The main types of art

June 9, 2019

Among all types of art, it is customary to put fiction in the first place, although the only reason, perhaps, for this is its much wider audience than for works of other types of art. from hand-made crafts to paintings

How do you think Art should be reviewed? Online allows everyone to express their feelings although also leaves them open to attacks. Amazon Reviews to Do you think the art world should have public review system to create more engagement in Art?

Fiction – a form of art in which the material carrier of imagery is a common, or everyday, language. Like other forms of art, literature reproduces or depicts objects and situations.

But since she uses the language for this, in contrast to the visual arts in the true sense of the word (painting, sculpture, etc.) and from the synthetic arts(theater, cinema, television, etc.) uses images “immaterial” (G. Lessing), devoid of direct visual clarity and reliability: the word ns has features of visual similarity to what it means.

The insubstantiality of the images is due to some limited literature, but at the same time, the words used by the writer allow us to comprehend the reality in a compact and operational manner in all the diversity of its manifestations comprehended not only by feeling but also by intelligence.

The writer is able to present a person as thinking and speaking creature, to bring together a literary text with a journalistic or philosophical one.  Music- a type of art in which artistic images are formed with the help of sounds. For music is characterized by particularly active and direct influence on the inner world of man.

Sounds as a basis of musical imagery and expressiveness are devoid of semantic concreteness of words, ns reproduce visible pictures of the world, as a pictorial image does.

But sounds have an intonational nature, in which centuries-old speech experience is expressed, rhythmic movements, embodied, in particular, in theater, dance, etc. The components of a musical composition, such as melody, harmony, rhythm, composition, polyphony, texture, etc., give expressiveness to music.

Music can be performed by means of there is a vocal, instrumental, vocal and instrumental music.

Music exists in different types and genres. It is symphonic, opera and chamber music; but there is music for the song, dance, symphony, sonata, suite, heroic or comic opera, etc.

Artistic images of music are highly generalized. But at the same time, they are distinguished by a huge emotional force capable of expressing the being of a person in an integrated way.

Music is capable of expressing the subtlest shades of human feelings and influencing the deep psychology of a person.


The originality of which consists in the creation of artistic images with the help of paints applied to any hard surface (base).

Painting visually reproduces the coloristic richness of reality, its spatiality, and objectivity, embodies a wide range of ideas about the life of people, society and nature.

Depending on the materials used by the artist to create a painting (oil, glue, wax, etc.), such types of painting are distinguished as oil painting, tempera, painting on plaster (fresco), encaustic (painting wax on a blackboard), etc. There are different genres of painting: landscape, portrait, still life, historical painting, household genre, etc.

There are also different types of painting: easel painting, or painting, icon painting, panorama and diorama, monumental-decorative painting, decoration, etc. The opening discovery, perspectives, and cut-off modeling were significantly enriched.

However, if progress was observed in painting, it was not in the growing ability of the painter to copy what is in reality, but in the ability to create the impression that we see the object depicted by him. Even the most believable images are not just copies.

Cinematography is a type of artistic creativity that entered the system of synthetic art forms in the 20th century.

The sculpture is a type of fine art, the specificity of which is in the volumetric realization of the art form in space. The sculpture represents mainly the forms of people, less often – animals and even less often – landscape or still life.

Two main types of sculpture are distinguished: around sculpture (statue, group, torso, bust) is designed for viewing it from many points of view; relief sculpture is an image on a plane perceived as a background.  There are also other types of art: choreography, theater, photo art, circus, pop art, decorative and applied art, etc.


Grants: call for peer assessment jurors

September 7, 2018

Nominations for Peer Assessment Jury

The Peer Review Process

The Prince Edward Island Council of the Arts reviews over 150 applications every year and awards approximately 50 grants for various projects like the ginger mountain and phone necklace for freedom project. The Council uses a peer assessment process to ensure that decisions are made fairly and objectively, and the funds we distribute are shared in the fairest manner.

The panel makes the decisions primarily by evaluating each application against the four criteria listed in the application guidelines:

A. The artistic merit of the project.
B. The relevance of this work to the Artist’s development.
C. The potential of the applicant(s) or small groups/bands to carry through the project.
D. The significance of the project’s contribution to the development of the Arts on Prince Edward Island.

The Council’s Board of Directors is responsible for providing a list of approved potential jurors to the Executive Director who is then responsible for assembling a jury twice per year in May and November. You can play a role in the process by recommending potential jurors to the Directors for their consideration – including yourself.

Each jury panel consists of six members selected from the list of candidates. Generally, the jury is made up of representatives from six of the eight disciplines recognized by the Council. Also in attendance is the Chair of the Council of the Arts who Chairs the meeting, the Executive Director of the Council who may provide advice to the Chair and assists in ensuring that panel conversation remains within the scope of the review, and the Executive Administrator of the Council who provides administrative support. The Chair, the Executive Director, and the Executive Administrator do not provide opinions on the merit of any grant under review.

To keep a measure of consistency across panels, one member of the previous panel is appointed to the next. Jurors may only serve twice in a two year period. Every effort is made to provide a panel of jurors that is reflective of the Island in age, gender, and culture. Limiting factors include availability of jurors as well as availability of jurors within disciplines.

Jurors must clearly state any conflict of interest and remove themselves from deliberations while a conflict exists. Additionally, all jurors must agree to keep all deliberations confidential. Jurors are also instructed that age, race, gender, geographic location of the applicant, and previous Council success or lack of success may NOT be factors in the deliberations.

Things to consider before recommending a juror:

Is the candidate able to serve for one complete business day (mid-May or mid-November)?
Is the candidate familiar with, and comfortable abiding by, the Council’s conflict of interest guidelines? (This file is in PDF formatDownload the Council’s Conflict of Interest Guidlines in PDF)
Is the candidate familiar with, and comfortable abiding by, the Council’s confidentiality guidelines? (This file is in PDF formatDownload the Council’s Confidentiality Guidlines in PDF)
Is the candidate knowledgeable in their discipline on a Provincial AND National level?
Is the candidate generally knowledgeable about the Arts (in all disciplines) on Prince Edward Island?

Who we are

September 7, 2018

About the Prince Edward Island Council of the Arts

The PEICA is governed by a volunteer Board of Directors, made up of artists from various disciplines, including Crafts, Dance, Film Media, Interdisciplinary Arts, Music, Theatre, Visual Arts, and Writing and Publishing. Additional expertise is brought to the Board through artists and arts supporters from the arts and business communities, an Executive Director and support staff. The PEICA Governance and By-Law documents set out the rules under which the Board and the staff operate.

The PEICA enjoys an arm’s-length relationship with the Prince Edward Island Department of Tourism and Culture, which contributes the majority of the PEICA’s funding through an annual contribution. The PEICA also receives financial and in-kind support from our partners across Prince Edward Island. These funds are administered by the PEICA on the Department’s behalf, and are allocated to grant programs and services for artists and arts administrators.

The purpose of PEICA grant funding is to promote and support the creation and presentation of works of art, and to develop the capacity of artists and arts organizations throughout the Province. Grant proposals are adjudicated through process of peer assessment, thereby empowering the members of the arts community to determine the best investment of public arts funds in a fair and objective manner.

The Council works in partnership with the arts community of Prince Edward Island, the Council’s membership, the government and people of Prince Edward Island, to fulfill its mission to make the arts integral to the lives of all Prince Edward Islanders.

Grants: step-by-step-guide

September 7, 2018
  1. Develop a Project Idea

Ask yourself:

” What will I do?”
” Where will I make it? Where will I show, perform, or publish my project?”
” When will I make it? When will it be seen?”
” How will I do it?”
” Why is this an important project to myself and other people? Why is it important to my career right now?”

If you can’t answer these questions, you probably aren’t ready to propose a grant.

2. Start Early

Start two months in advance. You need time to write a proposal, hire a photographer, contact a granting officer, format your material, and ship the package.

There can be technical difficulties when submitting online. You don’t want those to happen at 11pm the night the proposal due. Besides, we all make mistakes when under pressure.

Get started early, and you won’t find writing a grant stressful.

3. Check Your Eligibility

Nothing is worse than an application getting automatically rejected because of ineligibility. If you are unsure, contact the funding officer. Make sure to apply to grants that are meant for you.

It will increase your success and save a lot of time. One clue is to look at past recipients. A funding body may say they want writers, visual artists, and filmmakers. Yet, if their past recipients are only filmmakers than it’s not the best grant for a visual artist.

4. Supporting Materials

Support materials must be relevant to the proposal. For example, when a grant supports interdisciplinary projects, I send examples of a variety of disciplines. I include book projects, animations, and painting. If I am applying to grant that is in support of painting I will only include my best paintings.

Choose work that references your plan. Part of proposing a grant is to convince the jury that you can achieve it. If you are a sculptor proposing a video project, don’t just include images of sculptures. Include a short trial video to show your capability with the medium.

Check out what happens after you apply here


September 7, 2018

Arts and Education Report 

“I think it is absolutely crucial to re-establish arts education for adults and continuing education for professional artists on the Island. We once had a renowned, enviable art college and despite its closure we somehow continue to have a wealth of professional artists/educators in the community and I believe we could easily attract arts educators from around the world, were we to once again have a program of study based on PEI.”   

“Were I not deeply attached to my Island home I would likely stay here in Fredericton, where there is this resource for continuing education and support.” Rankin

-Written submission from an Island Artist studying in Fredericton



Executive Summary

In the fall of 2009, the Prince Edward Island Council of the Arts engaged the Island’s arts community in a pan-Island set of consultations on the topic of post-secondary arts education.

What emerged from those consultations represents a clear, Island-born, solution for a difficult set of problems, including a significant population of trained artists living immediately around the city of Charlottetown balanced by a widely diverse and widely distributed group of artists who range from the highly trained to the largely-self-taught, all of whom have educational needs. Through an examination of the data collected, and an objective analysis of the discussions at each of the fourteen locations, a vision surfaced of a central hub acting in the capacity of a “School of the Arts” that was a focus for arts and art education activity, and provided a base for widely distributed programming across PEI.


At the heart of the matter is a simple fact: Island artists want to do well, artistically and financially. They want to make quality artwork. They need access to professional development to enhance their skills, as in any other profession. They need a focus for their educational activities, for resources, for mentors, and for materials. They feel a strong desire to connect with their peers, to everyone’s mutual benefit and gain.


These are all features commonly found in and are an integral part of, an area that features an institution or entity that acts as a school of the arts.


The community developed an image of an education entity that not only acted in partnership with existing post-secondary institutions in a formal, accredited sense but also acted in partnership with schools, wellness centres, existing community centres, and community-based groups.


While the needs of the professionally trained artist cadre and the more community-based artist and artisan groups are quite distinct, each agreed on the importance of providing opportunities to the other and enshrining a balance between using local human resources and employing the absolute highest quality of instruction in all activities. Where possible, there was the understanding that working together would lead to the most success on both sides.


A resounding feature of the discussions was the sense of loss of community, particularly in light of the demise of the former Holland College School of the Arts. Many discussions centred on this strong desire to re-establish Prince Edward Island as a centre of artistic excellence with a strong, vibrant, and engaged community of practitioners. It was often noted that, aside from the obvious formal educational benefits that the Holland College program offered, there were innumerable intrinsic benefits, such as a physical centre for arts activity, easy access to peers and a critical dialogue, easy access to knowledgeable mentors, and opportunities to steadily build artistic skills.


It was also noted that the former students of that school, now ageing, seem to have been the last of a cohesive community of peers, and younger artists, and those who were not part of that cohort feel their separation from both that group and from each other.


While the PEICA received reports, both first hand and indirectly, that some artists did not participate as they felt that nothing could ever be achieved, the consultations proved that there are many artists who remain hopeful and committed to the idea that we, on Prince Edward Island, can work as a community to build an appropriate solution as unique as the Island itself. This report is intended to be the starting point for further study and further community engagement. Ideally, it will also lead towards the goal of providing quality post-secondary arts education right here at home.

What happens after I apply for a grant?

September 7, 2018
Applying for a grant

What happens after you apply

Now that you have submitted your grant proposal, a number of carefully coordinated activities take place. These actions are governed both by the Council’s policies, which are set by the Board of Directors and by procedures that are set by the Executive Director. In conjunction, these policies and procedures work to make the process as fair and transparent as possible.

Before the deadline

During the period before the deadline, the Executive Director removes himself from as many of the pre-application conversations as possible. Of course, the Council has a small staff, and some participation is inevitable; however, by and large, only the Program Officer will know the true composition of any particular grant round. An exception to this situation will occur when a Board Director intends to apply, which is permitted under Council policies as long as a strict set of policies are followed. Failure to follow the policy will be penalized. In this situation, the Director must inform the Executive Director of his intention to apply. From that point on, the Director must refrain from any Board discussion regarding policies that relate to the programs, or the funding for those programs, until the entire grant cycle is complete. For a discussion on why and how Directors may apply, please see the notes at the end of this paper.

After the deadline


The Program Officer enters each application into the Council’s database. If a record of you as a person already exists, your application data will be added to that file. If not, a new entry will be created for you, and your grant details will be added to it. If you have applied in French, which the Council encourages if it is your mother tongue, your application is sent to the provincial translators to ensure that all jurors will be able to read and understand your application.

This database, which contains data dating back to 1995, allows the Program Officer to determine if you are under the maximum grants funds received the cap and to see what other grants you have applied for and received in previous years.

The Jury selection

Once all application details are entered into the database, the Program Officer prepares a report for the Executive Director. This report contains only the discipline and the number of applications in that discipline. The Council considers there to be eight disciplines, and a jury is typically comprised of six members. It is infrequent that there is participation from all eight disciplines in any given round. There is a specific reason for this type of report to the Executive Director. It is a procedure that the Council has put into place to avoid any possible, even subconscious, jury construction that would favour a particular applicant over another.

Based on this report, the Executive Director reviews the pool of jurors. In creating a jury for a particular round, the Executive Director tries to match experience to the number of applications from a discipline, as well as balance the jury in terms of gender and age. The Council runs multi-disciplinary juries drawn from PEI artists. This process is used, largely, to keep costs low, for the total funds available for grants is relatively low. In larger jurisdictions, the cost for multiple, discipline-specific juries is fractional compared to the amounts awarded; however, for The PEICA to run even two juries per round would represent a disproportionate expense, compared to the amounts awarded.

For some additional notes on the jury pool, please see the notes at the end of this paper.

Applications go to the Jurors

At this time, the Program Officer prepares binders for each juror that contain a copy of each application form and supplementary materials received, including letters of support/reference and portfolio items.

Once the Executive Director has determined a suitable mix of people from the pool of jurors, he provides that list to the Program Officer, who will then poll those individuals to find a suitable date when they can all be available for an entire day. This date will be at least one week after all of the jurors can pick up their files.

The jurors come to the Council’s office to collect their binders. At that time, they are also given the conflict of interest and confidentiality guidelines, which must be adhered to at all times. Additionally, they are each provided with “ballots” that match the order of the applications in the binders, in which they may write notes to themselves or assign a score pending discussions on the day.

They are asked to review the materials on their time, and they are paid an honorarium for both their time in preparation and their day of adjudication. During this time, they review each application and support material, and listen to or watch, the media provided. If you have not provided extra copies, the committee members will review it on the day of the jury; however, it is to your advantage to provide the extra copies in advance.

During the review period, jurors can, and do, contact the office with questions about the grants they are reviewing, which are answered in as much detail as possible.

Adjudication Day

Introductions and information

On the day of the adjudication, the Executive Director and Program Officer arrive about an hour in advance to set a place for each juror, and to ensure that all the tools and materials are in place. To keep the jurors alert and happy, plenty of coffee is prepared and snack items are ready for the morning. The Council also provides a lunch of fresh sandwiches and desserts from local establishments.

At the appointed time, the jurors are welcomed to the Boardroom and asked to take a spot at the table. A representative from the Province, who observes the events of the day, is also welcomed. This observer is an important part of our relationship with the Government, which provides our funding: it assures the Government that the process is transparent and driven by best practices. This observer does not participate in discussions or scoring, with one exception. The exception arises when French applications are being considered. For this period of time, the observer, who is Francophone or bilingual, may assist the jury, ensuring that all relevant details are fully understood by all jury members. This process ensures that important nuances are not lost in the translations provided.

The adjudication begins with an introduction from the Executive Director and introductions by the jurors. The Executive Director then reviews the conflict of interest policies and what to do if a conflict exists: jurors must state that they are in conflict and leave the room for all discussion and scoring. Given the small size of the arts community, there are some conflicts in every round, and each is handled in this manner. The importance of confidentiality and the assurances of confidentiality are reviewed to ensure open dialogue around the table during the adjudication process.

The Executive Director then discuss how scores must reflect the purposes of each grant as stated, clarifying that, above all, artistic merit must always be the primary consideration when assigning a score. Financial need is not a factor.

The jurors are invited to ask questions about process or procedure, conflict policies, and any other items that may concern them. These questions often start important discussions that continue throughout the day and are encouraged. Through the entire day, both the Executive Director and the Program Officer take notes on the process, which are incorporated in an after-adjudication review and could result in changes to procedures or become policy recommendations to the Board.

Review of applications

The applications are reviewed alphabetically by Program and Discipline. For example, the process typically starts with the Creation and Production Program in the Dance discipline. Where there are both emerging artists and senior artists, emerging artists are reviewed first, followed by senior artists. Jurors are reminded that their standards and expectations must be adjusted to match the group under consideration. It is also important to remember that there is no cross-discipline consideration in the Creation and Production Programs; for example, dancers are only considered with other dancers.
Each application is reviewed individually. The Program Officer will introduce the application with the short summary you provided. If there is media to review, it will be reviewed. The discussion will begin. The Executive Director monitors each discussion to ensure it remains relevant. If the jurors begin to drift, they are reminded to return to those topics important to the matters at hand. Discussion about the project and its merits is encouraged; however, the discussion around the budget, unless someone has specific knowledge of an error, exaggeration, or ineligible amount is discouraged. As each juror has reviewed the application in advance, the discussion usually gets straight to the point. At times, this discussion can be passionate, even heated, which is entirely permissible if respectful. As discussion begins to wane, the Executive Director will ask the jurors to assign scores.


Jurors assign scores from 0 to 10 (including .5 points should they desire) and submit them in writing. The scores are collected and entered into the database for use in the final tabulation. The scores are collected in an anonymous fashion to avoid situations where some jurors may try to adjust their score to account for predicted lower or higher scores from other jurors.. Anonymous, silent scoring eliminates any possible score manipulation.

If a juror has stepped out of the room due to a conflict of interest, the score is comprised of the average of the scores submitted.

Generally, the process continues through the entire day, with a working lunch and several short breaks.

Day’s End

At the end of the day, the scores given by the jurors are used to provide a ranked list of applicants. This list is arranged in the same way the applications were adjudicated: by Program and by Discipline. However, the information is arranged with the top scoring applicants at the top, followed by the remainder of the applicants in descending order based on the score.

A copy of this report is provided to each juror to review, to ensure that the final results agree with the conversations that have taken place. The jurors are then asked to assign a “bar” score. This bar is the score over which, were funds unlimited, all applicants would receive funding and, under which, an applicant would not be funded regardless of available funds. After the review and determination of the “bar” score, one report is signed by each juror, which is kept in a permanent file. The jurors are then thanked for their time, and provided with their honoraria for their hard work.

Finally, each juror is asked to take some time to consider the events of the day. If they have any suggestions, criticism, ideas, or thoughts, they are encouraged to submit them. Often these comments lead to important changes in the Council’s procedures and help to make the process more equitable.

Assignment of funds

At this time, the Council is now in possession of a ranked list of artists, by program and discipline, which has been unanimously endorsed by the panel of jurors. The Executive Director and Program Officer then proceed to assign funds to the list.

Funds are calculated in a very specific manner.

The total amount budgeted for that round is divided in half. From one half, each discipline is assigned an equal share. This step ensures that some funds are available for each discipline.

Next, the remaining half is assigned in a proportional manner, based on the demand in each discipline over the past five years. This process allows the Council to account for higher levels of demand in, for example, music and visual arts, and lower levels of demand in other disciplines.

After these calculations, specific amounts are assigned for each discipline. If there is a discipline where there were no applications, or in which no application exceeded the “bar” score, that amount is shared among the remaining disciplines.

The amounts are now assigned to the ranked list, with the highest ranking applications receiving funding first, and so on down the list. Given the funds available, they are quickly exhausted. Once the funds are assigned at 100% of the requested amount, the list is reviewed by the Executive Director. If reducing all the amounts awarded to between 95-99% of the amounts requested will free up enough funds to fund a significant amount of one final grant, an adjustment will be made.

This process results in a list of funded applications that is put into a report and sent to the Board of Directors for ratification. This step is largely a formality to ensure that the Board is apprised of the numbers and amounts of grants awarded. The Board does not make changes to the report. Once ratified, the process of preparing the letters to notify applicants of the final results begins.

Informing the applicants

Over the period of 2005-2010, the general rate of success has been marginally better than 1 in 3. This rate of success is entirely in keeping with our national peers in other jurisdictions, and better in some cases. It does mean, of course, that 2 in 3 applicants will receive news that their application will not be funded. These applicants are encouraged to meet with us, face-to-face, to find out what unattributed comments from the jurors can be shared with them, where their applications had strengths and/or weaknesses in the eyes of the jury, and any staff recommendations for the future.

Applicants who are not successful may submit an identical application for the next round. The Council will not consider the same application more than twice. If you, as an applicant, feel that your application was treated unfairly or that the Council’s policies were breached, the Council provides an avenue for appeal, which can be found on the web site on the “Grants to Artists” page in the “Important Information” section.

Applicants who receive funding are provided, in their letter, with a contract that stipulates their obligations. The Council is distributing public funds, which places certain responsibilities on grant recipients. If the funds are accepted, the responsibilities must be met. Failure to do so can mean forfeiture of all or part of the funds.

It can take up to eight weeks for all of this business to be accomplished, and, in exceptional circumstances, it can take longer. All applicants are informed by mail, and all letters are sent at the same time.


Directors applying for grants

Under Council policy, Directors may apply for grants. It is permitted in order to attract active, committed, working members of the arts community to the Board. Often, the Council becomes aware of ideal future Directors through their participation as artists, as jurors, or as individuals who seek input into our processes. As a Director can potentially be an important member of our Board for up to nine years, the Council cannot ask such a person to forgo the potential of receiving a grant for that period, particularly in a small province with such limited resources for the arts. In short, the value of having such a person on the Board exceeds the potential criticism caused by a Director receiving a grant.

However, to allow for it to occur, the Council has strict policies to govern this situation that must, without fail, be followed to the letter. These policies are in two parts:

IV. Code of Ethics – Board of Directors

IV.1 Conflict of Interest

Managing Conflict of Interest:

IV.1.1. Grant Applications

IV.1.1.a. Under the current program structure, sitting Directors may apply for grants or other program funds (see section XI.2). Additionally, whether as an applicant or not, these Directors come from the field and Directors may have contacts with one or more of the applicants. Where an actual or potential conflict of interest exists, it must be disclosed and the Director must abstain from any and all participation related to the application, and leave any official meeting for the duration of the discussion.

IV.1.1.b. Conflict of interest exists or may exist if Directors are asked to assess, comment upon, or vote upon applications:

IV.1.1.b.i. from a full-time employee, a client or an organization where they are a board member;

IV.1.1.b.ii. where they have a direct financial interest in the success or failure of an application;

IV.1.1.b.iii. where the applicant is their spouse/partner or immediate family member;

IV.1.1.b.iv. where their spouse/partner or immediate family member is a senior staff member, contractor or board member with the applicant organization; or

IV.1.1.b.v. where they judge that they are unable, for any other reason, to assess an application objectively

IV.1.1.c. Directors who are in conflict of interest must state this clearly. Directors are not required to state the nature of this conflict. Additionally, Directors are asked to refrain from making any comment on the application in question whatsoever.

IV.1.2. Other Conflicts

IV.1.2.a. Due to the nature of the arts community on Prince Edward Island, Directors may find themselves representing competing interests through involvement in other organizations. Directors who find themselves in such a position should make this known to the Chair and identify to the Chair from which decisions or discussions they must abstain.

IV.1.2.b. Directors who suspect they are in a conflict of interest or may be in a conflict of interest for any other reason should discuss this with the Chair.

Note: this policy, when distributed contains the line “I have read the Prince Edward Island Council of the Arts Conflict of Interest Policy and agree to abide by this policy.” with a space for signature and date.

And the referred to Section XI.2:


XI.2.1. Description

XI.2.1.a. As per section IV.1.1.a Board Directors are permitted to apply for and receive funding under PEICA programs given that certain conditions are met before, during, and after that grants application process, adjudication and ratification. This policy describes the necessary actions a Director must take in order to maintain those conditions

XI.2.2. Required actions and abstentions for Directors who apply

XI.2.2.a. Prior to the applications submission, the Director must inform the Executive Director that it is their intention to make an application to a Council grant program.

XI.2.2.b. That Director will then abstain from any discussion and or motion or vote regarding program design, adjudicator selection, policies that pertain to programs and their implementation, and ratifications of results until if successful, funds are distributed.

XI.2.3. Consequences of failure to adhere to the policy

XI.2.3.a. In the event that a Director fails to adhere to this policy and a grant is successful, those funds become immediately forfeit and the Executive Director will inform the Chair, or, in the event that the breach of policy involves the Chair, a member of the Executive Committee, of the breach in policy.

The Jury Pool

On a regular basis, the Executive Director calls on the community to nominate jurors. It is important that the pool of jurors contains a breadth and scope of experience and disciplines so that each jury can be constructed with as much equity as possible.

To add someone to the pool, or to be added yourself, is as simple as contacting the Council offices. You will be asked some simple questions and the appropriate information will be recorded.

This pool is presented to the Board for approval, approximately once a year. The Board can review the list, and it helps with their knowledge of the community, often by identifying people listed in the pool who have moved away. The Board approves of the pool, but it has no say in the construction of any specific jury. Juries are assembled by the Executive Director.

Advice for first time applicants

September 7, 2018

The Prince Edward Island Arts Awards were established by the Prince Edward Island Council of the Arts in 2009 to recognize the value of arts and culture on PEI.


The nucleus of the awards is the Father Adrien Arsenault Arts Award, which was established in memory of the late Father Adrien Arsenault in 1994. Strong support received from then Lieutenant-Governor of PEI, the Honourable Barbara Hagerman; the Premier of PEI, the Honourable Robert Ghiz; the Minister of Education and Early Childhood Development, the Honourable Gerard Greenan; and the Minister of Communities, Cultural Affairs and Labour, the Honourable Carolyn Bertram, led to the creation of new and significant monetary awards for Patron of the Arts, Volunteerism in the Arts, Educator in the Arts and Creative Community. Residents of PEI were asked to nominate deserving members of the public to receive the awards. A jury of Island artists, educators, administrators and volunteers in arts and culture selected the recipients.


The five prestigious arts awards were presented at the first Prince Edward Island Arts Awards ceremony, held at Fanningbank on April 22, 2009.


Details of the Awards


Father Adrien Arsenault Senior Arts Award – Value $5,000

The Father Adrien Arsenault Senior Arts Award was established in honour of Father Adrien Arsenault, an artist, a staunch advocate and supporter of the arts, and an arts educator. It is the most significant award in the arts conferred on PEI.


The Senior Arts Award is awarded  to an artist determined by a jury of peers from the community to have excelled in his or her field, advanced the arts on Prince Edward Island and to be recognized Island-wide as a senior artist in his or her medium or discipline. The recipient will be active in the creative arts and will have produced a significant body of work in visual arts, writing and publishing, music, dance, fine craft, theatre, or media arts.


The Father Adrien Arsenault Senior Arts Award Endowment Fund makes this award financially possible.


Premier’s Award for Volunteerism in the Arts – Value $2,000

The recipient will have demonstrated and ongoing commitment to supporting and advancing the arts through volunteerism.


Lieutenant Governor’s Award for Patron of the Arts – Value $2,000

The recipient will be an Island resident or business active in the philanthropic community. There will be notable evidence of ongoing financial support for arts and culture on PEI. Note: the award recipient will donate the value of this award to an arts and culture organization of his or her choosing.


Minister of Education’s Award for Educator in the Arts – Value $2,000

The recipient will be an Island instructor, based in a school or the private sector, who has made a significant educational contribution in the practices of visual arts, writing and publishing, music, dance, fine craft, theatre or media arts. He or she must be regarded as a professional, either through accreditation or by peer recognition.


Minister of Culture’s Award for Creative Community – Value $2,000

This award will honour and acknowledge an Island community that has demonstrated ongoing support for the arts, ongoing support for public or community arts, and a recognition of the role of the arts in a healthy, vibrant community. The winning community will designate the award monies for use in community arts and culture projects.


Complete details on the 2011 Island Arts Award will soon be found at


Island Literary Awards

The Island Literary Awards are now organized and administered by the Prince Edward Island Writers’ Guild. Details can be found on the Guild’s website at


The ILAs are awarded annually to the best of PEI writers. Awards are made to all levels of the discipline, elementary school students to senior members of the writing community.


The awards ceremonies are an important milestone in the careers of Island authors, young and old. Working closely with Island schools, the awards encourage writing from Island children and youth.


Awards and Prizes include the Lucy Maud Montgomery Literature for Children Award and are supported by the Lucy Maud Montgomery Fund managed by the Prince Edward Island Council of the Arts combined with strong support from the corporate community.

Awards and Grants Perfect Professional

September 7, 2018

Grant Programs – Programmes de subvention

The PEI Council of the Arts offers three main funding programs for professional artists, in order to support Island artists in all stages of the artistic process:

1. Professional Development Grants fund skills development opportunities for artists and arts managers.

2. Creation/Production Grants assist in the production of artistic works.

3. Dissemination/Presentation Grants enable artists to share their completed works with the community.

Before you begin the application process, you should carefully read the application guidelines and forms for the program that best fits your funding needs. If this is your first time applying, we also recommend that you read our Step-by-Step Guide.  All applicants are encouraged to contact the Program Officer prior to applying to discuss requirements and eligibility.

The purpose of the Prince Edward Island Council of the Arts grant funding is to promote and support the creation and presentation of works of art, and to develop the capacity of artists and arts organizations throughout the Prince Edward Island. Our grant programs are not income support, but are merit based on the proposal submitted for each individual round. Grant proposals are adjudicated through the process of peer assessment, thereby empowering the members of the arts community to determine the best investment of public arts funds in a fair and objective manner.

Next Steps:

Grants and Awards Creations


Grants creation

September 7, 2018

The PEI Council of the Arts provides support to Island artists in various ways, most notably through its grant programs, the biennial Island Arts Awards, artist-in-residency opportunities and ad hoc initiatives.
Please see the drop down menu above or click below for more information each of these activities.

Grants and Awards Creations

September 7, 2018

PEI Strategic Plan

Message from the Chair (Annette Campbell)


“I am an Island

that dreams and

talks in its sleep and

is there any harm

in that, I ask such

stuff as dreams

are made on?”


Elaine Harrison, from “I am an Island that Dreams”, 1974


The 5 Strategic Priorities

1.  Creative Communities

2.  Professional Artists

3.  Lifelong Learning – in and through the arts

4.  Arts Organizations

5.  Cohesive Provincial Strategy

All towards the mission: “To make the arts integral to the lives of all Islanders”


When I assumed the role of Chair of the Prince Edward Island Council of the Arts three years ago, I knew that the potential of the Island arts community was limited only by our dreams. The sheer quantity of talent that exists on Prince Edward Island provides inspiration to us all. That talent, nestled in the Island’s natural beauty, and nurtured by Island pride both at home and away, breeds a caliber of artistry and craftsmanship second to none. In my final year as Chair, I am proud to present the Council’s strategic plan for 2007-2010, a plan which recognizes the importance of the arts on Prince Edward Island and makes possible our dream of The Creative Isle.


When I say our dream, I mean that this strategic plan is more than the product of the hard work of the Board of Directors and the Council staff. This plan represents the collective voices of the arts community across Prince Edward Island. In a series of community consultations held in 2006, Island artists and arts supporters were asked to envision the future success of arts and culture on Prince Edward Island. Ours is a dream of an Island that resounds in creativity and celebrates its identity through the arts. This strategic plan provides the direction, the goals, and the measures in the realization of this dream. In the past three years, the Council has made great strides in improving accountability and transparency as the provincial public arts funding body. We have revised our governance, and strengthened organizational practices. All of these internal measures were necessary in order to move forward to meet our greatest challenge, making the arts integral to the lives of all Prince Edward Islanders.


Our strategic plan is centred on the five priorities that emerged from the community consultations. The first priority for The Creative Isle is to bring together a united, cohesive arts community with an engaged, supportive public. Our plan will concentrate on community connections, and the strengthening of the arts in communities across Prince Edward Island. The Island is home to a myriad of arts groups, social networks, and organizations, large and small. It is time to work harder to bring these groups together. We need to support and develop collaborative efforts so that collectively, we can increase opportunities for Islanders to experience the arts and engage in existing and new activities.


Our second priority addresses a vision of prosperity and vitality for the professional arts community. Our plan will focus on the professional development of artists and will nurture a supportive environment for creativity, experimentation and innovation. In our dream, this type of environment recognizes the achievements of the arts, demonstrates the role that the arts and artists play in the rich tapestry of the Island, and provides opportunities for artists to build sustainable careers.


Our third priority looks to the future, and recognizes that the arts play a major role in the development of the next generation; those creative individuals who will one day be our leaders and innovators. Of course, ongoing involvement in the arts through education is a valuable experience for all, and the Council will not limit itself to working with youth; however, a lifelong awareness of the arts is best begun in childhood and there are many opportunities to work with educators, teachers, and parents to promote creative education.


Our dream is that the arts on Prince Edward Island will provide important avenues to interpret the world we live in and vital methods for self-expression and lifelong engagement. Arts organizations are the foundation of the Island’s arts and culture community and in our dream, their role is recognized and supported. These organizations face numerous challenges and continuously meet those challenges with vigor and determination. Their successes are a tribute to their inexhaustible commitment. Arts organizations form the Council’s fourth priority as we look to support them both directly with programs and services and indirectly through advocacy and networks.

Lastly, our dream is about partnerships. Our fifth priority seeks to facilitate the coordination of all arts and culture services offered in the province, both inside and outside of government. With resources in short supply, it is pertinent that a shared vision be developed and programs be coordinated to support the arts on Prince Edward Island in manner that befits the excellence in the sector.


This strategic plan represents the final step in a three-year reassessment of the Council, its role in the arts on Prince Edward Island, and a reengagement with the people of this province. We share a vision with

Islanders of an Island that is a model of strong community connections through the arts; of viable, sustainable careers in the arts; of an environment that values and advances the role of the arts in education, and of an infrastructure that provides adequate funding and support.


We look forward to working with you to achieve our dream for The Creative Isle.