carfac ca le n d a rCA N A D I A N A R T I S T S ’ R E P R E S E N T AT I O N / LE F R O N T D ES A R T I S T E S CA N A D I E N S V O L. 10 , N O . 2 FA LL/W I N T ER 2 0 0 7

IN T HIS IS SUES P ECIA L FEAT UR E:

TAX ES AN D T HESELF-EM P LOYEDART IS TT ip s f o r p la n n in g yo u r n e x t t a x r e t u r nSe e a r t ic le s p a g e s 8 -12

FROM THE NATIONAL OFFICE 2

FROM THE NATIONAL PRESIDENT 3

ARTS ADVOCACY: 4A COLLABORATIVE DIALOGUEReport o n CARFACNational’s 2007AGM and Confere nce

TAXATION FOR ARTISTS 8Intro ductio n

INCOME SOURCES: 8What is Conside red Reportable “Revenue?”

TAXING ARTISTS’ INVENTORIES 10

PROPOSED TAX CREDIT FOR COPYRIGHT 11INCOME: The CCA’s Reco mme ndatio ns for Removingthe Fede ral Tax o n Cre ativity in Canada

ASSOCIATION NEWS 12The Canadian Confere nce of the Arts

NEWS FROM CARCC 13

THE LATEST FROM THE PROVINCES 14 CARFAC Reports from coast to co ast

IN MEMORIUM 19

Illustratio n: Remie Geo ffroi

CALENDAR IS ALSO AVAILABLE AS A PDF FILE!

If you w ish to rece ive this new sle tt e r in an e lect ro nic format rather than in the mail,please contact the CARFAC Nat ional office at: carfac@carfac.ca o r 1-866-344-6161.

Calendar 2

April BritskiExe cutive Director

CARFAC National

CARFACNational

CALENDAREdito rsLayout Pro ofre ading Translatio n Photo Contributors

Co ntributo rs

Natio nal Preside nt, Vice-Preside nt Se cretary Tre asurerRAAV

Yukon British Co lumbia Saskatchew anManitoba Ontario QuébecMaritimes Ne wfoundland and Labrado r

Executive Director Co mmunicatio ns Coo rdinato rMe mbership Co ordinator

CARFAC National is supported by the Canada Councilfor the Arts, the Departme nt o f Canadian Heritage , andour me mbership.

FR OM T HEN AT ION AL OFF ICE

Vo lu m e 10 , No . 2, Fa ll / W in t e r 2 0 0 7

CARFAC Na t io n a l Bo a r d o f Dir e ct o r sNa t io n a l Ex e c u t iv e

Na t io n a l Co u n cil

CARFAC Na t io n a l S t a ff

It’s been a busy summer and fall for CARFAC National. InJune, we congregated in Winnipeg for our AGM &Conference. This year all but one province and two territo-ries were represented at the assembly. We were pleased towork with the Royal Canadian Academy of Arts (RCA) inthe presentation of a joint panel, and look forward tofuture projects together. We also met with representativesfrom the Visual Arts Alberta Association (VAAA) to discussa potential collaboration, in the hopes of forming anAlberta affiliate. For more details on activities in Alberta, see page 15.

From Winnipeg to Newfoundland, in July I was pleased tovisit with several members in St. John’s. It was great to hearabout the development of news in theprovince, and to get a better sense of the challenges facedby artists in this part of the country, where the artists were extremely welcoming.

In November we will send delegates from across Canadato attend the Visual Arts Summit (VAS) in Ottawa. Theevent will be an important opportunity for artists to meetwith other stakeholders in the visual arts sector to discusstheir concerns collectively. We will offer a full report on the VAS in our next issue of .

At the VAS, we will also meet with Tamara Winikoff fromAustralia’s National Association for the Visual Arts (NAVA).CARFAC has begun to engage in an international dialoguewith other similar visual arts organizations, starting withNAVA, with the hope of creating an expanding interna-tional exchange. We were pleased to discover that thereare many similarities between Canada and Australia, andthere is much to learn from each other. For more informa-tion about this great organization, visit their website: www.visualarts.net.au/.

Canada Post Publication Agreement ISSN Number 1495-558X

CALENDAR is published twice yearly by Canadian Artists’Representation/Le Front des artistes canadiens.

Opinions expressed in this newsletter are the authors’ own, anddo not necessarily represent those of CARFAC or its regionaloffices. Articles and other contact information are not confirmedby CARFAC.

2 Daly Avenue, Suite 250Ottawa, Ontario, K1N 6E2Toll-free: (866) 344-616 Phone: (613) 233-6161, Fax: (613) 233-6162Email: carfac@carfac.ca Web: www.carfac.ca

April Britski, Catherine SinclairCatherine Sinclair

April Britski, Catherine Sinclair, Teva VidalFrançoise Miquet

April Britski, Katy McIntyre,Catherine Sinclair, RAAV

April Britski, Gerald Beaulieu, CatherineSinclair, Janice Seline, Margaret Ryall, Bruce Campbell,Sarah Petite, Christian Bédard, Adriana Alarcón, DanielSaidman, Ward Schell, Skai Fowler, Mario Villeneuve, andthe CCA.

Gerald BeaulieuAdrian Göllner

Margaret RyallEnrique Astorga

Nadia Myre

Mario VilleneuveSkai Fowler

Ward SchellDaniel Saidman

Enrique AstorgaMarie-Hélène Comeau

Bruce CampbellMargaret Ryall

April BritskiCatherine Sinclair

Katy McIntyre

Status of the Artist

Calendar

Calendar 3

NGC Ne gotiations

CAMDO / CMA Mediation

SOFI Funds

Left to Right: Skai Fo wle r (BCRepre se ntative), Gerald Beaulieu (Preside nt,CARFAC Natio nal), April Britski (Executive Director, CARFAC National), andCatherine Sinclair (Co mmunicatio ns Coo rdinator, CARFAC Natio nal) at the

CARFAC Natio nal AGM, Winnipeg 23 June , 2007.

FROM T HE NAT ION AL P RES IDENT

fy this situation, the SOFI funds will be used to implement acomprehensive communicat ions strategy for CARFAC.Working with a professional marketing firm, we will beunveiling the following in the future: a new visual identity forCARFAC; a new and more sophisticated website; a new lookfor our newsletter; a CARFAC presence in trade publications;better and more complete print literature; and better distri-bution of our material to those communities where artistslive and work.

For five years, CAR-FAC has been tryingto negotiate its firstcollective agree-ment with theNational Gallery ofCanada (NGC)under federal

Leg-islation . An entireyear has been squa-ndered since our lastmeeting, while theNGC obtained legalopinions and rep-laced departing per-sonnel. In the latespring they infor-med us that they

had contracted a professional in labor relations to concludethe negotiations. A three-day meeting is scheduled for lateOctober, in which we hope to obtain a final agreement.Grateful thanks must go to Karl Beveridge and Pierre Tessier,the Co-Chairs of the CARFAC / RAAV Bargaining Committee,for their patience and dedication on this matter, as it hastaken buckets of both.

Since 2005, CARFAC has had difficulty in getting CAMDOand the CMA to recognize our new minimum Fee Schedule.These organizations even went as far as publishing their ownfee schedule based on CARFAC’s 2004 Fee Schedule. To rec-tify this impasse, CARFAC and RAAV have agreed to enterinto a mediation process to resolve the outstanding differ-ences in fees with CAMDO and the CMA. The process beganin June with the selection of a mediator, which was unani-mously agreed to by all parties. Following this decision, CAR-FAC began developing its arguments in support of its currentFee Schedule, and were prepared for the sessions scheduledfor mid-September. The objective was to have an acceptableresolution before the Visual Arts Summit in late November.CAMDO and the CMA insisted on postponing these sessions,

Following a successful AGM in Winnipeg, I have the pleasureof continuing to serve this organization in the capacity ofPresident, working with a committed board and staff, asCARFAC enters its 40th year of artists working for artists. Thecoming year will hopefully see the completion of a numberof ongoing initiatives, as we plan for future ones, all whilecelebrating this milestone anniversary.

Although CARFAC has been pursuing its mandate for 40years and has mademany substantial con-tributions to visualartists and the arts sec-tor, one would havehoped that after closeto half a century ofadvocacy we would bea little closer to ourgoal of achieving a liv-ing wage for artists. Itwould be nice toannounce that wecould breathe easier,pursue other agendas,and diversify our servic-es rather than still strug-gling for artists’ basicrights. The reality is thatwe are not there… yet.

In order to get there, we have four major initiatives that weare currently working on that we hope to complete by theend of the year. These include: a communications initiative,funded through the Canada Council SupplementaryOperating Funds Initiative, (SOFI); the conclusion of negotia-tions for a first scale agreement with the National Gallery ofCanada (NGC) under federal Legislation;our participation in the upcoming Visual Arts Summit to beheld in Ottawa on November 25th to 27th; and our agree-ment to enter into a mediation process with the CanadianArt Museum Directors’ Organization (CAMDO) and theCanadian Museums Association (CMA), in order to worktowards establishing a fee schedule agreeable to all parties.

CARFAC, like many arts organizations across the country,applied to the Canada Council for SOFI funds, and success-fully received a supplementary grant in the spring of this year.In research conducted last fall, we identified that one of ourmajor deficiencies was that we are not nearly visible enoughwithin the visual arts sector. It is difficult to represent andserve artists when many don’t even know you exist. To recti-

Photo: Katy McIntyre

Statusof the Artist

Status of the Artist

Calendar 4

Bridg ing Gaps:Issues for Eme rg ing , Mid-Care er and Senior Artists

Visual Arts Summit

Respectfully,

Gerald BeaulieuPresident

CARFAC National

Discussio n gro up participants at the joint CARFAC-RCApane l, Winnipe g, 22 June 2007.

ART S ADVOCACYA COLLAB ORAT IVE DIALOGUE

REP ORT ON CARFAC NAT IONAL’S 20 0 7 AGM AND CON FER ENCE

Without collaboration we will not survive. This was theprevalent theme that emerged from CARFAC’s 2007 NationalAGM and Conference,

, in Winnipeg on June 22nd and 23rd. A call toaction on the part of artists and arts organizations, collabo-ration was repeated again and again throughout the paneldiscussions presented and ensuing discussions. Fitting then,that CARFAC organized part of the conference weekend incooperation with the Royal Canadian Academy of Arts (RCA).

The joint RCA / CARFAC panel discussion, , opened

the conference on the morning of June 22nd, and, thanks tothe skillful moderation of Megan Williams, concluded in pro-ductive discussion groups in which concrete ideas were fos-tered. The overarching theme that emerged from this panelwas how to negotiate the dichotomy between publicexhibition and commercial selling.

Panelists discussed a variety of issues. A member of both theRCA and CARFAC, Ontario artist Milly Ristvedt talked aboutthe various challenges facing senior artists in Canada. Usingstatistical support from reports on income levels in the visual

arts, Ristvedt pointed out that “ the energy, physical healthand economic resources of many artists are exhausted by thetime they reach their senior years.” She called on the CanadaCouncil and other arts administrators to begin a process ofeducation and public relations on behalf of senior artists. In his presentation, Manitoba artist Ted Howorth, RCA,

citing difficulties in the availability of their personnel, and it isno longer certain that any resolution will be obtained beforethe Summit. As with the ongoing saga of the NGC negotia-tions, the constant delays and adversarial posturing weendure in resolving these issues call into question the sincer-ity of the museum community in accommodating the validconcerns of the country’s visual artists.

As mentioned previously, CARFAC will participate in theVisual Arts Summit taking place in Ottawa on November25th to 27th. The summit will be a gathering of all con-cerned parties involved in the visual arts in Canada. TheSummit’s objective is to address common issues for theadvancement of the visual arts. While we are an official“ partner” in the summit, its structure has evolved with littleinput from many of the partners and has adopted a decided-ly institutional theme, which is not conducive to addressingthe concerns of individual artists. Combined with the delaysin the mediation process, our expectations for a positive out-come resulting in concrete actions to improve the situation ofCanada’s artists have been significantly diminished. In orderto fully participate in the Summit, and represent the needs ofartists, CARFAC has scheduled a face-to-face Strategic

Planning meeting to take place immediately beforehand. This will allow our National board to meet the other partners, andto better participate in the Summit’s discussions. ThisStrategic Planning session prior to the Visual Arts Summit willallow CARFAC to map out the initiatives it wants to pursueover the next three years.

The organization is in good health, with a dynamic board anddedicated staff. If we are successful in resolving the outstand-ing issues I have previously described, we will be well-posi-tioned to tackle a number of other initiatives that will providebenefits for visual artists. This will strengthen our organiza-tion so that we can be the best possible advocates for visualartists. Going on forty years, many of the challenges stilllinger in the arena of arts advocacy, and the economic situa-tion for the country’s visual artists is still as dire as when wewere formed. However, CARFAC continues its efforts, andhopefully our current initiatives will result is some positivechange.

Photo: Catherine Sinclair

Arts Advocacy: a CollaborativeDialogue

Bridging Gaps:Issues for Emerging, Mid-Career and Senior Artists

Calendar 5

Visual Art and the Media

Le ft to Rig ht: Katy McIntyre (Membership Co ordinato r, CAR-FACNational), Ed Pas (CARFAC SASK me mber), Alain Pine au

(Exe ctive Director, CCA), Margare t Ryall (VANL Represen-tative ), Ward Schell (Saskatchew an Re presentative ) and Sara

Tilley (Dire cto r of Communications, VANL) w o rk o n NadiaMyre ’s at the Urban Shaman Galle ry in

Winnipeg , June 22nd, 2007.

stressed the importance of artists cohesively coming togeth-er in groups to discuss issues, such as in artist-run centres andorganizations like CARFAC and the RCA. He praisedCARFAC’s democratic nature by including artists at all stagesof their careers.

Contextualized through the story of her own career develop-ment, Manitoba artist K.C. Adams discussed the need forrecognition of the growing, yet marginalized, group ofAboriginal artists in Winnipeg who sell their work door-to-door; a practice which devalues their work yet is inevitablefor survival. There is a need to develop a national database ofartists, categorized by mediums and styles so their work canbe accessible.

Quebec art ist and CARFACNational board member NadiaMyre provided a practical exam-ple of the financial reality of liv-ing as a visual artist by sharingthe details of her own earningsas a female, Aboriginal visualartist in her early thirties. Incomparing this to the statisticalearning figures quoted by theHill Strategies Report of 2004,her potent ial annual incomecame out at $500 a year: animpossible scenario by all ac-counts.

Manitoba artist Andrew Valko,RCA, succinctly addressed theproblematic that artists are con-sidered “ sellouts” when they selltheir work, yet are required tosell to the general public tomake a living. He called for ashift in the attitude towards commercially viable art amongstvisual artists, and for more dialogue with the institutions, inorder to rectify this unproductive cycle. Manitoba artist anddirector of Gallery One One One, Cliff Eyland suggested thatCanadian artists see themselves as providers of a service,rather than as object-makers, and consequently, do not giveproper value to their own work. Canadian artists need toconsider their artworks as “objects of value,” and begin giv-ing it higher value, without considering this as a diminish-ment of the artwork’s worth.

The audience broke into four groups to respond to some per-tinent questions derived from the panel discussion. To thequestion “ How should CARFAC/RCA, either together or sep-arately, express social responsibility for artists?” suggestionsincluded that the RCA and CARFAC join forces to push for-ward provincial Status of the Artist legislation, and to ensurethat it includes the concerns of senior artists. Furthermore,CARFAC, the RCA and other official arts organizations

should form a working research committee of governmentagencies to discuss creating a retirement fund from whichsenior Canadian visual artists can derive support. Finally, itwas suggested that a working committee should form toencourage public galleries to act ively support and promote the profile of senior artists.

In response to the question “ How can artists gain more con-trol over the economic realities of their profession?” it wassuggested that the power of collective professional associa-tions needs to be further developed, along with the legaltools to make this happen. Secondly, it was emphasized thatartists need to curb the shame associated with declaring theeconomic value of their creations. Finally, artists need to work

on ways of setting fair andstable market values forvisual art that ensures a rea-sonable profit. In otherwords, artists need to stopthe practice of undercut-ting, and better educatethe market and public onhow to access their prod-ucts.

In response to “ Is there apower dynamic in the rela-tionship between emerg-ing, mid-career and seniorartists that we can use?”mentoring and supportivecohesiveness were high-lighted, including the needto promote sharing andapprenticeships betweenmid-career, emerging andsenior artists. The need toencourage cross-genera-

tional leadership roles, to promote artists working in co-opsand collectives, and collaboration between organizations wasalso emphasized. For example, the RCA should be supportiveof the activities and advocacy that CARFAC initiates, andvice-versa.

The discussion on “How can we affect the way art is com-modified and treated within both the commercial and thepublic spheres?,” resulted in the realization that there is aneed to develop a way to inform art students on the positiveaspects of the different directions your career can take,including commercial opportunities. Finally, artists have torespond to both the existing private and public systems andnew developments, such as the hybrid systems we are start-ing to see, where public galleries occasionally sell work and some commercial galleries now exhibit curated shows.

Later in the afternoon, the RCA’s panel discussion,

Photo: Catherine Sinclair

Visual Art

The Scar Proje ct

Calendar 6

CARFAC National’s 2007 AGM

Mario Villene uve (Yuko nRe presentative )

Adrian Gö llne r (Vice -Pre sident)

Marie-Hé lène Co me au(Quebec Represe ntative)

and the Media

Border-Crossings

The Scar Project

, began with a keynote speech by UK art crit-ic Martin Gayford. Gayford addressed the relationshipbetween the audience, the artist and the art writer, and, from

his perspective, the func-tion of an art writer. Thepanel discussion, moderat-ed by art editor and writerRobert Enright on the sametopic, included Gayford,

’ EditorMeeka Walsh, andCanadian visual artist andfict ion writer DouglasCoupland. Following thispanel, the audience joinedin on the discussion anddebated the role and func-tion of art-writing for artis-tic practices.

CARFAC National boardmembers were welcomed

that evening for a reception at Urban Shaman Gallery inWinnipeg’s beaut iful Exchange Dist rict, whereQuebecRepresent-ative Nadia Myre’s exhibition wasshowing. Artists enjoyed participating in Myre’s project ofsewing, cutting, drawing or ripping a personal scar onto blank canvases, while enjoying stew and bannock.

The following day, on June 23rd, we held our National AGM.Our National President, Gerald Beaulieu, updated membersand board members in attendance on the activities of 2006,including the vote on Collective Bargaining Permits with theNational Gallery of Canada and the Canadian Museum ofContemporary Photography. A 2008 fee schedule was notratified by the membership because we are in the process ofmediations with the CMA and CAMDO. CARFAC will contin-ue with the 2007 fee schedule until a new fee schedule isdeveloped through this mediation process. The new feeschedule will require a ratification vote by our full member-ship following the mediation. For more details on CARFAC’smediation with CAMDO/CMA, see Gerald Beaulieu’s articleon page 3.

Elections for new members to CARFAC National’s Board ofDirectors were held. The membership re-elected GeraldBeaulieu, and newly elected artists Adrian Göllner and Mario Villeneuve joined the national board.

Adrian Göllner has made his home in Ottawa since graduat-ing from Queen’s University in 1987 with a BFA in sculpture.While continuing to exhibit nationally and internationally, hehas received a number of public art commissions, includingan integrated sculpture for the new Canadian Embassy inBerlin, completed in 2005. Having begun his career as anabstract painter, Göllner now employs a wide variety of medi-

ums and techniques in a chameleon-like adaptation to theenvironments in which he exhibits. He is currently engaged inthree public art commissions, including the rooftop lightingdesign for 16 towers in downtown Toronto. Having servedon the board for CARFACOntario in the past, CARFACis pleased to welcome him to our National board.

Mario Villeneuve is an artist,curator and art educatorbased in Whitehorse, Yu-kon. Originally from easternOntario, he studied photog-raphy at the University ofOttawa. His pract ice isinspired by the history ofphotography and its proces-ses. The call of the Northbeckoned ten years ago andsince then he has beenactive in the Yukon's vibrantartistic community. Villen-euve is one of the foundersof Studio204, an artist-runcollective and gallery spacein Whitehorse. His interest in joining the CARFAC board isguided by the need to bridge the gap between the North andsouthern Canada, and to advocate for northern artists inrelation to professional development, isolation and miscon-ceptions of the northern art practice. As a francophone artistliving in the northwest, he provides a new perspective forCARFAC. He hopes to continue the work towards developingCARFAC Yukon into anactive affiliate. CARFACNational is pleased to wel-come him to our board.

More recently, CARFAC hasbeen happy to welcomeMarie-Hélène Comeau toour National Board as ourQuebec Representative. Or-iginally from Quebec, Marie-Hélène moved to the YukonTerritory in 1992. Also anauthor, composer and inter-preter, this emerging artistuses a variety of mediumsincluding acrylic, spray paintand anything else she mightcome across. Her artworksillustrate the perpetual movement of life, colours and people.Some of her works are on permanent display at the ArtsUnderground Gallery in Whitehorse, and have been present-ed across the territory, including the Grotto Gallery in theYukon Arts Centre. She has participated in the Dawson Arts

Photo: Katy McIntyre

Photo: Katy McIntyre

Photo: April Britski

Calendar 7

Politically Charge d:an Artists’ Guide to Effe ctive Lobbying

Catherine SinclairCommunications Coordinator

CARFAC National

CARFACNational Pane l Discussio n, , Winnipe g, 24 June 2007. Left to Right: Cecilia Araneda,

Alain Pine au, Shaw na Dempsey, and Lo rri Millan.

Festival since 2005, offers a variety of workshops in schools,and has also written for for the past nineyears, a francophone bimonthly Yukon publication. She iscurrently in Montreal completing a fine arts certificate at the University du Québec à Montréal.

At the AGM, a regretful goodbye was also said to retiringboard members Carole Gauron (Secretary/Treasurer since2002), Ame Papatsie (National Vice-Representative,Northern-Indigenous since 2004) and Yves Louis-Seize(National Vice-Representative, Québec since 2005). We wishthem the best in their future endeavours and would like to thank them for their valuable contributions to CARFAC.

The new CARFAC National board for 2007-2008 thus con-sists of: Mario Vil-leneuve (Yukon), SkaiFowler (BC), WardSchell (Saskatchewan),Dan Saidman (Mani-toba), Enrique Astorga(Ontario), Adrian Göl-lner (Ontario), NadiaMyre (RAAV), Marie-Hélène Comeau (Que-bec), Margaret Ryall(Newfoundland andLabrador), Bruce Cam-pbell (Nova Scotia),and Gerald Beaulieu(PEI). Full biographiescan be viewed on our website: ww.carfac.ca.

As per our new bylaws passed at the 2006 AGM, executivepositions were elected at the first meeting of the board oftrustees, which was held the next day on June 24th. At thismeeting, Gerald Beaulieu was elected as National President,Adrian Göllner was elected as National Vice-President,Enrique Astorga was elected as Treasurer and Margaret Ryall as Secretary.

Well-known Winnipeg visual artist collaborators ShawnaDempsey and Lorri Millan, and Cecilia Araneda, filmmakerand Executive Director of the Winnipeg Film Group werepanelists on CARFAC National’s Saturday afternoon paneldiscussion,

.

Moderator Alain Pineau, Executive Director of the CanadianConference for the Arts (CCA), stated that, especially in lightof the current government, arts organizations are constantlyposing this question: “ How can we be heard and makeprogress?”. Pineau described the mandate of the CCA: ”tocreate an enlightened debate on policy issues at the federal

level on arts and culture issues.” Lorri Millan outlaid somestrategies for individual artists to use to advocate for the arts.She reminded the audience that it is up to artists to engagethe general public in the dialogue about the importance ofsupporting the arts. Cecilia Araneda emphasized that artsorganizations should use their long-standing histories inorder to lobby on behalf of their artist-members. ShawnaDempsey discussed the need to develop flexible strategies inlobbying. By using the history of the Winnipeg Arts Councilas her example, Dempsey concluded that “ lobbying strate-gies should be ever-changing to be effective.” She empha-sized that each situation is different and personalities of indi-viduals involved have to be considered when developing lob-bying strategies.

A lively discussionensued, in whichaudience membersbrought up theirown examples ofscenarios for effec-tive lobbying. Theimportance ofworking togetherto effectivelymaintain and useprovincial artscouncils was em-phasized, as wasthe creation of al-liances betweenthe business andarts communities.In terms of con-

crete means of action, it was suggested to ap-proach govern-ments directly, outreach into the community, and clearly articulate your purpose to the public.

All around, it was a fruitful few days of thoughtful discus-sion, provoking calls to action, and concrete ideas.Cohesiveness in the arts community certainly emerged as theprevailing and most immediate need. CARFAC Nationalboard members left Winnipeg with a renewed sense of pur-pose and solidarity to carry with them to face the challenges ahead in the rest of 2007 and into 2008.

Special thanks are extended to CARFAC Manitoba boardmembers Dan Saidman and Carol Fournier-Dicks, and to ourConference Coordinator, Liz Baron, for all the work they didto make this AGM and Conference both possible and enjoyable.

Photo: Katy McIntyre

l’Aurore boréale

Politically Charged: an Artists’ Guide to Effective Lobbying

Polit ically Charge d: an Artist s’ Guid e toEffect ive Lob by ing

Calendar 8

April BritskiExecutive Dire ctor

CARFAC National

Sale s:

As I write this introduction in early fall, it seems peculiarto be thinking about doing my taxes already. Most peo-ple wait until the last minute to think about thesethings, but we focused on taxation issues in this seriesof feature articles now so that artists are well informedabout a number of issues that come up regarding taxa-tion and can plan accordingly.

In this section, Catherine Sinclair, CARFAC National’sCommunications Coordinator, has amassed informationfrom our resources that focuses on issues related totaxation, including:

• reporting business income on exhibition royalties,grants and awards and other professional feesnormally accrued by artists;

• tax implications on artists’ inventories;• the CCA’s recommendations on the elimination of federal taxes on copyright income, based on the models in Quebec and Ireland.

Many artists choose to prepare their own income taxreturns. CARFAC offers an Advisory Note,

, which includes many of the eligibleexpenses and income sources commonly claimed byself-employed artists. It is available through the Nationaloffice, or through your nearest provincial affiliate office.

Further, some provincial affiliates offer workshops ontax planning. Contact the office nearest you to see if aworkshop is offered in your area.

Alternatively, some artists prefer to hire an accountantto do their taxes. If you fall into this group, you shouldfind a professional accountant experienced in workingwith artists, and your provincial affiliate may be able toassist you in finding specialized accountants in yourarea. Whichever choice you make, remember that it isyour return and you are responsible for its contents.

Make sure you don’t forget that membership dues inprofessional associations related to your field, includingyour CARFAC membership, are eligible for tax deduc-tions, and donations to CARFAC National are eligible fora charitable tax receipt.

If you derive most of your income through your work as anartist, you are considered self-employed for tax-purposes,and therefore, you are required to report all sources ofincome from your business on your income tax statement.

In her chapter on Income Tax in CARFAC Ontario’s publica-tion, (2005), Chartered AccountantMarcia McCann includes a section about what you should bereporting to the Canadian Revenue Agency as your “rev-enue,” as does CARFAC’s Advisory Note

(1993), and RAAV’s Advisory Note

(2002).

McCann indicates that most self-employed artists report theirbusiness activities on Form T2124

. The statement asks you to report your “sales, com-missions or fees” and “other income.” All forms can befound on the Canada Revenue Agency’s websitehttp://www.cra-arc.gc.ca. See page 11 for a list of useful CRA bulletins.

McCann further stipulates that “you are required to reporteach and every source of income for your business.” Forartistic business, it is dependent on the nature of the prac-tice; however, some common items to be included are listed below:

You should keep proper records and report all sales,whether you are selling your work on your own or through adealer, or receiving payments for commissions. In terms ofdealers and agents, what you report, whether the price you

PreparingYour Tax Return *The following articles are m eant to clarify som e basic infor-

m ation on taxation for visual artists, and should not be takenas a substitute for professional advice, nor are the contentsall-inclusive.

Inform ation for Artists

Preparing Your TaxReturn Tout ce que vousavez toujours voulu savoir sur la fiscalité et l’artiste en artsvisuels

Statem ent of Business

Activities

INCOM E SOURCES :W HAT IS CON S IDER ED REP OR TAB LE “R EVEN UE”

TAXAT ION FOR ART IST S

Calendar 9

Merchandising Income :

Exhibition Fe es:

Royaltie s:

Grants and Aw ards:

Professional Fe es:

In most cases, an artist should e xpe ct to re ce ive :

T-4 FormT-4A Form

T-5 Form

actually receive or the full selling price, will depend on thearrangement you have in each case. If reporting the full sell-ing price, be sure to deduct commissions and agent fees as expenses.

This could be merchandise for salerelated to your art, such as reproductions, greeting cards,industrial applications, etc. Often these may be licensed andclaimed as copyright royalties, but be sure not to report the same income twice.

Artist fees for exhibitions are provided forin the Exhibition Right section of the Canadian CopyrightAct, meaning that if you exhibit your work in a public galleryor artist-run centre, you should be paid. CARFAC’s MinimumRecommended Fee Schedule provides a reference point forwhat fees you should be paid (www.carfac.ca). Exhibitionfees are a category of copyright fees, but should be separate-ly reported. Members of copyright collectives, such asSODART or CARCC, will receive a statement of any royaltiesor exhibition fees collected on your behalf by the collective.You should expect a T-5 Form or exhibition fees, rather than a T-4 Form.

McCann writes that “ royalty fees are paid for theright to reproduce an artist’s work, such as copyright fees forreproduction, publication or exhibition.” For example, if aposter is made as a reproduction of your work, you mighthave negotiated an agreement that you will receive a royaltypayment each time a poster is sold. Any royalties from theuse of copyright must be reported, making sure advance pay-ments are kept separate from residual payments. Royaltiesfrom Canadian sources of more than $500 are required to be reported on a T-5 Form.

These count as income and should bereported as such if you are self-employed. The many detailedaspects and conditions of filing grant income, including spe-cific forms, can be found on Revenue Canada’s website(http://www.cra-arc.gc.ca). The first $500 of a grant or bur-sary is not taxable, and reasonable expenses which you hadto incur in order to fulfill conditions of the grant are fullydeductible. However, you cannot claim living expensesagainst grant income (see Forms IT75R4, IT257R and IT273).Whether from federal, provincial or other arts organizations,you should verify the details on what needs to be reported ineach case. Grants are provided for specific purposes andthere are often distinctive rules for reporting them as income,

as well as for the expenses which may also be deductedagainst them. For grants from the Canada Council for the Arts, rules can be found on Form IT257R.

These are fees and honoraria received forservices such as giving a lecture or seminar, serving as a judgeon a selections jury, installing a show, consulting on a proj-ect, etc. These types of artists’ fees should normally bereported on a T-4A Form, and costs related to such activities may be claimed as expenses.

For more information, contact the Canada Revenue Agencywww.cra-arc.gc.ca or an accountant familiar with artistpractice. Contact your local affiliate for suggestions.

• a for employment income;• a for lectures, grants, and income from

other sources;• a for income from royalties, exhibition fees,

reproduction licences from Canadian sources;• no form for income from sale of goods and/or

services.

So urces:

CARFAC Ontario, “Information for Artists: A Practical Guide forVisual and Media Artists,” 2005, chp. 12, p. 3. This publicationcan be purchased online at www.carfacontrio.ca, or through yourlocal affiliate.

CARFAC Advisory Note, “Preparing Your Tax Return” (1993). Thiscan be accessed by contacting CARFAC National, or through yourlocal affiliate.

RAAV Bloc-notes 78, “Tout ce que vous avez toujours voulu savoirsur la fiscalité et l’artiste en arts visuels (janvier 2002).” This notecan be accessed online at www.raav.org.

Patrick Close, Executive Director, CARFAC Saskatchewan

Marsha McCann, Chartered Accountant (http://www.mccannasso-ciates.ca/)

SUM M ARY OF TAXAT ION FOR M S

Calendar 10

To ni Onle y at Wreck Be ach, 1983

As a self-employed artist making your living by selling yourartwork, you are eligible for tax deductions based on the expenses incurred in the creation of your products.

In order to deduct your expenses, you have to inventory allmaterial accumulated in the creation of the artwork until itsells. According to CRA’s bulletin (IT-504R2), the “inventory of an artist will include unfinishedand finished works of art and materials and supplies that areon hand and unsold at the fiscal year-end of the artist' s busi-ness” (section 8,9). For artists, materials and supplies mayinclude items such as cameras, paint, canvases or sculpturaltools. Normally, self-employed businesses are taxed on thisinventory, and cannot deduct expenses until their producthas sold. However, as a Canadian visual artist, there is a spe-cial exception that allows you to value your inventory at zero, and collect your deductions earl, if you prefer.

Chartered Accountant Marcia McCann writes about taxinginventories in her chapter on Income Tax in CARFAC Ontario’spublication, (2005). Most self-employed businesses are required to keep and account for aninventory of materials and supplies needed for the creationfor their product until that product has sold. Then at tax-time, the business is required to place a value on this inven-tory “at the lower end of cost and fair market value,” atwhich point it is subject to taxation. It is only once the prod-uct is purchased, that “ both the revenues and the relatedexpenses” are able to be recorded, and the deductionsreceived.

This rule did not make sense for visual artists. Why should avisual artist, whose income is low to begin with, have to paytaxes on a studio full of art supplies and finished artworksthat had not yet sold and provided income? Thanks to artistand CARFAC member, the late Toni Onley, Canadian artistsare able to avoid this and value their inventories at nil. In1983, instead of paying taxes on his entire inventory of 1,058prints, as requested by the Canadian Revenue Agency (CRA),Onley threatened to burn $1 million worth of work on WreckBeach in Vancouver. He had the attention of various politi-cians, including then Prime Minister Trudeau, and as a result,the Canadian Revenue Agency has since allowed artists to value their inventory at zero.

This ability to value your inventory at zero means that insteadof waiting to deduct your inventoried expenses until your artwork sells, you can do so immediately, and therefore often inthe same year your expenses were accumulated. But this alsomeans you cannot deduct these same expenses at the sale ofyour art work, as you cannot deduct them twice. It simplygives artists the option to deduct their expenses whenever itwould be most financially beneficial to them, so that you are

not stuck within a system that requires you to pay out taxeson art creations for which you have received no revenue.McCann also describes that it is the artist’s choice whether torecord inventory costs and receive these deductions beforethe sale or not, but once you make this decision you have to obtain CRA’s permission to change it at a later date.

So thanks to Toni Onley, Canadian artists not only do nothave to pay taxes on their unsold inventory, but can alsobenefit from deductions when they are needed.

Photo: Courtesy of the Estate of Toni Onley

Visual Artists and Writers

CARFAC Ontario, “Information for Artists: A Practical Guide forVisual and Media Artists,” 2005, chp.12, p.3). This publication canbe purchased online at www.carfacontario.ca, or through yourlocal affiliate.

Canada Revenue Agency, Income Tax Interpretation Bulletin IT-504R2, Visual Artists and Writers, www.cra-arc.gc.ca.

Marsha McCann, Chartered Accountant

Information for Art ists

(http://www.mccannasso-ciates.ca/)

Source s:

TAXIN G ART IST S’ INVEN T ORIES

Calendar 11

Amount De clare d Que bec Exe mption

IT75R4: Scho larships, Bursaries, Prizes and ResearchGrants and Financial Assistance

IT110R3: Gifts and Official Donation Re ce ipts

IT120R6: Principle Reside nce

IT257R: Canada Council Grants

IT273: Gove rnment Assistance - Ge ne ral Comme nts

IT357: Expense s of Training

http://w ww.cra-arc.gc.ca

IT407R4: Disposition o f Cultural Property toDesignated Canadian Institutions

IT504R2: Visual Artists and Write rs

IT514: Work Space in Home Expense s

IT521R: Motor Vehicle Expense s Claimed by Self-Employed Individuals

P ROP OS ED TAX CREDIT FOR COP YRIGHT IN COM ET HE CCA’S RECOM M EN DAT ION S FOR REM OVING T HE FEDER AL TA X ON CR EAT IVIT Y IN CAN ADA

CANADA R EVENUE AGENCYBULLET INS AND GUIDELINES FOR ART IST S

In 1995, the government of Quebec made it possible forartists to have a tax exemption for their copyright royalties.This is an important precedent that CARFAC would like to establish at the Federal level.

In Quebec, artists benefit from an annual tax exemption ofup to $15,000 from their copyright revenue (licensing, exhi-bition fees, reproduction fees, reprography fees and publicloan fees), if they are the primary copyright holder. Thisdeduction is reduced if revenues from this source exceed $15,000.

The following chart from RAAV’s website summarizes this scenario:

nationally lauded policy has had favourable results onIreland’s economy and on their creative output as a whole.The “Artists’ Tax Exemption Scheme” was introduced byCharles Haughey, then Finance Minister, in order to keepIreland’s creators in the country. This has not only beenachieved, but it has also attracted foreign creators to thecountry. After much debate, Ireland capped this exception in2006 at the first €250,000 earned, though still far greaterthan the $15,000 cap in Quebec. The Irish Arts Council’s2005 report,

describes that for artists, the Scheme “ representsthe difference between taking on a second job and beingable to concentrate entirely on their art form and on creatingoutput of an exceptionally high standard. It also helps toremove the particular challenges associated with an incomewhich can be at complete variance from one year to the next,even for the most commercially successful artist. […] It is alsoof considerable pride to the artists that their contribution toIreland is recognised and acknowledged by policy makers.”

The CCA also included such a recommendation as the firstitem listed in their 2008 Federal Pre-Budget Consultations,“A creative Canadian Economy: Taxation and Beyond.” Arecommendation for “ a minimum $30 K exemption on rev-enue deriving from copyright and residual payments andcomplete tax exemption to grants to individual artists andcreators” was presented to the Standing Committee onFinance and the Minister of Finance for inclusion in the 2008 Federal Budget.

The CCA has been advocating for a federal tax exemption forcopyright and residual payments for some time. Their pro-posal was included in the endorsement paper

$0 – $15,000 100% of copyright revenues

$15,001 - $30,000 $15,000

$30,001 - $59,999 Rate diminishes progressively

$60,000 and up $0

Several attempts have been made to solicit the federal gov-ernment of Canada with this idea, and all, so far, to no avail.David Stewart-Patterson, of the Canadian Council of ChiefExecutives (CCCE) made a presentation at the annual policyconference of the Canadian Conference of the Arts (CCA) inMarch 2006, in which he called on Canada to follow the leadof Ireland and abolish taxes on creative intellectual property.

Ireland introduced a tax exemption on revenues from copy-right, patents, and Arts Council bursaries in 1969, and is anexcellent example of how such a policy can work. This inter-

Testim onials on the Artists’ Tax ExemptionSchem e,

From Bronze to

“Preparing Your Tax Return,” CARFAC Advisory Note.Available from your local affiliate.So urce:

Calendar 1Calendar 12

ASS OCIAT ION NEW S

CAN A DIAN CON FEREN CE OF T HE A RT S

Throughout the summer, the Secretariat of the CCA hasbeen hard at work preparing for a very busy fall season. Firstof all, the annual federal pre-budget submission has beenwritten and sent to the Standing Committee on Finance inpreparation for our appearance in a few weeks. The focus isstrongly on funding issues, especially the renewal of the pro-grams’ envelope formerly known as .

After intervening in the Canada Council consultation processon its 2008-2011 Strategic Plan, we were pleasantly sur-prised by the unexpected announcement by the formerMinister of Canadian Heritage Hon. Bev Oda that $30 millionhad been added to the budget of the Canada Council for theArts (CAC) on a permanent basis. Then of course, theCabinet shuffle gave us a new Heritage Minister, Ms JoséeVerner. The budget increase of the CAC is welcome newsand reduces somewhat the anxiety about the direction of thefederal government in dealing with the arts and culture sec-tor. As for the Cabinet shuffle, we have taken a look at thetea leaves and have concluded that based on the past 18months, it is still pretty much impossible to say what agendathe government may have regarding arts and culture.

The Secretariat has been planning a one-day symposium onthe Role of the Arts in Public Diplomacy. This event will takeplace in Montreal on November 22, 2007 at the Université duQuébec à Montréal. CCA staff have been busy consulting

experts in the field and recruiting internationally respectedresource people to inject the discussions with new ideas andbest practices from across Canada and around the world. Inadvance of the Symposium, the CCA will be releasing to par-ticipants to the event a background paper prepared byRachael Maxwell who completed a three month internshipwith the CCA this past spring. Rachael’s excellent paperoffers a broad perspective on the evolution of public diplo-macy around the world and in Canada, particularly over thepast 60 years. It will help to inspire forward-looking and con-structive discussions, which is the objective of the Sym-posium.

In parallel with these activities, the Secretariat of the CCA isdeveloping a three-year strategic and financial plan in consul-tation with the Board of Governors. This multi-year actionplan will provide the background in our search for theresources required to fulfill the CCA’s unique mission with regards to arts and culture in Canada.

If you have any questions or if you wish to identify an issueyou think warrants the attention of the CCA please let us know.

(2006), by the CCCE, where it was broadened toinclude all forms of intellectual property.

The CCA proposed that extending the Quebec model to thefederal level would help improve socio-economic conditionsfor artists, by allowing them to gain more financial benefitfrom their labour. In turn, this would stimulate further inno-vation and creativity, therefore improving Canada’s overallcultural production. In following the Quebec model, the CCArecommended the exemption for such revenue should be $30,000, but at a minimum.

In their 2006 proposal, the CCA acknowledged the compli-cation of the tax treatment of grants to individuals in the artsand culture sector, including “ the complex and elaborate sys-tem of assessing the tax status of grants, prizes, bursariesand other forms of assistance to individuals.” As such, theymade a further recommendation for, “tax exeption to grants to individual artists and creators.”

Unfortunately, neither of these recommendations have beenimplemented by our current government, but at least the

ideas have been tabled. CARFAC National will work with theCCA and our partner, RAAV, on achieving these and other goals in 2008 and beyond.

“,”

Tom orrow Starts Today

CCA Bulletin 32/07, “From the Desk of Alain Pineau –National Director of the CCA,” Ottawa, 26 September, 2007. Link tofull text: http://www.ccarts.ca/en/advocacy/bulletins/3207.htm

Gold

RAAV, « Les artistes en arts visuels et les déductions fiscales aux-quelles ils ont droit », RAAV 28/04/2006, Actualité 118,www.raav.org.

CARFAC Advisory Note, “Preparing Your Tax Return” (1993). Thiscan be accessed by contacting CARFAC National, or your localaffiliate.

CCA, 2008 Federal Pre-Budget Consultations, A creativeCanadian Economy: Taxation and Beyond www.ccarts.ca.

CCA, 2006 Federal Pre-Budget Consultations, “A Creative NewWay of Thinking,” www.ccarts.ca

Creators’ Rights Alliance, cra-briefings 36, May 1, 2006.

The Arts Council (Ireland), “Testimonials on the Artists’ TaxExemption Scheme,” 2005, retrieved online: www.artscouncil.ie

Source :

Source s:

Calendar 13

Janice Se lineExe cutive Director

CARCC

toll-free 866.906.0230, visit w w w.sodart.org, or write to sodart@sodart.org.

CARCC is always looking for new mem-bers – our numbers are our strength.We encourage those of you who havenever used us to give us a try. CARCCwill represent you for all your licensingneeds – for exhibitions in publicly fund-ed galleries and museums; for repro-ductions in books, magazines, or onwebsites; and for commercial reproduc-tions such as advertising or greetingcards. We negotiate fees and otherterms of a licence, and we will reviewyour contracts to be sure that yourcopyrights are fairly treated. We standbehind the licences we issue. If youhaven’t affiliated with CARCC, checkout the material on our website,www.carcc.ca, or give me a call, toll-free, at 866 502 2722. The affiliationagreement is easy to download – just mail me two signed copies.

Anybody who is an affiliate of CARCCknows that I have been busy sendingout requests for proof of the workartists have published in print. This hasto do with the reprography royalty thatwe distribute to CARCC affiliates whohave been with us for two years ormore. Formerly, affiliates simply had toprovide CARCC with a CV in order toreceive this payment, but the rules havechanged. CARCC has been negotiatinga new agreement with Access Copy-right, the source of funds for reprogra-phy fees, and they have insisted thatour affiliates provide proof, a standardthat applies to their own affiliates, andincreasingly to any artist around theworld who receives such a payment.Most CARCC affiliates have providedample material proving their eligibility,and for those who have not done so,please do so as soon as possible!

For those of you who don’t know,reprography is the right, licensableunder the Copyright Act, to make pho-tocopies of work that is published inprint . Access Copyright makes thelicences in all Canadian provinces andterritories, except Quebec, where theyare issued by Copibec. The royalties col-lected are distributed in various ways.Most eligible artists receive a portion ofthe repertoire pool, as they call it -money that is paid to creators whosework is published and therefore may bepotentially copied. It is impossible toknow exactly what is copied, as copying activity is only sampled.

Another aspect of this new way ofworking with Access Copyright is thataffiliates who live in Quebec mustreceive their royalties from Copibec.This has posed many problems forCARCC and for SODART, the visualartists’ copyright collective in Quebec.Copibec has different criteria for thepayment of reprography royalties and itis difficult to rationalize the fairness ofour colleagues in Quebec receivingwhat is usually a smaller payment. Discussion on this topic is ongoing.

Many CARCC affiliates have asked whyinternet publication is not included inreprography, since the internet is ahuge source of images. The answer isthat the law does not yet include inter-net use in its definition of reprography.Reform to the Copyright Act is lagging behind this widespread use.

In other news, CARCC is working on anew look for its published material andits website. Last year we published anew poster / brochure designed by

Ottawa graphic designer Daniel Lohnes.Daniel will be working on the CARCCwebsite as well, integrating some ele-ments of the poster into its design. TheCopyright Symbol wallpaper and theeye image are rather beautiful, and themotto RESPE©T will, we hope, work toquench some of the passion that seemsto emerge around the subject of copy-right these days.

logo: Bill Horne

N EW S FROM CARCCCANADIAN ART IST S’ REP RESENTAT ION COP YRIGHT COLLECT IVE

Fo r co p y r ig h t a d m in is t r a t io n s e r v ice s f o r a r t is t sr e s id in g in Qu e b e c:Ca ll S ODART(So c ié t é d e d r o it s d ’a u t e u r s e n a r t s vis u e ls )

Calendar 1Calendar 14

Mario Ville neuveYukon Re pre se ntative

Skai Fow lerBritish Columbia Re pre se ntative

Ward Sche ll (CARFAC SASK Re presentative ) and SkaiFo wle r (CARFAC BC Re presentative ) at the CARFAC

National AGM and Co nfe rence, 23 June 2007.

is a short section that w ill appear in future issues of , w hich w illprofile a member of the CARFAC community.

If you are interested in be ing interview ed, please contact us (1.866.344.6161, orcarfac@carfac.ca) and provide your name and e -mail address or phone number w here w e can contactyou.

T HE LAT EST FROM T HE P ROVINCES

Y U K O N

B R I T I S H C O L U M B I A

T HE M EM BER P ROFILE

The Yukon has been a good place to be an artist this year.Dawson City saw the official opening of its School of VisualArts (SOVA) on August 12th, and more recently, the Yukongovernment announced an increase in funding to Yukon Arts and Culture in the amount of $567,500.

CARFAC Yukon is working from a strong base establishedthis past year by Philomena Carroll. Her hard work has madeit possible for us to be part of some major arts review andpolicy working groups. CARFAC Yukon was a participant atthe Visual Art Review that has been ongoing over the lastyear, where we were able to advocate for our members, andartists in our territory.

This August, CARFAC Yukon was present at the DawsonRiverside Arts Festival, where for three days we met withartists and the public. With the help of survey results gar-nered from these meetings, we were able to get direct feed-back from Yukon artists regarding the formation of ourupcoming professional development workshop series.Meeting face-to-face with artists certainly helped us tailorthese workshops to the needs of our northern artists. Thisseries of workshops will take place this fall and winter, andwill be held in partnership with other arts organizations,including Arts Underground.

This year CARFAC BC has been part of a collective lobby-ing effort along with other arts organizations, includingthe Alliance for Arts and Culture, Artists Legal Outreach(ALO), Pacific Artist-Run Centres (PARC), and Arts Future,to push the provincial government to provide the BC ArtsCouncil with more funding. CARFAC BC, and the variousother organizations, all benefited from the feeling of com-munity that this effort created.

On the office front, our updated Gallery Survey is ready fordata-entry and we hope to have it up on our website(www.carfacbc.org) by the end of the year. Initiated byMurray Bush in 1997, this is a list of galleries in BC post-ed on our website that details the artwork galleries areinterested in, their selection processes, exhibition terms,and their contact information. Pauline Hadfield, our artstudent from Simon Fraser University, worked on updatingthe Survey as her final project.

We held our AGM on October 14th at the Alliance for Artsand Culture, which resulted in new board members join-ing the organization, including Joanne Thomson, ViviennePearson, Diana Zoë Coop, Afuwa Granger, Bernadine Fox,Graham Scholes and Zoë Pelled, and an ever-increasingmembership coming from outside of Vancouver. We con-tinue to search for funds to organize professional work-shops.

CARFAC BC itself is in good condition, as we have nearly 300 members and we are doing fairly well financially.

Photo: Katy McIntyre

Calendar

Calendar 1Calendar 15

Ward SchellSaskatche w an Represe ntative

Ed Pas (CARFACSASK board me mber) and KC Adams(Manito ba visual artist) participate in the CARFAC-RCA panel

discussion group, Winnipeg , 23 June , 2007.

April BritskiExe cutive Director

CARFAC National

S A S K A T C H E W A N

A L B E R T A

2007 has proved another busy year for the offices of CARFACSASK, including ongoing excellent programming and work-shops, and we are well into the development of our program-ming for 2008.

After twenty years of commis-sions, reports, advisory panels,studies, lobbying and negotia-tions, the Saskatchewan Statusof the Artist bill 68 made it to itssecond reading in the Legislature,but failed to make it to a votebefore the Legislative Sessioncame to an end in May. We areall hopeful that the importanceof Status will be recognized andbrought back for a vote after theelection ca ll and the new Government is formed.

CARFAC SASK continues to sell and distribute the 8th edition ofthe ,printed earlier this year. The bookcontains, among other things,comprehensive information onpublic and commercial art galleries in Saskatchewan, offersinformation on Artist Residencies and Retreats and gives valu-able information on sources of funding and the business of art.

This past year, 315 people attended thirteen ProfessionalDevelopment workshops in six communities aroundSaskatchewan. The workshops ranged from the ”Business ofArt,“ to ”Engaging with the Contemporary Art Market,“ andeven ”Crate Building.“ Our ”Commercial Context“ panel dis-

cussion in March brought together five of Regina’s contempo-rary art dealers to talk about their business, and provided anexcellent networking opportunity for artists and art dealers.

In early September, CAR-FAC SASK invited theExecutive Director of theArt Gallery of NovaScotia, Jeffery Spalding,to Saskatchewan to leada critica l discussion onissues in the arts sur-rounding galleries andartists and the challengesthey face. Mr. Spaldingalso conducted studio vis-its with several CARFACmembers during his stay,and attended an openingat the MacKenzie ArtGallery in Regina on theworks of Ronald Bloore.

The 2006-2007 Mentor-ship Program came to a

successful conclusion in June, and we now have eight new men-tors and mentees working together for the 2007-2008 session.

CARFAC SASK is looking forward to another busy, successfull year here in Saskatchewan.

Photo: Catherine Sinclair

I am pleased to report that there is a lot of renewed ener-gy for CARFAC in Alberta these days. We have 42 membersthere, and had a lively affiliate from 2002 to 2005. InJanuary, a presentation was made to students inLethbridge, and the Alberta College of Art + Design(ACAD) students are similarly interested in getting involvedwith CARFAC. Throughout the summer, the National officehas implemented a membership campaign geared towardsattractracting new and expired members, and to solicitinterest from artists to work with CARFAC in starting anaffiliate. We have had a wonderful response of interest sofar, as well as an increase in membership.

This year, we also revived old connections with the VisualArts Alberta Association (VAAA), and have been discussingthe possibility of making them a CARFAC affiliate. In June,we invited their President, Margaret Witschl, and ExecutiveDirector Allison Argy-Burgess to attend our National AGM

and to discuss the possibility of a partnership. All in atten-dance were enthusiastic, and in July, Patrick Close fromCARFAC Saskatchewan met with the VAAA board to dis-cuss the benefits and logistics of becoming an affiliate. Atthe beginning of November, I attended the VAAA’s AGM,where I gave a presentation to their members about CAR-FAC, and also met with many of the members we share incommon. Members of each organization will be contactedin the coming months about the potential union betweenthe two organizations.

It’s exciting to see interest and enthusiasm from our artistsin Alberta, and I look forward to developing further rela-tionships in the new year!

Visual Artists Handbook

Calendar 1

Dan SaidmanManitoba Re pre se ntative

Calendar 16

Sara Tilley (VANLDirector o f Co mmunicatio ns) andEnrique Asto rg a (Ontario Represe ntative) at the CARFAC

National AGM and Confere nce .

M A N I T O B A

O N T A R I O

CARFAC Manitoba has been buzzing with activity over thelast few months. Our website is newly revamped; we havereceived a grant from Manitoba Culture, Heritage andTourism and Sport to produce an online magazine version of

; and we have filled our vacant chair position on theboard.

At the last board meeting we elected Carol Fournier-Dicks tobe the chair of the CARFAC Manitoba board. This is a short-term position unt il our AGM in December. Sadly, BillLobchuck, our treasurer, has decided to leave our board afterseveral years of service.

CARFAC Manitoba memberships all renew at the same timeeach year, and letters were sent out to our 129 members forthe end of September, along with several bulletins about CARFAC’s programming and membership benefits.

We held our second annual “Give a Shirt About Art” mem-bership drive / fundraiser on October 12th. The event washeld at the newest gallery in Winnipeg, “ Cre8ery,” in theExchange District. The fundraiser was an art sale, shirt auc-tion, and social event. We had live entertainment and aninformation booth about CARFAC, where we were able to

renew existing members and sign on new ones.

We received funding from the Manitoba Arts Council to pro-duce free workshops for our members. Lois Hogg organizedtwo workshops over the summer; one on water-based oilpaints with Tom Aldrich, and another on using Tyvek in mix-media works with Leona Brown. We will hold a third inNovember on the topic of computer imaging, run by RichardChamberlain. Now that we have a new website, we will bebetter able to inform our members about our workshops.

CARFAC Manitoba is pleased to launch our newly revampedwebsite (www.carfac.mb.ca)! Thanks to Stephen McIntosh,our technical support person responsible for the updates,many CARFAC Manitoba resources are now available tomembers online. We are now able to post our monthly bul-letin, current news, and more, which will help keep our mail-ing and printing costs down. In November, we will be addinga link to the new online version of our magazine, .There are still some kinks to work out, but we are certainlyheaded in the right direction.

During the summer months, CARFAC Ontario staff havebeen busy with new initiatives and making improvementsto our current services. We continue to publish resourcesfor artists to manage the practical aspects of their artcareers, most recently including

, and the soon-to-be released . These latest publications

will be available in French and English, and will complimentand . Our fifth

publication in the works is ,which will be released at the end of the year. This day plan-ner will provide artists with a professional resource that listsfunding and submission deadlines in a handy weekly calen-dar.

Another improvement to our services was the introductionof highly-needed insurance resources for artists. CARFACOntario partnered with Ingle International to provide anew, comprehensive insurance service for artists. Insuranceproducts available include supplemental health and dental,long-term disability, life and travel insurance; financialplanning; and retirement planning. A dedicated web site(www.ingleinternational.com/carfacontario) and toll-freeline (1-866-729-2355) are available in French and Englishto serve our members with their insurance needs.

Mélyssa Burke is a new face recently added to our staff asour Administrative Assistant. She will be working in the

Photo: Katy McIntyre

office from Tuesday to Thursday. Mélyssa is a YorkUniversity graduate with a BA in Fine Arts Cultural Studiesand a minor in English. She recently completed a photo-graphic internship at the Musée Carnavalet in Paris,France. Mélyssa is a Franco-Ontarienne, so if you need anyhelp in French, do not hesitate to contact us.

On September 15th and 16th, CARFAC Ontario held itsAGM and Conference in Kingston, ON. The topic for thisyear’s conference was .The event was appropriately held at the Artel, a new venue

Carnet

Carnet

The Healthy Artist GuideTo A Less Toxic Studio VisualArtists’ Guide to Estate Planning

Artists’ Contracts Inform ation for ArtistsThe 2008 Artists’ Day Planner

Accomm odating Ontario’s Artists

Calendar 17

Adriana AlarcónCommunications Coordinator

CARFAC Ontario

Participants in RAAV’s to ur o f Quebec.

Christian Bé dardRAAV Director

that provides a live/work space for artists and functions asan exhibition space and music venue. The event was wellattended by artists from the Kingston, Ottawa, Windsor andToronto areas. Presenters included Tim Jones (ExecutiveDirector of Artscape), Robin Ethering ton (Manager,Culture and Heritage Division, City of Kingston) andJeremy Freiburger (Executive Director, Imperial CottonCentre for the Arts). Artists Gjennifer Snider and RebeccaSoudant provided their experiences as tenants of the Artel.Jane Thelwell, a ceramicist working out of NGB Studios inKingston, also spoke to the audience about her experience working in an old grocers’ complex now converted toartists’ studio space.

After a successful AGM, our last Health and Safety work-shop of the year was held in Thunder Bay on September22nd, and our popular business courses for artists wereheld in October and November. For more details on ourworkshops, please visit our website at www.carfacon-tario.ca.

RAAV has been actively working throughout the spring andsummer. We have mainly concentrated on preparing a medi-ation brief in direct collaboration with CARFAC National, andon a recent tour of numerous regions of Quebec. Also, sev-eral new members were elected to our Board of Directorsduring our AGM.

In light of our partnership with CARFAC National, and byvirtue of our accreditation by the Canadian Artists andProducers Professional Relations Tribunal, RAAV was invitedto participate in a mediation process with CAMDO and theCMA. Despite being unable to engage directly in formalnegotiations with associations of professional artists, theseorganizations that represent presentation and distributioninstitutions have, nevertheless, agreed to work with us in thismediation process without agreeing to be legally bound bythe eventual results. RAAV and CARFAC are hoping that thisprocess will result in important and productive advances.

Over the course of the spring, the Director and members ofRAAV’s Board of Directors completed a tour of a dozen citiesacross Quebec. The goal of this tour was to make our organ-ization more widely known across the province, and to givepresentations on our main projects. The artists we met in thevarious communities were asked to give us their opinions onRAAV’s activities, as well as to make further suggestions as to

Photo: © RAAV 2007

their needs. This communication exercise with artists from allacross Quebec proved to be very positive and we hope torepeat it in the future.

While most board members retained their positions, thusmaintaining the continuity of our activities, five new mem-bers did take up positions. Yves Louis-Seize did not renew histerm, and so RAAV elected a new President, Ms. Lise Létourneau

CARFAC Maritimes is percolating. All summer our Boardhas been engaged in an e-meeting that won' t stop! We' retalking marketing, websites, increasing memberships -most of it is still under wraps, but we see it surfacing soonwith some exciting results.

We would like to thank the New Brunswick Department ofWellness, Culture and Sport for their generous granttowards our operational needs, through which we havebeen able to hire an administrative assistant, JenniferMachum, of Dieppe, New Brunswick. Jennifer has built ourmembership database, has been sending out renewal

notices, and is continuing on to create a gallery database.This has freed up our president, Sarah Petite, to concen-trate on leadership and some of the bigger projects.

As ever, our monthly newsletters go out over the wires andthrough the post, and many queries and requests comeacross the president' s screen. CARFAC Maritimes is fortu-nate that 95% of its members are online, but neither dowe neglect the unconnected!

Our Annual General Meeting was held in mid-October, inSackville, New Brunswick at the Struts artist-run centre.

Q U E B E C - R A A V

M A R I T I M E S

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Tea held in St. John’s fo r visiting CARFAC NationalExe cutive Dire cto r, April Britski, in July 2007.

Left to Right: Mitzi Smythe , Sylvia Bendzsa, Di Dabinett,Tara Bryan, Bonnie Leyton and Kathle en Kno w ling .

Margare t RyallNew foundland and Labrador Re pre se ntative

Sarah Pe titeCARFAC Maritime s Pre sident

Bruce Campbe llCARFAC Maritime s Re pre se ntative

Are you intereste d in placing an ad for your art-re lated business in Calendar?

Call CARFAC National to enquire about our rate s and o ther information:1.866.344.6161.

N E W F O U N D L A N D A N DL A B R A D O R - V A N LThings have been hopping at the VANL-CARFAC office sincethe beginning of summer!

The second annual (EVA)evening was an outstanding success, thanks to the excep-tional dedication and hard work of our EVA Awards commit-tee, and the generous support of corporate and communitypartners. The Long Haul Award, recognizing a substantialcontribution to the visual culture of Newfoundland andLabrador by a senior artist, was presented to KathleenKnowling of St. John's. Michael Pittman received the LargeYear Award for an exceptional year with much artisticgrowth. The Kippy Goins Award, so called for the smallpieces of wood thrown on a fire to keep it going, was pre-sented to Eastern Edge Gallery as an organization whoseefforts have helped to sustain and build the visual arts sectorin the province.

The VANL-CARFAC AGM was held on the heels of the EVAAwards resulting in a change in executive officers and theaddition of new board members. Tara Bryan assumed theposition of Chair from outgoing Co-Chairs Margaret Ryalland Marlene Creates. New board members Gordon Laurinand Jason Holley joined members Janet Peter, Elayne Greeley,Tina Dolter, Mark Prier, Craig Goudie, Mavis Penney and EdOwen, to provide provincial representation and a full, ener-getic board.

Our Director of Communications, Sara Tilley, had a very pro-ductive summer. In addition to acquiring a substantialincrease in our funding for this year, she developed newmembership packages, revitalized a small lending libraryavailable to members, and wrote content for, and coordinat-ed the development of, the much awaited VANL-CARFACwebsite. The site was launched in mid-September, and pro-

Photo: April Britski

vides easy access to a wide range of information and servic-es, including: VANL-CARFAC's history and mandate; the EVAAwards; the Colin MacNee Fund; lending library acquisitions;CARFAC and CARCC information; membership forms, infor-mation and a members-only section with access to CARFAC'sadvisory notes; the IAA card and Certificate of Origin infor-mation; and a members-only notice board of upcoming sub-mission calls, exhibits, residencies, etc.

In July, the Board of VANL-CARFAC was pleased to welcomeCARFAC National’s Executive Director, April Britski to St.John’s. The visit enabled members and staff to engage in abeneficial exchange of information and April saw first-handwhat makes VANL-CARFAC tick. Reports indicate that workwas well-balanced with opportunities to see St. John’s andsocialize with members.

The event started with a sociable lunch, and included a tourof Struts and the Faucet Media Centre. Sackville is also thehome of Mount Allison University, alma mater of many ofthe region's visual artists, and was a good place for someoutreach while we were passing through!

On the AGM agenda, in keeping with our MOU obliga-tions, we will be introducing the first draft of our new by-

laws. This document will be discussed, tweaked and sculpt-ed throughout the year, to hopefully be finally ratified atthe 2008 AGM.

Excellence in Visual Arts Awards

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McGreg or Hone, (1998), litho graph

So urce s:

McGREGOR HONE (1920-2007)

AUDREY HURLEY (1950-2007)

KEN DANBY (1940-2007)

IN M EM ORIUM

CORRECT ION:

Long-time CARFAC SASK member McGregor (Mac) Honepassed away in July at the age of 84. Very active in theSaskatchewan arts scene, Hone’s work was known across thecountry and collected and exhibited at many institutionsincluding the National Gallery of Canada. He worked inwatercolour, oil, sculpture and ceramics. Hone taught art atthe Central Collegiate in Regina from 1947 to 1979, and wasadmired, and will be fondly remembered, by many students.He was also involved with the Summer School of Art atEmma Lake, the Saskatchewan Teacher’s Federation and theSuperannuated Teachers of Saskatchewan. He received theLifetime Award for Excellence in the Arts from the Saskatchewan Arts Board in 1995.

In CARFAC , vol. 10, no. 1,Spring 2007, an obituary was published for the lateQuebec artist Claude Lamarche (1953-2007). The sourceused for some information contained in the obituary(http://pages.infiniti.net/lama2npf/quete.htm) did not per-tain to the correct Claude Lamarche, but rather to a mem-ber of RAAV named Claude Lamarche2/NPC. CARFACNational sincerely apologizes to Claude Lamarche2/NPC,and to the family of the late Claude Lamarche, for this mis-take.

Ontario realist painter Ken Danby passed away in Septemberwhile in Algonquin Park. Best known for his painting

(1972) of a masked hockey goalie, and other sportspaintings, Danby also created portraits of Canadians such asPierre Trudeau and images of the Canadian landscape.Having dropped out of the Ontario College of Art and Designin 1958 because of their bent towards abstract art, Danbybuilt his commercially-successful career from the early sixtiesworking with Toronto gallerist Walter Moos. His paintings arefound in the collections of the Museum of Modern Art inNew York, the National Gallery of Canada and the ArtInstitute of Chicago, among others. He was on the govern-ing board of the Canada Council from 1985 to 1991, andwas a trustee of the NGC from 1991 to 1995. He was amember of the RCA, a recipient of the Order of Ontario and the Order of Canada, and resided near Guelph, ON.

Printed courtesy of the Hone family and theUniversity of Saskatchewan Archives

Newfoundland ceramic artist and VANL-CARFAC memberAudrey Hurley passed away on October 4th of this year at 57years of age. She lived in St. Philips, NL, and was a memberof the Craft Council of Newfoundland and Labrador. She cre-ated organic clay sculptures, and also worked in graphics,collage and textiles. She said “In my early training in biologyand anthropology, I identified and catalogued hundreds ofspecimens and pottery shards. I am now pleased to be gen-erating a whole new and whimsical typology of distinctiveartifacts. My work is inspired by the majestic and irrepressibleexperience of living on the coast of Newfoundland.” Sheexhibited her work at the Craft Council and at the EasternEdge Gallery. Audrey received several awards at craft showsin the United States, and in 2001 was awarded anHonourable Mention at the 2001 Newfoundland Arts and Letters Competition.

So urce:

So urce:

Se lf-Portrait

CARFAC SASK Newsletter 19 (September 2007), p. 8

Calendar

At theCrease

“Canadian painter Ken Danby dies at 67,” CBC News,Monday, September 24, 2007, www.cbc.ca

The Telegram, St-John’s, NFLD, Saturday, October 6, 2007http://www.thetelegram.com/index.cfm?oid=2152&pid=1166

Craft Council of Newfoundland and Labrador, Online Gallery,http://www.craftcouncil.nl.ca/gallery/artist.asp?mv=prev&pg=45&artist_id=90

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British Columbia (CARFAC BC):Saskatche wan (CARFAC SK):Manito ba (CARFAC MB):Ontario (CARFAC ON):Que be c (RAAV):CARFAC Maritimes (NS, NB, PEI): New fo undland/VANL:

NAME ___________________________________________________________________________________________________________

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Se nd this form with yo ur che que or money o rde r to CARFAC Natio nal, 2 Daly Ave. suite 250, Ottaw a, ON K1N 6E2

Me mbership Fee s (ple ase che ck one)

Please take the time to complete the membership profile below. The information is to be use d fornational statistical analysis to dete rmine se rvices, programming, and funding nee ds.

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F o r r e s id e n t s o f A lb e r t a , Yu k o n , N W T, N u n a v u t ON LYP le a s e n o t e : Memb ership fee s list ed b elo w are fo r unaffiliat ed p ro vinces o nly. For fe e st ructure and ot he r informa-t ion abo ut CARFAC p rov incial affiliate s, v isit o ur w eb site w w w.carfac.ca. Or, contact the CARFAC office asso ciatedw ith your ho me pro vince :

P.O. Box 2359, Vancouver, BC, V6B 3W5 bc@carfac.ca#302- 220 3rd Avenue South, Saskatoon, SK S7K 1M1 membership@carfac.sk.ca

#523-100 Arthur Street W., Winnipeg, MB, R3B 1H3 manitoba@carfac.mb.ca#440-401 Richmond Street , Toronto, ON, M5V 3A8 carfacontario@carfacontario.ca

#913-460, rue Sainte-Catherine Ouest, Montreal, QC, H3B 1A7 raav@raav.org#732 Charlotte Street, Fredericton, NB E3B 1M5 carfac.maritimes@ciut.fm

Devon House, 59 Duckworth Street, St. John’s, NF, A1C 1E6 vanl-carfac@nf.aibn.com

__ RA - Professional Artist Member (voting) $35.00 __ AS - Student Associate $15.00 __ RC - Professional Artist Couple (voting) $50.00 __ A1- Individual Associate $35.00__ ST - Sustaining (voting) $250.00 __ A2 - Institutional Associate $70.00

__ New Membership MEMBERSHIP FEE $ ___________________________ __ Renewal Membership DONATION $ _____________________________ Status Change (provincial to National or vice versa)__ Address Change or information update TOTAL ENCLOSED $ ___________________________

I am an: Emerging artist ______ Mid-Career art ist ______ Established art ist ______I practice the following discipline(s):

Identify your main discipline: ____________________________________________________________________________________Are you a member of any other associations? Specify: _______________________________________________________________Preferred method of correspondence: Email ____ Post Mail ____ Phone ____ Fax ____Preferred language of correspondence: English ____ French ____ Other ________________________________________________If you are formerly a member through a provincial CARFAC office, which province: ______________________________________