Dispacth December 2014

8/10/2019 Dispacth December 2014

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Features: From Head to Toe: The Distinct Presence of Performance Art inthe Visual Arts Sector | Documenting Performance Art | Organizational Profile:FADO Performance Inc

Plus: CARFAC Ontario Members Exhibition Listings | Grants Calendar | Keeping

you connected ... Local News from Across the Province

PERFORMANCEART

D ISPATCHVO L U ME 20 - IS S U E 4 - DE C E MB E R 2014

In the photo: Performance Art in Canadapanel discussion during the nationalArtists for Artists:Art, Activism, and Adaptatioconference in September 2014. Panelists (from left to right): Camille Turner, Tanya Mars, Shannon Cochrane and Ruth Howard

Photo Credit: CARFAC National


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Executive Directors Report

If you want to get a strong reactionfrom a visual artist, ask themwhat they think about donatingto charitable fundraising events.More often than not, the artist will

explain to you how challengingthe experience was and whythey are reluctant to donate tofuture events.

CARFAC Ontario has taken on the task ofaddressing these challenges. We have put togethera committee of artists as well as representativesfrom the gallery and not-for-profit communities. Ouraim is to not only listen to artists concerns but alsobe respectful of the important role that fundraisersplay in sustaining community-oriented institutions.

We hope to have a code of practice on the topic ofcharitable fundraisers completed by this time nextyear. This is happening in parallel with work oncodes of practice related to public art commissions,archives and the relationship of artists to galleries.

Our big kick-off event occurred on December 3rd atCUBE Gallery in Ottawa . With almost 50 people inattendance, the discussion was lively and includeda variety of professionals closely linked to the visualarts community in the City. Laura Margita (Gallery101) and Jason St.Laurent (SAW Video) spoke from

the vantage point of artists AND administrators atArtist-Run Centres, Barbara Gamble weighed infrom the perspective of a practicing artist with a lot

of experience in being involved with fundraisers. Asa Board member on the CARFAC National Board,Barbara brought a wealth of background aboutthe sorts of initiatives that are being implementedat CARFAC affiliates across the country. Don

Monet, artist and owner of CUBE Gallery, spokefrom the perspective of a commercial enterprise.The common practice of selling works at extremebargains at charitable fundraisers creates anartificial parallel commercial market to the traditionalgallery that not only causes individuals to not buyat the works true retail value but also stresses therelationship between dealers and/or artists andthose individuals who have committed to buyingwork at the correct amount. Alexandra Badzak,Director and Chief Executive Officer at the OttawaArt Gallery has been aware of this practice and has

been consciously moving her major auction-basedfundraiser towards a model that better recognizesthe value of work and the affect that lower salesamounts have on the broader visual art economy.The standard use of reserve amounts that aredirectly connected to the retail value of the work,was a big topic of discussion.

We ended off the evening with a conversationabout the perceived tax benefits of the donationof artwork with Julia Stewart. Julia is a CharteredAccountant and an active member of the Ottawa

arts community having spent over ten years advisingboard of directors in the arts and non-for-profitsector. The biggest challenges for artists to dealwith when donating work is how to determine FairMarket Value (FMV) in tandem with rememberingthat even though they can derive a tax credit fromthe receipt they receive, they need to include theFMV of the work as income on their tax return.Remember, when an artist donates, it is the sameas if they are selling their work in the eyes of theCanadian Revenue Agency (CRA).

As we move forward on these codes of practice welook forward to sharing our insights with you.

All the best for 2015!

Kristian

Charitable Fundraiser Panel at Cube Gallery in Ottawa,ON on December 3, 2014. Photo Credit: Don Monet

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While the use of the human body is present throughout

art history as subject, artists using their own bodyas subject and object by way of performance artis still relatively new to the visual arts sector, withan institutional life of just over 50 years. Moreover,there are blurry distinctions which lie between theperforming arts and visual arts, and performanceart can often be caught in limbo between thesepremeditated categories. While much has beenwritten about the medium in critical art discourse,we must address the context in which performanceartists work through valuation, exhibition conditions,and documentation. In September 2014, CARFAC

National hosted their Artists for Artists conference,including the panel, Performance Art in Canada.This featured panelists Shannon Cochrane, RuthHoward, Tanya Mars, and Camille Turner.

The discussion opened with moderator Tanya Marssaying, I pestered CARO in the 1980s to have afee for performance art. This was not just for pay,but for respect. Performance art has now adaptedso that its not a margin of the margins. Panelistsreflected on performance arts growth; previouslyvalued by presenters as the entertainment at an

opening reception, which has now matured into asignificant part of exhibition display.

Shannon Cochrane, Artistic and AdministrativeDirector at FADO, provided a strong perspectiveas a presenter. For organizers, performance isa particular engagement because its the personyoure dealing with as the object, rather than theshipment of a work of art. In most cases, the artistmust travel with their work. This means high traveland accommodation costs for what is in manycases, a short engagement. Tanya is worried about

this conflict for presenters; does it seem worth thebang for its buck?

While dancers, actors, and musicians havecomparable challenges, some of their valuationmodels are envied. For example, their fee scheduleis mandated to pay artists for rehearsal. In somecases, performance artists apply for theatre grantsbecause support for making the work is there(Cochrane). Visual artists may receive funding orpayment for materials and installation, but rarely do

institutions pay performance artists to rehearse for

an exhibition or event. During the panel discussionwith the audience, CARFACs Quebec partner,RAAV added that they are exploring paymentmodels for preparatory work.

While materials can get pricey for artists working inany medium, Camille Turner addressed how materialcosts in her performances are difficult to justify tofunders. Known for her work as Miss Canadiana,this work needs more than one artist; it needs abigger understanding to which the character exists.For Miss Canadiana, the context is the limo and the

entourage. If one element doesnt work, it breaksthe illusion. Often, this means she subsidizesmaterial costs with her performance fee.

While CARFACs fee schedule has been a hugeprogression in how artists work with organizations,the panel voiced a concern for the rationale behindperformance fees which are currently based onduration. Through this medium, duration is astrategy rather than the grounding principle for allworks. Although we can try to take inspiration fromthe hourly wage in other sectors, we know that

this model is often unrealistic for a visual artistspractice. Tanya sums it up nicely - sometimesless is more, and sometimes more is more. Forthis reason, Shannon looks to the exhibition fee asthe yardstick for performance fees rather than theperformance section in CARFACs Fee Schedule.As a presenter and/or gallery, this poses someunique considerations for including performanceart as part of the yearly-line up. One audiencemember suggested that organizations diversify theirexhibition schedule in order to allow performanceart (no matter how long the engagement) into

programming with comparable exhibition rates.

Performance artists exist primarily in the contextof galleries and community arts. Yet, many artistsmust identify their vocation within categories suchas visual arts, theatre, and inter-arts (amongother catch-all categories). This is a concern withsemantics and application criteria which set finiteboundaries. To what criteria can we really definethe line between the performing and visual arts? Inshort, we cant. Ruth Howard, the founding Artistic

Written by Tara Mazurk

From Head to ToeThe Distinct Presence of Performance Art in the Visual Arts Sector

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Director of Jumblies Theatre, works in communityengaged art and interprets theatre broadly. Shereflects on a performance at White Water Galleryin North Bay, which was a novel experience fora theatre company. This fusion of theatre in avisual arts setting is but one example of how thesecategorical disciplines are fluid. Yet, despite thisconvergence, the challenges of revenue generation

still linger. Tanya reminded us that galleries usuallydo not monetize tickets, whereas the performingarts do. People expect to pay at a theatre, yet theyexpect to get in for free at a gallery. For manyvisual and community-engaged artists, Shannonaptly adds, in principle, performance art staysaway from some traditional theatre models. We arefree out of principle, but then we access ourselvesout of rent.Certainly, some of these challenges resonatewith many of us. How many artists can relate tophotos of their work being posted online without

permission? Or, quick snapshots of work taken outof context; failing to be represented in the way youwant to represent yourself. For performance artists,

their image (and subsequent documentation) is thecommodity. Tanya urges CARFAC to think aboutprovisions for documentation within copyright,contracts, and negotiation. For those who have toconstantly repurpose their work through a cameralens after the initial performance, exhibiting andpromoting this imagery gets complicated whenphotographers (rather than the artist) holds

copyright.

There is no doubt that this panel during Artists forArtists provided us with some insights about therelations of performance art to other mediumsand through the distinction of challenges goneunaddressed. These revelations about valuation,categorical definitions, and how our image ispresented encourages all of us to think abouthow our medium impacts the working conditionsof process and display. It provides new energyfor CARFAC, presenters, and funders to consider

solutions for artists as a collective body and eachunique build, from head to toe.

News from Eastern Ontario by David W. Jones

In these final months of 2014: The realization of

a centrally located professional arts complex hasbeen part of the Ottawa Art Gallery (OAG) and theOttawa Arts Councils (OAC) vision since the twoorganizations were established.In the early 1980s, CARFAC Ontario boasted avibrant visual art community in Ottawa. In fact, therewas a local CAR Ottawa organization. JenniferDickson, Jane Martin, Pat Durr and Blair Sharpewere among the member nucleus who broughtenthusiastic younger artists into CARFAC. One ofour missions was to lobby strong and passionatelyto the Ottawa Mayor and City Councilors to support

the founding of a Municipal Arts Centre. In 1988, inan old abandoned downtown Court House, renamedArtsCourt, City Council approved construction.Alexandra Badzak (OAG Director and CEO) andZo Ashby (OAC Creative Director) are delighted toreport that in 2014, after tireless attempts to makethe professional arts complex project a reality, theconstruction is slated to begin next month, in January2015. We, the arts community, consider ourselvesvery fortunate to have a remarkable couple oforganizations in the OAG & OAC.

Its an exciting time to be part of the Ottawa Artscommunity with this major arts development.

News from the Nipissing District by ClaytonWindatt

With the news of a deal being reached in Ottawabetween CARFAC National and the NationalGallery of Canada, many artists in NorthEastern Ontario are looking at public galleryspaces differently and many arts institutionsare pulling up their socks and getting readyto start budgeting properly and pay artistfees according the minimum fee schedule.The court case raised a lot of awareness

and many arts spaces that have not beenpaying proper fees or even acknowledgingthe legal requirements to follow theCopyright Act are finally getting their acttogether. What this means for these institutionswill be higher costs than they are used to butalso a higher level of support. Artists appreciatebeing treated with respect and where theorganization pays out more in artist fees, itgains more in arts involvement and supportfrom the arts community.

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

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Documenting Performance Art

Performance art is the communication between theartist and the audience. In performance art, the artistsmedium is the body, and the live actions he or she

performs are the work of artwhich usually consistsof four elements: time, space, the performers body,and a relationship between audience and performer.The term, used loosely at first, developed in the early1960s as artists searched for a way to refer to anddescribe the many live performances and eventstaking place at that time. Traditionally, the work isinterdisciplinary, employing some form of visualart, video, sound, or props. Although performanceart takes the form of live action, it has reached alarge public audience through documentation of theperformance.

Much of performance art and documentation survivesthrough such forms as still images, film, video oraudio footage, scores, traces, objects, remnants ordebris (left behind from the performance), writtendescriptions, or any combination of these. Visualdocumentation of performance art provides botha record of the event and evidence that it actuallyoccurred. Through such forms as photography andvideo, visual documentation creates the illusion ofthe communication between the the artist and theaudience that it appears to be the perfect instance

of the live performance. The relationship betweenthe camera and the performance is an integral partof live art because of the way in which the cameracan capture time. While refraining from discussingthe obvious conceptual and philosophical aspects oflive performance documentation, there is substantialtheoretical debate about documentation as anentirely separate medium that goes beyond thescope of this article.

Taking good photos of performance art requires timingand knowledge about light, since the artist is most

likely in motion. When documenting performance,Kate Barry, a performance artist, in Toronto, statesthat [its a]good idea to include photographs ofthe location so that you contextualize the overallperformance. Is the performance indoors or in anoutdoor space? Is it a gallery space, is it a publicspace, is it being performed in a storefront? Also, itsa good idea to take photos of the audience to illustrateyour relationship with the audience in the space.Moreover, take photographs of the key elements,

Written by Tania Amodio

or actions of the performance; [For example,]photograph the actions you are performing and thematerials involved [...]. Obtaining permission from

those audience members that will be captured inyour picture frame is considered best practice.

As digital media equipment becomes less expensive,more accessible and easier to use, some artists areusing video as a means of documenting their work,instead of still images. Without having to rely on onlytwo or three selected angles, video has the ability todocument comprehensively in the round, capturingany spatial considerations such as installation,depth of field, shadows, and luminosity. Video hasthe capacity to contextualize the work in a particular

space, which can give the viewer a sense of theactual performance. In addition, many people findvideo to be a very compelling medium by which toview the artwork. A combination of video and stillimages may also be used, especially for submissionapplications, which are then burned onto a DVD.

Documenting live performance is an intricate processbecause of the ephemeral nature of the artwork andthe challenging relationship that exists between live/performance art and documentation. Depicting yourwork in the best light will capture the experience

of the work as authentically as possible. Kate Barryrecommends that documenting your performancewith video is essential. Jury members often believethat photography has the potential to create afalse image of the performance, which may oftendepict a good photograph but not actually a strongperformance. Video documentation helps to clarifyyour performance and has the ability to capturemovement in ways still photography does not. Videodocumentation of live art should allow the viewer tobe able to gain a clear sense of the performace.

Whether capturing the live performance with astill camera or a video, it is often recommendedthat a friend or professional operate the camera.A discussion around the video documentation ofperformance art, however, is much more complexthan taking a photograph and is discussed in greaterdetail in CARFAC Ontarios publication, PerfectPortfolio: Effective Presentation Strategies, availablein time for the holidays!

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FADO Performance Inc. (Performance Art Centre)is a non-profit artist-run centre for performance artbased in Toronto, Canada. FADO was established

in 1993 to provide a stable, ongoing, supportiveforum for creating and presenting performanceart. Currently, we are the only artist-run centrein English Canada devoted specifically to thisform. We showcase the work of Canadian andinternational performance artists, presenting high-quality events featuring artists at all stages of theircareers from varied backgrounds within carefullyconsidered curatorial contexts. We further generalknowledge and critical perspectives towardperformance art by creating opportunities for localartists and audiences to view works by artists from

other regions and countries: www.performanceart.caCan Performance Art be defined?

Spanish artist Esther Ferrer says that there areas many theories about what performance art isas there are performance artists, and that all youneed to know about performance art you can learnin 3 minutes. There is nothing to master, no skills toperfect. I like this answer, but I am also aware thatthis response is born of a kind of skilled unknowingthat comes from experience and a sustained

engagement with the form. This answer doesntlet us get away with not saying something, so Illborrow from the FADO mantra, words penned longago by founder Paul Couillard, which have beenreconstituted to serve many purposes over theyears. They go something like this:Performance art as a practice has multiple historiesand encompasses various regional, cultural,political and aesthetic differences. Performance artcan be defined through its relationship to the rootelements of the medium, which are time, space,the performers body and the relationship between

performer and audience.

I would add that performance art is also definedby its deep concern and working relationshipwith site and context. Performance art is born ofprocess and is not a product for presentation. Inperformance art, you work in the moment; you arenot presenting work you have made. The ideais not the performance; the performance is theperformance. (These last words borrowed Quebecperformance artist, Francis OShaughnessy.)

Performance Art in its nature is ephemeral;an experience captured over a short period oftime, what kind of challenges does this bring to

Performance Artists?

We live in a world where the Human GenomeProject is complete and still we are obsessedwith Snap Chat. So, which is it? Are we intopermanence or ephemerality? Its a contradictionto want both, but thats human nature. I think thatthe biggest challenge to performance artists is howto consciously remember that performance art isin fact an inherently ephemeral practice and exists(truest to its form) only in memory. For me, themost interesting work has this knowledge in its very

DNA and oozes this understanding to an audience,or works with this notion on a self-referential orconceptual level.

What is FADOs role is supporting PerformanceArtists?

As the only artist-run centre in English Canadadevoted solely to producing and presentingperformance art, at FADO we understand that ourrole is both comprehensive and scattered. Weare holding up a large and general (and at the

same time, highly specific) banner but we are alsoworking very closely and intimately with individuals,collaborating and mentoring, and bringing forwarda living archive. When asked about what my job is what it actually is, I say this: I am the fundraiser,secretary, venue broker, travel agent, hotel booker,writer, publicist, and press agent, among manyother things. When the artist gets to town, I amthe hostess, tour guide, driver, personal shopper,favor asker, drinking buddy, audience member,bartender, cheerleader, MC, drug dealer, therapist,and the purse. I clap the loudest and then I clean

up. I am more than a curator. I am a workhorse.And then I am the glue.

Can you briefly speak about where you see theart form going in the next 5-10 years?

I think that it is more interesting to talk about how theaudiences or the general publics understanding ofthe form will inform the kind of work artists make. Asthe recognition and and knowledge of performanceart grows in the audience (and the general public),

Organizational Prole: FADO Performance IncAn interview with Shannon Cochrane, FADOs Artistic & Administrative Director by Bri Salmena

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the more kinds of performative practices of all kindsflourish. This turn goes both ways, challengingtraditional performance practices to remainrelevant through a reexamining of their own history.

Performance art is a touchstone, and has influencedand shaped contemporary performative practices:social practice, dance (the conversation aboutchoreography and how this relates to reenactmentand the archive in the museum is almost a trendynow), collective action (flash mob anyone?), andcounter-historical practices and investigationsbeing made across and through the intersection ofdisciplines in curating and community around theworld.

What advice do you have for emerging

Performance Artists to start making a career outof their practice?

READ: Read things. Dont be the artist that doesntknow what is going on in contemporary art, your owncity and your own scene.

WRITE: Practice writing about your own work, andthe work of your peers and colleagues, becauseshort of academic theory in practices that might nottouch your own work, there are not a lot of writers andcritics willing to generate words about performance

art. If you practice writing about work, you hone yourskills at looking and at being critical, and this willbenefit your own work. And an added bonus mightbe that youll get a gig writing something one day.

GO: Go to everything you can. Show up. Askquestions. Volunteer. Apply for stuff, and then applyagain. Ask for advice from people you admire.

DO: Then just do. Make all your ideas. Dont getcaught up in thinking, Thats dumb, I cant do that.

At the same time, be discerning, self-aware andself-critical. Know that the quality you are trying tofind is an embodiment of process, not a rehearsedobsession presentation.

What tips do you have for Performance Artists indocumenting their work?

There is a near obsession with documentation in theperformance art world. Its easy to be swept up in thistide, believing that without documentation your workdoesnt exist. It is also easy to be seduced into thinkingthat to be a legitimate artist, you need to be validatedby the art market (however minimally or maximally youinteract with it), and to be validated you need to sellthings. There is nothing wrong with taking photos orvideo of your work for the purposes of grant applications,doing an artist talk, promoting your work or contributingto the archive, or with the idea to sell the product insome form. But I believe that these practices (making

live art vs. taking photos of performance vs. turningvideo documentation into video) are three very differentthings, and require unique approaches. Problems arisewhen the relationship between documentation and thework perverts, and getting a good shot becomes thereason to make a performance.

It is part of my job to make sure that the works Iproduce are properly documented. I try and getgood documentation of my own work, but I hate thefeeling of failure that arises when your pictures stink.Or the frustration you feel when a festival organizer

is simply too lazy to send your images. Or a curatortells you after your performance is over that they aregoing to publish the photos in their newest book oron the gallery website, but you will have to purchasethe high-res images directly from the photographerfor your own use.

What are my tips? In short: Understand Canadiancopyright law (even if half the time no one will payattention to this). Work with a photographer you trust.Outside of your own controlled environment, askorganizers what their approach to documentation

is and depending on that answer, write your owncontract. Give your camera to a friend. And in the end,dont worry too much about it. We live in a cell phoneworld. There will be a photo of you out there thatyou did not compose. There will be times when theperformance was great and the images are terrible.The opposite will sometimes be true. If all else fails,there is always the approach taken by Spanishperformance artist Valentin Torrens. After years offighting about/with documentation, he took to makingall of his performances in complete darkness.

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Cochrane 2012. Photo Credit: Joan Casellas


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Any CARFAC Ontario member can be included in these free listings. The deadline for inclusion in thenext issue is Friday, February 27, 2015 for shows running during April, May and June 2015. Please send

listings for shows running only during these months to: [email protected]

The listing should include: your name; title of your show; gallerys address and contact information;

date for which the show will be on display; and a brief artists statement or description of the work. Thesubject line of the e-mail should clearly request inclusion in the next issue of DISPATCH. You can alsopost your exhibition listings on the members section on our web site: www.carfacontario.ca

CARFAC Ontario Members Exhibition Listings

Jill PriceLittle Treasures IINovember 21, 2014 - January 12, 2015

Midland Cultural Centre: Quest Art Atrium Gallery333 King Street, Midland ON L4R 3M7

A selection of mixed media sketches depicting hillsas a metaphor for Jills journey as a maker and allthe barriers, pitfalls, plateaus, challenges and littlesuccesses she encounters each day.

Tangled RealitiesNovember 21, 2014 - January 30, 2015

Bohemia Cafe125 Dunlop Street East, Barrie ON

Constructed textile narratives integrating romantic

images from past pop culture are integrated withembroidery and paintings of current snap shots todraw attention to the importance of context and ques-tion the notion of truth in our often distorted world.

Carrie PerreaultThe Promise That Tomorrow MadeYesterdayDecember 2, 2014 - January 30, 2015Public Reception :Thursday, January 16

+15 Window at the EPCOR CENTRE for thePerforming Arts205 8 Avenue SE, Calgary, AB T2G 0K9

This work mimics restaurant window displays oftenfound in Southeast Asia, and in shop windows com-mon in Canadas own Chinatowns. This work wascreated and explored in Cambodia where promisesof a brighter tomorrow are made with the frequencyand accuracy of horoscope predictions. (The artist isa Gemini born in the year of the Horse.)

Toni HamelThe land of IdMarch 2 - March 29, 2015Reception: March 2, 1-3 pm; artist will be present;refreshments (no alcohol)

Robert McLaughlin Gallery, Gallery A (downstairs)72 Queen Street, Civic Centre, Oshawa ON L1H3Z3

The land of Id is a multi-disciplinary body of workcreated during the artists month-long residency atthe Robert McLaughlin Gallerys Art Lab. The manyworks comprising this large installation discuss ourrelationship with our natural environment, focusingon the beauty and fragility of our habitat.

Tatjana Hutinec in two person show:International Artists Of Croatian Origin

November 1, 2014 January 9, 2015

Baka Gallery Cafe2256 Bloor St W, Toronto ON M6S 1N6

Artists: Stjepan Susa Erdeg (USA) & Tatjana Hutinec(Canada)

Vera FrenkelVera Frenkel: Ways of TellingNovember 15 2014- December 28 2014-11-25Reception: Friday, November 14, 2014 8pm-10pm

Museum of Contemporary Canadian Art952 Queen Street West, Toronto ON

Vera Frenkel: Ways of Telling is a comprehensivepresentation of the work of the Toronto-based artistwhose interdisciplinary approach to video, perfor-mance, sculpture, printmaking, and installations hasearned widespread international acclaim. The exhi-bition showcases rarely seen early works such as

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THE 2015 ARTISTS DAY PLANNER

The Day Planner comes equipped with dates for opportunities where you can submit your work and applyto various funding bodies. It has a sleek look, plenty of calendar space, and easy listings to follow!

Member: $18.60 (Day Planner: $12 + GST: $0.60 + S&H: $6.00 )Non-Member: $23.85 (Day Planner: $17 + GST: 0.85 + S&H: $6.00 )

Also a great gift idea for the artist in your life!

ORDER ONLINEwww.carfacontario.ca

OR OVER THE PHONE1-877-890-8850

The Storytellers Device, alongside more recentprojects such as ONCE NEAR WATER: Notes fromthe Scaffolding Archive, and the monumental, multi-channel video/photo project, The Blue Train. Theexhibition also features a reconstruction of the art-ists storied six-channel video installation and fullyfunctioning piano bar from the Transit Bar, beinginstalled as a special presentation of the NGC@

MOCCA program.

Margaret Rodgers (The IRIS Group)CloseupsJanuary 23 - May 7 2015Artist Talk: Sunday, February 22, 1 p.m.

The Robert McLaughlin Gallery, Civic Centre72 Queen Street, Oshawa, ON L1H 3Z3Based on the photographs in the RMG ThomasBouckley Collection, the series consists of mixed

media works on recovered jewellery trays from thebasement at 20 Simcoe North, a building formerlyowned by Burns Jewellers and part of Oshawas pros-perous history. Images of daily life are emphasizedthrough mixed media work where the drawers becomepainting surface, frame, and installation device.

JungHee Lee-Marles IN group exhibitions:Pathway to AbstractionDecember 23, 2014 - January 15, 2015Reception: January 8, 2015, 6:00 8:00 pm

Agora Gallery530 West 25th Street, New York, NY 10001

Fascinated by both Mother Nature and HumanNature, Korean-born painter JungHee Lee-Marlescaptures the combination of these two themes in herartwork. Strong textures, bright colors and mixedmedia are used to represent both the physicalessence and emotional content of her subjects.Apparent peace and tranquility on one side contrastwith evident chaos and disturbance on the otherside of the boundaries between these two worlds.The abstract aspects are emphasized to focus onexpressing inner emotions rather than representingin any realistic way the outer physical form.

Colour and ConflictFebruary 28, 2015 - March 13, 2015

Colorida GalleryCosta do Castelo 63, 1100-335, Lisbon, Portugal

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Deadline Grant Name Contact Person Contact Information

1 February Grants to Aboriginal Curators forResidencies in the Visual Arts

Jim Logan,Program Ofcer, Visual Arts Section

613-566-4414, ext. 5266

1 February Grants to Culturally DiverseCurators for Residencies in theVisual Arts

Franois Dion,Program Ofcer, Visual Arts Section

613-566-4414, ext. 5268

1 February Visual Arts: Project Grants forCurators and Critics

Franois Dion,Program Ofcer, Visual Arts Section

613-566-4414, ext. 5268

1 February Travel Grants to Professionals inthe Visual Arts

Brigitte Desrochers,Program Ofcer, Visual Arts Section

613-566-4414, ext. 5270

1 March Fine Craft: Grants to Artists andCurators Jos Niaison,Program Ofcer, Visual Arts Section 613-566-4414, ext. 5269

1 March Fine Craft: Long-Term Grants toArtists and Curators

Jos Niaison,Program Ofcer, Visual Arts Section

613-566-4414, ext. 5269

1 March Jean A. Chalmers Fund for theCrafts

Jos Niaison,Program Ofcer, Visual Arts Section

613-566-4414, ext. 5269

1 March Grants to New Media and AudioArtists: Research and

laura jeanne lefave,Program Ofcer, Media Arts Section

613-566-4414, ext. 5254

1 March Production Grants

New Media Residencies

laura jeanne lefave,

Program Ofcer, Media Arts Section

613-566-4414, ext. 5254

1 March Grants to Film and Video Artists:Scriptwriting Grants, ProductionGrants and Research/CreationGrants

laura jeanne lefaveAnglophone emerging and mid-careerartists in Research/Creation GrantsORanglophone emerging artists inProduction Grants

Ian ReidAnglophone established artists inResearch/Creation Grants OR anglophonemid-career and established artists inScriptwriting or Production Grants

613-566-4414, ext. 5254

613-566-4414, ext. 5203

The CARFAC Ontario Grants Calendar is published in every issue, allowing you to plan in advance forgrant deadlines. All the information published here has been edited for space, and is meant to give you ageneral sense of the types of grants available. Deadlines and eligibility criteria are subject to change at anytime. Visit the funders websites to verify deadlines and to nd out more about application requirements.

CARFAC Ontario makes every effort to provide information which is up-to-date and accurate. NeitherCARFAC 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.

Grants Calendar

CANADA COUNCIL FOR THE ARTS350 Albert Street, P.O. Box 1047, Ottawa ON K1P 5V8

Phone: 1-800-263-5588 (toll-free) or at their individual numbers | Fax: (613) 566-4390TTY (TDD) machine for hearing-impaired callers: 613-565-5194

www.canadacouncil.ca/grants

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Paul ThinelFrancophone artists

613-566-4414, ext. 5253

1 March Capacity Building Program: TheFlying Eagle

Nol HabelProgram Ofcer, Aboriginal Arts Ofce

613-566-4414, ext. 4178

AnytimeRecommended toapply at least 10weeks in advance.

Travel Grants to Media ArtsProfessionals Media Arts Section 613-566-4414, ext. 5914

AnytimeRecommended toapply a minimum of 8weeks in advance ofdeparture date.

Travel Grants for AboriginalCollaborative Projects

Nol HabelProgram Ofcer, Aboriginal Arts

Ofce

613-566-4414, ext. 4178


15 January Aboriginal Artists in Schools Terry GitersosBilingual Program Assistant

416-969-7401 | 1-800-387-0058ext. 7401 | [email protected]

15 January Artists in Education Terry GitersosBilingual Program Assistant


18 February Aboriginal Artists in Communities Fabiola CavBilingual Program Assistant


18 February Aboriginal Arts Projects Fabiola CavBilingual Program Assistant

416-969-7424 | 1-800-387-0058ext. [email protected]

18 February National and International Touring Lizzy BraoudakisBilingual Program Assistant

416-969-7412 | 1-800-387-0058ext. [email protected]

18 February Ontario Touring Lizzy BraoudakisBilingual Program Assistant


3 March Artists in the Community/Workplace

Fabiola CavBilingual Program Assistant


3 March Arts Education Projects Terry Gitersos

Bilingual Program Assistant

416-969-7401 | 1-800-387-0058

ext. 7401 | [email protected]

3 March Media Arts Projects Anne Gard GravestockBilingual Program Assistant

Franois BoivinBilingual Program Assistant



17 March Multi and Integrated Arts Fabiola CavBilingual Program Assistant


| 12 |

ONTARIO ARTS COUNCIL151Bloor Street West, 5th oor, 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


15/16

By Karilynn Ming Ho for CARFAC Ontario

The Visual Artists'

state Planning

Guide to

PublishedbyCARFAC Ontario

The Visual Artists Guide to Estate Planningexamines the steps that you cantake towards generating a strong artistic legacy that has persistent visibility and

protection. It is meant as a guide to maximize the potential of your work, and to

minimize the complications that come with the process.

Members Price: $32.25(Book: $25 + GST: $1.25 + S&H: $6)Non-Members Price: $48.00 (Book: $40 + GST: $2 + S&H: $6)

For more information and to purchese visit: www.carfacontario.caclick What We Do - click Publications

TORONTO ARTS COUNCIL26 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


2 February Grants to Community Arts

Projects for Organizations andCollectives

Andrew Suri

Grants Ofcer, Community Arts

416-392-6802 ext. 213

[email protected]

3 March Grants to Visual and Media ArtsProjects for Organizations andCollectives

Peter KingstoneActing Visual/Media Arts Ofcer

416-392-6802 ext. [email protected]

From $10,000 to $100,000 coverage for equipment, tools and artwork

$10,000, $25,000 and $50,000 limits available for artwork in transitand at exhibitions

$2M, $3M, $5M general liability limits available

Optional coverage for sales & training activities

STUDIO INSURANCE

DESIGNED FOR VISUAL ARTISTS

A division of

Visual artists members

of CARFAC-ONTARIOare eligible to a 15 %*group discount.

ASSURART offers insurance brokerageservices to individuals and businessesin the Art industry.

1 855 382-6677 | www.assurart.comToll-free

*Some admissibility criteria may apply.


16/16

DISPATCHVO LU M E 20, IS S U E4 , DEC EM BER2014

ISSN 1201-0081

DISPATCHis published by

CARFAC Ontario440-401 Richmond Street West

Toronto, Ontario M5V 3A8416.340.8850 / 1.877.890.8850

[email protected]

http://www.carfacontario.ca

Editor / Layout Copy EditorsVictoria Glizer Kristian Clarke

ContributorsCARFAC Ontario Staff and Tara Mazurk.

The opinions expressed in DISPATCH are those ofthe authors and do not necessarily reflect those ofCARFAC Ontario, CARFAC National or its regionalaffiliates.

CARFAC Ontario Board of DirectorsYael Brotman (President), Devon Ostrom (VicePresident), Kohila Kurunathan (Secretary), Ashley

McKenzie-Barnes and Kristen Fahrig.

CARFAC Ontario StaffKristian Clarke (Executive Director), Victoria Glizer

(Membership Manager), Diann Missal (CARFAC

Online Coordinator), Tania Amodio (PublicationsCoordinator) and Bri Salmena (Administrative

Assistan t).

CARFAC Ontario is supported by the OntarioArts Council, the Toronto Arts Council, theOntario Ministry of Culture, the Ontario TrilliumFoundation, the Law Foundation of Ontario, andby our members.

CARFAC Ontario is the association of professionalvisual and media artists in Ontario, Promotingthe legal and economic rights of Visual andMedia Artists for over 40 years. As an artist-runorganization, CARFAC Ontario knows the needs ofartists and has developed services and programsto assist artists at every stage of their career.

Kelly WallaceWITHIN RANGE: Drawings by Kelly WallaceJanuary 10 - March 22, 1015Opening Reception: January 29, 7pm

Rodman Hall Art Centre, Brock University109 St. Paul Crescent, St. Catharines ON L2S 1M3

Surveying eight years (2006 - 2014) of Kelly Wallaces drawingpractice. Curated by Stuart Reid.

Frances FerdinandsFrom Her Point of ViewDecember 18, 2014 - January 31, 2015Opening Reception: Thursday December 18, 2014

Articsok Gallery1697 St. Clair Avenue West, Toronto ON M6N 1J2

This group exhibition by the women artists represented by

Articsok Gallery delves into issues that each artist considersand explores through her work. Frances Ferdinands workreflects her recent work in which memory, biography and tran-sience play an important role.

Virginia DupuisRipe with ColourFebruary 12 - March 17 2015Meet the Artist: February 15, 1-3 pm

AOE Gallery, Shenkman Arts Centre

245 Centrum Boulevard, Ottawa ONHours: 9:00am 4:30pm, Monday to Friday

This exhibition looks at berries ripening on the vine, through acolouristic exploration of the drama in patterns. The composi-tions, often a macroscopic view, vary to accentuate an aspectof their purpose, endurance and aesthetics in nature. Wewould like to acknowledge the funding support of the OntarioArts Council, an agency of the Government of Ontario.

Jim RileyLove Kiss

January 16 - February 15, 2015Reception: Tuesday, January 20, 2015 (5- 7 p.m.)

Art Gallery of Burlington1333 Lakeshore Road, Burlington ON L7S 1A9

This two-channel window installation explores the concept oflove via a kiss. It is a continuation of Jim Rileys exploration oftemporary, public art. The video installation will be visible afterdusk from two windows facing Lakeshore Road (CommunityGallery windows). The videos on monitors will also be availablei th C it G ll t th ti

an Ontario government agencyun organisme du gouvernement de lOntario

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