[Bcma-l] (Fwd) Visual Arts Summit: Arts Research Monitor 6.10
bcma-l@museumsassn.bc.ca
bcma-l@museumsassn.bc.ca
Wed, 26 Mar 2008 11:02:36 -0800
This is a multi-part message in MIME format.
--Boundary_(ID_WIaRi/l1bbuhs2RQx5P/eQ)
Content-type: text/plain; charset=ISO-8859-1; format=flowed
Content-transfer-encoding: 8BIT
------- Forwarded message follows -------
From: *"Hill Strategies Research"
<info@hillstrategies.com>*
Subject: *Visual Arts Summit: Arts Research Monitor
6.10*
Date sent: *Wed, 19 Mar 2008 11:49:36 -0400 (EDT)*
To view the html or pdf versions of this message, please visit
http://www.ArtsResearchMonitor.com/arm_details.php?armUID=1108
Arts Research Monitor
Volume 6, no 10
http://www.ArtsResearchMonitor.com
ISSN 1708-170X
by Hill Strategies Research
http://www.HillStrategies.com
Special Issue: Visual Arts Summit
This special issue of the Arts Research Monitor provides a brief
summary of some key issues explored at the Visual Arts Summit, held in
Ottawa from November 25 to 27, 2007. The first gathering of its kind
since 1941, over 450 people assembled to engage in discussions about the
visual arts in Canada. Participants included artists, collectors, art
dealers, arts writers, publishers, art historians, teachers,
critics, curators, corporate leaders, arts service organizations and
public sector funders. A more thorough summary of the Summit
proceedings, prepared for the Canadian Museums Association and the
Summit partners by Hill Strategies Research, will be available in the
spring of 2008.
Artists and Museums Reach Historic Agreement
_http://www.carfac.ca/2007/11/artists-and-museums-reach-historic-
agreement/lang-pref/en/_
<http://www.carfac.ca/2007/11/artists-and-museums-reach-historic-agreement/lang-pref/en/>
The 2007 Visual Arts Summit opened with the announcement that the
Canadian Art Museum Directors Association (CAMDO), Canadian Museums
Association (CMA), Canadian Artists' Rights/Front de representation des
artistes canadiens (CARFAC) and le Regroupement des artistes en arts
visuels du Québec (RAAV) had reached an agreement regarding exhibition
fees for professional artists. The following is an excerpt from the
press release:
A landmark agreement has been reached for the first time in over 40
years between the museum community and artists' organizations over
fees for exhibition of artists' works. The agreement puts an end to a
long-standing impasse and will lead to a new era of cooperation.
The new streamlined fee schedule goes into effect on January 1, 2008
for a 5-year term and soon will be posted on the partners' websites.
It is simplified for ease of administration and provides useful
definitions. It will be adjusted annually by a 3% increase.
Most importantly, the parties agreed to pursue the establishment of a
new Exhibition Right Fund, similar to the highly successful Public
Lending Right Fund, which provides compensation to authors of books
used in public libraries. When the new Exhibition Right Fund is
established the fee schedule will be renegotiated at that time.
Visual Arts Summit
http://www.VisualArtsSummit.ca
Some major themes explored at the Summit include:
? Artists, Art Practice and the Arts Market
? Gallery Collections
? Public Engagement
? Education and Visual Literacy
? Policy, Politics and Funding
Artists, Art Practice and the Arts Market
In the context of dismal earnings statistics for visual artists
(average earnings of only $18,700 for visual artists and $15,500 for
artisans and craftspeople, well below the average earnings in the
overall labour force in Canada -- $31,800), it is not surprising that
the issue of the need for artists to make a living was a key theme of
the Summit.
One artist noted that: "The profession of artists should be viable,
not suicidal. Individual artists are human. We cannot dismiss the
human needs of the people who make the stuff that this industry is
based on. Artists don't fit neatly into systems. We disrupt. We are an
untidy problem."
A number of other participants reiterated the argument that there is a
lack of concern for the conditions of working artists. Some wished to
demand a minimum wage for professional artists.
As expressed by participants:
? "Art making is not an act of charity."
? "Poverty is the ultimate issue for artists."
? "It is time to form a coalition with other disadvantaged
people in
society to address such issues as poverty and housing."
Compared with other Canadian workers, visual artists' earnings do not
increase substantially with age or education. Some participants
indicated that "there is very little for mid-career artists. There are
countless opportunities for emerging and established artists, but
mid-career artists are left in limbo." "We need more steps for artists
to ascend, more glory, more successes."
Others noted that very few contemporary artists live from their sales.
There was much discussion of the idea of a Public Lending Right model --
where writers receive royalties from libraries. Could a fund be
created for museums to pay artists for the exhibition of their work?
As noted in the announcement at the beginning of the Summit, the idea
of a new Exhibition Right Fund is being explored.
Another discussion highlighted the need for affordable, raw studio
spaces in cities. In addition, many art materials are highly toxic.
Could there be a study of artists' occupational health and safety?
One participant noted that there is currently unprecedented art market
activity. Is it artificial? Will the bubble burst? In theory, having
more art collectors should mean a better living for artists and art
dealers. However, in other discussions, a participant noted that "the
secondary market leaves artists completely out of the loop." Questions
concerning private collectors include their appropriate role (if any)
in the formation of public policy and their obligation (if any) to
collect Canadian art.
Another market issue concerned the relative lack of representation of
Canadian artists at art fairs in Canada and abroad.
Gallery Collections
How does a nation acquire and display its art collection? Collections
policies were discussed at length at the Summit.
Some participants perceived a danger in galleries' reliance on
donations of works of art from collectors. "Building a collection in
this manner is fickle and relies on the tastes of a few individuals.
What if they don't collect art by women or aboriginals?"
The allocation of acquisitions budgets to public galleries was seen as
key. "Acquisitions tend to suffer from budgetary constraints because
exhibits must go on. Exhibitions are the top priority and therefore
get the funding, not acquisitions." Some participants indicated that
there should be a collection fund for institutions and collection
strategies for key art museums. Others perceived a lack of curatorial
expertise in relation to collecting.
One participant summarized five key challenges for public galleries:
1. Adjusting to evolving art practices which, in some cases,
cannot be collected.
2. Documenting intangible works of art.
3. Being pro-active about collecting.
4. Making better links between permanent collections
and exhibitions.
5. Art publications are thin in Canada.
What are the implications of media-based collections? Participants
indicated that there are insufficient resources for the preservation
of media-based artworks. What happens in 20 or 30 years when current
technology is no longer available?
DOCAM (Documentation des Arts Mediatiques), hosted by the Langlois
Foundation, is researching the preservation of media artworks. They are
currently three years into a five-year project involving museums and
universities in case studies to examine "disappearing" works of art and
how museums can manage them. The Tate Modern in London, England has a
committee working on this issue full-time.
Public Engagement
Statistics were presented showing that 26.7% of Canadians 15 or older
visited an art gallery in 2005, or 7 million people. Between 1992 and
2005, the percentage of Canadians visiting an art gallery increased
substantially, from 19.6% to 26.7%. In other words, 4.2 million
Canadians visited a gallery in 1992, compared with 7.0 million in
2005.
However, the cost of admission to art galleries was seen by some
participants as a barrier to audiences. For one participant, "the cost
of admissions is a huge barrier, especially for youth". Participants
felt an ongoing need to, as noted by one participant, "seduce the
media and the public, so they will have an increased awareness of the
visual arts."
For some, access means commitment and connection to the community. "A
large segment of the public does not visit art galleries. We must
re-frame ways in which the gallery places itself within the
community." Another participant pointed to teen councils as a good
example of access and engagement.
Community curatorial projects can give a voice to the public. In some
cases, opportunities for funding multiply when galleries work
collaboratively with other community groups.
Toronto's recent Nuit Blanche, "an all-night contemporary art thing",
was discussed by a number of participants. "It was free and met people
in the streets. It came to the public rather than making the public come
to it (in a gallery)." It was reported that nearly 70,000 people
attended Nuit Blanche events.
Nuit Blanche proved that the public is interested in contemporary art.
However, there is still a need to transcend the general perception
that contemporary art is intimidating.
One participant argued that galleries and artist-run centres should
collaborate more in order to achieve common goals. Other participant
comments include:
? "Our challenge is to invent new formats for the presentation of
art."
? "Art Metropole is curating projects online in Second Life.
This is a completely new audience for visual art. This demonstrates
thinking outside the box in terms of presentation spaces for art."
? "Artist-run centres are at the core of the sector."
Education and Visual Literacy
A number of participants indicated that more can be done to make
Canadians -- especially children -- more visually literate. "Images are
everywhere, but people aren't necessarily visually literate."
In the school system, there has been a move away from an integrated
approach to arts education. Some participants felt that Canadian art
history, taught by professional artists, should be part of the core
curriculum. Others saw a need for specialized art teachers from
kindergarten to grade 12. "Infect the children with art."
Participants also expressed the need for more artists and more funding
for studio space, school residencies and work with teachers. For
students, hands-on experience can be very important. However, some
practitioners have found resentment for artists in the school system.
One participant noted that the arts are not systematically evaluated
in most provincial education systems. Numeracy, literacy and science
are often tested and measured, but not art.
Visual literacy is seen as an active, complex process, but children
can learn it over time. "Literacy, visual or other, has to do with
finding interest in a work of art and honing one's sensibilities. As
visual literacy develops, it brings a sense of joy and connects to
critical thinking about the work. Visual literacy brings dimension to
everything visual, not only art." One participant noted that
university art galleries are doing "remedial work" to make up for the
lack of arts education in schools.
Two participants engaged in an exchange regarding the visual literacy
of audiences. The first participant indicated that: "Audiences know a
lot. Viewers bring multiple points of view to bear on a work of art:
the artist's, the curator's, and their own personal experiences as
well. Personal experience cannot be underestimated."
The second participant argued that, "to unlock personal experience,
people need tools, and not only art historical tools. The role of the
teacher in the understanding of art by children is crucial."
Policy, Politics and Funding
Participants perceived a disconnect between the burgeoning visual arts
activity and the lack of awareness and limited funding from the
municipal, provincial and federal levels. "Art is a societal project
but not a government priority." Is there a way of ensuring a cohesive
approach (municipal, provincial and federal) to cultural policy and
cultural diplomacy?
Two of the major issues discussed at the Summit were the lack of a
national museums policy and the loss of cultural diplomacy funding.
There is a need to "bring art to the local community and export it
internationally".
Many participants argued that the arts are a vital part of foreign
diplomacy and trade. In fact, international issues were a topic of
considerable discussion, including the need to raise the profile of
the visual arts nationally and internationally. "It is sad but true
that artists are better recognized at home once they have been
recognized abroad." One participant argued that Canadian artists are
sometimes treated poorly at home and like royalty abroad. Another
participant noted that, while Canadian new media artists are some of
the highest profile artists internationally, few commercial galleries
show new media works.
Other participants' comments regarding policy, politics and funding
include:
? "Governments are currently inhibiting donations of artworks to
museums."
? "Trade Routes funding is currently available, but for how
long? It is not a stable, reliable source of funds."
? "The shutdown of the Exhibition Transport Service (ETS) in
April 2008 will triple exhibition transport costs for galleries."
Other Themes
Other interesting themes explored at the Summit include:
? Diversity
? National Narrative
? Media Coverage and Publications
Diversity
The growing diversity of Canadian society was discussed at the Summit,
in terms of both access and interpretation. The diversity of the
student base at art colleges gave one participant hope for the future.
Some participants noted that Aboriginal art is poorly represented in
many public collections. Research, scholarship and curatorial
expertise are needed in order to go beyond simply adding a few pieces
to an existing collection. "The history of Canadian art should be
re-examined."
One participant asked: "How many Aboriginal curators are currently
working in a Canadian public art gallery? Of those, how many only
because of dedicated Canada Council funding? Of those, how many were
hired after the funding ran out?"
National Narrative
Is there a national narrative in the visual arts? Some participants
perceived a need for one, while others did not see one in Canada. On
one hand: "Cultural nationalism is what we need. We should not be
afraid of the word 'nation'." On the other hand, other participants
did not perceive a national narrative in visual arts in Canada.
Rather, contemporary art was seen to be more about individual artists
and their personal narratives.
Media Coverage and Publications
Participants noted the crucial importance of the media for the success
of visual arts exhibitions. "If the public does not hear about
exhibitions, they won't attend. Cultural reporting is limited to
entertainment news, especially on television. The only exhibitions
that do receive coverage are blockbuster exhibitions. Contemporary art
should receive such coverage." One participant wondered whether the
lack of media coverage will affect the number of art collectors.
However, another participant noted that Air Canada's En Route magazine
recently had a 20-page article on Canadian art and collecting.
In general, many participants perceived a need for more publications
about individual artists and key periods in Canadian art history.
Collective Agenda for the Visual Arts
http://www.petitiononline.com/visarts/petition.html
Before closing the Summit, a statement was prepared to further a
collective agenda for the visual arts. The statement reads:
Art is the face of Canada.
We, as artists, curators, collectors, dealers, educators and
supporters, are united to enhance the opportunities for Canadian art
to be seen, understood and enjoyed. We come together in the largest
gathering of the visual arts in our history, to proclaim the critical
role of the visual arts in an innovative and compassionate society in
the 21st century. We know what is needed: we call on the governments,
nations and peoples of Canada to join us in realizing our potential.
We commit ourselves to work together:
? To satisfy the public's growing demand for participation in
visual culture;
? To communicate the sector's needs with a united voice;
? To provide a secure livelihood for artists;
? To acknowledge the varied cultures of the indigenous peoples
of this land;
? To reflect the diversity of our society; and
? To strengthen the institutions that advance the visual arts.
With a united voice, we advocate:
? To create a new alliance across the sector, to advance the
position of the visual arts;
? To engage public appreciation for, and connection with,
visual arts in all their forms;
? To provide stronger and stable support to artists and to the
individuals and institutions that present, preserve and interpret the
work they create;
? To establish a dedicated fund for the payment of artists for
the public exhibition of their works;
? To increase investment in arts education for all ages and
from all levels of government;
? To provide dedicated support for Aboriginal arts; and
? To recognize and support the leading role of visual arts in
strengthening Canada's international profile.
We envision a Canada that embraces creativity in all its dimensions.
We believe in art that challenges us, deepens our understanding, and
bridges our differences.
Visual arts build a more tolerant, diverse and creative world.
------- End of forwarded message -------
_______________________________
Jim Harding, ED
BC Museums Association
(250) 356-5694
--Boundary_(ID_WIaRi/l1bbuhs2RQx5P/eQ)
Content-type: text/html; charset=ISO-8859-1
Content-transfer-encoding: 7BIT
<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
<title></title>
</head>
<body bgcolor="#ffffff" text="#000000">
<tt><span style="font-size: 10pt;">------- Forwarded message follows
-------</span></tt>
<div align="left"><tt><span style="font-size: 10pt;">From:
<b>"Hill Strategies Research"
<a class="moz-txt-link-rfc2396E" href="mailto:info@hillstrategies.com"><info@hillstrategies.com></a></b></span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Subject:
<b>Visual Arts Summit: Arts Research Monitor 6.10</b></span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Date sent:
<b>Wed, 19 Mar 2008 11:49:36 -0400 (EDT)</b></span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">To view the html
or pdf versions of this message, please visit </span></tt></div>
<div align="left"><tt><font color="#0000ff"><span
style="font-size: 10pt;"><a class="moz-txt-link-freetext" href="http://www.ArtsResearchMonitor.com/arm_details.php?armUID=1108">http://www.ArtsResearchMonitor.com/arm_details.php?armUID=1108</a></span></font></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Arts Research
Monitor</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Volume 6, no 10</span></tt></div>
<div align="left"><tt><font color="#0000ff"><span
style="font-size: 10pt;"><a class="moz-txt-link-freetext" href="http://www.ArtsResearchMonitor.com">http://www.ArtsResearchMonitor.com</a></span></font></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">ISSN 1708-170X</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">by Hill Strategies
Research</span></tt></div>
<div align="left"><tt><font color="#0000ff"><span
style="font-size: 10pt;"><a class="moz-txt-link-freetext" href="http://www.HillStrategies.com">http://www.HillStrategies.com</a></span></font></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Special Issue:
Visual Arts Summit</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">This special issue
of the Arts Research Monitor provides a brief</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">summary of some
key issues explored at the Visual Arts Summit, held in Ottawa from
November 25 to 27, 2007. The first gathering of its kind</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">since 1941, over
450 people assembled to engage in discussions about the visual arts in
Canada. Participants included artists, collectors, art dealers, arts
writers, publishers, art historians, teachers,</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">critics, curators,
corporate leaders, arts service organizations and</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">public sector
funders. A more thorough summary of the Summit</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">proceedings,
prepared for the Canadian Museums Association and the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Summit partners by
Hill Strategies Research, will be available in the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">spring of 2008.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Artists and
Museums Reach Historic Agreement</span></tt></div>
<div align="left"><tt><a moz-do-not-send="true"
href="http://www.carfac.ca/2007/11/artists-and-museums-reach-historic-agreement/lang-pref/en/"><span
style="font-size: 10pt;"><u>http://www.carfac.ca/2007/11/artists-and-museums-reach-historic-
agreement/lang-pref/en/</u></span></a></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">The 2007 Visual
Arts Summit opened with the announcement that the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Canadian Art
Museum Directors Association (CAMDO), Canadian Museums Association
(CMA), Canadian Artists' Rights/Front de representation des artistes
canadiens (CARFAC) and le Regroupement des artistes en arts visuels du
Québec (RAAV) had reached an agreement regarding exhibition fees for
professional artists. The following is an excerpt from the press
release:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">A landmark
agreement has been reached for the first time in over 40</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">years between the
museum community and artists’ organizations over</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">fees for
exhibition of artists’ works. The agreement puts an end to a</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">long-standing
impasse and will lead to a new era of cooperation. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">The new
streamlined fee schedule goes into effect on January 1, 2008</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">for a 5-year term
and soon will be posted on the partners’ websites.</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">It is simplified
for ease of administration and provides useful</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">definitions. It
will be adjusted annually by a 3% increase. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Most importantly,
the parties agreed to pursue the establishment of a</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">new Exhibition
Right Fund, similar to the highly successful Public</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Lending Right
Fund, which provides compensation to authors of books</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">used in public
libraries. When the new Exhibition Right Fund is</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">established the
fee schedule will be renegotiated at that time. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Visual Arts Summit</span></tt></div>
<div align="left"><tt><font color="#0000ff"><span
style="font-size: 10pt;"><a class="moz-txt-link-freetext" href="http://www.VisualArtsSummit.ca">http://www.VisualArtsSummit.ca</a></span></font></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Some major themes
explored at the Summit include:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• Artists,
Art Practice and the Arts Market</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• Gallery
Collections</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• Public
Engagement</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• Education
and Visual Literacy</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• Policy,
Politics and Funding</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Artists, Art
Practice and the Arts Market</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">In the context of
dismal earnings statistics for visual artists</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">(average earnings
of only $18,700 for visual artists and $15,500 for</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">artisans and
craftspeople, well below the average earnings in the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">overall labour
force in Canada – $31,800), it is not surprising that</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">the issue of the
need for artists to make a living was a key theme of</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">the Summit. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">One artist noted
that: “The profession of artists should be viable,</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">not suicidal.
Individual artists are human. We cannot dismiss the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">human needs of the
people who make the stuff that this industry is</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">based on. Artists
don’t fit neatly into systems. We disrupt. We are an</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">untidy problem.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">A number of other
participants reiterated the argument that there is a</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">lack of concern
for the conditions of working artists. Some wished to</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">demand a minimum
wage for professional artists.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">As expressed by
participants:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “Art
making is not an act of charity.” </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “Poverty
is the ultimate issue for artists.” </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “It is
time to form a coalition with other disadvantaged people in</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">society to address
such issues as poverty and housing.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Compared with
other Canadian workers, visual artists’ earnings do not</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">increase
substantially with age or education. Some participants</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">indicated that
“there is very little for mid-career artists. There are</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">countless
opportunities for emerging and established artists, but</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">mid-career artists
are left in limbo.” “We need more steps for artists</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">to ascend, more
glory, more successes.” </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Others noted that
very few contemporary artists live from their sales.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">There was much
discussion of the idea of a Public Lending Right model – where writers
receive royalties from libraries. Could a fund be</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">created for
museums to pay artists for the exhibition of their work?</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">As noted in the
announcement at the beginning of the Summit, the idea</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">of a new
Exhibition Right Fund is being explored.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Another discussion
highlighted the need for affordable, raw studio</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">spaces in cities.
In addition, many art materials are highly toxic.</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Could there be a
study of artists’ occupational health and safety?</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">One participant
noted that there is currently unprecedented art market</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">activity. Is it
artificial? Will the bubble burst? In theory, having</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">more art
collectors should mean a better living for artists and art</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">dealers. However,
in other discussions, a participant noted that “the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">secondary market
leaves artists completely out of the loop.” Questions</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">concerning private
collectors include their appropriate role (if any)</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">in the formation
of public policy and their obligation (if any) to</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">collect Canadian
art.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Another market
issue concerned the relative lack of representation of</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Canadian artists
at art fairs in Canada and abroad.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Gallery Collections</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">How does a nation
acquire and display its art collection? Collections</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">policies were
discussed at length at the Summit. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Some participants
perceived a danger in galleries’ reliance on</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">donations of works
of art from collectors. “Building a collection in</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">this manner is
fickle and relies on the tastes of a few individuals.</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">What if they don’t
collect art by women or aboriginals?” </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">The allocation of
acquisitions budgets to public galleries was seen as</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">key. “Acquisitions
tend to suffer from budgetary constraints because</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">exhibits must go
on. Exhibitions are the top priority and therefore</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">get the funding,
not acquisitions.” Some participants indicated that</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">there should be a
collection fund for institutions and collection</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">strategies for key
art museums. Others perceived a lack of curatorial</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">expertise in
relation to collecting.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">One participant
summarized five key challenges for public galleries:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">1. Adjusting
to evolving art practices which, in some cases, cannot be collected. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">2. Documenting
intangible works of art. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">3. Being
pro-active about collecting. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">4. Making
better links between permanent collections</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">and exhibitions. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">5. Art
publications are thin in Canada.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">What are the
implications of media-based collections? Participants</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">indicated that
there are insufficient resources for the preservation</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">of media-based
artworks. What happens in 20 or 30 years when current technology is no
longer available?</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">DOCAM
(Documentation des Arts Mediatiques), hosted by the Langlois
Foundation, is researching the preservation of media artworks. They are
currently three years into a five-year project involving museums and
universities in case studies to examine “disappearing” works of art and
how museums can manage them. The Tate Modern in London, England has a
committee working on this issue full-time. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Public Engagement</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Statistics were
presented showing that 26.7% of Canadians 15 or older</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">visited an art
gallery in 2005, or 7 million people. Between 1992 and</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">2005, the
percentage of Canadians visiting an art gallery increased</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">substantially,
from 19.6% to 26.7%. In other words, 4.2 million</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Canadians visited
a gallery in 1992, compared with 7.0 million in</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">2005.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">However, the cost
of admission to art galleries was seen by some</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">participants as a
barrier to audiences. For one participant, “the cost</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">of admissions is a
huge barrier, especially for youth”. Participants</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">felt an ongoing
need to, as noted by one participant, “seduce the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">media and the
public, so they will have an increased awareness of the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">visual arts.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">For some, access
means commitment and connection to the community. “A large segment of
the public does not visit art galleries. We must re-frame ways in which
the gallery places itself within the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">community.”
Another participant pointed to teen councils as a good</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">example of access
and engagement. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Community
curatorial projects can give a voice to the public. In some</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">cases,
opportunities for funding multiply when galleries work</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">collaboratively
with other community groups. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Toronto’s recent
Nuit Blanche, "an all-night contemporary art thing",</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">was discussed by a
number of participants. “It was free and met people in the streets. It
came to the public rather than making the public come to it (in a
gallery).” It was reported that nearly 70,000 people attended Nuit
Blanche events.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Nuit Blanche
proved that the public is interested in contemporary art.</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">However, there is
still a need to transcend the general perception</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">that contemporary
art is intimidating.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">One participant
argued that galleries and artist-run centres should</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">collaborate more
in order to achieve common goals. Other participant</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">comments include:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “Our
challenge is to invent new formats for the presentation of</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">art.” </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “Art
Metropole is curating projects online in Second Life.</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">This is a
completely new audience for visual art. This demonstrates</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">thinking outside
the box in terms of presentation spaces for art.”</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “Artist-run
centres are at the core of the sector.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Education and
Visual Literacy</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">A number of
participants indicated that more can be done to make</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Canadians –
especially children – more visually literate. “Images are</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">everywhere, but
people aren't necessarily visually literate.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">In the school
system, there has been a move away from an integrated</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">approach to arts
education. Some participants felt that Canadian art</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">history, taught by
professional artists, should be part of the core</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">curriculum. Others
saw a need for specialized art teachers from</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">kindergarten to
grade 12. “Infect the children with art.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Participants also
expressed the need for more artists and more funding</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">for studio space,
school residencies and work with teachers. For</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">students, hands-on
experience can be very important. However, some</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">practitioners have
found resentment for artists in the school system.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">One participant
noted that the arts are not systematically evaluated</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">in most provincial
education systems. Numeracy, literacy and science</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">are often tested
and measured, but not art.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Visual literacy is
seen as an active, complex process, but children</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">can learn it over
time. “Literacy, visual or other, has to do with</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">finding interest
in a work of art and honing one’s sensibilities. As</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">visual literacy
develops, it brings a sense of joy and connects to</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">critical thinking
about the work. Visual literacy brings dimension to</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">everything visual,
not only art.” One participant noted that</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">university art
galleries are doing “remedial work” to make up for the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">lack of arts
education in schools.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Two participants
engaged in an exchange regarding the visual literacy</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">of audiences. The
first participant indicated that: “Audiences know a</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">lot. Viewers bring
multiple points of view to bear on a work of art:</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">the artist's, the
curator's, and their own personal experiences as</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">well. Personal
experience cannot be underestimated.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">The second
participant argued that, “to unlock personal experience,</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">people need tools,
and not only art historical tools. The role of the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">teacher in the
understanding of art by children is crucial.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Policy, Politics
and Funding</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Participants
perceived a disconnect between the burgeoning visual arts activity and
the lack of awareness and limited funding from the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">municipal,
provincial and federal levels. “Art is a societal project</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">but not a
government priority.” Is there a way of ensuring a cohesive</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">approach
(municipal, provincial and federal) to cultural policy and</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">cultural diplomacy?</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Two of the major
issues discussed at the Summit were the lack of a</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">national museums
policy and the loss of cultural diplomacy funding.</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">There is a need to
“bring art to the local community and export it</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">internationally”.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Many participants
argued that the arts are a vital part of foreign</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">diplomacy and
trade. In fact, international issues were a topic of</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">considerable
discussion, including the need to raise the profile of</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">the visual arts
nationally and internationally. “It is sad but true</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">that artists are
better recognized at home once they have been</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">recognized
abroad.” One participant argued that Canadian artists are</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">sometimes treated
poorly at home and like royalty abroad. Another</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">participant noted
that, while Canadian new media artists are some of</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">the highest
profile artists internationally, few commercial galleries</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">show new media
works.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Other
participants’ comments regarding policy, politics and funding</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">include:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “Governments
are currently inhibiting donations of artworks to</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">museums.” </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “Trade
Routes funding is currently available, but for how</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">long? It is not a
stable, reliable source of funds.” </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• “The
shutdown of the Exhibition Transport Service (ETS) in April 2008 will
triple exhibition transport costs for galleries.”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Other Themes</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Other interesting
themes explored at the Summit include:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• Diversity</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• National
Narrative</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• Media
Coverage and Publications</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Diversity</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">The growing
diversity of Canadian society was discussed at the Summit, in terms of
both access and interpretation. The diversity of the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">student base at
art colleges gave one participant hope for the future.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Some participants
noted that Aboriginal art is poorly represented in</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">many public
collections. Research, scholarship and curatorial</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">expertise are
needed in order to go beyond simply adding a few pieces</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">to an existing
collection. “The history of Canadian art should be</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">re-examined.” </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">One participant
asked: “How many Aboriginal curators are currently</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">working in a
Canadian public art gallery? Of those, how many only</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">because of
dedicated Canada Council funding? Of those, how many were hired after
the funding ran out?”</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">National Narrative</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Is there a
national narrative in the visual arts? Some participants</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">perceived a need
for one, while others did not see one in Canada. On</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">one hand:
“Cultural nationalism is what we need. We should not be</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">afraid of the word
‘nation’.” On the other hand, other participants</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">did not perceive a
national narrative in visual arts in Canada.</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Rather,
contemporary art was seen to be more about individual artists</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">and their personal
narratives.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Media Coverage and
Publications</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Participants noted
the crucial importance of the media for the success</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">of visual arts
exhibitions. “If the public does not hear about</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">exhibitions, they
won’t attend. Cultural reporting is limited to</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">entertainment
news, especially on television. The only exhibitions</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">that do receive
coverage are blockbuster exhibitions. Contemporary art</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">should receive
such coverage.” One participant wondered whether the</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">lack of media
coverage will affect the number of art collectors.</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">However, another
participant noted that Air Canada’s En Route magazine recently had a
20-page article on Canadian art and collecting. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">In general, many
participants perceived a need for more publications</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">about individual
artists and key periods in Canadian art history.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Collective Agenda
for the Visual Arts</span></tt></div>
<div align="left"><tt><font color="#0000ff"><span
style="font-size: 10pt;"><a class="moz-txt-link-freetext" href="http://www.petitiononline.com/visarts/petition.html">http://www.petitiononline.com/visarts/petition.html</a></span></font></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Before closing the
Summit, a statement was prepared to further a</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">collective agenda
for the visual arts. The statement reads:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Art is the face of
Canada. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">We, as artists,
curators, collectors, dealers, educators and</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">supporters, are
united to enhance the opportunities for Canadian art</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">to be seen,
understood and enjoyed. We come together in the largest</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">gathering of the
visual arts in our history, to proclaim the critical</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">role of the visual
arts in an innovative and compassionate society in</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">the 21st century.
We know what is needed: we call on the governments, nations and peoples
of Canada to join us in realizing our potential.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">We commit
ourselves to work together:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
satisfy the public’s growing demand for participation in visual
culture; </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
communicate the sector’s needs with a united voice; </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
provide a secure livelihood for artists; </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
acknowledge the varied cultures of the indigenous peoples of this land;
</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
reflect the diversity of our society; and </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
strengthen the institutions that advance the visual arts. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">With a united
voice, we advocate:</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
create a new alliance across the sector, to advance the position of the
visual arts; </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
engage public appreciation for, and connection with, visual arts in all
their forms; </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
provide stronger and stable support to artists and to the individuals
and institutions that present, preserve and interpret the work they
create; </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
establish a dedicated fund for the payment of artists for the public
exhibition of their works; </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
increase investment in arts education for all ages and from all levels
of government; </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
provide dedicated support for Aboriginal arts; and </span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">• To
recognize and support the leading role of visual arts in strengthening
Canada’s international profile.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">We envision a
Canada that embraces creativity in all its dimensions.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">We believe in art
that challenges us, deepens our understanding, and</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">bridges our
differences. </span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Visual arts build
a more tolerant, diverse and creative world.</span></tt></div>
<div align="left"><tt><br>
</tt></div>
<div align="left"><tt><span style="font-size: 10pt;">------- End of
forwarded message -------</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">_______________________________</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">Jim Harding, ED</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">BC Museums
Association</span></tt></div>
<div align="left"><tt><span style="font-size: 10pt;">(250) 356-5694</span></tt></div>
</body>
</html>
--Boundary_(ID_WIaRi/l1bbuhs2RQx5P/eQ)--