| Date post: | 08-Dec-2015 |
| Category: |
Documents |
| Upload: | carfacontario |
| View: | 9 times |
| Download: | 0 times |
Photo credit: CARFAC National
CARFAC Ontar io ’s quarter ly newslet ter
NegotiatioN for Visual artists
D I S P A T C H Vo l u m e 21 - Is s u e 3 - se p t e m b e r 2015
Features: The Art of Negotiation: Interview Adam Freedman from Torys | Overcoming Cognitive Biases While Negotiating in the Arts
Plus: CARFAC Ontario Members’ Exhibition Listings | Grants Calendar | Keeping you connected ... Local News from Across the Province
Content:
We understand the special circumstances of the self-employed artisticcommunity in a way that traditional banks don’t. We also understand thatyou have different financial needs at different times of your life.
Take a look at our services. Then give us a call, visit our website, or dropinto our Church Street offices. You’ll find all the same services the bigbanks offer, and you’ll feel good knowing you’re dealing with a financialinstitution that understands your unique needs as a member of theartistic community.
625 Church Street, 1st Floor Toronto, ON M4Y 2G1t: 416.642.6749toll free: 877.643.3660 f: 416.640.3517e: [email protected]: creativeartscu.com
We make banking flexibleAt Creative Arts Savings and Credit Union, we offer theservices banks do, with one important extra: Flexibility.
• No-fee chequing accounts• No-fee savings accounts• Tax-Free Savings Accounts• Debit cards• Business accounts• Investing (GICs, Term
Deposits, RRSPs, RRIFs, etc.)
• Mortgages• Loans (personal, auto, etc.)• Line of Credit• Overdraft protection• Online banking• Mobile banking• Telebanking ...and more
CARFAC pdf_Half Page-8.5x5.5 12-09-11 3:31 PM Page 1
Executive Director’s Report | P 1
President’s Report | P 2
The Art of Negotiation: Interview with Adam Freedman of Torys | by Bri Salmena | P 3
Overcoming Cognitive Biases While Negotiating in the Arts | by Venessa Harris | P 6
Keeping you connected ... Local News from Across the Province | P 8
CARFAC Ontario Members’ Exhibition Listings | P 10
Grants Calendar | P 16
Your donations help keep us working for you.
As a registered charity, we can issue tax receipts
for your donations.
www.carfac.ca
Executive Director’s ReportIt’s hard to believe the summer is over and that the leaves have already started to turn colour! The past three months have whizzed by, and I’m delighted to give you an update on the many things that have been occupying our time and
thoughts here at the office.
The development of four best practices toolkits for CARFAC Ontario’s Strengthening the Sector initiative has been going well. We are on track to complete all four toolkits by the end of March as planned, with a few likely to be ready ahead of time. The toolkits will be valuable resources for establishing codes of practice in the areas of Artists and Charitable Auctions, Public Art Commissions, Gallery Archival Practices, and Artists and Galleries.
Other major projects on the go include the creation of an online fee calculator. CARFAC Ontario has been working closely with our partners at RAAV, CARFAC National, and CARCC to ensure that the calculator is reliable and easy to use. We sent out a call for beta testers over the summer and we thank everyone who stepped forward to give the calculator a try and provide feedback. The response has been overwhelmingly positive and we hope to have this valuable tool up and running in the coming months.
Our 2015 AGM and panel discussion on Negotiation for Artists took place on Sunday, September 27 and we will have a full report about the day in the next issue of Dispatch.
Staff has also been working hard to put together a fall webinar series which will take place every other Wednesday from October 14 – December 16. They cover a mix of popular webinars from previous years and new topics we felt would be of great interest to members. Please see page 9 for more details.
We’ve also been working to provide more grant deadlines to the 2016 Day Planner. We should be ready to take orders soon – please look out for notification!
We are also preparing to move our office to another unit in the same building. As of October 26, we will be in studio 372 at 401 Richmond Street West.
CARFAC Ontario will also have a booth at the ARTPRENEUR Ottawa Conference taking place October 17. If you are there, please come by and say hello. Long-time member and unofficial ambassador David Jones and staff from CARFAC National will be drumming up new memberships, selling publications, and raising greater awareness about artists’ rights to those in attendance.
And finally, I hope you will all make a point of going out to vote in the federal election on October 19! It promises to be a historic vote and I look forward to working with CARFAC National and our other provincial affiliates on reaching out to Members of our 42nd Canadian Parliament to advocate for the Artist Resale Right and support for the arts and artists in the future. Sally
Archival Photo credit: The Move , February 13, 1987 in Toronto | Content: The move from Mowat Ave. to Bathurst St. | Photographer: Doreen Dotto
We are moving but not going far!
Our new address as of October 26, 2015:
CARFAC Ontario372 - 401 Richmond Street West
Toronto ON M5V 3A8
| 1 |
President’s ReportOne of CARFAC’s raisons d’être is to educate and support artists in the business around their creative art making. So a professional artist’s career should be thought of in terms of a small business. A major part of a successful business of any kind, is negotiation.
Negotiating with galleries, studio rental agencies, corporations and government bodies who commission public art, publishers, even other artists, does not come naturally to most artists: it is a skill that must be developed.
In this issue of Dispatch, we are focusing on how to negotiate in your practice, how to prepare for it and when and how to bring in a professional to help you. The format is a question and answer between Bri Salmena and Adam Freedman who specializes in corporate and securities law at Torys LLP. Torys has been remarkably generous in their relationship with CARFAC over the years. They not only established a Pro Bono committee that assists artists with their legal issues, but they also sponsor the webinar series that we do every fall (check out our website for details about when this fall’s series begins). The second article is by Venessa Harris, who analyzes the psychological aspects of the negotiation process and how the outcome of the negotiation may alter depending on the artist’s understanding of their own assumptions about the other.
Adam Freedman’s discussion focuses largely on negotiation and contracts. I can relate. Twice in my career I have been embroiled in contract disputes. When I was an emerging artist and wasn’t yet aware of CARFAC, I developed a relationship with
a commercial gallery. I signed a contract that outlined the jobs surrounding my upcoming exhibition; which party was responsible for what and the time frame for payment. All went relatively smoothly until the payment for sales part. Months after the agreed upon time, I still had not received payment. After several more visits and a few more months, I finally lost my temper and threatened them with ... I don’t know what. I had no knowledge of any kind of recourse. Luckily I did receive my cheque, although that adversarial position was very distasteful.
My more recent experience was with an artist-run centre in a city outside Toronto. This time I was more than aware of CARFAC and was able to use the legal resource of one of the lawyers at Torys. The issue revolved around whether an agreement of understanding via email constitutes a legally binding understanding of intent. With the help of the Torys lawyer, I discovered that the answer is yes it does. He was able to help me draft letters of negotiation and come to a decision regarding the situation with an understanding of the potential consequences of various scenarios.
Receiving knowledgeable and sanguine pro-fessional assistance in negotiations is crucial when you as an artist find yourself in a contractual bind. And psychologically preparing yourself with an understanding of cooperative and competitive incentives, as outlined in Venessa’s formulation, is indeed very helpful upon entering such negotiations. Read the articles and remember, you have rights and a resource in CARFAC.
Have a productive fall.
Yael
Starving Artistwww.canvasfoundation.ca
| 2 |
The Art of NegotiationInterview with Adam Freedman of Torys
Adam R. Freedman practices corporate and securities law at Torys LLP in Toronto. Adam is also a proud member of the firm’s Pro Bono Committee and has been advising artists on a pro bono basis for more than six years in connec-tion with their legal queries.
What are the key elements of successful negotiation?
I’d say there are a few key elements of successful negotiation. The first is being very prepared before entering into the negotiation – do all your background research, learn about what the other side wants to achieve in negotiation, and make sure you are very prepared. Second, never enter into a negotiation you are not afraid to walk away from. You don’t want to enter into a negotiation with a party where you’re leveraged or where you don’t really have any leverage whatsoever. You want to go into a negotiation confident that, if you don’t get the terms you are looking for [or] if you don’t get the desired outcome, you can leave the negotiation and not be worse off for it. These are two fundamentals of negotiation at least at a pre-liminary level.
What are the barriers to successful negotiation?
I think the main barrier is parties not making the effort to put themselves in the other’s shoes. Let’s say you are trying to negotiate a gallery agree-ment with a gallery and you are a painter, [you should be thinking]: “Okay what does the gallery want here? Why are they bringing my work in? Why are they bringing me in? What do they hope to achieve from our relationship?” and vice versa. If you are the gallery owner [you should be think-ing]: “Okay there’s this painter. What do they want? What type of commission do they expect?” It’s very important for people to try see where the other is coming from and, once you do that, you can try to compromise and come up with a mutu-
ally beneficial situation. That’s really the outcome of negotiation. People think I need “x” so I am going to argue my way to “x” and the other party needs “y” so they are going to argue their way to “y”. But really the idea is to create a value, per-haps a scenario you didn’t envision in the negotia-tion where both parties are victorious and are happy with the result.
What should be the mindset of a person negoti-ating a contract?
The mindset should be a prepared one, and it’s important that someone has proper advice in place. That is why CARFAC and VALCO (Visual Artists’ Legal Clinic of Ontario) are so great because you could have a lawyer at Torys looking over your contract for you, provide comments, and highlight some things you might not have thought of as the artist going into negotiation. The key really is to not only know exactly what you want and to be clear about what you are looking for from your agreement and negotiation, but also to put in place the proper support network for yourself so that you know how to achieve the desired outcome. That’s typically having a lawyer that can at least help on some level, which is what we do here, or perhaps having a look at other agreements you have signed to see where you’ve been successful at achieving the terms, the prices and other components that you desire. That’s really the mentality, as well as thinking about how both parties can get what they want.
How can an artist prepare for a negotiation and/or what kind of research should be done prior?
Really there is no research in the sense that you need to read a million books. [If you are interest-ed], there are a few classic negotiation tactical books. In law school I read a book called “Getting to Yes”, a classic negotiation 101. And I think you could read it pretty quickly, as it’s a good book to reference. That said, the research you can do is learn about negotiating tactics, and what they are looking for. I find most people aren’t the most skilled negotiators. What happens is artists often
by Bri Salmena
| 3 |
find themselves in a situation where they think they have no room to ask for what they want. [They typically assume] gallery owners think to themselves, “Okay I have this gallery. This is my contract. Nothing is going to change and the artist should be happy to expose and display their work at the gallery so they should just sign.” In fact, sometimes that’s the case. If an artist … has never had a show before and [is] looking for that big break, … they [may be inclined] to think to themselves, “Okay, if this is what the gallery owner wants, I am just going to give it to them.” But for more experienced people who have a lot of shows under their belts, they know you don’t need to just acquiesce to the gallery’s terms. I would suggest asking your artist peers for some contracts they have signed to see what types of things go into these agreements. Talk to someone at Torys to make sure they review the agreement from legal perspective to see if the terms are as we say “market,” or typical. You want to make sure you don’t sign a contract you think is fine but is really outrageous or doesn’t contain terms other artists are getting. That’s a danger I have seen artists hop into inadvertently.
What are the most commonly disputed terms in contract negotiation?
It really depends on the contract. I see lots of arguments … [that lawyers don’t usually deal with] – often price commission or things like that. One thing I have seen recently is insurance issues – Who covers the cost of insurance for a piece of artwork, the gallery or the artist? Additionally, transportation cost – Who pays to ship the work? Who pays if the work gets damaged on route? Those types of things always come up.
What are the common mistakes in negotiation and how to avoid them?
One common mistake is thinking that, just because you meet with someone one time and they don’t agree with what you want, your negotiation is just going down the tubes. Typically negotiation is about giving something up to get something, and therefore it’s about compromise and creating value and positive outcomes for both parties that may not be there on the surface. That’s really the essence of a good negotiation – to really make sure both parties win… that way you keep doing business together. You don’t want to ever enter into a negotiation with a gallery owner, someone of influence who can help you sell your work, and
anger them and just be harsh when, in the end, the idea is that the other party wants to make money by selling your work and you want to make money by becoming an exhibited artist. You should think about it like that but, at the same time, don’t be naive and make sure a lawyer is there behind you, someone from Torys, for exam-ple, to make sure you are not getting railroaded into signing something you don’t understand.
What is the difference between verbal negotia-tion and verbal contract?
Well, there can be a contract between parties that is verbal (i.e. oral and non written) – you need a witness. Verbal negotiation just means two people negotiating verbally to result in a hopefully benefi-cial outcome, whereas a verbal contract is an agreement or exchange.
Have you been on a case where a seemingly simple negotiation became complex and vice versa?
All the time. People often don’t stop to think about the basics of what they are doing. Without this advance consideration and without documenting anything like a contract beforehand, people can lose sight of the big picture [causing] something that seems very simple to become very complex.
Advisory Notes are free resources for CARFAC members. For a copy of this advisory note contact your affiliate today!
| 4 |
It happens all the time but, sometimes, the com-plex arrangements can be simplified so you really never know what you are going to get. It all depends on the parties. But when we are asked to get involved in negotiations with galleries, I often ask the artist, “Does the gallery have a standard format contract that they typically give to artists we can review?” and if they don’t then I try and put together for them a very simple, 3-4 page document which is artist friendly and the provisions aren’t drafted so that they help the gallery more than the artist and I say, “let’s use this as the basis, fill in the information for this to be sent along to the gallery and, if this gets accepted, you are in a good position.”
What is the importance of contracts in the negotiation process?
A contract really represents the conclusion of a negotiation, so people spend a couple hours across a table discussing something resulting in a contract. Without a contract what is the point of a negotiation? A contract’s purpose is to create a
legally binding agreement between two parties so that, if there is an issue down the road or if there is a problem, you can look to contract (i.e. agreed written terms) to figure out how to deal with it (i.e. to figure out what the law is to deal with disputes, in what court should you sue, what happens if you break the work while being shipped, etc.). The con-tract is really like growing a fruit tree – you plant the seed, you water it, a plant sprouts up, you water it more, and then the tree is the contract and the fruit is kind of what you harvest from it – financial rewards fame , popularity, future exhibits etc.
What advice can you give to artists about negotiating contracts?
Make sure that the moment you get a contract you don’t agree to anything. Instead, book an appoint-ment with Torys through CARFAC’s VALCO pro-gram, and we have one of our people who does this stuff all the time look at the contract. If you do that you will be better off than reading any book or anything else.
• From $10,000 to $100,000 coverage for equipment, tools and artwork
• $10,000, $25,000 and $50,000 limits available for artwork in transit and at exhibitions
• $2M, $3M, $5M general liability limits available
• Optional coverage for sales & training activities
STUDIO INSURANCE
DESIGNED FOR VISUAL ARTISTS
A division of
Visual artists members of CARFAC-ONTARIO are eligible to a 15 %* group discount.
ASSURART offers insurance brokerage services to individuals and businesses in the Art industry.
1 855 382-6677 | www.assurart.comToll-free
# dossier: 10419-ASSDate: 15/03/2011# Révision: R01
Client: AssurArtCampagne: PubPublication: CARFAC Ontario 2011Date de parution: --/--/--
dpi: 300 dpiCouleur: CMYKFormat document :4,9 x 3,65 po
Pers Ress: Valérie Dorion
*Some admissibility criteria may apply.
| 5 |
INTRODUCTION
For practicing visual artists, negotiation is an important aspect of distributing your work, particularly in terms of exhibiting and selling work within galleries. Planning for and participating in a session of negotiation can be stressful, so it is important to be well prepared (i.e. knowing your rights, reviewing the CARFAC Fees Schedule, prioritizing what you hope to gain, etc.). While steps like these are necessary to ensuring that you receive a desirable outcome, negotiators often overlook the psychological aspect of the negotiation process. Because many of our actions are informed by decisions we make subconsciously, we are constantly subjected to making choices that may lead to suboptimal outcomes while negotiating. In what follows, you will learn how to identify obstacles caused by cognitive biases both you and the other party employ subconsciously, as well as learn about strategies to overcome these obstacles and use them to your advantage.
IDENTIFYING & OVERCOMING COGNITIVE BIASES
At its core, negotiation is all about creating and distributing value for both parties. Because every negotiation is started based on the belief that reaching an agreement has the potential to be more beneficial than no agreement at all, both parties have a cooperative incentive to work together. This incentive is highly prevalent in the art scene—in order to exist, art galleries need the work of artists to fill their spaces and artists can derive great rewards from exhibiting in galleries. That said, both parties must also display a competitive incentive to increase their own personal gain. Therefore, the key to successful negotiation is finding a balance between these two incentives in order to find an agreement that works on both a personal and mutual level. You, as the artist, don’t necessarily have full and accurate information going into the negotiation (i.e. you may not know what the gallery’s goals are or what they find important in the forthcoming relationship) therefore the situation is not always as clear as it may seem. In order to deal with the
ambiguous aspects of negotiation, your mind will automatically use cognitive biases to make sense of the situation. Only after you identify these biases, can you overcome them.
A cognitive bias refers to the process in which individuals stray from logic in decision-making and instead draw conclusions about situations without very much logical thought. In other words, we are inclined to make snap judgments based on our own intuition and what we know to be true about the world. Cognitive biases are incredibly common in negotiation because, in instances where there are multiple issues on the table, there are many unknown factors that will need to be fleshed out throughout the discussion. While subconsciously using cognitive biases to make sense of ambiguous information is an automatic process, being unaware of this bias may lead you to use poor judgment while negotiating.
Representative Heuristic
The representative heuristic is the process of using stereotypes about categories to make judgments about individuals that belong to that category. Negotiators often use this heuristic to predict how the other party will behave during the negotiation. It has been proven that people tend to interpret the other party’s bargaining behaviour in terms of stereotypes about that person’s personality and position. For example, say you are going into a well-established gallery to negotiate your place in an upcoming exhibition with the Curator, who has a reputation for being very serious. Due to the representative heuristic and the information you have about the Curator, you’re likely to assume that he/she will be very firm in the terms he/she has drawn up, and therefore you would have a hard time changing their opinion. This type of thinking may lead you to ask for much less than you actually want and concede to their terms without much discussion. This, of course, is problematic for you, as you may undersell yourself and be left with a contract in which you aren’t happy.The danger of the representative heuristic is that it leads to self-fulfilling prophecies—if you assume you don’t stand a chance in the negotiation, then
Overcoming Cognitive Biases While Negotiating in the Arts
By Venessa Harris
| 6 |
you won’t. The key to overcoming this bias is leaving behind all preconceived notions about the other party prior to entering the negotiation. Do not assume they will behave in a certain way, as this may cause you to relinquish your own bargaining power. Instead, remember what you’ve prioritized as important, which will allow you to know when to stay firm and when to be flexible, regardless of how competitively or cooperatively the other party behaves.
Anchoring & Adjustment
This cognitive bias occurs when people are given an initial starting point (or an “anchor”). In trying to adjust their response, the mere presence of this anchor influences the adjustment. Many times, the adjustments tend to be insufficient because people subconsciously feel that they need to stay in the same ballpark as the anchor, even if the anchor is completely arbitrary. Negotiators fall victim to this heuristic when having to provide counter-offers, especially in terms of compensation. For example, say you’re negotiating the terms of a contract with a gallery, and the Director offers to pay you a certain amount plus a percentage of commissions. If you are not satisfied with this amount and wish to ask for more, due to anchoring and adjustment, you are likely to ask for an amount that isn’t much higher than the amount the Director had originally proposed. In this context, that may not be a bad thing, as one would hope the original proposal was both reasonable and fair, despite the fact that you were hoping for a higher amount. That said, being unaware of the natural tendency towards using the
anchoring and adjustment heuristic could leave you vulnerable to be exploited by the other party.
Overcoming the tendency to make insufficient adjustments in relation to an original anchor is as simple as being aware industry standards. The CARFAC Minimum Fee Schedule is an excellent resource for understanding how much you should be paid for your work. Additionally, you should ask experienced peers and/or lawyers what they believe is a fair payment for the work you’re providing.
Endowment Effect
The endowment effect is the tendency to ask for much more to give up an object than you would otherwise pay to acquire that same object. In other words, people tend to overvalue what they have and undervalue what they don’t. In terms of art, this effect is heightened, as an artist naturally has a strong attachment to his/her own work. In terms of negotiation, this can make trading and bargaining a difficult task. For example, say you are trying to sell your work to an art collector and you are in the process of negotiating a price. The collector, who is well-versed in this area, might offer you a really great price but, due to the endowment effect, you may decide to turn it down because you think the price is too low. As an artist, you are not obligated to accept any price in which you are not comfortable. That said, you do need to be realistic about what you expect in return for selling your work. Falling victim to this bias, and subsequently overvaluing your work, could cause you to miss out on great opportunities.
| 7 |
The best way to avoid allowing the endowment effect to cloud your judgment is to do your research regarding pricing artwork. CARFAC Ontario’s website has a great page* containing tips on how to price your work. You can also look into what your peers are charging for selling similar pieces. Additionally, you should always try to get your work appraised so you know the range in which you should be aiming to sell.
CONCLUSION
Every time you have a discussion about the use of your work, you are entering into some form of negotiation. While it is important to do your research prior in order to be fully prepared, it is also important to understand some of the psychological processes at work during the negotiation. As demonstrated, letting your biases go unchecked can lead to results in which you aren’t satisfied. That said, while taking the time to recognize systematic cognitive errors can lead to better choices while negotiating, it’s also important to follow your gut to some extent—all good decisions are made by evaluating issues both logically and emotionally. As a result, it’s very important to find a balance between the two in all negotiation processes—don’t agree to anything that feels wrong but don’t allow your own biases to cloud your judgment. In doing this, you’re sure to receive the best possible outcome after every negotiation.
References: 1. De Dreu, C. K. W., et al (2007). “The psychology of negotiation: Principles and basic processes.” Social psychology: Handbook of basic principles (2nd edition). Ed. Kruglanski, A. W. & Higgins, E. T. New York, NY: Guilford Press. Print.2. ibid.3. Haselton, M. G., Nettle, D., & Andrews, P. W. (2005). “The evolution of cognitive bias.” The Handbook of Evolutionary Psychology (2nd edition). Ed. D. M. Buss. Hoboken, NJ: John Wiley & Sons Inc. Print.4. Gilovitch, T. & Savitsky, K. (1996). “Like goes with like. The role of representativeness in erroneous and pseudoscientific beliefs. The Skeptical Inquirer, 20(2). Print.5. Morris, M. W., Larrick, R. P., & Su, S. K. (1999). “Misperceiving negotiation counterparts: When situationally determined bargaining behaviors are attributed to personality traits.” Journal of Personality and Social Psycology, 20. Print.6. Epley, N. & Gilovitch, T. (2006). “The anchoring-and-adjustment heuristic: Why the adjustments are insufficient.” Psychological Science, 17(4). Print.7. Roeckelein, J.E. (2006). Elsevier’s Dictionary of Psychological Theories. Amsterdam, NL: Elsevier B.V. Print.
*Link: www.carfacontario.ca/Top-12-Tips-for-Setting-Prices
Clayton Windatt from the Nipissing region
The region of Nipissing is full of passion as we look at changes on the horizon. With the federal election on our doorstep, many artists in this region are talking with their MP’s and candidates about the arts agenda for Canada. Budgets need to be bolstered dramatically to account for the cost of inflation over the past decade and programs dealing with youth engagement are being lobbied for. It’s an exciting time for the arts and I cannot wait to see what the future holds!
Keeping you connected ... Local News from Across the Province
Victoria Ward from the Peterborough area
Trent University’s Cultural Studies Department now has their own Facebook page. The Art Gallery of Peterborough has finished its renovations and is now open to the public. The Canoe Museum is choosing an architect for its new location. Electric City Culture Council for Peterborough is seeking an executive director.
| 8 |
2015 Webinar WednesdaysA webinar series for professional artists
CARFAC Ontario is proud to present Webinar Wednesdays! Join us every other Wednesday over the lunch hour (12PM-1PM EST) starting in October for a seminar relating to your art practice, given by leading professionals in the province.
Schedule:
Cultural Pluralism in Artistic CreationsOctober 21st, 2015 @ 12PM-1:30PM
Cyberspace: How to Protect Yourself & Respect Others November 4th, 2015 @ 12PM-1PM
Grants 2.0November 18th, 2015 @ 12PM-1PM
Working with Commercial Galleries & Art DealersDecember 2nd, 2015 @ 12PM-1PM
Your Fine Art Degree... What’s Next?December 16th, 2015 @ 12PM-1PM
Participants may join our virtual classroom by accessing a video stream of the seminar online. This series is unlike other online lectures, in that it is meant to be interactive and customized to attendees’ needs; participants will be able to ask questions in advance by email.
PRICING:Members - Individual webinars are $10, or register for all five for just $40.*
Non-Members - Individual webinars are $20, or register for all five for $75.*
Member discount applies to current members of CARFAC Ontario, as well as members of CARFAC affiliates across the country [including CARFAC BC, Visual Arts Alberta (CARFAC), CARFAC Saskatchewan, CARFAC Manitoba, RAAV, CARFAC Maritimes, and VANL (CARFAC)].
For more information and to regsiter: www.carfacontario.ca/Webinar-Wednesdays
*Please note: these prices do not include the Eventbrite fee.
| 9 |
Enriched Bread Artists (EBA)Prime: Enriched Bread Artists 23rd Annual Open StudioOctober 29 - November 8, 2015Reception: Thursday, October 29, 6:00pm - 9:00pm Enriched Bread Artists Studios951 Gladstone Avenue, Ottawa ON K1Y 3E5 Location, location, location; EBA has been in its prime Ottawa location for over 23 years! EBA serves prime-grade art locally and internationally from their transformed bread factory. A prime example of a not-for-profit collective, EBA artists (in their prime, by the way) work in all media and originate from all over the world. Their Annual Open Studio is a prime time to share their work and vision. Enrichedbreadartists.com
Frances Ferdinands Lassanai September 24 - October 24, 2015 Reception: Thursday, September 24 at 6:00pm
Articsok Gallery 1697 St. Clair Avenue West, Toronto, ON M6N 1J2
“LASSANAI”, (Beautiful) translated from Sinhala, is a collection of new work emanating from Frances Ferdinands 3 month program of study and research in her homeland, Sri Lanka.
It features 26 pairs of slippers individually painted in designs inspired by the floral motifs found in the many Buddhist temples she visited. Each pair memorializes a year of the civil war, embodying its cultural tradition of rich ornamentation within a con-temporary context, and suggesting symboli-cally a “step” into a new era.
Jeanette N. MarshallA Fire in the ArtSeptember 12- November 21, 2015
Illumine Gallery364 Talbot Street, St. Thomas ON N5P 1B6
“A Fire in the Art” is the premier fall exhibition at Illumine Gallery in St. Thomas, Ontario. This new gallery juxtaposes modern art within a 19th century business establishment. Expect to see state of the art paintings, fabric and glass art, ceramics, sculp-ture and installations set in historic classical archi-tecture. The “fire” will range from images reflecting the heat of the sun to those depicting passion, the spark of understanding and intensively hot hues. Bring a fan. See www.illuminegallery.com and www.jeanettermarshall.com
Tracey-Mae ChambersMine is but a tear in a riverSeptember 9 - December 1, 2015
Ojibwe Cultural Foundation15 Highway 551 (Corner of Highways 551 & 540)M’Chigeeng ON P0P 1G0
I feel we must face brutal truths. The work con-tained within ‘Mine is but a tear in a river’ makes me feel obliged to note that some may find it uncomfortable to view. Sometimes a little discom-fort is required. Flesh is a messy business after all. But I felt compelled to create it. The exterior of the clothing has been painted with encaustic to re-create flesh.This work confronts Canada with its apathy towards the violence against Aboriginal Women.
Any CARFAC Ontario member can be included in these free listings. The deadline for inclusion in the next issue is Friday, November 6, 2015 for shows running during January, February and March 2016. Please
send listings for shows running only during these months to: [email protected]
The listing should include: your name; title of your show; gallery’s address and contact information; date for which the show will be on display; and a brief artist’s statement or description of the work. The subject line of the e-mail should clearly request inclusion in the next issue of DISPATCH. You can also post your
exhibition listings on the members’ section on our web site: www.carfacontario.ca
CARFAC Ontario Members’ Exhibition Listings
| 10 |
Roslyn Levin in exhibitions: Shodo Canada Annual ExhibitNovember 14 - November 28, 2015Awards Presentation: November 15 at 2:00PM
Japanese Canadian Cultural Centre6 Garamond Court, Toronto ON M3C 1Z5
The Annual Japanese Calligraphy Competition in Canada creates an opportunity for Canadians of all ages and backgrounds to participate in a unique cultural forum to further their individual pursuit of Shodo. The entries are adjudicated by a jury of Shodo Masters in Japan then exhibited at the Japanese Canadian Cultural Centre in Toronto. Over 150 Scrolls of Japanese Calligraphy will be displayed. Support is provided by The Consulate- General of Japan, The Japan Foundation and the Japanese Canadian Cultural Centre.
Sumi-e Artists of Canada Annual ExhibitNovember 21- November 22 2015
Awards Presentation: November 21, 2015 1:00PMJapanese Canadian Cultural Centre6 Garamond Ct, Toronto ON M3C 1Z5
This is a chance to see over 100 works of art on washi, rice paper, painted in the traditional tech-nique, using handmade ink made from pine or veg-etable soot and handmade brushes. The work is elegant and Zen. A tea room provides vegetarian sushi, sandwiches and other snacks as well as green tea with proceeds going to Sumi-a Artists of Canada. Prizes are awarded including the Ruth Yamada Award. Demonstrations throughout the show. Noon to 5pm both days.
Brushfire Artists 5th Annual ExhibitSeptember 12 - September 13, 2015
Monora Park - Lower Level500 Monora Park Drive, Organgeville ON L9W 0E1
Brushfire Artists, which currently consists of 9 artists including SCA’s member, Roslyn Levin, will be hav-ing their 5th annual exhibit with guest artists at Monora Park on the Lower Level. The work will range from sumi-e and watercolours to oils and mixed media. They will also have their trademark Loonie bin sale where you can win an original work for the investment of only a Loonie
Le Labo presents: “Membre du mois” at Le Labo: Julie LassondeArtist Talk: October 7, 2015 at 6:00pm
Le Labo568 Richmond Street West, Toronto ON M5V 1Y9
The “Membre du Mois” is a free event open to the public in which on of the members of Le Labo will be honoured. The guest of honour will have “carte blanche” to present their work, past, present and/or future, as well as what motivates them in their pursuits. A friendly and casual occasion, each “Membre du mois” event is a unique opportunity for members and the public to come together and share ideas and projects.
“Venus d’ailleurs” Le Labo artistsNovember 18 - December 11 2015Opening: Wednesday, November 18 at 6:00pm
24 Spadina Road, Toronto ON M5R 2S7
All Le Labo’s Members are invited to participate to their dedicated annual exhibit. The artworks are presented to the general public for sale during a fundraising event to the benefit of both the artists and Le Labo.
Franco D’AngeloOfferingsNovember 5 - November 8, 2015Reception: November 5 & 6 from 6:00pm-8:00pm
Dignam Gallery at the Women’s Art Association of Canada23 Prince Arthur Avenue, Toronto ON M5R 1B2
Franco D’Angelo’s first obsession was photogra-phy. Over the years, he delved new artistic media, eventually working with a variety of objects, from car hoods to bicycles, from wood to wallpaper. Franco’s latest exhibit is titled “Offerings”. He has created an intricate set of collages by delicately working with Joss paper - sacred ghost money frequently used as burnt offerings to the dead in East Asian religious ceremonies - to explore some of his favourite themes.
| 11 |
Brianna Mulvale in exhibitions: Hilly World at the 21st Annual Barrie Christmas Arts & Crafts ShowNovember 6 - November 8, 2015
Barrie Molson Centre555 Bayview Drive, Barrie ON L4N 8Y2
This is a juried show where 140 of Ontario’s most talented artisans & crafters come together at the Barrie Molson Centre for the 20 th Annual Christmas Arts & Crafts Show & Sale. Choose from pottery, artwork, stained glass, teddy bears, Christmas crafts, body care products, jewellery, clothing, woodcrafts, ceramics, and more, making Christmas shopping easy. I will be exhibiting my original “Hilly World” whimsical folk art paintings along with Giclee prints, greeting cards & other items. Booth M105.
Hilly World at the 41st Annual Ball’s Falls Thanksgiving FestivalOctober 9 - October 12, 2015
Ball’s Falls Conservation Area and Centre for Conservation3292 Sixth Avenue, Jordan ON L0R 1S0
The 41st Annual Ball’s Falls Thanksgiving Festival features over 200 Selected artisans dis-playing and selling their creative wares such as pottery, paintings, jewellery, lawn ornaments and clothing. Families and visitors come from far and wide to experience the Ball’s Falls Annual festi-val and its natural setting. In addition to the arts, crafts and wares, you can enjoy the incredible beauty of the 19th Century hamlet, set amid the majestic Niagara Escarpment and Twenty Valley eco-system.
Hilly World at the 2015 One of a Kind Christmas Show & SaleNovember 26 - December 6, 2015
Direct Energy Centre100 Princes’ Blvd, Toronto ON M6K 3C3
Canada’s largest show and sale of works from over 800 artisans and designers. Shop coast to Coast for handmade gifts. For the 3rd consecutive year i will be exhibiting my original “Hilly World” whimsical folk art paintings along with Giclee prints, greeting cards & other items. Visit my website www.briannasart-work.com for updates.
Hilly World at the 32nd Annual Sugar Plum Fair Craft Show & SaleNovember 14 - November 15, 2015
Nottawasaga Inn Resort & Conference Centre6015 Hwy 89 Alliston, ON L9R 1A4
Visit the Nottawasaga Resort for the 32nd Annual Sugar PlumFair Craft Show & Sale, Saturday November 14th and 15th and discover a spectacular line-up of crafters who feature a unique line-up of handmade items. The show features over 100 ven-dors from across Ontario selling a variety of items including chocolate, jam, fudge, sauces, quilts, candles, ceramics, stained glass, wreaths, folk art, woodwork, sock monkeys, body care products, pewter, Christmas decorations and more!
Tony UrquhartTony Urquhart: Intimate WorldsOctober 3 - October 31, 2015
Charlotte Hale and Associates Gallery (presented by J Rottman)588 Markham Street Toronto ON M6G 2L7
Celebrating 80 years: drawings, paintings and box sculptures.
cCopyright licensing services for visual & media artists
Visit www.carcc.ca for: Membership informationList of affiliated artistsFee schedulesUser servicesCanadian copyright law info
866 502 2722 (toll free)
613 232 3818 (Ottawa)
CARCCCanadian ArtistsRepresentation Copyright Collective
CARCC_AD:Layout 1 30/04/09 1:15 PM Page 2
| 12 |
Marlene MunroeA Special SeriesSeptember 9 - October 30, 2015
Richelieu- Vanier Centre300 rue des Peres Blancs, Ottawa ON K1L 7L5
The major theme of this solo exhibition of paintings and sketches is an expression and a celebration of the Joy, the Caring and Love that I shared and expe-rienced while accompanying my husband at the Champlain Centre, over and above the realities of his illness. You will also see paintings of several of my various “series”.
FUSION: The Ontario Clay and Glass AssociationFUSION Clay & Glass ShowOctober 16 - October 18, 2015Reception: Friday October 16 at 7:00pm
Wychwood Barns601 Christie Street, Toronto ON M6G 4C7
Fusion Clay and Glass Show is an annual exhibi-tion and sale held at the Artscape Wychwood Barns in Toronto. Celebrating the best and most engaging clay and glass works, this will be the foremost event for purchasing the finest in clay and glass.
Trish HondzelCZASTKA MOJEJ OSOBY - part of meSeptember 15 - October 31, 2015
Martha Bishop Community Room, Landon Library167 Wortley Road, London ON N6C 3P6
Hondzel’s work looks at family archives and photo albums, pairing memorabilia with research of personally intrinsic customs. Issues of history and archiving, opens an aperture on memory as a means of visual revealing. As author, she hybridizes individuals with natural environments, perpetuating new dialogues, describing herself and her relatives; depictions are often unique elements and imagery within each work, co-emerging through personalized anecdotes, as a gesture of gratitude that builds upon the renewal of familiar relationships.
Robin PacificFlowers and Threads: The FAST CampaignNovember 15 - November 16, 2015
EMK Center for Public Service and the ArtsHouse No. 5, Road No, 27 DhakaDhamondi 1209 Bangladesh
Last year artist Robin Pacific traveled to Dhaka, Bangladesh with artists Clare Samuel and Leah Houston. They made art with over 100 garment workers, and did the same project with garment workers in Toronto and other interested groups. The resulting work will be shown with Clare Samuel’s photographic portraits of Bangladeshi garment workers.
Gwendolyne Tooth & Shannon MoynaghDrawings (Revised Submission)Octover 7 - October 11, 2015Reception: October 8 2015 7:00PM
Propeller30 Abell Street Toronto, ON M6A 0A9
Gwen Tooth and Shannon Moynagh will exhibit in the North Gallery at Propeller. Gwen’s large bold drawings are based on abstracted oval shapes with disguised profiles of faces inserted within each shape. Shannon’s figurative drawings include large and small works inspired by years of personal sketches. www.propellerctr.com
Glenna Tissenbaum2015 Toronto West Arts Collaborative Annual Juried Art ShowAugust 21 - September 7, 2015
Canadian National Exhibition210 Princes’ Boulevard Toronto ON, M6K 3C3
Glenna Tissenbaum has been selected to partici-pate, along with 14 other artists from across Canada in the 2015 Toronto West Arts Collaborative Annual Juried Art Show at the Canadian National Exhibition (CNE). The artwork is a mixed media piece incorporating glass & an acrylic skin on paint-ed canvas. The exhibit will be shown in the Queen Elizabeth Building/Arts and Crafts Hall daily between the hours of 10 am and 10 pm. For more informa-tion on the CNE, please visit www.theex.com
| 13 |
Carrie Perreault in exhibitions: Shifting PracticesSeptember 10 - October 10, 2015
Marilyn I Walker School of Fine and Performing Arts
This video diptych “I Can’t Eat Anymore” features performative acts by a Cambodian man (Mr. Vuthy) and woman (Phally). As instructed by the artist, each person eats bananas until they cannot eat anymore. Once each individual is full they say in their own time “I can’t eat anymore” in Khmer, at which point the art-ist advises them off screen to continue to eat. Mr Vuthy and Phally do so with discomfort.
Community VoicesSeptember 18 - December 7, 2015
Society for Contemporary Craft2100 Smallman St. Pittsburgh, PA 15222 U.S.A
Ephemeral Sculpture are used tissues that I col-lected from my last major depressive episode. This last occurrence was my longest one and this project started towards the end of it. These are the tissues I used from crying depression specific tears. For me these tissues act as a marker and help to make the private public.
Jeanette N. MarshallA Fire in the ArtSeptember 12- November 21, 2015
Illumine Gallery364 Talbot Street, St. Thomas ON N5P 1B6
“A Fire in the Art” is the premier fall exhibition at Illumine Gallery in St. Thomas, Ontario. This new gallery juxtaposes modern art within a 19th cen-tury business establishment. Expect to see state of the art paintings, fabric and glass art, ceramics, sculpture and installations set in historic classical architecture. The “fire” will range from images reflecting the heat of the sun to those depicting passion, the spark of understanding and inten-sively hot hues. Bring a fan. See www.illuminegal-lery.com and www.jeanettermarshall.com
Victoria Piersig in exhibitions: Trading PlacesSeptember 25 – December 31, 2015
Harbourfront Centre235 Queens Quay West, Toronto ON M5J 2G8
Traveling with a cargo of wheat from Thunder Bay to Montreal I trace the classic journey celebrated in song. A story forgotton by most urbanites as gentrification relentlessly pushes heavy industry and shipping infrastructure from its place in the landscape. Thunder Bay to Montreal I trace the classic journey celebrated in song. A story forgotten by most urbanites as gentri-fication relentlessly pushes heavy industry and ship-ping infrastructure from its place in the landscape.
Trading PlacesSeptember 11 – October 30 2015
Saint John Arts Centre20 Peel Plaze, Saint John NB E2L 3G6
Traveling with cargos of wheat, iron ore and gyp-sum – from Cape Breton to Thunder Bay- I trace the classic journey celebrated in song. A story forgotten by most city dwellers as gentrification relentlessly pushes heavy industry and shipping infrastructure forms its place in the landscape.
Wendy TretheweyNocturnes TropicalsNovember 17, 2015 - January 3, 2016Vernissage: November 22, 3:00 - 5:00pm
Bistro Le Forain, in le Salon des Lucioles189 Boulevard Saint-Joseph, Gatineau QC J8Y 3W9
Based on a series of sketches done on her travels to warm climates such as Costa Rica and Baja California. Wendy has turned these into a series of colorful night scenes paintings that capture the essence of a tropical evening.
| 14 |
Sandra HawkinsArctic Ice Floes & Ground Zero New York CitySeptember 10 – November 2, 2015Vernisage: September 27 at 2:30pm
Nepean Creative Arts Centre 35 Stafford Road, Ottawa ON K2H 8V8
Sandra Hawkins’ series of three zinc-etching prints (Ice Floes) and four Polaroid emulsion lift prints (Ground Zero New York City ) reflect her concerns with rapid climate change and impli-cations for sea-level urban environments such as New York City. This exhibition extends to November 2, 2015.
Andrzej MaciejewskiGarden of EdenNovember 5 - November 28, 2015Reception: November 5 at 6:00pm
Art Gallery of St Albert19 Perron Street Street, Albert AB T8N 1E5
Still-life photographs based on the style of Old Masters paintings but shhowing 21st century fruits and vegetables with labels and PLU num-bers. In the same time the museum presents also an exhibition by local sculptor.
Elaine WhittakerCompendiumOctober 4 -December 27, 2015Opening: October 30 at 7:00pm
Islip Art Museum50 Irish Lane, East Islip, New York 11730 U.S.A
I have 4 digital images from my “Screened For” series in this art and science ground exhibit.
Julia RempelIl etait une fois l’OrientSeptember 3 - September 26, 2015Opening & Artist Talk: September 3 at 6:00pm
Whippersnapper GalleryDundas Street West 594b Toronto ON M5T 1H5
Il était une fois l’orient, 2013-2015, is the juxta-position of stereotyped images from a fantasized orient. These images involve the representation of arabic or « oriental » women. It is a look back at the golden age of Egyptian cinema and a mod-est attempt at examining the place of the woman in this era and in western imagery.
Information for Artists, Artists’ Contracts, The Visual Artists’ Guide to Estate Planning; all of your favourite CARFAC Ontario publications have been revamped! They now have new covers and continuous page numbers so that it is no longer necessary to dig through the entire book in order to find relevant chapters. Also, The Visual Artists’ Guide to Estate Planning will soon be available in French!
Another exciting addition is that an electronic version of Artists’ Contracts is now available. Have you ever dreamed of simply fi lling in the blanks on these contracts electronically? Well, that’s exactly what we have done in the electronic version—the entire Artists’ Contracts is available in a fi llable pdf form format. You can even choose to purchase only the contracts that you need, as opposed to the complete collection. These electronic versions are now available for purchase online.
Publications
Agreements for
Visual and Media Artists
by Paul Sanderson & Ronald N. Hier
Published by CARFAC Ontario
Artists'
ontracts
"The more artists use these contracts, the
greater will be their general acceptance by
galleries, community organizations, dealers
and other institutions.”
- Robin Pacifi c, Artist
A Practical Guide forVisual and Media Artists
Published by CARFAC Ontario
Informationfor rtists
By Karilynn Ming Ho for CARFAC Ontario
The Visual Artists'state Planning
Guide to
Published by CARFAC Ontario
| 15 |
Deadline Grant Name Contact Person Contact Information
15 October Aboriginal Traditional Visual Art Forms Program for Individual Artists
Jim LoganProgram Officer
613-566-4414 ext. 5266
1 November Travel Grants to Professionals in the Visual Arts
Jim LoganProgram Officer
613-566-4414 ext. 5266
15 November Aboriginal Peoples Collaborative Exchange: National and International Project Grants
Noël HabelProgram Officer
613-566-4414 ext. 4178
1 December Project Grants to Visual Artists Michel GabouryProgram Officer
Pao Quang Yeh Program Officer
613-566-4414 ext. 5265
613-566-4414 ext. 5094
Anytime Recommended to apply at least 10 weeks in advance.
Travel Grants to Media Arts Professionals
Media Arts Section 613-566-4414 ext. 5914
Anytime Recommended to apply a minimum of 8 weeks in advance of departure date.
Travel Grants for Aboriginal Collaborative Projects
Noël HabelProgram Officer
613-566-4414 ext. 4178
Anytime Recommended to apply a minimum of 6 weeks in advance of departure date.
Capacity Building Initiative: Travel Grants
Shuni Tsou Program Officer
613-566-4414 ext. 4173
The CARFAC Ontario Grants Calendar is published in every issue, allowing you to plan in advance for grant deadlines. All the information published here has been edited for space, and is meant to give you a general sense of the types of grants available. Deadlines and eligibility criteria are subject to change at any time. Visit the funders’ websites to verify deadlines and to find out more about application requirements. CARFAC Ontario makes every effort to provide information which is up-to-date and accurate. Neither CARFAC Ontario nor any of its employees can be held responsible for any errors or omissions, or for
any losses, costs or claims which arise as a result of relying on this information.
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
| 16 |
ONTARIO ARTS COUNCIL151 Bloor Street West, 5th floor, Toronto ON M5S 1T6
Phone: 1-800-387-0058 (toll-free in Ontario) or 416-961-1660 | Fax: [email protected] | www.arts.on.ca/Page16.aspx
Deadline Grant Name Contact Person Contact Information
15 October Craft Projects: Creation and Development
Caroline CotterProgram Administrator
416-969-7455 | 1-800-387-0058 ext. [email protected]
15 October Craft Projects: Connections Caroline CotterProgram Administrator
416-969-7455 | 1-800-387-0058 ext. [email protected]
15 October Multi and Integrated Arts Kateri GauthierInterim Program Administrator
416-969-7424 | 1-800-387-0058 ext. [email protected]
3 November Media Arts: Emerging Anne Gardé Gravestock Program Administrator
416-969-7461 | 1-800-387-0058 ext. [email protected]
4 November Visual Artists: Emerging Caroline CotterProgram Administrator
416-969-7455 | 1-800-387-0058 ext. [email protected]
17 November Northern Arts Terry GitersosProgram Administrator
Marilyn McIntoshNorthwestern Consultant
416-969-7401 | 1-800-387-0058 ext. 7401 [email protected]
807-622-4279 | [email protected]
1 December Writers’ Works in Progress - Comic Arts
Helen FlorosProgram Administrator
416-969-7440 | 1-800-387-0058 ext. 7440 [email protected]
15 December Visual Arts Projects Anne Gardé Gravestock Program Administrator
416-969-7461 | 1-800-387-0058 ext. [email protected]
TORONTO ARTS COUNCIL 26 Grand Trunk Crescent, Suite 200, Toronto, ON M5J 3A9
Phone: 1-800-387-0058 (toll-free in Ontario) or 416-961-1660 | Fax: [email protected] | www.arts.on.ca/Page16.aspx
Deadline Grant Name Contact Person Contact Information
2 November Grants to Media Artists (Individuals)
Peter KingstoneVisual/Media Arts Officer
416-392-6802 ext. [email protected]
DISPATCHVo l u m e 21, Is s u e 3, se p t e m b e r 2015
IssN 1201-0081
DISPATCH is published by
CARFAC Ontario440-401 Richmond Street WestToronto, Ontario M5V 3A8416.340.8850 / [email protected]
Editor / Layout Copy EditorsVictoria Glizer Bri Salmena Venessa Harris
Contributors CARFAC Ontario Staff, Clayton Windatt and Victoria Ward.
The opinions expressed in DISPATCH are those of the authors and do not necessarily reflect those of CARFAC Ontario, CARFAC National or its regional affiliates.
CARFAC Ontario Board of DirectorsYael Brotman (President), Devon Ostrom (Vice President), Kohila Kurunathan (Treasurer), Kristen Fahrig (Secretary), Ashley McKenzie-Barnes, Sophie DeFrancesca, Dave Kemp, Leesa Bringas and Michelle Forsyth.
CARFAC Ontario StaffSally Lee (Executive Director), Victoria Glizer (Membership Manager), Diann Missal (CARFAC Online Coordinator), Bri Salmena (Administrative Assistant) and Venessa Harris (Publications Assistant).
CARFAC Ontario is supported by the Ontario Arts Council, the Toronto Arts Council, the Ontario Ministry of Culture, the Ontario Trillium Foundation, and by our members.
CARFAC Ontario is the association of professional visual and media artists in Ontario, Promoting the legal and economic rights of Visual and Media Artists for over 40 years. As an artist-run organization, CARFAC Ontario knows the needs of artists and has developed services and programs to assist artists at every stage of their career.
Many thanks to Adam Freedman and Kristen Fahrig for presenting at Empower Yourself: Confident Negotiation for Visual Artists and the sharing their knowledge and
experience!
In the photo: Sally Lee introduces panel discussion speakers Adam Freedman and Kristen Fahrig, . Photo by Victoria Glizer, CARFAC Ontario.
an Ontario government agencyun organisme du gouvernement de l’Ontario
At a glance ....
