Investment of $165,150 to support arts and culture workforce strategy
03 July 2014 - FREDERICTON (GNB) – The provincial government is investing $165,150 over two years to support Phase 1 of the implementation of an arts and culture workforce development strategy.
“Our focus is on people, skills and jobs and we will ensure that this important sector, with enormous potential, thrives and flourishes,” said Post-Secondary Education, Training and Labour Minister Jody Carr. “Our province is known for its unique and rich cultural history, which is why our government is pleased to support the arts and culture sector to ensure that our identity continues to live on for future generations to discover through things like fine art, literature and music.”
In 2012, L'Association acadienne des artistes professionnel.le.s du Nouveau-Brunswick (the Association of Acadian professional artists of New Brunswick) was tasked with leading and co-ordinating the development of a provincial workforce development strategy for the arts and culture sector.
“We were proud to work with cultural stakeholders and sector professionals on the development of Creative Futures: a renewed Cultural Policy for New Brunswick,” said Tourism, Heritage and Culture Minister Trevor Holder. “This strategy will help support those who make their living in the industry, as together we work toward the goal of a vibrant and productive cultural sector.”
By Robert Sibley, Ottawa Citizen, May 15, 2014
Canada’s artists enjoyed a major legal victory Wednesday when, in a surprisingly fast decision, the Supreme Court of Canada ruled that the National Gallery of Canada was obliged to negotiate minimum fees with the artists whose work it exhibits.
“It was a great day for Canada’s artists after many years of fighting,” said Grant McConnell, president of the Canadian Artists’ Representation (CARFAC). “We’re finally going to go back to negotiating with the National Gallery of Canada.”
Wednesday’s decision effectively forces the National Gallery to do what it has been trying to avoid doing for the last seven years. Since 2007, the National Gallery and organizations representing Canada’s 20,000 visual artists — CARFAC and Le Regroupement des artistes en arts visuels du Quebec – have been at loggerheads over the issue of whether artists have the legal right to bargain minimum fees when the gallery uses their work.
The issue goes back more than a decade. In 2003, CARFAC and RAAV began negotiating with the gallery on a “scale agreement” as provided for in the federal Status of the Artist Act. The associations wanted an agreement that would set minimum fees for artists if the national institution displayed or reproduced their existing artworks.
In 2007, the gallery obtained a legal opinion that binding provisions on copyright issues couldn’t be legitimately included in a scale agreement. It then pursued an agreement that cut all reference to minimum fees for the use of existing works.
The arts group complained the gallery was acting in bad faith and won a tribunal ruling requiring the gallery to stop acting illegally and bargain in good faith. The gallery, however, turned to the Federal Court of Appeal, which overturned the tribunal’s decision, ruling that matters relating to copyright, including the imposition of minimum fees for the use of existing works, didn’t come within the purview of the Status of the Artist Act.
Basically, the appeal court accepted the gallery’s argument that some fees come under the Copyright Act, which sets individual negotiations ahead of any collective agreement.
The artistic groups appealed to the Supreme Court. Essentially, what was at issue was a perceived conflict between the Copyright Act and the Status of the Artist Act. CARFAC and RAAV want to negotiate binding minimum fees for their members in much the same way that unions negotiate collective agreements. The gallery, however, maintained that CARFAC and RAAV were undercutting the right of artists to be paid less if they so chose.
The gallery lost, but even more surprising was the speed with which the Supreme Court judges rendered their decision. Normally, the court reserves its decisions pending a written judgment, which can take two or three months or more. But in a rare move, the judges made their ruling for the artists within minutes of hearing arguments from both sides.
For the artists, it was a welcome — and long overdue — win. “It’s an important, historic win for us,” said artist and CARFAC member, Karl Beveridge. “The amazing thing is it includes all issues of copyright, not just exhibition right, but also reproduction right.”
PHOTO L to R: Melissa Gruber, Wendy Nelson, April Britski, Susan Tooke, Manon Pelletier, Gerald Beaulieu, Julie McIntyre, Deborah Carruthers, Kristian Clarkem Christian Berard, Deirdre Logue, Grant McConnell. All are part of CARFAC. The Supreme Court will hear a case Wednesday that will determine whether, CARFAC, an association representing visual artists has the right to negotiate minimum fees for visual artists if the National Gallery of Canada uses their work. Photo by Jean Levac
HiVE Vancouver is a non-profit social enterprise serving the social venture community. Our space is a unique coworking space located in the Gastown neighbourhood of Vancouver, BC. We are home to change makers, social enterprises, environmental sustainability groups and other creative class individuals that support social and environmental sustainability. With over 100 desks, 3 board rooms and 9,000 square feet of space, there’s a home for just about everyone at the HiVE.
Interdisciplinary Arts Residency
Application deadline: June 2, 2014
Residency dates: Projects will be adjudicated for Fall 2014 and Winter 2015
The Interdisciplinary Arts Residency at The Banff Centre is designed to support artists, artistic collectives, and companies in the creation, investigation, and production of new work that crosses disciplines and genres. Utilizing the various artistic facilities on campus to combine art forms, artists will be able to explore projects blending music, theatre, dance, opera, literature, digital film, audio, media, or visual arts.
This latest offering from The Banff Centre is a fit for artists generating work that blurs boundaries: composers, choreographers, visual artists, writers, performance artists, photographers, filmmakers, dancers, playwrights, musicians, directors, and those involved in other new and emerging art practices. Artists at various stages of artistic practice are encouraged to apply, whether they are at the conceptual stage, ready for development and production, or preparing for presentation. Adjudication is based on artistic merit and the ability of The Banff Centre to help realize the project.
Call for Submissions: The Emerging Artist Residency Program at Artscape Youngplace
Artscape Youngplace is now accepting applications for a new Emerging Artist Residency Program. Successful applicants will be awarded free access to studio and exhibition space within the Flex Studios and Hallway Galleries at Artscape Youngplace. The deadline for applications is Friday, May 2, 2014 at 5:00 pm. Successful applicants to the Emerging Artist Residency Program will receive six weeks of exclusive access to semi-private studio space in the Flex Studios and a featured one-week exhibition in the building’s Hallway Galleries. Artscape Youngplace will offer promotional support for the artists’ activities as well as access to a larger private studio space for events, larger project work and documentation. Artists-in-residence will benefit from being within a growing community of artists in the Flex Studios program and at Artscape Youngplace, a vibrant new cultural hub in the heart of West Queen West.
From 24-hour plays to co-op leasing, US artists are ditching traditional residencies in favour of working on their own terms ~ by Lisa Niedermeyer Guardian Professional, Tuesday 1 April 2014
Last week, US rail company Amtrak officially began offering writing residencies on its trains after writers mounted a lively social media campaign sparked by an interview with author Alexander Chee, in which he floated the idea. The announcement attracted headlines around the world and put a mainstream spotlight like never before on the role that residency programs can play in fostering the development of both artists and their art.
At the same time, however, the fact that so many writers were clamouring for Amtrak to launch the programme underscored that formal residencies are often out of reach for many artists. They can be highly competitive and are often too lengthy or too far away to be affordable for the many artists who rely on day jobs to make ends meet.
It is not surprising then that more and more artists are taking matters into their own hands by organising do-it-yourself residencies. These pioneers are establishing new models for residencies by experimenting with alternative approaches to funding, space and time, while still creating an experience that allows them and other artists to break away from the daily grind in order to explore and develop ideas, collaborate and network with other artists, and make art. Some of the innovative ideas and solutions being tested include: ...
By Kevin Griffin, Vancouver Sun, February 3, 2014
In a career spanning more than 30 years in the entertainment business, James Pollard is facing his biggest and most daunting production ever.
He’s pushing forward with developing a new application he believes will revolutionize the way live shows are produced while battling terminal prostate cancer.
Pollard said he’s not trying to generate sympathy because of his health.
“While I still have a bit of time and feel good, I have the energy to do this,” he said.
“This is all real. This isn’t about sympathy. This is about opportunity. What I’m really trying to say is that we have this opportunity because I can get this done before I die. This could be a game changer.”
The cloud-based app is called PreShow. If he can raise $59,000 on Kickstarter, then the Canada Media Fund will contribute $177,000 to take PreShow beyond the testing stage. His goal is to launch PreShow this year. Kickstarter is an online fundraising website for creative projects.
Pollard is well known in the Vancouver performing arts community. He’s been involved in organizations that include the Vancouver Playhouse Production Centre, the Roundhouse Community Arts & Recreation Centre, the PAL Theatre, the relaunch of Theatre Under the Stars and the restoration of Malkin Bowl.
Yo-Yo Ma, Grammy Award-Winning Cellist
Behind The Cello
Yo-Yo Ma reflects on the role of arts, creativity and the edges of life. His comments are adapted from a conversation with WorldPost.
In our highly interdependent global civilization, a lot of things are not working.
When I travel around the country and the world to perform, I pick up in my many conversations a growing sense that the first Enlightenment -- which posited the rule of reason over emotion and feelings -- is getting a little creaky, confining and even counterproductive.
The neurobiologist Antonio Damasio has written about Descartes' error that, to put it in shorthand, "I think therefore I am." Damasio instead makes the compelling argument, empirically based in neurology, that feeling and emotions as expressed in art and music play a central role in high-level cognitive reasoning.
Advances in neurobiology now make it clear that we humans have dual neural pathways, one for critical thinking and one for empathetic thinking. Only one pathway can be activated at a time, so when one is on, the other is off. Yet we are also aware that wise and balanced judgment results from integrating the critical and empathetic, taking emotions as well as reason into account. While this can't be done it tandem, it does occur, we now know, through a loop-back process of layers of feedback.
These discoveries suggest that a new way of thinking is possible, a new consciousness -- perhaps a new Enlightenment -- that brings the arts and science back together.
This new consciousness by which we purposely seek to bolster the integrative feed-back loops of our dual neural pathways could provide a new energy for creativity in our weary civilization.
This integrative awareness is especially important today as our science-driven, technologically advanced world is breaking down into ever more compartments, specializations and disciplines -- even as the interdependence of globalization is creating more links with other cultures through which empathetic understanding is vital.
To be able to put oneself in another's shoes without prejudgment is an essential skill. Empathy comes when you understand something deeply through arts and literature and can thus make unexpected connections. These parallels bring you closer to things that would otherwise seem far away. Empathy is the ultimate quality that acknowledges our identity as members of one human family.
Visionaries like Elon Musk have spoken of the Internet and the planetary reach of the media as a "global thinking circuit." We need to be sure that this connecting circuit is about communication and not just information by fostering both empathetic and critical thinking.
By Joe White January 18, 2014
Heather Hansen is a New Orleans-based artist who really puts herself into her work. In her project, "Emptied Gestures," she creates something like you've never seen before. She begins by taking a mysterious stance on a huge, blank piece of paper. With a piece of charcoal in hand, she lets her imagination come to life.
Heather is a dancer, painter, and sculptor. She has performed all of her talents around the world and she doesn't plan on stopping any time soon.
Check out her website here.
August 12, 2013, The Getty Trust
LOS ANGELES—The Getty announced today that it was lifting restrictions on the use of images to which the Getty holds all the rights or are in the public domain. Getty President and CEO Jim Cuno made the announcement in a post on The Iris, the Getty’s blog.
"As of today, the Getty makes available, without charge, all available digital images to which the Getty holds all the rights or that are in the public domain to be used for any purpose," wrote Cuno, citing the new program.
As a result, there are roughly 4,600 images from the J. Paul Getty Museum available in high resolution on the Getty's website for use without restriction—representing 4,689 objects (some images show more than one object), including paintings, drawings, manuscripts, photographs, antiquities and sculpture and decorative arts. The Getty plans to add other images, until eventually all applicable Getty-owned or public domain images are available, without restrictions, online.
The Getty Research Institute is currently determining which images from its special collections can be made available under this program, and the Getty Conservation Institute is working to make available images from its projects worldwide.
"The Museum is delighted to make these images available as the first step in a Getty-wide move toward open content," said J. Paul Getty Museum Director Timothy Potts. "The Getty’s collections are greatly in demand for publications, research and a variety of personal uses, and I am pleased that with this initiative they will be readily available on a global basis to anyone with Internet access."
Previously, the Getty Museum made images available upon request, for a fee, and granted specific use permissions with terms and conditions. Now, while the Getty requests information about the intended use, it will not restrict use of available images, and no fees apply for any use of images made available for direct download on the website.
"The Getty was founded to promote 'the diffusion of artistic and general knowledge' of the visual arts, and this new program arises directly from that mission," said Cuno. "In a world where, increasingly, the trend is toward freer access to more and more information and resources, it only makes sense to reduce barriers to the public to fully experience our collections."
"This is part of an ongoing effort to make the work of the Getty freely and universally available," said Cuno.
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The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that includes the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Malibu.
The J. Paul Getty Museum collects in seven distinct areas, including Greek and Roman antiquities, European paintings, drawings, manuscripts, sculpture and decorative arts, and photographs gathered internationally. The Museum's mission is to make the collection meaningful and attractive to a broad audience by presenting and interpreting the works of art through educational programs, special exhibitions, publications, conservation, and research.
Additional information is available at www.getty.edu.
Sign up for e-Getty at www.getty.edu/subscribe to receive free monthly highlights of events at the Getty Center and the Getty Villa via e-mail, or visit www.getty.edu for a complete calendar of public programs.
Canopy Arts Desk
Tammy Hampel (Isaacson)
News and information about Arts and Culture, Arts Administration, Communications, Development and Non-profit Management