Artist Toolkits

Demographic data collectively demonstrates that visual artists in Canada face many of the same challenges of maintaining equitable relationships between the artists and the organizations and institutions and those hiring them. For instance:

• Visual artists receive the least compensation for their work compared to other creative fields.
  
• There is an imbalance in representation from diverse groups in galleries and collections.
  
• Indigenous artists and racialized artists have lower median incomes than non-Indigenous and non-racialized artists.  
  • Racialized visual artists make 86 cents median income for every $1 that non-racialized artists make.
  • Indigenous artists make 67 cents median income for every $1 that non-indigenous artists make.
    
• A pay-gap exists between women and men. 
  • Women artists make 82 cents of total income for every $1 for men artists.
  • Canada Council-funded galleries employing women receive, on average, 20% less than those employing men.

The following resources about the arts and culture sector are publicly available, and are recommended for further in depth reading to provide a clearer picture of the arts and culture landscape in Canada. 

• Waging Culture: Interrogating the Canadian Visual Artist Labour Force, Research Report, 2020 (English) (French) Michael Miranda, York University. 
• Hill Strategies Research, widely respected across Canada and internationally as a leading authority on arts and culture research. They have studies and reports available around arts and culture in Canada available on their website from 2005-present.

A Hill Strategies February 2021 study on Canadians’ Arts Participation, Health and Well-being found that a strong connection exists between cultural participation and health, and that there is solid evidence of a connection between cultural participation and mental health. If cultural activities are related to health and well-being, then equitable access to culture can be related to equitable health outcomes. 

The role and responsibility of the visual arts sector to ensure equitable relationships between artists and those hiring them (such as galleries and institutions) is paramount in consideration

of the dynamics listed above. So we must ask, who decides this, and what standard is it defined by? What actions are being undertaken to dismantle problematic systems and bring about meaningful change? 

Efforts to ensure balanced representation in the visual arts is taking place federally, provincially and at municipal levels of government and education, as well as at the grassroots level, by independent artists, and artist run centres. CARFAC has been advocating for the rights of artists since 1967. In 2014, they successfully argued in the Supreme Court for minimum artist fees at the National Gallery of Canada.

• Background on CARFAC-RAAV’s negotiations with the National Gallery of Canada
• Canadian Artists’ Representation v. National Gallery of Canada
• Supreme Court unanimously decides in favour of artists

This is one example of work being done which takes place at one level of power in Canada to advocate for the rights of artists, addressing power dynamics and equitable relationships in the arts. It took a decade to make it happen, and demonstrates how the arc of change is large – like trying to turn a large ship, and often dependent on dedication, perseverance of individuals, and initiatives that begin at the grassroots level. 

Regardless of whether you are an artist, or a gallery or institution working with artists, In these toolkits you’ll find recommendations on fair dealings with artists, including fee recommendations, 

Some of the other information you’ll find in these toolkits addresses:

1. Diversifying support and opportunities for artists. For organizations, institutions, and government workers who work with artists, this may include providing specific grants, residencies, or exhibition opportunities that fall outside of traditional or government funding models for artists, or providing childcare as an added support for exhibiting artists (similar to the ways that shipping or travel may be covered). It also can include returning agency to artists in communities by welcoming programming input and helping to fund artist-run initiatives. Within this toolkit, there are resources for organizations that support reducing barriers to participation for visual artists. 

2. Making use of different spaces outside of the dominant ‘white cube’ as a display strategy so often associated with visual arts. For visual artists, the traditional white walled gallery space has often been the default. As our province and country go through different processes of decolonization, dismantling systems of oppression, relearning, and expanding the ways that we think about culture, it is useful to question the role that the ways we present artwork has in this process. When the community was suddenly unable to interact in physical spaces due to the COVID-19 pandemic, artists and arts workers with access, knowledge, and the means to do so sought new ways to engage with audiences digitally. Considering hybrid programming options and accessing opportunities to learn about technology has become more important than ever – but many communities across British Columbia have unreliable or limited access to internet service. These toolkits offer considerations for challenging existing systems and exploring new opportunities for engagement.

3. Maintaining inclusive, accessible, and approachable spaces that reflect the needs and demographics of the community, including artists who are Indigenous, Black, POC, LGBTQIA2S+, D/deaf or disabled, or from other marginalized or underrepresented communities, and from all economic backgrounds and with all levels of education. Organizations and institutions in service of the arts community should be conscious of the physical, social, and economic barriers to participation that may exist within their current structures which prevent inclusivity and accessibility of their programs and services to artists and community members. This extends beyond the physical spaces that we occupy and includes online environments, and the culture that is cultivated within organizations. Boards of directors and staff of arts organizations.  The current momentum around amplifying Indigenous and Black voices and standing against racism and oppression in all of its forms needs to happen every day through ongoing commitments. Inclusivity goes beyond checking ‘diversity boxes’.  Within this toolkit, there are resources for individuals and organizations to create safer spaces that allow for creative risk. 

4. Understanding and addressing appropriation, intellectual property, and copyright.  People and cultures have always exchanged and borrowed ideas from each other to create new forms of artwork and creative expression. Whether intentionally or not, most works reflect varied sources of inspiration. CARFAC frequently hears from artists whose work has been used without permission, has been copied or misrepresented by someone as their own, and who has not been compensated. Frequently we hear of instances of Indigenous cultural appropriation and a lack of understanding of cultural protocols.

Within this toolkit, there are resources for artists and for organizations and local governments to provide an understanding of copyright and intellectual property, and to facilitate respectful exchange between non-Indigenous artists or presenters with Indigenous artists as well as the broader arts community.