DISPATCH

Volume 21 - Issue 3 - September 2015

Negotiation for Visual Artists

Photo credit: CARFAC National

Features: The Art of Negotiation: Interview Adam Freedman from Torys |

Overcoming Cognitive Biases While Negotiating in the Arts
Plus: CARFAC Ontario Members Exhibition Listings | Grants Calendar | Keeping
you connected ... Local News from Across the Province

Content:
Executive Directors Report | P 1
Presidents Report | P 2
The Art of Negotiation: Interview with Adam
Freedman of Torys | by Bri Salmena | P 3
Overcoming Cognitive Biases While Negotiating
in the Arts | by Venessa Harris | P 6

Your donations help keep us

working for you.

Keeping you connected ... Local News from Across

the Province | P 8

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tax receipts
for your donations.

CARFAC Ontario Members Exhibition Listings |

P 10

www.carfac.ca

Grants Calendar | P 16

CARFAC pdf_Half Page-8.5x5.5 12-09-11 3:31 PM Page 1

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Executive Directors Report

Its hard to believe the
summer is over and that the
leaves have already started
to turn colour! The past
three months have whizzed
by, and Im delighted to
give you an update on the
many things that have been
occupying our time and
thoughts here at the office.

Staff has also been working hard to put together

a fall webinar series which will take place every
other Wednesday from October 14 December
16. They cover a mix of popular webinars from
previous years and new topics we felt would be of
great interest to members. Please see page 9 for
more details.
Weve also been working to provide more grant
deadlines to the 2016 Day Planner. We should be
ready to take orders soon please look out for
notification!

The development of four best practices toolkits

for CARFAC Ontarios Strengthening the Sector
initiative has been going well. We are on track
to complete all four toolkits by the end of March
as planned, with a few likely to be ready ahead
of time. The toolkits will be valuable resources
for establishing codes of practice in the areas
of Artists and Charitable Auctions, Public Art
Commissions, Gallery Archival Practices, and
Artists and Galleries.

We are also preparing to move our office to another

unit in the same building. As of October 26, we will
be in studio 372 at 401 Richmond Street West.
CARFAC Ontario will also have a booth at the
ARTPRENEUR Ottawa Conference taking place
October 17. If you are there, please come by and say
hello. Long-time member and unofficial ambassador
David Jones and staff from CARFAC National will be
drumming up new memberships, selling publications,
and raising greater awareness about artists rights to
those in attendance.

Other major projects on the go include the creation

of an online fee calculator. CARFAC Ontario has
been working closely with our partners at RAAV,
CARFAC National, and CARCC to ensure that
the calculator is reliable and easy to use. We sent
out a call for beta testers over the summer and
we thank everyone who stepped forward to give
the calculator a try and provide feedback. The
response has been overwhelmingly positive and
we hope to have this valuable tool up and running
in the coming months.

And finally, I hope you will all make a point of going

out to vote in the federal election on October 19!
It promises to be a historic vote and I look forward
to working with CARFAC National and our other
provincial affiliates on reaching out to Members
of our 42nd Canadian Parliament to advocate for
the Artist Resale Right and support for the arts and
artists in the future.

Our 2015 AGM and panel discussion on Negotiation

for Artists took place on Sunday, September 27
and we will have a full report about the day in the
next issue of Dispatch.

Sally

We are moving but not going far!

Our new address as of October 26, 2015:
CARFAC Ontario
372 - 401 Richmond Street West
Toronto ON M5V 3A8
Archival Photo credit: The Move , February 13, 1987 in Toronto | Content:
The move from Mowat Ave. to Bathurst St. | Photographer: Doreen Dotto

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Presidents Report
a commercial gallery. I signed a contract that
outlined the jobs surrounding my upcoming
exhibition; which party was responsible for what
and the time frame for payment. All went relatively
smoothly until the payment for sales part. Months
after the agreed upon time, I still had not received
payment. After several more visits and a few more
months, I finally lost my temper and threatened
them with ... I dont know what. I had no knowledge
of any kind of recourse. Luckily I did receive my
cheque, although that adversarial position was
very distasteful.

One of CARFACs raisons

dtre is to educate and support
artists in the business around
their creative art making. So
a professional artists career
should be thought of in terms
of a small business. A major
part of a successful business
of any kind, is negotiation.
Negotiating with galleries, studio rental agencies,
corporations and government bodies who
commission public art, publishers, even other
artists, does not come naturally to most artists: it is
a skill that must be developed.

My more recent experience was with an artist-run

centre in a city outside Toronto. This time I was
more than aware of CARFAC and was able to use
the legal resource of one of the lawyers at Torys.
The issue revolved around whether an agreement
of understanding via email constitutes a legally
binding understanding of intent. With the help of
the Torys lawyer, I discovered that the answer is
yes it does. He was able to help me draft letters
of negotiation and come to a decision regarding
the situation with an understanding of the potential
consequences of various scenarios.

In this issue of Dispatch, we are focusing on how

to negotiate in your practice, how to prepare for
it and when and how to bring in a professional to
help you. The format is a question and answer
between Bri Salmena and Adam Freedman who
specializes in corporate and securities law at
Torys LLP. Torys has been remarkably generous
in their relationship with CARFAC over the years.
They not only established a Pro Bono committee
that assists artists with their legal issues, but they
also sponsor the webinar series that we do every
fall (check out our website for details about when
this falls series begins). The second article is by
Venessa Harris, who analyzes the psychological
aspects of the negotiation process and how the
outcome of the negotiation may alter depending on
the artists understanding of their own assumptions
about the other.

Receiving knowledgeable and sanguine professional assistance in negotiations is crucial

when you as an artist find yourself in a contractual
bind. And psychologically preparing yourself with
an understanding of cooperative and competitive
incentives, as outlined in Venessas formulation, is
indeed very helpful upon entering such negotiations.
Read the articles and remember, you have rights
and a resource in CARFAC.

Adam Freedmans discussion focuses largely on

negotiation and contracts. I can relate. Twice in my
career I have been embroiled in contract disputes.
When I was an emerging artist and wasnt yet
aware of CARFAC, I developed a relationship with

Have a productive fall.

Yael

Starving Artist
www.canvasfoundation.ca
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The Art of Negotiation

Interview with Adam Freedman of Torys
by Bri Salmena
Adam R. Freedman practices
corporate and securities
law at Torys LLP in Toronto.
Adam is also a proud
member of the firms Pro
Bono Committee and has
been advising artists on a
pro bono basis for more
than six years in connection with their legal queries.

ally beneficial situation. Thats really the outcome

of negotiation. People think I need x so I am
going to argue my way to x and the other party
needs y so they are going to argue their way to
y. But really the idea is to create a value, perhaps a scenario you didnt envision in the negotiation where both parties are victorious and are
happy with the result.

What are the key elements of successful

negotiation?

The mindset should be a prepared one, and its

important that someone has proper advice in
place. That is why CARFAC and VALCO (Visual
Artists Legal Clinic of Ontario) are so great
because you could have a lawyer at Torys looking
over your contract for you, provide comments,
and highlight some things you might not have
thought of as the artist going into negotiation. The
key really is to not only know exactly what you
want and to be clear about what you are looking
for from your agreement and negotiation, but also
to put in place the proper support network for
yourself so that you know how to achieve the
desired outcome. Thats typically having a lawyer
that can at least help on some level, which is what
we do here, or perhaps having a look at other
agreements you have signed to see where youve
been successful at achieving the terms, the prices
and other components that you desire. Thats
really the mentality, as well as thinking about how
both parties can get what they want.

What should be the mindset of a person negotiating a contract?

Id say there are a few key elements of successful

negotiation. The first is being very prepared
before entering into the negotiation do all your
background research, learn about what the other
side wants to achieve in negotiation, and make
sure you are very prepared. Second, never enter
into a negotiation you are not afraid to walk away
from. You dont want to enter into a negotiation
with a party where youre leveraged or where you
dont really have any leverage whatsoever. You
want to go into a negotiation confident that, if you
dont get the terms you are looking for [or] if you
dont get the desired outcome, you can leave the
negotiation and not be worse off for it. These are
two fundamentals of negotiation at least at a preliminary level.
What are the barriers to successful negotiation?

How can an artist prepare for a negotiation

and/or what kind of research should be done
prior?

I think the main barrier is parties not making the

effort to put themselves in the others shoes. Lets
say you are trying to negotiate a gallery agreement with a gallery and you are a painter, [you
should be thinking]: Okay what does the gallery
want here? Why are they bringing my work in?
Why are they bringing me in? What do they hope
to achieve from our relationship? and vice versa.
If you are the gallery owner [you should be thinking]: Okay theres this painter. What do they
want? What type of commission do they expect?
Its very important for people to try see where the
other is coming from and, once you do that, you
can try to compromise and come up with a mutu-

Really there is no research in the sense that you

need to read a million books. [If you are interested], there are a few classic negotiation tactical
books. In law school I read a book called Getting
to Yes, a classic negotiation 101. And I think you
could read it pretty quickly, as its a good book to
reference. That said, the research you can do is
learn about negotiating tactics, and what they are
looking for. I find most people arent the most
skilled negotiators. What happens is artists often

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find themselves in a situation where they think

they have no room to ask for what they want.
[They typically assume] gallery owners think to
themselves, Okay I have this gallery. This is my
contract. Nothing is going to change and the artist
should be happy to expose and display their work
at the gallery so they should just sign. In fact,
sometimes thats the case. If an artist has
never had a show before and [is] looking for that
big break, they [may be inclined] to think to
themselves, Okay, if this is what the gallery
owner wants, I am just going to give it to them.
But for more experienced people who have a lot
of shows under their belts, they know you dont
need to just acquiesce to the gallerys terms. I
would suggest asking your artist peers for some
contracts they have signed to see what types of
things go into these agreements. Talk to someone
at Torys to make sure they review the agreement
from legal perspective to see if the terms are as
we say market, or typical. You want to make
sure you dont sign a contract you think is fine but
is really outrageous or doesnt contain terms other
artists are getting. Thats a danger I have seen
artists hop into inadvertently.

anger them and just be harsh when, in the end,

the idea is that the other party wants to make
money by selling your work and you want to make
money by becoming an exhibited artist. You
should think about it like that but, at the same
time, dont be naive and make sure a lawyer is
there behind you, someone from Torys, for example, to make sure you are not getting railroaded
into signing something you dont understand.
What is the difference between verbal negotiation and verbal contract?
Well, there can be a contract between parties that
is verbal (i.e. oral and non written) you need a
witness. Verbal negotiation just means two people
negotiating verbally to result in a hopefully beneficial outcome, whereas a verbal contract is an
agreement or exchange.
Have you been on a case where a seemingly
simple negotiation became complex and vice
versa?
All the time. People often dont stop to think about
the basics of what they are doing. Without this
advance consideration and without documenting
anything like a contract beforehand, people can
lose sight of the big picture [causing] something
that seems very simple to become very complex.

What are the most commonly disputed terms

in contract negotiation?
It really depends on the contract. I see lots of
arguments [that lawyers dont usually deal
with] often price commission or things like that.
One thing I have seen recently is insurance issues
Who covers the cost of insurance for a piece of
artwork, the gallery or the artist? Additionally,
transportation cost Who pays to ship the work?
Who pays if the work gets damaged on route?
Those types of things always come up.
What are the common mistakes in negotiation
and how to avoid them?
One common mistake is thinking that, just because
you meet with someone one time and they dont
agree with what you want, your negotiation is just
going down the tubes. Typically negotiation is
about giving something up to get something, and
therefore its about compromise and creating
value and positive outcomes for both parties that
may not be there on the surface. Thats really the
essence of a good negotiation to really make
sure both parties win that way you keep doing
business together. You dont want to ever enter
into a negotiation with a gallery owner, someone
of influence who can help you sell your work, and

Advisory Notes are free resources for

CARFAC members. For a copy of this
advisory note contact your affiliate today!
|4|

It happens all the time but, sometimes, the complex arrangements can be simplified so you really
never know what you are going to get. It all
depends on the parties. But when we are asked to
get involved in negotiations with galleries, I often
ask the artist, Does the gallery have a standard
format contract that they typically give to artists
we can review? and if they dont then I try and put
together for them a very simple, 3-4 page document
which is artist friendly and the provisions arent
drafted so that they help the gallery more than the
artist and I say, lets use this as the basis, fill in
the information for this to be sent along to the gallery
and, if this gets accepted, you are in a good
position.

legally binding agreement between two parties so

that, if there is an issue down the road or if there is
a problem, you can look to contract (i.e. agreed
written terms) to figure out how to deal with it (i.e.
to figure out what the law is to deal with disputes,
in what court should you sue, what happens if you
break the work while being shipped, etc.). The contract is really like growing a fruit tree you plant the
seed, you water it, a plant sprouts up, you water it
more, and then the tree is the contract and the fruit
is kind of what you harvest from it financial
rewards fame , popularity, future exhibits etc.

What is the importance of contracts in the

negotiation process?

Make sure that the moment you get a contract you

dont agree to anything. Instead, book an appointment with Torys through CARFACs VALCO program, and we have one of our people who does
this stuff all the time look at the contract. If you do
that you will be better off than reading any book or
anything else.

What advice can you give to artists about

negotiating contracts?

A contract really represents the conclusion of a

negotiation, so people spend a couple hours
across a table discussing something resulting in a
contract. Without a contract what is the point of a
negotiation? A contracts purpose is to create a

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Overcoming Cognitive Biases

While Negotiating in the Arts
By Venessa Harris
INTRODUCTION

ambiguous aspects of negotiation, your mind will

automatically use cognitive biases to make sense of
the situation. Only after you identify these biases,
can you overcome them.

For practicing visual artists, negotiation is an

important aspect of distributing your work,
particularly in terms of exhibiting and selling work
within galleries. Planning for and participating in
a session of negotiation can be stressful, so it is
important to be well prepared (i.e. knowing your
rights, reviewing the CARFAC Fees Schedule,
prioritizing what you hope to gain, etc.). While
steps like these are necessary to ensuring that
you receive a desirable outcome, negotiators often
overlook the psychological aspect of the negotiation
process. Because many of our actions are informed
by decisions we make subconsciously, we are
constantly subjected to making choices that may
lead to suboptimal outcomes while negotiating. In
what follows, you will learn how to identify obstacles
caused by cognitive biases both you and the other
party employ subconsciously, as well as learn about
strategies to overcome these obstacles and use
them to your advantage.
IDENTIFYING
BIASES

&

OVERCOMING

A cognitive bias refers to the process in which

individuals stray from logic in decision-making and
instead draw conclusions about situations without
very much logical thought. In other words, we are
inclined to make snap judgments based on our
own intuition and what we know to be true about
the world. Cognitive biases are incredibly common
in negotiation because, in instances where there
are multiple issues on the table, there are many
unknown factors that will need to be fleshed out
throughout the discussion. While subconsciously
using cognitive biases to make sense of ambiguous
information is an automatic process, being unaware
of this bias may lead you to use poor judgment while
negotiating.
Representative Heuristic

COGNITIVE

The representative heuristic is the process of using

stereotypes about categories to make judgments
about individuals that belong to that category.
Negotiators often use this heuristic to predict how the
other party will behave during the negotiation. It has
been proven that people tend to interpret the other
partys bargaining behaviour in terms of stereotypes
about that persons personality and position. For
example, say you are going into a well-established
gallery to negotiate your place in an upcoming
exhibition with the Curator, who has a reputation
for being very serious. Due to the representative
heuristic and the information you have about the
Curator, youre likely to assume that he/she will be
very firm in the terms he/she has drawn up, and
therefore you would have a hard time changing their
opinion. This type of thinking may lead you to ask for
much less than you actually want and concede to
their terms without much discussion. This, of course,
is problematic for you, as you may undersell yourself
and be left with a contract in which you arent happy.
The danger of the representative heuristic is that
it leads to self-fulfilling propheciesif you assume
you dont stand a chance in the negotiation, then

At its core, negotiation is all about creating and

distributing value for both parties. Because every
negotiation is started based on the belief that
reaching an agreement has the potential to be more
beneficial than no agreement at all, both parties
have a cooperative incentive to work together. This
incentive is highly prevalent in the art scenein
order to exist, art galleries need the work of artists to
fill their spaces and artists can derive great rewards
from exhibiting in galleries. That said, both parties
must also display a competitive incentive to increase
their own personal gain. Therefore, the key to
successful negotiation is finding a balance between
these two incentives in order to find an agreement
that works on both a personal and mutual level.
You, as the artist, dont necessarily have full and
accurate information going into the negotiation
(i.e. you may not know what the gallerys goals
are or what they find important in the forthcoming
relationship) therefore the situation is not always
as clear as it may seem. In order to deal with the

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anchoring and adjustment heuristic could leave you

vulnerable to be exploited by the other party.

you wont. The key to overcoming this bias is leaving

behind all preconceived notions about the other party
prior to entering the negotiation. Do not assume they
will behave in a certain way, as this may cause you
to relinquish your own bargaining power. Instead,
remember what youve prioritized as important,
which will allow you to know when to stay firm and
when to be flexible, regardless of how competitively
or cooperatively the other party behaves.

Overcoming the tendency to make insufficient

adjustments in relation to an original anchor is as
simple as being aware industry standards. The
CARFAC Minimum Fee Schedule is an excellent
resource for understanding how much you should
be paid for your work. Additionally, you should ask
experienced peers and/or lawyers what they believe
is a fair payment for the work youre providing.

Anchoring & Adjustment

Endowment Effect

This cognitive bias occurs when people are given

an initial starting point (or an anchor). In trying to
adjust their response, the mere presence of this
anchor influences the adjustment. Many times, the
adjustments tend to be insufficient because people
subconsciously feel that they need to stay in the
same ballpark as the anchor, even if the anchor is
completely arbitrary. Negotiators fall victim to this
heuristic when having to provide counter-offers,
especially in terms of compensation. For example,
say youre negotiating the terms of a contract
with a gallery, and the Director offers to pay you a
certain amount plus a percentage of commissions.
If you are not satisfied with this amount and wish
to ask for more, due to anchoring and adjustment,
you are likely to ask for an amount that isnt much
higher than the amount the Director had originally
proposed. In this context, that may not be a bad
thing, as one would hope the original proposal was
both reasonable and fair, despite the fact that you
were hoping for a higher amount. That said, being
unaware of the natural tendency towards using the

The endowment effect is the tendency to ask for

much more to give up an object than you would
otherwise pay to acquire that same object. In other
words, people tend to overvalue what they have
and undervalue what they dont. In terms of art,
this effect is heightened, as an artist naturally has
a strong attachment to his/her own work. In terms
of negotiation, this can make trading and bargaining
a difficult task. For example, say you are trying to
sell your work to an art collector and you are in the
process of negotiating a price. The collector, who
is well-versed in this area, might offer you a really
great price but, due to the endowment effect, you
may decide to turn it down because you think the
price is too low. As an artist, you are not obligated to
accept any price in which you are not comfortable.
That said, you do need to be realistic about what you
expect in return for selling your work. Falling victim to
this bias, and subsequently overvaluing your work,
could cause you to miss out on great opportunities.

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The best way to avoid allowing the endowment

effect to cloud your judgment is to do your research
regarding pricing artwork. CARFAC Ontarios website
has a great page* containing tips on how to price
your work. You can also look into what your peers
are charging for selling similar pieces. Additionally,
you should always try to get your work appraised so
you know the range in which you should be aiming
to sell.

References:
1. De Dreu, C. K. W., et al (2007). The psychology
of negotiation: Principles and basic processes.
Social psychology: Handbook of basic principles
(2nd edition). Ed. Kruglanski, A. W. & Higgins, E. T.
New York, NY: Guilford Press. Print.
2. ibid.
3. Haselton, M. G., Nettle, D., & Andrews, P. W.
(2005). The evolution of cognitive bias. The
Handbook of Evolutionary Psychology (2nd edition).
Ed. D. M. Buss. Hoboken, NJ: John Wiley & Sons
Inc. Print.
4. Gilovitch, T. & Savitsky, K. (1996). Like goes with
like. The role of representativeness in erroneous
and pseudoscientific beliefs. The Skeptical Inquirer,
20(2). Print.
5. Morris, M. W., Larrick, R. P., & Su, S. K. (1999).
Misperceiving negotiation counterparts: When
situationally determined bargaining behaviors are
attributed to personality traits. Journal of Personality
and Social Psycology, 20. Print.
6. Epley, N. & Gilovitch, T. (2006). The anchoringand-adjustment heuristic: Why the adjustments are
insufficient. Psychological Science, 17(4). Print.
7. Roeckelein, J.E. (2006). Elseviers Dictionary of
Psychological Theories. Amsterdam, NL: Elsevier
B.V. Print.

CONCLUSION
Every time you have a discussion about the use
of your work, you are entering into some form of
negotiation. While it is important to do your research
prior in order to be fully prepared, it is also important
to understand some of the psychological processes
at work during the negotiation. As demonstrated,
letting your biases go unchecked can lead to results
in which you arent satisfied. That said, while taking
the time to recognize systematic cognitive errors
can lead to better choices while negotiating, its
also important to follow your gut to some extent
all good decisions are made by evaluating issues
both logically and emotionally. As a result, its very
important to find a balance between the two in all
negotiation processesdont agree to anything that
feels wrong but dont allow your own biases to cloud
your judgment. In doing this, youre sure to receive
the best possible outcome after every negotiation.

*Link: www.carfacontario.ca/Top-12-Tips-for-SettingPrices

Keeping you connected ...

Local News from Across the Province
Clayton Windatt from the Nipissing region

Victoria Ward from the Peterborough area

The region of Nipissing is full of passion as we

look at changes on the horizon. With the federal
election on our doorstep, many artists in this
region are talking with their MPs and candidates
about the arts agenda for Canada. Budgets need
to be bolstered dramatically to account for the cost
of inflation over the past decade and programs
dealing with youth engagement are being lobbied
for. Its an exciting time for the arts and I cannot
wait to see what the future holds!

Trent Universitys Cultural Studies Department

now has their own Facebook page. The Art Gallery
of Peterborough has finished its renovations and
is now open to the public. The Canoe Museum is
choosing an architect for its new location. Electric
City Culture Council for Peterborough is seeking
an executive director.

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2015 Webinar Wednesdays

A webinar series for professional artists
CARFAC Ontario is proud to present Webinar Wednesdays! Join us every other
Wednesday over the lunch hour (12PM-1PM EST) starting in October for a seminar
relating to your art practice, given by leading professionals in the province.
Participants may join our virtual
classroom by accessing a video stream
of the seminar online. This series is
unlike other online lectures, in that it is
meant to be interactive and customized
to attendees needs; participants will
be able to ask questions in advance by
email.

Schedule:
Cultural Pluralism in Artistic Creations
October 21st, 2015 @ 12PM-1:30PM
Cyberspace: How to Protect Yourself &
Respect Others
November 4th, 2015 @ 12PM-1PM

PRICING:
Members - Individual webinars are $10,
or register for all five for just $40.*
Non-Members - Individual webinars are
$20, or register for all five for $75.*

Grants 2.0
November 18th, 2015 @ 12PM-1PM
Working with Commercial Galleries & Art
Dealers
December 2nd, 2015 @ 12PM-1PM

Member discount applies to current

members of CARFAC Ontario, as well
as members of CARFAC affiliates across
the country [including CARFAC BC,
Visual Arts Alberta (CARFAC), CARFAC
Saskatchewan, CARFAC Manitoba,
RAAV, CARFAC Maritimes, and VANL
(CARFAC)].

Your Fine Art Degree... Whats Next?

December 16th, 2015 @ 12PM-1PM

*Please note: these prices do not include the Eventbrite fee.

For more information and to regsiter:

www.carfacontario.ca/Webinar-Wednesdays
|9|

CARFAC Ontario Members Exhibition Listings

Any CARFAC Ontario member can be included in these free listings. The deadline for inclusion in the next
issue is Friday, November 6, 2015 for shows running during January, February and March 2016. Please
send listings for shows running only during these months to: bri@carfacontario.ca
The listing should include: your name; title of your show; gallerys address and contact information; date
for which the show will be on display; and a brief artists statement or description of the work. The subject
line of the e-mail should clearly request inclusion in the next issue of DISPATCH. You can also post your
exhibition listings on the members section on our web site: www.carfacontario.ca

Enriched Bread Artists (EBA)

Jeanette N. Marshall

Prime: Enriched Bread Artists 23rd

Annual Open Studio

A Fire in the Art

September 12- November 21, 2015

October 29 - November 8, 2015

Reception: Thursday, October 29, 6:00pm - 9:00pm

Illumine Gallery
364 Talbot Street, St. Thomas ON N5P 1B6

Enriched Bread Artists Studios

951 Gladstone Avenue, Ottawa ON K1Y 3E5
Location, location, location; EBA has been in its
prime Ottawa location for over 23 years! EBA
serves prime-grade art locally and internationally
from their transformed bread factory. A prime
example of a not-for-profit collective, EBA artists
(in their prime, by the way) work in all media and
originate from all over the world. Their Annual
Open Studio is a prime time to share their work and
vision. Enrichedbreadartists.com

A Fire in the Art is the premier fall exhibition at

Illumine Gallery in St. Thomas, Ontario. This new
gallery juxtaposes modern art within a 19th century
business establishment. Expect to see state of the
art paintings, fabric and glass art, ceramics, sculpture and installations set in historic classical architecture. The fire will range from images reflecting
the heat of the sun to those depicting passion, the
spark of understanding and intensively hot hues.
Bring a fan. See www.illuminegallery.com and www.
jeanettermarshall.com

Frances Ferdinands

Tracey-Mae Chambers

September 24 - October 24, 2015

Reception: Thursday, September 24 at 6:00pm

September 9 - December 1, 2015

Mine is but a tear in a river

Lassanai

Ojibwe Cultural Foundation

15 Highway 551 (Corner of Highways 551 & 540)
MChigeeng ON P0P 1G0

Articsok Gallery
1697 St. Clair Avenue West, Toronto, ON M6N 1J2

I feel we must face brutal truths. The work contained within Mine is but a tear in a river makes
me feel obliged to note that some may find it
uncomfortable to view. Sometimes a little discomfort is required. Flesh is a messy business after all.
But I felt compelled to create it. The exterior of the
clothing has been painted with encaustic to recreate flesh.This work confronts Canada with its
apathy towards the violence against Aboriginal
Women.

LASSANAI, (Beautiful) translated from Sinhala, is

a collection of new work emanating from Frances
Ferdinands 3 month program of study and research
in her homeland, Sri Lanka.
It features 26 pairs of slippers individually painted
in designs inspired by the floral motifs found in the
many Buddhist temples she visited. Each pair
memorializes a year of the civil war, embodying its
cultural tradition of rich ornamentation within a
con-temporary context, and suggesting symbolically a step into a new era.

| 10 |

Roslyn Levin in exhibitions:

Le Labo

November 14 - November 28, 2015

Awards Presentation: November 15 at 2:00PM

Artist Talk: October 7, 2015 at 6:00pm

Shodo Canada Annual Exhibit

presents:

Membre du mois at Le Labo: Julie

Lassonde

Japanese Canadian Cultural Centre

6 Garamond Court, Toronto ON M3C 1Z5

Le Labo
568 Richmond Street West, Toronto ON M5V 1Y9

The Annual Japanese Calligraphy Competition in

Canada creates an opportunity for Canadians of all
ages and backgrounds to participate in a unique
cultural forum to further their individual pursuit of
Shodo. The entries are adjudicated by a jury of
Shodo Masters in Japan then exhibited at the
Japanese Canadian Cultural Centre in Toronto.
Over 150 Scrolls of Japanese Calligraphy will be
displayed. Support is provided by The ConsulateGeneral of Japan, The Japan Foundation and the
Japanese Canadian Cultural Centre.

The Membre du Mois is a free event open to the

public in which on of the members of Le Labo will
be honoured. The guest of honour will have carte
blanche to present their work, past, present and/
or future, as well as what motivates them in their
pursuits. A friendly and casual occasion, each
Membre du mois event is a unique opportunity
for members and the public to come together and
share ideas and projects.

Venus dailleurs Le Labo artists

November 18 - December 11 2015

Opening: Wednesday, November 18 at 6:00pm

Sumi-e Artists of Canada Annual Exhibit

November 21- November 22 2015

24 Spadina Road, Toronto ON M5R 2S7

Awards Presentation: November 21, 2015 1:00PM

Japanese Canadian Cultural Centre
6 Garamond Ct, Toronto ON M3C 1Z5

All Le Labos Members are invited to participate to

their dedicated annual exhibit. The artworks are
presented to the general public for sale during a
fundraising event to the benefit of both the artists
and Le Labo.

This is a chance to see over 100 works of art on

washi, rice paper, painted in the traditional technique, using handmade ink made from pine or vegetable soot and handmade brushes. The work is
elegant and Zen. A tea room provides vegetarian
sushi, sandwiches and other snacks as well as
green tea with proceeds going to Sumi-a Artists of
Canada. Prizes are awarded including the Ruth
Yamada Award. Demonstrations throughout the
show. Noon to 5pm both days.

Franco DAngelo
Offerings

November 5 - November 8, 2015

Reception: November 5 & 6 from 6:00pm-8:00pm
Dignam Gallery at the Womens Art Association of
Canada
23 Prince Arthur Avenue, Toronto ON M5R 1B2

Brushfire Artists 5th Annual Exhibit

September 12 - September 13, 2015

Franco DAngelos first obsession was photography. Over the years, he delved new artistic media,
eventually working with a variety of objects, from
car hoods to bicycles, from wood to wallpaper.
Francos latest exhibit is titled Offerings. He has
created an intricate set of collages by delicately
working with Joss paper - sacred ghost money
frequently used as burnt offerings to the dead in
East Asian religious ceremonies - to explore some
of his favourite themes.

Monora Park - Lower Level

500 Monora Park Drive, Organgeville ON L9W 0E1
Brushfire Artists, which currently consists of 9 artists
including SCAs member, Roslyn Levin, will be having their 5th annual exhibit with guest artists at
Monora Park on the Lower Level. The work will
range from sumi-e and watercolours to oils and
mixed media. They will also have their trademark
Loonie bin sale where you can win an original work
for the investment of only a Loonie

| 11 |

Brianna Mulvale

Hilly World at the 32nd Annual Sugar Plum Fair

in exhibitions:
Hilly World at the 21st Annual Barrie Christmas
Arts & Crafts Show
November 6 - November 8, 2015

Craft Show & Sale

November 14 - November 15, 2015

Nottawasaga Inn Resort & Conference Centre

6015 Hwy 89 Alliston, ON L9R 1A4

Barrie Molson Centre

555 Bayview Drive, Barrie ON L4N 8Y2

Visit the Nottawasaga Resort for the 32nd Annual

Sugar PlumFair Craft Show & Sale, Saturday
November 14th and 15th and discover a spectacular
line-up of crafters who feature a unique line-up of
handmade items. The show features over 100 vendors from across Ontario selling a variety of items
including chocolate, jam, fudge, sauces, quilts,
candles, ceramics, stained glass, wreaths, folk art,
woodwork, sock monkeys, body care products,
pewter, Christmas decorations and more!

This is a juried show where 140 of Ontarios most

talented artisans & crafters come together at the
Barrie Molson Centre for the 20 th Annual Christmas
Arts & Crafts Show & Sale. Choose from pottery,
artwork, stained glass, teddy bears, Christmas
crafts, body care products, jewellery, clothing,
woodcrafts, ceramics, and more, making
Christmas shopping easy. I will be exhibiting my
original Hilly World whimsical folk art paintings
along with Giclee prints, greeting cards & other
items. Booth M105.

Tony Urquhart

Tony Urquhart: Intimate Worlds

Hilly World at the 41st Annual Balls Falls

October 3 - October 31, 2015

Thanksgiving Festival
October 9 - October 12, 2015

Charlotte Hale and Associates Gallery

(presented by J Rottman)
588 Markham Street Toronto ON M6G 2L7

Balls Falls Conservation Area and Centre for

Conservation
3292 Sixth Avenue, Jordan ON L0R 1S0

Celebrating 80 years: drawings, paintings and box

CARCC_AD:Layout 1 30/04/09 1:15 PM Page 2
sculptures.

The 41st Annual Balls Falls Thanksgiving

Festival features over 200 Selected artisans displaying and selling their creative wares such as
pottery, paintings, jewellery, lawn ornaments and
clothing. Families and visitors come from far and
wide to experience the Balls Falls Annual festival and its natural setting. In addition to the arts,
crafts and wares, you can enjoy the incredible
beauty of the 19th Century hamlet, set amid the
majestic Niagara Escarpment and Twenty Valley
eco-system.

CARCC

Canadian Artists
Representation
Copyright Collective
Copyright licensing services
for visual & media artists

Hilly World at the 2015 One of a Kind Christmas

Show & Sale
November 26 - December 6, 2015

Visit www.carcc.ca for:

Membership information
List of affiliated artists
Fee schedules
User services
Canadian copyright law info

Direct Energy Centre

100 Princes Blvd, Toronto ON M6K 3C3
Canadas largest show and sale of works from over
800 artisans and designers. Shop coast to Coast for
handmade gifts. For the 3rd consecutive year i will
be exhibiting my original Hilly World whimsical folk
art paintings along with Giclee prints, greeting cards
& other items. Visit my website www.briannasartwork.com for updates.

866 502 2722 (toll free)

613 232 3818 (Ottawa)
carcc@carcc.ca
| 12 |

Marlene Munroe

Robin Pacific

A Special Series

Flowers and
Campaign

September 9 - October 30, 2015

Threads:

The

FAST

November 15 - November 16, 2015

Richelieu- Vanier Centre

300 rue des Peres Blancs, Ottawa ON K1L 7L5

EMK Center for Public Service and the Arts

House No. 5, Road No, 27 Dhaka
Dhamondi 1209 Bangladesh

The major theme of this solo exhibition of paintings

and sketches is an expression and a celebration of
the Joy, the Caring and Love that I shared and experienced while accompanying my husband at the
Champlain Centre, over and above the realities of
his illness. You will also see paintings of several of
my various series.

Last year artist Robin Pacific traveled to Dhaka,

Bangladesh with artists Clare Samuel and Leah
Houston. They made art with over 100 garment
workers, and did the same project with garment
workers in Toronto and other interested groups. The
resulting work will be shown with Clare Samuels
photographic portraits of Bangladeshi garment
workers.

FUSION: The Ontario Clay and Glass

Association
FUSION Clay & Glass Show

October 16 - October 18, 2015

Reception: Friday October 16 at 7:00pm

Gwendolyne Tooth
& Shannon Moynagh

Wychwood Barns
601 Christie Street, Toronto ON M6G 4C7

Octover 7 - October 11, 2015

Reception: October 8 2015 7:00PM

Drawings (Revised Submission)

Fusion Clay and Glass Show is an annual exhibition and sale held at the Artscape Wychwood
Barns in Toronto. Celebrating the best and most
engaging clay and glass works, this will be the
foremost event for purchasing the finest in clay
and glass.

Propeller
30 Abell Street Toronto, ON M6A 0A9
Gwen Tooth and Shannon Moynagh will exhibit in
the North Gallery at Propeller. Gwens large bold
drawings are based on abstracted oval shapes with
disguised profiles of faces inserted within each
shape. Shannons figurative drawings include large
and small works inspired by years of personal
sketches. www.propellerctr.com

Trish Hondzel

CZASTKA MOJEJ OSOBY - part of me

September 15 - October 31, 2015

Martha Bishop Community Room, Landon Library

167 Wortley Road, London ON N6C 3P6

Glenna Tissenbaum

Hondzels work looks at family archives and

photo albums, pairing memorabilia with research
of personally intrinsic customs. Issues of history
and archiving, opens an aperture on memory as
a means of visual revealing. As author, she
hybridizes individuals with natural environments,
perpetuating new dialogues, describing herself
and her relatives; depictions are often unique
elements and imagery within each work, coemerging through personalized anecdotes, as a
gesture of gratitude that builds upon the renewal
of familiar relationships.

August 21 - September 7, 2015

2015 Toronto West Arts Collaborative

Annual Juried Art Show
Canadian National Exhibition
210 Princes Boulevard Toronto ON, M6K 3C3
Glenna Tissenbaum has been selected to participate, along with 14 other artists from across
Canada in the 2015 Toronto West Arts Collaborative
Annual Juried Art Show at the Canadian National
Exhibition (CNE). The artwork is a mixed media
piece incorporating glass & an acrylic skin on painted canvas. The exhibit will be shown in the Queen
Elizabeth Building/Arts and Crafts Hall daily between
the hours of 10 am and 10 pm. For more information on the CNE, please visit www.theex.com

| 13 |

Carrie Perreault

Victoria Piersig in exhibitions:

in exhibitions:

Trading Places

Shifting Practices

September 25 December 31, 2015

September 10 - October 10, 2015

Harbourfront Centre
235 Queens Quay West, Toronto ON M5J 2G8

Marilyn I Walker School of Fine and Performing Arts

This video diptych I Cant Eat Anymore features
performative acts by a Cambodian man (Mr. Vuthy)
and woman (Phally). As instructed by the artist, each
person eats bananas until they cannot eat anymore.
Once each individual is full they say in their own time
I cant eat anymore in Khmer, at which point the artist advises them off screen to continue to eat. Mr
Vuthy and Phally do so with discomfort.

Traveling with a cargo of wheat from Thunder Bay to

Montreal I trace the classic journey celebrated in song.
A story forgotton by most urbanites as gentrification
relentlessly pushes heavy industry and shipping
infrastructure from its place in the landscape. Thunder
Bay to Montreal I trace the classic journey celebrated
in song. A story forgotten by most urbanites as gentrification relentlessly pushes heavy industry and shipping infrastructure from its place in the landscape.

Community Voices

September 18 - December 7, 2015

Trading Places

September 11 October 30 2015

Society for Contemporary Craft

2100 Smallman St. Pittsburgh, PA 15222 U.S.A

Saint John Arts Centre

20 Peel Plaze, Saint John NB E2L 3G6

Ephemeral Sculpture are used tissues that I collected from my last major depressive episode. This
last occurrence was my longest one and this project
started towards the end of it. These are the tissues
I used from crying depression specific tears. For me
these tissues act as a marker and help to make the
private public.

Traveling with cargos of wheat, iron ore and gypsum from Cape Breton to Thunder Bay- I trace
the classic journey celebrated in song. A story
forgotten by most city dwellers as gentrification
relentlessly pushes heavy industry and shipping
infrastructure forms its place in the landscape.

Jeanette N. Marshall

Wendy Trethewey

A Fire in the Art

Nocturnes Tropicals

September 12- November 21, 2015

November 17, 2015 - January 3, 2016

Vernissage: November 22, 3:00 - 5:00pm

Illumine Gallery
364 Talbot Street, St. Thomas ON N5P 1B6

Bistro Le Forain, in le Salon des Lucioles

189 Boulevard Saint-Joseph, Gatineau QC J8Y 3W9

A Fire in the Art is the premier fall exhibition at

Illumine Gallery in St. Thomas, Ontario. This new
gallery juxtaposes modern art within a 19th century business establishment. Expect to see state
of the art paintings, fabric and glass art, ceramics,
sculpture and installations set in historic classical
architecture. The fire will range from images
reflecting the heat of the sun to those depicting
passion, the spark of understanding and intensively hot hues. Bring a fan. See www.illuminegallery.com and www.jeanettermarshall.com

Based on a series of sketches done on her travels

to warm climates such as Costa Rica and Baja
California. Wendy has turned these into a series of
colorful night scenes paintings that capture the
essence of a tropical evening.

| 14 |

Elaine Whittaker

Sandra Hawkins

Compendium

Arctic Ice Floes & Ground Zero New

York City

October 4 -December 27, 2015

Opening: October 30 at 7:00pm

September 10 November 2, 2015

Vernisage: September 27 at 2:30pm

Islip Art Museum

50 Irish Lane, East Islip, New York 11730 U.S.A

Nepean Creative Arts Centre

35 Stafford Road, Ottawa ON K2H 8V8

I have 4 digital images from my Screened For

series in this art and science ground exhibit.

Sandra Hawkins series of three zinc-etching

prints (Ice Floes) and four Polaroid emulsion lift
prints (Ground Zero New York City ) reflect her
concerns with rapid climate change and implications for sea-level urban environments such
as New York City. This exhibition extends to
November 2, 2015.

Julia Rempel

Il etait une fois lOrient

September 3 - September 26, 2015

Opening & Artist Talk: September 3 at 6:00pm
Whippersnapper Gallery
Dundas Street West 594b Toronto ON M5T 1H5

Andrzej Maciejewski
Garden of Eden

Il tait une fois lorient, 2013-2015, is the juxtaposition of stereotyped images from a fantasized
orient. These images involve the representation
of arabic or oriental women. It is a look back
at the golden age of Egyptian cinema and a modest attempt at examining the place of the woman
in this era and in western imagery.

November 5 - November 28, 2015

Reception: November 5 at 6:00pm
Art Gallery of St Albert
19 Perron Street Street, Albert AB T8N 1E5
Still-life photographs based on the style of Old
Masters paintings but shhowing 21st century
fruits and vegetables with labels and PLU numbers. In the same time the museum presents
also an exhibition by local sculptor.

Publications
Information for Artists, Artists Contracts, The Visual Artists Guide to Estate Planning; all of your favourite
CARFAC Ontario publications have been revamped! They now have new covers and continuous page
numbers so that it is no longer necessary to dig through the entire book in order to find relevant
chapters. Also, The Visual Artists Guide to Estate Planning will soon be available in French!

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| 15 |

Another exciting addition is that an

electronic version of Artists Contracts is
now available. Have you ever dreamed
of simply filling in the blanks on these
contracts electronically? Well, thats
exactly what we have done in the electronic
versionthe entire Artists Contracts is
available in a fillable pdf form format. You
can even choose to purchase only the
contracts that you need, as opposed to
the complete collection. These electronic
versions are now available for purchase
online.

Grants Calendar
The CARFAC Ontario Grants Calendar is published in every issue, allowing you to plan in advance for
grant deadlines. All the information published here has been edited for space, and is meant to give you a
general sense of the types of grants available. Deadlines and eligibility criteria are subject to change at any
time. Visit the funders websites to verify deadlines and to find out more about application requirements.
CARFAC Ontario makes every effort to provide information which is up-to-date and accurate. Neither
CARFAC Ontario nor any of its employees can be held responsible for any errors or omissions, or for
any losses, costs or claims which arise as a result of relying on this information.

CANADA COUNCIL FOR THE ARTS

350 Albert Street, P.O. Box 1047, Ottawa ON K1P 5V8

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

Deadline

Grant Name

Contact Person

15 October

Aboriginal Traditional Visual Art Jim Logan

Forms Program for Individual
Program Officer
Artists

613-566-4414 ext. 5266

1 November

Travel Grants to Professionals

in the Visual Arts

Jim Logan
Program Officer

613-566-4414 ext. 5266

15 November

Aboriginal Peoples
Collaborative Exchange:
National and International
Project Grants

Nol Habel
Program Officer

613-566-4414 ext. 4178

1 December

Project Grants to Visual Artists

Michel Gaboury
Program Officer

613-566-4414 ext. 5265

Pao Quang Yeh

Program Officer

Contact Information

613-566-4414 ext. 5094

Anytime

Travel Grants to Media Arts

Professionals

Media Arts Section

613-566-4414 ext. 5914

Anytime

Travel Grants for Aboriginal

Collaborative Projects

Nol Habel
Program Officer

613-566-4414 ext. 4178

Anytime

Capacity Building Initiative:

Travel Grants

Shuni Tsou
Program Officer

613-566-4414 ext. 4173

Recommended to apply at
least 10 weeks in advance.

Recommended to apply
a minimum of 8 weeks in
advance of departure date.

Recommended to apply
a minimum of 6 weeks in
advance of departure date.

| 16 |

ONTARIO ARTS COUNCIL

151 Bloor Street West, 5th floor, Toronto ON M5S 1T6
Phone: 1-800-387-0058 (toll-free in Ontario) or 416-961-1660 | Fax: 416-961-7796
info@arts.on.ca | www.arts.on.ca/Page16.aspx

Deadline

Grant Name

Contact Person

Contact Information

15 October

Craft Projects: Creation and

Development

Caroline Cotter
Program Administrator

416-969-7455 | 1-800-387-0058 ext. 7455

ccotter@arts.on.ca

15 October

Craft Projects: Connections

Caroline Cotter
Program Administrator

416-969-7455 | 1-800-387-0058 ext. 7455

ccotter@arts.on.ca

15 October

Multi and Integrated Arts

Kateri Gauthier
416-969-7424 | 1-800-387-0058 ext. 7424
Interim Program Administrator kgauthier@arts.on.ca

3 November

Media Arts: Emerging

Anne Gard Gravestock

Program Administrator

416-969-7461 | 1-800-387-0058 ext. 7461

agravestock@arts.on.ca

4 November

Visual Artists: Emerging

Caroline Cotter
Program Administrator

416-969-7455 | 1-800-387-0058 ext. 7455

ccotter@arts.on.ca

17 November

Northern Arts

Terry Gitersos
Program Administrator

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

tgitersos@arts.on.ca

Marilyn McIntosh
Northwestern Consultant

807-622-4279 | 1-866-391-2221
mmcintosh@arts.on.ca

1 December

Writers Works in Progress Comic Arts

Helen Floros
Program Administrator

416-969-7440 | 1-800-387-0058 ext. 7440

hfloros@arts.on.ca

15 December

Visual Arts Projects

Anne Gard Gravestock

Program Administrator

416-969-7461 | 1-800-387-0058 ext. 7461

agravestock@arts.on.ca

TORONTO ARTS COUNCIL

26 Grand Trunk Crescent, Suite 200, Toronto, ON M5J 3A9

Phone: 1-800-387-0058 (toll-free in Ontario) or 416-961-1660 | Fax: 416-961-7796
info@arts.on.ca | www.arts.on.ca/Page16.aspx

Deadline

Grant Name

Contact Person

Contact Information

2 November

Grants to Media Artists

(Individuals)

Peter Kingstone
Visual/Media Arts Officer

416-392-6802 ext. 208

peter@torontoartscouncil.org

DISPATCH

At a glance ....

V o l u m e 21, I s s u e 3, S e p t e m b e r 2015
ISSN 1201-0081

DISPATCH is published by
CARFAC Ontario

440-401 Richmond Street West

Toronto, Ontario M5V 3A8
416.340.8850 / 1.877.890.8850
carfacontario@carfacontario.ca
www.carfacontario.ca

Editor / Layout
Victoria Glizer

Copy Editors

Bri Salmena
Venessa Harris

Contributors

CARFAC Ontario Staff, Clayton Windatt and

Victoria Ward.
The opinions expressed in DISPATCH are
those of the authors and do not necessarily
reflect those of CARFAC Ontario, CARFAC
National or its regional affiliates.

CARFAC Ontario Board of Directors

Yael Brotman (President), Devon Ostrom (Vice

President), Kohila Kurunathan (Treasurer),
Kristen Fahrig (Secretary), Ashley McKenzieBarnes, Sophie DeFrancesca, Dave Kemp,
Leesa Bringas and Michelle Forsyth.

CARFAC Ontario Staff

Sally Lee (Executive Director), Victoria

Glizer (Membership Manager), Diann Missal
(CARFAC Online Coordinator), Bri Salmena
(Administrative Assistant) and Venessa
Harris (Publications Assistant).
CARFAC Ontario is supported by the Ontario
Arts Council, the Toronto Arts Council, the
Ontario Ministry of Culture, the Ontario
Trillium Foundation, and by our members.

an Ontario government agency

un organisme du gouvernement de lOntario

CARFAC Ontario is the association of

professional visual and media artists in
Ontario, Promoting the legal and economic
rights of Visual and Media Artists for over 40
years. As an artist-run organization, CARFAC
Ontario knows the needs of artists and has
developed services and programs to assist
artists at every stage of their career.

In the photo: Sally Lee introduces panel discussion speakers Adam

Freedman and Kristen Fahrig, . Photo by Victoria Glizer, CARFAC Ontario.

Many thanks to Adam Freedman

and Kristen Fahrig for presenting
at Empower Yourself: Confident
Negotiation for Visual Artists and
the sharing their knowledge and
experience!