Dispatch September 2015 .Indd
CARFAC Ontario’s quarterly newsletter D ISPATCH V o l u m e 21 - I s s u e 3 - S e p t e m b e r 2015
Negotiation for Visual Artists
Photo credit: CARFAC National
Features: The Art of Negotiation: Interview Adam Freedman from Torys | Overcoming Cognitive Biases While Negotiating in the Arts
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
The Art of Negotiation: Interview with Adam Freedman of Torys | by Bri Salmena | P 3 Your donations help keep us
Overcoming Cognitive Biases While Negotiating working for you. in the Arts | by Venessa Harris | P 6 As a registered charity, we can issue Keeping you connected ... Local News from Across tax receipts the Province | P 8 for your donations.
CARFAC Ontario Members’ Exhibition Listings | P 10 www.carfac.ca
Grants Calendar | P 16
CARFAC pdf_Half Page-8.5x5.5 12-09-11 3:31 PM Page 1
We make banking flexible
At Creative Arts Savings and Credit Union, we offer the services banks do, with one important extra: Flexibility.
We understand the special circumstances of the self-employed artistic community in a way that traditional banks don’t. We also understand that you have different financial needs at different times of your life.
Take a look at our services. Then give us a call, visit our website, or drop into our Church Street offices. You’ll find all the same services the big banks offer, and you’ll feel good knowing you’re dealing with a financial institution that understands your unique needs as a member of the artistic community.
625 Church Street, 1st Floor • No-fee chequing accounts • Mortgages Toronto, ON M4Y 2G1 • No-fee savings accounts • Loans (personal, auto, etc.) t: 416.642.6749 • Tax-Free Savings Accounts • Line of Credit toll free: 877.643.3660 • Debit cards • Overdraft protection f: 416.640.3517 • Business accounts • Online banking e: [email protected] • Investing (GICs, Term • Mobile banking w: creativeartscu.com Deposits, RRSPs, RRIFs, etc.) • Telebanking ...and more Executive Director’s Report
It’s hard to believe the Staff has also been working hard to put together summer is over and that the a fall webinar series which will take place every leaves have already started other Wednesday from October 14 – December to turn colour! The past 16. They cover a mix of popular webinars from three months have whizzed previous years and new topics we felt would be of by, and I’m delighted to great interest to members. Please see page 9 for give you an update on the more details. many things that have been occupying our time and We’ve also been working to provide more grant thoughts here at the office. deadlines to the 2016 Day Planner. We should be ready to take orders soon – please look out for The development of four best practices toolkits notification! for CARFAC Ontario’s Strengthening the Sector initiative has been going well. We are on track We are also preparing to move our office to another to complete all four toolkits by the end of March unit in the same building. As of October 26, we will as planned, with a few likely to be ready ahead be in studio 372 at 401 Richmond Street West. of time. The toolkits will be valuable resources for establishing codes of practice in the areas CARFAC Ontario will also have a booth at the of Artists and Charitable Auctions, Public Art ARTPRENEUR Ottawa Conference taking place Commissions, Gallery Archival Practices, and October 17. If you are there, please come by and say Artists and Galleries. hello. Long-time member and unofficial ambassador David Jones and staff from CARFAC National will be Other major projects on the go include the creation drumming up new memberships, selling publications, of an online fee calculator. CARFAC Ontario has and raising greater awareness about artists’ rights to been working closely with our partners at RAAV, those in attendance. CARFAC National, and CARCC to ensure that the calculator is reliable and easy to use. We sent And finally, I hope you will all make a point of going out a call for beta testers over the summer and out to vote in the federal election on October 19! we thank everyone who stepped forward to give It promises to be a historic vote and I look forward the calculator a try and provide feedback. The to working with CARFAC National and our other response has been overwhelmingly positive and provincial affiliates on reaching out to Members we hope to have this valuable tool up and running of our 42nd Canadian Parliament to advocate for in the coming months. the Artist Resale Right and support for the arts and artists in the future. Our 2015 AGM and panel discussion on Negotiation for Artists took place on Sunday, September 27 Sally and we will have a full report about the day in the next issue of Dispatch.
We are moving but not going far!
Our new address as of October 26, 2015:
CARFAC Ontario 372 - 401 Richmond Street West Toronto ON M5V 3A8
Archival Photo credit: The Move , February 13, 1987 in Toronto | Content: The move from Mowat Ave. to Bathurst St. | Photographer: Doreen Dotto
| 1 | President’s Report
One of CARFAC’s raisons a commercial gallery. I signed a contract that d’être is to educate and support outlined the jobs surrounding my upcoming artists in the business around exhibition; which party was responsible for what their creative art making. So and the time frame for payment. All went relatively a professional artist’s career smoothly until the payment for sales part. Months should be thought of in terms after the agreed upon time, I still had not received of a small business. A major payment. After several more visits and a few more part of a successful business months, I finally lost my temper and threatened of any kind, is negotiation. them with ... I don’t know what. I had no knowledge Negotiating with galleries, studio rental agencies, of any kind of recourse. Luckily I did receive my corporations and government bodies who cheque, although that adversarial position was commission public art, publishers, even other very distasteful. artists, does not come naturally to most artists: it is a skill that must be developed. My more recent experience was with an artist-run centre in a city outside Toronto. This time I was In this issue of Dispatch, we are focusing on how more than aware of CARFAC and was able to use to negotiate in your practice, how to prepare for the legal resource of one of the lawyers at Torys. it and when and how to bring in a professional to The issue revolved around whether an agreement help you. The format is a question and answer of understanding via email constitutes a legally between Bri Salmena and Adam Freedman who binding understanding of intent. With the help of specializes in corporate and securities law at the Torys lawyer, I discovered that the answer is Torys LLP. Torys has been remarkably generous yes it does. He was able to help me draft letters in their relationship with CARFAC over the years. of negotiation and come to a decision regarding They not only established a Pro Bono committee the situation with an understanding of the potential that assists artists with their legal issues, but they consequences of various scenarios. also sponsor the webinar series that we do every fall (check out our website for details about when Receiving knowledgeable and sanguine pro- this fall’s series begins). The second article is by fessional assistance in negotiations is crucial Venessa Harris, who analyzes the psychological when you as an artist find yourself in a contractual aspects of the negotiation process and how the bind. And psychologically preparing yourself with outcome of the negotiation may alter depending on an understanding of cooperative and competitive the artist’s understanding of their own assumptions incentives, as outlined in Venessa’s formulation, is about the other. indeed very helpful upon entering such negotiations. Read the articles and remember, you have rights Adam Freedman’s discussion focuses largely on and a resource in CARFAC. negotiation and contracts. I can relate. Twice in my career I have been embroiled in contract disputes. Have a productive fall. When I was an emerging artist and wasn’t yet aware of CARFAC, I developed a relationship with Yael Starving Artist www.canvasfoundation.ca
| 2 | The Art of Negotiation Interview with Adam Freedman of Torys
by Bri Salmena
Adam R. Freedman practices ally beneficial situation. That’s really the outcome corporate and securities of negotiation. People think I need “x” so I am law at Torys LLP in Toronto. going to argue my way to “x” and the other party Adam is also a proud needs “y” so they are going to argue their way to member of the firm’s Pro “y”. But really the idea is to create a value, per- Bono Committee and has haps a scenario you didn’t envision in the negotia- been advising artists on a tion where both parties are victorious and are pro bono basis for more happy with the result. than six years in connec- tion with their legal queries. What should be the mindset of a person negoti- ating a contract?
What are the key elements of successful The mindset should be a prepared one, and it’s negotiation? important that someone has proper advice in place. That is why CARFAC and VALCO (Visual I’d say there are a few key elements of successful Artists’ Legal Clinic of Ontario) are so great negotiation. The first is being very prepared because you could have a lawyer at Torys looking before entering into the negotiation – do all your over your contract for you, provide comments, background research, learn about what the other and highlight some things you might not have side wants to achieve in negotiation, and make thought of as the artist going into negotiation. The sure you are very prepared. Second, never enter key really is to not only know exactly what you into a negotiation you are not afraid to walk away want and to be clear about what you are looking from. You don’t want to enter into a negotiation for from your agreement and negotiation, but also with a party where you’re leveraged or where you to put in place the proper support network for don’t really have any leverage whatsoever. You yourself so that you know how to achieve the want to go into a negotiation confident that, if you desired outcome. That’s typically having a lawyer don’t get the terms you are looking for [or] if you that can at least help on some level, which is what don’t get the desired outcome, you can leave the we do here, or perhaps having a look at other negotiation and not be worse off for it. These are agreements you have signed to see where you’ve two fundamentals of negotiation at least at a pre- been successful at achieving the terms, the prices liminary level. and other components that you desire. That’s really the mentality, as well as thinking about how What are the barriers to successful negotiation? both parties can get what they want.
I think the main barrier is parties not making the How can an artist prepare for a negotiation effort to put themselves in the other’s shoes. Let’s and/or what kind of research should be done say you are trying to negotiate a gallery agree- prior? ment with a gallery and you are a painter, [you should be thinking]: “Okay what does the gallery Really there is no research in the sense that you want here? Why are they bringing my work in? need to read a million books. [If you are interest- Why are they bringing me in? What do they hope ed], there are a few classic negotiation tactical to achieve from our relationship?” and vice versa. books. In law school I read a book called “Getting If you are the gallery owner [you should be think- to Yes”, a classic negotiation 101. And I think you ing]: “Okay there’s this painter. What do they could read it pretty quickly, as it’s a good book to want? What type of commission do they expect?” reference. That said, the research you can do is It’s very important for people to try see where the learn about negotiating tactics, and what they are other is coming from and, once you do that, you looking for. I find most people aren’t the most can try to compromise and come up with a mutu- skilled negotiators. What happens is artists often | 3 | find themselves in a situation where they think anger them and just be harsh when, in the end, they have no room to ask for what they want. the idea is that the other party wants to make [They typically assume] gallery owners think to money by selling your work and you want to make themselves, “Okay I have this gallery. This is my money by becoming an exhibited artist. You contract. Nothing is going to change and the artist should think about it like that but, at the same should be happy to expose and display their work time, don’t be naive and make sure a lawyer is at the gallery so they should just sign.” In fact, there behind you, someone from Torys, for exam- sometimes that’s the case. If an artist … has ple, to make sure you are not getting railroaded never had a show before and [is] looking for that into signing something you don’t understand. big break, … they [may be inclined] to think to themselves, “Okay, if this is what the gallery What is the difference between verbal negotia- owner wants, I am just going to give it to them.” tion and verbal contract? But for more experienced people who have a lot of shows under their belts, they know you don’t Well, there can be a contract between parties that need to just acquiesce to the gallery’s terms. I is verbal (i.e. oral and non written) – you need a would suggest asking your artist peers for some witness. Verbal negotiation just means two people contracts they have signed to see what types of negotiating verbally to result in a hopefully benefi- things go into these agreements. Talk to someone cial outcome, whereas a verbal contract is an at Torys to make sure they review the agreement agreement or exchange. from legal perspective to see if the terms are as we say “market,” or typical. You want to make Have you been on a case where a seemingly sure you don’t sign a contract you think is fine but simple negotiation became complex and vice is really outrageous or doesn’t contain terms other versa? artists are getting. That’s a danger I have seen artists hop into inadvertently. All the time. People often don’t stop to think about the basics of what they are doing. Without this What are the most commonly disputed terms advance consideration and without documenting in contract negotiation? anything like a contract beforehand, people can lose sight of the big picture [causing] something It really depends on the contract. I see lots of that seems very simple to become very complex. arguments … [that lawyers don’t usually deal with] – often price commission or things like that. One thing I have seen recently is insurance issues – Who covers the cost of insurance for a piece of artwork, the gallery or the artist? Additionally, transportation cost – Who pays to ship the work? Who pays if the work gets damaged on route? Those types of things always come up.
What are the common mistakes in negotiation and how to avoid them?
One common mistake is thinking that, just because you meet with someone one time and they don’t agree with what you want, your negotiation is just going down the tubes. Typically negotiation is about giving something up to get something, and therefore it’s about compromise and creating value and positive outcomes for both parties that may not be there on the surface. That’s really the essence of a good negotiation – to really make Advisory Notes are free resources for sure both parties win… that way you keep doing CARFAC members. For a copy of this business together. You don’t want to ever enter advisory note contact your affiliate today! into a negotiation with a gallery owner, someone of influence who can help you sell your work, and | 4 | It happens all the time but, sometimes, the com- legally binding agreement between two parties so plex arrangements can be simplified so you really that, if there is an issue down the road or if there is never know what you are going to get. It all a problem, you can look to contract (i.e. agreed depends on the parties. But when we are asked to written terms) to figure out how to deal with it (i.e. get involved in negotiations with galleries, I often to figure out what the law is to deal with disputes, ask the artist, “Does the gallery have a standard in what court should you sue, what happens if you format contract that they typically give to artists break the work while being shipped, etc.). The con- we can review?” and if they don’t then I try and put tract is really like growing a fruit tree – you plant the together for them a very simple, 3-4 page document seed, you water it, a plant sprouts up, you water it which is artist friendly and the provisions aren’t more, and then the tree is the contract and the fruit drafted so that they help the gallery more than the is kind of what you harvest from it – financial artist and I say, “let’s use this as the basis, fill in rewards fame , popularity, future exhibits etc. the information for this to be sent along to the gallery and, if this gets accepted, you are in a good What advice can you give to artists about position.” negotiating contracts?
What is the importance of contracts in the Make sure that the moment you get a contract you negotiation process? don’t agree to anything. Instead, book an appoint- ment with Torys through CARFAC’s VALCO pro- A contract really represents the conclusion of a gram, and we have one of our people who does negotiation, so people spend a couple hours this stuff all the time look at the contract. If you do across a table discussing something resulting in a that you will be better off than reading any book or contract. Without a contract what is the point of a anything else. negotiation? A contract’s purpose is to create a
STUDIO INSURANCE DESIGNED FOR VISUAL ARTISTS
• From $10,000 to $100,000 coverage for equipment, tools and artwork • $10,000, $25,000 and $50,000 limits available for artwork in transit and at exhibitions • $2M, $3M, $5M general liability limits available • Optional coverage for sales & training activities Visual artists members of CARFAC-ONTARIO ASSURART offers insurance brokerage services to individuals and businesses are eligible to a 15 %* in the Art industry. group discount.
Toll-free A division of 1 855 382-6677 | www.assurart.com
*Some admissibility criteria may apply.
# dossier: 10419-ASS Client: AssurArt dpi: 300 dpi | 5 | Date: 15/03/2011 Campagne: Pub Couleur: CMYK # Révision: R01 Publication: CARFAC Ontario 2011 Format document :4,9 x 3,65 po Pers Ress: Valérie Dorion Date de parution: --/--/--
Overcoming Cognitive Biases While Negotiating in the Arts
By Venessa Harris
INTRODUCTION ambiguous aspects of negotiation, your mind will automatically use cognitive biases to make sense of For practicing visual artists, negotiation is an the situation. Only after you identify these biases, important aspect of distributing your work, can you overcome them. particularly in terms of exhibiting and selling work within galleries. Planning for and participating in A cognitive bias refers to the process in which a session of negotiation can be stressful, so it is individuals stray from logic in decision-making and important to be well prepared (i.e. knowing your instead draw conclusions about situations without rights, reviewing the CARFAC Fees Schedule, very much logical thought. In other words, we are prioritizing what you hope to gain, etc.). While inclined to make snap judgments based on our steps like these are necessary to ensuring that own intuition and what we know to be true about you receive a desirable outcome, negotiators often the world. Cognitive biases are incredibly common overlook the psychological aspect of the negotiation in negotiation because, in instances where there process. Because many of our actions are informed are multiple issues on the table, there are many by decisions we make subconsciously, we are unknown factors that will need to be fleshed out constantly subjected to making choices that may throughout the discussion. While subconsciously lead to suboptimal outcomes while negotiating. In using cognitive biases to make sense of ambiguous what follows, you will learn how to identify obstacles information is an automatic process, being unaware caused by cognitive biases both you and the other of this bias may lead you to use poor judgment while party employ subconsciously, as well as learn about negotiating. strategies to overcome these obstacles and use them to your advantage. Representative Heuristic
IDENTIFYING & OVERCOMING COGNITIVE The representative heuristic is the process of using BIASES stereotypes about categories to make judgments about individuals that belong to that category. At its core, negotiation is all about creating and Negotiators often use this heuristic to predict how the distributing value for both parties. Because every other party will behave during the negotiation. It has negotiation is started based on the belief that been proven that people tend to interpret the other reaching an agreement has the potential to be more party’s bargaining behaviour in terms of stereotypes beneficial than no agreement at all, both parties about that person’s personality and position. For have a cooperative incentive to work together. This example, say you are going into a well-established incentive is highly prevalent in the art scene—in gallery to negotiate your place in an upcoming order to exist, art galleries need the work of artists to exhibition with the Curator, who has a reputation fill their spaces and artists can derive great rewards for being very serious. Due to the representative from exhibiting in galleries. That said, both parties heuristic and the information you have about the must also display a competitive incentive to increase Curator, you’re likely to assume that he/she will be their own personal gain. Therefore, the key to very firm in the terms he/she has drawn up, and successful negotiation is finding a balance between therefore you would have a hard time changing their these two incentives in order to find an agreement opinion. This type of thinking may lead you to ask for that works on both a personal and mutual level. much less than you actually want and concede to You, as the artist, don’t necessarily have full and their terms without much discussion. This, of course, accurate information going into the negotiation is problematic for you, as you may undersell yourself (i.e. you may not know what the gallery’s goals and be left with a contract in which you aren’t happy. are or what they find important in the forthcoming The danger of the representative heuristic is that relationship) therefore the situation is not always it leads to self-fulfilling prophecies—if you assume as clear as it may seem. In order to deal with the you don’t stand a chance in the negotiation, then | 6 | you won’t. The key to overcoming this bias is leaving anchoring and adjustment heuristic could leave you behind all preconceived notions about the other party vulnerable to be exploited by the other party. prior to entering the negotiation. Do not assume they will behave in a certain way, as this may cause you Overcoming the tendency to make insufficient to relinquish your own bargaining power. Instead, adjustments in relation to an original anchor is as remember what you’ve prioritized as important, simple as being aware industry standards. The which will allow you to know when to stay firm and CARFAC Minimum Fee Schedule is an excellent when to be flexible, regardless of how competitively resource for understanding how much you should or cooperatively the other party behaves. be paid for your work. Additionally, you should ask experienced peers and/or lawyers what they believe Anchoring & Adjustment is a fair payment for the work you’re providing.
This cognitive bias occurs when people are given Endowment Effect an initial starting point (or an “anchor”). In trying to adjust their response, the mere presence of this The endowment effect is the tendency to ask for anchor influences the adjustment. Many times, the much more to give up an object than you would adjustments tend to be insufficient because people otherwise pay to acquire that same object. In other subconsciously feel that they need to stay in the words, people tend to overvalue what they have same ballpark as the anchor, even if the anchor is and undervalue what they don’t. In terms of art, completely arbitrary. Negotiators fall victim to this this effect is heightened, as an artist naturally has heuristic when having to provide counter-offers, a strong attachment to his/her own work. In terms especially in terms of compensation. For example, of negotiation, this can make trading and bargaining say you’re negotiating the terms of a contract a difficult task. For example, say you are trying to with a gallery, and the Director offers to pay you a sell your work to an art collector and you are in the certain amount plus a percentage of commissions. process of negotiating a price. The collector, who If you are not satisfied with this amount and wish is well-versed in this area, might offer you a really to ask for more, due to anchoring and adjustment, great price but, due to the endowment effect, you you are likely to ask for an amount that isn’t much may decide to turn it down because you think the higher than the amount the Director had originally price is too low. As an artist, you are not obligated to proposed. In this context, that may not be a bad accept any price in which you are not comfortable. thing, as one would hope the original proposal was That said, you do need to be realistic about what you both reasonable and fair, despite the fact that you expect in return for selling your work. Falling victim to were hoping for a higher amount. That said, being this bias, and subsequently overvaluing your work, unaware of the natural tendency towards using the could cause you to miss out on great opportunities.
| 7 | The best way to avoid allowing the endowment References: effect to cloud your judgment is to do your research 1. De Dreu, C. K. W., et al (2007). “The psychology regarding pricing artwork. CARFAC Ontario’s website of negotiation: Principles and basic processes.” has a great page* containing tips on how to price Social psychology: Handbook of basic principles your work. You can also look into what your peers (2nd edition). Ed. Kruglanski, A. W. & Higgins, E. T. are charging for selling similar pieces. Additionally, New York, NY: Guilford Press. Print. you should always try to get your work appraised so 2. ibid. you know the range in which you should be aiming 3. Haselton, M. G., Nettle, D., & Andrews, P. W. to sell. (2005). “The evolution of cognitive bias.” The Handbook of Evolutionary Psychology (2nd edition). CONCLUSION Ed. D. M. Buss. Hoboken, NJ: John Wiley & Sons Inc. Print. Every time you have a discussion about the use 4. Gilovitch, T. & Savitsky, K. (1996). “Like goes with of your work, you are entering into some form of like. The role of representativeness in erroneous negotiation. While it is important to do your research and pseudoscientific beliefs. The Skeptical Inquirer, prior in order to be fully prepared, it is also important 20(2). Print. to understand some of the psychological processes 5. Morris, M. W., Larrick, R. P., & Su, S. K. (1999). at work during the negotiation. As demonstrated, “Misperceiving negotiation counterparts: When letting your biases go unchecked can lead to results situationally determined bargaining behaviors are in which you aren’t satisfied. That said, while taking attributed to personality traits.” Journal of Personality the time to recognize systematic cognitive errors and Social Psycology, 20. Print. can lead to better choices while negotiating, it’s 6. Epley, N. & Gilovitch, T. (2006). “The anchoring- also important to follow your gut to some extent— and-adjustment heuristic: Why the adjustments are all good decisions are made by evaluating issues insufficient.” Psychological Science, 17(4). Print. both logically and emotionally. As a result, it’s very 7. Roeckelein, J.E. (2006). Elsevier’s Dictionary of important to find a balance between the two in all Psychological Theories. Amsterdam, NL: Elsevier negotiation processes—don’t agree to anything that B.V. Print. feels wrong but don’t allow your own biases to cloud your judgment. In doing this, you’re sure to receive *Link: www.carfacontario.ca/Top-12-Tips-for-Setting- the best possible outcome after every negotiation. Prices
Keeping you connected ... Local News from Across the Province
Clayton Windatt from the Nipissing region Victoria Ward from the Peterborough area
The region of Nipissing is full of passion as we Trent University’s Cultural Studies Department look at changes on the horizon. With the federal now has their own Facebook page. The Art Gallery election on our doorstep, many artists in this of Peterborough has finished its renovations and region are talking with their MP’s and candidates is now open to the public. The Canoe Museum is about the arts agenda for Canada. Budgets need choosing an architect for its new location. Electric to be bolstered dramatically to account for the cost City Culture Council for Peterborough is seeking of inflation over the past decade and programs an executive director. dealing with youth engagement are being lobbied for. It’s an exciting time for the arts and I cannot wait to see what the future holds!
| 8 | 2015 Webinar Wednesdays A webinar series for professional artists
CARFAC Ontario is proud to present Webinar Wednesdays! Join us every other Wednesday over the lunch hour (12PM-1PM EST) starting in October for a seminar relating to your art practice, given by leading professionals in the province.
Participants may join our virtual classroom by accessing a video stream of the seminar online. This series is unlike other online lectures, in that it is Schedule: meant to be interactive and customized to attendees’ needs; participants will Cultural Pluralism in Artistic Creations be able to ask questions in advance by October 21st, 2015 @ 12PM-1:30PM email. Cyberspace: How to Protect Yourself & Respect Others PRICING: November 4th, 2015 @ 12PM-1PM Members - Individual webinars are $10, or register for all five for just $40.* Grants 2.0 Non-Members - Individual webinars are November 18th, 2015 @ 12PM-1PM $20, or register for all five for $75.* Working with Commercial Galleries & Art Dealers Member discount applies to current December 2nd, 2015 @ 12PM-1PM members of CARFAC Ontario, as well as members of CARFAC affiliates across Your Fine Art Degree... What’s Next? the country [including CARFAC BC, December 16th, 2015 @ 12PM-1PM Visual Arts Alberta (CARFAC), CARFAC Saskatchewan, CARFAC Manitoba, RAAV, CARFAC Maritimes, and VANL (CARFAC)].
*Please note: these prices do not include the Eventbrite fee.
For more information and to regsiter: www.carfacontario.ca/Webinar-Wednesdays
| 9 | 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, November 6, 2015 for shows running during January, February and March 2016. Please send listings for shows running only during these months to: [email protected]
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. The subject line of the e-mail should clearly request inclusion in the next issue of DISPATCH. You can also post your exhibition listings on the members’ section on our web site: www.carfacontario.ca
Enriched Bread Artists (EBA) Jeanette N. Marshall Prime: Enriched Bread Artists 23rd A Fire in the Art Annual Open Studio September 12- November 21, 2015 October 29 - November 8, 2015 Reception: Thursday, October 29, 6:00pm - 9:00pm Illumine Gallery 364 Talbot Street, St. Thomas ON N5P 1B6 Enriched Bread Artists Studios 951 Gladstone Avenue, Ottawa ON K1Y 3E5 “A Fire in the Art” is the premier fall exhibition at Illumine Gallery in St. Thomas, Ontario. This new Location, location, location; EBA has been in its gallery juxtaposes modern art within a 19th century prime Ottawa location for over 23 years! EBA business establishment. Expect to see state of the serves prime-grade art locally and internationally art paintings, fabric and glass art, ceramics, sculp- from their transformed bread factory. A prime ture and installations set in historic classical archi- example of a not-for-profit collective, EBA artists tecture. The “fire” will range from images reflecting (in their prime, by the way) work in all media and the heat of the sun to those depicting passion, the originate from all over the world. Their Annual spark of understanding and intensively hot hues. Open Studio is a prime time to share their work and Bring a fan. See www.illuminegallery.com and www. vision. Enrichedbreadartists.com jeanettermarshall.com
Frances Ferdinands Tracey-Mae Chambers Lassanai Mine is but a tear in a river September 24 - October 24, 2015 September 9 - December 1, 2015 Reception: Thursday, September 24 at 6:00pm Ojibwe Cultural Foundation Articsok Gallery 15 Highway 551 (Corner of Highways 551 & 540) 1697 St. Clair Avenue West, Toronto, ON M6N 1J2 M’Chigeeng ON P0P 1G0
“LASSANAI”, (Beautiful) translated from Sinhala, is I feel we must face brutal truths. The work con- a collection of new work emanating from Frances tained within ‘Mine is but a tear in a river’ makes Ferdinands 3 month program of study and research me feel obliged to note that some may find it in her homeland, Sri Lanka. uncomfortable to view. Sometimes a little discom- fort is required. Flesh is a messy business after all. It features 26 pairs of slippers individually painted But I felt compelled to create it. The exterior of the in designs inspired by the floral motifs found in the clothing has been painted with encaustic to re- many Buddhist temples she visited. Each pair create flesh.This work confronts Canada with its memorializes a year of the civil war, embodying its apathy towards the violence against Aboriginal cultural tradition of rich ornamentation within a Women. con-temporary context, and suggesting symboli- cally a “step” into a new era.
| 10 | Roslyn Levin in exhibitions: Le Labo presents: Shodo Canada Annual Exhibit “Membre du mois” at Le Labo: Julie November 14 - November 28, 2015 Lassonde Awards Presentation: November 15 at 2:00PM Artist Talk: October 7, 2015 at 6:00pm
Japanese Canadian Cultural Centre Le Labo 6 Garamond Court, Toronto ON M3C 1Z5 568 Richmond Street West, Toronto ON M5V 1Y9
The Annual Japanese Calligraphy Competition in The “Membre du Mois” is a free event open to the Canada creates an opportunity for Canadians of all public in which on of the members of Le Labo will ages and backgrounds to participate in a unique be honoured. The guest of honour will have “carte cultural forum to further their individual pursuit of blanche” to present their work, past, present and/ Shodo. The entries are adjudicated by a jury of or future, as well as what motivates them in their Shodo Masters in Japan then exhibited at the pursuits. A friendly and casual occasion, each Japanese Canadian Cultural Centre in Toronto. “Membre du mois” event is a unique opportunity Over 150 Scrolls of Japanese Calligraphy will be for members and the public to come together and displayed. Support is provided by The Consulate- share ideas and projects. General of Japan, The Japan Foundation and the Japanese Canadian Cultural Centre. “Venus d’ailleurs” Le Labo artists November 18 - December 11 2015 Sumi-e Artists of Canada Annual Exhibit Opening: Wednesday, November 18 at 6:00pm November 21- November 22 2015 24 Spadina Road, Toronto ON M5R 2S7 Awards Presentation: November 21, 2015 1:00PM Japanese Canadian Cultural Centre All Le Labo’s Members are invited to participate to 6 Garamond Ct, Toronto ON M3C 1Z5 their dedicated annual exhibit. The artworks are presented to the general public for sale during a This is a chance to see over 100 works of art on fundraising event to the benefit of both the artists washi, rice paper, painted in the traditional tech- and Le Labo. nique, using handmade ink made from pine or veg- etable soot and handmade brushes. The work is Franco D’Angelo elegant and Zen. A tea room provides vegetarian Offerings sushi, sandwiches and other snacks as well as November 5 - November 8, 2015 green tea with proceeds going to Sumi-a Artists of Reception: November 5 & 6 from 6:00pm-8:00pm Canada. Prizes are awarded including the Ruth Yamada Award. Demonstrations throughout the Dignam Gallery at the Women’s Art Association of show. Noon to 5pm both days. Canada 23 Prince Arthur Avenue, Toronto ON M5R 1B2 Brushfire Artists 5th Annual Exhibit September 12 - September 13, 2015 Franco D’Angelo’s first obsession was photogra- phy. Over the years, he delved new artistic media, Monora Park - Lower Level eventually working with a variety of objects, from 500 Monora Park Drive, Organgeville ON L9W 0E1 car hoods to bicycles, from wood to wallpaper. Franco’s latest exhibit is titled “Offerings”. He has Brushfire Artists, which currently consists of 9 artists created an intricate set of collages by delicately including SCA’s member, Roslyn Levin, will be hav- working with Joss paper - sacred ghost money ing their 5th annual exhibit with guest artists at frequently used as burnt offerings to the dead in Monora Park on the Lower Level. The work will East Asian religious ceremonies - to explore some range from sumi-e and watercolours to oils and of his favourite themes. mixed media. They will also have their trademark Loonie bin sale where you can win an original work for the investment of only a Loonie
| 11 | Brianna Mulvale in exhibitions: Hilly World at the 32nd Annual Sugar Plum Fair Hilly World at the 21st Annual Barrie Christmas Craft Show & Sale Arts & Crafts Show November 14 - November 15, 2015 November 6 - November 8, 2015 Nottawasaga Inn Resort & Conference Centre Barrie Molson Centre 6015 Hwy 89 Alliston, ON L9R 1A4 555 Bayview Drive, Barrie ON L4N 8Y2 Visit the Nottawasaga Resort for the 32nd Annual This is a juried show where 140 of Ontario’s most Sugar PlumFair Craft Show & Sale, Saturday talented artisans & crafters come together at the November 14th and 15th and discover a spectacular Barrie Molson Centre for the 20 th Annual Christmas line-up of crafters who feature a unique line-up of Arts & Crafts Show & Sale. Choose from pottery, handmade items. The show features over 100 ven- artwork, stained glass, teddy bears, Christmas dors from across Ontario selling a variety of items crafts, body care products, jewellery, clothing, including chocolate, jam, fudge, sauces, quilts, woodcrafts, ceramics, and more, making candles, ceramics, stained glass, wreaths, folk art, Christmas shopping easy. I will be exhibiting my woodwork, sock monkeys, body care products, original “Hilly World” whimsical folk art paintings pewter, Christmas decorations and more! along with Giclee prints, greeting cards & other items. Booth M105. Tony Urquhart Tony Urquhart: Intimate Worlds Hilly World at the 41st Annual Ball’s Falls October 3 - October 31, 2015 Thanksgiving Festival October 9 - October 12, 2015 Charlotte Hale and Associates Gallery (presented by J Rottman) Ball’s Falls Conservation Area and Centre for 588 Markham Street Toronto ON M6G 2L7 Conservation 3292 Sixth Avenue, Jordan ON L0R 1S0 Celebrating 80 years: drawings, paintings and box sculptures.CARCC_AD:Layout 1 30/04/09 1:15 PM Page 2 The 41st Annual Ball’s Falls Thanksgiving Festival features over 200 Selected artisans dis- playing and selling their creative wares such as pottery, paintings, jewellery, lawn ornaments and CARCC clothing. Families and visitors come from far and Canadian Artists wide to experience the Ball’s Falls Annual festi- val and its natural setting. In addition to the arts, Representation crafts and wares, you can enjoy the incredible beauty of the 19th Century hamlet, set amid the Copyright Collective majestic Niagara Escarpment and Twenty Valley eco-system. Copyright licensing services for visual & media artists Hilly World at the 2015 One of a Kind Christmas Show & Sale Visit www.carcc.ca for: November 26 - December 6, 2015 Membership information Direct Energy Centre List of affiliated artists 100 Princes’ Blvd, Toronto ON M6K 3C3 Fee schedules User services Canada’s largest show and sale of works from over Canadcian copyright law info 800 artisans and designers. Shop coast to Coast for handmade gifts. For the 3rd consecutive year i will be exhibiting my original “Hilly World” whimsical folk 866 502 2722 (toll free) art paintings along with Giclee prints, greeting cards 613 232 3818 (Ottawa) & other items. Visit my website www.briannasart- [email protected] work.com for updates.
| 12 | Marlene Munroe Robin Pacific A Special Series Flowers and Threads: The FAST September 9 - October 30, 2015 Campaign November 15 - November 16, 2015 Richelieu- Vanier Centre 300 rue des Peres Blancs, Ottawa ON K1L 7L5 EMK Center for Public Service and the Arts House No. 5, Road No, 27 Dhaka The major theme of this solo exhibition of paintings Dhamondi 1209 Bangladesh and sketches is an expression and a celebration of the Joy, the Caring and Love that I shared and expe- Last year artist Robin Pacific traveled to Dhaka, rienced while accompanying my husband at the Bangladesh with artists Clare Samuel and Leah Champlain Centre, over and above the realities of Houston. They made art with over 100 garment his illness. You will also see paintings of several of workers, and did the same project with garment my various “series”. workers in Toronto and other interested groups. The resulting work will be shown with Clare Samuel’s FUSION: The Ontario Clay and Glass photographic portraits of Bangladeshi garment Association workers. FUSION Clay & Glass Show October 16 - October 18, 2015 Gwendolyne Tooth Reception: Friday October 16 at 7:00pm & Shannon Moynagh Drawings (Revised Submission) Wychwood Barns Octover 7 - October 11, 2015 601 Christie Street, Toronto ON M6G 4C7 Reception: October 8 2015 7:00PM
Fusion Clay and Glass Show is an annual exhibi- Propeller tion and sale held at the Artscape Wychwood 30 Abell Street Toronto, ON M6A 0A9 Barns in Toronto. Celebrating the best and most engaging clay and glass works, this will be the Gwen Tooth and Shannon Moynagh will exhibit in foremost event for purchasing the finest in clay the North Gallery at Propeller. Gwen’s large bold and glass. drawings are based on abstracted oval shapes with disguised profiles of faces inserted within each Trish Hondzel shape. Shannon’s figurative drawings include large CZASTKA MOJEJ OSOBY - part of me and small works inspired by years of personal September 15 - October 31, 2015 sketches. www.propellerctr.com
Martha Bishop Community Room, Landon Library Glenna Tissenbaum 167 Wortley Road, London ON N6C 3P6 2015 Toronto West Arts Collaborative Annual Juried Art Show Hondzel’s work looks at family archives and August 21 - September 7, 2015 photo albums, pairing memorabilia with research of personally intrinsic customs. Issues of history Canadian National Exhibition and archiving, opens an aperture on memory as 210 Princes’ Boulevard Toronto ON, M6K 3C3 a means of visual revealing. As author, she hybridizes individuals with natural environments, Glenna Tissenbaum has been selected to partici- perpetuating new dialogues, describing herself pate, along with 14 other artists from across and her relatives; depictions are often unique Canada in the 2015 Toronto West Arts Collaborative elements and imagery within each work, co- Annual Juried Art Show at the Canadian National emerging through personalized anecdotes, as a Exhibition (CNE). The artwork is a mixed media gesture of gratitude that builds upon the renewal piece incorporating glass & an acrylic skin on paint- of familiar relationships. ed canvas. The exhibit will be shown in the Queen Elizabeth Building/Arts and Crafts Hall daily between the hours of 10 am and 10 pm. For more informa- tion on the CNE, please visit www.theex.com
| 13 | Carrie Perreault in exhibitions: Victoria Piersig in exhibitions: Shifting Practices Trading Places September 10 - October 10, 2015 September 25 – December 31, 2015
Marilyn I Walker School of Fine and Performing Arts Harbourfront Centre 235 Queens Quay West, Toronto ON M5J 2G8 This video diptych “I Can’t Eat Anymore” features performative acts by a Cambodian man (Mr. Vuthy) Traveling with a cargo of wheat from Thunder Bay to and woman (Phally). As instructed by the artist, each Montreal I trace the classic journey celebrated in song. person eats bananas until they cannot eat anymore. A story forgotton by most urbanites as gentrification Once each individual is full they say in their own time relentlessly pushes heavy industry and shipping “I can’t eat anymore” in Khmer, at which point the art- infrastructure from its place in the landscape. Thunder ist advises them off screen to continue to eat. Mr Bay to Montreal I trace the classic journey celebrated Vuthy and Phally do so with discomfort. in song. A story forgotten by most urbanites as gentri- fication relentlessly pushes heavy industry and ship- Community Voices ping infrastructure from its place in the landscape. September 18 - December 7, 2015 Trading Places Society for Contemporary Craft September 11 – October 30 2015 2100 Smallman St. Pittsburgh, PA 15222 U.S.A Saint John Arts Centre Ephemeral Sculpture are used tissues that I col- 20 Peel Plaze, Saint John NB E2L 3G6 lected from my last major depressive episode. This last occurrence was my longest one and this project Traveling with cargos of wheat, iron ore and gyp- started towards the end of it. These are the tissues sum – from Cape Breton to Thunder Bay- I trace I used from crying depression specific tears. For me the classic journey celebrated in song. A story these tissues act as a marker and help to make the forgotten by most city dwellers as gentrification private public. relentlessly pushes heavy industry and shipping infrastructure forms its place in the landscape. Jeanette N. Marshall A Fire in the Art Wendy Trethewey September 12- November 21, 2015 Nocturnes Tropicals November 17, 2015 - January 3, 2016 Illumine Gallery Vernissage: November 22, 3:00 - 5:00pm 364 Talbot Street, St. Thomas ON N5P 1B6 Bistro Le Forain, in le Salon des Lucioles “A Fire in the Art” is the premier fall exhibition at 189 Boulevard Saint-Joseph, Gatineau QC J8Y 3W9 Illumine Gallery in St. Thomas, Ontario. This new gallery juxtaposes modern art within a 19th cen- Based on a series of sketches done on her travels tury business establishment. Expect to see state to warm climates such as Costa Rica and Baja of the art paintings, fabric and glass art, ceramics, California. Wendy has turned these into a series of sculpture and installations set in historic classical colorful night scenes paintings that capture the architecture. The “fire” will range from images essence of a tropical evening. reflecting the heat of the sun to those depicting passion, the spark of understanding and inten- sively hot hues. Bring a fan. See www.illuminegal- lery.com and www.jeanettermarshall.com
| 14 | Sandra Hawkins Elaine Whittaker Arctic Ice Floes & Ground Zero New Compendium York City October 4 -December 27, 2015 September 10 – November 2, 2015 Opening: October 30 at 7:00pm Vernisage: September 27 at 2:30pm Islip Art Museum Nepean Creative Arts Centre 50 Irish Lane, East Islip, New York 11730 U.S.A 35 Stafford Road, Ottawa ON K2H 8V8 I have 4 digital images from my “Screened For” Sandra Hawkins’ series of three zinc-etching series in this art and science ground exhibit. prints (Ice Floes) and four Polaroid emulsion lift prints (Ground Zero New York City ) reflect her Julia Rempel concerns with rapid climate change and impli- Il etait une fois l’Orient cations for sea-level urban environments such September 3 - September 26, 2015 as New York City. This exhibition extends to Opening & Artist Talk: September 3 at 6:00pm November 2, 2015. Whippersnapper Gallery Andrzej Maciejewski Dundas Street West 594b Toronto ON M5T 1H5 Garden of Eden November 5 - November 28, 2015 Il était une fois l’orient, 2013-2015, is the juxta- Reception: November 5 at 6:00pm position of stereotyped images from a fantasized orient. These images involve the representation Art Gallery of St Albert of arabic or « oriental » women. It is a look back 19 Perron Street Street, Albert AB T8N 1E5 at the golden age of Egyptian cinema and a mod- est attempt at examining the place of the woman Still-life photographs based on the style of Old in this era and in western imagery. Masters paintings but shhowing 21st century fruits and vegetables with labels and PLU num- bers. In the same time the museum presents also an exhibition by local sculptor.
Publications
Information for Artists, Artists’ Contracts, The Visual Artists’ Guide to Estate Planning; all of your favourite CARFAC Ontario publications have been revamped! They now have new covers and continuous page numbers so that it is no longer necessary to dig through the entire book in order to find relevant chapters. Also, The Visual Artists’ Guide to Estate Planning will soon be available in French! Another exciting addition is that an electronic version of Artists’ Contracts is The Visual Artists' Information now available. Have you ever dreamed Artists' for rtists Guide to of simply fi lling in the blanks on these ontracts state Planning contracts electronically? Well, that’s
A Practical Guide for exactly what we have done in the electronic Agreements for Visual and Media Artists
Visual and Media Artists By Karilynn Ming Ho for CARFAC Ontario version—the entire Artists’ Contracts is
by Paul Sanderson & Ronald N. Hier
"The more artists use these contracts, the greater will be their general acceptance by available in a fi llable pdf form format. You galleries, community organizations, dealers and other institutions.”fi c, Artist - Robin Paci can even choose to purchase only the
Published by CARFAC Ontario contracts that you need, as opposed to Published by CARFAC Ontario Published by CARFAC Ontario the complete collection. These electronic versions are now available for purchase online.
| 15 | 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
15 October Aboriginal Traditional Visual Art Jim Logan 613-566-4414 ext. 5266 Forms Program for Individual Program Officer Artists
1 November Travel Grants to Professionals Jim Logan 613-566-4414 ext. 5266 in the Visual Arts Program Officer
15 November Aboriginal Peoples Noël Habel 613-566-4414 ext. 4178 Collaborative Exchange: Program Officer National and International Project Grants 1 December Project Grants to Visual Artists Michel Gaboury 613-566-4414 ext. 5265 Program Officer 613-566-4414 ext. 5094 Pao Quang Yeh Program Officer
Anytime Travel Grants to Media Arts Media Arts Section 613-566-4414 ext. 5914 Recommended to apply at least 10 weeks in advance. Professionals
Anytime Travel Grants for Aboriginal Noël Habel 613-566-4414 ext. 4178 Recommended to apply a minimum of 8 weeks in Collaborative Projects Program Officer advance of departure date.
Anytime Capacity Building Initiative: Shuni Tsou 613-566-4414 ext. 4173 Recommended to apply a minimum of 6 weeks in Travel Grants Program Officer advance of departure date.
| 16 | 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 October Craft Projects: Creation and Caroline Cotter 416-969-7455 | 1-800-387-0058 ext. 7455 Development Program Administrator [email protected]
15 October Craft Projects: Connections Caroline Cotter 416-969-7455 | 1-800-387-0058 ext. 7455 Program Administrator [email protected]
15 October Multi and Integrated Arts Kateri Gauthier 416-969-7424 | 1-800-387-0058 ext. 7424 Interim Program Administrator [email protected]
3 November Media Arts: Emerging Anne Gardé Gravestock 416-969-7461 | 1-800-387-0058 ext. 7461 Program Administrator [email protected]
4 November Visual Artists: Emerging Caroline Cotter 416-969-7455 | 1-800-387-0058 ext. 7455 Program Administrator [email protected]
17 November Northern Arts Terry Gitersos 416-969-7401 | 1-800-387-0058 ext. 7401 Program Administrator [email protected]
Marilyn McIntosh 807-622-4279 | 1-866-391-2221 Northwestern Consultant [email protected]
1 December Writers’ Works in Progress - Helen Floros 416-969-7440 | 1-800-387-0058 ext. 7440 Comic Arts Program Administrator [email protected]
15 December Visual Arts Projects Anne Gardé Gravestock 416-969-7461 | 1-800-387-0058 ext. 7461 Program Administrator [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
2 November Grants to Media Artists Peter Kingstone 416-392-6802 ext. 208 (Individuals) Visual/Media Arts Officer [email protected] DISPATCH At a glance .... Volume 21, Issue 3, September 2015 ISSN 1201-0081
DISPATCH is published by CARFAC Ontario 440-401 Richmond Street West Toronto, Ontario M5V 3A8 416.340.8850 / 1.877.890.8850 [email protected] www.carfacontario.ca Editor / Layout Copy Editors Victoria Glizer Bri Salmena Venessa Harris Contributors CARFAC Ontario Staff, Clayton Windatt and Victoria Ward.
The opinions expressed in DISPATCH are those of the authors and do not necessarily reflect those of CARFAC Ontario, CARFAC National or its regional affiliates.
CARFAC Ontario Board of Directors Yael Brotman (President), Devon Ostrom (Vice President), Kohila Kurunathan (Treasurer), Kristen Fahrig (Secretary), Ashley McKenzie- Barnes, Sophie DeFrancesca, Dave Kemp, Leesa Bringas and Michelle Forsyth.
CARFAC Ontario Staff Sally Lee (Executive Director), Victoria Glizer (Membership Manager), Diann Missal In the photo: Sally Lee introduces panel discussion speakers Adam (CARFAC Online Coordinator), Bri Salmena Freedman and Kristen Fahrig, . Photo by Victoria Glizer, CARFAC Ontario. (Administrative Assistant) and Venessa Harris (Publications Assistant).
CARFAC Ontario is supported by the Ontario Many thanks to Adam Freedman Arts Council, the Toronto Arts Council, the Ontario Ministry of Culture, the Ontario and Kristen Fahrig for presenting Trillium Foundation, and by our members. at Empower Yourself: Confident Negotiation for Visual Artists and the sharing their knowledge and an Ontario government agency un organisme du gouvernement de l’Ontario experience!
CARFAC Ontario is the association of professional visual and media artists in Ontario, Promoting the legal and economic rights of Visual and Media Artists for over 40 years. As an artist-run organization, CARFAC Ontario knows the needs of artists and has developed services and programs to assist artists at every stage of their career.