D ISPATCH V o l u m e 21 - I s s u e 4 - D e c e m b e r 2015

CARFAC Ontario Celebrating 40 years!

Caption: Copyright demonstration at Ontario in , Ontario April 1988.

Features: Agents of Advocacy: 40 years of CARFAC Ontario | On Activism and A few words from our members

Plus: CARFAC Ontario Members’ Exhibition Listings | Grants Calendar | Keeping you connected ... Local News from Across the Province Content:

Executive Director’s Report | P 1

President’s Report | P 2

Agents of Advocacy: 40 years of CARFAC Ontario | by Tiffany Schofield | P 3 Your donations help keep us

On Activism | by Judy Gouin | P 6 working for you. As a registered charity, we can issue A few words from our members | P 10 tax receipts Keeping you connected ... Local News from Across for your donations. the Province | P 12

Archival Photo Album | P 14 www.carfac.ca

CARFAC Ontario Members’ Exhibition Listings | P 16

Grants Calendar | P 18 CARFAC pdf_Half Page-8.5x5.5 12-09-11 3:31 PM Page 1

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The end of 2015 marks optimism, it will be important to keep cynicism at the final days of CARFAC bay. As we enter this new year, I encourage you, Ontario’s 40th anniversary our members, to do your part by staying informed year. All of us here at and remaining open to sharing your ideas and CARFAC Ontario look perspectives as we work to ensure that support forward to continuing for our cultural institutions and infrastructure the work begun by our results in real and practical benefits to individual predecessors in the year artists. On a more immediate level, in the early ahead. It is my hope months of 2016, we can all look forward to the to increase CARFAC launch of a series of brand-new best practices Ontario’s visibility and profile out in the community toolkits, as well as renewed lobbying efforts with in 2016, as we enter what feels like what could CARFAC National around the Artist Resale Right. be the start of a new era for artists across the province and the country, with Ontario’s Ministry I wish you all a healthy, happy, and creative year of Culture working on its first-ever province-wide ahead! strategy, and a new arts-friendly government in power at the federal level. While it remains Sally Lee to be seen whether there is genuine cause for

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| 1 | President’s Report

At this transitional time between historic resource material. As well, Schofield includes one year and the next, we a couple of photos of early demonstrations. These sometimes see in the visual show the energy and excitement of artists organizing culture around us references themselves and standing up for their rights. to the Roman god Janus. He is depicted with two faces The photos dovetail with the main thrust of Judy attached at the back of the Gouin’s essay of 2003. Gouin offers a glimpse into heads, allowing him to look to artist activism of the early 70s. She describes sit-ins, the future and to the past at the artists chaining themselves to filing cabinets, same time. Janus is the god of gates and doorways, marching, demanding resignations, etc. These beginnings and endings. public protests highlighted what Gouin calls “…the tip of a much larger iceberg of dissatisfaction”. With the double vision of looking back while looking Her recollections of the intense politics within the forward, we celebrate in this issue of Dispatch organization showed no less fiery a conception of CARFAC Ontario’s fortieth anniversary. We are the provincial entity before the founding members featuring two articles. The articles, written by visual came together around the distillation of ideas and artists at two different ends of the career spectrum, goals of what and how to support artists’ rights. are juxtaposed in order to give us a picture of where the organization has been and where the trajectory Testimonials from artists in this issue also confirm lies in the future. The author of one article is Tiffany that the roles of CARFAC Ontario as well as those Schofield who is a newly minted emerging artist, of CARFAC National and CARCC (Canadian having graduated in the spring of 2015. The second Artists Representation Copyright Collective) have essay is by Judy Gouin, a member active from the become strong and authoritative. It is exhilarating very beginning. Her essay, On Activism, is reprinted to note that Gouin’s wish list in 2003 has been from 2003 when it was first written and provides a granted. What she couldn’t know at the time fascinating insight into the drama that defined the was that it would take eleven more years of births and early development of both the national negotiations and court cases with the National and the provincial organizations. Gallery to achieve one of the founding members’ earliest goals. Schofield begins by discussing the similarities and differences between artists’ working situations Looking back, we celebrate our history of advocacy; in 1975 and in 2015. She proceeds to outline while looking to the future, we are confident in our significant steppingstones of accomplishments in path. On behalf of the members of the board of CARFAC Ontario’s and CARFAC National’s history directors of CARFAC Ontario I would like to wish all of advocacy, including the 1992 Federal Status of of you a productive and happy New Year! the Artist Act, the 2007 Ontario Artists Act and the Supreme Court decision of 2014 regarding the Best, National Gallery and exhibition and reproduction fees to artists. At the end of the article there is an Yael Brotman extensive and excellent bibliography with links to Starving Artist www.canvasfoundation.ca

| 2 | Agents of Advocacy: 40 years of CARFAC Ontario

by Tiffany Schofield

CARFAC Ontario (then CARO) was established in meet their demands, including the Art Gallery of a time very much like today. The year was 1975, Ontario and Hart House at the . Trudeaumania had swept the nation, and many This early activism resulted in Canada becoming artists were struggling to get by financially. What the first country in the world to pay exhibition fees was different was the ability of artists to advocate to artists, with the for the Arts for their rights. At that time, artists were just making the payment of artist fees a mandatory beginning the fight for institutions to recognize requirement for art galleries receiving public funds.2 their right to be paid. Today, many artists cannot It remains one of CAR’s greatest legacies, as the remember a time before a Minimum Fee Schedule. schedule continues to act as the main point of reference in Canada for appropriately compensating The roots of CARFAC Ontario lead back to 1968 in artists for their work. London, Ontario, where visual artists Jack Chambers, , , Ron Martin, John Boyle, and Kim Ondaatje came together to form the first Canadian Artists’ Representation (CAR) Executive.1 It was the era of 1960s activism, and CAR was established in response to the concern that artists’ contributions were being unfairly compensated. This led CAR to issue the first Minimum Exhibition and Reproduction Fee Schedule, which outlined recommended profes- sional fees.

Copyright demonstration at Art Gallery of Ontario in Toronto, April 1988. Photographer unknown.

CARFAC continued to advocate on behalf of profes- sional visual and media artists throughout the 1980s and 1990s. In 1988, CARFAC Ontario stood alongside CARFAC National during one of their most significant victories. The Federal Copyright Act was amended to recognize artists as the primary producers of culture, Ribbon-tying ceremony at Hart House, March 1975. giving artists legal entitlement to payment for the 3 Photo credit: Gary Greenwood use of their work in public exhibitions. This was followed in 1992 by the proclamation of the Federal Holding institutions accountable was one of the Status of the Artist Act, which recognized artists as primary efforts of CARFAC Ontario’s early activism. professionals. This piece of legislation further The Minimum Fee Schedule was published in established artists’ rights to fair compensation, and CAROT, CARO’s trade paper, alongside a list of gave artists the right to collectively bargain at the 4 public galleries and whether or not they were federal level. adhering to the schedule. While these ratings were often disputed by the galleries, they continued to Following the impact made at the federal level, and hold galleries accountable and kept artists’ voices after three years of advocacy and province-wide heard. Throughout the 1970s, CARFAC Ontario consultation, CARFAC Ontario saw the Status of 5 held protests targeting institutions that refused to Ontario’s Artists Act pass in 2007. This act sets the | 3 | stage for future advocacy at the provincial level, Today, CARFAC Ontario is once again working potentially enabling the kind of collective legal action alongside CARFAC National on their latest advocacy that has been afforded on the national stage. campaign, reaching out to local MPs regarding the Artist Resale Right. The campaign is focused on The end of the new millennium brought about a introducing an amendment to the federal Copyright number of partnerships, moving CARFAC forward Act to include a 5% royalty on secondary sales of an in preparing for future advocacy campaigns. In artist’s work.9 CARFAC Ontario shows no signs of 2008, CARFAC National partnered with ten other slowing down when it comes to its dedicated activism, national visual arts service organizations to form as they continue to educate and advocate on behalf the Visual Arts Alliance (VAA), an independent alliance of professional artists in Ontario over 40 years later. determined to advance the status of visual and media arts in Canada. At the provincial level, References CARFAC Ontario successfully integrated with Visual Arts Ontario, becoming the sole Arts Service Photographs courtesy of CARFAC Ontario Organization representing visual and media artists in the province. 6 1 CARFAC Ontario. “History and Milestones.” Accessed December 2015. www.carfacontario.ca/History-and- CARFAC’s ongoing activism and advocacy efforts Milestones 2 CARFAC. “CARFAC History.” Accessed December continue to have a major impact today. In 2014, 2015. www.carfac.ca/about/carfac-history/ CARFAC and RAAV won a battle with the National 3 Government of Canada. “History of Copyright in Gallery of Canada that began in 2003 over mini- Canada.” Accessed December 2015. www.pch.gc.ca/ mum exhibition and reproduction fees. Ironically, eng/1274383301385 the National Gallery was one of the first institutions 4 CARFAC. “Federal Status of the Artist Certification.” to agree to the Minimum Fee Schedule in 1972. Accessed December 2015. www.carfac.ca/about/ The agreement they reached last year regarding federal-status-of-the-artist-certification/ payment for the exhibition and reproduction of 5 CARFAC Ontario. “History and Milestones.” Accessed works of art, as well as professional services by December 2015. www.carfacontario.ca/History-and- living Canadian artists, sets a historical precedent Milestones 6 CARFAC Ontario. “History and Milestones.” Accessed and presents a potential model for other institutions. 7 December 2015. www.carfacontario.ca/History-and- Milestones 2014 also saw the rebranding of CARFAC Ontario’s 7 de Peuter, Greig, & Nicole Cohen. “The Art of Collective sister charity, CANVAS, which provides emergency Bargaining: An Interview with Karl Beveridge and Carole funds for artists in Ontario facing financial hardship.8 Condé”. Canadian Journal of Communication. 40:2. CANVAS has partnered with CARFAC Ontario on 2015. their Strengthening the Sector project, a three-year 8 CANVAS Foundation. “What We Do.” Accessed project launched to develop resources and establish December 2015. www.canvasfoundation.ca/what-we-do/ a set of best practices for the visual, media, and 9 CARFAC. “Help Bring the Artist Resale Right to craft-based arts sectors. Canada.” Accessed December 2015. www.carfac.ca/ initiatives/help-bring-the-artists-resale-right-to-canada/

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| 5 | On Activism

by Judy Gouin (updated from an article originally published in 2003)

CARFAC came to life at a time when activism was an room conspiracies and screaming matches (I can everyday thing, and every cause brought people on claim to have been screamed at personally by Milton to the streets. It was the Vietnam War era, the Civil Acorn) over the thorny issue of landed immigrant Rights Movement was at full strength, the Women’s status as a qualification, or not, for membership in Movement was gaining ground, and the New Left CARFAC. This attempt to restrict membership to was provoking serious critiques of capitalist culture. Canadian Citizens was aimed directly at excluding Students occupied art colleges and universities. Americans, who were by that time close friends and There were demonstrations and sit-ins and bra- colleagues of many of us, although they were seen burnings. as cultural imperialists by many others. A number of established artists resigned their memberships over In Canada, fine arts departments and new universities this issue. Some resigned theirs twice. CARFAC had been sprouting like mushrooms across the lost many members during the course of this fight country. Floods of Americans came across the (debate is far too mild a term), and it took years border to avoid the draft and the increasing frictions before its jingoist reputation finally faded into the in American society. With them, they brought an background. organisational savvy that was lacking in Canada at the time and educational qualifications that Canadians But not before the famous occupation of the did not have. Unwittingly, they became a catalyst to Director’s office at the AGO. As with the hiring of a growing Canadian nationalist movement. A new Americans to teach in Canadian universities, there awareness among all the arts was bringing forth were strong objections to the hiring of Americans as artists’ organisations such as the Writer’s Union of curators in our public art galleries. It was well known Canada and the League of Canadian Poets at about (and obvious) that they came with no knowledge of the same time as CARFAC. All of this set the stage Canadian culture and art history, and their presence for a stormy beginning for our organisation. was regarded by many Canadians as simply acquiescence to American cultural imperialism. As I had read about CAR (as CARFAC was known at described by Jane Lind in her book about Joyce the beginning) in magazine, while I Weiland, “Artist on Fire”, “….. nothing short of real was still a student. I joined the organisation at a dramatics would make the public aware of the meeting in 1971 in Toronto, which was attended situation at the AGO…. On a sultry June 15, 1972, by founding fathers Jack Chambers, Greg Curnoe, twenty artists, including both Joyce and Michael John Boyle (I think) and Tony Urquhart, and founding [Snow] roped themselves together outside the mother Kim Ondaatje. Also attending were several Isaacs Gallery to protest the appointment of Richard disaffected members of the League of Canadian Wattenmaker at the AGO…..On the first day that Poets. Among them were Milton Acorn and Jim he reported for work, which happened to be July Brown. Not satisfied with the political agenda 4, American Independence Day, Joyce was among of the League, which was not sufficiently left or the demonstrators who marched past the United nationalistic for them, they came to CARFAC in the States embassy to the gallery’s administration hope that they could be more at home, perhaps in offices with photographer ‘Michel Lambeth dressed a poets’ branch of the organisation. in an Uncle Sam suit in the lead.’ Lambeth and a delegation asked to meet with William Withrow, the Before long, several associate members who were gallery’s director, and they also wanted to meet with critical writers on the visual arts, and who were active Wattenmaker to give him a letter of resignation to in the Canadian Liberation Movement (a Maoist, sign.” When Wattenmaker refused to meet with the nationalist organisation) made a concerted attempt group, “...Lambeth and the poet Jim Brown chained to co-opt CARFAC into being its “Cultural Arm”. and handcuffed themselves to filing cabinets.” They were removed by police. Most of the rest of us came to CARFAC with very little in the way of political or organisational experience. A number of us, who felt equally strongly about Suddenly, we found ourselves caught up in back the issue, were much more squeamish about the

| 6 | THINKING PHOTOGRAPHY

measures taken to protest it. Once again, there representative on the Board in decades, there has were artists who preferred not to be associated with been at least one ever since. CARO, as the Ontario such actions and either resigned or did not renew organisation was then known, requested and was their memberships. But such protests are always given representation on the Exhibition Selection rightly viewed as the tip of a much larger iceberg Committee and the Public Relations Committee. of dissatisfaction. In hindsight, it seems fair to say Tony Urquhart and I were the representatives on that the protest was the thin edge of a wedge that the Exhibition Selection Committee for close to CARFAC needed, not only to effect change at two years, and were endlessly amused by the the AGO but to confirm its identity as an effective pomposity of some of the members, who insisted organisation. While the foundation-building work of on addressing Richard Wattenmaker as “Doctor developing and promoting exhibition fee schedules Vaahtenmaahker”, presumably to show off the fact and holding educational seminars on copyrights that they recognised a German name and could and artist-dealer relationships carried on in the pronounce it, too! At that time, the late seventies, background, there were also two hugely successful the artists and women on AGO Committees were occupations of the AGO during successive Annual routinely addressed by their first names, while the General Meetings. Unlike the chaining to filing men were addressed as “Mr.” or “Dr.” or “Professor”. cabinets and placard-carrying demonstrations, Clearly, the artists and the women were not regarded these were carefully researched and executed as being as seriously, importantly necessary as the interventions in the Gallery’s own processes, men. When I later replaced CARFAC Executive which actually brought one meeting to a complete member Gary Greenwood on the Public Relations standstill over one of the Gallery’s by-laws. Valuable Committee, he instructed me before my first meeting collaborators in these efforts were writer Susan that I was to address all the members by their first Crean and playwright Tom Hendry. names, and he taught me all of them. When I went in to the meeting and was introduced to those Taken together, these stormings of the battlements present, I duly addressed each one by his or her at the AGO were extremely effective. Not only first name. It was a little startling to everyone, of was Joyce Weiland appointed as the first artist course, but the point was made and it was accepted. | 7 | Not only did we succeed in having artists included the inability in law (as a “lobbying” organisation) to in the decision-making bodies of the AGO, we raise funds in the private sector, plus challenges succeeded in keeping the issue of non-Canadian from other organisations to our right to speak for curators and directors alive, and we convinced The professional visual artists, CARFAC and CARO Powers at the AGO that they should be exhibiting survived and continued to pursue the objectives work by living Ontario artists. Fraser Elliott and set out by the original founders. Between 1971 and George Gilmour were both Board members at the the present, CARFAC and CARO have produced Gallery at that time, and both have since made numerous publications to assist artists in the significant bequests to the Gallery to support the exercise of their legal and professional rights and exhibition of work by emerging Ontario artists. in the improvement of their working conditions, and made significant gains in achieving acceptance for There were a great many internal squabbles artists’ rights in the form of fees for exhibitions and throughout this time which are outside the subject for copyright licences. matter of this essay. But activism in various forms continued to be attractive to some and repulsive There was also a major victory regarding to others, dividing the artist community both reproductions. In 1985, CAR Windsor and within and outside CARFAC. For example, the CARO challenged the marketing of photographic debate over whether and how much CARFAC reproductions as “hand made limited edition and CARFAC Ontario should emulate the labour prints” by the Art Gallery of Windsor and Museum union model continues to this day. There were Editions Limited. M.E.L. responded by suing for many long arguments about whether non-members $11.5 million. The Artists’ Voice Legal Defence of CARFAC should forfeit a percentage of their Fund was created to finance the defence. Many exhibition fees (“the check-off”) to CARFAC as an art dealers and copyright lawyers publicly declared acknowledgement that CARFAC achieved those their support for us, along with artists and artist- fees for them and continued to work on their behalf, printers. The plaintiffs were represented by high- without their support. In fact, motions in favour of profile visual arts lawyer, Aaron Milrad. To quote the check-off were carried at a CARO conference the CARO Bulletin, Vol.11, #3, “On Monday, June in Kingston in 1977 or ’78 (“the Kingston Motions”). 17th, the Supreme Court of Ontario ordered that the A report had been written on how to implement the Museum Editions Limited lawsuit against CARO, check-off (“The Underwood Report”), and some CAR Windsor et al., be dismissed.” preliminary discussions had taken place with the Ontario Association of Art Galleries. What happened The lawsuit never came to trial, and, therefore, no to all that is now lost in the mists of time, but it was verdict on the merits of the case was reached – divisive to the point of being destructive. rather, it was dismissed on a technical point: want of prosecution. Essentially this means that, having In 1978 and ‘79, a power struggle developed. On one launched an extremely large lawsuit, the Plaintiffs side were those of us who felt that the organisation did not pursue it.” Although the Court awarded costs needed a stronger, more professional presence in to the defendants, Museum Editions Limited was decision-making circles, including government, and no longer in business by that time, so The Artists’ that this would necessitate the hiring of professional Voice Legal Defence Fund had to raise the money staff and the establishment of a permanent office in itself, and did. Our victory was a moral one only, Toronto. On the other side were those who wanted perhaps, but that was the most important part. And the organisation to remain true to its regional roots the fight set a precedent which appears to have and be purely artist-run, with the office moving with been respected, until recently. Sadly, the Supreme the Spokesperson, and the Executive doing the Court of Canada’s decision on the Théberge case day-to-day work of the organisation. These were demonstrated that the war has not yet been won, two very different visions of an activist organisation, and led to the formation of the Creators’ Rights and they split the membership severely. The “urban” Alliance (again by Susan Crean, among others) to group won election in 1979 and once again, many fight for artists’ copyright internationally. members were lost. But an aggressive membership campaign in the winter of ‘79-‘80 gained many more. So activism in many forms is part of our heritage and our history, and our achievements have been In spite of all this, plus attempts at intimidation of substantial, though often costly. The Canadian individual members by some dealers and public Artists Representation Copyright Collective (CARCC) galleries, plus cuts in government funding and was established in 1990 and is working. It seems | 8 | reasonable to say that we have recovered to some extent from the body blows dealt by reductions in government funding in the ‘90s. Charitable foundations have been formed to raise funds in the private sector for research and educational work. All these are signs of growing maturity on the part of the organisation.

Now, CARFAC has given a notice of intent to bargain with the National Gallery over copyright fees for temporary exhibitions, exhibitions of works in its permanent collection, reproductions on its Cybermuse web site and in its print publications. Given what we hear from the CARFAC office about responses to the recent opinion poll on collective bargaining, this too may be a divisive issue. But it is also a landmark issue. CARFAC was born when Jack Chambers got fed up with the National Gallery’s unwillingness to pay him copyright fees on slides of his works in its collection. Perhaps this reprise of that battle is an opportunity to show our strength and our authority as the representative of professional visual artists and their rights, and to make our case the basis for a new membership campaign. And when that battle has been won, perhaps the moment will have arrived to re-visit other objectives which were dreamed of in the past butCARCC_AD:Layout have yet to 1 be 30/04/09 realised, 1:15 PM like Page the 2 check-off.

CARFAC Copyright Collective Sign-Up Day. June 8, 1990. Toronto, ON. In the photo: Olga Chambers, Garry Conway, Jane Martin. Photographer unknown. CARCC Canadian Artists Update: This article was originally published in 2003. On May 14, 2014, in a unanimous decision from Representation the bench, the Supreme Court of Canada allowed Copyright Collective CARFAC’s appeal on behalf of artists restoring an earlier decision that found in their favour. After negotiations the first labour agreement with the Copyright licensing services National Gallery was signed. for visual & media artists

For more information: Visit www.carcc.ca for: Artists take the National Gallery to the Supreme Membership information Court: www.carfac.ca/news/2013/08/15/artists-take- List of affiliated artists the-national-gallery-to-the-supreme-court/ Fee schedules Supreme Court unanimously decides in favour of User services artists: www.carfac.ca/news/2014/05/14/supreme- Canadcian copyright law info court-unanimously-decides-in-favour-of-artists/ 866 502 2722 (toll free) Many thanks to Judy Gouin for this 613 232 3818 (Ottawa) insightful article! [email protected]

| 9 | A few words from our members

I had two wonderful experiences that encouraged me In my 16 years as a professional artist and as a to feel confident in the legalities of my work as an artist. member of CARFAC, CARFAC Ontario has kept me I did an evening workshop with the CARFAC team informed about current events in every aspect of art. answering questions about legal issues. I also had a I find all the communications received from CARFAC free telephone conference with a lawyer compliments to be most beneficial in one way or another. I would of the conservative government. I’m an artist and also like to thank all the administration staff as well appreciate the legal advice given to me. Thank you for their help and guidance over the years. so much and congratulations to CARFAC on your 40th anniversary and for the incredible services you provide. Thank you and Congratulations CARFAC Ontario!!

~ Lu Robitaille ~ Barbara Simpson (www.barbarasimpsonartworld.com) ~ ~ ~ ~ ~ ~ CARFAC has been a great help to me over the years in my professional practice as a painter and As a London, Ontario artist, home of where CARFAC printmaker in Canada. Not only does CARFAC was founded by regionalist artist, and as an artist inform its members about activities going on all whose work celebrates that Regionalism, CARFAC around Canada and the rest of the world, but it has become very important to me and my career. I offers wonderful advice through the Canadian Artists have used the legal advice service, I have networked Representation Copyright Collective. and advocated on CARFAC’s behalf, and have been recognized as a professional and leader in my field I have had many reasons over the years to be in as a CARFAC Webinar presenter on Marketing as touch with the Director of CARCC, Janice Seline, an Artist. Having this resource is an important step in and have found her help and advice to be both ensuring artist and their production have a place in timely and thorough. Before I was a member of the Canadian history as valued contributors. Thank you. collective, I would get requests for reproduction rights of my work but I wouldn’t get anything for it. ~ Ben Benedict Whenever I asked, “What do I get in return?” I would (www.bcreative.ca / www.benbenedict.ca) get a frosty answer of “Nothing” but I could get a copy of whatever the document or publication might ~ ~ ~ be. This never seemed fair. When CARFAC sent a representative to my class at OCAD University Yea for CAR! Keep it going for the next 40. You (many times over the years) to tell my students have helped me with tax and legal things in the past, about CARFAC, they also talked about CARCC and with finding exhibitions to enter, spaces to show, and I knew it was for me. I was one of the many fighting for our taxes on be treated like farmers back in the 80’s I think, so we So I have to say thanks to Janice Seline for her could make next to nothing and still write off some excellent work and advice and tell you all that she expense. I did Brian Mulrooney cartoons for that. has helped me immeasurably throughout the years. Came to workshops you had in the late 70s too that Bravo to CARCC and CARFAC! I remember learning a lot at ... How to approach galleries etc. ~ Sandra Altwerger Good job folks.

~ Sandy Brand

| 10 | I first heard of CARFAC, or CAR, as it was called CARFAC membership is crucial to working as an then, in 1968 when I was a student. At the time, it artist. For me the legal advice on contracts has was well known that artists had few defenses in their alone been worth the fees thanks to the staff and relationships with commercial dealers. For example, VALCO. I’ve also benefited from workshops on consignment agreements were almost unheard of. various issues. Most important is the exchange of Further, when galleries went bankrupt, works of art information and speaking as an organized group. that happened to be on the premises at the time Thanks to all the artists who started CARFAC and were usually confiscated as assets. One of the first those who continue to make it work. things that CAR insisted on was written consignment agreements, describing the works and stating that ~ Tegan Smith they remained the property of the artist until they were sold. The challenge for CARFAC was not only ~ ~ ~ to convince dealers that such agreements were in the interests of both parties, but to convince artists that At my first conference (in Edmonton, I believe) they could and should stand up for their rights. one of the major issues was how to deal with very aggressive SAPQ reps. Interestingly, after it was all CARFAC Ontario’s first publication of Model over, the SAPQ reps were completely on side because Agreements For Visual Artists was published in 1981, they recognized what CARFAC represented... and has since been updated. When I first walked into basically, what I stated in the testimonial: artists my current dealer’s gallery in 1998 and saw “Model rights regardless of who or where you’re from. The Agreements For Visual Artists” on the shelf above concept developed by Jack Chambers, John Boyle, her desk, I knew right away that she respected the Kim Ondaatje, Tony Urqhuart and Greg Curnoe was rights of artists and the principles of fairness in her clear, blazingly simple and perfect for the country’s business dealings with them. This is an example artists. of how CARFAC has changed the professional circumstances of visual artists in Ontario and Canada ~ Gary Greenwood for the better, and how it has directly affected me. ~ ~ ~

Not only did we succeed in having artists included in As an advocate for artists to be paid for their work, the decision-making bodies of the AGO, we succeeded I have been a proud member of CARFAC since in keeping the issue of non-Canadian curators and 2003. In addition to CARFAC fighting for artists’ directors alive, and we convinced The Powers at the fees, it assists artists in other numerous ways. In AGO that they should be exhibiting work by living one instance, CARFAC helped me retrieve artworks Ontario artists. Fraser Elliott and George Gilmour that were abandoned in a return shipment from a were both Board members at the Gallery at that time, European museum. Customs incorrectly charged and both have since made significant bequests to the exit duties (on not-for-sale works), which then Gallery to support the exhibition of work by emerging caused the museum to renege on their agreement Ontario artists to pay for the return shipment. As a result, my artworks were abandoned on a cargo ship for an ~ Judy Gouin entire month. CARFAC mediated with both customs and the museum, the duties were dropped and my ~ ~ ~ artworks finally made it back home safely.

Congratulations to an exemplary organization, and ~ Teresa Ascencao thank you for your amazing work over the past 40 years.

~ cj (www.cjfleuryart.ca)

| 11 | Keeping you connected ... Local News from Across the Province

Victoria Ward from the Peterborough area cultural sector needs, perhaps it should take a hard look at the interactions with the Municipalities and A 2015 Trillium funding grant to the EC3, help them to step up and get their houses in order. Peterborough’s Electric City Culture Council , Without cultural positions within municipalities, allowed for many successful programming events the struggle will just perpetuate itself. this past year including; Artsweek, Artsvote and several professional workshops. The Ontario Arts Council also supported the highly visible and Sophie DeFrancesca and Susan Wallis from popular Jackson Creek Project, making this past the Prince Edward County area year a very busy one for Peterborough artists. EC3 continues to work on collecting input for Famous for it’s beaches, wineries and bucolic the City of Peterborough’s Vision for 2025 plan landscape, Prince Edward County has always and the Ontario Cultural Strategy. Canadian Art been a hub for artists and musicians. Awareness highlighted Peterborough’s galleries several times and popularity of this region has grown with the over the year, giving the new Evans Contemporary recent opening of the “Drake Devonshire Hotel”. much praise nationally for its programming. An influx of urban artists continue to make roots here, citing more affordable space in an inspiring Clayton Windatt from the Nipissing region setting.

I just met with CARFAC Ontario Board Member “Oeno Gallery”, with a roster of national and Leesa Bringas in Sudbury. We discussed a international artists, reports a dramatic increase in lot of things but the exchanges that are taking visitors, with over 1400 guests weekly throughout place within regions of the North seemed to be the summer. a focus. Artists within Nipissing and Sudbury are communicating more frequently than in the past Mad Dog Gallery located in a renovated barn on with conversations about each of our community’s East Lake is the quintessential country gallery. developments within Municipal structures being The gallery represents some of the County’s most the frontline of all discussions. talented artists in a welcoming, laid back, country atmosphere. Neither the City of North Bay nor the Greater Sudbury Area have cultural departments within Art in the County, the annual juried exhibition will their municipalities. This causes an unbalanced be going into its 23rd year this June showcasing approach to the arts, as the other departments the diverse artistic talent of the County. within municipalities have to attempt to compensate for this absence without having specialized staff Visual art, music, literary, theatre and culinary or relevant cultural experience. This creates a festivals fill the spring to fall calendar with events steep learning curve for the municipal workers like the Jazz Festival, Taste! Community Grown, either resulting in major burn-out or in avoidance Country Improv, and theatre productions by of the issue all together. Festival Players.

The arts community itself often has to step in to The cultural scene in the County adds significantly conduct the development work but as resources to the attractiveness of the area with visitors from are scarce, often the doers in the community are Toronto, Ottawa and Montreal to New York City volunteers and cannot commit the time needed and abroad with an increase in tourists from the to ensure development is done as efficiently as UK and Germany. it could. With the province looking at what the

| 12 | Susan Gold Smith from Windsor region Several alternative spaces are flourishing in Windsor. Levigator Press, founded by artist and The Windsor Region is always lively especially this printmaker, Jodi Green is pursuing a full schedule time of year with all the BUY LOCAL ART Holiday of programming including inventive workshops. shows, revealing the amazing amount of local talent and skill in the Region, but this report will one ten park: a working space continues to be highlight some of the exciting new developments, creatively active in the Downtown core. Artists experimental and alternative practice and artist and CARFAC members, Collette Broeders run activity. and I continue this experiment in community engagement. Currently an international mailart Stories of the City is a major curatorial project that project, ROSES for WINDSOR is in its third includes over 35 artists, architects and designers. iteration. YOU can join in the networking project It originates from the University of Windsor IN/ by emailing [email protected] and requesting TERMINUS Research Group and is installed in a ROSE Postcard to be sent to your snail mail an empty commercial space in the downtown address so YOU can participate! Windsor core as part of the transitioning to the opening of the School of Creative Arts into the The City of Windsor Arts Culture and Heritage Fund Armouries in the city core in the Fall of 2017. continues to award grants for creative projects. In Also coming from the University School of the last round artist Jennifer Willet was awarded Creative Arts is the Noiseborder Ensemble (an a grant for her project, Algea Organ, a bio art interdisciplinary creation of Profs. SigiTorinus, sculpture that will generate public performances. Brent Lee and Nicholas Papador) that performs In other news, Artcite Inc., Windsor’s Artist Run regularly in Windsor and most recently performed Centre for the Contemporary Arts is hiring two “Subatomic Time” in Saguenay-Lac-St. Jean as new staff positions for programming, membership part of the Festival Musiques de Création. and technology and launching a beautiful new website. Two major publications have been launched that will add to the literature of alternative arts in the MayWorks Windsor Festival planning has begun region. Neighbourhood Spaces is a publication for the May 2016 Festival. Several major projects that documents the artists’ residencies projects are in the works: a Windsor Feminist Theatre of the same name created by the Arts Council project is in the works relating the realities of Windsor & Region. Border Cultures published by precarious employment to the missing and killed the Art Gallery of Windsor documents the three aboriginal sisters; a performative installation major exhibitions of the multi year project curated project is planned, WINDSORIA WINDSTORIA by Srimoyee Mitra, our Curator of Contemporary II; with the cooperation and funding from the Art. Fourty five artists are included as well as Windsor Workers Education Centre (WWEC), seven writers. Doug MacLellan and Collette Broeders are collaborating on a multi media narrative project, In January, Museum Windsor will be opening After Work, addressing stories of migrant workers. its new space, the Chimczuk Museum, on the The Region is fortunate to have the full first floor of the Art Gallery of Windsor, that is programming offerings from the Thames Art now located on the 2nd and 3rd floors. Museum Gallery and the artist run ARTspace in Chatham Windsor will house a permanent collection, as and is enlivened by the activity of the Leamington well as, several temporary shows of local and Art Centre and the Gibson Gallery in Amherstburg. historical content.

| 13 | Archival Photo Album

Hart House Demonstration Date: March 1975 Place: Toronto, Ontario Photographer unknown

In the CARO Office Date: 1984 Place: 67 Mowat Avenue Toronto, Ontario In the photo: Cyndra McDowall, Executive Director of CARO (1980-84) Photo credit: likely Hamish Buchanan (artist/photographer and CARO secretary)

So Sue Me! Date: February 1987 Place: Unknown In the photo: David Renaud, and on far right is Marion Bordier Photographer unknown

| 14 | Information for Artists: A Practical Guide for Visual and Media Artists Date: 1989 Place: likely Toronto, Ontario In the photo: First publication of Information for Artists. Left to right: Garry Conway, Sandra Lewis, David Renaud Photo credit: James Hayes

Copyright Collective Date: 1989 Place: Ottawa, Ontario In the photo: Information meeting to discuss copyright collective. Speaker: Garry Conway Photographer unknown

Censorship Protest Date: January 18, 1994 Place: Toronto, Ontario Content: Protest against censorship (in support of Eli Langer) Photographer unknown

| 15 | CARFAC Ontario Members’ Exhibition Listings Any CARFAC Ontario member can be included in these free listings. The deadline for inclusion in the next issue is Friday, February 26, 2016 for shows running during April, May and June 2016. Please submit listings for shows running only during these months through the on-line form: http://tinyurl.com/dispatch-exhibitions

The listing should include: your name; title of your show; gallery’s address and contact information; date for which the show will be on display; and a brief artist’s statement or description of the work. Your exhibition listings will also be posted to the members’ section on our web site: www.carfacontario.ca

Susan Gold and Collette Broeders Janice Colbert ROSES for WINDSOR III Blank Boy Canvas Art Exhibit February 1 - March 30, 2016 December 8 - December 22, 2015 Reception: Saturday, February 20 at 7:00pm The Gladstone Gallery One ten park: a working space 1214 Queen St West, Toronto ON M4L 3Y2 110 Park Street West, Windsor ON N9A 7A5 Inquisitive and youthful, Blank Boy Canvas represents ROSES for WINDSOR is an international Mailart a world full of infinite possibilities. This collaboration project. You can still participate by emailing sgold@ has been brought to North America in an exhibit uwindosr.ca and requesting a ROSE to be mailed to designed to stimulate conversation about creative you. Never too late. reasoning and the individual approach to creative execution. Blank Boy Canvas will be exhibited in a Jack MacAulay number of North American and Asian cities along- L&scapes side a youth arts initiative developed to encourage March 5 - April 30, 2016 dialogue and participation. The initiative empowers Reception: Saturday March 5 at 2:00pm collective creative collaboration launching the first exhibit in Toronto. Princess Twin Cinema 46 King Street North, Waterloo ON N2G 1E9 Andrew James Smith 2016 Joint Mathematics Meetings Art B/W landscape photographs Exhibition January 6 - January 9, 2016 Brian Tremblay Reception: Grand Ballroom, AB, 2nd floor, Sheraton Out of Sight; Out of Mind Seattle Hotel, 1400 Sixth Avenue, Wednesday December 24, 2015 - March 5, 2016 January 6 at 5:30pm Reception: Friday, January 26 at 7:00pm Washington State Convention Center Art Gallery of Algoma 800 Convention Place Level 4, Hall 4A Seattle, 10 East Street, Sault St Marie ON P6A 2N9 Washington 98101 United States

With this portrait series, I want to show that the Two prints and a sculpture of mine were chose for people who use and volunteer at the Sault Ste Marie exhibition at the annual Bridges Conference. I am Soup Kitchen and Community are regular people. the only exhibitor from Ontario; the other Canadian They come from all walks of life, with their own is from B.C. Others are from the U.K., Australia, diverse stories. Many of the volunteers started out Taiwan, Greece, Serbia, Slovenia as well as the using the services themselves and have returned, U.S. My artwork is based on a arrangement of even after they no longer need the help, in order to polygons that exhibit a unique spiral. There is only give back. Photographed on Kodak Tri-X film & a handful of spirals that have been devised; I hope printed on Ilford Multigrade Fiber Based paper. participants will help legitimize my Protogon spiral.

| 16 | Ruby Ewen The Iris Group The Bluebird of Happiness IRIS at 20 January 15 - January 27, 2016 March 2 - 27, 2016 Vernissage: January 15 at 7:00pm First Fridays event: March 4 at 7:00pm

GalerieSAWGallery The Robert McLaughlin Gallery 67 Nicholas Street, Ottawa ON K1N 7B9 72 Queen Street, Civic Centre, Oshawa ON L1H 3Z3

In the early 1950’s when the song “The Bluebird of In IRIS at 20, the collective will revisit their 10 Happiness” was part of the ethos, I was sent to a International Women’s Day projects by creating new boarding school. It is my hope these paintings speak work based on artifacts from women in Alberts, the beyond me, and lead to a further understanding of Adirondacks, and various locations. The original the isolation, abuse and fear so many children have pieces, comments, and photographs will also be on suffered, live, and do not live through. display. Artist talk on March 6 and workshop on March 20, details through the Robert McLaughlin Gallery. Norman Takeuchi HARD STREET Johnnene Maddison January 11 - February 14, 2016 Losing Dave; an artist’s journey through Reception: Thursday, January 14 at 5:00pm loss March 5 - April 15, 2016 Ottawa School of Art Reception: Saturday March 5 at 2:00pm 35 George Street, Ottawa ON K1N 8W5 The Mississippi Valley Textile Museum Hard Street is a detour from the Japanese Canadian 3 Rosamond Street East, Almonte ON K0A 1A0 theme which has preoccupied for me the past ten years. The impetus for this new series, 13 black and Grief is a journey, a transition through opposing white drawings and four paintings, was daily news stages of pain and consolation. During my journey I reports of the conflict and upheaval taking place in relied on my ability to detach myself by drawing, so many parts of the world, especially in the Middle painting, stitching and writing. This exhibition displays East. The desperate figures and destroyed buildings 7 years worth of art made during this difficult passage. in these works represent my reaction to circum- An illustrated book is available for purchase. stances so dire it’s impossible for us to comprehend.

Members’ Exhibition Listings continue on the back cover ...

Artists’ Contracts: Agreements for Visual and Media Artists is a comprehensive and easy-to-understand guide to the “dos and don’ts” of written contracts. Artists’ Contracts is a valuable resource to all artists, emerging and established, on their legal rights.

Print Version: Member Price : $58.25 (Book: $45 + GST: $2.25 + S&H: $11) Non-Member Price : $79.25 (Book: $65 + GST: $3.25 + S&H: $11)

Electronic Version: Member Price : $47.25 (Pdf: $45 + GST: $2.25) Non-Member Price : $68.25 (Pdf: $65 + GST: $3.25)

For more information and to purchese visit: www.carfacontario.ca

| 17 | Grants Calendar The CARFAC Ontario Grants Calendar is published in every issue, allowing you to plan in advance for grant deadlines. All the information published here has been edited for space, and is meant to give you a general sense of the types of grants available. Deadlines and eligibility criteria are subject to change at any time. Visit the funders’ websites to verify deadlines and to find out more about application requirements. CARFAC Ontario makes every effort to provide information which is up-to-date and accurate. Neither CARFAC Ontario nor any of its employees can be held responsible for any errors or omissions, or for any losses, costs or claims which arise as a result of relying on this information.

CANADA COUNCIL FOR THE ARTS 350 Albert Street, P.O. Box 1047, Ottawa ON K1P 5V8 Phone: 1-800-263-5588 (toll-free) or at their individual numbers | Fax: (613) 566-4390 TTY (TDD) machine for hearing-impaired callers: 613-565-5194 www.canadacouncil.ca/grants

Deadline Grant Name Contact Person Contact Information

1 February Grants to Aboriginal Curators for Jim Logan, 613-566-4414, ext. 5266 Residencies in the Visual Arts Program Officer, Visual Arts Section

1 February Grants to Culturally Diverse François Dion, 613-566-4414, ext. 5268 Curators for Residencies in the Program Officer, Visual Arts Section Visual Arts

1 February Visual Arts: Project Grants for François Dion, 613-566-4414, ext. 5268 Curators and Critics Program Officer, Visual Arts Section

1 February Travel Grants to Professionals in Brigitte Desrochers, 613-566-4414, ext. 5270 the Visual Arts Program Officer, Visual Arts Section

1 March Fine Craft: Grants to Artists and José Niaison, 613-566-4414, ext. 5269 Curators Program Officer, Visual Arts Section

1 March Fine Craft: Long-Term Grants to José Niaison, 613-566-4414, ext. 5269 Artists and Curators Program Officer, Visual Arts Section

1 March Jean A. Chalmers Fund for the José Niaison, 613-566-4414, ext. 5269 Crafts Program Officer, Visual Arts Section

1 March Grants to New Media and Audio laura jeanne lefave, 613-566-4414, ext. 5254 Artists: Research and Production Program Officer, Media Arts Section Grants

1 March New Media Residencies laura jeanne lefave, 613-566-4414, ext. 5254 Program Officer, Media Arts Section

1 March Grants to Film and Video Artists: laura jeanne lefave 613-566-4414, ext. 5254 Scriptwriting Grants, Production Anglophone emerging artists interested in Grants and Research/Creation Research/Creation Grants or Production Grants Grants

Michèle Stanley Anglophone mid-career artists in 613-566-4414, ext. 5251 Research/Creation Grants or Production Grants

| 18 | Deadline Grant Name Contact Person Contact Information

Ian Reid 613-566-4414, ext. 5203 Anglophone established artists in Research/Creation , Scriptwriting or Production Grants, and Anglophone mid-career artists in Scriptwriting Grants

Paul Thinel 613-566-4414, ext. 5253 Francophone artists

1 March Capacity Building Program: The Noël Habel 613-566-4414, ext. 4178 Flying Eagle Program Officer, Aboriginal Arts Office

Anytime Travel Grants to Media Arts Media Arts Section 613-566-4414, ext. 5914 Recommended to apply at least 10 Professionals weeks in advance.

Anytime Travel Grants for Aboriginal Noël Habel 613-566-4414, ext. 4178 Recommended to apply a minimum of 8 Collaborative Projects Program Officer, Aboriginal Arts weeks in advance of Office departure date.

| 19 | ONTARIO ARTS COUNCIL 151 Bloor Street West, 5th floor, Toronto ON M5S 1T6 Phone: 1-800-387-0058 (toll-free in Ontario) or 416-961-1660 | Fax: 416-961-7796 [email protected] | www.arts.on.ca/Page16.aspx

Deadline Grant Name Contact Person Contact Information

15 January Aboriginal Artists in Schools Terry Gitersos 416-969-7401 | 1-800-387-0058 Program Administrator ext. 7401 | [email protected]

15 January Artists in Education Terry Gitersos 416-969-7401 | 1-800-387-0058 Program Administrator ext. 7401 | [email protected]

17 February Aboriginal Artists in Communities Kateri Gauthier 416-969-7424 | 1-800-387-0058 Program Administrator ext. 7424 | [email protected]

17 February Aboriginal Arts Projects Kateri Gauthier 416-969-7424 | 1-800-387-0058 Program Administrator ext. 7424 | [email protected]

17 February National and International Touring Lizzy Braoudakis 416-969-7412 | 1-800-387-0058 Program Administrator ext. 7412 [email protected] 17 February Ontario Touring Lizzy Braoudakis 416-969-7412 | 1-800-387-0058 Francophone applicants applying in French have Program Administrator ext. 7412 | [email protected] until March 15 to submit their applications.

1 March Artists in the Community/ Kateri Gauthier 416-969-7424 | 1-800-387-0058 Workplace Program Administrator ext. 7424 | [email protected]

1 March Arts Education Projects Terry Gitersos 416-969-7401 | 1-800-387-0058 Program Administrator ext. 7401 | [email protected]

1 March Media Arts Projects Anne Gardé Gravestock 416-969-7461 | 1-800-387-0058 Program Administrator ext. 7461 | [email protected]

15 March Multi and Inter-Arts Kateri Gauthier 416-969-7424 | 1-800-387-0058 Program Administrator ext. 7424 | [email protected]

TORONTO ARTS COUNCIL 26 Grand Trunk Crescent, Suite 200, Toronto, ON M5J 3A9 Phone: 1-800-387-0058 (toll-free in Ontario) or 416-961-1660 | Fax: 416-961-7796 [email protected] | www.arts.on.ca/Page16.aspx

Deadline Grant Name Contact Person Contact Information

1 February Grants to Community Arts Andrew Suri 416-392-6802 ext. 213 Projects for Organizations and Grants Officer, Community Arts [email protected] Collectives

1 March Grants to Visual and Media Arts Peter Kingstone 416-392-6802 ext. 208 Projects for Organizations and Acting Visual/Media Arts Officer [email protected] Collectives

| 20 |

Lauren McKinley Renzetti DISPATCH Going Solo Volume 21, Issue 4, December 2016 February 5 - 7, 2016 ISSN 1201-0081 Reception: Friday, February 5 at 5:00pm

DISPATCH is published by Art For Cancer Foundation 1884 Davenport Road, Toronto ON M6N 4Y2 CARFAC Ontario 440-401 Richmond Street West Toronto, Ontario M5V 3A8 Art Show and Sale of recent works in acrylic. The premise is 416.340.8850 / 1.877.890.8850 the square canvas, showing intimate works of microscopic [email protected] views of rocks, drugs, food, beverages under a microscope www.carfacontario.ca juxtaposed with landscape from afar. The textured surfaces Editor / Layout Copy Editors reveal nooks and crannies where paint can pool and reside. Victoria Glizer Sally Lee Living among detritus found on the streets of Toronto and Venessa Harris incorporated into the composition. There will be also be an Contributors array of affordable unframed prints and silkscreen bags for CARFAC Ontario Staff, Tiffany Schofield, sale as well. Judy Gouin, Sophie DeFrancesca, Susan Wallis, Clayton Windatt and Victoria Ward. Lilly Koltun The opinions expressed in DISPATCH are Exposition Anniversaire those of the authors and do not necessarily January 13 - February 14, 2016 reflect those of CARFAC Ontario, CARFAC National or its regional affiliates. Vernissage: January 17 at 2:00pm

Espace Project CARFAC Ontario Board of Directors Yael Brotman (President), Devon Ostrom (Vice 353 Rue Villeray, Montreal QC H2R 1H1 President), Kohila Kurunathan (Treasurer), Kristen Fahrig (Secretary), Ashley McKenzie- “Refuse Art” frames a battered, dismantled icon of modern Barnes, Sophie DeFrancesca, Dave Kemp, Leesa Bringas and Michelle Forsyth. design, the Wassily Chair by Marcel Breuer, with a rectangu- lar spiral of humming blue electroluminescent wire on the floor around it in an ironic gesture of post-modern negation. Yet the CARFAC Ontario Staff Sally Lee (Executive Director), Victoria chair continues to be reproduced, an immortality in turn placing Glizer (Membership Manager), Diann Missal the wires fragile dependence on battery power sous rapture. (CARFAC Online Coordinator), and Venessa So, responding to whether art is at an end, neither chair nor Harris (Publications Assistant). wire can succeed in mutually killing creation and re-creation. CARFAC Ontario is supported by the Ontario Arts Council, the Toronto Arts Council, the Ontario Ministry of Culture, the Ontario Art Gallery of Mississauga Trillium Foundation, and by our members. Visual Arts Mississauga 38th Annual Juried Show of Fine Arts January 14 - February 13, 2016

an Ontario government agency Reception: Thursday, January 14 at 6:00pm un organisme du gouvernement de l’Ontario Art Gallery of Mississauga 300 City Centre Drive, Mississauga ON L5B 3C1

Since 1987, the Art Gallery of Mississauga (AGM) has hosted this annual exhibition celebrating collaboration with Visual Arts Mississauga (VAM). This exhibition is an opportunity for art enthusiasts to survey a broad spectrum of work by artists CARFAC Ontario is the association of professional visual and media artists in who range from graduating students to senior members of Ontario, Promoting the legal and economic the local visual arts community. rights of Visual and Media Artists for over 40 years. As an artist-run organization, The 2016 Jurors are: Stuart Keeler, a cultural producer with CARFAC Ontario knows the needs of artists experience in public art. Lila Lewis Irving, a well-known and has developed services and programs to assist artists at every stage of their career. abstract painter. Camille Turner, a media/performance artist and educator.