Application Form

1

Application Form Version 11

OH-15-08639

Notes on completion Summary

NameRita Keegan

Project titleIn no more than 15 words, please choose a title which you think best describes your project. This will be seen externally, on our website and by our decision takers so please ensure that you choose a title that you are happy for a wide range of people to see. The Rita Keegan Archive Project

Reference numberOH-15-08639

Project summaryIn no more than 200 words, summarise your project. We will use this text to tell people about your project, including our decision takers who will see your description as part of the assessment process. Rita Keegan (b.1949) is an unsung hero of Britain's Black Arts Movement. An artist, archivist and organiser, Keegan possesses a unique and little-known archive collection that reveals original insights into race, gender and cultural kinship, as well as narrating Keegan's own journey as a distinguished black female artist through this crucial period of British art history (c.1980-2000).

The archive, currently stored in Keegan's home and garden shed, contains personal correspondence, multimedia artworks, paintings, ephemera and records relating to the Black Arts Movement. Despite its current inaccessible state, Rita’s work has provided inspiration to contemporary artists and collectives, who have used it to anchor public conversations at venues such as Tate Modern and Wellcome Collection. Building on this recent upsurge, the Rita Keegan Archive Project (RKAP) ensures the preservation and interpretation of this vital resource for future generations.

RKAP will: 1) catalogue and deposit the Rita Keegan Archive at Women's Art Library, Goldsmiths University 2) train 3 archivists and engage a number of volunteers 3) create a web platform to share project activity 4) curate a major gallery exhibition & produce an affordable and accessible publication 5) establish Friends of Rita Keegan Archive

Have you received any advice from us before making your application? Yes

2

Application Form Version 11

OH-15-08639

Please tell us who you received advice from.

Is this your first application to the Heritage Lottery Fund? Yes

Section one: Your organisation

1a Address of your organisation: Address line 1 Rita Keegan Address line 2 Address line 3 Town / city County Postcode

1b Is the address of your project the same as the address in 1a? Yes

Local Authority within which the project will take place

Constituency within which the project will take place

1c Details of main contact person Name Rita Keegan

Position Creative Director

Is the address of the main contact person the same as the address in 1a? Yes

Daytime phone number, including area code

Alternative phone number

Email address

3

Application Form Version 11

OH-15-08639

1d Describe your organisation's main purpose and regular activities Not applicable as Rita Keegan is a Private Individual.

The Women's Art Library have agreed to administer funds on behalf of project in third party/fiscal agent capacity (please see letter from Goldsmiths confirming this).

1e The legal status of your organisation

Please select one of the following: Organisation not in the public sector

Please select one of the following: Private individual

Describe the size and staff structure of your organisation, your governing body and your financial situation. A collective of experienced practitioners working on behalf of Rita Keegan, the named applicant.

If applicable, how many board members does your organisation have?

How much did your organisation spend in the last financial year?

What level of unrestricted funds is there in your organisation's reserves? 0

If your organisation is any of the following, please provide the information shown.

Company - give registration number

Registered Charity in England, Scotland or Wales - give registration number

Charity recognised by HM Revenue and Customs in Northern Ireland - give reference number

1f Will your project be delivered by a partnership? Yes

Who are your partners? Please provide a named contact from each organisation and ensure that a representative from each has been added to the end of the Declaration in Section Six. Althea Greenan Women's Art Library, Goldsmiths University of London; Rachel Harlow, South London Gallery, Lucy Davies, 198 Gallery

4

Application Form Version 11

OH-15-08639

1g Are you VAT registered? No

5

Application Form Version 11

OH-15-08639

Section two: The heritage In this section, tell us about the heritage your project focuses on and why it is valued.

2a What is the heritage your project focuses on? The heritage of this project are the personal papers, artworks and collections created by artist, archivist and curator Rita Keegan between 1980 and early 2000s. A key figure in the British Black Arts Movement, Keegan's archive provides a vital resource and context for contemporary discussions of race, gender and kinship, both at a community level and as a mentoring tool for a new generation of archivists. Alongside her artistic practice, Keegan was an active archivist, teacher and curator throughout her career, documenting the work of other artists in the UK. As such, her archive tells a rare personal story of a broader Black Arts community, mapping its social relations, intersection with feminist politics and relationship to diversity policies of the visual arts sector. The Rita Keegan Archive Project (RKAP) embodies this ethos of combining personal and collective creativity with an emphasis upon audience interaction and participation. Aside from preserving Keegan’s memories, papers and art work, the aim is to create an accessible archive as a site for further intergenerational exchange and future creative collaborations supported by the Friends of Rita Keegan Archive. Born in the Bronx in 1949, Rita is of Caribbean and Black-Canadian descent and moved to London in 1980 having studied Fine Art at the San Francisco Art Institute from 1969 - 1972. Her work explores memory, history, dress and adornment, often through the use of her extensive family archive - a photographic record of a black middle class Canadian family dating from 1890s to present day. She has exhibited with Turner Prize winner Lubaina Himid, Mona Hatoum, Eddie Chambers, Suptwa Biswas and Ingrid Pollard. Alongside contemporaries Keith Piper and Gary Stewart, her practice is a defining example of the ways in which new media experimentation intersect with the British Black Arts Movement (Bam); a radical political art movement founded in 1982 which sought to highlight issues of race and gender and the politics of representation.

In 1982, in the aftermath of the 1981 Brixton uprisings, Keegan helped establish the Brixton Art Gallery, curating Mirror Reflecting Darkly, the first exhibition by The Black Women Artists collective. She was the co-founder in 1984 of Copy Art, a resource and education space for community groups and artists working with emerging technologies of computers, scanners and photocopiers. From 1985 - 1990 Keegan was a staff member of the Women Artists Slide Library (WASL), where she established the Women Artists of Colour Index. In the early 1990s she was the Director of the African and Asian Visual Arts Archive (AAVAA). As well as her artistic and archival practice, Keegan also taught New Media and Digital Diversity at Goldsmiths, where she helped establish the digital-media undergraduate course in the Historical and Cultural Studies department. The archive ranges from documents recording Keegan’s exhibitions at major museums and galleries such as the Horniman Museum, Institute of Contemporary Arts and Tate Gallery; to her curatorship of the Women of Colour Index (WOCI), a ground-breaking initiative to document Black and Asian women artists established in 1987 and currently housed at Goldsmiths University, London. Also included is a assortment of rare ephemera from the Black British Art scene from the 1980s until the early 2000s and photographs documenting Keegan’s involvement in Soho nightlife and London’s clubland. From ongoing correspondence with British Indian conceptual artist Sutapa Biswas, to unpublished portraits by photographer and queer visual activist Ajamu, Keegan’s archive documents cultural kinship across generations.

Because of Keegan’s active involvement in various cultural and educational contexts and her personal archiving practice, this archive complements other key collections of contemporary Black art including AAVAA, Iniva, Stuart Hall Library and Panchayat, recently acquired by Tate Gallery. Keegan’s personal archive differs from existing archives of the period held by institutions such as the Women’s Art Library, Goldsmiths University, or Tate Archive. Keegan’s archival sensibilities highlight the political dimension of archival practices. Her work at the Women’s Slide Library can be understood as a direct action, raising the visibility of the artwork by Women of Colour, mapping and supporting their practices by including them within the Index. RKAP will draw attention to archiving as a political project, disseminating heritage through mentoring a new generation of Black archivists.

By rescuing and bringing Keegan’s personal archive and artwork into a publicly accessible collection, the heritage will tell the intertwined story of:

6

Application Form Version 11

OH-15-08639

- Black Arts Movement - Digital Media experimentation - Feminist Archival Practices The key elements of RKAP are as follows

Stage 1

1) Repackage, catalogue and deposit the Rita Keegan Archive at the Women's Art Library, Goldsmiths 2) RKAP Creative Hub:

i) deliver arts and archives educational training ii) create a web platform to exhibit project activity

Stage 2

1) curate a retrospective exhibition and produce a publication 2) establish Friends of Rita Keegan Archive

Stage 1

1) Catalogue and deposit the Rita Keegan Archive

The fundamental purpose of the project is the consolidation and digitising of the Rita Keegan Archive (c.1980 - 2000) before its deposit, ensuring the collection is stored in a stabilised condition and packaging that complies with PD5454 recommendations and standards. This initial part of the project will take place at Keegan’s home through the creation of a mobile archive unit team that will constitute an Archivist, 3 archivist trainees, a Creative Assistant for Keegan and volunteers.

The physical archive and digitised material will be held at The Women’s Art Library, Goldsmiths University, London, after parts of the collection are used as part of a major solo exhibition of Keegan's work at the South London Gallery.

The collating, cataloging, repackaging and digitising of Keegan’s collection (see summary detailed below). Preservation will be carried out in accordance with our project plan.

Brief Archive Summary: - Box 1: 4 x Lever Arch Files dates covered 80s – 00s exhibition ephemera - Box 2: Catalogues, correspondence, Exhibition related material including Black Women in View, Let the Canvas Come to Life with Dark Faces, Ghosts of a Chance, 3x Open File Folders - Box 3: Floppy Discs in bag, Cassette Tapes in bag, 1x Video – American format, 3x Diaries, Postcards in bag (Hair Purple), 1x Video cassette (Rita’s student) Archival box with correspondence, Biscuit tin, 1 wallet miscellaneous exhibitions, 1x Box File 1980s exhibitions…notes reference . - Box 4: VHS Tapes (including 3 migrated for the Showroom event), 3x Beta cam tapes, 5x cassette tapes, 4x large tapes, 36x Floppy discs, 15x CD-RW discs - Box 5: 35x CD-RW discs - Loose: 2x Art Portfolios - Artwork has not been fully accounted for, inventory to be made.

Examples of ‘at risk’ art works:

Hands, 1996 Originally commissioned for the Lovebytes Festival in collaboration with Hull Time Based Arts, the theme of which was love, relationships and new technology. Consisting a five monitor video work constructed with a Mac using a three-pass scanner.

Family Histories, 1998 Large scale installation presented at 198 Gallery, Brixton, this work divided the space into ‘kitchen’ and ‘bedroom’ to explore the public and private binary of domestic life. It features 15 A3 screen-printed images of

7

Application Form Version 11

OH-15-08639

Keegan’s grandmother and great-grandmother aprons, along with jars of spices in drawers which the visitor can open and smell. The ‘bedroom’ featured video projections of computer enhanced self-portraits and 3 light boxes (29cm x 42cm) of family images. Representations of African fabrics and unknown relatives, connect personal memory with family and cultural history.

2) RKAP Creative Hub @ WAL: i) deliver arts and archives educational training ii) create a web platform to exhibit project activity

Monthly day-long workshops will be hosted at WAL, where the Project Lead will lead trainee archivists and volunteers to explore the archive in open discussion groups (advertised widely outside Goldsmiths via A-N Newsletter, Shape, Arts Council England). These sessions will scan and digitise key pieces from the archive, and conduct video oral history interviews contextualising the collection. Interviewees include Keegan and her contemporaries Eddie Chambers, Supta Biswas and Joy Gregory, amongst others. Supervised by social historian Kelly Foster, these interviews will be uploaded to the RKAP website with archival material including blog posts contextualising selected objects or ephemera. The sessions will develop the trainee archivists' and volunteer's practical skills: from managing a heritage website, to document and object handling, to conducting oral histories.

From this work, an online guide and educational resource pack around artists' archives will be drawn for use in community and school settings. This will be based around themes and issues emerging from the archive such as gender, race, family, memory, digital technology. The pack will also act as a ‘how to’ guide for arts archivists, providing templates and tools for cataloguing and preservation as well as commentary on experimental archival practices. All materials will be downloadable under creative commons.

Stage 2

1) Curated exhibition & publication

As part of the project's ambition to exhibit the archive, the South London Gallery have confirmed a major retrospective of Keegan's artwork, showcasing a curated collection of the catalogued archive, alongside hosting workshops and a film programme.

The exhibition will be presented in the gallery’s newly opened Grade II listed fire station, a capital project supported by HLF to allow South London Gallery to develop its archive and provide dedicated space for the general public to discover local social histories. This chimes with RKAP's aims of increasing the visibility of Keegan's work and awareness of the Black Arts Movement, making this an appropriate venue for the project. RKAP will work with South London Gallery's Heritage Education Team to devise workshops to explore Keegan’s practice as well as a public programme of talks and events connecting the work to other artists and practitioners from the archive. These geographical and historical connections mean working with Keegan’s practice at the SLG would be particularly pertinent and timely, resonating as it does with the gallery’s commitment to growing a locally grounded archive.

This exhibition will take place following the completion of Stage 1 of the project. It is from this groundwork that archival material for the exhibition will be selected. Stage 2 will include conservation of 'at risk' artworks as well as digitisation of obsolete media formats for exhibition presentation.

Complementing the retrospective, will be an accessible publication: the first of its kind on the collection. Part archive catalogue, part collective biography, this book will feature a range of commissioned essays from practitioners and writers alongside images of artworks and archive material. Due to the inaccessibility of the archive there is currently very little printed work exploring Rita’s artistic and archival practice and subsequently a publication is urgently needed. The writing will be accessible to a wide audience and reasonably priced; published in-house and in conjunction with WAL at Goldsmiths University Press, with free copies distributed to relevant organisations and lending libraries.

4) establish Friends of Rita Keegan Archive

After the deposit of the archive, the project team will establish the Friends of Rita Archive, a group who will act as custodians and advocates for the collection. Founded as an unincorporated voluntary association with a

8

Application Form Version 11

OH-15-08639

constitution, composed of members from the project team, steering committee and interested project participants, the Friends will explore ways the collection can continue to engage new audiences and reach young artists and creatives. Central to the Friends would be fundraising for an annual bursary in Rita Keegan's name to be founded at Goldsmiths, to support an early career artist to creatively response to Keegan's archive.

2b Is your heritage considered to be at risk? Yes

Please provide information on why your heritage is considered to be at risk and in what way. Currently stored in Keegan’s home and shed, the archive is materially vulnerable and in urgent need of preservation. Many of Keegan’s multimedia 2D and installation work pioneered the use of early digital technologies which are at risk of no longer being readable due to obsolescence.

In 2019 Keegan will be 70 years old and unless action is taken now the heritage of Keegan’s memories and experiences within the British Black Arts Movement will be lost forever.

A range of media are at risk, due to the unsafe storage in a dilapidated garden studio. Paper works are at risk of from decay, damp and pests; while technical obsolescence threatens much of Rita's media collections. The details of this are listed below.

2c Does your project involve work to physical heritage, such as buildings, collections, landscapes or habitats? No

2d Does your project involve the acquisition of a building, land or heritage items? No

9

Application Form Version 11

OH-15-08639

Section three: Your project In this section, tell us about your project. Make sure you include all your planned activities, and capital works if applicable.

3a Project plan

You must submit a Project Plan as part of your application; this is where you can provide us with information on what your project will do. Please read the programme application guidance for more information.

You will need to create your own project plan and attach it as a supporting document at the end of this form. A template document can also be found on the HLF website.

3b Explain what need and opportunity your project will address RKAP will address a number of urgent issues presented by the current storage and inaccessibility of the archive. HLF funding will give RKAP the opportunity to catalog and preserve this material through digitization and to record the memories of Keegan and her contemporaries to provide a context for its presentation.

What has previously been inaccessible will become an accessible, well-managed archive. It is important to do this now because:

The paper records – correspondence, publications and rare gallery ephemera currently kept in lever-arch files – are at serious risk of damp and infestation from household pests such as silverfish, which can cause rapid paper decay.

The digital and analogue media – video tapes (digibeta and VHS), floppy discs and CD-RW – the damp presents the danger of hydrolysis (the decay of video tape and negatives from saturation) which would mean the irrevocable loss of cultural memory. Increasingly the obsolescence of these tape formats means independent organisations like RKAP can neither afford nor access the increasingly obscure machines that can digitise these materials.

The project needs to begin urgently as the memories, experiences and stories that Keegan and her network of colleagues and friends hold are at risk of disappearing. Keegan and her contemporaries are now old age pensioners, and are beginning to suffer from ill-health, lack of mobility and social isolation. Without HLF funding, there would not be the resources to fund their travel and conduct interviews to record the work and memory that accompanies and narrates the material strand of the collection.

These immediate risks to the collection pose a danger to the survival of Keegan’s archive, as the material may not survive further temperature changes and the environmental risks posed to its current home. Equally critical, is that in its current condition, the collection is not in a fit state to be accessed or interpreted adequately. An HLF grant would enable Keegan’s archive to connect the legacy of a significant cohort of artists with younger generations and a broader public, something that would be impossible to achieve with the project’s current resources.

The project has been driven by a recent public upsurge of interest in Keegan’s life and collection. There is clearly a need to hear the stories this archive tells. The art and archives research collective X Marks the Spot, took The Women of Colour Index as the focus for their residency at the Women’s Art Library in 2012 culminating in the publication Human Endeavour. More recently, the founding of the Women of Colour Index (WOCI) Reading Group hosted at Goldsmiths, University of London, which uses the the WOCI archive and Keegan’s work to inspire public conversations around the collections and the histories of women artists of colour. This group have held a number of public events at venues such as The Wellcome Collection, Tate Modern, South London Gallery and Nottingham Contemporary amongst others. Keegan herself has delivered several invited talks about the collection, most recently for Showroom Gallery, Tate Modern and the Centre for Contemporary Arts in Glasgow.

Learning and mentoring will run throughout the entire project, addressing the chronic lack of training and access for those interested in black arts archives. Much of the archiving and project activity will involve

11

Application Form Version 11

OH-15-08639

3d What outcomes will your project achieve? A range of HLF outcomes will be met with the cataloguing of Keegan’s archive.

Heritage will be better managed: Keegan’s archive is currently a diffuse set of material and media spread around her flat in an unsafe condition. Its deposit in an archive, exhibition and digital dissemination will ensure that the material is professionally catalogued by the RKAP project team and then managed in the long-term as part of the Goldsmiths’ Library Special Collections, in an accredited archival repository.

Heritage will be kept in better condition The archive’s deposit at Goldsmiths and recording of Keegan and her colleague’s oral histories will ensure the survival of a key art and social history collection. Physically, this will involve conserving a variety of material: paper correspondence, artworks on canvas, fabrics, and gallery ephemera on a variety of formats. It will also give us the resources to pay for facilities to digitise and save Keegan’s video media – eventually enabling the team to upload and share them on a dedicated project website.

Heritage will be better explained and interpreted The heritage will be identified, recorded and promoted within the cultural and scholarly communities through workshops, events, exhibitions and social media. The exhibition at South London Gallery will ensure the general public and key communities from South London will engage with Keegan’s archive; sharing the cultural memory and artwork with as broad an audience as possible. The exhibition will highlight key works and items from the collections and clearly explain their historic and cultural significance to new audiences. We will use both South London Gallery and our own team-member to evaluate the impact and assess the breadth and size of these audiences. The archive’s deposit will also make a significant contribution towards disseminating a key collection of the Black Arts Movement among secondary, further and higher education audiences and researchers. Finally, the publication and website will provide lasting interpretive resources, being made as freely available as possible.

3e What are the main groups of people that will benefit from your project? People will have developed skills The project will recruit three archive trainees (advertised widely, using Goldsmiths and South London Gallery’s learning & outreach networks) who will be trained to catalogue, conserve and historicise the archive collection part-time over three months. Our project archivist will mentor three young archivists in how to professionally arrange, catalogue and prepare an archive for exhibition and then a deposit. The mentored archivists will also take part in the recording of the oral histories, learning how to record and preserve intangible heritage to accompany their work with material collections. Additionally, they will be present for the digitisation of the heritage at Goldsmiths, observing and participating in the processes to capture obsolete media and produce digital files. The skills the three young archivists will range from cataloguing and preservation skills, to expertly identifying documents and objects suitable for sharing on social media, exhibition or educational workshops, liaising with RKAP team members of different specialities.

People will have learnt about heritage:

Trainees

The three trainees engaged in the project will have gained an extensive historical and practical knowledge of Keegan’s archive and the broader Black Arts movement by the end of their placements. The trainees will have learnt how to assemble and catalogue an archive and then share it with a broad public – a transferable skill for other heritage projects. Equally, they will have closely engaged with the figures and artworks that were pivotal in a major artistic movement of 20th Century Britain.

Volunteers

We expect there to be at least 20-25 volunteers to contribute to the project, participating in the Creative Hub and exhibition and publication preparation. These volunteer's participation will be spread across helping with basic elements of the exhibition preparation (packaging and organising materials); conducting Oral Histories; organising discussion groups and events; website management; digitisation; alongside supporting the archivist and trainees with the the cataloguing of the archive.

12

Application Form Version 11

OH-15-08639

These volunteers will learn first hand skills in event management and basic archival skills such as document handling, packaging and archival concepts and terminology.

Audience and Participants at WAL Creative Hub sessions and South London Gallery exhibition

The exhibition, events programme, social media presence and publication will bring Keegan's collection to a broad range of audiences, the archive speaking to women, Black and Asian minority groups, LGBTQ+ audiences and local communities around South London.

The general public will be targeted with the archive exhibition at South London Gallery being publicised as a major free attraction. The complementary events programme configured in collaboration with SLG's Heritage Education Team will also target specific audiences within this broader exhibition, the workshops will be open and free to the public, and invite a range of guest speakers, from academics to artists to young people to respond and share their thoughts on the work. We anticipate visitor figures for a 6 week exhibition and accompanying events programme of this scale to be more than 20,000 people (estimated from South London Gallery's visitor data).

Online audience and users of RKAP website and educational materials

A marketing and promotional campaign will drive people to the RKAP website to:

- find out about Keegan's archive and the broader Black Arts Movement for personal or academic interest

- learn best archival practices as well as experimental strategies through educational resources and volunteer blog posts.

We will monitor the number of hits to the site. We expect between approx 10,000 visits in the first year.

Social media platforms such as Facebook, Twitter and Instagram will provide an international platform for Keegan's collection, reproducing much of the archive for free – sharing exhibition materials at a high resolution for creative and educational re-use. These platforms will also generate conversation, encouraging interaction and feedback from online users.

People will also have enjoyed heritage and volunteered time Through the training, exhibition and events programme we expect people to enjoy engaging with the heritage, hopefully creating new cultural and social connections for our participants. We will capture the experiences of our volunteers in our evaluation phase, recording the stories of our contributors as a living archive of the project.

We need to understand the range of audiences that you are planning to attract with your project. We use this information to assess your plans for your project - we do not prioritise projects for any particular group. We also use the information to report on the benefits of our funding and to help decide what action we will take to overcome barriers to involving people with heritage. If your project aims to benefit a wide range of people and is not specifically targeted at any particular group, tick this box

Age

Under 16 16 - 25 26 - 49 50 - 64 65 and over

Disabled people

Ethnicity

Asian Asian British

Black Black British

Chinese Chinese British

Mixed White and Black Caribbean

White White British

13

Application Form Version 11

OH-15-08639

Asian English Asian Irish Asian Northern Irish Asian Scottish Asian Welsh Bangladeshi Indian Pakistani Other

Black English Black Irish Black Northern Irish Black Scottish Black Welsh Caribbean African Other

Chinese English Chinese Irish Chinese Northern Irish Chinese Scottish Chinese Welsh Other

White and Black African White and Asian Other

Arab

White English White Irish White Northern Irish White Scottish White Welsh Other

Irish travellers (Northern Ireland only)

Marital or civil partnership status

People with dependants (for example, children or elderly relatives)

People living in households with incomes below the national average, or people living in the most deprived local-authority wards in England, Scotland, Wales or Northern Ireland.

Community background (Northern Ireland only)

Religious belief

Gender

Males Females Transgender people

Sexual orientation

Gay and lesbian people Heterosexual people Bisexual people

3f How many people will be trained as part of your project, if applicable? 3

3g How many volunteers do you expect will contribute personally to your project? 25.

3h How many full-time equivalent posts will you create to deliver your project?

3i How are you planning to promote and acknowledge National Lottery players' contribution to your project through HLF funding? A dedicated Facebook page, newsletter and social media platforms. We will follow all HLF publicity guidelines.

16

Application Form Version 11

OH-15-08639

4d How will you evaluate the success of your project? Project evaluation will focus upon the sustainability of the project's learning outcomes and the long-term protection of the Rita Keegan Archive.

The evaluation will be guided by (evaluation officer of the Barbican Arts Centre), conducted by recording the experiences of participants, audiences and team members, firstly to conform to HLF evaluation standards, but to contribute to the living archive of the project, narrating the experience of assembling and sharing the collections. There will also be monitoring of volunteer and mentee recruitment, taking quantitative data on the gender, ethnicity, social class and disability of project visitors, volunteers, trainees and staff.

Participants will be given digital feedback and survey tools, but more qualitative, bespoke evaluation mechanisms will be developed in the early stages of the project. At the project’s conclusion, will write a brief report, drawing upon interviews, surveys and project data, setting down the participant and audience experience against the objectives of the project, illustrating best practice for future projects with the collections.

4e Tell us what will happen to the things that your project has produced after the funding ends. Keegan’s collection will be preserved in perpetuity in the Goldsmith’s Special Collections for researchers and other parties to access freely.

All digital outputs will adhere to HLF regulations: available and free to use for a minimum of 10 years from the project’s end.

The project has been economically calculated to support all elements of the curatorship and conservation until the archive becomes property of Goldsmiths.

4f If your project involves conservation of an item, land or property, tell us how you will maintain it so that people can continue to experience and enjoy it after the funding ends. At the end of the project, the team will found a Friends of Rita Keegan Archive Group to act as custodians and advocates for the collection after its deposit. Founded as an unincorporated voluntary association with a constitution, composed of members from the project team, steering committee and interested project participants, the Friends will explore ways the collection can continue to engage new audiences and reach young artists and creatives. Central to the Friends would be fundraising for an annual bursary in Rita Keegan's name to be founded at Goldsmiths; this will support an early career artist to produce a creative response to Keegan's archive, securing the legacy of the collection and RKAP project.

Section five: Project costs

5a In this section, tell us how much it will cost to deliver your project.

There is a limit of 20 words per 'description' section when completing the cost tables. If you need to provide a more detailed explanation and breakdown of your costs there is a facility at the end of the application form to upload supporting documents.

17

Application Form Version 11

OH-15-08639

Cost Heading Description How much (£)

Non recoverable

VAT

Total (£)

Professional Fees Project Lead and Archivist mentor (2 day/pw for 3 months /1 day/pw for 12 months) @ £150/day

10800 10800

New Staff Project Administrator (1 day/pw for 14 months) @ £150/day

8400 8400

Professional Fees Creative Director (2 day/pw for 3 months + 20 days) @ £150/day

6600 6600

Recruitment Recruitment costs of Project Administrator and Volunteers

100 100

Professional Fees Publication Lead (15 days over 15 months) @ £150/day

2250 2250

Professional Fees Curatorial Lead (15 days over 15 months) @ £150/day

2250 2250

Professional Fees Creative Assistant (2 days a month for 6 months) @ £150/day

1800 1800

Professional Fees Oral History mentor/trainer (9 Creative Hub sessions + 10 days) @ £150/day

2850 2850

Other 3x Trainee Archivists (2 days/pw for 3 months each/ 1 day/pw for 3 months each) @ £10.20 per hour

8750 8750

Evaluation Evaluation by (5 days) @ £150 per day

750 750

Expenses for volunteers

Per diem for 10 volunteers working 20 days each @ £10/day

2000 2000

Travel for staff Creative Director taxi to SLG and WAL @ £10/day 200 200 Travel for volunteers Local travel fund to interviews within Greater London,

to SLG/WAL @ £5/day 500 500

Digital outputs Website build, domain purchase inc. design fee 2000 2000 Equipment and materials

Archive costs: see detailed breakdown attached 2500 2500

Equipment and materials

Archive costs: CMS License, laptop, dropbox 5250 5250

Publicity and promotion Frieze Magazine digital and print advertising 1250 1250 Repair and conservation work

Vitrine materials for SLG exhibition 650 650

Repair and conservation work

Framing and restoration of artworks for exhibition 3500 3500

Equipment and materials

Equipment hire - 6 x Hitachi 37" 4:3 and media players for exhibition

3000 3000

Other Shipping costs (Maryland - UK artwork transport, quoted Williams & Hill) for exhibition

1900 1900

Equipment and materials

Film hire and license fees events (6 x £120 per film) for exhibition

720 720

Digital outputs Digital transfer of archival film works for exhibition presentation

800 800

Professional Fees Workshop, screenings and collaborator fees for exhibition (6 x £200 each)

1200 1200

Cost of producing earning materials

Creation of educational materials for website and exhibition workshops

1250 1250

Other Exhibition and event documentation, Creative Hub sessions and South London Gallery exhibition

500 500

Other Drinks and refreshments during workshops and Creative Hub sessions

450 450

Other Van hire: Delivery costs of material from Vauxhall Grove/WAL/SLG

300 300

Professional Fees Fees for contributors to publication (£350 x 8) 2800 2800 Professional Fees Designer's Fee for Publication 1000 1000

18

Application Form Version 11

OH-15-08639

Professional Fees Copyediting and typesetting for RKAP publication 1500 1500

Cost Heading Description How much (£)

Non recoverable

VAT

Total (£)

Cost of producing earning materials

RKAP Publication Print Run x500 2000 2000

Cost of producing earning materials

Clearance fees for Publication images 500 500

Contingency 5% 4030 4030 Total 84350 84350

5b Project income

Please note that HLF rounds all grant requests down to the nearest £100. With this in mind, please make sure that the total project income exactly matches the total of your project costs or the system will not allow you to proceed.

Source of funding Description Secured? Value Cash Arts Council England: Grants for the Arts No 13250 HLF grant request 71100 Total 84350

5c Financial summary

Total costs 84,350 Total income 13,250 HLF grant request 71,100 HLF grant % 84

5d Are there any non-cash contributions or volunteer time to help carry out your project?

19

Application Form Version 11

OH-15-08639

Description of non-cash contributions Estimated value (£)

RKAP group meetings, administration and research time for 12 months donated in kind 7,500 Goldsmiths editing suite hire 3 days @ £50 a day 150 WAL/Goldsmiths: Digitisation of the collection and development of web pages (9 days @ £150 p/day)

1,350

WAL/Goldsmiths: administrative support and hosting 1,950 Goldsmiths University Press: Editorial and production manager FTE fees for duration of Project. 10,000 South London Gallery: 3 freelance technicians, for 6 x 9 hour days @ £153/day, to include install and de-install

2,754

South London Gallery: £13 per hour inc NI/pension x 8 hours per day x 6 days per week x 6 weeks

3,744

South London Gallery: To include, installation photography, e-invite, printed gallery guide and exhibition introduction vinyl

1,975

South London Gallery: Project Manager: 10 days @ £180/day (planning and project coordination, event management)

1,800

South London Gallery: Programme Manager: 10 days @ £200/day (management of installation of presentation in first floor galleries)

2,000

South London Gallery: Marketing & Communications Manager: 5 days @ £180/day (marketing online, in print, at the gallery)

900

South London Gallery: Gallery overheads for duration of presentation @ £150/day x 8 weeks (6 days per week)

7,200

Total 41,323

Description of volunteers' task Number of days

£ per day (as per our guidance)

Estimated value (£)

Oral history interviewees 5 150 750 Community members undertaking heritage project Creative Hub sessions and workshops

130 50 6,500

Exhibition and publication launch event 10 150 1,500 Total 145 8,750

20

Application Form Version 11

OH-15-08639

Section six: Additional information and declaration This part of the form aims to collect the information we need to report on the range of organisations we fund. We will not use this information to assess your application. We encourage you to be as specific as possible about the people your organisation represents.

If your organisation represents the interests of a particular group, such as young people or disabled people, tell us which by filling in the tables below.

If you are based in Northern Ireland, where legislation requires us to report in detail on the organisations we fund, please complete the tables in full, as applicable.

If you are based outside Northern Ireland and your organisation represents the interests of a wide range of people and not any particular group, mark this box only.

Age

Under 16 16 - 25 26 - 49 50 - 64 65 and over

Disabled people

Ethnicity

Asian Asian British Asian English Asian Irish Asian Northern Irish Asian Scottish Asian Welsh Bangladeshi Indian Pakistani Other

Black Black British Black English Black Irish Black Northern Irish Black Scottish Black Welsh Caribbean African Other

Chinese Chinese British Chinese English Chinese Irish Chinese Northern Irish Chinese Scottish Chinese Welsh Other

Mixed White and Black Caribbean White and Black African White and Asian Other

Arab

White White British White English White Irish White Northern Irish White Scottish White Welsh Other

Irish travellers (Northern Ireland only)

Marital or civil partnership status

People with dependants (for example, children or elderly relatives) People living in households with incomes below the national average, or people living in the most deprived local-authority wards in England, Scotland, Wales or Northern Ireland.

Community background (Northern Ireland only)

Religious belief

Gender

Males Females Transgender people

Sexual orientation

21

Application Form Version 11

OH-15-08639

Declaration

a) Terms of Grant You must read the standard terms of grant for this programme on our website.

By completing this Declaration, you are confirming that your organisation accepts these terms. For partnership projects, all partners must confirm that they accept the standard terms of grant by adding a contact at the end of the declaration.

b) Freedom of Information and Data ProtectionWe are committed to being as open as possible. This includes being clear about how we assess and make decisions on our grants and how we will use your application form and other documents you give us. As a public organisation we have to follow all data protection laws and regulations, to include European Parliament directives and regulations that are applicable and in force from time to time (the 'Data Protection legislation'). As defined by the Data Protection legislation the Heritage Lottery Fund (HLF) is a data controller.

As part of the application process we will collect your name and position at the organisation you represent. We may share this information with one of the consultants on our Register of Support Services if they are appointed to help support you on your project. We do not transfer your data to any third parties based outside of the EU. The HLF's Privacy Policy contains additional information including contact information for the HLF's Data Protection Officer. It can be found on the HLF website.

When you complete the Declaration at the end of the application form, you are confirming that you understand the HLF's legal responsibilities under data protection legislation and the Freedom of Information Act 2000 and have no objection to us releasing sections 2 and 3 of the application form to anyone who asks to see them once your application has completed the assessment process. If there is any information in these sections of the form that you don't want made publicly available, please explain your reasons below:

22

Application Form Version 11

OH-15-08639

We will take these into account when we respond to any request for access to those sections. We may also be asked to release other information contained elsewhere in the form and we will respond to these requests after taking account of your rights and expectations under Data Protection legislation. In those cases, we will always consult you first. The HLF will not be responsible for any loss or damage you suffer as a result of HLF meeting these responsibilities. When you complete the Declaration you also agree that we will use this application form and the other information you give us, including any personal information covered by Data Protection legislation for the following purposes:

• To decide whether to give you a grant. • To provide copies to other individuals or organisations who are helping us to assess, monitor

and evaluate grants. • To share information with organisations and individuals working with us with a legitimate

interest in Lottery applications and grants or specific funding programmes. • To hold in a database and use for statistical purposes. • If we offer you a grant, we will publish information about you relating to the activity we have

funded, including the amount of the grant and the activity it was for. This information may appear in our press releases, in our print and online publications, and in the publications or websites of relevant Government departments and any partner organisations who have funded the activity with us.

• If we offer you a grant, you will support our work to demonstrate the value of heritage by contributing (when asked) to publicity activities during the period we provide funding for and participating in activities to share learning, for which we may put other grantees in contact with you.

We may contact you from time to time to keep you informed about the work of the Heritage Lottery Fund

Tick this box if you wish to be kept informed of our work

I confirm that the organisation named on this application has given me the authority to complete this application on its behalf. I confirm that the activity in the application falls within the purposes and legal powers of the organisation. I confirm that the organisation has the power to accept and pay back the grant.

I confirm that if the organisation receives a grant, we will keep to the standard terms of grant, and any further terms or conditions as set out in the grant notification letter, or in any contract prepared specifically for the project.

I confirm that, as far as I know, the information in this application is true and correct.

I confirm that I agree with the above statements.

Name Rita Keegan Organisation Rita Keegan Archive Project Position Creative Director Date 18/01/2019

Are you applying on behalf of a partnership? No

23

Application Form Version 11

OH-15-08639

24

Application Form Version 11

OH-15-08639

Section seven: Supporting documents

Please provide all of the documents listed unless they are not applicable to your project. You will be asked to indicate how you are sending these documents to us - as hard copy or electronically.

In addition to numbers 1-11 below, you may also be required to submit further supporting documents that are specific to the programme that you are applying under. For further guidance, please refer to the application guidance Part four: Application form help notes. We will not be able to assess your application if we do not receive all the required information.

1. Copy of your organisation's governing document, unless you are a public organisation, a private individual or a for-profit organisation. If your application is on behalf of a partnership or consortium, please refer to the programme application guidance for more information on what you need to provide.

If you have sent a copy of your governing document with a previous grant application (since April 2008) and no changes have been made to it, you do not need to send it again. Tell us the reference number of the previous application. Not applicable

2. Copies of your agreements with project partners, signed by everyone involved, setting out how the project will be managed (if applicable); Electronic 3. Copy of your organisation's accounts for the last financial year. This does not apply to public organisations, private individuals or for-profit organisations; Not applicable

4. Project Plan; Electronic

5. Calculation of Full Cost Recovery (if applicable); Electronic

6. Briefs for internally and externally commissioned work; Not applicable

7. Job descriptions for new posts; Electronic

8. A small selection of images that help illustrate your project. If your project involves physical heritage, please provide a selection of photographs, a location map and, if applicable, a simple site map or plan. It would be helpful if these are in digital format (either as an attachment or on disk). Electronic

9. Letters of support (no more than six) Electronic

10. Conservation/condition survey Not applicable

25

Application Form Version 11

OH-15-08639

If you are applying under the Young Roots programme you will also need to submit:

11. A statement from young people Not applicable

If applicable, please attach any additional documents as required for the programme that you are applying under. For further guidance, please refer to the application guidance. Use the box below to confirm in what format the additional documentation will be submitted. Electronic

Please now attach any supporting documents.

When you have completed the form click the submit button to submit the form to the server. You can view what you have entered by clicking the draft print button above.