CARFAC Ontario Strengthening the Province Project - Final Report 2013

transcript

7/27/2019 CARFAC Ontario Strengthening the Province Project - Final Report 2013

1/57

Strengtheningthe Sector

Resources and Codesof Practice for theVisual, Media and

Craft-Based ArtsSector in Ontario

With assistance from Ontario Crafts Council, Artis t-RunCentres and Collectives of Ontario, Media Arts Network ofOntario, the Aboriginal Curatorial Collective and the

Ontario Association of Art Galleries

Phase 1Final

ReportJuly 2013


2/57

Strengthening the Sector: Phase 1 Final Report| Millier Dickinson Blais

Contents

1 INTRODUCTION .............................................................................................................................. 1

WHAT IS THIS INITIATIVE ABOUT? 1

THIS REPORT 2

2 RESEARCH AND ANALYSIS .......................................................................................................... 3

BACKGROUND RESEARCH 3

DATABASE DEVELOPMENT 4

3 COMMUNITY ENGAGEMENT ......................................................................................................... 6

REGIONAL FORUMS 6

PROVINCE-WIDE SURVEY 7

4 MOVING FORWARD ..................................................................................................................... 12

PRIORITY ON-LINE RESOURCES 12

PRIORITY CODES OF PROFESSIONAL PRACTICE 12

APPENDICES ...................................................................................................................................... 14

APPENDIX A: BACKGROUND RESEARCH REPORT 14

APPENDIX B: REGIONAL FORUMS REPORT 15

We would like to gratefully acknowledge the support of theOntario Trillium Foundation for providing funding for this

project.


3/57

Strengthening the Sector: Phase 1 Final Report | Millier Dickinson Blais

1

1 Introduction

What is this Initiative About?

Strengthening the Sector: Resources and Codes of Practices for the Visual, Media and

Craft-Based Arts Sectoris a multi-year project focused on researching and developing

a range of resources and tools to support the visual, media and craft-based arts

sectors in Ontario. The following goals guide the project:

1. Establishing codes of professional practice in the visual, media and craft-

based arts sector.

2. Developing on-line resources to support the sector

3. Strengthening relationships across the sector and the province.4. Supporting professionalization across the sector.

CARFAC Ontario is leading the project supported by a Steering Committee comprised

of the Ontario Association of Art Galleries, Ontario Crafts Council, Artist-Run Centres

and Collectives of Ontario, Media Arts Network of Ontario and the Aboriginal Curatorial

Collective. CARFAC Ontario acknowledges the support of the Ontario Trillium

Foundation for the project. The Steering Committee played an indispensable role in

guiding the project, and demonstrated a strong interest in forging stronger partnerships

and to build capacity across the sector.

AuthentiCity, the Cultural Development Division at Millier Dickinson Blais was retained

to provide consulting support to Phase 1 of the project.

The project is being undertaken in three Phases.

Phase 1 - Knowledge Building and Community Engagement - this phase of work

focused on:

Undertaking research to understand approaches to the development of codes ofprofessional practice in a range of arts sectors in Canada and internationally

Building a database of organizations and facilities associated with the visual,media and craft-based arts sectors in Ontario across the province

Undertaking community engagement across the province to help shape project

directions and priorities Making recommendations to guide subsequent phases of work.

Phase 2 Developing Resources and Codes of Practice Development - this phase ofwork will:

Develop on-line tools and resources for the sector based on priorities defined inPhase 1

Develop the first codes of professional practice for the sector based on prioritiesdefined in Phase 1


4/57


2

Phase 3 -Implementation and Engagement - this final phase of work will:

Launch on-line resources

Distribute and promote the first codes of practice.A Note on Language and Codes of Professional Pract ice

At the outset, the terms Best Practices orIndustry Standards were used to describe

one of the core goals of the project. Emerging form the research and community

engagement undertaken in Phase 1 it was concluded that the preferred language was

Codes of Professional Practice. The three terms are used interchangeably in various

jurisdictions. Further detail on definitions of these terms is set out in Chapter 2.

The Process

Step 1 Formation of the Steering Committee (September 2012)

Step 2 Background Research (October November 2012)

Background Research Report (December 2012)

Step 3 Database Development (November 2012 March 2013)

Step 4 Community Engagement

Regional Forums (December 2012 January 2013) Province-wide Survey (March June 2013)

Step 5 Final report (July 2013)

This Report

Chapter 2: Research and Analysis this chapter provides highlights from a previous

report produced for the project Background Research Report (December 2012). This

report summarized findings from the research on codes of practice undertake across a

range of arts disciplines and a range of jurisdictions forms Appendix A of this report.

Chapter 2 also reports on the development of a database of organizations and facilities

associated with the visual, media and craft-based arts sectors in Ontario.

Chapter 3: Community Engagement this chapter provides highlights from the two

forms of community engagement undertaken in Phase 1. The first is the six regionalforums organized across the province from December 2012-Junuary 2013. A previous

report produced for the project Regional Forums Report (March 2013) forms Appendix

B of this report. The second form of community engagement was a cross-province

survey mounted to seek wider input to the project.

Chapter 4: Moving Forward this chapter sets forth recommendations regarding the

next phases of work forStrengthening the Sector: Resources and Codes of Practices

for the Visual, Media and Craft-Based Arts Sector.


5/57


3

2 Research and Analysis

Background Research

The Background Research Report summarized findings from a scan of initiatives

undertaken nationally and internationally to develop codes of professional practice

(best practices). For each initiative, the scan identified:

Sponsoring Organization or Agency Topic or Title (of the code of practice) Discipline - e.g., visual arts, crafts, media, design, literature, dance, etc. Notes defining features of each initiative Issues the specific issues addressed by the code of practice (e.g., written

agreements, frequency of exhibitions, exhibition arrangements, etc.)

The Report examined two leading practices in more depth: CARFAC Saskatchewan

Best Practice Development Project1

and the Code of Practice for the Professional

Australian Visual Arts, Craft and Sectors2

The scan revealed that, while initiatives vary greatly, a number of commonalities could

be identified. The following definitions were cited drawing from the two leading

initiatives noted above.

developed by the National Association for

the Visual Arts (NAVA) in Australia. The latter is widely acknowledged as the leading

international work in the field.

CARFAC Saskatchewan The most ethical, equitable, and reasonable form of anyspecific business arrangement between an artist and the user of his/her creative work.

Best practices generally address sector issues not addressed formally through

legislation and legal provisions.

National Association for the Visual Arts - A set of practical and ethical guidelines for

the conduct of business between arts/craft/design practitioners and galleries, agents,

dealers, retailers, buyers, sponsors and partners, commissioners, employees, and the

managers of residencies, workshops, competitions, prizes and awards.

From the research, a number of potential initial topics forStrengthening the Sector:

Resources and Codes of Practices for the Visual, Media and Craft-Based Arts Sector

were identified:

Best practices related to artists and their interaction with (non-profit) public artgalleries, artist-run spaces and co-ops

Best practices related to their interaction with (for-profit) commercial art galleries Best practices related to the conduct of studio tours as they relate to the interests

and treatment of artists in this context

1http://www.carfac.sk.ca/?s=resources&p=bestpractices

2http://www.visualarts.net.au/advicecentre/resources/publications/codepractice3rdedition


6/57


4

Best practices related to artists residencies, public art competitions andcommissions, art fairs, alternative exhibition venues, artists live-work spaces

(focused on the interests and treatment of artists in these contexts)

Finally, the Background Report drew attention to the growing significance of

municipalities in Ontario in relation to cultural planning and the development of cultural

resources. It will be important to include and engage municipalities in the next phases

of the project to provide them with knowledge and guidance in advancing their cultural

plans and mandates.

Database Development

Phase 1 of the project included the development of an asset database for

organizations and institutions across the visual, media and craft-based arts sector. The

first step in the development of the database was confirming the categories of

organizations that would be the focus of data collection (the data framework). The data

framework drew primarily on Statistics Canada Canadian Framework for Cultural

Statistics that defines the cultural sector in Canada.

These categories were then reviewed and refined by the Steering Committee to

confirm the following framework including 15 categories across the visual, media and

craft-based arts sector.

Art and Cultural Centres Artist Run Centres Commercial Art Galleries Public Art Galleries Craft Dealers/Stores Craft Supply Craft Galleries Craft Organizations Institutional Galleries Museums Media Organizations & Production Centres Visual Arts Instruction Visual Arts Organizations

The first source of data was infoCanada that aggregates data from two sources

Statistics Canada and local Yellow Pages and categorizes them based on industry

standards. This baseline data was then supplemented through data provided by the

organizations represented by members of the Steering Committee. In the end, close to

1,300 organizations and facilities were identified. In addition, 77 post-secondary

programs in the three sub-sectors were included in the data.

Information on each organization/facility at this stage in the data collection process

includes only basic or tombstone data i.e.


7/57


5

Name of organization Category Street Address Phone Number

Each organization/facility has been geocoded (i.e., assigned a point of latitude and

longitude) so that the data can be mapped using Google maps or other mapping

technologies. The mapping of these assets will be a priority in the next phase of work.

This mapping work will also need to address strategies for maintaining and updating

the data over time.


8/57


6

3 Community Engagement

Regional Forums

The first community engagement initiative saw the organizations of six regional forums

across the province. The forums took place in the following locations:

Niagara/Hamilton Forum - at the Niagara Artist Centre Thunder Bay Forum - at the Thunder Bay Art Gallery Sudbury/North Bay Forum - at the Art Gallery of Sudbury Toronto/Mississauga Forum - at Gallery 1313 London Forum - at Museum London Ottawa Forum - at Gallery 101

The forums were organized with support and guidance from the Steering Committee

and the assistance of regional supporters and organizations. Over 130 attendees

registered for these forums representing a range of disciplines and interests.

The full Regional Forums Report is attached as Appendix B and contains a detailed

summary of the discussion at each regional forum, as well as a synthesis of themes

across all forums. These overarching themes are organized based on four questions

that guided discussion at each forum.

1. Challenges Working in the Sector in Local Communities

2. Local Resources Needed to Address These Challenges

3. Online Resources Needed to Address Challenges and Support the Sector

4. Priority Topics for Codes of Practice (Best Practices)

Major recurring themes from the forums included:

Weak networks and lack of mentoring opportunities. Challenges accessing information and resources. Lack of opportunities for professional development (particularly in the area of

business and entrepreneurial skills).

Lack of understanding of professional artists in communities.

While there were themes that were consistent across the province, some regional

differences were noted. In rural areas and in more remote areas such as NorthernOntario, access to information, resources and networks was cited as more acute. In

these areas there was significantly more interest in the development of on-line

resources than in the development of codes of professional practice (although the

benefits of developing the codes of practice were acknowledged).

A wide range of potential online resources were identified through the regional forums.

The following emerged as priority codes of professional practice (in no order of priority)

Professionalism of presentation/display


9/57


7

Standardization of calls for submissions Charitable donations of work to public institutions or charities Resale rights Public art commissions and competitions (with municipalities as a primary target

audience)

Relationships between individual artists and public galleries Relationships between individual artists and commercial galleries

Findings from the forums informed the development of the province-wide survey

intended to seek further input to the project.

Province-Wide Survey

The online survey addressed similar issues to those explored at the regional forums:

Challenges facing the sector

Defining priorities for online resources to address challenges and strengthen thesector

Defining priority topics for codes of professional practice.

Questions included closed questions giving people specific answers to choose from

(and rank) and open-ended questions providing opportunities for additional comments

or input.

Additional detail on survey responses is found in Appendix C.

The survey was widely distributed using membership contact list from CARFAC

Ontario and members of the project Steering Committee.

Over 150 respondents answered the survey. Of these, 72% self-identified as individual

artists and 28% as an organizations or an institution in the sector.

More than half of the respondents were visual artists. The second largest group came

from arts administrators (12.1%). Responses were received from all regions of Ontario:

40% from the GTA 18% from Southwestern Ontario 25.8% from Eastern Ontario (including 11.4% from Ottawa)

16.2% from Northern Ontario.

Challenges Facing the Sector

The three main challenges identified in the survey are:

1. Funding (37.4%)

2. Professional development (29%)

3. Weak network/communication between artists and organizations/institutions

(29%)


10/57


8

Individual artists and organizations/institutions identified the same challenges but the

order and recurrence differ.

Individual artists

The biggest challenge for individual artists is the weakness of networks and

communication between artists and organizations (31.2% of responses).

Funding for individual artists was the second highest response (30% of responses).

From the open-ended responses, this challenge appears to be coupled with a larger

challenge that pertains to a broader lack of resources. Three types of resource-based

challenges for artists emerged from the survey:

Financial resources (fees, salary, remuneration) Physical resources (housing, live/work space, supplies) Professional development and support (templates, online courses, etc.).

Organizations/Institutions

Funding emerged as the top challenge for organizations (38.2% of responses) followed

closely by professional development needs (35.3% of responses). Weakness of

networks and communication was only selected by 17.6% of respondents self-

identifying as organizations.

Regional Differences

Regional differences were more marked than those between individual artists and

organizations related to challenges faced by the sector.

Similarly to the regional forums, artists in rural and more remote areas including

Northern Ontario face acute challenges in terms of networks/communication andresources.

Weak networks and communication was ranked lower in the GTA and to a lesserextent in the Ottawa region.

Funding appears to be a more pressing challenge for respondents in NorthernOntario.

Respondents from larger urban centres were more likely to link the challengearound resources to physical resources, especially affordable live/work spaces.

Priority Online Resources

Respondents were asked to rank on a scale of 1 to 5 a range of potential online

resources that had been identified through the regional forums. The four highestranked resources for all of the respondents were:

1. An online database containing information on funding sources (an overall

ranking of 4.12)

2. On-line CARFAC Ontario contract templates (with emphasis on matters such

as copyright infringement issues) (3.91)

3. An central online hub providing direction to a range of issues and information

affecting the visual, media and craft-based arts sector (e.g., funding agencies,

professional associations, professional development opportunities (3.75)


11/57


9

4. A searchable province-wide database of organizations and facilities across the

visual, arts and craft-based arts (3.54)

Individual Artists and Organizations

The top three online resources for individual artists and organizations are the same.

The main differences are:

The online database containing funding information had a higher average ranking(4.30) for organizations, which is consistent with the stronger emphasis of funding

as a challenge for organization in the challenges facing the sector

The online template for contract was ranked higher (3.99) by individual artists.

Geographic Differences

Geographic differences were not as pronounced on this question as they were on the

first question related to sectoral challenges.

The table below provides a summary of the top four ranked responses for the different

regions of the Province (the colour shading represents the overall ranking for all

respondents, where the non-coloured cells correspond to an online tool that was not

part of the top four resources overall).

Region Highest ratedSecondHighest

Third HighestFourthHighest

GTA

onlinedatabasecontaining

fundinginformationand sources

3.88

onlineCARFACOntariocontract

templates3.78

online hubdirecting traffic

to differentinformation

3.71

A webinar toolavailable

province-wide

to supportprofessionaldevelopment

3.40

Al l but GTA



4.27


templates4.00



3.81

A searchableprovince-widedatabase of

organizations3.66

OttawaRegion

onlinedatabase

containingfunding

informationand sources

4.20

onlineCARFAC

Ontariocontract

templates4.00

A searchable

province-widedatabase of

organizations3.60

online hub

directing trafficto differentinformation

3.36


12/57


10

Southeastern



4.37

A searchableprovince-widedatabase of

organizations4.00



3.95

onlineCARFACOntario

contracttemplates

3.68

Southwestern



4.09


templates4.08


province-wideto support

professionaldevelopment

3.65



3.61

Northern(combined)



4.44



4.26

onlineCARFAC

Ontariocontracttemplates

4.21


province-wide

to supportprofessionaldevelopment

3.68

In addition to the ranking of online resource priorities, other regional differencesemerged from the survey in relation to the individual scores attained by the variousonline resources:

None of the online resources reached a score of 4.00 in the GTA. In all the otherregions, the top two priorities were rated above 4.00. And the top three were above

4.00 in Northern Ontario.

The online database containing funding information and sources received scoresabove 4.00 in all regions except in the GTA.

The online hub directing traffic to different information was ranked third overall,but received the widest range of regional scores, from 4.26 to 3.36.

Finally, the open-ended responses revealed a number of other potential onlineresources:

Online forums or spaces for exchange the purpose of these forums ranged fromplaces to seek practical information or advice to more advanced forums described

as places to explore emerging issues and trends, etc.

A database to exchange and share information about renting or sharing studio and

gallery space Support for marketing and social media training A spatial map to locate organizations and facilities (a province-wide map that

would enable people to zoom in on specific areas of parts of the province


13/57


11

Priority Topics for Codes of Professional Practice

Respondents were asked to rank in order of priority a number of potential topics for the

codes of practices that had been identified through the regional forums. The four

highest ranked topics were:

1. Relationships between individual artists and public galleries, artist-run centres,

craft and media art exhibiting/presenting organizations (4.14)

2. Relationships between individual artists and commercial galleries (3.66)

3. Public art commissions and competitions (3.65)

4. Charitable donations of works of art to public institutions or charities (3.47)

Individual Artists and Organizations

Individual artists did not rank Charitable donations of work to public institutions or

charities in their top four priorities, whereas this topic was ranked first byorganizations/institutions (4.06).

Professionalism of presentation/display was ranked fourth by each group, but does

not appear in the overall top four priorities.

Relationships between individual artists and galleries, artist-run centres, craft and

media art organizations was selected by over 30% of individual artists. While this topic

is relevant to organizations and institutions as well (ranked second with a score of

3.86), the development of codes of practices for the charitable donations of work was

the top priority for organizations (with a score of 4.06).

Regional Differences

The Relationships between individual artists and public galleries, artist-run centres,craft and media art organizations is the highest ranked code of practice in all regions.

However, outside the GTA, Public art commissions and competitions (3.79) is ranked

higher than Relationships between individual artists and commercial galleries (3.69).


14/57


12

4 Moving Forward

Priority On-Line Resources

Based on input gathered through community engagement, the following priorities for

on-line resources serving the needs of the sector have been identified. A number of

these resources will require further study and clarification prior to initiating

development.

Database of organizations and facilities

The database of organizations and facilities collected in Phase 1 should be made

available online. A searchable database could be complemented by the creation of an

interactive map enabling people to search for organizations/facilities on a geographic

basis. In addition, mechanisms and strategies to maintain and update the database

must be established.

Online information hub/portal

A centralized hub with links to relevant websites and information/resources was called

for. This online resource requires further definition and clarification of purpose prior to

any development process. A prioritization of types of links and information should be

defined, at least as a starting point for the development of such a resource (e.g.,

funders and funding information, government agencies, and arts service organizations,

etc.)

Online forum for communication and peer-to-peer information sharing

An online space should be created to encourage peer-to-peer information sharing and

communication. Some discussion spaces could be proactively established to address

priority information needs. Others could be self-generated or initiated by individuals

based on needs and interest. Forums will support strengthened networking and

communication, and help build a sense of community across the sector.

Specific online resources

The online platform could be host to a range of specific resources, including codes of

professional practice once they are developed. A specif ic resource that emerged as a

priority was online CARFAC Ontario contract templates. Courses or opportunities forprofessional development were another frequently called for information resource.

Priority Codes of Professional Practice

Phase 1 ofStrengthening the Sector: Resources and Codes of Practices for the Visual,

Media and Craft-Based Arts Sectorhas identified a wide range of topics for potential


15/57


13

codes of professional practice. The following have emerged as priorities for the first

generation of developing codes of practice for the sector.

Relationships between individual artists and public galleries, artist-run centres,

craft and media organizations

Relationships between individual artists and commercial galleries Public art commissions and competitions Charitable donations of works of art to public institutions or charities.

Developing Codes of Professional Practice

Drawing on experience and best practice in other jurisdictions that have developed

codes of practice/best practices, the following recommendations can be made.

Knowledgeable researchers for individual topics should be supported by advisorygroup or committee drawn from the sector and representing individuals or

organizations directly affected by the specific code of practice. A code of practice

addressing Relationships between individual artists and commercial galleries

should be guided by an advisory committee with representation from both groups

Consideration could be given to seeking support from organizations or agencieswhose affiliation with the project would bring with it added legitimacy and influence.

These could include funding agencies (such as the Ontario Arts Council, Ontario

Trillium Foundation, Ontario Ministry of Tourism, Culture and Sport), arts service

organizations (potentially others in addition to current members of the Steering

Committee), among others to be determined. CARFAC Saskatchewan used this

approach successfully securing support for the best practices project from a wide

range of influential provincial groups and agencies.


16/57


14

Appendices

Appendix A: Background Research Report


17/57

Strengtheningthe Secto r

Resources and BestPractices for theVisual, Media andCraft-Based ArtsSector in Ontario

With assistance from Ontario Crafts Council, Artist-RunCentres and Collectives of Ontario, Media Arts Network ofOntario, the Aboriginal Curatorial Collective and the


BackgroundResearch

ReportDecember 2012


18/57

Strengthening the Sector: Background Research Report | Millier Dickinson Blais

Contents

1 INTRODUCTION .............................................................................................................................. 1

THE PROJECT 1

BEST PRACTICE DEVELOPMENT 2

DEFINING BEST PRACTICES 2

2 EXAMPLES OF BEST PRACTICES ................................................................................................ 3

CANADIAN INITIATIVES 3

INTERNATIONAL INITIATIVES 7

3 DIGGING DEEPER ........................................................................................................................ 10

TWO LEADING INITIATIVES 101. AUSTRALIAN NATIONAL ASSOCIATION FOR THE VISUAL ARTS 10

2. CARFAC SASKATCHEWAN BEST PRACTICES DEVELOPMENT

PROJECT 12

4 CONCLUSION ............................................................................................................................... 14

THE CENTRALITY OF THE ARTIST 14

THE GROWING SIGNIFICANCE OF MUNICIPALITIES 14


19/57

Strengthening the Sector: Background Research Report | Millier Dickinson Blais 1

Phase 3Mobilizing the

Province

Implementationand Engagement

Phase 2 Guiding

The Province BestPractice

Development

Phase 1 Mappingthe Province

KnowledgeBuilding andCommunity

Engagement

1 Introduction

The Project

CARFAC Ontario is providing leadership on Strengthening the Sector: Resources and

Best Practices for the Visual, Media and Craft-Based Arts Sector (hereafter

Strengthening the Sector). The initiative is a multi-year project focused on researching

and developing resources and tools for the visual, media and craft-based arts sector.

The following goals guide the project.

1. Establishing industry standards in the visual, media and craft -based artssector.

2. Building relationships and trust across the sectors among all stakeholders.

3. Supporting professionalization across the sector.

4. Developing a basis for the development of policy and legislative initiativesthat are to the long-term benefit of the sector.

The project is being undertaken based on a consultative, consensus building process.

A Steering Committee is guiding the project representing CARFAC Ontario, Ontario

Crafts Council, Artist-Run Centres and Collectives of Ontario (ARCCO), Media Arts

Network of Ontario and the Aboriginal Curatorial Collective.

The project is being undertaken in three Phases.

Phase 1: Knowledge Building and Community Engagementis focused on buildinga foundation based on research, data collection and community engagement. This

report constitutes part of this foundational research. The approach taken with the

Background Research report has been to focus on practical information to inform the

project rather than adopting a more academically-oriented literature review.


20/57


Best Practice Development

The past decade has seen growing interest in the development of "Best Practices" with

early work emerging in countries such as Australia and the United Kingdom. In 2001,

the Australian National Association for the Visual Arts, (NAVA) published the first

edition of The Code of Practice for the Professional Australian Visual Arts, Craft and

Design Sector. Now in its 3rd edition NAVA has provided leadership internationally in

advancing the field. Recently, the International Federation of Arts Councils and

Cultural Agencies (IFACCA) have also begun to document these developments.

In Canada, Quebec and Saskatchewan have led the country in moving to advance this

agenda. CARFAC Saskatchewan launched Best Practices for the Saskatchewan

Visual Arts and Crafts Sector in 2009.

Defining Best Practices

One of the challenges in undertaking any project of this sort is establishing a shared

vocabulary for the project to ensure that everyone is working with the same set of

assumptions. The following are a few basic terms relevant to this phase of the

Strengthening the Sector project. While a much more extensive glossary will be

required as the project moves forward to the development of Best Practices in Phase

II, it is useful at the outset to set out the definition of Best Practices used in the two

primary bodies of work examined later in this report.

BEST PRACTICE - The most ethical, equitable, and reasonable form of anyspecific business arrangement between an artist and the user of his/her creative

work. Best practices generally address sector issues not addressed formally

through legislation and legal provisions (CARFAC Saskatchewan).

BEST PRACTICE -A best practice standard for the visual arts, craft and designsector. It provides a set of practical and ethical guidelines for the conduct of

business between arts/craft/design practitioners and galleries, agents, dealers,

retailers, buyers, sponsors and partners, commissioners, employees, and the

managers of residencies, workshops, competitions, prizes and awards (Australian

National Association for the Visual Arts).


21/57


2 Examples of Best Practices

As noted, the move to develop best practices and industry standards has

gained momentum in recent years in various parts of the world. The following chart

provides information on a range of initiatives in Canada and internationally. Of

particular relevance to the current project is the list of issues linked to each topic area.

Canadian Initiatives

Organization Topic or Title Discipline Notes Issues Addressed

CARFACSaskatchewan

IndustryStandardsbetweenCommercialGalleries &

Artists

Visual Arts

Crafts

This document sets outrecommended standards forprofessional practice in theinteraction betweenprofessional artists andCommercial Art Galleries inSaskatchewan in the visualarts and crafts sector.

Basis for Relationship; Written

Agreements Services to the Artist;Frequency of Exhibitions; Territory ofRepresentation; Pricing; GalleryCommission; Consignment;Discounts; Sales, Credit and Returns;Exhibition Arrangements and Costs;Goods and Services Tax; Copyright;Duty of Care; Dispute

IndustryStandardsbetween PublicGalleries &

Artists

Visual Arts

Crafts

This document sets outrecommended standards forprofessional practice in theinteraction betweenprofessional artists and Public

Art Galleries in Saskatchewan

in the visual arts and craftssector.

Basis for Relationship; Contracts andAgreements; Exhibition Costs;Exhibition Fees; Timelines; ArtistObligations; Promotion;Documentation; Copyright; Duty ofCare; Acquisition of Artists Work;

Deaccessioning; Sales of Artwork byPublic Galleries; Dispute

Public ArtCommissions

Visual Arts

Crafts

This document deals withcompetitions for commissionsof public art and thecommissions that result fromthem. It may successfully beapplied to the commissioningof artwork in othercircumstances, though theguidelines it contains may notalways be appropriate or cost-effective for smaller-scale,special purpose, or privatecommissions.

Definition of Commissioned Works;The Commissioning Process; Stagesin a Public Competition for Public Art;Stage 1 Planning and Preparation;Stage 2 Project Promotion; Stage 3

Detailed Project Description; Stage4 Acceptance of Images; Stage 5 -

Artist Short List, Stage 6 DesignMaquette, Stage 7 Final Decision;Stage 8 Contracts; Site; Risk andInsurance; Copyright andCommissions

Organization ofJuried GroupExhibitions

Visual Arts

Crafts

This document sets out artistand organizer responsibilitiesto ensure that the conditions of

juried exhibitions meet theartists expectation forprofessionalism, expertise, andsatisfactory exhibitionopportunity, and to carry outparticipation in a professionalmanner.

Entry Fees; Exhibition Fees; Use ofContracts; Preferred SubmissionFormats for Long-Distance Entries;Costs; Artists Responsibilities;Organizers Responsibilities;Damaged, Lost, Or Destroyed


22/57



CARFACSaskatchewan

Use of ArtistsWork forFundraisingPurposes

Visual Arts

Crafts

This document outlines artistsrights and responsibilities and

those of organizers offundraising events. It providesexplanations of CanadaRevenue Agencys rules for thecharitable donation of artworkand artists goods. Its intentionis to remove uncertainty andexploitation from this financialand presentation resource forboth the artist and the user ofhis or her work.

Donations of Artwork; Donations ofArtwork for Charitable Purposes Canada Revenue Agency; ProceedsReturned to the Artist; ArtistsResponsibilities; OrganizersResponsibilities; Delivery andCondition of Artwork; Display of

Artwork; No Removal of Artwork

Aboriginal ArtsAboriginalArt

Consistent with the vision andapproach to Best PracticeDevelopment undertaken bythe Australian National

Association for the Visual Arts,a distinct Best Practice wasdeveloped to reflect andaddress the unique needs andcircumstances of Aboriginal

Artists as identified by theseartists participating in meetingsand the communityengagement process used forthe overall Best Practicesproject.

Respectful Cultural Exchange:Diversity; Respectful Cultural

Exchange: Protocol; Fair andEquitable Treatment: Copyright; Fairand Equitable Treatment:

Authorization and Compensation;Advancing Aboriginal Arts: Supportfor Artists and Arts; Advancing

Aboriginal Arts: Collaboration andNetworking; Education: Training;Marketing: Market Development

Regroupementdes artistes enarts visuels duQubec

PrivateCommissionsfor Artworks

Visual Arts

Arts andCrafts

Literature

This document coverscommissions for the creation ofartworks made by individualsor firms; with or withoutcompetition. It addresses fourmajor topic areas, each with arange of specific issues.

Best practices - Commissioning ofartworks:

Definition of Commissioned Artwork;Commissioning Process; Duration ofthe Artwork and the Site; Risks andInsurance; Commissions for Artworksand Copyright; Maintenance andConservation of an Artwork; andTransfer of an Artwork

Main Steps - Commissioning ofartworks Without Competition

Planning and Preparation; Contactwith the Artist; and Contracts

Main Steps - Commissioning ofartworks With Competition

Planning and Preparation; Call forSubmissions; Detailed description ofthe Project; Receipt of the Portfolio;Selection of a Short List of Artists;Submission of Concepts orMaquettes; and Final decisions


23/57



Regroupementdes artistes enarts visuels duQubec

PrivateCommissionsfor Artworks

Visual Arts

Arts andCrafts

Literature

This document covers

commissions for the creation ofartworks made by individualsor firms; with or withoutcompetition. It addresses fourmajor topic areas, each with arange of specific issues.

Checklist For CommissioningArtworks

Concept or Maquette; Duration of theArtwork and Site; Schedule; Travel;Materials; Equipment; Delivery; and

Assistance; Installation; andPayments; Risks and Insurance;Maintenance and Repairs;Relocation; Copyright and MoralRights; Dispute Settlement

Commissionsfor Works ofPublic Art

Visual Arts

Arts andCrafts

Literature

This document covers publicart competitions and theresulting commissions forartworks. It addresses four

major topic areas, each with arange of specific issues.

Best practices - Commissioning ofworks of public art

Definition of Commissioned Artwork;Commissioning Process; Duration ofthe Artwork and the Site; Risks andInsurance; Commissions for Artworks

and Copyright; Maintenance andConservation of a Work of Public Art;and Disposal and Integrity of an

Artwork

Commissionsfor Works ofPublic Art

Visual Arts

Arts and

CraftsLiterature

This document covers publicart competitions and theresulting commissions for

artworks. It addresses fourmajor topic areas, each with arange of specific issues.

Main Steps - Commissioning AWork Of Public Art

Planning and Preparation; Call forSubmissions; Detailed Description ofthe Project; Receipt of the Portfolio;Selection of a Short List of Artists;Submission of Concepts orMaquettes; Final Decision; andContract

Checklist For CommissioningArtworks

Concept or Maquette; Duration of theArtwork and Site; Schedule; Travel;Materials; Equipment; Delivery; and

Assistance; Installation; Payments;Risks and Insurance; Maintenanceand Repairs;

Relocation; Copyright and MoralRights; and Dispute Settlement

CharitableDonations of

Artwork

Visual Arts

Arts andCrafts

Literature

This document summarizes therights and responsibilities ofartist donors and of donees;especially organizers of artauctions as fund-raising tools.It also discusses generaldonations of artworks.

Ethical Principles Underlying theUse of Artworks for Fund-RaisingActivities:

Donations of Artworks; Donations ofArtworks to Charities; Donations OfArtworks and The Canada RevenueAgency; Procedure for Donating anArtwork; Donations of Artworks andCopyright; Delivery and Inspection of

Artworks; and Exhibition of Artworks


24/57



ProfessionalWriters

Association ofCanada

Best Practicesfor CanadianMagazine,Publishing,Editing, andWriting

Publishing

This document was developedfor as wide distribution as

possible within the industry andrelated education and trainingprograms with the intention ofencouraging the adoption of itsunderlying, simple principlesand practices it lays out toestablish professionalstandards in the everyday workof producing Canadianmagazines.

Professional Obligations of Writers;Professional Obligations of MagazineEditors; Professional Obligations ofMagazine Publishers; SharedObligations

CanadianAlliance ofDance Artists -OntarioChapter(CADA-ON)

ProfessionalStandards forDance

Dance

This Best Practices guide isintended to promote andsupport professional standardsand conditions of work indance. It provides basic

guidelines intended for themembers of CADA-ON innegotiating work agreements -others are welcome to use it.The document providessuggested minimum standardsregarding hours of work, feestandards and workingconditions and outlines rightsand responsibilities in workagreements.

Rights and Responsibilities; WorkingConditions; Fees and Payment for

Dance Artists; Program and Credits;Publicity/Documentary Photographs& Video Footage; Health; AbsenceDue to Injury or Illness; Touring;Working Abroad; Copyright;Termination; Sex, Nudity & Obscenity;Discrimination & PersonalHarassment; Dispute ResolutionProcedure


25/57


International Initiatives

The following initiatives represent a mixture of best practices and on-line resources

addressing many similar issues to those addressed by best practice topics.


NationalAssociation for

the Visual Arts(Australia)

The Code ofPractice for theProfessional

AustralianVisual Arts,Craft and

Design Sector,3rd edition

Visual Arts

Crafts

Design

A further description of thisinitiative and publication isprovided below. Entirechapters in this substantial(160 page) report are devotedto each of the issues listedopposite. The number anddepth of issues addressed ineach chapter is too extensiveto be captured here, or in the

next section of the currentreport. The Code of Practicenot only identifies bestpractices related to eachissue, but detailed proceduralguidelines related to eacharea of best practice.

Commercial Galleries Exhibiting,Selling an Collecting Art, Craft andDesign; Best Practice for Artists andPublically Funded Galleries;Commissioning ; Residencies andWorkshops Competitions, Prizes,

Awards and Fundraising Exhibitions;Fees and Wages (specific fees andwages for different practitioners);

Copyright, Moral Rights, ResaleRoyalty, Equal Opportunity,Restrictions on Freedom ofExpression; Taxation, InsuranceOccupational Health and Safety

Issues and

ProtocolsSpecific toIndigenousPractitioners

Aboriginal Art

These Guidelines areinformed by the great diversityof Indigenous culture andexpression and refer to thecontext from whichIndigenous Australian artarises.

They affirm the right ofIndigenous Australians tomaintain, control and developtheir cultural heritage,traditional knowledge andcultural expression.

They are also about therecognition and respect thatshould be accordedIndigenous art, artists,cultures and communities.

Promoting Diversity of IndigenousArt and Cultures; MaintainingIndigenous Control; Communication,Consultation and Consent;

Protecting Secret and/or SacredMaterial or Restricted MaterialDealing in Artworks when the Artistis Deceased; Visiting Aboriginal ArtCentres; Visiting RemoteCommunities; Working inCommunities

Best PracticeGuidelines

AllA basic guide to legal issuessurrounding the art sector in

Australia

Displaying Visual Arts on theInternet; Business PartnershipChecklist; Artist Gallery Checklist;Sale of Artwork; Consignment;Image Reproduction; Licence for aPublication; Artist Gallery

Agreements (long term)


26/57



Artists AllianceNew Zealand

Code ofPractice

Visual ArtsA guide for artists and dealersto establish the best practice

'Agreement of representation'.

Copyright; Contracts; ArtistsObligations; Exhibitions; Artwork

Sales; Dealer Relationships

Galleries onCampus

ContemporaryArt

Design

Addresses issues related towhat does it mean to be auniversity gallery?

Student Art; Campus Galleries;Developing a Program; Funding;Exhibitions in University Space

The ArtistsInformation

Company UK

The Code ofPractice forVisual Arts

Visual Arts

The Code of Practice for theVisual Arts draws from theexperiences of practisingartists along with those ofcommissioners, curators andothers with whom artists workto draw out the principles thatunderpin good practice, andshows how they work inpractice.

Commission: Establishing a ChargeRate; Qualifications

Artists Feesand Payments

All

The framework takes intoaccount:

The level of remuneration forcomparator professionals

The costs specific tofreelance working

The artists particularcircumstances and location

How an artists knowledgeand experience level impactson charges

The Artist as a Service Supplier;Pricing; Freelance Status;Calculating a Day Rate; Adding onan Employers Costs; Quoting forthe Job

Curated Space Artist-CuratorCurated space looks atstrategies and interventions

within artist-curator practice.

Role of the Curator; Curated Spacesversus Exhibition Spaces; Quality of

Curated Spaces

Good Practicein Paying Artists

All

This Code of Practice for theVisual Arts encourages artistsand arts organisers tocontribute confidently whenmaking professionalarrangements. In particular itrequires recognising worthand considering the value ofall the resources that arebrought to the project.

Payments to Artists; JobDescriptions; Artist Residency; Self-employed Artist; Negotiation; ArtistDay Rates

Good Practicefor New Artists

All

Good practice for new artistsis an introduction to the widerange of practical andinsightful material available tonew artists.

Establishing your own Studio;Showcasing your Work; Funding;Self-Employment


27/57



The ArtistsInformationCompany UK

Negotiatingyour Practice

All

The texts in Negotiating yourPractice have been selected

to indicate the approachesand strategies some artistshave taken to define theenvironment for theirindividual practices.

Public Art and Compromise;

Expectations and Responsibilities;The Artist-Curator Dynamic; PublicCommissions; Social Spaces;Negotiation

European

Visual Artists

Code of

ConductVisual Arts

Their main objectives are thefollowing:

Efficient licensing of primaryrights, such as reproductionand broadcasting,

Efficient collection ofremuneration for secondaryrights,

Fair and quick distribution to

authors, nationally andinternationally,

Facilitating thedissemination of works,without active promotion,

Protecting authors rights,

Promoting further economicand moral interests of theirmembers.

Standards of good practice;democratic structures; transparencytowards all parties involved; fair and

effective licensing, collecting,distributing; dispute settlementprocedures

City ofMelbourne

Code ofPractice forgalleries andretailers ofIndigenous Art

IndigenousArt

The Code of Practice forgalleries and retailers ofIndigenous Art (the Code) inthe City of Melbourne is aguide in appropriate ways to

sell and display Indigenousart and work with Indigenousartists.

The Code is a developedstatement of principlesdealing with industry practicesdesigned to set a standard ofacceptable industry practiceand fair dealing. This code ofpractice is a guide to bestindustry practice.

Professionalism, honesty and

integrity; promotion of diversity ofindigenous arts and cultures;relationships with indigenous;cultural beliefs and practices;representation of indigenous artists;authenticity; fair trading; marketing;copyright; moral rights

ArtsQuest (UK)Artlaw (onlinecode of

practice)

Visual Arts

Crafts

ArtsQuest is an extensiveweb based resource thatprovides practical support to

visual artists andcraftspeople.

Copyright; Contracts; Artists ResaleRights; Publications Right; Art afterDeath; Censorship; Artist-led

studios; Fakes, Insurance andBankruptcy

Public ArtOnline (UK)

Practical Advice Public Art

The information here coversall aspects of thecommissioning process fromdeveloping a public artstrategy, finding an artist andfunding to managing acommission as an artist orproject manager

Commissioning; Advice; Contractsand Copyright; Funding; Localauthorities; Policies and guidance


28/57


3 Digging Deeper

The previous chapter dealt at a high level with information related to a range

of best practice initiatives. In this chapter, two of these initiatives are described in

greater detail, particularly related to the context and goals that shaped each initiative.

Two Leading Initiatives

1. Aus tralian Nat ional Associat ion for the Visual Arts

Definitions and Principles

The National Association for the Visual Arts (NAVA) has been an international leader

in advancing the field of industry standards. The Code of Practice for the Professional

Australian Visual Arts, Craft and Design Sectors cited frequently in other literature and

work in the field. The publication, now in its 3rd edition, represents more than a decade

progressively evolving and expanding work in the field. Given this body of practice, it is

useful to review foundational elements of the Code of Practice, including how NAVA

defines and conceptualizes the field.

NAVA avoids the language of industry standards in favour of the Code of Practice

which is defined as:

A best practice standard for the visual arts, craft and design sector

provides a set of practical and ethical guidelines for the conduct ofbusiness between arts/craft/design practitioners and galleries, agents,

dealers, retailers, buyers, sponsors and partners, commissioners,employees, and the managers of residencies, workshops, competitions,

prizes and awards.

The principles and practices outlined in the Code of Practice are voluntary and

embrace the language of should instead of must except in those areas addressed by

formal legislation (e.g., copyright, moral rights, taxation, etc.). Two underlining

purposes are identified for the Code of Practice:

To further the professionalization of the sector;

To establish a basis for the development of policy and legislative initiativesthat are to the long-term benefit of the sector.

The second is significant as it suggests the sector will be in a stronger position to

influence policy and legislation based on the credibility and legitimacy as a sector and

profession that flow from the Code of Practice.


29/57


At the outset, the Code of Practice did not address any form of monitoring or

evaluation of non-compliance with the standards. Rather the intent was to educate and

leverage enhanced capacity in a sector in which there had been too much reliance the

knowledge of individuals or institutional corporate memory. In addition to undertakingnew work, the Code of Practice was also intended to consolidate existing codes of

practice that were not well known or appreciated.

The Code of Practice addresses both practical issues and ethical principles for the

conduct of business in the sector: not merely describing how things are don e, but how

they should be done. The publication includes a glossary (called Explanation of

Terms) aimed at establishing both clarity and a shared vocabulary across the sector

related. The intent in establishing such a shared understanding of terminology is

intended not only to support interpretation of issues addressed by the Code of Practice

but more broadly to support development and capacity building across the sector.

The Code is intended to be flexible and dynamic, acknowledging changes in

technology and an increasingly global economy would require continuous re-

examination. Indeed, the publication has been extended and evolved significantly

since the first edition.

Issues Addressed

Commercial Galleries (Exhibiting, Selling an Collecting Art, Craft and Design) Best Practice for Artists and Publically Funded Galleries Commissioning Residencies and Workshops Competitions, Prizes, Awards and Fundraising Exhibitions

Fees and Wages (specific fees and wages for different practitioners) Copyright, Moral Rights, Resale Royalty, Equal Opportunity, Restrictions on

Freedom of Expression

Taxation, Insurance Occupational Health and Safety

Indigenous Codes of Practice

Like work in other countries (including Canada) this Code of Practice acknowledges

the need for consideration to be given to unique needs and circumstances facing

Indigenous practitioners. While maintaining that the existing Code of Practice is

intended for the use of all Australian visual arts, craft and design professionals and

those with whom they deal, it is acknowledged that specific matters of cultural protocol

and cross-cultural exchange are involved when dealing with Indigenous organizations

and practitioners. It acknowledges that these considerations will differ between urban-

based Indigenous practitioners and those living in more remote communities. Issues

requiring attention specific to the needs of Indigenous organizations and practitioners

include:

Group Ownership Interpretation


30/57


Appropriation Copyright Authenticity

2. CARFAC Saskatchewan Best Pract ices Development

Project

Two provinces have completed extensive work in the area of best practices Quebec

and Saskatchewan. Of the two, the one with the closest parallels to the current project

is the Best Practices for the Saskatchewan Visual Arts and Crafts Sector led by

CARFAC Saskatchewan.

A strong factor shaping the project was the Saskatchewans Status of the Artist

legislation adopted in 2009. This Act is a much stronger piece of legislation than The

Status of Ontarios Artist Act adopted in 2007. The latter serves more of an advocacy

document that recognizes the importance and contributions of artists in the province,

and commits the Government of Ontario to a range of (broadly defined) strategies to

advance the interests of artists (e.g., marketing and promotion of the arts, training and

professional development opportunities, improving access to information, promoting

health and safety, developing partnerships and fostering collaboration with various

sectors and government bodies, and strengthening the ability of arts and culture

organizations to provide support to artists). By contrast the Saskatchewan Status of

the Artist legislation addresses a more substantive set of issues such as mandatory

contracts and a formal collective bargaining system for professional artists.

The Saskatchewan Visual Arts and Craft Sector project was led by CARFAC

Saskatchewan but involved a range of Project Partners including the Saskatchewan

Arts Alliance, Saskatchewan Arts Board, Saskatchewan Professional Art Galleries

Association, Museums Association of Saskatchewan, Saskatchewan Craft Council,

Organization of Saskatchewan Arts Councils, Saskatchewan Cultural Industries

Development Council, CARFAC National, SaskCulture, National Association for the

Visual Arts (Australia).

An important objective from the outset was to seek formal endorsement of the resulting

best practices by these partners as a means of lending weight and legitimacy to project

outcomes, and to leveraging higher compliance with resulting best practices. The work

in Saskatchewan was also intended to inform later developments country-wide by the

national Visual Arts Alliance.The following framework of project goals, intended outcomes and topics of best

practices can inform work in Ontario.

Project Goals

The initiative was guided by three project goals.

1. Leadership and Consultation


31/57


o To facilitate engagement of the Saskatchewan Visual Arts and Craft Sector

o To document, recognize and discuss current issues and priorities

regarding the relationship between presenters and creators.

2. Sector Capacity Development

o To encourage sustainable working partnerships, collaboration and

relationship building between many diverse stakeholders of the

Saskatchewan Visual Arts and Craft Sector

3. Education and Advocacy

o To share research with the sector to support community in making

informed and strategic decisions as well as distribution and engagement of

developed resources.

o To build evidence and understanding of international best practices and

issues, building relationships in the international community, learning from

expert experience.

Intended Outcomes

In addition to these three project goals, a series of intended outcomes were identified

at the outset of the project.

Industry Standards Development: to research, develop, negotiate, and agreeupon ethical standards for use in the Saskatchewan Visual Arts and Craft Sector

Best Practices Application: to create several living documents that is in plainlanguage, and are easily used and endorsed by all parties within the sector.

Best Practices Support:to develop and implement education strategies toensure parties are supported to implement and distribute "Best Practices" and

electronic dissemination.

United Saskatchewan Visual Arts Sector: to develop healthy partnerships andrelationships within the community that can move the sector forward.

Topics

To date, Best Practice Standards have been developed for the Visual Arts and Crafts

sectors in the following areas.

Commercial Galleries and Artists Public Galleries and Artists Public Art Commissions Organization of Juried Group Exhibitions Use of Artists Work for Fundraising Purposes Aboriginal Arts


32/57


4 Conclusion

The Centrality of the Artist

While the range of topics addressed by the various best practice initiatives reviewed in

this document varies widely, a common denominator is that the vast majority pertain to

addressing the interests of individual artists and practitioners as they related to a range

of institutions, sales and distribution channels and other activities. While this may seem

on one level like a self-evident point, it is an important assumption to establish at the

outset of the project. For example, a range of potential initial topics to be addressed by

the project might include:

Best practices related to artists and their interaction with (non-profit) publicart galleries, artist-run spaces and co-ops

Best practices related to their interaction with (for-profit) commercial artgalleries

Best practices related to the conduct of studio tours as they relate to theinterests and treatment of artists in this context)

Best practices related to artists residencies, public art competitions andcommissions, art fairs, alternative exhibition venues, artists live-work

spaces but all focused on the interests and treatment of artists in these

contexts

Drawing on these examples, a best practice would not be considered addressing a

range of other operational issues related to public or commercial galleries, general

logistical matters and processes related to studio tours, etc.

The focus on the interests and concerns of individual artists is important to recognize

for a second reason. The project is assuming a holistic perspective on the sector and

the wide range of individuals and institutional actors engaged with that sector.

However, its focus is on the centrality of the artist helps communicate the reality that

without the work produced by these artists and practitioner the sector would not be

viable and the substantial economic impacts benefits generated by the sector could not

be generated.

The Growing Significance of Municipalities

While senior levels of government (Federal and Provincial) will continue to play

important roles in the health and vitality of the arts and culture in Canada (through

funding as well as policy or regulatory support), the reality is that increasingly the most

important level of government for the sector is municipalities. In Ontario, there has

been a tremendous expansion in the area of municipal cultural planning over the past


33/57


half-decade. Municipal cultural plans are intended to put in place strategies and

partnerships aimed at building sustainable local cultural sectors and integrating cultural

resources and activities more effectively with a wide range of economic and broader

community development agendas in communities.

Despite increased attention the majority of Ontario municipalities (outside major urban

centres) have relatively weak levels of knowledge and understanding regarding the

various disciplines and subsectors that comprise the overall cultural sector. While

administrative structures are changing, cultural mandates in many municipalities still

fall under the umbrella of Community Services or Parks and Recreation, rather than in

mainstream departments such as planning and economic development. There is an

opportunity through the Strengthening the Sector project to engage municipalities and

develop best practices that provide knowledge and guidance in advancing their cultural

plans and mandates.


34/57


15

Appendix B: Regional Forums Report


35/57

Strengtheningthe Secto r

Resources and BestPractices for theVisual, Media andCraft-Based ArtsSector in Ontario

With assistance from Ontario Crafts Council, Artist-RunCentres and Collectives of Ontario, Media Arts Network ofOntario, the Aboriginal Curatorial Collective and the


RegionalForumsReport

March 2013


36/57

Strengthening the Sector: Regional Forums Report | Millier Dickinson Blais

Contents

1 INTRODUCTION .............................................................................................................................. 1

2 INDIVIDUAL FORUMS .................................................................................................................... 2

NIAGARA/HAMILTON FORUM 2

THUNDER BAY FORUM 5

SUDBURY/NORTH BAY FORUM 7

TORONTO/MISSISSAUGA FORUM 9

LONDON FORUM 12

OTTAWA FORUM 13

3 FORUM THEMES .......................................................................................................................... 16

CHALLENGES WORKING IN THE SECTOR IN COMMUNITIES 16

LOCAL RESOURCES NEEDED TO ADDRESS CHALLENGES 18

ONLINE RESOURCES NEEDED TO ADDRESS CHALLENGES 19

PRIORITY BEST PRACTICE TOPICS 20


37/57


1

1 Introduction

Strengthening the Sector: Resources and Best Practices for the Visual, Media and

Craft-Based Arts Sectoris a three-year project focused on researching and developing

a range of resources and tools to support the visual, media and craft-based arts

sectors. The ultimate goal of the project is establishing a set of best practices to

advance industry standards through a consultative, consensus building process. The

resulting ethical and practical professional standards and best practices developed will

provide guidance in areas where regulation and agreements currently do not exist.

The first phase of the project focuses on building a solid base of information to inform

subsequent phases of work. This knowledge base is being generated through focusedresearch and an extensive community engagement process involving six regional

forums and a province-wide survey. Over 130 attendees registered for these forums

representing a range of disciplines and interests.

CARFAC would like to extend thanks to the following individuals for their assistance in

organizing and hosting the forums.

Niagara/Hamilton Forum Stephen Remus, Natasha Pedros, Jeremy Freiburger,Jenny Gladish from Cobalt Connects and the Niagara Artists Centre

Thunder Bay Forum Sharon Godwin, David Karasiewicz and the Thunder BayArt Gallery

Sudbury/North Bay Forum Clayton Windatt, Karen Tait-Peacock and the ArtGallery of Sudbury

Toronto/Mississauga Forum Stuart Keeler, Phil Anderson and Gallery 1313

London Forum Greg Ludlow, Brian Meehan, Jewell Goodwyn and MuseumLondon

Ottawa Forum -David Jones, April Britski, Melissa Gruber, Penny McCann, LauraMargita, Georgia Mathewson, Ottawa Art Gallery and Gallery 101

This report summarizes findings emerging from the forums. The results of the forums

will inform the development of the province-wide survey to seek further input to the

project.


38/57


2

2 Individual Forums

Niagara/Hamilton Forum

This was the first of the six forums, and a number of lessons were learned that refined

the approach to subsequent forums. The first question as stated encouraged many

participants to reflect on challenges they faced in their own communities, often related

to challenges with lack of municipal support and other community-specific issues.

While these are important concerns and challenges for participants, the next forum

shifted the question to focus on challenges people faced working in the visual, media

and craft-based arts sectors. This was intended to focus discussion on how the sector

could support and strengthen itself through strategies and initiatives in their physical

communities and on-line.

Question 1: What are the challenges you face working in your

community?

Challenge finding the time and collective voice to advocate for the importance ofthe art and culture to the municipality and the community too much time spent

trying to defend and validating the importance of the arts

The changing nature of professional artist funding bodies definitions (CanadaCouncil, Ontario Arts Council dont work)

Divided opinion within the group as to whether solutions lay in more money from

government to support the sector and those who felt the onus was on artists and

small arts organizations themselves to become more entrepreneurial and self-

sufficient partially through greater local partnerships and collaboration.

There is a challenge related to professionalism when in the presentation of work ina variety of public venues; there is a need for standards (potentially best

practices?) in this area i.e.,

o The library has no policy or standardso The municipality has no policy, standards or knowledge to manage

presentation in municipal facilities and venues.

o The Art Crawl Hamilton its more important to drive as many people

through multiple venues and the quality of both the art and thepresentation suffers.

Fragmentation of the arts community Challenge promoting and getting exposure for local artists and arts activities

limited coverage in local media

Community perception of the arts as either entertainment or as amateur hobbiesrather than professional practice

Municipal government/ bureaucracy not attuned to the professional arts sector


39/57


3

St. Catharines challenges

o Limited community engagement in the artso Need more networking, mentoring and support from fellow artistso Wiki based community calendar of events needed to promote and

update events, etc.; cant be centralized by any one body but open to

contributions to all

Hamilton challenges

o No way of capturing/ documenting achievements (possible publicportal needed)

o Need standardized process for submitting applications to galleries(potentially a best practice)

o Artists have made a huge contribution to civic rejuvenation insufficient appreciation and acknowledgment by the City

o Economic importance of arts and culture must be better understoodand promoted

o Get rid of hurdles and excessively bureaucratic processes Cityimposes

Knowing how to find money, where to look for artist fees, grants, etc. youngerartists in particular dont know where to start or who to talk to

Need to educate audience/ consumers/ clients about copyright standards and therights of the artist

Difficulty locating material and supplies locally Much more effort needed to build audiences and find newaudiences

Finding flexible venues Lack of commercial art galleries in St. Catharines Lack of an arts council in St. Catharines Lack of standard submission on fees Municipality not in tuned to the art sector Cultural workers remuneration is low across all practices Developing cultural sector workers who are responsive to their communities and

no to institutions that have produced them

Question 2: What resources would help address these challenges and

make your practice better?

A central website l isting artist and arts activities that would support the arts sectoritself in better networking and be a tool for building audiences and community

support

Website should also include professional development opportunities More funds to support marketing and promotion More people writing more often about the arts in local papers and other places


40/57


4

A local forum to support conversation and an opportunity for critical discourse keeping track of emerging thinking and trends

Better relationships between the education institutions and the community Mentoring programs and initiatives Need something like Americans for The Arts connecting the arts community,

business, policy, research, etc.

Need for clear and concrete cultural plans/policies. CARFAC could recommend fees, requirements, standardized consistency Support in raising standards in curatorial practices Educate businesses and institutions that are potential venues for presenting local

artists

Support for writing grants especially for younger artists An Artscape-like building live/work spaces, studios and exhibition facilities and

networking venue

High school curriculum must educate and make students aware about whatprofessional arts are about and potential make students aware of career

possibilities.

Possibly an awards system - as long as its run in a legitimate and transparent way- who is awarding is important

City policy that dedicates a percent of costs for new development to support publicart

Community work spaces for classes and workshops Contracts/ searchable database of contracts, fees, etc. - CARFAC has many of

these resources but they are not easy to access

Develop innovative means of generating revenue for the sector such as the newToronto billboard tax Greater regional communication, networks, responsiveness

Question 3: What web-based tools and resources would you like to see

on a final project website?

Something like Akimbo, but free LinkedIn for artists A platform for networking and collaborations Platform/portal should have 2 components

o Public component raising awareness and buildingrespect/understanding

o Private artists forum to serve the sectoro Ideally the portal should enable connections to be made both locally

and province-wide

Publication of standards a place to communicate and promote best practices -fees, presentation standards, etc.


41/57


5

A portal to help find grants and funding opportunities. A searchable database for contracts - put valuable CARFAC publications and

resources such as contracts publication on-line

A rating system for galleries artists should be able to communicate theirexperiences with both commercial and public galleries both positive and negative

Local mapping of where artists are located and details about their arts practice Web-based opportunities for professional development Some mechanism or support to help artists build their portfolios Mechanisms to support commercial collaboration

Question 4: What should be the priority topics for Best Practice

Development?

Fee standards Question as to whether it is possible to have province-wide best practices given

diversity of institutions, size of communities, etc. possibly a need to be

interpreted in local contexts

Standard contracts and guidelines related to how artists approach and interact withgalleries

Even if best practices and standards are developed, will they be enforced? Need to consult with the Association of Municipalities of Ontario, Chambers of

Commerce other important stakeholders in the development and promotion

of best practices

It is the communitys responsibly to self-determine what standards and bestpractices should be maybe there can only be a provincial framework best

practice that is then interpreted locally.

Standards or best practices for submissions to commercial galleries, public artcompetitions, etc.

Need some standards for non-traditional spaces - cafes, corporate offices,restaurants; need to help define what kind of agreements are needed in these

spaces, as well as more formal or traditional spaces

Best practices for donating work, selling work, fundraising and fees, exhibitions Best practices for public art competitions and commissions

Thunder Bay ForumQuestion 1: What are the challenges you face working in the visual arts,

media or craft-based arts sector in your community?

Lack of access to supplies or supplies are only available south of the border (US) Networking opportunities and gatherings spaces for artists Media based equipment - none is available in Thunder Bay or in rural/ remote

communities


42/57


6

Limited exhibition space How do you promote your work outside your immediate community what are the

skills and costs involved; many artists in smaller communities simply cant survive

on the basis of local markets

The challenge of trans-border customs tariffs In the craft sector (and other sectors) artists must leave the community for

education or professional training; many wish to return to their home communities

but face communities suffering economically and non-supportive municipalities

Large differences and challenges between urban versus rural and remotecommunities

Must establish consistent procedures There must be greater respect for the professionalism of artists public perception

of hobbyists

Public funding constraints threaten sustainability of projects and organizations nocore funding

o Escalating demand by funders in terms of applications for funding tremendous amount of paperwork for relatively few dollars

In smaller and isolated communities, there is frequently repetition of the sameprojects undermines vitality and interest in the arts

Question 2: What resources would help address these challenges and

make your practice better?

Access to supplies - an A to Z rental for the arts

Artist salons - venues for artist to talk, connect, share knowledge a gatheringplace

Strategies for strengthening relationships with other artists An eBay for artists Artists need to know more about social media for connecting and networking Need information on emerging technologies impacting on artistic practices Must build stronger relationships with the tourism industry strategies that connect

our own artistic practices with larger economic development agendas

Online databases of individuals and organizations There is a need for best practices and how -tos related to different areas of arts

administration

Kijiji for artists Greater intergenerational interaction


43/57


7

Question 3: What web-based tools and resources would you like to see

on a final project website?

Must differentiate on-line information and resources resources to support and

serve the professionals very different from best practices; shouldnt confuse the

two

A Google-like tool for locating resources/ expertise/ institutions, etc. how do wemake it easier for people to find one another and the institutions with whom they

interact

Kijiji type website for exchanging supplies A forum for conversations nationally and internationally Easier ways of finding supplies on-line or stores that are willing to ship even if

they dont have an online presence

Question 4: What should be the priority topics for Best PracticeDevelopment?

There may need to be separate codes of practice for different disciplines andinstitutions visual arts and crafts, media arts, artist-run centres, public galleries,

commercial galleries, festivals, artists co-op studios, etc. not sure that one size

can fit all

Would prefer the terms tool kits and guidelines for artists and art organizationsrather than code of practice or best practices, so it becomes a reference,

checklist or negotiating tool for artists and art workers in this way the best

practices will feel less imposed

Sudbury/North Bay Forum

Question 1: What are the challenges you face working in the visual arts,

media or craft based arts sector in your c

CARFAC Ontario Strengthening the Province Project - Final Report 2013

Documents