Addendum A: Information and Guidelines for Work Samples and Support Materials
CAH values and emphasizes excellence in all grant programs within all disciplines. This section contains detailed information on CAH’s requirements and suggestions regarding content. Arts and humanities content and/or merit is one of several criteria on which an application is reviewed. Other criteria include: Community Engagement, Impact, Budget and Sustainability, and others as dictated within the program guidelines and review criteria.
The arts content and merit are primarily demonstrated to the advisory review panel through:
Section 1 - Work sample(s)
Section 2 - Support material(s)
Section 3 - Résumé(s) of key personnel
The work samples carry significant weight because they must contain the clearest depiction of the applicant’s best work(s) of art. All applicants must submit work samples of public art or public art projects created by organizations.
Guidelines for PABC Applicants:
- Write responses based on the grant criteria.
- Convey confidence and enthusiasm for the project.
- Propose ideas related to community wants or needs, engage the community prior to starting the writing process and keep them included/involved throughout the process.
- Research site, history, community needs, etc. Know and anticipate the issues, questions, and controversies in the area.
- Take advantage of the technical assistance that CAH provides by:
- Attending one of the Live Chats/grant workshops;
- Requesting a meeting to discuss ideas for the proposal before beginning the process; and
- Requesting a meeting as soon as the proposal draft has been finalized.
- Carefully consider the funding request. Account for all aspects of the project (from start to finish) and ensure that the funding request supports the full scope of the project (i.e., materials, fabrication, installation, permit costs, equipment rental, insurance).
- Attain actual quotes for services, goods, and rentals needed to complete the project.
- Investigate opportunities to collaborate with more experienced artists/contractors to fill gaps in the applicant’s own expertise and resources.
- Carefully review and edit the proposal and have another individual review it.
- Prepare application early and submit it well before the deadline.
- If the applicant is not successful, request a debriefing from the PABC Program Coordinator to obtain panelist comments. This information can be useful for revising future applications.
- If there is a recurring or repeating theme from previous Public Art Projects in the grant application, explain how the current request builds or innovates on the concept in the project description impact statement.
- In project description, identify and discuss any use of Artificial Intelligence (AI) in the project.
Section 1 - Work Samples
Work samples are critical for each application and are carefully considered during application review. Applicants should pay close attention to the content of work sample submissions. The guidelines on what to submit within a work sample submission depend on the grant application.
Work samples must be no more than five (5) years old from the date of submission. Submitting older work samples will render the application ineligible for funding consideration.
When preparing work samples, support materials, and résumés, applicants should consider:
- Advisory review panelists must review the work samples from all applicants.
- Applicants should test the functionality of viewing their work sample(s) in the application portal prior to final submission of their application. If the applicant cannot view a work sample, it is unlikely that panelists will be able to view it. For technical assistance, contact CAH with ample time to address the issue prior to the application deadline.
- Select recent, high-quality samples that relate as directly as possible to the application.
- Upload pictures as JPG files (less than 20MB) with a minimum resolution of 72 dpi.
- Exceeding the recommended number of work samples in an application may weaken the application.
- Carefully chosen work samples (pictures, renderings, etc.) tend to make the greatest impact and create a strong artistic impression.
- Label each work sample or document so it can be easily identified by the panelists.
- For project-based grants, such as PABC, including samples of similar completed projects help to
- illustrate the applicant’s ability to execute the proposed project.
- Application materials should demonstrate the skill of the artist(s) involved in the artwork creation.
- For online materials and websites:
- Websites are not sufficient work samples; only submit websites that are key to the project.
- Provide all passwords or include any necessary information required to view your work.
- Ensure that the website links or online materials are functional and accessible through, at minimum, September 30, 2027 (the grant funding period). An inoperative link to a website containing your work sample will negatively affect the application. CAH is not responsible for any material outside of the online grant portal.
Section 2 - Support Materials
Support materials are documents that strengthen the application and provide additional information that directly relate to the grant request. Support materials do not replace a work sample. It does, however, reinforce the quality of the applicant’s arts and humanities disciplines.
Examples of support material include:
- Project review(s)
- Exhibition reviews
- Letters of recommendation
- Certificates, commendations, or awards
- Assessments or work evaluations
Section 3 - Resumes of Key Personnel
Advisory review panelists may determine the capacity and sustainability of the proposed project by reviewing the resumes of the key artists, administrators, and facilitators involved in the grant activity.
Addendum B: Community Engagement Guide
Grant applications that show evidence of community engagement are more competitive. Public art is intended to engage residents, provide a sense of belonging as well as a path for participation in the creation of the project in their community.
Community engagement includes connecting with the people and organizations that live and work in an area where the public art project will be installed. This might include residents, workers, business owners, students, parents, families, artists, partner organizations, schools, and government agencies. Engagement describes an active two-way communication. The goal is to show community awareness of the project and to provide the community with an opportunity to offer input. To gather this information, consider how to reach out and get feedback about the project. How will the Public Art project reflect the values and backgrounds of community members?
Community input is rooted in the idea that people should have a voice in the projects in their community. In many communities, especially communities with predominantly marginalized populations, projects happen “to” people instead of “for” or “with” them. To activate/develop effective projects that serve the needs of stakeholders, it is important for artists and organizations to gather feedback about the public art project. Community input can include surveys, meetings, interviews with individuals, community leaders, impacted business owners, schools and others. The process can ensure that the people in a community are involved at the beginning and throughout a project.
Public art programming can help and support the activation of the public art project. This can engage community members and other stakeholders by creating meaningful opportunities to connect artists and the project to the community. It can also provide exposure and participation to the community in the public art making process while furthering learning or discovery opportunities that may be present through public art installations. Some programming examples include visual art activities, concerts, literary, spoken word programs, poetry, film, video, performance, and dance which can be part of a dedication or community outreach activity for a public art installation.
Addendum C: Mandatory Document Checklist
___Written ANC approval/support. Letter from Advisory Neighborhood Committee verifying that the applicant has presented and received approval/support from the Advisory Neighborhood Committee of the proposed project site location.
___Proposed Art and Renderings. Proposed art in the form of detailed scale renderings, drawings/sketches, models, and/or other documents to present a meaningful representation of the artwork including five (5) different perspectives: day perspective, night perspective, and artwork superimposed (to scale) within the proposed site location from two (2) different views/angles.
____ AI: List and identify all use of Artificial Intelligence Technology.
___ Architectural Sketches. If not applicable, upload a blank document with “N/A.”
____Equipment estimates. Submit up to three (3) estimates for equipment purchases (not to exceed $500 per item); and/or rentals (the $500 per item limit does not apply to equipment rentals); if not applicable, upload a blank document with “N/A.” All sculptural works are required to submit fabrication and installation contractor bids and equipment estimates for fabrication and installations.
____Project Budget (Templates and instructions are available at: Public Art Building Communities (PABC) | dcarts)
____Digital images of the proposed project site. Include four (4) different perspectives: site plan of the proposed site, aerial or site map of the immediate site area from two (2) different views/angles.
____Résumé(s) of key personnel involved in the project, including the artistic director and/or executive director (for organizations and BIDs), up to two (2) pages each. Bios are unacceptable.
____Work sample(s). Submit ten (10) digital images of at least five (5) different works. See Addendum A for more information on Work Sample Requirements. Flyers and brochures are NOT considered work samples. If the applicant is not the artist for the proposed project, then applicant must provide lead artist work samples (and Image Identification List).
____Image Identification List of applicant and lead artist work samples (if applicable).
- Artist Name
- Lead Artist/Artist’s Role on the Project
- Title
- Date
- Medium
- Size - Dimensions
- Location
- Project Budget
- Project Description
____Support Material: up to six (6) items of additional material, e.g., newspaper articles, reviews, letters of support from community stakeholders, related activities or programs, brochures, etc.
____Site owner support. A letter of support from the site owner including contact information (physical address, phone number and email address) that provides support for project, authorization to install proposed artwork onto the projected site, and terms of maintenance for the duration of the installation and post installation.
____Permit verification and Project Reviews Letter from the DC Department of Buildings, DC Department of Transportation, Public Space and the Office of Planning Historical Preservation are required. If a project is on DC Department of Parks and Recreation (DPR) property, a letter from DPR supporting the project and identifying the types of permits and/or approvals is also required
If there is no requirement from an agency, the letter must still be submitted stating no required permits and/or approvals. All agency letters must be on the letterhead of the agency. Emails are not acceptable.
____Community Outreach Flyer(s) showing notification to businesses and residents of your project's presence on the upcoming Advisory Neighborhood Committee (ANC) Meeting agenda.
____Community Support Signatures
Upload a list of signatures from residents and business owners who are in support of the proposed project. (Minimum: 25, Maximum: 75)
____Contractor and Services Bids.
This must include a quote for insurance requirements.
Grantee shall procure and maintain insurances including, but not limited to, the following: commercial general liability insurance with minimum limits of two million dollars ($2,000,000.00) per occurrence. Grantee shall procure property insurance, with limits equal to the completed value of the piece. Other insurance requirements will apply.
____Artwork Relationship and Copyrights Warranty Form.
____Letter of intent to purchase equipment. Upload a letter detailing the specifics of the equipment’s use after the project is completed (for equipment purchases that have a life spanning more than two years only). If not applicable, upload a blank document with “N/A.”
DC Office of the City Administrator (OCA) Compliance Documents (templates and instructions are available at: dcarts.dc.gov/page/resources-grant-applicants
___Statement of Certification (signed at the time of application).
___Certificate of Clean Hands (dated no more than thirty (30) days prior to the deadline).
Certificate of Clean Hands may be obtained by registering with the DC Office of Tax and Revenue using the following link: My Tax DC. mytax.dc.gov
___IRS Form W9. Note: Post office boxes are prohibited. The applicant’s address MUST match the address in the grants portal, the address on file in the DC Government’s DIFS system, and address registered in the DC Vendor Portal. Only the latest version of the W9 form (https://www.irs.gov/forms-pubs/about-form-w-9) may be used and the form must be dated at the time of application submission.
____Proof of Residency. The individual applicants must submit a copy of a government issued identification or tax return address page as proof of residence within the District of Columbia.
Additional Mandatory Documents to Upload (Organizations and BIDs only):
____Lead artist work samples and Image Identification List. Five (5) digital images of at least five (5) different works and for each image include the artist’s name, artwork title, medium, size, year the work was completed, and project budget. Digital images of the work sample must be numbered to correspond with the Image Identification List.
____Artwork Relationship and Copyrights Warranty Form. Organizations/BIDs are required to upload a statement from the Artist providing approval for use of their design in the Organization/BID’s application.
- Organizations/BIDs must upload ARTWORK RELATIONSHIP AND COPYRIGHTS WARRANTY form from the Artist providing approval for use of their design.
- Documentation that there is a contract/MOU/Agreement between the artist and the organization to design, fabricate, and install the work.
____IRS 501(c)(3) or 501(c)(6) Letter of Determination.
____DC Tax Certificate of Incorporation.
____Organizational Chart (limit-one-page).
____List of current Board of Directors with officers, occupations, and term limits.
____Letter from the Board of Directors with support of the project.
____Current FY annual organizational budget with YTD income and expenses.
____Previous FY organizational budget with income and expenses.
____Current FY balance sheet. Upload a balance sheet with most recent financial quarter information.
____IRS Form 990 (most recently completed fiscal year).
Addendum D: List of Agency Contacts for Required Letters
DC Department of Buildings (DOB)
To inquire about DOB permits and requirements and, please contact Robert Simpkins at DOB at [email protected] with a copy to [email protected]. Please submit a request at least thirty (30) days prior to the grant application deadline.
Department of Transportation (DDOT)
To inquire about the public space permits, occupancy permits, and status of your potential site, please contact Courtney Williams at DDOT at [email protected] with a copy to [email protected]. Please submit your request at least thirty (30) days prior to the grant application deadline.
The response from DDOT will indicate both whether a public space permit is required and whether the permit application will need to go to the Public Space Committee. Sites that are not deemed public space must have a letter from DDOT stating a permit would not be required. (If proposed project is awarded a grant, sites that are deemed public space will require a presentation before the Public Space Committee by the grantee regarding their project.)
For information on public space and the Public Space Committee visit ddot.dc.gov.
Office of Planning Historical Preservation (OP)
To inquire about the historic preservation status of your potential site, please contact Andrew Lewis at the DC Historic Preservation Office at [email protected] with a copy to [email protected].
If there is any ground disturbance with the proposed project, copy Ruth Trocolli [email protected] District Archaeologist. (Ground disturbance means that the project is anchored into the ground in a way that will require any digging or the project rests on the ground and does not require digging.) To review any level of ground disturbance, the timeframe is generally thirty (30) days from the date of receipt. Applicants are encouraged to submit review requests up to forty-five (45) days prior to the grant application deadline.
Department of Park and Recreation (DPR)
If the project is anticipated to be on Department of Parks and Recreation (DPR) property, please contact Brent Sisco (DPR) [email protected] with a copy to [email protected] Please submit your request and supporting information noted above at least thirty (30) days prior to the grant application deadline. Applicants must notify the local ANC for approval before DPR can review the proposal.
Applicants are encouraged to visit Property Quest DC to obtain information about the location of the project. This website identifies whether the address of your project is located within a historic district, affects a landmark, or owned by the District of Columbia and/or in public space. Visit propertyquest.dc.gov to enter the project address to determine whether the project is impacted. Applicants still must contact these entities to determine whether permits are necessary and to determine other construction/installation requirements and permits.