to be involved in.
What are artists missing out on by ignoring the potential of conversation in their crowdfunded projects?
What does it mean for a ‘crowd’ to fund your project?
What makes your project, its outcomes and rewards interesting, unique, novel and different?
How can you avoid becoming ‘just another’ crowdfunding campaign?
How are you going to break down the timeline for your project into separate stages?
Will your timescale be realistic?
Will you actually be able to deliver your rewards?
What are the other benefits of running a Kickstarter campaign?
Would you like to give a worldwide exposure to your work, make new professional connections and find new audiences?
How can you give your project life after the Kickstarter campaign?
What do you need to consider when making an ‘exit strategy’ for your project?
What do you do after it’s all over?
As part of LOW PROFILE’s Picture In The Paper project, Hannah Jones & I started a series of co-authored conversations focused around engagement and participation, that discuss details of participatory arts projects by those who make work in this area.
I have borrowed this format for a series of interviews with artists whose practice I’m interested in, as a way to capture thinking about ephemeral moments in practice for further research.
LOW PROFILE – A Very Incomplete Lexicon of LOW PROFILE
This “lexicon” (written as part of my MA research 2008 – 10), frames a process of interrogation (searching for, finding, close questioning and unpacking) of terms I have used to tag or label areas of my practice and research, with the aim of developing a vocabulary for discourse around our (LOW PROFILE’s) particular the area of research/inquiry.
This document includes writing on ephemera, the status of the non-virtuoso and the idea of working ‘in series’.