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List of Recommendations:
1. Provide funding through Canadian Heritage and the Canada Council for the Arts to help arts organizations employ and retain a larger workforce to address the current labour shortage in the cultural sector.
2. Provide funding to arts organizations that is directed toward increasing day-to-day operational costs as a result of the COVID-19 pandemic and higher inflation rates.
3. Expand eligibility requirements so visual artists and arts organizations can apply to programs that support digital activities through the Canada Council for the Arts and Canadian Heritage.
4. Increase the amount given to the Canada Cultural Spaces Fund (CCSF) to account for infrastructure projects now deemed necessary because of the COVID-19 pandemic.
Federal Basic Income Guarantee Implementation
5. Provide a Federal Basic Income Guarantee for all Canadians which will reduce poverty, stabilize incomes and simplify the complex web of benefits and programs available to Canadians. Statistics show artists generally earn 46% less than general labour.
Endowment Incentives Program Expansion
6. Expand the existing Endowment Incentives of the Canada Cultural Investment Fund (CCIF) through Canadian Heritage to further support performing art recipients and to include visual art museums/galleries as eligible recipients; and increase the total annual budget of the CCIF by $40 million.
Cultural Tourism Investments
7. Provide funding to Canadian arts organizations to help promote tourism through the ongoing COVID-19 recovery period.
New National Museums Strategy
8. Review and update the National Museum Policy to reflect the significant new realities the visual arts sector is facing, as well as to support the sector-wide implementation of UNDRIP and support for Indigenous self-determination in the heritage sector.
the Exhibition Transportation Service (ETS) to help alleviate the
increasing costs associated with travelling art exhibitions and
generate increased visitation/tourism.
Context for Recommendations: 1:
When the pandemic hit in 2020, museums and galleries had to close their doors, and cultural events were cancelled. As a result, many working in the visual arts sector left to pursue a more stable income.
As cultural spaces across the sector are opening their doors it is becoming increasingly difficult to find and retain staff. This would also enable the hiring and retaining of Indigenous staff to bolster this under-represented population in museums, galleries and other types of arts organizations.
We recommend the government provide additional funding through Canadian Heritage and Canada Council for the Arts, specifically towards salaries to help museums, galleries and other types of arts organizations hire and retain necessary staff during this labour shortage.
As a result of COVID-19, the visual arts sector has faced loss of revenue as well as increasing costs when having to implement additional measures, such as heightened cleaning protocols.
While many visual arts organizations have been very grateful to have renewed multi-year funding confirmed, it again often does not include any increases in keeping with rising Consumer Price Index (CPI) or Cost-of-Living-Adjustment (COLA) adjustments and escalating operational costs.
Like all cultural support programs, the Museums Assistance Program (MAP) is not adjusted for inflation so functions as decreased support for an important and oversubscribed program. We ask that all program numbers be adjusted accordingly to fulfill their purpose properly.
The VAA is recommending the government provide funding to public museums, galleries and other arts organizations specifically for increased operational costs. This funding would provide practical financial support to organizations that are facing increased financial strains because of the pandemic. Additional funds would also help to support the review of the implementation of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) at all levels of museum operations.
During COVID-19 related closures, museums, galleries, arts organizations and artists had to transition to the digital environment. Responding quickly, 95% of galleries shifted to online programs. As facilities have opened, artists have maintained the use of digital equipment. We recommend that eligibility be extended to individual artists and not just arts organizations, and that equipment costs are eligible expenses.
The Canada Council for the Arts does have funding targeted towards digital projects, such as the Digital Strategy Fund. When this Fund was available, larger organizations were the main recipients of funding, rather than individual visual artists. As visual art is increasingly being developed using technology, establishing a permanent funding stream through the Canada Council for the Arts would help further Canadian art and artists. This would enable access to programming for marginalized communities. This funding should be targeted toward visual artists who want to acquire the technology and equipment needed to produce and share their works in the digital age.
As a result of COVID-19, galleries, museums, and other arts organizations have made significant investments to make their facilities safer for the public. This includes new air filters to ensure the air quality is clean for visitors. These retrofits are expensive and have contributed to museums and galleries increasing facility costs due to the pandemic.
Making these infrastructure investments in their facilities have allowed museums and galleries to re-evaluate the climate efficiency of their buildings. Creating a sustainable future is a priority for the visual arts sector however for some, it is not financially feasible to pursue these green infrastructure projects.
Increasing funding to the Canada Cultural Spaces Fund (CCSF) would provide the necessary funding to arts organizations that want to make green improvements to their facilities. These sustainable infrastructure changes align with government initiatives. The creation of a core funding arm of CCSF to support on-going capital costs for infrastructure maintenance for organisations demonstrating financial need is also recommended. The funds provided under CCSF should not be used to replace or stand-in for investments in infrastructure in Indigenous communities to fulfil fiduciary obligations.
The need for a Federal Basic Income Guarantee (FBIG) was raised by many panelists and delegates at the Minister’s National Culture Summit in Ottawa May 2022.
As workers in other sectors return to their jobs, arts and gig workers remain highly unstable. The arts sector is expected to take the longest to recover from the impacts of the COVID-19 pandemic. Specifically, Indigenous arts and gig workers have cited widespread tokenism to many shades of exploitation, and a marginalized subclass of Indigenous, Black, and racialized contract workers and freelancers, all of which have become amplified during the COVID-19 pandemic. Most self-employed and contract-based workers in the arts sector cannot afford to pay into the current EI model. Canada’s overall labour force rebounded to pre-pandemic levels in 2021, however visual artists and other freelance workers in the sector did not. On average, visual artists’ earnings are less than half of the average Canadian worker, a situation that has been further exacerbated by the pandemic.
Federal basic income guarantee would act as a safety net for Canadian arts workers by providing unemployed, underemployed, and precariously employed workers with income support, especially as the arts sector is expected to take the longest to recover from the impacts of COVID-19.
The CCIF – Endowment Incentives component encourages private donors to contribute to endowment funds for not-for-profit professional arts organizations, so they can access new sources of funding in the future and have greater capacity for realizing artistic expression by supporting their long-term stability. However, the fund criterion excluded visual arts organizations such as museums/galleries.
The VAA was pleased to see that the Standing Committee on Finance made the following recommendation to the Minister of Finance during their pre-budget 2022 report.
Expand the Endowment Incentives of the Canada Cultural Investment Fund to include museums and heritage organizations.
This recommendation is also supported by a collective of leading performing arts organizations, as reflected in their submission to you.
Changes to tax incentives for philanthropy and matching endowment programs run through the federal government help foster greater resiliency and reduce reliance on government funding. Endowments ensure that events such as the COVID-19 pandemic do not devastate Canada’s cultural sector. Endowments are a widespread, permanent, and sensible means to assist organizations immediately, and offer a cushion against future crises. During the pandemic recovery period, endowments will help museums/galleries face the uncertainty that lies ahead.
An increase of $40M would effectively double the $19M funding leveraged by existing performing arts recipients and add $20M for visual arts recipients to leverage further.
The strong response to this established program to date reflects the demand for its expansion and certainty for its continued success.
Tourism will play a significant role in Canada’s economic recovery from the pandemic and the cultural sector has already been a draw. Art organizations are increasingly hubs for innovation for their communities, and function as tourist destinations.
The Tourism Relief Fund through ISED has provided tourist destinations across Canada with funding to create new/enhance existing tourism experiences and attract more visitors from across the country. Some museums and galleries received financial support from this Fund, which was incredibly useful when the tourism sector picked up however some arts organizations, including artist-run centres are not receiving support.
Through this period of economic recovery, we recommend the government provide ongoing funding to the cultural sector directed towards tourism, specifically for supporting and promoting the cultural tourism experiences museums and galleries have to offer.
During the National Culture Summit held in Ottawa this past May, Minister of Canadian Heritage the Honourable Pablo Rodriguez promised to renew and update the National Museum Policy to reflect changes the visual arts sector faces. Additionally, a review of Canada’s National Museum Policy was included in the 2019 Mandate Letter from the Prime Minister to the former Minister of Canadian Heritage.
Much has changed since the last review over 30 years ago. This policy must reflect a contemporary Canada and consider the current realities faced by Canadian museums. It must address the pivotal issues of our time, namely equity, diversity, UNDRIP implementation and promotion of Indigenous self-determination and anti-racism, digital outreach and relevance, and climate change concerns.
As foundational planning and funding streams for museums in Canada, the National Museum Policy and Museums Assistance Program must be revised to support and enforce the Principles of UNDRIP in their structures and delivery.
Recognizing that sustainable core funding for museums will strengthen the capacity of museums to be supportive partners in the decolonization process, all National Museum Policy initiatives, including policy development and funding structures, must be informed by the authoritative guidance of Indigenous peoples in the sector to ensure the National Museum Policy adequately addresses UNDRIP implementation and pivotal issues from Indigenous perspectives.
The Exhibition Transportation Service (ETS) was created in the 1970s and cancelled in 2007.
The ETS provided shipping services to public art galleries and museums across Canada using climate-controlled vehicles and trained “art handlers”.
Over 54% of all art transportation between museums in Canada was conducted by ETS, compared to 28% for all other fine-art carriers combined. In some isolated regions, ETS was the only fine-art carrier available, as others refuse to service outlying regions where the profit- margin is slim. For instance, in the Atlantic provinces, over 65% of exhibitions were delivered by ETS.
Travelling exhibitions are a collaborative way to share important and impactful stories across Canada and foster artistic dialogues and discoverability. It is critical to amplify the voices of artists – their messages need to be seen, shared and heard. For Indigenous communities—in particular remote communities—this enables access to works and exhibits created by or about their Nations.
Renewing the ETS would be instrumental during COVID-19 recovery, creating efficiencies while increasing the number of travelling exhibitions across Canada and creating more opportunities for artists to share their work. This would positively contribute to national and regional visitation/tourism and related employment and other tertiary spending.
VAA-AAV looks forward to discussing this submission with you further. We also support the priorities identified and submitted by our member organizations.
Canadian visual artists are pleased that the Artist’s Resale Right (ARR) is gaining momentum within the Federal Government. Recent news reports indicate that Canadian Heritage Minister Pablo Rodriguez and François-Philippe Champagne, Minister of Innovation, Science, and Industry are considering amending the Copyright Act to include the ARR.
According to an interview published in the Toronto Star, Laurie Bouchard, a spokeswoman for Champagne has said: “Our government is currently advancing work on potential amendments to the Copyright Act to further protect artists, creators, and copyright holders. Resale rights for artists are indeed an important step toward improving economic conditions for artists in Canada.”
This long-awaited news follows a meeting last month between the Federal, Provincial, and Territorial Ministers responsible for Culture and Heritage, in which “the Ministers agreed that Canada should have a resale right for visual artists and that it is an important step toward improving the economic conditions of Canadian artists, by enabling them to financially benefit from their growing reputations and secondary sales as their careers progress.”
CARFAC and RAAV have been advocating for an ARR for many years. The ARR is a royalty that enables artists to share in the wealth they create. It is particularly beneficial for Indigenous and Senior Artists, aligns Canada with many of our international trade partners, and it is one of many ways the Federal government can help visual artists recover from the Pandemic and prosper for years to come. Here is a summary of our proposal.
“We’ve heard that the government will conduct consultations in the fall, and this news that the ARR will be included is very welcome indeed. We look forward to participating in this discussion, and we hope that legislation will be passed very soon,” said CARFAC National President Paddy Lamb.
Details about our campaign for an Artist’s Resale Right is available on our website.
For more information contact:
April Britski, CARFAC National Executive Director
CARFAC and RAAV have been busy meeting with the Federal Government about the Artist’s Resale Right (ARR), and momentum is growing. Now is the time to write to your MP, asking for their support for ARR in a review of the Copyright Act, which is expected to begin this Fall.
The ARR would enable artists to receive a royalty payment each time your work is sold in the secondary market through an auction house or commercial gallery. The ARR matters, because art often grows in value over time, and artists currently have no legal right to receive income from this growth. If Canada had an ARR, artists would benefit from sales at home and abroad, as it is already law in over 90 countries worldwide. Here is a summary of our ARR proposal.
Our advocacy work on this issue has led to a commitment from the Liberals to amend the Copyright Act to include an Artist’s Resale Right, and last fall it was listed as a priority in the Mandate Letters of Minister Rodriguez and Minister Champagne.
There is still so much to do, and your support is crucial. We know that direct interactions with constituents can go a long way. Please use this opportunity to connect with your Member of Parliament.
Not sure how to connect with your MP? We’ve drafted a template letter covering key points on why ARR is important to all artists in Canada, especially those who are Indigenous or seniors.
Submission deadline: Monday, September 23, 2019
The Visual Arts Alliance is seeking a consultant to work with its members to develop a concerted strategic plan to focus its advocacy goals and messaging, design a coordinated work plan and calendar, identify funding sources and prepare relevant funding applications.
Members of the Visual Arts Alliance are seeking proposals from independent strategists and consultants, to produce a strategic plan to focus and fund the Alliance’s advocacy work over the next five years, along with a coordinated work plan to encourage the participation of its members.
BACKGROUND : THE VISUAL ARTS ALLIANCE
The Visual Arts Alliance / L’Alliance pour les arts visuels is a consortium of national visual art, media art, and craft arts service organizations comprised of artists, curators, art museums, artist-run centres and art dealers. Its mission is to ensure the sustainability of Canadian artists, art professionals and their institutions.
Since its creation in November 2007, the group has acted as a think-tank, sharing resources, exchanging information, and encouraging development to benefit the visual arts sector at large.
The Alliance is not a formal organization or institution, but operates as a stakeholder network of associations representing the interests of the visual arts milieu. Its core group of member organizations is eager to work on a collective purpose and vision to advance the visual arts in Canada.
Research goals established by members of the Alliance in 2008 have been partially completed, but knowledge gaps and blind spots identified by Guy Bellavance in his Synthesis and Critical Analysis (2011) persist. A recent literature review on the Canadian art market (Blais, 2019) identifies the same persistent challenges in our understanding of the sector, in an increasingly diverse and globalized field.
CONTEXT: THE CANADIAN VISUAL ARTS SECTOR
Alliance members acknowledge the recent doubling of the Canada Council for the Arts will relieve the strain put on artists and their organizations by years of austerity budgets. Alliance members also commend efforts to review the Copyright Act by the Standing Committee on Canadian Heritage (Shifting Paradigms, 2019) and by the Standing Committee on Industry (Statutory Review of the Copyright Act, 2019). A brief submitted by Alliance members in 2018 as part of DCH’s Arts policy branch grouped program evaluation argued that the current suite of arts programs and policies are geared heavily towards the performing arts, leaving visual arts organizations seeking similar support with fewer options. Such programs and policies that do foreground the visual arts sector (the National Museum Policy for example) are in dire need of updating and reinvestment. There is currently no federal program to support art dealers as they represent Canadian artists in brick and mortar galleries, online and in local and international art fairs and markets, nor is there a publishing program specific to the visual arts.
The visual arts are not a homogeneous sector. Visual arts exist in many forms, take place in a variety of locations, and cater to different audiences, though our interests often overlap. Designing a strategic and work plan, set of common messages, and shared research agenda which encompasses and synthesizes the sometimes diverging needs of our Alliance’s broad membership will represent a challenge to the execution of this project. The successful bidder will propose an approach that recognizes these complexities and overcomes this potential obstacle by focusing on areas of common concern.
To enhance its effectiveness, the Alliance urgently requires a joint advocacy strategy, positioning statement and key messages. The purpose of this exercise is to establish well-defined advocacy objectives, design a coordinated strategy, and recommend methods for collecting evidence needed to support the plan’s objectives. The strategy will promote a collegial approach that reflects the nature and composition of the Alliance and ensures buy-in from all its members.
The successful candidate will:
- Facilitate a planning process with Visual Arts Alliance members to establish priorities;
- Audit the Alliance’s current capacity and potential, looking to its network to single out and target potential champions andinfluencers in the public and private sector;
- Produce a multi-faceted strategy with coordinated action plans for members;
- Produce advocacy messaging that allows the Alliance to respond to a variety of evolving priorities;
- Identify sources of funding; and
- Prepare and submit funding applications.
- Audit report of Alliance’s current capacity and potential;
- Strategy and member-specific action plan;
- Positioning messages;
- Funding applications.
|3 September 2019||Dissemination of Request for Proposals (RFP)|
|23 September 2019||Deadline to receive proposals from bidders|
|30 September 2019||Analysis of proposals and selection of successful bidder|
|2 November 2019||Member Audit & planning begins|
|11 December 2019||Audit report & and draft strategy delivered at in-person meeting|
|17 January 2020||Final audit report and strategic & action plan|
|End of February 2020||Messaging delivery to members|
|Feb-April 2020||Preparation and submission of funding applications|
The total cost of the project includes honoraria and travel costs to Ottawa to meet with Alliance members is not to exceed $10,500, taxes included.
The successful bidder will:
- Demonstrate experience and expertise in strategic planning, including a capacity to facilitate coalition building;
- Demonstrate a strong understanding of the Canadian cultural sector, both anglophone and francophone;
- Describe the approach proposed to fulfil the mandate;
- Propose a detailed work process and schedule;
- Include in annex the curriculum vitae of the applicant and their team (as applicable) including a list of past projects;
- Provide a detailed project budget with a step-by-step breakdown of costs detailing professional fees and other expenses;
- Indicate any expectations for the client, as applicable.
CONTACT INFORMATION & TO APPLY
For additional information about this Request for Proposals, or to submit your proposal, write to email@example.com
Deadline for submissions is Friday, September 23, 2019.
The visual arts community is concerned that Bill S-234, An Act to amend the Parliament of Canada Act (Parliamentary Visual Artist Laureate), died on the Order Paper in the House of Commons in November.
The bill intended to create a two-year position of a parliamentary Visual Artist Laureate, similar to the Poet Laureate position. The purpose of the position is to “promote the arts in Canada, through Parliament, including by fostering knowledge, enjoyment, awareness and development of the arts…[through] drawing, painting, sculpture, printmaking, design, crafts, photography, videography and filmmaking.”
It was proposed that a Visual Artist Laureate would be appointed through a competitive process by both the House and Senate speakers, from a list of three artists recommended by a committee chaired by the Parliamentary Librarian, and composed by the Director of the National Gallery of Canada, the Commissioner of Official Languages for Canada, the Chairperson of the Canada Council for the Arts, and the President of the Royal Canadian Academy of Arts, or their designates.
The Poet Laureate position was created in 2001, and in 2015 visual artist Peter Gough began to question why there wasn’t a comparable position for visual artists. “Artist contribute so much to the spirit of this country and therefore should have a platform for articulating the issues that face our country and all Canadian,” he said.
Mr. Gough worked with Senator Wilfred Moore to introduce a bill to the Senate, and Senator Patricia Bovey became the bill’s sponsor when Sen. Moore retired. “Creating this position will demonstrate Parliament’s leadership in underlining the importance of the arts and the significant contributions they make to Canada’s overall economy. We as parliamentarians obviously have a strong societal responsibility, so too do artists,” Bovey said.
The bill was passed in the Senate last May, but it did not secure a sponsor in the House of Commons. MP Dan Vandal intended to be the sponsor, but he was unable to do this after becoming parliamentary secretary. Before a sponsor could be confirmed, MP Marjolaine Boutin-Sweet proposed a unanimous consent motion to pass the bill at all stages, in an effort to fast-track what she believed to be an uncontroversial bill. Unfortunately, the bill did not reach unanimous consent, and the whole approval process must now start over again.
Members of the Visual Arts Alliance, a consortium of national visual, media, and craft arts service organizations comprised of artists, curators, art museums, artist-run centres, and art dealers, are deeply disappointed by this latest development. The visual and media arts contribute to the public understanding of our national culture and heritage, and the creation of this position would put us on an equal footing with our colleagues in the literary arts. Toronto and Victoria have municipal visual artist laureates, and the federal government could similarly take the opportunity to spotlight Canada’s finest professional artists through this appointment.
We are hopeful that there still remains the collective will to enact meaningful change in this regard; as indeed, this initiative would benefit the lives of many Canadians, and we urge the government to implement this action as soon as is functionally convenient.
Addressing challenges that face senior artists
Earl Miller recently attended the CSARN 2018 Annual Conference in Toronto on behlf of the VAAAAV. Here’s his report.
CSARN (Canadian Senior Artists’ Resource Network) is a non-profit organization established to help professional artists “keep active and creative as they age”. It held its 2018 annual conference Maintaining Creativity 3: Relevance on April 19th at Toronto’s Metro Reference Library. The 2018 conference was divided into three sections: a panel titled Relevance, a talk on the effect of the arts on memory by the neurologist Luis Fornazzari, and a panel on “housing options.”
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As part of their ongoing discussions, the members of the Visual Arts Alliance (VAA) met in Ottawa on February 3rd, 2017.
Two main issues have been keeping the VAA members busy over the last few months. One of them is the creation and implementation of the New Funding Model (NFM) by the Canada Council for the Arts. The VAA has been following closely the rollout of the NFM, first to ensure that the interests of the visual arts, media arts and contemporary crafts milieus will be well-served by the new programs and, second, to provide input into the development of this funding model. The VAA members have been meeting regularly with officers and directors at the Council, asking many questions and raising awareness on points of concern for our community. The New Funding Model is now being implemented and the VAA continues to ask questions and clarify various measures on behalf of its members. As the implementation of the NFM continues over the next few years and its effects start to become apparent, the VAA intends to maintain its vigilance to make sure the best interests of the visual arts, media arts and contemporary crafts are preserved.
The other focus of members of the VAA is an upcoming survey from the Department of Canadian Heritage. Over the last few years, the VAA has initiated discussions with Heritage to raise the profile of visual arts at large within the Department, notably by following up on the study conducted in 2011 by INRS’ Professor Guy Bellavance, The Visual Arts in Canada: A Synthesis and Critical Analysis of Recent Research. One of the main recommendations of this study was that “the art economy or market should be the priority for future research”, as it is essential to understand how the whole system contributes to the visual arts economy. The Visual Arts Alliance is proud to announce that it has succeeded in convincing Canadian Heritage to undertake a survey on the art market in Canada, that will be launched in the coming months. Members of the VAA have been working in consultation with officers at Heritage to make sure the survey covers the needs of the community, is well adapted to its target respondents and is relevant to its stakeholders. We will keep you posted for developments before the summer.
Photo taken in the CMA office in Ottawa, during the February 3rd meeting. Front row, from left to right: Marcia Lea, CARFAC; Anne Bertrand, ARCA; Milly Ristvedt, RCA; Audrey Vermette, CMA. Back row: Elizabeth Edwards, ADAC; Christine Blais, AGAC; Moira McCaffrey, CAMDO; Emmanuel Madan, IMAA; Lise Leblanc, AGAVF; Bernard Guérin, RAAV; Daniel Roy, VAA Secretary.
The Visual Arts Alliance wishes to congratulate the winners of the Governor General’s Awards in Visual and Media Arts 2017:
- Michelle Cournoyer, Filmmaker/animator
- Mike Hollboom, Filmmaker
- Shelagh Keeley, Visual artist
- Glenn Lewis, Visual artist
- Landon Mackenzie, Visual artist
- Philip Monk, Curator & writer
- Shelley Niro, Visual artist
- Pamela Ritchie, Jewellery artist, Saidye Bronfman Award
To learn more about this year winners and their work, please visit the Canada Council for the Arts website.
The members of the Visual Arts Alliance (VAA) met by teleconference on April 5th. They applauded the recent announcement to increase the Canada Council for the Arts’ parliamentary appropriation by $40M for the 2016-2017 year, and subsequent annual increases to reach a total of $360M by 2021. This increase is a most welcome investment in the arts in Canada. The Canada Council will distribute the new funds according the 2016-2021 strategic plan which will be announced in the third week of April.
The Visual Arts Alliance has reiterated its interest in the working group established last spring with the Research and Planning section of the Arts Policy branch at the Department of Canadian Heritage, to examine the following four points:
– Dissemination of the visual and media arts and contemporary craft by encouraging the expansion of the notion of ‘dissemination’ to include not only performing arts such as music, theatre and dance but also exhibitions and performance art and the growing need for cultural mediation, or art education;
– Translation/interpretation for individual artists, art publishers and organizations into both official languages, and Aboriginal and sign languages where applicable.
– Documentation and historical archiving of both material and intangible art forms as well as the preservation of institutional memory as part of Canadian Heritage;
– Acquisition and conservation of art works, both material, digital and intangible.
The Alliance is confident that the recently announced House of Commons Heritage committee survey of community and small museums will address some of the above concerns. The Alliance is also hoping the Department of Canadian Heritage will take this opportunity to better represent the visual and media arts and craft in its programs, for the benefit of the Canadian public at large.
In the coming months, a calendar listing the Visual Arts Alliance members’ main activities for the upcoming 150th anniversary will be posted on the website. Stay tuned for developments!
The Visual Arts Alliance wishes to congratulate the winners of the Governor General’s Awards in Visual and Media Arts 2016:
- Edward Burtynsky, photographer, Toronto
- Marnie Fleming, curator, Toronto (Outstanding Contribution Award)
- Philip Hoffman, filmmaker, Mount Forest, Ont.
- Jane Kidd, textile artist, Salt Spring Island, B.C. (Saidye Bronfman Award)
- Wanda Koop, visual artist, Winnipeg
- Suzy Lake, visual artist, Toronto
- Mark Lewis, media artist, London, U.K.
- William (Bill) Vazan, visual artist, Montreal
To learn more about this year winners and their work, please visit the Canada Council for the Arts website.
Photo: Edward Burtynsky, Colorado River Delta #2, Near San Filipe, Baja, Mexico, 2011, chromogenic print, 1.52 m x 2.03 m, on loan to the US Embassy in Ottawa. ©Edward Burtynsky