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Strengtheningthe Sector
Resources and Codesof Practice for theVisual, Media and
Craft-Based ArtsSector in Ontario
With assistance from Ontario Crafts Council, Artis t-RunCentres and Collectives of Ontario, Media Arts Network ofOntario, the Aboriginal Curatorial Collective and the
Ontario Association of Art Galleries
Phase 1Final
ReportJuly 2013
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Contents
1 INTRODUCTION .............................................................................................................................. 1
WHAT IS THIS INITIATIVE ABOUT? 1
THIS REPORT 2
2 RESEARCH AND ANALYSIS .......................................................................................................... 3
BACKGROUND RESEARCH 3
DATABASE DEVELOPMENT 4
3 COMMUNITY ENGAGEMENT ......................................................................................................... 6
REGIONAL FORUMS 6
PROVINCE-WIDE SURVEY 7
4 MOVING FORWARD ..................................................................................................................... 12
PRIORITY ON-LINE RESOURCES 12
PRIORITY CODES OF PROFESSIONAL PRACTICE 12
APPENDICES ...................................................................................................................................... 14
APPENDIX A: BACKGROUND RESEARCH REPORT 14
APPENDIX B: REGIONAL FORUMS REPORT 15
We would like to gratefully acknowledge the support of theOntario Trillium Foundation for providing funding for this
project.
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1 Introduction
What is this Initiative About?
Strengthening the Sector: Resources and Codes of Practices for the Visual, Media and
Craft-Based Arts Sectoris a multi-year project focused on researching and developing
a range of resources and tools to support the visual, media and craft-based arts
sectors in Ontario. The following goals guide the project:
1. Establishing codes of professional practice in the visual, media and craft-
based arts sector.
2. Developing on-line resources to support the sector
3. Strengthening relationships across the sector and the province.4. Supporting professionalization across the sector.
CARFAC Ontario is leading the project supported by a Steering Committee comprised
of the Ontario Association of Art Galleries, Ontario Crafts Council, Artist-Run Centres
and Collectives of Ontario, Media Arts Network of Ontario and the Aboriginal Curatorial
Collective. CARFAC Ontario acknowledges the support of the Ontario Trillium
Foundation for the project. The Steering Committee played an indispensable role in
guiding the project, and demonstrated a strong interest in forging stronger partnerships
and to build capacity across the sector.
AuthentiCity, the Cultural Development Division at Millier Dickinson Blais was retained
to provide consulting support to Phase 1 of the project.
The project is being undertaken in three Phases.
Phase 1 - Knowledge Building and Community Engagement - this phase of work
focused on:
Undertaking research to understand approaches to the development of codes ofprofessional practice in a range of arts sectors in Canada and internationally
Building a database of organizations and facilities associated with the visual,media and craft-based arts sectors in Ontario across the province
Undertaking community engagement across the province to help shape project
directions and priorities Making recommendations to guide subsequent phases of work.
Phase 2 Developing Resources and Codes of Practice Development - this phase ofwork will:
Develop on-line tools and resources for the sector based on priorities defined inPhase 1
Develop the first codes of professional practice for the sector based on prioritiesdefined in Phase 1
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Phase 3 -Implementation and Engagement - this final phase of work will:
Launch on-line resources
Distribute and promote the first codes of practice.A Note on Language and Codes of Professional Pract ice
At the outset, the terms Best Practices orIndustry Standards were used to describe
one of the core goals of the project. Emerging form the research and community
engagement undertaken in Phase 1 it was concluded that the preferred language was
Codes of Professional Practice. The three terms are used interchangeably in various
jurisdictions. Further detail on definitions of these terms is set out in Chapter 2.
The Process
Step 1 Formation of the Steering Committee (September 2012)
Step 2 Background Research (October November 2012)
Background Research Report (December 2012)
Step 3 Database Development (November 2012 March 2013)
Step 4 Community Engagement
Regional Forums (December 2012 January 2013) Province-wide Survey (March June 2013)
Step 5 Final report (July 2013)
This Report
Chapter 2: Research and Analysis this chapter provides highlights from a previous
report produced for the project Background Research Report (December 2012). This
report summarized findings from the research on codes of practice undertake across a
range of arts disciplines and a range of jurisdictions forms Appendix A of this report.
Chapter 2 also reports on the development of a database of organizations and facilities
associated with the visual, media and craft-based arts sectors in Ontario.
Chapter 3: Community Engagement this chapter provides highlights from the two
forms of community engagement undertaken in Phase 1. The first is the six regionalforums organized across the province from December 2012-Junuary 2013. A previous
report produced for the project Regional Forums Report (March 2013) forms Appendix
B of this report. The second form of community engagement was a cross-province
survey mounted to seek wider input to the project.
Chapter 4: Moving Forward this chapter sets forth recommendations regarding the
next phases of work forStrengthening the Sector: Resources and Codes of Practices
for the Visual, Media and Craft-Based Arts Sector.
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2 Research and Analysis
Background Research
The Background Research Report summarized findings from a scan of initiatives
undertaken nationally and internationally to develop codes of professional practice
(best practices). For each initiative, the scan identified:
Sponsoring Organization or Agency Topic or Title (of the code of practice) Discipline - e.g., visual arts, crafts, media, design, literature, dance, etc. Notes defining features of each initiative Issues the specific issues addressed by the code of practice (e.g., written
agreements, frequency of exhibitions, exhibition arrangements, etc.)
The Report examined two leading practices in more depth: CARFAC Saskatchewan
Best Practice Development Project1
and the Code of Practice for the Professional
Australian Visual Arts, Craft and Sectors2
The scan revealed that, while initiatives vary greatly, a number of commonalities could
be identified. The following definitions were cited drawing from the two leading
initiatives noted above.
developed by the National Association for
the Visual Arts (NAVA) in Australia. The latter is widely acknowledged as the leading
international work in the field.
CARFAC Saskatchewan The most ethical, equitable, and reasonable form of anyspecific business arrangement between an artist and the user of his/her creative work.
Best practices generally address sector issues not addressed formally through
legislation and legal provisions.
National Association for the Visual Arts - A set of practical and ethical guidelines for
the conduct of business between arts/craft/design practitioners and galleries, agents,
dealers, retailers, buyers, sponsors and partners, commissioners, employees, and the
managers of residencies, workshops, competitions, prizes and awards.
From the research, a number of potential initial topics forStrengthening the Sector:
Resources and Codes of Practices for the Visual, Media and Craft-Based Arts Sector
were identified:
Best practices related to artists and their interaction with (non-profit) public artgalleries, artist-run spaces and co-ops
Best practices related to their interaction with (for-profit) commercial art galleries Best practices related to the conduct of studio tours as they relate to the interests
and treatment of artists in this context
1http://www.carfac.sk.ca/?s=resources&p=bestpractices
2http://www.visualarts.net.au/advicecentre/resources/publications/codepractice3rdedition
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Best practices related to artists residencies, public art competitions andcommissions, art fairs, alternative exhibition venues, artists live-work spaces
(focused on the interests and treatment of artists in these contexts)
Finally, the Background Report drew attention to the growing significance of
municipalities in Ontario in relation to cultural planning and the development of cultural
resources. It will be important to include and engage municipalities in the next phases
of the project to provide them with knowledge and guidance in advancing their cultural
plans and mandates.
Database Development
Phase 1 of the project included the development of an asset database for
organizations and institutions across the visual, media and craft-based arts sector. The
first step in the development of the database was confirming the categories of
organizations that would be the focus of data collection (the data framework). The data
framework drew primarily on Statistics Canada Canadian Framework for Cultural
Statistics that defines the cultural sector in Canada.
These categories were then reviewed and refined by the Steering Committee to
confirm the following framework including 15 categories across the visual, media and
craft-based arts sector.
Art and Cultural Centres Artist Run Centres Commercial Art Galleries Public Art Galleries Craft Dealers/Stores Craft Supply Craft Galleries Craft Organizations Institutional Galleries Museums Media Organizations & Production Centres Visual Arts Instruction Visual Arts Organizations
The first source of data was infoCanada that aggregates data from two sources
Statistics Canada and local Yellow Pages and categorizes them based on industry
standards. This baseline data was then supplemented through data provided by the
organizations represented by members of the Steering Committee. In the end, close to
1,300 organizations and facilities were identified. In addition, 77 post-secondary
programs in the three sub-sectors were included in the data.
Information on each organization/facility at this stage in the data collection process
includes only basic or tombstone data i.e.
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Name of organization Category Street Address Phone Number
Each organization/facility has been geocoded (i.e., assigned a point of latitude and
longitude) so that the data can be mapped using Google maps or other mapping
technologies. The mapping of these assets will be a priority in the next phase of work.
This mapping work will also need to address strategies for maintaining and updating
the data over time.
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3 Community Engagement
Regional Forums
The first community engagement initiative saw the organizations of six regional forums
across the province. The forums took place in the following locations:
Niagara/Hamilton Forum - at the Niagara Artist Centre Thunder Bay Forum - at the Thunder Bay Art Gallery Sudbury/North Bay Forum - at the Art Gallery of Sudbury Toronto/Mississauga Forum - at Gallery 1313 London Forum - at Museum London Ottawa Forum - at Gallery 101
The forums were organized with support and guidance from the Steering Committee
and the assistance of regional supporters and organizations. Over 130 attendees
registered for these forums representing a range of disciplines and interests.
The full Regional Forums Report is attached as Appendix B and contains a detailed
summary of the discussion at each regional forum, as well as a synthesis of themes
across all forums. These overarching themes are organized based on four questions
that guided discussion at each forum.
1. Challenges Working in the Sector in Local Communities
2. Local Resources Needed to Address These Challenges
3. Online Resources Needed to Address Challenges and Support the Sector
4. Priority Topics for Codes of Practice (Best Practices)
Major recurring themes from the forums included:
Weak networks and lack of mentoring opportunities. Challenges accessing information and resources. Lack of opportunities for professional development (particularly in the area of
business and entrepreneurial skills).
Lack of understanding of professional artists in communities.
While there were themes that were consistent across the province, some regional
differences were noted. In rural areas and in more remote areas such as NorthernOntario, access to information, resources and networks was cited as more acute. In
these areas there was significantly more interest in the development of on-line
resources than in the development of codes of professional practice (although the
benefits of developing the codes of practice were acknowledged).
A wide range of potential online resources were identified through the regional forums.
The following emerged as priority codes of professional practice (in no order of priority)
Professionalism of presentation/display
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Standardization of calls for submissions Charitable donations of work to public institutions or charities Resale rights Public art commissions and competitions (with municipalities as a primary target
audience)
Relationships between individual artists and public galleries Relationships between individual artists and commercial galleries
Findings from the forums informed the development of the province-wide survey
intended to seek further input to the project.
Province-Wide Survey
The online survey addressed similar issues to those explored at the regional forums:
Challenges facing the sector
Defining priorities for online resources to address challenges and strengthen thesector
Defining priority topics for codes of professional practice.
Questions included closed questions giving people specific answers to choose from
(and rank) and open-ended questions providing opportunities for additional comments
or input.
Additional detail on survey responses is found in Appendix C.
The survey was widely distributed using membership contact list from CARFAC
Ontario and members of the project Steering Committee.
Over 150 respondents answered the survey. Of these, 72% self-identified as individual
artists and 28% as an organizations or an institution in the sector.
More than half of the respondents were visual artists. The second largest group came
from arts administrators (12.1%). Responses were received from all regions of Ontario:
40% from the GTA 18% from Southwestern Ontario 25.8% from Eastern Ontario (including 11.4% from Ottawa)
16.2% from Northern Ontario.
Challenges Facing the Sector
The three main challenges identified in the survey are:
1. Funding (37.4%)
2. Professional development (29%)
3. Weak network/communication between artists and organizations/institutions
(29%)
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Individual artists and organizations/institutions identified the same challenges but the
order and recurrence differ.
Individual artists
The biggest challenge for individual artists is the weakness of networks and
communication between artists and organizations (31.2% of responses).
Funding for individual artists was the second highest response (30% of responses).
From the open-ended responses, this challenge appears to be coupled with a larger
challenge that pertains to a broader lack of resources. Three types of resource-based
challenges for artists emerged from the survey:
Financial resources (fees, salary, remuneration) Physical resources (housing, live/work space, supplies) Professional development and support (templates, online courses, etc.).
Organizations/Institutions
Funding emerged as the top challenge for organizations (38.2% of responses) followed
closely by professional development needs (35.3% of responses). Weakness of
networks and communication was only selected by 17.6% of respondents self-
identifying as organizations.
Regional Differences
Regional differences were more marked than those between individual artists and
organizations related to challenges faced by the sector.
Similarly to the regional forums, artists in rural and more remote areas including
Northern Ontario face acute challenges in terms of networks/communication andresources.
Weak networks and communication was ranked lower in the GTA and to a lesserextent in the Ottawa region.
Funding appears to be a more pressing challenge for respondents in NorthernOntario.
Respondents from larger urban centres were more likely to link the challengearound resources to physical resources, especially affordable live/work spaces.
Priority Online Resources
Respondents were asked to rank on a scale of 1 to 5 a range of potential online
resources that had been identified through the regional forums. The four highestranked resources for all of the respondents were:
1. An online database containing information on funding sources (an overall
ranking of 4.12)
2. On-line CARFAC Ontario contract templates (with emphasis on matters such
as copyright infringement issues) (3.91)
3. An central online hub providing direction to a range of issues and information
affecting the visual, media and craft-based arts sector (e.g., funding agencies,
professional associations, professional development opportunities (3.75)
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4. A searchable province-wide database of organizations and facilities across the
visual, arts and craft-based arts (3.54)
Individual Artists and Organizations
The top three online resources for individual artists and organizations are the same.
The main differences are:
The online database containing funding information had a higher average ranking(4.30) for organizations, which is consistent with the stronger emphasis of funding
as a challenge for organization in the challenges facing the sector
The online template for contract was ranked higher (3.99) by individual artists.
Geographic Differences
Geographic differences were not as pronounced on this question as they were on the
first question related to sectoral challenges.
The table below provides a summary of the top four ranked responses for the different
regions of the Province (the colour shading represents the overall ranking for all
respondents, where the non-coloured cells correspond to an online tool that was not
part of the top four resources overall).
Region Highest ratedSecondHighest
Third HighestFourthHighest
GTA
onlinedatabasecontaining
fundinginformationand sources
3.88
onlineCARFACOntariocontract
templates3.78
online hubdirecting traffic
to differentinformation
3.71
A webinar toolavailable
province-wide
to supportprofessionaldevelopment
3.40
Al l but GTA
onlinedatabasecontaining
fundinginformationand sources
4.27
onlineCARFACOntariocontract
templates4.00
online hubdirecting traffic
to differentinformation
3.81
A searchableprovince-widedatabase of
organizations3.66
OttawaRegion
onlinedatabase
containingfunding
informationand sources
4.20
onlineCARFAC
Ontariocontract
templates4.00
A searchable
province-widedatabase of
organizations3.60
online hub
directing trafficto differentinformation
3.36
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Southeastern
onlinedatabasecontaining
fundinginformationand sources
4.37
A searchableprovince-widedatabase of
organizations4.00
online hubdirecting traffic
to differentinformation
3.95
onlineCARFACOntario
contracttemplates
3.68
Southwestern
onlinedatabasecontaining
fundinginformationand sources
4.09
onlineCARFACOntariocontract
templates4.08
A webinar toolavailable
province-wideto support
professionaldevelopment
3.65
online hubdirecting traffic
to differentinformation
3.61
Northern(combined)
onlinedatabasecontaining
fundinginformationand sources
4.44
online hubdirecting traffic
to differentinformation
4.26
onlineCARFAC
Ontariocontracttemplates
4.21
A webinar toolavailable
province-wide
to supportprofessionaldevelopment
3.68
In addition to the ranking of online resource priorities, other regional differencesemerged from the survey in relation to the individual scores attained by the variousonline resources:
None of the online resources reached a score of 4.00 in the GTA. In all the otherregions, the top two priorities were rated above 4.00. And the top three were above
4.00 in Northern Ontario.
The online database containing funding information and sources received scoresabove 4.00 in all regions except in the GTA.
The online hub directing traffic to different information was ranked third overall,but received the widest range of regional scores, from 4.26 to 3.36.
Finally, the open-ended responses revealed a number of other potential onlineresources:
Online forums or spaces for exchange the purpose of these forums ranged fromplaces to seek practical information or advice to more advanced forums described
as places to explore emerging issues and trends, etc.
A database to exchange and share information about renting or sharing studio and
gallery space Support for marketing and social media training A spatial map to locate organizations and facilities (a province-wide map that
would enable people to zoom in on specific areas of parts of the province
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Priority Topics for Codes of Professional Practice
Respondents were asked to rank in order of priority a number of potential topics for the
codes of practices that had been identified through the regional forums. The four
highest ranked topics were:
1. Relationships between individual artists and public galleries, artist-run centres,
craft and media art exhibiting/presenting organizations (4.14)
2. Relationships between individual artists and commercial galleries (3.66)
3. Public art commissions and competitions (3.65)
4. Charitable donations of works of art to public institutions or charities (3.47)
Individual Artists and Organizations
Individual artists did not rank Charitable donations of work to public institutions or
charities in their top four priorities, whereas this topic was ranked first byorganizations/institutions (4.06).
Professionalism of presentation/display was ranked fourth by each group, but does
not appear in the overall top four priorities.
Relationships between individual artists and galleries, artist-run centres, craft and
media art organizations was selected by over 30% of individual artists. While this topic
is relevant to organizations and institutions as well (ranked second with a score of
3.86), the development of codes of practices for the charitable donations of work was
the top priority for organizations (with a score of 4.06).
Regional Differences
The Relationships between individual artists and public galleries, artist-run centres,craft and media art organizations is the highest ranked code of practice in all regions.
However, outside the GTA, Public art commissions and competitions (3.79) is ranked
higher than Relationships between individual artists and commercial galleries (3.69).
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4 Moving Forward
Priority On-Line Resources
Based on input gathered through community engagement, the following priorities for
on-line resources serving the needs of the sector have been identified. A number of
these resources will require further study and clarification prior to initiating
development.
Database of organizations and facilities
The database of organizations and facilities collected in Phase 1 should be made
available online. A searchable database could be complemented by the creation of an
interactive map enabling people to search for organizations/facilities on a geographic
basis. In addition, mechanisms and strategies to maintain and update the database
must be established.
Online information hub/portal
A centralized hub with links to relevant websites and information/resources was called
for. This online resource requires further definition and clarification of purpose prior to
any development process. A prioritization of types of links and information should be
defined, at least as a starting point for the development of such a resource (e.g.,
funders and funding information, government agencies, and arts service organizations,
etc.)
Online forum for communication and peer-to-peer information sharing
An online space should be created to encourage peer-to-peer information sharing and
communication. Some discussion spaces could be proactively established to address
priority information needs. Others could be self-generated or initiated by individuals
based on needs and interest. Forums will support strengthened networking and
communication, and help build a sense of community across the sector.
Specific online resources
The online platform could be host to a range of specific resources, including codes of
professional practice once they are developed. A specif ic resource that emerged as a
priority was online CARFAC Ontario contract templates. Courses or opportunities forprofessional development were another frequently called for information resource.
Priority Codes of Professional Practice
Phase 1 ofStrengthening the Sector: Resources and Codes of Practices for the Visual,
Media and Craft-Based Arts Sectorhas identified a wide range of topics for potential
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codes of professional practice. The following have emerged as priorities for the first
generation of developing codes of practice for the sector.
Relationships between individual artists and public galleries, artist-run centres,
craft and media organizations
Relationships between individual artists and commercial galleries Public art commissions and competitions Charitable donations of works of art to public institutions or charities.
Developing Codes of Professional Practice
Drawing on experience and best practice in other jurisdictions that have developed
codes of practice/best practices, the following recommendations can be made.
Knowledgeable researchers for individual topics should be supported by advisorygroup or committee drawn from the sector and representing individuals or
organizations directly affected by the specific code of practice. A code of practice
addressing Relationships between individual artists and commercial galleries
should be guided by an advisory committee with representation from both groups
Consideration could be given to seeking support from organizations or agencieswhose affiliation with the project would bring with it added legitimacy and influence.
These could include funding agencies (such as the Ontario Arts Council, Ontario
Trillium Foundation, Ontario Ministry of Tourism, Culture and Sport), arts service
organizations (potentially others in addition to current members of the Steering
Committee), among others to be determined. CARFAC Saskatchewan used this
approach successfully securing support for the best practices project from a wide
range of influential provincial groups and agencies.
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Appendices
Appendix A: Background Research Report
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Strengtheningthe Secto r
Resources and BestPractices for theVisual, Media andCraft-Based ArtsSector in Ontario
With assistance from Ontario Crafts Council, Artist-RunCentres and Collectives of Ontario, Media Arts Network ofOntario, the Aboriginal Curatorial Collective and the
Ontario Association of Art Galleries
BackgroundResearch
ReportDecember 2012
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Contents
1 INTRODUCTION .............................................................................................................................. 1
THE PROJECT 1
BEST PRACTICE DEVELOPMENT 2
DEFINING BEST PRACTICES 2
2 EXAMPLES OF BEST PRACTICES ................................................................................................ 3
CANADIAN INITIATIVES 3
INTERNATIONAL INITIATIVES 7
3 DIGGING DEEPER ........................................................................................................................ 10
TWO LEADING INITIATIVES 101. AUSTRALIAN NATIONAL ASSOCIATION FOR THE VISUAL ARTS 10
2. CARFAC SASKATCHEWAN BEST PRACTICES DEVELOPMENT
PROJECT 12
4 CONCLUSION ............................................................................................................................... 14
THE CENTRALITY OF THE ARTIST 14
THE GROWING SIGNIFICANCE OF MUNICIPALITIES 14
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Phase 3Mobilizing the
Province
Implementationand Engagement
Phase 2 Guiding
The Province BestPractice
Development
Phase 1 Mappingthe Province
KnowledgeBuilding andCommunity
Engagement
1 Introduction
The Project
CARFAC Ontario is providing leadership on Strengthening the Sector: Resources and
Best Practices for the Visual, Media and Craft-Based Arts Sector (hereafter
Strengthening the Sector). The initiative is a multi-year project focused on researching
and developing resources and tools for the visual, media and craft-based arts sector.
The following goals guide the project.
1. Establishing industry standards in the visual, media and craft -based artssector.
2. Building relationships and trust across the sectors among all stakeholders.
3. Supporting professionalization across the sector.
4. Developing a basis for the development of policy and legislative initiativesthat are to the long-term benefit of the sector.
The project is being undertaken based on a consultative, consensus building process.
A Steering Committee is guiding the project representing CARFAC Ontario, Ontario
Crafts Council, Artist-Run Centres and Collectives of Ontario (ARCCO), Media Arts
Network of Ontario and the Aboriginal Curatorial Collective.
The project is being undertaken in three Phases.
Phase 1: Knowledge Building and Community Engagementis focused on buildinga foundation based on research, data collection and community engagement. This
report constitutes part of this foundational research. The approach taken with the
Background Research report has been to focus on practical information to inform the
project rather than adopting a more academically-oriented literature review.
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Best Practice Development
The past decade has seen growing interest in the development of "Best Practices" with
early work emerging in countries such as Australia and the United Kingdom. In 2001,
the Australian National Association for the Visual Arts, (NAVA) published the first
edition of The Code of Practice for the Professional Australian Visual Arts, Craft and
Design Sector. Now in its 3rd edition NAVA has provided leadership internationally in
advancing the field. Recently, the International Federation of Arts Councils and
Cultural Agencies (IFACCA) have also begun to document these developments.
In Canada, Quebec and Saskatchewan have led the country in moving to advance this
agenda. CARFAC Saskatchewan launched Best Practices for the Saskatchewan
Visual Arts and Crafts Sector in 2009.
Defining Best Practices
One of the challenges in undertaking any project of this sort is establishing a shared
vocabulary for the project to ensure that everyone is working with the same set of
assumptions. The following are a few basic terms relevant to this phase of the
Strengthening the Sector project. While a much more extensive glossary will be
required as the project moves forward to the development of Best Practices in Phase
II, it is useful at the outset to set out the definition of Best Practices used in the two
primary bodies of work examined later in this report.
BEST PRACTICE - The most ethical, equitable, and reasonable form of anyspecific business arrangement between an artist and the user of his/her creative
work. Best practices generally address sector issues not addressed formally
through legislation and legal provisions (CARFAC Saskatchewan).
BEST PRACTICE -A best practice standard for the visual arts, craft and designsector. It provides a set of practical and ethical guidelines for the conduct of
business between arts/craft/design practitioners and galleries, agents, dealers,
retailers, buyers, sponsors and partners, commissioners, employees, and the
managers of residencies, workshops, competitions, prizes and awards (Australian
National Association for the Visual Arts).
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2 Examples of Best Practices
As noted, the move to develop best practices and industry standards has
gained momentum in recent years in various parts of the world. The following chart
provides information on a range of initiatives in Canada and internationally. Of
particular relevance to the current project is the list of issues linked to each topic area.
Canadian Initiatives
Organization Topic or Title Discipline Notes Issues Addressed
CARFACSaskatchewan
IndustryStandardsbetweenCommercialGalleries &
Artists
Visual Arts
Crafts
This document sets outrecommended standards forprofessional practice in theinteraction betweenprofessional artists andCommercial Art Galleries inSaskatchewan in the visualarts and crafts sector.
Basis for Relationship; Written
Agreements Services to the Artist;Frequency of Exhibitions; Territory ofRepresentation; Pricing; GalleryCommission; Consignment;Discounts; Sales, Credit and Returns;Exhibition Arrangements and Costs;Goods and Services Tax; Copyright;Duty of Care; Dispute
IndustryStandardsbetween PublicGalleries &
Artists
Visual Arts
Crafts
This document sets outrecommended standards forprofessional practice in theinteraction betweenprofessional artists and Public
Art Galleries in Saskatchewan
in the visual arts and craftssector.
Basis for Relationship; Contracts andAgreements; Exhibition Costs;Exhibition Fees; Timelines; ArtistObligations; Promotion;Documentation; Copyright; Duty ofCare; Acquisition of Artists Work;
Deaccessioning; Sales of Artwork byPublic Galleries; Dispute
Public ArtCommissions
Visual Arts
Crafts
This document deals withcompetitions for commissionsof public art and thecommissions that result fromthem. It may successfully beapplied to the commissioningof artwork in othercircumstances, though theguidelines it contains may notalways be appropriate or cost-effective for smaller-scale,special purpose, or privatecommissions.
Definition of Commissioned Works;The Commissioning Process; Stagesin a Public Competition for Public Art;Stage 1 Planning and Preparation;Stage 2 Project Promotion; Stage 3
Detailed Project Description; Stage4 Acceptance of Images; Stage 5 -
Artist Short List, Stage 6 DesignMaquette, Stage 7 Final Decision;Stage 8 Contracts; Site; Risk andInsurance; Copyright andCommissions
Organization ofJuried GroupExhibitions
Visual Arts
Crafts
This document sets out artistand organizer responsibilitiesto ensure that the conditions of
juried exhibitions meet theartists expectation forprofessionalism, expertise, andsatisfactory exhibitionopportunity, and to carry outparticipation in a professionalmanner.
Entry Fees; Exhibition Fees; Use ofContracts; Preferred SubmissionFormats for Long-Distance Entries;Costs; Artists Responsibilities;Organizers Responsibilities;Damaged, Lost, Or Destroyed
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Organization Topic or Title Discipline Notes Issues Addressed
CARFACSaskatchewan
Use of ArtistsWork forFundraisingPurposes
Visual Arts
Crafts
This document outlines artistsrights and responsibilities and
those of organizers offundraising events. It providesexplanations of CanadaRevenue Agencys rules for thecharitable donation of artworkand artists goods. Its intentionis to remove uncertainty andexploitation from this financialand presentation resource forboth the artist and the user ofhis or her work.
Donations of Artwork; Donations ofArtwork for Charitable Purposes Canada Revenue Agency; ProceedsReturned to the Artist; ArtistsResponsibilities; OrganizersResponsibilities; Delivery andCondition of Artwork; Display of
Artwork; No Removal of Artwork
Aboriginal ArtsAboriginalArt
Consistent with the vision andapproach to Best PracticeDevelopment undertaken bythe Australian National
Association for the Visual Arts,a distinct Best Practice wasdeveloped to reflect andaddress the unique needs andcircumstances of Aboriginal
Artists as identified by theseartists participating in meetingsand the communityengagement process used forthe overall Best Practicesproject.
Respectful Cultural Exchange:Diversity; Respectful Cultural
Exchange: Protocol; Fair andEquitable Treatment: Copyright; Fairand Equitable Treatment:
Authorization and Compensation;Advancing Aboriginal Arts: Supportfor Artists and Arts; Advancing
Aboriginal Arts: Collaboration andNetworking; Education: Training;Marketing: Market Development
Regroupementdes artistes enarts visuels duQubec
PrivateCommissionsfor Artworks
Visual Arts
Arts andCrafts
Literature
This document coverscommissions for the creation ofartworks made by individualsor firms; with or withoutcompetition. It addresses fourmajor topic areas, each with arange of specific issues.
Best practices - Commissioning ofartworks:
Definition of Commissioned Artwork;Commissioning Process; Duration ofthe Artwork and the Site; Risks andInsurance; Commissions for Artworksand Copyright; Maintenance andConservation of an Artwork; andTransfer of an Artwork
Main Steps - Commissioning ofartworks Without Competition
Planning and Preparation; Contactwith the Artist; and Contracts
Main Steps - Commissioning ofartworks With Competition
Planning and Preparation; Call forSubmissions; Detailed description ofthe Project; Receipt of the Portfolio;Selection of a Short List of Artists;Submission of Concepts orMaquettes; and Final decisions
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Organization Topic or Title Discipline Notes Issues Addressed
Regroupementdes artistes enarts visuels duQubec
PrivateCommissionsfor Artworks
Visual Arts
Arts andCrafts
Literature
This document covers
commissions for the creation ofartworks made by individualsor firms; with or withoutcompetition. It addresses fourmajor topic areas, each with arange of specific issues.
Checklist For CommissioningArtworks
Concept or Maquette; Duration of theArtwork and Site; Schedule; Travel;Materials; Equipment; Delivery; and
Assistance; Installation; andPayments; Risks and Insurance;Maintenance and Repairs;Relocation; Copyright and MoralRights; Dispute Settlement
Commissionsfor Works ofPublic Art
Visual Arts
Arts andCrafts
Literature
This document covers publicart competitions and theresulting commissions forartworks. It addresses four
major topic areas, each with arange of specific issues.
Best practices - Commissioning ofworks of public art
Definition of Commissioned Artwork;Commissioning Process; Duration ofthe Artwork and the Site; Risks andInsurance; Commissions for Artworks
and Copyright; Maintenance andConservation of a Work of Public Art;and Disposal and Integrity of an
Artwork
Commissionsfor Works ofPublic Art
Visual Arts
Arts and
CraftsLiterature
This document covers publicart competitions and theresulting commissions for
artworks. It addresses fourmajor topic areas, each with arange of specific issues.
Main Steps - Commissioning AWork Of Public Art
Planning and Preparation; Call forSubmissions; Detailed Description ofthe Project; Receipt of the Portfolio;Selection of a Short List of Artists;Submission of Concepts orMaquettes; Final Decision; andContract
Checklist For CommissioningArtworks
Concept or Maquette; Duration of theArtwork and Site; Schedule; Travel;Materials; Equipment; Delivery; and
Assistance; Installation; Payments;Risks and Insurance; Maintenanceand Repairs;
Relocation; Copyright and MoralRights; and Dispute Settlement
CharitableDonations of
Artwork
Visual Arts
Arts andCrafts
Literature
This document summarizes therights and responsibilities ofartist donors and of donees;especially organizers of artauctions as fund-raising tools.It also discusses generaldonations of artworks.
Ethical Principles Underlying theUse of Artworks for Fund-RaisingActivities:
Donations of Artworks; Donations ofArtworks to Charities; Donations OfArtworks and The Canada RevenueAgency; Procedure for Donating anArtwork; Donations of Artworks andCopyright; Delivery and Inspection of
Artworks; and Exhibition of Artworks
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Organization Topic or Title Discipline Notes Issues Addressed
ProfessionalWriters
Association ofCanada
Best Practicesfor CanadianMagazine,Publishing,Editing, andWriting
Publishing
This document was developedfor as wide distribution as
possible within the industry andrelated education and trainingprograms with the intention ofencouraging the adoption of itsunderlying, simple principlesand practices it lays out toestablish professionalstandards in the everyday workof producing Canadianmagazines.
Professional Obligations of Writers;Professional Obligations of MagazineEditors; Professional Obligations ofMagazine Publishers; SharedObligations
CanadianAlliance ofDance Artists -OntarioChapter(CADA-ON)
ProfessionalStandards forDance
Dance
This Best Practices guide isintended to promote andsupport professional standardsand conditions of work indance. It provides basic
guidelines intended for themembers of CADA-ON innegotiating work agreements -others are welcome to use it.The document providessuggested minimum standardsregarding hours of work, feestandards and workingconditions and outlines rightsand responsibilities in workagreements.
Rights and Responsibilities; WorkingConditions; Fees and Payment for
Dance Artists; Program and Credits;Publicity/Documentary Photographs& Video Footage; Health; AbsenceDue to Injury or Illness; Touring;Working Abroad; Copyright;Termination; Sex, Nudity & Obscenity;Discrimination & PersonalHarassment; Dispute ResolutionProcedure
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International Initiatives
The following initiatives represent a mixture of best practices and on-line resources
addressing many similar issues to those addressed by best practice topics.
Organization Topic or Title Discipline Notes Issues Addressed
NationalAssociation for
the Visual Arts(Australia)
The Code ofPractice for theProfessional
AustralianVisual Arts,Craft and
Design Sector,3rd edition
Visual Arts
Crafts
Design
A further description of thisinitiative and publication isprovided below. Entirechapters in this substantial(160 page) report are devotedto each of the issues listedopposite. The number anddepth of issues addressed ineach chapter is too extensiveto be captured here, or in the
next section of the currentreport. The Code of Practicenot only identifies bestpractices related to eachissue, but detailed proceduralguidelines related to eacharea of best practice.
Commercial Galleries Exhibiting,Selling an Collecting Art, Craft andDesign; Best Practice for Artists andPublically Funded Galleries;Commissioning ; Residencies andWorkshops Competitions, Prizes,
Awards and Fundraising Exhibitions;Fees and Wages (specific fees andwages for different practitioners);
Copyright, Moral Rights, ResaleRoyalty, Equal Opportunity,Restrictions on Freedom ofExpression; Taxation, InsuranceOccupational Health and Safety
Issues and
ProtocolsSpecific toIndigenousPractitioners
Aboriginal Art
These Guidelines areinformed by the great diversityof Indigenous culture andexpression and refer to thecontext from whichIndigenous Australian artarises.
They affirm the right ofIndigenous Australians tomaintain, control and developtheir cultural heritage,traditional knowledge andcultural expression.
They are also about therecognition and respect thatshould be accordedIndigenous art, artists,cultures and communities.
Promoting Diversity of IndigenousArt and Cultures; MaintainingIndigenous Control; Communication,Consultation and Consent;
Protecting Secret and/or SacredMaterial or Restricted MaterialDealing in Artworks when the Artistis Deceased; Visiting Aboriginal ArtCentres; Visiting RemoteCommunities; Working inCommunities
Best PracticeGuidelines
AllA basic guide to legal issuessurrounding the art sector in
Australia
Displaying Visual Arts on theInternet; Business PartnershipChecklist; Artist Gallery Checklist;Sale of Artwork; Consignment;Image Reproduction; Licence for aPublication; Artist Gallery
Agreements (long term)
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Organization Topic or Title Discipline Notes Issues Addressed
Artists AllianceNew Zealand
Code ofPractice
Visual ArtsA guide for artists and dealersto establish the best practice
'Agreement of representation'.
Copyright; Contracts; ArtistsObligations; Exhibitions; Artwork
Sales; Dealer Relationships
Galleries onCampus
ContemporaryArt
Design
Addresses issues related towhat does it mean to be auniversity gallery?
Student Art; Campus Galleries;Developing a Program; Funding;Exhibitions in University Space
The ArtistsInformation
Company UK
The Code ofPractice forVisual Arts
Visual Arts
The Code of Practice for theVisual Arts draws from theexperiences of practisingartists along with those ofcommissioners, curators andothers with whom artists workto draw out the principles thatunderpin good practice, andshows how they work inpractice.
Commission: Establishing a ChargeRate; Qualifications
Artists Feesand Payments
All
The framework takes intoaccount:
The level of remuneration forcomparator professionals
The costs specific tofreelance working
The artists particularcircumstances and location
How an artists knowledgeand experience level impactson charges
The Artist as a Service Supplier;Pricing; Freelance Status;Calculating a Day Rate; Adding onan Employers Costs; Quoting forthe Job
Curated Space Artist-CuratorCurated space looks atstrategies and interventions
within artist-curator practice.
Role of the Curator; Curated Spacesversus Exhibition Spaces; Quality of
Curated Spaces
Good Practicein Paying Artists
All
This Code of Practice for theVisual Arts encourages artistsand arts organisers tocontribute confidently whenmaking professionalarrangements. In particular itrequires recognising worthand considering the value ofall the resources that arebrought to the project.
Payments to Artists; JobDescriptions; Artist Residency; Self-employed Artist; Negotiation; ArtistDay Rates
Good Practicefor New Artists
All
Good practice for new artistsis an introduction to the widerange of practical andinsightful material available tonew artists.
Establishing your own Studio;Showcasing your Work; Funding;Self-Employment
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Organization Topic or Title Discipline Notes Issues Addressed
The ArtistsInformationCompany UK
Negotiatingyour Practice
All
The texts in Negotiating yourPractice have been selected
to indicate the approachesand strategies some artistshave taken to define theenvironment for theirindividual practices.
Public Art and Compromise;
Expectations and Responsibilities;The Artist-Curator Dynamic; PublicCommissions; Social Spaces;Negotiation
European
Visual Artists
Code of
ConductVisual Arts
Their main objectives are thefollowing:
Efficient licensing of primaryrights, such as reproductionand broadcasting,
Efficient collection ofremuneration for secondaryrights,
Fair and quick distribution to
authors, nationally andinternationally,
Facilitating thedissemination of works,without active promotion,
Protecting authors rights,
Promoting further economicand moral interests of theirmembers.
Standards of good practice;democratic structures; transparencytowards all parties involved; fair and
effective licensing, collecting,distributing; dispute settlementprocedures
City ofMelbourne
Code ofPractice forgalleries andretailers ofIndigenous Art
IndigenousArt
The Code of Practice forgalleries and retailers ofIndigenous Art (the Code) inthe City of Melbourne is aguide in appropriate ways to
sell and display Indigenousart and work with Indigenousartists.
The Code is a developedstatement of principlesdealing with industry practicesdesigned to set a standard ofacceptable industry practiceand fair dealing. This code ofpractice is a guide to bestindustry practice.
Professionalism, honesty and
integrity; promotion of diversity ofindigenous arts and cultures;relationships with indigenous;cultural beliefs and practices;representation of indigenous artists;authenticity; fair trading; marketing;copyright; moral rights
ArtsQuest (UK)Artlaw (onlinecode of
practice)
Visual Arts
Crafts
ArtsQuest is an extensiveweb based resource thatprovides practical support to
visual artists andcraftspeople.
Copyright; Contracts; Artists ResaleRights; Publications Right; Art afterDeath; Censorship; Artist-led
studios; Fakes, Insurance andBankruptcy
Public ArtOnline (UK)
Practical Advice Public Art
The information here coversall aspects of thecommissioning process fromdeveloping a public artstrategy, finding an artist andfunding to managing acommission as an artist orproject manager
Commissioning; Advice; Contractsand Copyright; Funding; Localauthorities; Policies and guidance
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3 Digging Deeper
The previous chapter dealt at a high level with information related to a range
of best practice initiatives. In this chapter, two of these initiatives are described in
greater detail, particularly related to the context and goals that shaped each initiative.
Two Leading Initiatives
1. Aus tralian Nat ional Associat ion for the Visual Arts
Definitions and Principles
The National Association for the Visual Arts (NAVA) has been an international leader
in advancing the field of industry standards. The Code of Practice for the Professional
Australian Visual Arts, Craft and Design Sectors cited frequently in other literature and
work in the field. The publication, now in its 3rd edition, represents more than a decade
progressively evolving and expanding work in the field. Given this body of practice, it is
useful to review foundational elements of the Code of Practice, including how NAVA
defines and conceptualizes the field.
NAVA avoids the language of industry standards in favour of the Code of Practice
which is defined as:
A best practice standard for the visual arts, craft and design sector
provides a set of practical and ethical guidelines for the conduct ofbusiness between arts/craft/design practitioners and galleries, agents,
dealers, retailers, buyers, sponsors and partners, commissioners,employees, and the managers of residencies, workshops, competitions,
prizes and awards.
The principles and practices outlined in the Code of Practice are voluntary and
embrace the language of should instead of must except in those areas addressed by
formal legislation (e.g., copyright, moral rights, taxation, etc.). Two underlining
purposes are identified for the Code of Practice:
To further the professionalization of the sector;
To establish a basis for the development of policy and legislative initiativesthat are to the long-term benefit of the sector.
The second is significant as it suggests the sector will be in a stronger position to
influence policy and legislation based on the credibility and legitimacy as a sector and
profession that flow from the Code of Practice.
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At the outset, the Code of Practice did not address any form of monitoring or
evaluation of non-compliance with the standards. Rather the intent was to educate and
leverage enhanced capacity in a sector in which there had been too much reliance the
knowledge of individuals or institutional corporate memory. In addition to undertakingnew work, the Code of Practice was also intended to consolidate existing codes of
practice that were not well known or appreciated.
The Code of Practice addresses both practical issues and ethical principles for the
conduct of business in the sector: not merely describing how things are don e, but how
they should be done. The publication includes a glossary (called Explanation of
Terms) aimed at establishing both clarity and a shared vocabulary across the sector
related. The intent in establishing such a shared understanding of terminology is
intended not only to support interpretation of issues addressed by the Code of Practice
but more broadly to support development and capacity building across the sector.
The Code is intended to be flexible and dynamic, acknowledging changes in
technology and an increasingly global economy would require continuous re-
examination. Indeed, the publication has been extended and evolved significantly
since the first edition.
Issues Addressed
Commercial Galleries (Exhibiting, Selling an Collecting Art, Craft and Design) Best Practice for Artists and Publically Funded Galleries Commissioning Residencies and Workshops Competitions, Prizes, Awards and Fundraising Exhibitions
Fees and Wages (specific fees and wages for different practitioners) Copyright, Moral Rights, Resale Royalty, Equal Opportunity, Restrictions on
Freedom of Expression
Taxation, Insurance Occupational Health and Safety
Indigenous Codes of Practice
Like work in other countries (including Canada) this Code of Practice acknowledges
the need for consideration to be given to unique needs and circumstances facing
Indigenous practitioners. While maintaining that the existing Code of Practice is
intended for the use of all Australian visual arts, craft and design professionals and
those with whom they deal, it is acknowledged that specific matters of cultural protocol
and cross-cultural exchange are involved when dealing with Indigenous organizations
and practitioners. It acknowledges that these considerations will differ between urban-
based Indigenous practitioners and those living in more remote communities. Issues
requiring attention specific to the needs of Indigenous organizations and practitioners
include:
Group Ownership Interpretation
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Appropriation Copyright Authenticity
2. CARFAC Saskatchewan Best Pract ices Development
Project
Two provinces have completed extensive work in the area of best practices Quebec
and Saskatchewan. Of the two, the one with the closest parallels to the current project
is the Best Practices for the Saskatchewan Visual Arts and Crafts Sector led by
CARFAC Saskatchewan.
A strong factor shaping the project was the Saskatchewans Status of the Artist
legislation adopted in 2009. This Act is a much stronger piece of legislation than The
Status of Ontarios Artist Act adopted in 2007. The latter serves more of an advocacy
document that recognizes the importance and contributions of artists in the province,
and commits the Government of Ontario to a range of (broadly defined) strategies to
advance the interests of artists (e.g., marketing and promotion of the arts, training and
professional development opportunities, improving access to information, promoting
health and safety, developing partnerships and fostering collaboration with various
sectors and government bodies, and strengthening the ability of arts and culture
organizations to provide support to artists). By contrast the Saskatchewan Status of
the Artist legislation addresses a more substantive set of issues such as mandatory
contracts and a formal collective bargaining system for professional artists.
The Saskatchewan Visual Arts and Craft Sector project was led by CARFAC
Saskatchewan but involved a range of Project Partners including the Saskatchewan
Arts Alliance, Saskatchewan Arts Board, Saskatchewan Professional Art Galleries
Association, Museums Association of Saskatchewan, Saskatchewan Craft Council,
Organization of Saskatchewan Arts Councils, Saskatchewan Cultural Industries
Development Council, CARFAC National, SaskCulture, National Association for the
Visual Arts (Australia).
An important objective from the outset was to seek formal endorsement of the resulting
best practices by these partners as a means of lending weight and legitimacy to project
outcomes, and to leveraging higher compliance with resulting best practices. The work
in Saskatchewan was also intended to inform later developments country-wide by the
national Visual Arts Alliance.The following framework of project goals, intended outcomes and topics of best
practices can inform work in Ontario.
Project Goals
The initiative was guided by three project goals.
1. Leadership and Consultation
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o To facilitate engagement of the Saskatchewan Visual Arts and Craft Sector
o To document, recognize and discuss current issues and priorities
regarding the relationship between presenters and creators.
2. Sector Capacity Development
o To encourage sustainable working partnerships, collaboration and
relationship building between many diverse stakeholders of the
Saskatchewan Visual Arts and Craft Sector
3. Education and Advocacy
o To share research with the sector to support community in making
informed and strategic decisions as well as distribution and engagement of
developed resources.
o To build evidence and understanding of international best practices and
issues, building relationships in the international community, learning from
expert experience.
Intended Outcomes
In addition to these three project goals, a series of intended outcomes were identified
at the outset of the project.
Industry Standards Development: to research, develop, negotiate, and agreeupon ethical standards for use in the Saskatchewan Visual Arts and Craft Sector
Best Practices Application: to create several living documents that is in plainlanguage, and are easily used and endorsed by all parties within the sector.
Best Practices Support:to develop and implement education strategies toensure parties are supported to implement and distribute "Best Practices" and
electronic dissemination.
United Saskatchewan Visual Arts Sector: to develop healthy partnerships andrelationships within the community that can move the sector forward.
Topics
To date, Best Practice Standards have been developed for the Visual Arts and Crafts
sectors in the following areas.
Commercial Galleries and Artists Public Galleries and Artists Public Art Commissions Organization of Juried Group Exhibitions Use of Artists Work for Fundraising Purposes Aboriginal Arts
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4 Conclusion
The Centrality of the Artist
While the range of topics addressed by the various best practice initiatives reviewed in
this document varies widely, a common denominator is that the vast majority pertain to
addressing the interests of individual artists and practitioners as they related to a range
of institutions, sales and distribution channels and other activities. While this may seem
on one level like a self-evident point, it is an important assumption to establish at the
outset of the project. For example, a range of potential initial topics to be addressed by
the project might include:
Best practices related to artists and their interaction with (non-profit) publicart galleries, artist-run spaces and co-ops
Best practices related to their interaction with (for-profit) commercial artgalleries
Best practices related to the conduct of studio tours as they relate to theinterests and treatment of artists in this context)
Best practices related to artists residencies, public art competitions andcommissions, art fairs, alternative exhibition venues, artists live-work
spaces but all focused on the interests and treatment of artists in these
contexts
Drawing on these examples, a best practice would not be considered addressing a
range of other operational issues related to public or commercial galleries, general
logistical matters and processes related to studio tours, etc.
The focus on the interests and concerns of individual artists is important to recognize
for a second reason. The project is assuming a holistic perspective on the sector and
the wide range of individuals and institutional actors engaged with that sector.
However, its focus is on the centrality of the artist helps communicate the reality that
without the work produced by these artists and practitioner the sector would not be
viable and the substantial economic impacts benefits generated by the sector could not
be generated.
The Growing Significance of Municipalities
While senior levels of government (Federal and Provincial) will continue to play
important roles in the health and vitality of the arts and culture in Canada (through
funding as well as policy or regulatory support), the reality is that increasingly the most
important level of government for the sector is municipalities. In Ontario, there has
been a tremendous expansion in the area of municipal cultural planning over the past
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half-decade. Municipal cultural plans are intended to put in place strategies and
partnerships aimed at building sustainable local cultural sectors and integrating cultural
resources and activities more effectively with a wide range of economic and broader
community development agendas in communities.
Despite increased attention the majority of Ontario municipalities (outside major urban
centres) have relatively weak levels of knowledge and understanding regarding the
various disciplines and subsectors that comprise the overall cultural sector. While
administrative structures are changing, cultural mandates in many municipalities still
fall under the umbrella of Community Services or Parks and Recreation, rather than in
mainstream departments such as planning and economic development. There is an
opportunity through the Strengthening the Sector project to engage municipalities and
develop best practices that provide knowledge and guidance in advancing their cultural
plans and mandates.
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Appendix B: Regional Forums Report
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Strengtheningthe Secto r
Resources and BestPractices for theVisual, Media andCraft-Based ArtsSector in Ontario
With assistance from Ontario Crafts Council, Artist-RunCentres and Collectives of Ontario, Media Arts Network ofOntario, the Aboriginal Curatorial Collective and the
Ontario Association of Art Galleries
RegionalForumsReport
March 2013
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Contents
1 INTRODUCTION .............................................................................................................................. 1
2 INDIVIDUAL FORUMS .................................................................................................................... 2
NIAGARA/HAMILTON FORUM 2
THUNDER BAY FORUM 5
SUDBURY/NORTH BAY FORUM 7
TORONTO/MISSISSAUGA FORUM 9
LONDON FORUM 12
OTTAWA FORUM 13
3 FORUM THEMES .......................................................................................................................... 16
CHALLENGES WORKING IN THE SECTOR IN COMMUNITIES 16
LOCAL RESOURCES NEEDED TO ADDRESS CHALLENGES 18
ONLINE RESOURCES NEEDED TO ADDRESS CHALLENGES 19
PRIORITY BEST PRACTICE TOPICS 20
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1
1 Introduction
Strengthening the Sector: Resources and Best Practices for the Visual, Media and
Craft-Based Arts Sectoris a three-year project focused on researching and developing
a range of resources and tools to support the visual, media and craft-based arts
sectors. The ultimate goal of the project is establishing a set of best practices to
advance industry standards through a consultative, consensus building process. The
resulting ethical and practical professional standards and best practices developed will
provide guidance in areas where regulation and agreements currently do not exist.
The first phase of the project focuses on building a solid base of information to inform
subsequent phases of work. This knowledge base is being generated through focusedresearch and an extensive community engagement process involving six regional
forums and a province-wide survey. Over 130 attendees registered for these forums
representing a range of disciplines and interests.
CARFAC would like to extend thanks to the following individuals for their assistance in
organizing and hosting the forums.
Niagara/Hamilton Forum Stephen Remus, Natasha Pedros, Jeremy Freiburger,Jenny Gladish from Cobalt Connects and the Niagara Artists Centre
Thunder Bay Forum Sharon Godwin, David Karasiewicz and the Thunder BayArt Gallery
Sudbury/North Bay Forum Clayton Windatt, Karen Tait-Peacock and the ArtGallery of Sudbury
Toronto/Mississauga Forum Stuart Keeler, Phil Anderson and Gallery 1313
London Forum Greg Ludlow, Brian Meehan, Jewell Goodwyn and MuseumLondon
Ottawa Forum -David Jones, April Britski, Melissa Gruber, Penny McCann, LauraMargita, Georgia Mathewson, Ottawa Art Gallery and Gallery 101
This report summarizes findings emerging from the forums. The results of the forums
will inform the development of the province-wide survey to seek further input to the
project.
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2 Individual Forums
Niagara/Hamilton Forum
This was the first of the six forums, and a number of lessons were learned that refined
the approach to subsequent forums. The first question as stated encouraged many
participants to reflect on challenges they faced in their own communities, often related
to challenges with lack of municipal support and other community-specific issues.
While these are important concerns and challenges for participants, the next forum
shifted the question to focus on challenges people faced working in the visual, media
and craft-based arts sectors. This was intended to focus discussion on how the sector
could support and strengthen itself through strategies and initiatives in their physical
communities and on-line.
Question 1: What are the challenges you face working in your
community?
Challenge finding the time and collective voice to advocate for the importance ofthe art and culture to the municipality and the community too much time spent
trying to defend and validating the importance of the arts
The changing nature of professional artist funding bodies definitions (CanadaCouncil, Ontario Arts Council dont work)
Divided opinion within the group as to whether solutions lay in more money from
government to support the sector and those who felt the onus was on artists and
small arts organizations themselves to become more entrepreneurial and self-
sufficient partially through greater local partnerships and collaboration.
There is a challenge related to professionalism when in the presentation of work ina variety of public venues; there is a need for standards (potentially best
practices?) in this area i.e.,
o The library has no policy or standardso The municipality has no policy, standards or knowledge to manage
presentation in municipal facilities and venues.
o The Art Crawl Hamilton its more important to drive as many people
through multiple venues and the quality of both the art and thepresentation suffers.
Fragmentation of the arts community Challenge promoting and getting exposure for local artists and arts activities
limited coverage in local media
Community perception of the arts as either entertainment or as amateur hobbiesrather than professional practice
Municipal government/ bureaucracy not attuned to the professional arts sector
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St. Catharines challenges
o Limited community engagement in the artso Need more networking, mentoring and support from fellow artistso Wiki based community calendar of events needed to promote and
update events, etc.; cant be centralized by any one body but open to
contributions to all
Hamilton challenges
o No way of capturing/ documenting achievements (possible publicportal needed)
o Need standardized process for submitting applications to galleries(potentially a best practice)
o Artists have made a huge contribution to civic rejuvenation insufficient appreciation and acknowledgment by the City
o Economic importance of arts and culture must be better understoodand promoted
o Get rid of hurdles and excessively bureaucratic processes Cityimposes
Knowing how to find money, where to look for artist fees, grants, etc. youngerartists in particular dont know where to start or who to talk to
Need to educate audience/ consumers/ clients about copyright standards and therights of the artist
Difficulty locating material and supplies locally Much more effort needed to build audiences and find newaudiences
Finding flexible venues Lack of commercial art galleries in St. Catharines Lack of an arts council in St. Catharines Lack of standard submission on fees Municipality not in tuned to the art sector Cultural workers remuneration is low across all practices Developing cultural sector workers who are responsive to their communities and
no to institutions that have produced them
Question 2: What resources would help address these challenges and
make your practice better?
A central website l isting artist and arts activities that would support the arts sectoritself in better networking and be a tool for building audiences and community
support
Website should also include professional development opportunities More funds to support marketing and promotion More people writing more often about the arts in local papers and other places
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A local forum to support conversation and an opportunity for critical discourse keeping track of emerging thinking and trends
Better relationships between the education institutions and the community Mentoring programs and initiatives Need something like Americans for The Arts connecting the arts community,
business, policy, research, etc.
Need for clear and concrete cultural plans/policies. CARFAC could recommend fees, requirements, standardized consistency Support in raising standards in curatorial practices Educate businesses and institutions that are potential venues for presenting local
artists
Support for writing grants especially for younger artists An Artscape-like building live/work spaces, studios and exhibition facilities and
networking venue
High school curriculum must educate and make students aware about whatprofessional arts are about and potential make students aware of career
possibilities.
Possibly an awards system - as long as its run in a legitimate and transparent way- who is awarding is important
City policy that dedicates a percent of costs for new development to support publicart
Community work spaces for classes and workshops Contracts/ searchable database of contracts, fees, etc. - CARFAC has many of
these resources but they are not easy to access
Develop innovative means of generating revenue for the sector such as the newToronto billboard tax Greater regional communication, networks, responsiveness
Question 3: What web-based tools and resources would you like to see
on a final project website?
Something like Akimbo, but free LinkedIn for artists A platform for networking and collaborations Platform/portal should have 2 components
o Public component raising awareness and buildingrespect/understanding
o Private artists forum to serve the sectoro Ideally the portal should enable connections to be made both locally
and province-wide
Publication of standards a place to communicate and promote best practices -fees, presentation standards, etc.
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A portal to help find grants and funding opportunities. A searchable database for contracts - put valuable CARFAC publications and
resources such as contracts publication on-line
A rating system for galleries artists should be able to communicate theirexperiences with both commercial and public galleries both positive and negative
Local mapping of where artists are located and details about their arts practice Web-based opportunities for professional development Some mechanism or support to help artists build their portfolios Mechanisms to support commercial collaboration
Question 4: What should be the priority topics for Best Practice
Development?
Fee standards Question as to whether it is possible to have province-wide best practices given
diversity of institutions, size of communities, etc. possibly a need to be
interpreted in local contexts
Standard contracts and guidelines related to how artists approach and interact withgalleries
Even if best practices and standards are developed, will they be enforced? Need to consult with the Association of Municipalities of Ontario, Chambers of
Commerce other important stakeholders in the development and promotion
of best practices
It is the communitys responsibly to self-determine what standards and bestpractices should be maybe there can only be a provincial framework best
practice that is then interpreted locally.
Standards or best practices for submissions to commercial galleries, public artcompetitions, etc.
Need some standards for non-traditional spaces - cafes, corporate offices,restaurants; need to help define what kind of agreements are needed in these
spaces, as well as more formal or traditional spaces
Best practices for donating work, selling work, fundraising and fees, exhibitions Best practices for public art competitions and commissions
Thunder Bay ForumQuestion 1: What are the challenges you face working in the visual arts,
media or craft-based arts sector in your community?
Lack of access to supplies or supplies are only available south of the border (US) Networking opportunities and gatherings spaces for artists Media based equipment - none is available in Thunder Bay or in rural/ remote
communities
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Limited exhibition space How do you promote your work outside your immediate community what are the
skills and costs involved; many artists in smaller communities simply cant survive
on the basis of local markets
The challenge of trans-border customs tariffs In the craft sector (and other sectors) artists must leave the community for
education or professional training; many wish to return to their home communities
but face communities suffering economically and non-supportive municipalities
Large differences and challenges between urban versus rural and remotecommunities
Must establish consistent procedures There must be greater respect for the professionalism of artists public perception
of hobbyists
Public funding constraints threaten sustainability of projects and organizations nocore funding
o Escalating demand by funders in terms of applications for funding tremendous amount of paperwork for relatively few dollars
In smaller and isolated communities, there is frequently repetition of the sameprojects undermines vitality and interest in the arts
Question 2: What resources would help address these challenges and
make your practice better?
Access to supplies - an A to Z rental for the arts
Artist salons - venues for artist to talk, connect, share knowledge a gatheringplace
Strategies for strengthening relationships with other artists An eBay for artists Artists need to know more about social media for connecting and networking Need information on emerging technologies impacting on artistic practices Must build stronger relationships with the tourism industry strategies that connect
our own artistic practices with larger economic development agendas
Online databases of individuals and organizations There is a need for best practices and how -tos related to different areas of arts
administration
Kijiji for artists Greater intergenerational interaction
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Question 3: What web-based tools and resources would you like to see
on a final project website?
Must differentiate on-line information and resources resources to support and
serve the professionals very different from best practices; shouldnt confuse the
two
A Google-like tool for locating resources/ expertise/ institutions, etc. how do wemake it easier for people to find one another and the institutions with whom they
interact
Kijiji type website for exchanging supplies A forum for conversations nationally and internationally Easier ways of finding supplies on-line or stores that are willing to ship even if
they dont have an online presence
Question 4: What should be the priority topics for Best PracticeDevelopment?
There may need to be separate codes of practice for different disciplines andinstitutions visual arts and crafts, media arts, artist-run centres, public galleries,
commercial galleries, festivals, artists co-op studios, etc. not sure that one size
can fit all
Would prefer the terms tool kits and guidelines for artists and art organizationsrather than code of practice or best practices, so it becomes a reference,
checklist or negotiating tool for artists and art workers in this way the best
practices will feel less imposed
Sudbury/North Bay Forum
Question 1: What are the challenges you face working in the visual arts,
media or craft based arts sector in your c